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verity-isle.livejournal.com in code_geassMy Code Geass #1 DVD just came yesterday, so I thought I'd take some time translating the extras that come with it. They're all rather short, but some provide interesting looks into the series. And since I'm making a translation post anyway, I decided to throw an old interview I just got around to finishing in there, too. Ah, the days when we only had six episodes, and everything was ripe with promise! (It's still fairly relevant and interesting, though)
I'll be buying this month's magazines this Saturday, so you can expect more shortly. If they're not too long.
Taniguchi Goro (Director, Code Geass) interview, Animage Dec 2006
I want to create a series that makes everyone happy
Q : First, please tell us the details regarding how this production came to be.
A : It began in a talk between Bandai Visual and Sunrise's producers. Someone said 'I want to create a series thats make everyone happy, creators and viewers alike'. My mind was instantly piqued by those words.
Q : By 'making everyone happy', meaning, catering to the fans as well as creating success for the production side?
A : You can call it that, I suppose. It's fun to aim far and wide for a series, in my opinion. My works since 'Mugen no Ryvius' to 'Scryed' and 'Planetes' were all on national networks, or something akin to that otherwise. By contrast, the most recent series I directed, 'Gun x Sword' was aired late at night on very few channels, so it was a challenge. On top of that, those aims of mine might connect to the producers' words, that I might bring it to being. Of course, when everything's said and done, it all comes down to the audience, so if it's not fun it's meaningless. While MBS's Code Geass programme is for that purpose, I've thrown away half of the way we usually do things.
Q : That's a bold move.
A : As for what it means, it's just that when you create something, you make a promise to yourself about the literary style you use, about the staff organization. I think it's the same for every director. And that's what I propose smashing to little bits.
Q : The name association with other programmes, so to speak?
A : That, too. Part of it was to discontinue [positive] bias, but moreso than that, half of it was my idea that breaking it all would be better. Perhaps it's a horrible intent. I realize there are fans who'd receive a work because it's mine, and I deeply appreciate them. But I think that for both myself and them, tying yourself to a production brings no possibilities. It's ultimately meaningless, even in goodwill.
Q : A production with something that's never there before, for both the staff, the director, and the fans?
A : Yes. And we always keep the audience in mind. To tell the truth, 'Code Geass' actually began as an evening or morning slot anime, but it was later changed to late night. When that happened, we reset everything we'd made up to that point, since expectations for the late night audience are quite different. It's thanks to Oukouchi's talent that we managed to do it...
Q : In other words, you form production plans based on who the viewers are.
A : That's right. But despite how certain things are changed to fit the time slot and its audience, what we really wanted to do are all kept intact. If we give in or waver on this, the themes we choose will be wrong. As we are professionals, it's only a matter of course. (Translator note : Why do I have the impression that, among other things, Taniguchi-san was snarking here?)
It's fun to write an evil person who lives and learns who he is
Q : What is it about 'Code Geass' that you'd drop half your usual style, just because you want to make it?
A : Speaking selfishly, I want to walk past my own history, and let it be history. But I also want to challenge myself with a different way of doing things, see new, different stage.
Q : Can you define your current 'way'?
A : It's tangled up with this and that, so I'll have to describe it as it comes to me...there's the first episode, where we start in a running dash immediately. The beginning begins with a deteriorating situation and develops in a hectic run. Character exposition is left for later. It was sheer speed more than expression or description, emphasizing this manic rush ahead, ahead, and ahead. If we paced it like we usually do, that first episode alone would've taken 3 episodes. *laughs* Since we put in only minimum information, it's like 'got it?' *laughs*
Q : Certainly, the first episode does have a certain all-out no-holds-barred feel to it.
A : It can't be helped if there are things held back in Episode 1, so we showed the story's important points in the OP. There, you can see parts of the characterization, and there's also the ED. And there's the character balance. Since we're associated with CLAMP-san and all, it's something I previously wouldn't do. The tall, tall height. *laughs*
Q : CLAMP-san's designs are certainly a major contribution to the feel of this series.
A : Yes. It's the same with the color scheme. I figured we just have to make it vivid and bright.
Q : I see. Using a colorful palette, you aimed for a flashy image?
A : It's because I want the series to have grandeur as an entertainment, as well as my dislike for the 'late night shows must use dour, middletone colors' way of thinking.
Q : And about the story?
A : Honestly, I thought I'd make [the series] as clear as possible as a director this time around...how far I can go giving it my best shot, throwing away my ego, doing this as a director. But, that stance seems impossible, doesn't it? *bitter laugh* I've decided to throw away my tricks, after all.
Q : So it's really going to feel unlike the usual Director Taniguchi works?
A : Let's see, Lelouch being this evil thus far is my fault, I think. Isn't it fun to write evil characters? They're people who go on living by learning who they are. In fact Lelouch and Suzaku's positions were the opposite of what they are now in the original plans.
Q : Lelouch was 'white' and Suzaku was 'black', at first?
A : Since I cannot say what is white and what is black, it's fine if you see it and decide that's what it is. I don't want to judge Lelouch-tachi into black or white, personally. It's just business catch-copying. But it's true that Lelouch originally had a stance similar to Suzaku's.
Q : Do you mean, he wasn't the type to choose whatever means to achieve his ends, like he is now?
A : Hmm. Perhaps it's better to say he was the type to think about social impact and his own actions, closer to a life-sized boy.
Q : Then why did he turn into the 'villain' he is now?
A : I guess it's really because I want an engaging character, when it comes down to that. At first, I thought the 'grandeur' element in this series would be the robots, but as we shift to a late night series, we stopped it with the simple mecha. And of course we can't do bishoujo *laughs*. From that, it's inevitable that we'd have the main character be the 'draw'. As the 'villain'.
Q : A character streaked with evil has a certain charm.
A : Lelouch will ponder the questions that should be pondered, too, but the spin he puts on it is a little different. From normal people, that is. (translator's unprofessional fangirly note : is his spin-of-thought ever normal?)
Q : On the other hand, Suzaku adheres to the rules and wants to change Britannia from within; he seems a strong-willed person, but...?
A : I think Suzaku is a character that can stand on his own as Suzaku, but I personally have no wish to make this story revolve around Lelouch and Suzaku's points of view. Neither are they mouthpieces for my own personal ideologies.
Q : So Lelouch and Suzaku are not in a 'double main characters' scheme?
A : I'd like to think [Code Geass] would be different from a simple 'opposite sides' adaptation scheme. Suzaku is important, of course, but there are other important people, too, some among them with very eminent positions. I want to give this a wider, grander view of things, to catch the story as it flies. But some things come spontaneously, so we'll have to let the future do as it would. *laughs*
An entertainment, not a showcase of ideology
Q : Between an occupied Japan and terrorism, it sounds like you're making a political commentary.
A : I didn't give [political commentary] much thought. When we decided to write a story where the protagonist opposes the social order, we simply thought, 'shouldn't the enemy be as strong as possible?' There's been a lot of questions whether we meant the United States. If I meant it to be the United States, I would emphasize it more as America The Country. I wouldn't make it the American continent. There's no desire whatsoever to include personal political agendas in this series.
Q : But in the first episode, there are occupation soldiers massacreing civilians, there's suicide terrorism, there's so much journalistic atmosphere.
A : Such things are hardly strange nor isolated incidents in this world we live in, if you look at the historical records or the maps. I admit episode 1 might have been a rather gory vision, as we saw all those things happening through Lelouch's eyes. But without doing so, I wouldn't be able to truly convey to Japanese viewers why Lelouch and Kallen-tachi would start a Resistance movement in Japan, I think.
Q : Episode 1's massacre scene is rather extreme for a TV animation, but would scenes like that continue to be in important parts later on?
A : I was wondering if we got away with that because it's late night and MBS. *laughs* But personally, I think that too much gore in a work ruins its dignity, so I have no wish to use it unnecessarily. We showed it bluntly in Episode 1 because we want to tell the audience 'this is a story where people die'. If we didn't do that, we wouldn't have been able to progress past Episode 2. (translator note : I hate to put in another irrelevant note, but I'd like to complain that for a story where people die, they are ostensibly not dying. *grumble*)
Q : In other words, you want to point out the series' direction right at the beginning.
A : That's right. It's something of a rule for this one, like how 'this is 'reality' for this series'. Many people die here. If we don't point that out quickly, the audience wouldn't know with what stance they should approach it with.
Q : Another point of attention is how inside this 'reality', there's the existence of a creation called 'Geass'.
A : Well, it's a fantasy world. That's why we need to impose the once per person limit. Without that limit, things would be too convenient and the dramatic structure would be ruined. If you can simply go "Oh well, I'll just use the Geass" whenever you're in a bind, the story loses its tension.
Q : As the story is about the protagonist's fight against an impossibly large enemy, can we also call this an adventure?
A : Although that element exists, I think the audience, too, goes with their everyday lives searching for the one trigger to give them that one step forward. 'Geass' is the chance for that one step that Lelouch obtained. I'd like them to empathize with how he realizes his wishes.
Q : Many burdens would be placed on him because of 'Geass'?
A : On the contrary, 'Geass' is nothing more than a trigger. Fighting a war with the Geass and taking all the consequences, that's Lelouch's own will. [highly paraphrased for structure; perhaps 'responsibility' would work better than 'will'.]
Picaresque romance, in a word
Q : [Code Geass] seems to be a meaningful, subtle show. The first episode with its strong political coloring, the second episode with its mecha action, and third with the sudden highschool hijinks...with just three episodes, we can't imagine where the story would go next.
A : I understand the audience's desire to give it a genre. I'm relieved that way. But, although I want to clearly categorize it, we didn't create this as mecha, school drama or political work. Of course, it's neither a bishounen nor a bishoujo series. All the elements I just said are there, as a piece of entertainment, thrown together as much as it would. We want a balance between 'reality' and 'manga', to create something that’s not easily defined. If we must have a genre, then it's a picaresque romance. 'Please look at Lelouch', in a word.
Q : When you say it's a romance---the Britannian nobility system, their fashion, a hegemonic empire...any of these elements evoke less of the modern world than the Roman Empire or medieval Europe.
A : That's one of the points of a picaresque romance. Please don't forget the 'romance' part. I feel that if being too much meticulous attention towards realism would lessen the energy of the story, then it's better to ignore such things.
Q : No matter what, the important part is entertainment.
A : That's right. Comedy and tragedy are both entertainment that moves the audience's heart. Lelouch's seeming villainy, the political ideology, the school comedy, the mecha action, everything's come together in a drama that can touch the emotions of those who see it. I want to create a show like that.
--
DVD Extras
Oukouchi Ichiro (Main Series Composition) Interview
Q : Can you tell us how 'Code Geass' came into being?
A : I proposed the idea to Producer Kawaguchi while we were doing 'Overman King Gainer' and 'Planetes'. At that point, the planned story was about a secret organization commanded by a Hero, and the details changed as we talked. Director Taniguchi came into it around this time. Actually, back during 'Planetes', Producer Kawaguchi, Producer Yukawa and Director Taniguchi were brainstorming about 'what exactly is a series with a sense of grandeur'. Though I hadn't decide to do another series with Director Taniguchi at that point, now that I think about it, 'Code Geass' was probably born in our various conversations back then. Looking back, perhaps that was one of its starts.
Q : You must have went through a lot of plans before 'Code Geass' finally takes its present form.
A : We did. After the Hero story, it became a conflict between two people with opposing values in the same military unit : a commander in his late twenties who believes 'if the objective is achieved, it doesn't matter what methods are used' and the teenager main character who thinks 'the means are important'. Their images were similar to Quatro and Kamyu from 'Z Gundam' or Gain and Gainer from 'Overman King Gainer'. Both of them were soldiers for a totalitarian nation. On the other hand, the opposing country's military is a privatized business, so its soldiers are idols like Janice or Morning Musume, and its battles shown on TV---so the details go.
Q : And that was the point you decided to ask CLAMP-san for the character designs, and Teraoka-san for Knightmare Frame designs?
A : The series was done in a very concrete way. The scenario, too, was already ready for episode 1-3. However...at first, the series was meant to air on Saturday evening, but it was changed to late night. Since the audience for late night and evening are quite different, there's no reason for the contents to remain the same. So we rethought our plans, and that's how the framework for the current 'Code Geass' was built.
Q : What are the things you changed at that point?
A : Well, for starters, we thought that moreso than a hero type, an evil-looking protagonist would be more suitable for a late night programme. So we made changes to the protagonist. And from being robots-only, we added a taste of unique special abilities. We were thinking the main characters would gain special powers from an angel, and those powers would be close enough to relate to the audience. That's how 'Geass' originated. As the Geass came about, the series image was set at once. But instead of simply an angel who watches over the world, C.C. is changed, and she's a little different.
Q : Are there any particularly difficult spots?
A : I suppose it's really episode 1. There were so many elements that we had to show, it was difficult. The relationship between Britannians and Elevens, the school element, the robots, and then the Geass. And since it's the first episode, we have to make it accessible for the audience. But it must also hook them into watching the second episode. I thought and rethought, but I couldn't put it under 30 minutes. *bitter laugh* It was so bad I had to ask if we really had no way to make a 1-hour special just for the first episode. *laughs*
Q : Is there anything we should keep an eye on for the characters?
A : For Lelouch, it's important to remember that he's not this great genius, but also a protagonist who has the feelings of a normal highschool student. Although I want the Ashford Academy setting to have a happy, warm atmosphere, one of the points is they won't grow too close a distance with Suzaku. On one hand, Suzaku is an Eleven, so although even in a happy school, there would be heavy parts, I think that a Director Taniguchi series would have that nuance. For C.C., there are reactions that nobody thought she'd be such a domineering character, but for me, she is the one who grants power. Therefore, it's just natural that she'd be a little above it all.
Q : Are there any demands from Director Taniguchi?
A : There are! Like 'I don't want to do something this tepid'. *laughs* Compared to 'Planetes', I think there are many more demands about characters than the story. Lelouch is usually on top of the list. Like, 'I don't think this character should have this reaction'. He has a lot of thoughts on consistency.
Q : This time, you have Yoshino Hiroyuki-san as the associate series composition.
A : The associate series composition's main work is to criticise the scenario I made. His role is to tell me when the boring parts are boring. *laughs* We talk about fun series from the past, and the staff fight to hammer out the scenario. Yoshino-san's not only an excellent scriptwriter, we were also friends in university, so I can trust him not to go easy on me. First, we ask for Director Taniguchi and the producers' opinions, then the two of us brainstorm about it from noon to morning. Things like "Wouldn't this development be fun?" "But it doesn't connect" "But that way, everyone would love to watch it". Although we have to rewrite the scenario afterwards, there are times when the final product are totally different from what we started with. *laughs* Sometimes it's not just Yoshino-san, and Morita-san from planning would join in, too. From ideas about the battle, to the setting, to ways to make the girls cuter, simple preferences, to crazy scenarios---thanks to all that, we managed to make a script of decent density.
Q : Is there anything you personally like about 'Code Geass'?
A : The opening phase moves swiftly with lots of cuts in each installment, it's a many-flavored variety show.
Q : Can you tell us anything about further developments?
A : 'Code Geass' is easy to come up with ideas for every week, as making each episode fun is more important than stagnating the story with too many predictions and foreshadowing. At this speed and as the plot develops, I hope you'll be able to enjoy the series.
--
I was planning to translate Yoshino-san's interview, too, but since most of it concerns his work and his relationship with Oukouchi, I'm skipping. Maybe I'll get back to it by the time DVD #2 comes out.
Now that the interviews are out, in come the special articles. If there's anyone who wished we're shown Lelouch crackling whips trying to get Suzaku's academic progress into gear(me, namely), you got your wish.
(Highly edited to retain comic effect. Whatever I can retain. Sob.)
Lelouch-sensei's Britannian History Lecture
01 : The Foundation of Britannia, Part the First
Lelouch : Thus went the first part.
Suzaku : ...You're the same as ever, Lelouch. But I think nobody understands what you meant with just 'thus'?
Lelouch : I have no business with people who can't understand. Only those prepared to learn are allowed to learn!
Suzaku : While I'm not so sure about saying Zero-like things... Oh, but on that point, you've always been easily influenced as a kid, right? I remember how you emulated this Tokusatsu hero---
Lelouch : S, shut up with that ancient history!
Suzaku : But I thought we're talking about history today? If we don't talk about the past, nothing can begin.
Lelouch : Ack..... If you're going to pep talk me, I'm leaving.
Suzaku : I'm sorry, I'm sorry. I'll pay attention. Lelouch-sensei.
Lelouch : Good. All right, maybe this is a little fast, but. Do you know when the Britannian Empire was founded, Suzaku?
Suzaku : Of course. The current year is 2017 Atb, so it's 2017 years ago.
Lelouch : So sorry you're wrong.
Suzaku : Huh? But, atb--- 'Ascension Throne Britannia', isn't that 'the foundation of Britannia'?
Lelouch : Aha, seems you did your homework. Well done, well done.
Suzaku : It's just common sense. Anyway, I had to do some studying for the Honorary Britannian admission test, too.
Lelouch : Then, what about the foundation?
Suzaku : If I remember right...something about the time Julius Caesar tried to invade Britannia being the trigger, I guess, but...
Lelouch : Correct. A Celtic king stood against them, and from him began the line of the Britannian Royal Family. He won indepence from the Romans, and was crowned king---though I suppose the correct way to put it would be 'chieftain of all tribes'. The count started in that same year. ...So, what's the name of that king?
Suzaku : Um..........I give up?
Lelouch : Oi, Suzaku! Can't you even get that into your head!? That’s going to be on the next test!?
Suzaku : Um, see, I was busy with work...uh.
Lelouch : Then look it up before the next time. Okay? We'll continue in Part the Second!
Am I the only one who finds it weirdly amusing that he refers to the start of his own family with a perfectly academic tone?
--
The next is a gun design. I'm too lazy to make out the scribbles, but interesting thing is that Britannian guns use motors instead of gunpowder.
And then, next.
Sayoko's Diary : The Maid Sees All
As there isn't much work today, I decided to go thoroughly clean up Lelouch-sama's room...
...or at least planned to.
Since Lelouch-sama's room is characteristically methodical, the lack of garbage is a given, and there's not even a single strand of hair on the floor. Or anywhere else, for that matter.
The bedsheets are the same as they were when I changed them yesterday----no, they're even cleaner than before, and there's not a single wrinkle on the bed covers.
I think it's stupid to judge people solely based on their blood type, but
...A-type men are indeed scary.
There wasn't much of anything to do, so I lay down on the floor and had a little afternoon nap. Then, I checked under the bed, but though he's a high school student, there's nothing hidden there.
No, no, that's an amatuer attendent's way of thinking. With that methodical, perfectionist principle iron-walled weakness-hiding personality, he'd never see a place so common as 'under the bed' as valid for secrets. Then again, he wouldn't do things other people would like hiding stuff in the refrigerator just to be unpredictable, either.
If Lelouch-sama is to hide anything...
No. I shouldn't write these things in a diary.
By the time I opened my eyes, it was already dusk. The sunset I saw through the window reminded me of when I was still a little girl.
I remember seeing a much more beautiful sunset than this sky.
When I stopped to stand and look at that sky, Mother would pull my hand and screamed 'run faster!' to me. Nobody around us bothered to look at the sunset, they were all running. Running for their lives.
That day, too, was the sunset for Japan.
I'll never forget how beautiful that day's sunset was for my entire life.
Even if I die, even if I become ashes in the wind, I'll never forget.
---
...And now we're back to our usual programming. The official site summary for Episode 16.
To prevent readers of other post contents to inadvertently run into spoilers, the text is whiteouted. Please highlight to read. (Dang, why can't LJ have a spoiler tag?)
Episode 16 : The Captive Nunnally
Mao, who should've been shot by the police, is still alive. He swears vengeance on Lelouch and abducts Nunnally, proposing a 'find her within the time limit' game. Sensing danger, Suzaku joins with Lelouch in trying to save Nanaly. Although they manage to find her, it turns out they've ran into Mao's ingenious trap! Will the two be able to save her, in the end?
I'll be buying this month's magazines this Saturday, so you can expect more shortly. If they're not too long.
Taniguchi Goro (Director, Code Geass) interview, Animage Dec 2006
I want to create a series that makes everyone happy
Q : First, please tell us the details regarding how this production came to be.
A : It began in a talk between Bandai Visual and Sunrise's producers. Someone said 'I want to create a series thats make everyone happy, creators and viewers alike'. My mind was instantly piqued by those words.
Q : By 'making everyone happy', meaning, catering to the fans as well as creating success for the production side?
A : You can call it that, I suppose. It's fun to aim far and wide for a series, in my opinion. My works since 'Mugen no Ryvius' to 'Scryed' and 'Planetes' were all on national networks, or something akin to that otherwise. By contrast, the most recent series I directed, 'Gun x Sword' was aired late at night on very few channels, so it was a challenge. On top of that, those aims of mine might connect to the producers' words, that I might bring it to being. Of course, when everything's said and done, it all comes down to the audience, so if it's not fun it's meaningless. While MBS's Code Geass programme is for that purpose, I've thrown away half of the way we usually do things.
Q : That's a bold move.
A : As for what it means, it's just that when you create something, you make a promise to yourself about the literary style you use, about the staff organization. I think it's the same for every director. And that's what I propose smashing to little bits.
Q : The name association with other programmes, so to speak?
A : That, too. Part of it was to discontinue [positive] bias, but moreso than that, half of it was my idea that breaking it all would be better. Perhaps it's a horrible intent. I realize there are fans who'd receive a work because it's mine, and I deeply appreciate them. But I think that for both myself and them, tying yourself to a production brings no possibilities. It's ultimately meaningless, even in goodwill.
Q : A production with something that's never there before, for both the staff, the director, and the fans?
A : Yes. And we always keep the audience in mind. To tell the truth, 'Code Geass' actually began as an evening or morning slot anime, but it was later changed to late night. When that happened, we reset everything we'd made up to that point, since expectations for the late night audience are quite different. It's thanks to Oukouchi's talent that we managed to do it...
Q : In other words, you form production plans based on who the viewers are.
A : That's right. But despite how certain things are changed to fit the time slot and its audience, what we really wanted to do are all kept intact. If we give in or waver on this, the themes we choose will be wrong. As we are professionals, it's only a matter of course. (Translator note : Why do I have the impression that, among other things, Taniguchi-san was snarking here?)
It's fun to write an evil person who lives and learns who he is
Q : What is it about 'Code Geass' that you'd drop half your usual style, just because you want to make it?
A : Speaking selfishly, I want to walk past my own history, and let it be history. But I also want to challenge myself with a different way of doing things, see new, different stage.
Q : Can you define your current 'way'?
A : It's tangled up with this and that, so I'll have to describe it as it comes to me...there's the first episode, where we start in a running dash immediately. The beginning begins with a deteriorating situation and develops in a hectic run. Character exposition is left for later. It was sheer speed more than expression or description, emphasizing this manic rush ahead, ahead, and ahead. If we paced it like we usually do, that first episode alone would've taken 3 episodes. *laughs* Since we put in only minimum information, it's like 'got it?' *laughs*
Q : Certainly, the first episode does have a certain all-out no-holds-barred feel to it.
A : It can't be helped if there are things held back in Episode 1, so we showed the story's important points in the OP. There, you can see parts of the characterization, and there's also the ED. And there's the character balance. Since we're associated with CLAMP-san and all, it's something I previously wouldn't do. The tall, tall height. *laughs*
Q : CLAMP-san's designs are certainly a major contribution to the feel of this series.
A : Yes. It's the same with the color scheme. I figured we just have to make it vivid and bright.
Q : I see. Using a colorful palette, you aimed for a flashy image?
A : It's because I want the series to have grandeur as an entertainment, as well as my dislike for the 'late night shows must use dour, middletone colors' way of thinking.
Q : And about the story?
A : Honestly, I thought I'd make [the series] as clear as possible as a director this time around...how far I can go giving it my best shot, throwing away my ego, doing this as a director. But, that stance seems impossible, doesn't it? *bitter laugh* I've decided to throw away my tricks, after all.
Q : So it's really going to feel unlike the usual Director Taniguchi works?
A : Let's see, Lelouch being this evil thus far is my fault, I think. Isn't it fun to write evil characters? They're people who go on living by learning who they are. In fact Lelouch and Suzaku's positions were the opposite of what they are now in the original plans.
Q : Lelouch was 'white' and Suzaku was 'black', at first?
A : Since I cannot say what is white and what is black, it's fine if you see it and decide that's what it is. I don't want to judge Lelouch-tachi into black or white, personally. It's just business catch-copying. But it's true that Lelouch originally had a stance similar to Suzaku's.
Q : Do you mean, he wasn't the type to choose whatever means to achieve his ends, like he is now?
A : Hmm. Perhaps it's better to say he was the type to think about social impact and his own actions, closer to a life-sized boy.
Q : Then why did he turn into the 'villain' he is now?
A : I guess it's really because I want an engaging character, when it comes down to that. At first, I thought the 'grandeur' element in this series would be the robots, but as we shift to a late night series, we stopped it with the simple mecha. And of course we can't do bishoujo *laughs*. From that, it's inevitable that we'd have the main character be the 'draw'. As the 'villain'.
Q : A character streaked with evil has a certain charm.
A : Lelouch will ponder the questions that should be pondered, too, but the spin he puts on it is a little different. From normal people, that is. (translator's unprofessional fangirly note : is his spin-of-thought ever normal?)
Q : On the other hand, Suzaku adheres to the rules and wants to change Britannia from within; he seems a strong-willed person, but...?
A : I think Suzaku is a character that can stand on his own as Suzaku, but I personally have no wish to make this story revolve around Lelouch and Suzaku's points of view. Neither are they mouthpieces for my own personal ideologies.
Q : So Lelouch and Suzaku are not in a 'double main characters' scheme?
A : I'd like to think [Code Geass] would be different from a simple 'opposite sides' adaptation scheme. Suzaku is important, of course, but there are other important people, too, some among them with very eminent positions. I want to give this a wider, grander view of things, to catch the story as it flies. But some things come spontaneously, so we'll have to let the future do as it would. *laughs*
An entertainment, not a showcase of ideology
Q : Between an occupied Japan and terrorism, it sounds like you're making a political commentary.
A : I didn't give [political commentary] much thought. When we decided to write a story where the protagonist opposes the social order, we simply thought, 'shouldn't the enemy be as strong as possible?' There's been a lot of questions whether we meant the United States. If I meant it to be the United States, I would emphasize it more as America The Country. I wouldn't make it the American continent. There's no desire whatsoever to include personal political agendas in this series.
Q : But in the first episode, there are occupation soldiers massacreing civilians, there's suicide terrorism, there's so much journalistic atmosphere.
A : Such things are hardly strange nor isolated incidents in this world we live in, if you look at the historical records or the maps. I admit episode 1 might have been a rather gory vision, as we saw all those things happening through Lelouch's eyes. But without doing so, I wouldn't be able to truly convey to Japanese viewers why Lelouch and Kallen-tachi would start a Resistance movement in Japan, I think.
Q : Episode 1's massacre scene is rather extreme for a TV animation, but would scenes like that continue to be in important parts later on?
A : I was wondering if we got away with that because it's late night and MBS. *laughs* But personally, I think that too much gore in a work ruins its dignity, so I have no wish to use it unnecessarily. We showed it bluntly in Episode 1 because we want to tell the audience 'this is a story where people die'. If we didn't do that, we wouldn't have been able to progress past Episode 2. (translator note : I hate to put in another irrelevant note, but I'd like to complain that for a story where people die, they are ostensibly not dying. *grumble*)
Q : In other words, you want to point out the series' direction right at the beginning.
A : That's right. It's something of a rule for this one, like how 'this is 'reality' for this series'. Many people die here. If we don't point that out quickly, the audience wouldn't know with what stance they should approach it with.
Q : Another point of attention is how inside this 'reality', there's the existence of a creation called 'Geass'.
A : Well, it's a fantasy world. That's why we need to impose the once per person limit. Without that limit, things would be too convenient and the dramatic structure would be ruined. If you can simply go "Oh well, I'll just use the Geass" whenever you're in a bind, the story loses its tension.
Q : As the story is about the protagonist's fight against an impossibly large enemy, can we also call this an adventure?
A : Although that element exists, I think the audience, too, goes with their everyday lives searching for the one trigger to give them that one step forward. 'Geass' is the chance for that one step that Lelouch obtained. I'd like them to empathize with how he realizes his wishes.
Q : Many burdens would be placed on him because of 'Geass'?
A : On the contrary, 'Geass' is nothing more than a trigger. Fighting a war with the Geass and taking all the consequences, that's Lelouch's own will. [highly paraphrased for structure; perhaps 'responsibility' would work better than 'will'.]
Picaresque romance, in a word
Q : [Code Geass] seems to be a meaningful, subtle show. The first episode with its strong political coloring, the second episode with its mecha action, and third with the sudden highschool hijinks...with just three episodes, we can't imagine where the story would go next.
A : I understand the audience's desire to give it a genre. I'm relieved that way. But, although I want to clearly categorize it, we didn't create this as mecha, school drama or political work. Of course, it's neither a bishounen nor a bishoujo series. All the elements I just said are there, as a piece of entertainment, thrown together as much as it would. We want a balance between 'reality' and 'manga', to create something that’s not easily defined. If we must have a genre, then it's a picaresque romance. 'Please look at Lelouch', in a word.
Q : When you say it's a romance---the Britannian nobility system, their fashion, a hegemonic empire...any of these elements evoke less of the modern world than the Roman Empire or medieval Europe.
A : That's one of the points of a picaresque romance. Please don't forget the 'romance' part. I feel that if being too much meticulous attention towards realism would lessen the energy of the story, then it's better to ignore such things.
Q : No matter what, the important part is entertainment.
A : That's right. Comedy and tragedy are both entertainment that moves the audience's heart. Lelouch's seeming villainy, the political ideology, the school comedy, the mecha action, everything's come together in a drama that can touch the emotions of those who see it. I want to create a show like that.
--
DVD Extras
Oukouchi Ichiro (Main Series Composition) Interview
Q : Can you tell us how 'Code Geass' came into being?
A : I proposed the idea to Producer Kawaguchi while we were doing 'Overman King Gainer' and 'Planetes'. At that point, the planned story was about a secret organization commanded by a Hero, and the details changed as we talked. Director Taniguchi came into it around this time. Actually, back during 'Planetes', Producer Kawaguchi, Producer Yukawa and Director Taniguchi were brainstorming about 'what exactly is a series with a sense of grandeur'. Though I hadn't decide to do another series with Director Taniguchi at that point, now that I think about it, 'Code Geass' was probably born in our various conversations back then. Looking back, perhaps that was one of its starts.
Q : You must have went through a lot of plans before 'Code Geass' finally takes its present form.
A : We did. After the Hero story, it became a conflict between two people with opposing values in the same military unit : a commander in his late twenties who believes 'if the objective is achieved, it doesn't matter what methods are used' and the teenager main character who thinks 'the means are important'. Their images were similar to Quatro and Kamyu from 'Z Gundam' or Gain and Gainer from 'Overman King Gainer'. Both of them were soldiers for a totalitarian nation. On the other hand, the opposing country's military is a privatized business, so its soldiers are idols like Janice or Morning Musume, and its battles shown on TV---so the details go.
Q : And that was the point you decided to ask CLAMP-san for the character designs, and Teraoka-san for Knightmare Frame designs?
A : The series was done in a very concrete way. The scenario, too, was already ready for episode 1-3. However...at first, the series was meant to air on Saturday evening, but it was changed to late night. Since the audience for late night and evening are quite different, there's no reason for the contents to remain the same. So we rethought our plans, and that's how the framework for the current 'Code Geass' was built.
Q : What are the things you changed at that point?
A : Well, for starters, we thought that moreso than a hero type, an evil-looking protagonist would be more suitable for a late night programme. So we made changes to the protagonist. And from being robots-only, we added a taste of unique special abilities. We were thinking the main characters would gain special powers from an angel, and those powers would be close enough to relate to the audience. That's how 'Geass' originated. As the Geass came about, the series image was set at once. But instead of simply an angel who watches over the world, C.C. is changed, and she's a little different.
Q : Are there any particularly difficult spots?
A : I suppose it's really episode 1. There were so many elements that we had to show, it was difficult. The relationship between Britannians and Elevens, the school element, the robots, and then the Geass. And since it's the first episode, we have to make it accessible for the audience. But it must also hook them into watching the second episode. I thought and rethought, but I couldn't put it under 30 minutes. *bitter laugh* It was so bad I had to ask if we really had no way to make a 1-hour special just for the first episode. *laughs*
Q : Is there anything we should keep an eye on for the characters?
A : For Lelouch, it's important to remember that he's not this great genius, but also a protagonist who has the feelings of a normal highschool student. Although I want the Ashford Academy setting to have a happy, warm atmosphere, one of the points is they won't grow too close a distance with Suzaku. On one hand, Suzaku is an Eleven, so although even in a happy school, there would be heavy parts, I think that a Director Taniguchi series would have that nuance. For C.C., there are reactions that nobody thought she'd be such a domineering character, but for me, she is the one who grants power. Therefore, it's just natural that she'd be a little above it all.
Q : Are there any demands from Director Taniguchi?
A : There are! Like 'I don't want to do something this tepid'. *laughs* Compared to 'Planetes', I think there are many more demands about characters than the story. Lelouch is usually on top of the list. Like, 'I don't think this character should have this reaction'. He has a lot of thoughts on consistency.
Q : This time, you have Yoshino Hiroyuki-san as the associate series composition.
A : The associate series composition's main work is to criticise the scenario I made. His role is to tell me when the boring parts are boring. *laughs* We talk about fun series from the past, and the staff fight to hammer out the scenario. Yoshino-san's not only an excellent scriptwriter, we were also friends in university, so I can trust him not to go easy on me. First, we ask for Director Taniguchi and the producers' opinions, then the two of us brainstorm about it from noon to morning. Things like "Wouldn't this development be fun?" "But it doesn't connect" "But that way, everyone would love to watch it". Although we have to rewrite the scenario afterwards, there are times when the final product are totally different from what we started with. *laughs* Sometimes it's not just Yoshino-san, and Morita-san from planning would join in, too. From ideas about the battle, to the setting, to ways to make the girls cuter, simple preferences, to crazy scenarios---thanks to all that, we managed to make a script of decent density.
Q : Is there anything you personally like about 'Code Geass'?
A : The opening phase moves swiftly with lots of cuts in each installment, it's a many-flavored variety show.
Q : Can you tell us anything about further developments?
A : 'Code Geass' is easy to come up with ideas for every week, as making each episode fun is more important than stagnating the story with too many predictions and foreshadowing. At this speed and as the plot develops, I hope you'll be able to enjoy the series.
--
I was planning to translate Yoshino-san's interview, too, but since most of it concerns his work and his relationship with Oukouchi, I'm skipping. Maybe I'll get back to it by the time DVD #2 comes out.
Now that the interviews are out, in come the special articles. If there's anyone who wished we're shown Lelouch crackling whips trying to get Suzaku's academic progress into gear
(Highly edited to retain comic effect. Whatever I can retain. Sob.)
Lelouch-sensei's Britannian History Lecture
01 : The Foundation of Britannia, Part the First
Lelouch : Thus went the first part.
Suzaku : ...You're the same as ever, Lelouch. But I think nobody understands what you meant with just 'thus'?
Lelouch : I have no business with people who can't understand. Only those prepared to learn are allowed to learn!
Suzaku : While I'm not so sure about saying Zero-like things... Oh, but on that point, you've always been easily influenced as a kid, right? I remember how you emulated this Tokusatsu hero---
Lelouch : S, shut up with that ancient history!
Suzaku : But I thought we're talking about history today? If we don't talk about the past, nothing can begin.
Lelouch : Ack..... If you're going to pep talk me, I'm leaving.
Suzaku : I'm sorry, I'm sorry. I'll pay attention. Lelouch-sensei.
Lelouch : Good. All right, maybe this is a little fast, but. Do you know when the Britannian Empire was founded, Suzaku?
Suzaku : Of course. The current year is 2017 Atb, so it's 2017 years ago.
Lelouch : So sorry you're wrong.
Suzaku : Huh? But, atb--- 'Ascension Throne Britannia', isn't that 'the foundation of Britannia'?
Lelouch : Aha, seems you did your homework. Well done, well done.
Suzaku : It's just common sense. Anyway, I had to do some studying for the Honorary Britannian admission test, too.
Lelouch : Then, what about the foundation?
Suzaku : If I remember right...something about the time Julius Caesar tried to invade Britannia being the trigger, I guess, but...
Lelouch : Correct. A Celtic king stood against them, and from him began the line of the Britannian Royal Family. He won indepence from the Romans, and was crowned king---though I suppose the correct way to put it would be 'chieftain of all tribes'. The count started in that same year. ...So, what's the name of that king?
Suzaku : Um..........I give up?
Lelouch : Oi, Suzaku! Can't you even get that into your head!? That’s going to be on the next test!?
Suzaku : Um, see, I was busy with work...uh.
Lelouch : Then look it up before the next time. Okay? We'll continue in Part the Second!
Am I the only one who finds it weirdly amusing that he refers to the start of his own family with a perfectly academic tone?
--
The next is a gun design. I'm too lazy to make out the scribbles, but interesting thing is that Britannian guns use motors instead of gunpowder.
And then, next.
Sayoko's Diary : The Maid Sees All
As there isn't much work today, I decided to go thoroughly clean up Lelouch-sama's room...
...or at least planned to.
Since Lelouch-sama's room is characteristically methodical, the lack of garbage is a given, and there's not even a single strand of hair on the floor. Or anywhere else, for that matter.
The bedsheets are the same as they were when I changed them yesterday----no, they're even cleaner than before, and there's not a single wrinkle on the bed covers.
I think it's stupid to judge people solely based on their blood type, but
...A-type men are indeed scary.
There wasn't much of anything to do, so I lay down on the floor and had a little afternoon nap. Then, I checked under the bed, but though he's a high school student, there's nothing hidden there.
No, no, that's an amatuer attendent's way of thinking. With that methodical, perfectionist principle iron-walled weakness-hiding personality, he'd never see a place so common as 'under the bed' as valid for secrets. Then again, he wouldn't do things other people would like hiding stuff in the refrigerator just to be unpredictable, either.
If Lelouch-sama is to hide anything...
No. I shouldn't write these things in a diary.
By the time I opened my eyes, it was already dusk. The sunset I saw through the window reminded me of when I was still a little girl.
I remember seeing a much more beautiful sunset than this sky.
When I stopped to stand and look at that sky, Mother would pull my hand and screamed 'run faster!' to me. Nobody around us bothered to look at the sunset, they were all running. Running for their lives.
That day, too, was the sunset for Japan.
I'll never forget how beautiful that day's sunset was for my entire life.
Even if I die, even if I become ashes in the wind, I'll never forget.
---
...And now we're back to our usual programming. The official site summary for Episode 16.
To prevent readers of other post contents to inadvertently run into spoilers, the text is whiteouted. Please highlight to read. (Dang, why can't LJ have a spoiler tag?)
Episode 16 : The Captive Nunnally
Mao, who should've been shot by the police, is still alive. He swears vengeance on Lelouch and abducts Nunnally, proposing a 'find her within the time limit' game. Sensing danger, Suzaku joins with Lelouch in trying to save Nanaly. Although they manage to find her, it turns out they've ran into Mao's ingenious trap! Will the two be able to save her, in the end?
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