As mecha anime Valvrave the Liberator is making waves not only on TV but also the music scene with its hit theme song “Preserved Roses” by TM Revolution and Mizuki Nana, Japanese Blog Site Master File Blog has conducted an interview with the anime’s designers; Kansai Ryoji, a producer for the show, Sunrise’s Ikeya Hiroshi and Bandai Hobby Division’s Nishizawa Junichi. The untranslated interview can be found here


Here are some of the important points discussed in the interview:

Mr. Kansai talked about the production of the anime. When asked what was the aim of the concept of the mecha, Mr. Kansai answered that the series’ director Matsuo Kou wanted an emphasis on the “Human Form”. They also wanted to emphasize on the internal frame so that the whole body would be strong and rigid.


According to Mr. Kansai, designing the Valvraves took a considerable amount of time even under the supervision of  Nitroplus’s Ishiwata Makoto and the director. Also the arrangement of the clear parts, the “Hard Afterglow”, the differences in the gimmicks of each Valvrave as well as the silhouettes made designing each Valvrave difficult.


 According to him, the production used cell animation to emphasize the 3D CG and Director Matsuo was very particular about it. They talked about how 3D makes the Valvraves movements more specific such as drawing the Katana.

Meanwhile, the anime’s graphics were discussed by Mr. Ikeya. He discussed the challenges in giving life to the Valvraves by using the model data. They have to actively regulate the size and shape of some parts in order to emphasize the movement.


Bandai’s Nishizawa Junichi meanwhile talked about the 1/144 Valvrave I plastic model. He explains that before the 3D data was even completed, they have already received a set of line drawings to promote the design. Also, as mentioned by Mr. Kansai earlier, the Internal Frame was important in making it stable. Making the joints was also difficult.


According to Mr. Kansai, who had meetings with Mr. Nishizawa regarding several factors of the designs such as joints or the flying pose, he had to trust Bandai’s “know-how” when it comes to plastic models and they did not disappoint.

According to Mr. Nishizawa, focusing on the design was very important. There were difficulties like having the cover part of the arm set while following the movable part of the arm.


This is just the first part of the interview done by Master File Blog. Stay tuned for more.


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