P-Warrior Interview - PureGirl

[黒い灯影]

Just thought I'd scan this and put it through machine translation. An intervew from PureGirl the one with Cala on the cover.
Might scan the other section too, something under the Developer's Library section of the book.

I tried to upload this to the post itself, but it kept kicking back to the homepage, Scan

OCR'd Text

Spoiler (click to show/hide)

シリーズの主みの輯
『RSR』シナリオ担当及びンニア社長

過去の「VIPER」作品のほぽすべてに携わり、 今回の「RSR」でもシナリオを手がけるP・ ウォリア ー 氏。 今回は「RSR」のことだけではなく、 業界のこと、 次回作のことなどをインタビュ ー してみた。

一今まではアニメメーション作がほとんどでしたが、
今回なぜ RPGになったのでしょうか？
 何でというか。 やりたいなーと思っただけなんですけ どね（笑）。

ー企画自俸は結構前からあ ったのですか？
 シナリオの根底はすでに5年以上前からありまして、さ らに作画に3年くらいかかってます。現在も進行中ですが。アニメーションに関しては、全部で350カット以上。総CG枚数が 5000枚以上。 全部合わせてCD3枚分くらいのボリ ュームになります。

一RPGのシステムはどう いっ たものになるんでしょうか？
基本的には2Dの RPGで、イベントがアニメーションすると行った感じになります。 30ダンジョンにしようという案もあったんですが、某大作RPGをプレイして、やっばり2Dのほうがよいと感じて決 定しました。

ー『RSR』は縛ファ ンクジーものというこ とですがなぜファン タジーになったのでし ょうか？
世界観を活かすには、やっばりファンタジ一世界が 一番かなと。今回も変わらず車の名前を使ってますが、そこらへん はできるだけ世界観を崩さないようなネー ミングにするように気を付けてます。

ー『RSR』のココをアピール するとしたら？。
もちろんアニメーシ ョンもそうなのですが、とにかくスム ーズで簡単にプレイできることを第 ーに制作してます。 というのも、今のゲームの多くが、マニア向けの方向に行ってるように思うんです。 これだと、初めてエロゲーをプレイする人がノリについて来れないんじゃないかなと。 システムを取っつきやすい2Dにしたのも、そういった背景があるためで す。

—細めてブレイする人を重鵬 した作贔なのですか？
 以前発売した『極楽VIPER』などもそうなんですが、ユーザの新規開拓をしていかないと、先が怖いというのがありますね。今、アニメもそうなんですが マニア 向けに作っちゃうと最終的に市場 自体がしぼんでしまうので、何とかしてその外にいる新しい人たちを引っ張ってこなくてはいけない。 以前はうちがその役割をする必要もなかったんですが。それに実際エロゲーを初めて買う人の大部分が求めるのは純粋に工口が際立つもの、もしくはちょっと暇つぶしができるゲームとかだと思うんです。 そういう人たちっていうのは、現実 には体験できないことを求めていると思うので、完全にフィクションの世界ットものになります。起用している原画さん は大っびらには言えませんが、私の師匠です。 もう一つヒントをいうとロボットといえばこの人でしょう、 といったくらいの方です。 あ とは『M33.2』が学園もので、『MS』 が妖怪ものになってます。企画としては、ちょっと恥ずかしいくらいの学園ラブコメものがやりたい、という声も上がってます。


一最後に罰者の皆さんに一 雷お願いします。
『RSR』は『VIPER』シリーズを知ってる人でも、またま ったく知らない人でも、本当に楽しめる作品なので期待してください。

一本日はどうもありがとうこざ いました。

Google Translate

Spoiler (click to show/hide)

The main point of the series
"RSR" scenario responsible and President Ninia

Mr. P. Warrior who is engaged in all the past "VIPER" works and also scenario at "RSR" this time. This time I interviewed not only about "RSR" but also about the industry, about the next work.

Until now it was mostly animation work,
Why became RPG this time?
 Why? I just wanted to do it (laugh).

- Planning Is your salary a long time ago?
 The basis of the scenario has already been over five years ago, and it took me more than 3 years to draw. Although it is still under way. Regarding animation, it is over 350 cuts in all. The total number of CG sheets is 5000 or more. Together they will be 3 volumes of CD.

What is the system of one RPG?
Basically it is a 2D RPG, it makes me feel like I went animating an event. There was also a plan to make it 30 dungeons, but I played a certain epic RPG and decided to feel 2D better.

- Although "RSR" is said to be bound funny things, why did you become fantasy?
In order to make the most of the world view, the fantasy world is the best. I am using the name of the car this time as well, but I will be careful to make such a naming which will not destroy the world view as much as possible.

- What if you were to appeal the "RSR" coco? .
Of course it is also animation, but I am making the first thing that can be played smoothly and easily. I think that many of the current games are going for maniacs. If this is the case, it seems that people who play eroge for the first time can not come to Nori. This is because there are such backgrounds that made the system 2D easy to attach.

- Are you a heavy pens who made slender and braided people?
 It seems like "Gokuraku VIPER" which we released in the past, but there are things that you are afraid of if you do not develop new users. Now, although animation seems to be the case, if you make it for maniacs eventually the market itself will be deflated, so somehow you have to somehow pull the new people out there. Previously, I did not need to do that. And, in fact, most of the people who buy eroge for the first time see it is purely intelligent, or a game that can kill a little bit. I think those people are seeking things that can not be experienced in reality, so they will be fully fictional world things. I can not say a masterpiece you are wearing all the time, but it is my master. Another way to say a hint is speaking of a robot, this person. Oh, "M33.2" is a school studio thing, "MS" is a youkai stuff. As a project, there is also a voice that I want to do something about a little embarrassing school love comedy.


I would like to ask one of the penal institutions.
"RSR" is a work that you really enjoy, even those who know the "VIPER" series, even those who do not know well, please expect.

I thank you very much today for today.

[JG]

Here is a local copy of the interview scan, in case in the imgur link stops working.


I remember reading over some of that interview a few years ago and picking up on the "3 CD" part.  Remember that a few scenes were cut down to make it fit onto 2.  At the time of this interview, I don't think a plan for DVD release was in the works yet.

Despite a few translation errors, its a fascinating read to explain why Sogna branches out into so many genres over their last few releases.

[BremenDruid]

That's intriguing that they cut some scenes from it. Do we know what they were?

[JG]

Some they added back into the DVD version. You just about have to compare the two to know which ones.

There's also an image of a Julietta scene that was either cut, or never proceeded past the cel stage - she's face down and no such scene made it into either version.

[黒い灯影]

If you look at the numberings from the game files, you'd see they skip some frames,
but it could also mean they reused an earlier ANM file to save space.
the Julietta and Diabolos scene look heavily cut down.
if you look at the numberings around that scene, they skip some numbers/letters
Could have been due to time constraints,
seeing as they could have easily added in the cut scenes to the DVD edition, shame wish we could've had more Julietta.

[JG]

That's a good point.  Generally the scene numbers are defined by the storyboard. They are then drawn and animated out of order. At some point they must have realized they were going very long and decided to drop a few before they were ever animated. Some may have had a few base cels drawn, like the image I posted above, but my guess is very few or else they could marketed an album disc or new Island-type game to show off the missing art.

As far as the Julietta scene is concerned, I'm fairly convinced that it was originally meant to be at least two scenes, to show she's raped over and over like Cala.

[Rai]

On the other hand, they're all in the same number range, which usually means they're in sequence. I also feel like it was a major plot point that Diablo gives Julietta a ton of time to think over his proposal and only rapes her once Veloce's out of the picture. I think it was part of Diablo's characterization as a powerful ruler with a hidden soft spot that he would prefer not to rape her but he only needed to do it once to impregnate her.

[BremenDruid]

Interesting. It's too bad we never got a full version with all the animation sequences in it. I would have loved to see what else they originally had planned for the story.

[JG]

Or sequels. Its one of the few VIPER games that properly lends itself to continuing the story.

[黒い灯影]

Just wanted to save this somewhere it was sitting in my text editor,
There are a few errors here and there, until I can find the magazine I got this from and rescan and retranslate, gonna leave it like this for now.
An interview with P.Warrior and Katsura.

長い沈黙を破って、桂枝毛氏の新作が登場！
魅力あるキャラクターを数々創りあけた、彼のモチベーションとはいったい？
打ち合わせ中のP・ウォリアー氏も話に加わって、我々に軽妙なトークを披露してくれた。
Breaking the long silence, Mr. Katsura Shibake's new work has made its appearance!
What on earth is the motivation of the man who has created numerous charming characters?
Mr. P. Warrior, who also joined the conversation during the meeting, showed us a witty talk.


いのまたむつみを目指して……
Aiming to be like Mutsumi Inomata...

絵を描き始めたきっかけを教えてください。
桂
物心ついた時から絵を描いていました。
両親が趣味で絵を描いていたので、その流れで自然とこうなった感じです。
こっちの方面に流 れたのは、いのまたむつみさんの絵 に触れたからです。

P 僕が聞いた話だと、いのまたさんの画集を見て、いい絵だなと思って職業を調ぺたらアニメーターだ ったと。
だからアニメの道に進んだそうで。思い出すと腹が立ちますよ（笑）。
こっちはアニメが好きでアニメの道に進んだのに、それよりはるかにうまいんだから（大笑）。
Please tell us what prompted you to start drawing.
Katsura: I've been drawing since I can remember. My parents used to draw as a hobby, so I naturally followed suit. I was drawn to this field after coming across Mutsumi Inomata's artwork.

P: From what I heard, when you saw Inomata's art book, you thought the art was great and researched her profession, finding out she was an animator. That's why you pursued the path of animation. It's infuriating to think about (laughs). I mean, I got into the world of animation because I loved it, but you're way better at it (laughs loudly).

桂
もともと、挿し絵描きになりたかったんですよ。
昔から読書が好きで、中学生から高校生にかけてハヤカワSF文庫の表紙とかを描きたいなと思っていたんです。
そのために美術系の大学に進学しなくてはと思っていたんですが、いのまたさんがアニメーターと知ってこういう道もあるんだなと進学先を変えました。
アニメ自体は嫌いではなかったので、抵抗はなかったです。
いのまたさんの模写をして、アニメ絵の練習を一生懸命しましたね。

Katsura: Originally, I wanted to be an illustrator for inserted images. I've always loved reading, and from middle school to high school, I wanted to draw covers for Hayakawa SF Bunko books. I thought I had to go to an art university for that, but when I learned that Inomata was an animator, I realized there was another path and changed my plans for higher education. I didn't dislike anime itself, so I had no resistance to the idea. I practiced by copying Inomata's artwork and worked hard to master drawing anime-style art.


もともと挿し絵描きになりたかったんですよ
Originally, I wanted to be an illustrator for inserted images.

いのまたさんの絵のどのあた りがお気に入りだったんですか？
桂 バランスとか線の感じとかが好きですね。
あと凄いと思ったのは梅津泰臣さんですか。
でも当時のアニメの絵は嫌いだったんですよ。
メ力に斜めの影が入っていたから（大笑）。
でも、あれは影じゃなくて映り込みだったんですね（笑）。
当時は美術部でデッサンはつかりやっていたので、「そんな影がつくわけないじゃん」と納得してなかったんです。
その時に『メガゾーン23PART II 」の絵を見てかっこいいと思ったんですよ。
その当時はアニメで唯一納得できる絵で、それが梅津さんだったんです。
彼の絵は普通の技術じゃ描けないですね。
レイアウトを見ても「このアングルを描くか！」って（笑）。
それでいて世界観をもっていて、ある意味理想型です 。

ーー What aspects of Inomata's artwork did you like the most?
Katsura: I like the balance and the feeling of the lines. Another artist I thought was incredible is Yasuomi Umetsu. But back then, I didn't like the art style of anime. It was because of the diagonal shadows in the eyes (laughs loudly). However, it turned out that those weren't shadows, but reflections (laughs). At the time, I was practicing sketching in the art club, so I couldn't accept that such shadows would be present. Then, I saw the artwork of "Megazone 23 PART II" and thought it was cool. It was the only anime art I could accept at that time, and it was Umetsu's work. His art can't be drawn with ordinary techniques. Even when looking at the layout, you'd think, "You'd draw this angle?!" (laughs). And yet, his artwork has a worldview, which in a way, is the ideal form.

力一ラとお姫様を巨乳にしたい
I want to make Cala and the Princess busty.

久々のゲームである「RSR』で すが、今回の見所は？
桂:前作よりも背景に力をいれています。
今回は中世が舞台なので、背景に描き込みを増やして、アングルも日常的にならないようにしたんです。
それとHシーンの増強ですか、お姫様好きだし（笑）。
あと、カーラとお姫様を巨乳にしようと意識しました。
普段描く女の子は、実際の女性に置き換えると大きめの胸になるんですが、アニメの絵としてみると小さいんですよ。
だから、アニメにして巨乳になるサイズを考えてみようと心がけました。
でも、それを意識しているうちに、なんか思った以上に大きくなりましたね。
ちなみに、キャラ表の段階ではあまり大きくないんです。
描いているうちにだんだんと大きくなったんですよ（笑）。
途中からは、その二人のキャラに限ってですが、自分的にどこまで巨乳に迫れるか挑戦したんです（笑）。
でもあれぐらいは本当にあるんですよ。
イタリアのTV番組のアシスタントなんかがあんな感じで、イメージはそれなんです。実物を見て驚くような胸ですね。

ーWhat are the highlights of the long-awaited game "RSR"?
Katsura: We've put more effort into the backgrounds compared to the previous work. Since this time the setting is the Middle Ages, we've increased the details in the backgrounds and made sure the angles don't look too ordinary. Also, there's the enhancement of the H-scenes, as I like the princess character (laughs). Additionally, I was conscious of making Carla and the princess busty. When I draw girls, if I were to replace them with real women, they would have larger breasts, but as anime art, they look small. So, I tried to think about the size that would make them look busty in anime. However, while I was conscious of that, they became larger than I expected. Interestingly, at the character sheet stage, they aren't that big. As I was drawing, they gradually got bigger (laughs). From a certain point on, I challenged myself to see how close I could get to making these two characters as busty as possible (laughs). But, that size does exist in reality. Assistants on Italian TV shows look like that, and that's the image I had in mind. It's quite surprising to see such breasts in real life.


桂枝毛
いのまたむつみ氏の画集に感化され、専門学校を卒業後アニメーターの道へ。
著名なアニメ作 品でもキャラクターデザイン、作画監督を務めている。
本人はf美少女」を描くのはそれほど好きなわけでな い。
素顔はバイク好きな22歳。
乙女座。
AB型。
代表 作「VIPER-VlO』「VIPER-CTR』「VIPER-RSR』等。

Katsura Shibake: Inspired by Mutsumi Inomata's art book, pursued the path of an animator after graduating from vocational school. Has served as character designer and animation director for famous anime works. The person themselves doesn't particularly enjoy drawing "beautiful girls." In reality, they are a 22-year-old who loves motorcycles. Virgo. Blood type AB. Representative works include "VIPER-V10," "VIPER-CTR," "VIPER-RSR," and more.


アニメの絵は記号の集大成
Anime art is a culmination of symbols

—キャラデザの時、他に気をつけていることはありますか？

桂 デザイナーとしての経験値は低いのでまだまだなんですが、僕はキ ャラをシルエットで描き分けているんです。アニメの絵というのは記号の集大成なんですよ。その集大成としてのキャラはもちろん記号であ って、だからシルエットが大切なんです。特に、 動いた時に全体のシル エットを考えておかないといけないですね。前からみるとかっこいいんだけど 、横からみるとそうでもないというのがあるし （笑）。それを踏まえた上で、個々のキャラクター性の特徴が出せればと思ってます。
—When designing characters, is there anything else you pay attention to?

Katsura: My experience as a designer is still limited, but I focus on differentiating characters by their silhouettes. Anime art is a culmination of symbols. Characters, as part of that culmination, are also symbols, so the silhouette is essential. In particular, it's important to consider the overall silhouette when the character is in motion. There are cases where a character looks cool from the front, but not so much from the side (laughs). With that in mind, I try to bring out the unique characteristics of each individual character.

-プロデビューした時から絵柄はかたまっていたんですか？
桂 自分的には方向性を変えたことはないです。変わったとしても自分なりに進化して、 今の状態になっていますが。もし変わったと感じられるなら、それは作画監督をやったからだと思うんですよ。それまで原画で参加したんですけど、 なにしろ僕の原画はとばして描くもんですからかなり荒かったんです。作画監督をやるとなると、一応フィニッシュワ ークということで気を使って描かなくてはならなかったんで、今までより些末なところまで気がいくようになったんです。
あと、プロになってから転機とな ったのは、もりやまゆうじさんと仕事をしたことですね。かなり影響を受けています 。それまで、自分の絵は
ドライで竹鉦細工な絵だったんですけど 、 もりやまさん の絵を見てその艶やかさを会得したいと思い二晩ぐらい特訓したんです。
P 二晩でできちゃうのが憎たらしいよね（笑）。
桂 だけど、寝なかったんですよ（大笑）。

—Was your art style already established when you made your professional debut?
Katsura: I've never changed my direction, but I feel that I've evolved in my own way to reach the current state. If people feel it has changed, I think it's because I started working as an animation director. Before that, I participated as a key animator, but my key animation drawings were quite rough because I rushed through them. When I became an animation director, I had to pay more attention to the finishing work, so I started paying attention to even the smallest details.
Another turning point after becoming a professional was working with Yuji Moriyama. I was heavily influenced by him. Until then, my drawings were dry and intricate like bamboo carvings, but after seeing Moriyama's art, I wanted to master its luster, so I trained intensively for about two nights.

P: It's annoying that you could do it in just two nights (laughs).
Katsura: But I didn't sleep at all during that time (laughs loudly).

—What do you pay attention to when drawing key animation?
Katsura: My approach differs when I'm drawing key animation and when I'm working as an animation director. As an animation director, I focus on making the visuals appealing on screen, like the depiction of shadows and lines. But when it comes to key animation, I'm more concerned about movement, the timing when something moves, and the sense of space.

ー一原画を描く時に気をつけてい ることはなんですか？
桂 僕は、原画を描く時と作画監督をする時は考え方が違うんです ょ。作画監督の時は、 絵面の画面映えを気にして描きますね。影の描写とか、線とかです。でも原画の時 には、動きを気にするんです。動いた時のタイミングとか、 空間の感じに気がいっちゃうんです。
P こちらから見ると、 桂さんには不必要な表現がないんですよ。不必要に動くとそのカットの意味がぼけちゃうんです。例えば「VIPERJみたいなシリーズだとユーザ ーの目はHにいきますよね。その時、Hシーンを見ているのに背景のモンスタ
ーが動いていても関係ないんですよ。

P: From our perspective, Katsura doesn't have any unnecessary expressions. If something moves unnecessarily, the meaning of that cut becomes blurry. For example, in a series like "VIPER," the user's eyes are drawn to the H-scenes. In that case, it doesn't matter if a background monster is moving while they're watching the H-scene.

―塗りに関して注文するというの はあるのでしょうか？
桂 ほんとは、色指定にも関わりたいんですが仕事量が多くて……

—Do you have any specific requests regarding coloring?
Katsura: I would really like to be involved in color specification, but there's just too much work to handle...

モチベーションは欲求不満---------
Motivation is frustration.

—桂さんが「自分は美少女絵師じゃない」とおっしゃっていると聞きましたが...... ?
I heard that Katsura-san says, "I am not a beautiful girl illustrator," but... ?

桂 というか なんでも好きなんです。
目の大きい女の子を描いたら次はリアルな親父を描きたいと。
それに飽きてきたらその次と。そうな るとベストなんですけど、キャラクタ ー
デザインをするようになってから
の仕事というのが美少女系の発注
が多くなっていますね。求められて いるのは今の絵なんでしょうか。で
きたら違うラインもやりたいです。Iクレヨンしんちゃん』みたいのがいい
ですね。その不満は、落描きをして
お茶を濁しています。
Katsura: In other words, I like to draw anything.
After drawing a girl with big eyes, I want to draw a realistic old man next.
And when I get tired of that, I move on to the next thing. That's the best, but since I started doing character design, I've been getting more orders for beautiful girl-themed works. I wonder if that's the kind of art that's in demand now. If possible, I'd like to try a different line as well. Something like "Crayon Shin-chan" would be nice. I address that dissatisfaction by doodling and keeping myself busy.


ちなみに、僕のモチベ ションは 欲求不満なんですよ。例えば、アニメをみると 「こうじゃない、作るんな らこうじゃない」って、その気持ちをエネルギーにしているんです。
「俺だったらこう描くぞ」みたいな部分を起爆剤としているからあまりにもうま い絵を見ると満足しちゃうんです （笑）。でも周り全員がうまくても、 この仕事は辞められないですね。 絵を描くこと自体が好きなんで。
これを辞めてしまったら、何をすればいいのかなんて思います。
By the way, my motivation comes from a sense of dissatisfaction. For example, when I watch an anime, I think, "This isn't right, if I were to create this, it wouldn't be like this," and I use that feeling as energy. Since I use that "if it were me, I'd draw it like this" attitude as a catalyst, I get satisfied when I see a really good drawing (laughs). But even if everyone around me is good, I can't quit this job. I love drawing itself. If I were to quit this, I wouldn't know what to do with myself.

モチベーションがあれば技術は自然と付いてきます
If you have motivation, the skills will naturally follow.

-最後に、プロを目指している人に一言お刷いします。
桂 描きたいものがあるならば迷わず一度はプロを目指してみてください。
描きたいものがないと続かないけど、それはどんなものでもいいんですよ。
モチベーションがあれば技術は自然と付いてきます。
Lastly, please say a few words to those who are aiming to become professionals.
Katsura: If there is something you want to draw, don't hesitate to try aiming to be a professional at least once. If you don't have something you want to draw, you won't continue, but it doesn't matter what that thing is. If you have motivation, the skills will naturally follow.

It kind of made sense why Cala appeared more busty sometimes, I just attributed it to just drawing at different distances.

I really need to comb through my magazine collection and find this, i used to have the scan somewhere on my PC.

[Moge]

Very insightful interview. Thanks for posting this!

It's true all the Viper girls have a distinct silhouette. That's the mark of truly great character design.

Those last few paragraphs hit me hard. I need to find motivation to draw again.