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Spreadsheets masterlist

Just gonna make this a sticky post of the spreadsheets that I make. Still working on updating the ones I did previously with season information but the new ones I’ve listed have all that down. Any names down there that don’t have links yet means I’ve not quite made the data presentable yet, but they’re coming…soon-ish.

List after the jump.
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#245 – Sakamoto Maaya: 25th anniversary interview part 2

‘Inspiration’ Received from Series Tie-Ups and Creators that Sparks the Relentless ‘Pursuit’ of Music

Part 2 of Real Sound’s interview with Sakamoto Maaya. Part 1 can be found here.

Sakamoto Maaya’s 25th anniversary album ‘Singles Collection + Achikochi’ (2CDs) that was released on July 15th includes all the tie-up songs that she’s put out since 2013. Disc 1 includes ‘Shikisai’ and ‘Gyakkō’ (theme songs from mobile game FGO) as well her latest release ‘Clover’ (OP theme for Arte TV anime); all songs that help bring you closer to the worldviews of the series they are featured in while at the same time, allowing listeners to experience the irrepressible creative changes that her work has undergone over an 8-year trajectory.

Disc 2 meanwhile, features Kannō Yoko’s ‘cloud 9’ & ‘Tell me what the rain knows’ (both from TV anime Wolf’s Rain), ‘Sotsugyō Shashin’ (Arai Yumi cover), ‘Mikazuki’ (DREAMS COME TRUE cover) and a brand-new self-cover of ‘Watashi e’, a Negicco song she contributed lyrics to. The material included is indeed diverse, conveying a deep sense of musicality.

Delving into ‘Achikochi’ throughout this interview, we discuss her current state of mind as she celebrates her 25th anniversary and what her vision for future activities are. (Interview: Mori Tomoyuki)

Tie-up Songs: ‘It’s Easy to Change One’s Way of Thinking if Limits can be Disregarded’

Q: Your 25th anniversary album ‘Singles Collection + Achikochi’ is set to be released. All of your tie-up songs from ‘Hajimari no Umi’ (OP theme for Tamayura~More Aggressive TV anime) to your latest ‘Clover’ (OP theme for Arte TV anime) are included – they are all equally wonderful songs. And I have to say, each and every track really does try to do something audacious.

A: That’s right! Which made me want to put my heart and soul into them too (laughs)

Q: Haha. Does it make you feel like you’d tackled a succession of challenges?

A: It does. Listening to the songs on ‘Achikochi’ in chronological order, I’m once again reminded of how adventurous I’d been and I want to say to myself ‘well done, you’ (laughs). I don’t think I would’ve been quite so gutsy if these were my own album tracks. Because they’re tie-up songs, I got to take on challenges that I’d never imagined possible. I’d never have been able to come up with lyrics like for ‘Replica’ (OP theme for M3~Sono Kuroki Hagane~ TV anime) by myself and up until that point, would never have considered asking for song arrangements as dynamic as those found on ‘Be mine!’ (OP theme for Sekai Seifuku TV anime) and ‘Gyakkō’ (theme for FGO Arc 2). While I was singing these songs, it did occur to me that ‘oh, there might be a part of me that [wants] something like this’ and this would sometimes lead to new discoveries. So many different genres, so many people that I’ve encountered; half the time immersed in the colours (of the series at hand) and yet, there is a part of ‘me’ that remains untouched. I’m enjoying doing all of this but at the same time, I’m aware that ‘it’s okay to mess up!’. It’s good to build up experiences while having that kind of mindset which in turn, makes it more inspiring. Both for me and for the audience.

Q: While holding the view that a ‘tie-up song’ shouldn’t be a limitation.

A: In theory there should be limits set by the series at hand but I find that on the contrary, [such songs] seem like being they’re being plucked out of the air most of the time. It’s fascinating. It’s similar to the feeling you get when you set out to make something from whatever ingredients you pick out from your fridge and somehow, you manage to whip up the most delicious meal ever. It might be easier to change up your way of thinking if you don’t consider limits as limitations.

Q: For tie-up songs, does production start with the thought ‘how should we approach the world found within this series’?

A: Yes. It’s case-by-case, but oftentimes the production staff will provide conceptual themes while largely leaving the sound and style of the theme song to us. As an example, the theme given for ‘Be mine!’ was ‘conquering the world’ and I had to think of a tune and lyrics that would fit. I’d just gotten in touch with the band apart around that period of time so with nothing to lose, I asked them ‘shall we work together on this?’ and they willingly accepted the offer.

Q: ‘Shikisai’, mentioned earlier, was composed by la la larks. I think this song would’ve served up a considerable challenge as well.

A: ‘Shikisai’ is the theme song for a RPG game and my line of thinking was ‘aren’t theme songs for games something you listen to once & skip subsequently?’ (laughs). Which is why I thought I’d try something bold and play around with things a bit. But of course, I did consider the game’s worldview and interpreted the in-game material in my own way when coming up with the lyrics.

Q: I see. Even so, the writing credits list is quite spectacular. Ōnuki Taeko, the band apart, Suzuki Shōko, Uchisawa Takahito (androp), Rasmus Faber, Mizuno Yoshiki (Ikimonogakari) are all part of an incredibly diverse range of creators.

A: Amazing, isn’t it? I needed a lot of courage to approach Ōnuki-san. It’s a huge challenge for me to make the first move contacting writers I’d like to work with and I need to prepare myself mentally. The subject matter of the song etc, is obviously important but half of the time I’ll go with my instincts: ‘I love this person’s music so I want to work with them’. There are a few like Tomita Lab-san and Suemitsu Atsushi-san who actually got in touch first with songs they had in mind for me, and the results would eventually turn into works I could call my own.

Q: That would be referring to ‘Arakawa Shōkei’ (with Tomita Lab) and Lazy Line Painter Jane (with Suemitsu Atsushi) on Disc 2.

A: I was happy that they gave me a call. ‘Lazy Line Painter Jane’ isn’t an original song (cover of Belle and Sebastian), but I was able to sing it quite comfortably. In Tomita-san’s case, he was quite detailed with his instructions and I worked desperately hard to achieve Tomita-san’s ideals. It was the same with Cornelius (‘Mada Ugoku’) – I’m deeply moved to have the privilege to sing songs written by artistes I’ve always loved and listened to.

It’s Too Early to Be Satisfied

Q: ‘Uchū no Kioku’ (OP theme for BEM TV anime) was written & composed by Shiina Ringo – that attracted quite a big response.

A: Shiina Ringo-san is an artiste I love so I was really happy. The production and recording process were wonderful; it was fun and exciting in so many ways. The song itself is difficult to perform but gives me a lot of pleasure to sing. When I was young, I’d often listen to Shiina-san’s songs and had always thought of her as a respected senior of mine but the truth is that we’re not so far apart in terms of age*. There was so much to learn, covering everything from working style to mood creation. I’ve worked hard in my own way thus far, but this was an instance that had me thinking: there are such amazing people in my age group that I must not be content to stay as I am; that I should never allow myself to feel overly satisfied.

*Shiina was born in Nov 1978, making her 1.5 years older than Maaya

Q: And that gave you renewed motivation.

A: When you’re satisfied, you might end up not knowing what to do next. It’s not a bad thing to be content with what you already have but I still think you’d be better off being a little bit greedy. Maybe it’s just part of my pride but I always feel that ‘there is room for growth. I haven’t reached [my peak] yet’. But what if I’m mistaken and there is none [room to grow]; what should I do then…? (laughs). I’m always leaving myself some margins, so I don’t think I can ever quit until I get to a certain point. That’s how I’ve persevered ‘til today.

Q: Do you feel like there’s still room for growth, that you can still improve?

A: I do feel that way, always. I do think I’m constantly improving but since I’m never truly satisfied, I might never reach ‘that point’. Regardless, the end will surely come somehow, someday, so I’d like to be able to say that I’m satisfied when the time comes to call it quits.

Q: I see. I have to say though: knowing Maaya-san’s personality, I don’t think you’ll ever be satisfied.

A: You might be right (laughs)

Q: Disc 2 also includes a self-cover of ‘Watashi e’, a Negicco song you wrote the lyrics for. You’ve seen an increasing amount of work in the lyric-writing department of late, like for Walkure’s ‘Kaze wa Yokoku naku Fuku’ and KinKi Kids’ ‘Hikari no Kehai’.

A: That’s right, and I feel thankful.

Q: Does it provide a different level of satisfaction compared to writing lyrics for yourself?

A: It very much does. I’ve somewhat exhausted my repertoire of lyric material when it comes to my own songs. It’s fine if I keep singing about the same things and it’s actually important for me to come to terms with that, but I sense the potential to get bored if I express myself using only my own voice. I find however, that I can freely write lyrics with a completely different theme or story by merely being told that ‘this song will be performed by a voice that’s not your own’. Even if it’s my story, it feels fresh when someone else sings it and for some reason, I’m more inclined to confront how I genuinely feel inside; projecting onto other people’s songs what I’m unable to express through my own. The request to write lyrics for KinKi Kids happened thanks to my links with Dōjima Kōhei-san* – I must say I do enjoy such new encounters.

*Singer-songwriter Dōjima Kōhei wrote ‘Record’ (CLEAR c/w) for Maaya, and has been one of KinKi Kids’ main producers since the duo’s ‘D Album’ (2000). He also co-produced ‘Hikari no Kehai’

Q: Let’s talk about your future activities. On your 20th anniversary 5 years ago, you said ‘I want to take things slowly in future’. What about now?

A: For this 25th anniversary I didn’t have a concrete image of wanting to do ‘this or that’, like I did for my 20th. If I had to commemorate every 5-year milestone then I’d spend the intervening years constantly thinking about ‘anniversaries’… (laughs) so I’m approaching this 25th year in laid-back mode. Over the years I’ve had the tendency to hold live performances around my birthday in March but there weren’t any plans for one this year. It’s been a fairly relaxed period for me, from before the coronavirus started having an impact. Future performances will most likely be affected though. I’m hoping to hold a concert next spring and I’ll be part of a musical (Daddy Long Legs, starting September 2020) too, so rehearsals for that…will happen, I’m sure.

Q: On a personal level, what would you like to do in the future?

A: I’d like to write more lyrics for other artists. And of course, perform live. I don’t even like standing up on stage in front of a crowd so sometimes just before showtime, I’ll start thinking ‘Why the heck am I still doing this job?’. But half a year has passed since my last tour (Sakamoto Maaya’s 2019 ‘Kyō dake no Ongaku’) and I’m aware now, how fortunate I was to be able to hold live concerts on a regular basis. How blessed I would be to share a space with all of you once again; to sing in front of you. The next opportunity I get to sing [live] will definitely feel more special than it ever has, and that’s the dream I hold most dear now: to be able to perform live.

Q: You’re right. Very much so. Are you continuing to produce songs right now?

A: I sure am! Actually, I’ve written a song during this ‘self-restraint’ (jishuku) period. I’d like to put out new songs without too much of a gap between releases. I know what you’re thinking: ‘Just 1 song? You had so much spare time; surely you could write more’ (laughs). Achikochi features ‘Korekara’, (theme song from OVA Tamayura~Sotsugyō Shashin) a song I wrote and composed myself; when I listened to it as I was playing back the album chronologically, I sincerely thought ‘what a good song this is!’. Obviously the song could only have been completed thanks to Kōno Shin-san’s arrangement, but ‘Korekara’ being self-written, has a meaningful place in the midst of the many songs that I’ve requested brilliant musicians to write for me – it’s one of the things that I’d worked hard on over the past 8 years. I’d like to continue writing songs in the future.

Q: You come to realise all sorts of things during this period of self-restraint. Have you been doing anything apart from writing songs?

A: I’ve been writing [essays], as well as reading all the books that had piled up. Also, working out and holding drinking parties over Zoom. It was definitely fun to fill up my schedule with ‘workout time’ or ‘drinking party’ from x am-y pm.

#244 – Sakamoto Maaya: 25th anniversary interview part 1

The Many ‘Encounters’ Throughout A 25-Year Career that Have Influenced My Thinking and My Personality


This is the first part of a Real Sound interview with Sakamoto Maaya in celebration of her 25th anniversary.

Sakamoto Maaya has just celebrated the 25th anniversary of her CD debut. She made her bow in 1996 with the single ‘Yakusoku o Iranai’, at the age of 16. Under the tutelage of producer Kanno Yōko she’d been refining her expressiveness as a singer and since 2005, expanded her musicality through working with an extraordinary group of creators while at the same time, establishing her artistic individuality by writing her own lyrics and compositions.

On July 15th 2020, her 25th anniversary album ‘Single Collection+ Achikochi’ was released. In this interview, we take a look at her musical growth and trace the changes in her stance towards her music activities as we reflect on her career thus far. (Interview: Mori Tomoyuki)

I used to think of myself as someone with ‘no personality’

Q: It’s the 25th anniversary of your CD debut. What are your feelings about this ‘25th year’ figure?

A: I don’t actually spend my days wondering ‘this is my how many-eth year again?’ but when milestones like this come up, I do think ‘Wow, it’s been that long huh’. There’s a certain gap between perception and reality that brings its surprises but I’d like to think that I’ve been lucky. Having the desire to ‘persist’ with something doesn’t necessarily mean that it will happen – I’ve endured until today thanks to the folks I’ve met and of course, because there are people who will listen to my songs.

Q: You’ve been blessed when it comes to encounters as well.

A: I believe so. There have been a number of instances over the past 25 years where something comes along right in the nick of time to save me when I’m in trouble. I can’t explain it too well in words, but when you’ve been doing something for a long time you get into all kinds of situations, don’t you? Sometimes everything goes smoothly and at other times you just kind of get stuck in a rut. Maybe you’re not feeling up to it physically, or you’ve lost sight of your goals…it’s at times like these that you feel like throwing up your hands in surrender but it only takes an unexpected coincidence, a chance encounter or a random song; maybe even a lyric that I’ve written, to get me to think, ‘let’s just try a little bit harder at this’. And before I knew it, 25 years have gone by (laughs)

Q: I see. Let’s talk about your debut for a bit. You had just turned 16 when ‘Yakusoku o Iranai’ was released. You didn’t possess the ‘ego’ of an artiste or anything like that back then, right…?

A: Probably not at all (laughs) Especially since I only became a singer by accident, so it wasn’t as if I’d prepared myself for any of this nor was it a long-term goal that I’d had at the time. I basically stepped into this world on a level emotional plane, which you could say is equivalent to having zero ego as an artiste. I did love to sing though, so of course I was happy (to get a CD debut) but thinking about it now, I was very childish back then.

Q: You were a child actress since your younger days so was it unexpected for you to debut as a singer?

A: Prior to that I’d had the opportunity to sing songs for commercials and so on but honestly, I was surprised to get to put out a CD with my name on it and have somebody listen to the final product. The day ‘Yakusoku o Iranai’ was released, I paid a visit to the store where I normally buy CDs. To see a CD with my name on it placed on the shelves was actually shocking for me. It was a completely different feeling compared to being on stage as a child actress; ‘Yakusoku o Iranai’ is a song that I loved and wanted people to listen to but at the same time I was sort of thinking ‘God I hope my friends don’t see this, it’s embarrassing’. Quite a contradiction granted my line of work, but I wasn’t ever the type who wanted to stand out from the crowd.

Q: So rather than wanting people to look at you, you merely wanted to be involved in the art of expression?

A: That’s right. When I think about it now, the fact that my mother used to praise my singing a lot when I was young – that played a big part. I’d sing when I was playing, sing when I was watching TV; my mother would constantly shower me with compliments and that made me think, ‘I’ll sing because it makes mom happy’. She was very pleased when I made my CD debut but stopped praising me after that (laughs). Honestly, I’ve never actually thought ‘I’m good at singing’ – I just really loved to sing. For a while after I’d made my debut, I did my best to follow my producer Kanno Yōko-san’s advice to ‘try singing this or that way’. It was quite similar to acting in terms of the desire I had to meet the demands of directors. That was pretty much the foundation that my teenage years were built upon.

Q: Instead of reflecting Sakamoto-san’s own preferences and intentions, your expressiveness as a singer was guided by the musician named Kanno Yōko.

A: Obviously my own will gradually started to make its presence felt and I gained an interest in lyric-writing later on, but I suppose that back then, I thought of myself as having ‘no personality’. People would encourage me to do things in my own way but I’d turn shy and end up having no idea what to do whereas if someone told me ‘this is what this role is about’, I’d have no problems expressing myself, sometimes in ways that surprised myself. Even as a singer, I’d find that the scope of the expressions that I used in a song would expand if I had ‘this song is about becoming someone like this’ explained to me. Thanks to the acting experience I’d acquired from when I was young, I found that there were parts [of this approach] that I could utilise in my singing.

Q: But on the other hand, you had the desire to ‘find out who you were as an artiste’, correct?

A: I’ve always had a complex about that. I didn’t really understand ‘who’ I was or what ‘originality’ meant for me, and I wondered whether I could carry on doing what I did without [knowing]. So I’ve been searching for this ‘personality’ of mine for a long time. There was a point in time where I pretended to have ‘personality’ when I most certainly didn’t (laughs).

Q: Those are pretty complicated feelings.

A: But I do think that most of us, to a certain extent, harbour such feelings when we’re young. What I’m like when I’m at school, what I’m like at home, or the person that I think I am – there are bound to be a few inconsistencies between those [aspects], and one might end up being unsure of ‘where my true self lies’ or ‘what I want to do’. We all live our lives allowing certain aspects of ourselves to be exposed to others but for me, I had to put my own name out there; express myself outwardly. I think there were parts of my teenage years that seemed a bit documentary-like, where the aim was to show everyone just how much I’d grown.

Q: Do you think you absorbed a lot [of knowledge] through doing music?

A: I’m pretty sure that the reason I liked acting was because an inconspicuous, colourless person like me was able to find pleasure in the freedom to ‘become someone other than myself’ whenever I was given a role. Having gone down the music route, I was increasingly being asked to ‘express myself more’ and while I’d be thinking ‘I’ve got nothing worth showing…’, Kanno-san would reply ‘there must be something’ and she’d get me to keep trying out all sorts of different things to try and increase my [self-]awareness. With hindsight, I’m so glad that I was given the space during my formative years to ‘think about who Sakamoto Maaya is when she’s not playing a role’, and that I was able to grow up without turning away from who I am.

If “I” am nowhere to be found, it would feel fake

Q: You split from your producer Kanno-san in 2005 with the single ‘Loop’ – did that mean that you’d found your artistic personality?

A: I did find myself there, at that moment in time. But I do also feel that I was trying to become the Sakamoto Maaya that Kanno-san had wished me to be. Kanno-san really understood what ‘being Sakamoto Maaya’ meant and there hadn’t been a need for things to be explained up until that point, so I did feel anxious about whether I could sing adequately for someone whom I was meeting for the first time. ‘Loop’ came a short time after I’d graduated from university and was once again thinking about making a living in this industry. I was expanding the scope of my work by trying out musical work and so forth, and getting to meet such amazing people in my age group made me realise ‘what a narrow world I’d been living in’. And it pretty much crushed my perception that ‘I’d have no problem keeping up [with the others]’.

Q: Were you shocked to meet such talented people from your age group?

A: I really was. When I was a child actress, I was always the youngest wherever I went and hardly ever met any other children of my age. By the time I’d taken my first step outside, I was in my mid-20s and others my age were already working twice as hard, had tons of talent and shone at what they did. It felt like I’d been constantly playing truant; that I’d been brought up in a bubble. I’d only ever worked with the same people I’d known my whole life and would likely keep producing good works even if I ended up never broadening my horizons. I know that this is something I can only say now in retrospect, but if I’d continued going down that road, I don’t think I would have lasted 25 years. Something inside me would have died somewhere along the way, I think. Despite that, I was still uneasy about trying something new. Going back to what we were discussing – the last album I made with Kanno-san (2003’s ‘Shōnen Alice’) was a fantastically good album. Though I agree with that sentiment, I have to say that I didn’t feel particularly happy when I heard the acclaim it received. Most of it was thanks to Kanno-san being in charge – my thoughts were, ‘I am still not that accomplished yet’ and my own assessment clashed [with general opinion]. Instead of feeling down, I felt angry for whatever reason. I would often compare myself to other people and think ‘how naive can I be?’, getting annoyed at and disappointed in myself for being unable to accomplish anything of note. I do think I was quite selfish back then.

Q: That’s a pretty big wall to run into.

A: While splitting from Kanno-san as my producer wasn’t quite my version of going on a pilgrimage [to find myself], I do think Kanno-san felt a bit like a lioness pushing her own cub off the edge of a cliff. On my part I had braced myself, thinking that ‘If I go out into the wide world and don’t manage to survive, then I was never worth much in the first place anyway’.

Q: You ended up working with a diverse group of songwriters for your singles starting with ‘Loop’ – h-wonder, Suzuki Shōko, Cano Caoli and so on.

A: That was the intention, and my staff members thought it’d be good to let me come into contact with all sorts of different people. I thought of it positively – I might discover potential within myself that I never knew existed, or some crazy chemical reaction could occur when I meet someone new. That period was a succession of experiments for me.

Q: Through trial and error, you eventually reached the conclusion that ‘no matter who I work with, it’ll still be a Sakamoto Maaya song’?

A: I only started to feel that way in my 30s. When you think about it, what a long time it’s taken, hasn’t it? (laughs) The songs included in ‘Achikochi’ (that were released post-2013) are all songs made with the firm conviction that ‘I can be myself no matter who I work with’ and with pleasure gained from the knowledge that ‘it’s okay to fail’ – I can listen to them with peace of mind. Up to that point, the experimental process had always troubled me. I’d start from scratch, trying to get across exactly what I wanted or didn’t want throughout the making of a track. I exhausted myself every single time, which I mean in a good way. Different recording engineers have different working methods and I was able to make discoveries regarding ‘what I should do to produce a certain type of sound’. It was a continuous learning process.

Q: 2011’s ‘You can’t catch me’, released to time with your 15th anniversary year, was your first chart-topping album and may also have been the first of Sakamoto-san’s albums to establish your ‘personality’. It featured a diverse group of songwriters and fully demonstrated your potential as a singer.

A: It really was an experiment though. I was still exploring all kinds of things and each song on ‘You can’t catch me’ featured a different engineer. Originally, I’d planned and thought it better to engage a single engineer trusted by one of the songwriters but by the halfway point [we] were thinking, ‘how on earth do you put all of this together on 1 album?’ (laughs) It was a very trying process, but I learned a lot.

Q: What are your thoughts on lyric writing? Since 2010, you’ve gained increasing attention as a lyricist.

A: I’d always loved to write lyrics but I was already in my 30s by the time I started to want to write about all kinds of things. When I was in my teens, I could only write based on my own experiences so even if I was trying to write a love song, I didn’t have the vocabulary for it. Now that I’m getting older, I find the content of my lyrics being enriched by my own experiences and those of people around me. When I was young, I would need a specific theme; for example, ‘Justice prevails!’ but now, I understand that there is a myriad of emotions within me and I’ve come to be able to express them through my lyrics. Once that was clear, lyric-writing became even more enjoyable to me.

Q: When one writes based on their own experiences, the tendency is for the songs to be a little bit samey, singing about repetitive themes. You could describe it as [a person’s unique] flavour but to me, Sakamoto-san is more of an ‘author’.

A: There is a part of me which thinks ‘I’d feel embarrassed to keep singing about the same things all the time’ but luckily, I have been entrusted with many opportunities to perform theme songs that are tie-ups [for series/productions] and that does help to broaden my range. Earlier, I mentioned that ‘through a role, I can express myself in ways that I never thought possible’ and this runs in a similar vein. I’m often asked to write in ways that would normally be unfathomable to me, such as ‘make “conquering the world” the theme of a song’, or write about ‘a teenager who gains superpowers out of the blue and he now rides giant robots’ – it’s fun to write lyrics as I’m gradually being fed bits of information. Still, it’d feel fake if the songs I wrote for tie-ups didn’t have a little bit of ‘me’ in there somewhere. Okay, maybe it’d be fine to have nothing of ‘me’ in a song but I try to include maybe 2 lines that represent ‘what I want to say right now’. I used to believe that it’d be bad if ‘I’ wasn’t in the song at all, but I can strike a fine balance between story and song nowadays. I think I’ve finally grown up.

#243 – Toaru Kagaku no Railgun T cast interviews #15: Takaoka Binbin


Didn’t think he’d get an interview too but I’m sure some people out there are dying to hear the thoughts of Kihara Gensei (CV: Takaoka Binbin)! PS Takaoka’s words are adorbs tho ;;;;;

Psychological Warfare vs Shokuho Misaki is Worth Watching + Behind-the-scenes Interactions with Asakura Azumi

Q: How would you describe the A Certain Scientific Railgun series?

A: A battle story featuring students with special abilities in the futuristic Academy City. Each individual is attractive in their own way (they’re more mature than adults) – it’s a very intriguing story that’s both cool and funny.

Q: What’s the mood like in the recording studio?

A: The series has been running for a long time so it’s harmonious [in the studio] and a lot of fun to record. The dialogue is peppered with a lot of difficult technical terms – when I commented “It’s tough on everyone”, they’d tell me “It’s all your fault though (lol)”.

And the answer is…Yeah. It’s definitely Gensei’s fault…

Q: Were there any aspects that you focused on in particular when voicing Kihara Gensei?

A: He may be an old man but he has the energy to pursue whatever he wants to with his indomitable spirit, plus he never stops smiling.

It’s easy to stick the ‘mad scientist’ label on him but…nah, he’s just someone who enjoys life to the fullest…or so I think.

Q: The battle between Kihara Gensei and Shokuho is a highlight – was there anything from that exchange that left a strong impression on you?

A: It was psychological warfare that was a battle to outwit the other. Probably the part where it went from ‘oh crap~’ to ‘of course not, stupid.’

From a personal viewpoint – Asakura (Azumi)-san gave me Valentine’s Day chocolate so I’m really glad that the victory belonged to Shokuho-kun.

It’s Definitely Better to be a “User”

Q: Did any other scenes from the Daihasei Festival arc leave an impression on you?

A: Kuroko’s seiyuu Arai (Satomi)-san is incredible at ad-libs and I’m always so impressed by how she can produce all sorts of ‘Gyoee~’ or ‘Gyohoho~’ sounds…only to have the director give it an NG, describing them as ‘vulgar’…I still laugh when I think about it.

Q: Which of the characters are your favourites?

A: I’d say Kozaku (Mitori)-kun and Dolly. Kozaku ran into her at the research facility when she was young and at first, she wasn’t too willing to play with her but she found herself laughing naturally at how innocent Dolly was. And by the time Kozaku came to realise how important Dolly was in her life, she had stumbled upon a ‘secret’ that was supposed to remain hidden…

It’s quite sad, isn’t it? You wouldn’t want to be told that you were just fodder for experiments. It’s always better to be a ‘user’ [than to be ‘used’].

Q: Lastly, please leave a message for the Railgun fans.

A: Thank you for your support, as always. Although my time with the series was short, the show is of great quality and the studio such a passionate place that it has been a wonderful experience for me. It would be nice if Gensei-san is still alive but…(lol). Please continue watching!

Links
#1: Sato Rina (Misaka Mikoto)
#2: Arai Satomi (Shirai Kuroko)
#3: Toyosaki Aki (Uiharu Kazari)
#4: Ito Kanae (Saten Ruiko)
#5: Asakura Azumi (Shokuho Misaki)
#6: Sasaki Nozomi (Sisters)
#7: Kotobuki Minako (Kongo Mitsuko)
#8: Tomatsu Haruka (Wannai Kinuho)
#9: Nanjo Yoshino (Awatsuki Maaya)
#10: Hayashi Daichi (Baba Yoshio)
#11: Abe Atsushi (Kamijo Toma)
#12: Kawanishi Kengo (Sogiita Gunha)
#13: Tomita Miyu (Kozaku Mitori)
#14: Kohara Konomi (Dolly)

#242 – Toaru Kagaku no Railgun T cast interviews #14: Kohara Konomi


Next up is cutie-pie Dolly (CV: Kohara Konomi)!

How to Express the Purity of Dolly’s Heart

Q: How would you describe the A Certain Scientific Railgun series?

A: I had the impression that it was a story about girls with mysterious powers but it turned out that there was a lot more depth to it, and that it had the ability to firmly pull you in.

Q: What’s the mood like in the recording studio?

A: Everybody was really kind… I was a bunch of nerves approaching recording but by the end I felt so relaxed and soothed, even though it’s supposed to be work. It’s probably because everyone has been together for so long, but the studio was so lively and fun.

Q: What kind of character is Dolly? Were there any areas that you focused on, or were directed to do when acting?

A: She’s a pure child who knows nothing of the outside world. But there’s also a shadow of loneliness hanging over her, and she doesn’t really understand why. I kept that in mind as I played the part. She’s such a pure-hearted girl that it left me feeling a little sad at times.

Q: Tell us your honest thoughts when you learned about Dolly’s background (the fact that she’s a clone created by a research facility).

A: It was crushing. Not only her background, but also when it came to her emotions, I would just… But seeing her dream of the outside world and knowing how much she enjoyed spending time with the ones she loved made me want to draw as near to her as I possibly could.

Q: In episode 15, we learn how important Kozaku Mitori and Shokuho Misaki are to Dolly.

A: Dolly seems to enjoy herself so much when she’s with the 2 people she loves most which in turn, meant that I very much enjoyed voicing her. She could never have imagined that soap bubbles and sugoroku would be so much more fun and joyful when played with someone else, instead of alone.

Touched by Kozaku’s Thoughts and Actions Towards Dolly

Q: Were there any other scenes in the Daihasei Festival arc that left an impression on you?

A: I’ve got to say I was moved by Kozaku’s emotions and actions towards Dolly. And hearing Tomita Miyu-chan’s performance in the studio too – her words resonated in my heart…

Q: Do tell us if any characters in Railgun T piqued your interest.

A: Maybe it’s because I voice Dolly, but I grew more and more interested in Shokuho-san throughout the recording process and as the show aired. Not only because she possesses such fascinating abilities, but also because I love her cute way of talking.

Q: Please tell us what you’re looking forward to, or what you’re anticipating in the second half of the series.

A: While looking forward to seeing how Dolly gets involved with the rest of the characters in future, I’ll continue supporting the story!

Q: Lastly, please leave a message for the Railgun fans.

A: I’m truly blessed to have the chance to be involved in this long-running series. Through Dolly, I hope I’ll get to make the story even more exciting so please continue supporting the series in future!

Links
#1: Sato Rina (Misaka Mikoto)
#2: Arai Satomi (Shirai Kuroko)
#3: Toyosaki Aki (Uiharu Kazari)
#4: Ito Kanae (Saten Ruiko)
#5: Asakura Azumi (Shokuho Misaki)
#6: Sasaki Nozomi (Sisters)
#7: Kotobuki Minako (Kongo Mitsuko)
#8: Tomatsu Haruka (Wannai Kinuho)
#9: Nanjo Yoshino (Awatsuki Maaya)
#10: Hayashi Daichi (Baba Yoshio)
#11: Abe Atsushi (Kamijo Toma)
#12: Kawanishi Kengo (Sogiita Gunha)
#13: Tomita Miyu (Kozaku Mitori)

#241 – Toaru Kagaku no Railgun T cast interviews #13: Tomita Miyu


Next up is Kozaku Mitori (voiced by Tomita Miyu), who’s hardly likely to be anyone’s favourite character unless you have a fetish for bitche-

What it Felt like to Voice Kozaku Mitori, a Type of Role That I Find Challenging

Q: We hear that you were originally a reader of the Toaru series, but what are your impressions of A Certain Scientific Railgun?

A: My thoughts were: ‘it’s a series that everyone knows’. I had watched [Railgun] when I was in primary school, and there were many kids around me who got hooked on anime because of this series. It was popular in my class as well, so copies of the manga would be passed around amongst the students.

Q: What’s the mood like in the recording studio?

A: Everyone’s just very kind and recordings were always relaxed – I looked forward to going to the studio every week. I learned a lot from my seniors’ performances and I’m glad that there was so much for me to absorb every week.

Oh, and Sato-san and Arai-san took turns to bring in snacks every week and I could feel how much they love the series – I hope I can be a senior like them someday!

Q: What kind of character is Kozaku Mitori?

A: She’s a character whose role is to thwart the protagonists – I’ve never voiced someone like her before, and it was a challenge.

The flashback story in episode 15 was very meaningful and even though she’s classified as an ‘antagonist’ in the storyline, you see that she too, has gone through many painful experiences and has someone dear to her…she’s just so very human, I think.

That’s why I’d say Kozaku Mitori is not an ‘evil role’. I actually had a lot of fun during recordings as I grew to understand her character.

Q: This series features many characters with unique speech inflections – was there anything specific you were careful about approaching the role of Kozaku Mitori?

A: I tried elongating the ends of her sentences; made her sound a little more languid and aloof so that it wouldn’t be easy to read into her mental state.

Mitori often puts on rather theatrical reactions so I was instructed to ‘make her sound more like a foreigner’ and to ‘make her sound like she does things deliberately’.

I hope you were able to catch that slight bit of creepiness I tried to inject into the ends of her lines.

I Felt Charmed by the Contradicting Parts of Kuroko, Whom I’ve Loved Since I was in Primary School

Q: Tell us what your favourite scenes in the Daihasei Festival arc are – both those involving Kozaku Mitori and those without, and why.

A: It’s got to be the flashback story with Dolly. With this episode you can clearly see the events that gave shape to what lies in Mitori’s heart as well as what drives her and to be honest, I could feel my heart aching as I was recording the episode. At the end however, she was reunited with Dolly and that final scene with the 3 of them felt like the greatest reward ever.

Also, I’d been chatting with Kohara Konomi-chan, the voice of Dolly, about wanting to see each other in the Railgun studio as soon as possible so with this episode it was like ‘finally, I get to meet you!’ – I was so glad (lol)

Personally, I’d like to recommend the pairing of Saten (Ruiko)-san and Uiharu (Kazari)-chan – they’re really adorable and I love them: it made me so excited to get to see them!

Q: Are there any other characters that pique your interest?

A: I love Kuroko-chan! She’s the one I’ve loved since primary school and if I could use any power in life, I’d like to be able to ‘Teleport’…it seems so useful (lol)

In terms of visuals she’s very cute but there are so many parts of her personality that clash [with her appearance] such as her facial expressions when she’s fawning over Mikoto or when she’s involved in a battle – that’s what makes her so charming.

Q: Please tell us what you’re looking forward to, or what you’re anticipating in the second half of the series.

A: There will be new characters appearing in the second half so I’m sure that both manga fans and those who know Railgun through the anime will enjoy the thrilling, heart-pounding developments!

As a fan, I’m really looking forward to the heart-warmingly cute everyday scenes alongside the exciting battles!

Q: Lastly, please leave a message for the Railgun fans.

A: I’d be pleased if the Daihasei Festival arc managed to convey the charms of Kozaku Mitori as a character to all of you. Thanks to being involved with this series, my love for Railgun has grown more and more.

The excitement won’t stop and every week will leave you on the edge of your seat! Please continue to enjoy A Certain Scientific Railgun!

Links
#1: Sato Rina (Misaka Mikoto)
#2: Arai Satomi (Shirai Kuroko)
#3: Toyosaki Aki (Uiharu Kazari)
#4: Ito Kanae (Saten Ruiko)
#5: Asakura Azumi (Shokuho Misaki)
#6: Sasaki Nozomi (Sisters)
#7: Kotobuki Minako (Kongo Mitsuko)
#8: Tomatsu Haruka (Wannai Kinuho)
#9: Nanjo Yoshino (Awatsuki Maaya)
#10: Hayashi Daichi (Baba Yoshio)
#11: Abe Atsushi (Kamijo Toma)
#12: Kawanishi Kengo (Sogiita Gunha)

#240 – Toaru Kagaku no Railgun T cast interviews #12: Kawanishi Kengo


Amazing Punch is in the house! Sogiita Gunha (CV: Kawanishi Kengo) is rather popular, isn’t he?

What’s Important When Voicing Sogiita Gunha, The Boy with Amazing Impact

Q: How would you describe the A Certain Scientific Railgun series?

I thought of it as a superpower battle series with a school setting, where characters would use their abilities to solve daily happenings etc

Q: This being part of a long-running series; what’s the mood like in the recording studio?

A: I’m only joining in starting this season so at first, I was worried that I wouldn’t be able to fit in well with the overall setup since it’s a long-running series, but everyone so welcomed me so warmly and I enjoyed working on the show.

Q: What kind of character is Sogiita Gunha?

A: With him, what you see is what you get, and he’s a straightforward ‘never say die’ kind of guy. The type of person who acts before they think.

Q: Were there any aspects that you focused on in particular when voicing Gunha?

A: As soon as [talk of] the role came up I went to look up the source material to find out what he was like and I ended up with one word: ‘Amazing Punch’. I knew that this was of great importance.

Q: Did you come up with the way to say ‘Amazing Punch’?

A: He immediately launches into ‘Amazing Punch’ when he first appears so I had a couple of ideas in mind, but it took many retakes to get it right.

The 2nd half of Railgun T: I’m Looking Forward to It All as a Viewer Without Any Advance Info!

Q: What were your favourite scenes from the Daihasei Festival arc?

A: The battle scene in tandem with Kamijo Toma. You can see glimpses of it from the opening animation – it really gets the boys’ blood pumping and I was thrilled even before I had started recording the scene.

Q: Are there any other characters that pique your interest?

A: Before I got involved with this series, I’d already heard of it and vaguely knew some of the characters but when I watched it for the first time, I took a shine to Misaka Mikoto and Shirai Kuroko right away. I may not possess deep knowledge of the series but even I knew of the way these 2 characters interact so when I saw them for real I was like, “This must be it!”.

Q: Please tell us what you’re looking forward to, or what you’re anticipating in the second half of the series.

A: Though the source material is always on hand, I’m admittedly the type who prefers to watch it in animated form since I am part of the business, so I’ll be looking forward to seeing everything as a normal viewer.

Q: Lastly, please leave a message for the Railgun fans.

A: I am a newcomer to Railgun but I’ve given my best in hopes of livening up this series so please continue to support us from now on.

Links
#1: Sato Rina (Misaka Mikoto)
#2: Arai Satomi (Shirai Kuroko)
#3: Toyosaki Aki (Uiharu Kazari)
#4: Ito Kanae (Saten Ruiko)
#5: Asakura Azumi (Shokuho Misaki)
#6: Sasaki Nozomi (Sisters)
#7: Kotobuki Minako (Kongo Mitsuko)
#8: Tomatsu Haruka (Wannai Kinuho)
#9: Nanjo Yoshino (Awatsuki Maaya)
#10: Hayashi Daichi (Baba Yoshio)
#11: Abe Atsushi (Kamijo Toma)

#239 – Toaru Kagaku no Railgun T cast interviews #11: Abe Atsushi


Chatting with the MC from that other show – Kamijo Toma (CV Abe Atsushi).

Even if the Series Changes, He Stays the Same: That’s His Charm

Q: Tell us your thoughts upon hearing that the Railgun series would be starting up again.

A: When a continuation to the Toaru project was announced, I was thinking ‘Maybe [Railgun too]…?’ so I was happy when I heard the announcement. It’s a story from a perspective different to that of the Toaru series, and it complements the main franchise in many different ways, which is part of its appeal.

Q: Talk us through your emotions upon seeing the familiar cast and staff members gathering in the studio.

A: I think it’s been about 10 years since the auditions, so I was quite moved by the thought of being able to record with everyone else once again (lol) Also, Index is recorded in the morning but Railgun is recorded in the evening so it’s always fun to go out for dinner after the sessions are done.

Q: Once again, let’s discuss the appeal of your character, Kamijo Toma.

A: The fact that he stays the same no matter if the series changes: that’s his charm. You feel reassured right from the very first moment he pops up onscreen.

My Impressions Upon Seeing the Explosive ‘Dragon Strike’ in Episode 14?

Q: You played a big part towards the tail end of the Daihasei Festival arc. Tell us your thoughts about Kamijo Toma’s scenes.

A: Dang, it was just so very amazing! I was already quite taken aback by the scene in the manga but it was even more amazing seeing it animated! Plus, the words that were said to Mikoto at the end were what you’d expect of Kamijo-san – utterly cool.

Q: Were there any other scenes that left an impression on you?

A: Kongo (Mitsuko)-san with Wannai (Kinuho)-san and Awatsuki (Maaya)-san’s friendship touched me. To think that these three had become so close at some point – it really hit me in the feels.

Q: Are there any characters that pique your interest?

A: Saten-san. We’re both Level 0s and in this season, our paths cross for the first time.

Q: Please tell us what you’re looking forward to, or what you’re anticipating in the second half of the series.

A: I think Kamijo-san’s work is done for now. Like the rest of the viewers, I’ll be looking forward to seeing the main 4 in action.

Q: Lastly, please leave a message for the Railgun fans.

A: What kind of role will Mikoto and the other 3 girls play in the story moving forward? I’d be glad if you could watch over and support the show together with me!

Links
#1: Sato Rina (Misaka Mikoto)
#2: Arai Satomi (Shirai Kuroko)
#3: Toyosaki Aki (Uiharu Kazari)
#4: Ito Kanae (Saten Ruiko)
#5: Asakura Azumi (Shokuho Misaki)
#6: Sasaki Nozomi (Sisters)
#7: Kotobuki Minako (Kongo Mitsuko)
#8: Tomatsu Haruka (Wannai Kinuho)
#9: Nanjo Yoshino (Awatsuki Maaya)
#10: Hayashi Daichi (Baba Yoshio)

#238 – Toaru Kagaku no Railgun T cast interviews #10: Hayashi Daichi


Next up is cast favourite Baba Yoshio (Hayashi Daichi)!

What I was careful about when voicing Baba?

Q: How would you describe the A Certain Scientific Railgun series?

A: It’s a series with a history exceeding 10 years, where the characters (or rather, just the girls) are very attractive – their abilities included.

Q: What’s the mood like in the recording studio?

A: It’s a long-running series where the regular cast members are very close to each other. There are also a lot of characters appearing and that means lots of people in the studio, which makes it very lively.

The thought of being watched by such a huge crowd of people…is a good motivator, performance-wise.

Q: Were there any aspects that you focused on in particular when voicing Baba Yoshio? What parts of the role did you enjoy?

A: I focused hard on expressing Baba-kun’s distinctively unpleasant nature.

I constantly referred to the manga to see what he looked like in specific scenes. And how he’d appear in the next…it was awesome to get to play a Baba-kun who cycles through his entire vault of emotions and expressions within a short period of time.

One minute he’ll be sickeningly smug and the next minute he’d be drowning in a crisis and then get slapped and sent home with his tail between his legs. It’s the first time in my seiyuu career that I’ve performed so passionately, and with so many lines to boot.

I’m truly grateful to Baba-kun from the bottom of my heart.

My oshi is Awatsuki-san! Plus, the Characters I Expect to Play a Big Role in Future

Q: Your performance was amazing! Did you have any favourite scenes from the Daihasei Festival arc?

A: I love Awatsuki-san and her ‘Errmm, I’m surprisingly powerful y’know lulz’ line was a huge favourite of mine.

Also, the scene from episode 14 where Kongo-san recovers! It was so good that I was crying while watching it at home.

Q: Apart from Awatsuki-san, are there any other characters that pique your interest?

A: I’m extremely curious about what will happen in the future when Kozaku Mitori and Shokuho Misaki meet.

Q: Please tell us what you’re looking forward to, or what you’re anticipating in the second half of the series.

A: I’ve always been a fan of Kongo-san, Wannai-san and Awatsuki-san so I’d love to see more of them. Especially Awatsuki-san!

Q: Lastly, please leave a message for the Railgun fans.

A: Hey all, did I manage to voice Baba-kun in a way that lived up to your expectations?

The character has left such a big impression on me that it may just be the defining role in my seiyuu career. I hope that the Baba-kun of the anime will leave an equally deep impression in your minds too.

Links
#1: Sato Rina (Misaka Mikoto)
#2: Arai Satomi (Shirai Kuroko)
#3: Toyosaki Aki (Uiharu Kazari)
#4: Ito Kanae (Saten Ruiko)
#5: Asakura Azumi (Shokuho Misaki)
#6: Sasaki Nozomi (Sisters)
#7: Kotobuki Minako (Kongo Mitsuko)
#8: Tomatsu Haruka (Wannai Kinuho)
#9: Nanjo Yoshino (Awatsuki Maaya)

#237 – Toaru Kagaku no Railgun T cast interviews #9: Nanjo Yoshino


More minor sidekicks, this time Awatsuki Maaya. But more importantly, some chat with Jolno about fripSide and one of the best anisong of all time, ‘only my railgun’!

Scenes that Demonstrated the Power of Friendship Made me Fall More and More in Love

Q: Tell us your thoughts upon hearing that the Railgun series would be starting up again.

A: I was overwhelmed to think that I would have the chance to meet Mikoto and the rest of the characters once again! It only seemed like 2-3 years to me when in fact, it’s been 7 years since our previous encounter.

Q: Where do you think the appeal lies in the A Certain Scientific Railgun series?

A: Friendship, human connections, bonds. Also, believing in justice and oh, red-hot battles! And Arai-san, who voices Kuroko!! I love her (lol)

Q: Talk us through your emotions upon seeing the familiar cast and staff members gathering in the studio.

A: I felt happy but also slightly shy at the same time. While I do see [the cast members] at other recordings, maybe it’s ‘cos we’re all gathered together face-to-face, or maybe because it’s Railgun, that I’m easily reminded of what it was like in the studio 7 years ago – it definitely feels like a reunion this time around.

Q: Once again, let’s discuss the appeal of your character Awatsuki Maaya.

A: She’s a very good-natured, well brought-up ojou-sama who’s never even been in an argument her whole life.

And yet, this season, Awatsuki (and Wannai) get angry on the behalf of Kongo-san. There are scenes that demonstrate the power of their friendship, which makes me fall in love with [Awatsuki] more and more.

Q: What were your thoughts when watching the Awatsuki-centric episodes (5-6)?

A: So much passion! This is the first time in the anime that Awatsuki and Wannai have played such a big part in a battle and I was compelled to cheer for the two of them when I watched the episodes on air.

Q: Any other scenes that left an impression for you?

A: The very beginning of episode 1 features Mikoto humming a song – during studio tests, Rina-san had chosen to hum ‘only my railgun’.

The finished article had her humming a different tune but Mikoto humming ‘omr’ was so precious and left me feeling quietly excited by my lonesome self (lol)

Thoughts on 10 years of Railgun as a Member of fripSide

Q: fripSide once again performs the OP theme: this season’s is titled ‘final phase’. What were your thoughts upon seeing the OP visuals? Can you also tell us what Railgun means to you from the viewpoint of the OP theme artiste?

A: Ahh, watching the OP visuals I went, ‘ Ohh~~~~~~this is it this is it! Railgun!!’ As cool as ever!

The Railgun series and fripSide are now inextricably linked for eternity. It may be the first Railgun anime in 7 years but whenever we perform at concerts or festivals it’s guaranteed that we’ll sing Railgun songs – we’ve spent these last 10 years of our career walking alongside ‘only my railgun’, the theme from Season 1.

Back then I was just a newbie who was fumbling around without being able to make heads or tails of anything but I’d like to think that I’ve matured a little from those days through the many opportunities we’ve been afforded. Now I can say with confidence that I want to contribute to, or give back to the Railgun series that I’ve traversed the past 10 years with, side-by-side. [Railgun] has been a comrade-in-arms, a trustworthy companion and a partner who’s always got my back.

Q: Which character in Railgun T piques your interest, and why?

A: There are plenty of appealing characters, both among the protagonists and antagonists but I’d still go for Kuroko…or rather, I’m always wondering what kind of Kuroko Arai-san will bring to the table. I can’t take my eyes off of her….!

Q: Please tell us what you’re looking forward to, or what you’re anticipating in the second half of the series.

A: I’m waiting to see how the stories converge and am curious whether Awatsuki-san, who’s been absent for quite some time, will still have any part to play in future! (lol)

Q: Lastly, please leave a message for the Railgun fans.

A: We’re able to return after a 7-year gap and I’m very glad to get to see the cast and staff members at recording once again.

From the moment episode 1 kicked off, I keenly felt, ‘Ahhh, this is the Railgun feeling’ and I’d be glad if the hot-blooded yet gentle air [of the series] gets through to all of you as well.

Recently, I’ve been surprised that, whenever we perform ‘only my railgun’, we frequently hear various people say to us ‘I’m so glad I finally got to hear this song live!’. We’ve been performing it throughout the years so ‘Why now?’, I thought, but apparently many of them were still in kindergarten and primary school 7-10 years ago and it’s only now that they’re old enough to attend concerts to hear us perform it live.

That’s a profound moment where I think…so this is what it means to work on a long-running series.

I’m sure that right now, this series will be enjoyed in real-time by generations who weren’t able to in previous seasons. Whether you’ve been watching the series from its first iteration or whether you’re watching this in real-time for the first time, let’s gather forces and passionately watch over Mikoto and the other characters as they spring into action!

Links
#1: Sato Rina (Misaka Mikoto)
#2: Arai Satomi (Shirai Kuroko)
#3: Toyosaki Aki (Uiharu Kazari)
#4: Ito Kanae (Saten Ruiko)
#5: Asakura Azumi (Shokuho Misaki)
#6: Sasaki Nozomi (Sisters)
#7: Kotobuki Minako (Kongo Mitsuko)
#8: Tomatsu Haruka (Wannai Kinuho)

#236 – Toaru Kagaku no Railgun T cast interviews #8: Tomatsu Haruka


Next up is an interview with Wannai Kinuho (voiced by Tomatsu Haruka).

Feeling the Magnitude of Her Strength and Tenacity Once Again

Q: Tell us your thoughts upon hearing that the Railgun series would be starting up again.

A: I’ve always hoped that more anime would be made as it’s a work loved by so many. Naturally, I was filled with joy to hear that the anime would return and once again, I realised what a great series this truly is!

Q: Where do you think the appeal lies in the A Certain Scientific Railgun series?

A: All of the characters have really strong personalities, each with their own cool ability!!! Made me so excited wishing I had my own powers to use.

Q: Talk us through your emotions upon seeing the familiar cast and staff members gathering in the studio.

A: The staff opening speeches during first episode recordings included a remark that stuck in my mind: “When we first started [making Railgun] most of the cast members were single but before I knew it, more and more of had gotten married – time sure flies” (lol)

As for my character, it’s been a while since I’ve voiced Wannai-san so I was reminded to make her sound a little younger (lol)

Q: Once again, let’s discuss the appeal of your character Wannai Kinuho.

A: I’d thought of her as being this easygoing ojou-sama all this while – well, she still is, but in the [Wannai/Awatsuki-centric] episodes you can see that she’s not just the placid type. Instead, you get to feel her strength and tenacity when she’s fighting.

Q: What were your thoughts when watching the Wannai-centric episodes (5-6)?

A: I’d never seen her involved in a battle scene before so it was definitely refreshing! Plus it’s the first time she’s ever lost her temper and that pleasingly, gave me the chance to voice a different aspect of hers: she was so very cool.

The Character I’m Curious About? Gotta be That Person! The One with Huge Impact

Q: Any other scenes that left an impression for you?

A: The scene where Kuroko and the others had already lost their memories of Mikoto – shocking even when you’re aware of it. It was sad to see how Mikoto and Kuroko weren’t interacting like they normally would: I couldn’t help but feel frustrated.

Q: Which character in Railgun T piques your interest, and why?

A: In terms of characters I had interactions with: Baba, who’s unforgettable (lol) Not only was his performance great, but the animation of his facial expressions had quite the impact!

Q: Please tell us what you’re looking forward to, or what you’re anticipating in the second half of the series.

A: It’s not limited to only the second half of the series, but the fights between Espers are extremely cool so I’m looking forward to the battles as we head towards the climax of the story. From a personal point of view, I’ve always loved the exchanges between Kuroko and Mikoto so I’ll be looking out for that too!

Q: Lastly, please leave a message for the Railgun fans.

A: In the second half of the series there will plenty of breathtaking moments, powerful scenes and developments that you can’t afford to miss! Please continue to watch until the end!

Links
#1: Sato Rina (Misaka Mikoto)
#2: Arai Satomi (Shirai Kuroko)
#3: Toyosaki Aki (Uiharu Kazari)
#4: Ito Kanae (Saten Ruiko)
#5: Asakura Azumi (Shokuho Misaki)
#6: Sasaki Nozomi (Sisters)
#7: Kotobuki Minako (Kongo Mitsuko)