Animate Times’ Nichinare series continues with Taichi Yō, someone who I only started paying attention to after Prison School [Anzu], of all things. 2017 has been a pretty good year for Taichi with a clutch of major roles which may just lead to that major breakthrough I’ve been expecting to happen for these last 2-3 years.
Not only is Taichi a versatile actor, she’s also possesses one of the most powerful singing voices amongst seiyuu, something that became apparent through her performance of Gekitei. But it’s only been this year that she’s really been able to make good use of it through character songs and such. More to come in the future, fingers crossed.
Stage Name: Taichi Yō (大地 葉), real name unknown
DoB: 6 August 19xx
Hometown: Saitama
Agency: VIMS
Q: Please tell us about yourself.
A: My surname is read ‘Taichi’. Taichi Yō, the stage name I use, is derived from my nickname ‘Taichō’ [trans: Captain] so everybody – do please remember that I’m called ‘Taichō’. I have a positive personality and even if bad things happen and I feel down, I’d have forgotten about it by the next day – optimism is my virtue. People often tell me that ‘you’re so calm, aren’t you?’ but the truth is that I’m panicking inside and am inclined towards acting before I think, which means I end up repeating the same mistakes. My hobby is going to karaoke. I love singing anisong and Showa standards. Stuff like my personal 10 best songs and so on (laughs). I’m addicted to painting my own nails as well. I love Indian movies. They have this overriding image of being packed with singing and dancing but because of their lengthy running time, the makers can put more effort into portraying the characters’ emotions. The music is also distinctive and has interesting elements you don’t see in films from other countries – if you watch one, you’ll definitely get hooked. Give it a shot! My special skill is piano, which I learned from when I was 4 years old through to my first year of junior high. That musical experience has proved to be useful for my work now.
Q: How is it useful?
A: When you’re recording a song you’d usually listen to the melody before singing it, but since I read musical scores I can omit that part, shortening the process (laughs). I also write songs for fun so when I was working on an anime called Fune o Amu last year, I helped compose the insert song. Sound Director Nagasaki [Yukio]-san found out that my co-star Shibuya Azuki-chan and I could compose [music] and he requested that we help write the insert song and we came up with ‘Dictionary-making Song ~We are Jisho-tans~’. It was used for 4 episodes in total – it was a great honour, and an incredibly valuable experience.
Q: How do you spend your days off?
A: I like anime and games which is why I ended up in this industry – I’d been watching anime and playing games with like-minded friends, going to karaoke since my school days. When I’m not outdoors, I’ll be catching up on the anime that I’ve recorded.
Q: In Idol Time Pripara, which begain airing in April, you voice Nijiiro Nino. What was going through your mind when you found out you’d gotten the role?
A: Idol Time Pripara has always been a work that holds great meaning to me. My younger sister’s hooked on it and plays the games; now we watch the anime together, which helps to deepen my interest in and knowledge of [the series]. When I was informed about the auditions, I said to myself, ‘I must, absolutely nail this!’, feeling strongly that it was my duty. However, I felt nervous because I didn’t have any experience of the role of an idol singing and dancing on stage. The role I was cast in this time is a character that’s sporty, has a big voice and greets people in a unique way, saying ‘Chassu!’ or ‘Sharassu!’, someone who prefers to act rather than think – this is the kind of character I excel at, so it was easy for me to voice her. I was informed by phone that I had passed the audition and when the call ended, I cried floods of tears (laughs). To be honest, it was still hard for me to process the fact even as I sat in the recording studio. I think the first time it truly hit me was during the live performance in August, when I was standing up on stage looking at the audience.
Q: What would you say is the appeal of the series?
A: It’s loved by a wide range of people, from small children to students like my younger sister, as well as parents – I think it’s because the series and its characters are so radiant. The characters are cute and the screen is bursting with colourful hues. The songs too, are catchy and perfect for live performances; they do help to establish the unique worldview of Pripara. It’s something that anyone can admire – wouldn’t you wish to enter the world [of Pripara]? The live performance that the cast members take part in is a true entertainment show – we’ll do our best to create a great stage that lives up to the Pripara tradition, which a succession of our idol seniors has built up. Please cheer for Yui-chan and her friends, who are energetically & cheerfully working hard at Papara Inn to spread the word about Pripara.
Q: What are your impressions of your currently airing anime Zero kara Hajimeru Mahō no Shō?
A: It’s a classic fantasy story, I would say. The female characters, starting from the witch Zero, are cute. Then you have a half-beast, half-mercenary hero who’s striving to succeed in the story – it’s a work that’s both robust and dense. The differences between sorcery and magic are defined in detail; with such a solid base in place, it makes it easy [for me] to slip into its world when I’m working on my role. Mercenary may look like a beast but he gives off the vibe of a human being, while there’s Zero who may look cute and a little airheaded but is actually the most powerful witch around – those kinds of gaps make it interesting.
Q: What kind of character is Albus, whom you play?
A: She is an immature, youthful witch who desires the Mercenary’s head in order to strengthen her magical powers and is always on the lookout for a chance to strike him down. She’s just a child, yet she’s pretty obscene (laughs). But she seems to have a lot of secrets. I can’t say much right now, but she’s definitely one of the important characters (laughs). It’ll all be made clear in due time, so don’t miss finding out!
Q: Tell us about the highlights of this series.
A: I guess the gap between the aspects of each character’s personality? (laughs). The concept of the ‘Beastfallen’ is unusual too. The emotions such as the sorrow of Mercenary the Beastfallen, as well as the interactions between him and Zero are fascinating to see as well. Thirteen is another important character who shakes up the story. And this is my personal opinion, but I think Holdem will gain a lot of female fans. Since this is a fantasy story, it is only right to have magic and battles! Please look forward to spectacular scenes as the story progresses.
Q: And in Tsugumomo, you voice the role of Sumeragi Sunao – please tell us your impressions of the series, its highlights and more about Sunao.
A: This is a series where Kazuya the Exorcist and Kiriha the tsukumogami join forces to exorcise the evil spirits and yōkai that roam the world. It’s quite a serious story when you consider things like Kazuya’s past and his burdensome role, as well as Kiriha’s emotions; yet there are plenty of nice service scenes for the guys (laughs). We just recorded the drama CD that will come with the Blurays & DVDs – it’s quite something (laughs).
Q: Sunao is quite imposing, isn’t she?
A: Like Kazuya, she’s an Exorcist and is also the heir of the Sumeragi Swordfighting style. Using a form true to her swordsmanship skills, she attains the ability to fight against yōkai. She has an athletic personality, and her first encounter with Kazuya was quite spectacular. Oh yeah she’s another girl whose body moves faster than her brain does (laughs). She flares up pretty easily and screams a lot. Though she is more of a typical girl than you’d expect her to be. This is just my own interpretation, but I think Sunao is weaker against women than against men. She just finds it hard to be honest to herself. Even though her name Sunao means ‘obedience’ (laughs). The way her personality swings from one trait to another is pretty intense, and that makes her fun to play.
Q: What are the highlights of this series?
A: The yōkai that appear in front of Kazuya + co. are quite unique, so do pay attention to them. There are also other Exorcists and Tsukumogami besides Kazuya and Kiriha and each one of them has their own thoughts, backgrounds, relationships and connections. You can enjoy the show in many ways – imagine yourself in the shoes of Kazuya, watching the cuteness of the characters; or you could enjoy the depth of the plot as well. Also, I’d be grateful if you could pay attention to Sunao’s various expressions and the cuteness that she tries to hide, only occasionally allowing to show through.
Q: Let’s talk about your summer shows. First of all, Mahoujin Guruguru.
A: I’d read the original manga and loved it. When I was in elementary school, I’d borrowed it from a friend to read but got so hooked that I bought my own copies. To appear in a series that I’d loved reading, which also happens to be a popular title that has been adapted into anime a few times, brings me both pleasure and pressure. Creating my own version of Juju, passing the auditions and standing in front of the mic now, made it clear to me that I’d ‘found the right answer’ and I remind myself of that fact as I go into recording. It’s a series packed with adventure, magic, battles and comical scenes – the gags are sharp and the studio is a fun place to work. Before the actual recording we do a round of tests first but we just can’t stop laughing – you can hear people sniggering behind you (laughs). I do think the impression that the manga gives off is the same as what goes on in the studio, which is what makes it possible for us to work on the show in a good environment.
Q: What kind of character is Juju ku Shunamuru?
A: Normally, she’s a silent girl who observes proceedings dispassionately and calmly, but when she enters a battle trance her behaviour will get a little extreme. Amongst all the characters that I’ve voiced thus far, she might just be the one who swings the most between two extremes. Recoding is tough for me since I have to go from -100 to +100 on the voltmeter.
Q: What are the highlights and things to keep an eye out for in this series?
A: This is a title that has been loved for so long because it can be enjoyed regardless of age or sex. Those who are encountering the series for the first time through this anime will find it refreshing to watch, while fans of the original manga, like me, will feel a sense of nostalgia. The series does give off the impression that you should cherish the work as a whole; we cast members too, through our performances, try to uphold the image of the anime’s art and as well as the original work. At the same time, [this remake] has been updated to reflect modern-day tastes and I hope that you will be able to enjoy those changes as well.
Q: Please acquaint us with Princess Principal, which also starts this summer.
A: Those who have seen the PV on the official site would know that is a spy story, with a 19th century London feel to it. You’d also be aware about the worldview of the series, as well as the amazing visuals and music, all of which are raising expectations for the series. Though it is a show with many female characters, I do feel that it will be very popular with the girls too since it is incredibly cool. The country is split into East and West, and the setting is that we have these girls who are normally high-school students but are actually involved in spy activities, though I can’t elaborate on that too much right now…Do check out the information on the official website as often as possible, before the show goes on air.
Q: You play Dorothy – we are curious as to what kind of character she is.
A: She’s one of the partners of Ange, the main character, where [her role] is to draw up strategies and give instructions to other characters – I guess that makes her slightly higher in rank than some of the others? She’s a level-headed, sexy older-sister kind of character…or so she pretends to be. In truth, she’s pure at heart. Definitely the type of girl that guys would like. It’s my first time playing such a sexy role and I went all out during the auditions, but it was a huge task for me to pull something different like that out of my arsenal (laughs). It’s new ground for me so I’m enjoying the recording sessions, with various plans of ‘how to approach the role’ running through my head. I’d be glad if, when you watch the show on air, you’ll see Dorothy and think ‘Wow, [Taichi Yō] can do such a character too!’. Over the course of this interview I’ve started to notice that I’ve been voicing these characters that have ‘gaps’ between two aspects of their personalities – I hope everyone gets turned on by these gaps (laughs).
Q: It’s pretty amazing to feature as a regular cast member in 5 shows over the spring and summer.
A: I’m honestly puzzled as it’s never happened to me before. One of my agency staff members commented that it was just a ‘lucky run’* (laughs). I’m happy that amongst all these roles, none of them are similar to each other in type. I’d always thought that my voice didn’t have any defining features to it so it was my hope that [my versatility] could be used as a weapon – it’s an ideal situation for me that I’ve reached this stage, getting to play various kinds of roles in various kinds of anime. I do think that it’s important to keep this [run] going, and I’ll do my best so that people won’t say that I ‘got lucky’.
*phrase used here is kakuhen (確変, short for 確率変動 kakuhen hendō) is a random number-generated pachinko system where a certain % of possible jackpots on a digital slot machine results in the multiplication of the odds of hitting the next jackpot, followed by an additional spin. This makes it possible for a player to achieve a string of consecutive jackpots after the first and is commonly referred to as ‘fever mode’
Q: Please tell us why you wanted to be a seiyuu.
A: I fell in love with anime when I was in fifth grade, but it wasn’t until I was in my 1st or 2nd year of junior high that I came to recognize the seiyuu profession – I learned about it because of seiyuu who performed character songs. However, I was only watching anime for fun and I’d never thought about becoming a seiyuu. I was in my third year of high school and everyone around me was deciding whether to go on to college or to get a job, while I was stuck there without any objective. The only thing I liked was singing, so for a period of time I hoped to make a living from singing – I did some research and went for auditions but nothing came out of them. I never gave up despite my future remaining uncertain, but once we moved into graduation season I started panicking, thinking ‘This is bad’. It suddenly occurred to me that I liked anime; therefore I should aim to be a seiyuu. I looked it up, decided to apply to enrol into Nichinare and found out that the deadline was just around the corner – I remember making the cut right at the death after I sent off my application by express courier.
Q: Yours is an unusual case, compared to those who’ve been interviewed for this feature up ‘til now (laughs). How did your parents react to that?
A: My parents knew I wanted to sing so they’d more or less supported me up ‘til then and I’d promised them that if I couldn’t produce any results, I’d study properly, go to college and get a job…but I couldn’t keep up with my end of the bargain. I was told to leave home if I still hadn’t done anything by April. When I informed them that I wished to go to training school, they had ‘You’re joking!’ written all over their faces but in the end, they were able to accept it and said, ‘Try it out and see…but only for 2 years’. If I didn’t produce any results within 2 years, I would give up on the seiyuu path and take my studies seriously. Having the pressure of that 2-year limit meant I worked diligently, which I think was a good thing.
Q: Why did you choose Nichinare?
A: This is going to sound like a cheap reason but basically I just searched ‘become seiyuu’ on the web and that’s what came out on top (laughs). Obviously I did look into other training and vocational schools but when I saw the Nichinare alumni list, there were amazing people like Hayashibara Megumi on it. Such a track record gave me a sense of security; that [Nichinare] would be alright. Also, the low tuition fees were a decisive factor. I knew I had to enrol as soon as possible, plus I needed to earn money to pay the fees off myself. I also had no prior acting experience, which meant I couldn’t go to certain training schools that required at least a year of experience performing – in that way, Nichinare was a lifesaver for me since it has no such conditions or constraints.
Q: How many days of Nichinare’s basic course did you attend per week?
A: I took the 3-a week course. My dancing is really hideous – I’m bad at sports. Ironic that I’m voicing characters that are sporty or good at dancing (laughs). In addition to acting classes, there were vocal and dance lessons during the 3-a week course so I thought I’d be able to tackle my inability to dance. Still, it was tough.
Q: That’s unexpected since you should, in theory, have a good sense of rhythm.
A: It doesn’t extend to my body. But if it wasn’t for those dance lessons, I might’ve been crushed by the pressure of doing Idol Time Pripara (laughs)
Q: You probably had classmates who felt strong desire to become a seiyuu, or some who had acting experience. Did you not feel daunted by that?
A: I was the heretic amongst a large group of people who had wanted to become seiyuu for many years (laughs). The sparkle in their eyes and their industry was extraordinary – the moment I entered, I knew I had to take this seriously and braced myself. As I studied, I started to fall in love with acting. I learned the depth that a seiyuu possesses, and my desire to become one grew stronger and stronger. Those around me helped me out, and I received motivation.
Q: What kind of things did you learn on the basic course?
A: On the basic course, the emphasis is not on standing in front of the microphone, but on performing while utilizing your entire body. I did feel doubtful at first, wondering ‘do we really need to use our bodies to act?’. Once I actually experienced moving my body around, learning about ‘the perception of distance’ that is hard to imagine when you’re standing at the mic and how to vocalize when making certain movements – all this helped me to easily visualize [situations] as I was acting, something that I came to realize as I took part in recordings. If you’re performing without a partner, in a world without movement, your acting could only turn out to be thin and flat. To produce something that’s three-dimensional you need a partner, and you need to move your body – that is what I’ve learned. I understand the desire to stand before the microphone as quickly as possible but I also learned things that are even more important, basics that I had to equip myself with.
Q: You were aiming to be a singer before you enrolled – were [your skills] useful for aspects like vocalization?
A: Before I enrolled I was [learning singing] by self-study so I was concerned. ‘Is there a better way to do this?’ At Nichinare, I was taught the fundamentals, starting from how to produce long tones – by doing this, I was able to re-examine the way I expressed my voice. I also believe that [Nichinare] is an absolute plus for anyone who fears doing anything in public. I wasn’t good at it before but I have managed to overcome it.
Q: How did you spend your time outside of lessons?
A: I had to pay my own tuition fees so I worked part-time. Of course, I also did self-training, especially in dance. If I didn’t do it continuously I’d soon forget & wouldn’t be able to get it down pat. I’d also practise acting with my body at home. During the basic course, my lecturer taught me this: start a live commentary about whatever you see the moment you enter a room – I was told that ‘it will help polish your ad-libs and ripostes’, so I did it every day. I’m the type of person who finds it hard to promote myself or to do a free-talk, so the basic course lessons equipped me with quick reflexes and the ability to ad-lib.
Q: You stepped up to the regular course after 1 year on the basic course – what did you learn there?
A: What I learned on the regular course was the importance of being natural. There were lessons where we’d have to memorize scripts that were similar to live-action dramas and perform plays based on them – at first I did not understand why this was required. Once I had joined my agency and was being sent out for auditions, I often received instructions to ‘make it sound as natural as possible’. ‘Loosen up your body and don’t think about having to open your mouth – let me hear how you speak in a natural manner’. It’s easier when you’re told to sound ‘like someone’; instead, it’s difficult when you’re not asked to sound like anything in particular. I was able to deal with it because I was taught how to, but I suppose there will be a lot of people out of there who’ll be left confused. The regular course was what made me realize the different between acting and speaking. Indeed, I get better results and tend to pass auditions where the order is to ‘sound natural’ – I learnt so much from [the regular course] and for that I am grateful.
Q: By the way – when did you join VIMS?
A: Within the 1 year after I completed the basic course. I had that 2-year time limit at the back of my mind so my heart was completely unprepared even as I was signed up by the agency. However, as I didn’t take any mic lessons until I was in [VIMS’] training department following the completion of the regular course, my first experience in front of a mic was sudden – in a studio recording. I was quite resourceful and somehow managed to produce what was required (laughs)
Q: What was your debut anime work?
A: Tonari no Kaibutsu-kun. Following that, my first regular role was on Love Lab. When I went to the studio for the first time, I saw the cast list filled with many great seniors and I was filled with great nerves, thinking ‘I can’t afford to mess up’, but when I was there, they were all very kind to me. For example, there was a senior* who was also a Nichinare grad, and she turned to me & another rookie seiyuu and said, ‘[We’re] going to the radio show’s recording now so do come over to observe & learn’.
*looking at the cast, this is quite likely referring to Sakura Ayane…?
Q: It’s amazing, that your 2nd role was as a regular cast member.
A: The pressure was big. My co-stars were already familiar and friendly with each other, and I was worried about how I’d fit in. However, I was close to many of the main cast members in age and we got along quite well in that sense. I was treated like family both in and out of the studio and they even held a birthday party for me. They bridged the distance between us very well and though I was a bit awkward at first, I warmed up naturally and we were able to work together to make a good show – I was blessed that my first regular role had such a [great] environment.
Q: What did you learn during your lessons that you still find useful even now?
A: To have the courage to perform in public. In Nichinare, they have something called ‘promotion examinations’ once a year which is taken by both those who already have agencies and those who don’t. You’ll be given tasks during the examination, which you have to show off in front of an audience. Up ‘til then, I’d always hated doing things in public and found it hard to conquer my embarrassment, but thanks to this experience I managed to develop nerves of steel. Even if I have the chance to speak in public now, I am no longer scared.
Q: Tell us once again, about the appeal of Nichinare.
A: I’d say ‘taking lessons with your classmates’. There are some people who prefer to concentrate on learning through individual lessons but I feel that this narrows their perspective and their world. One thing I learned from the 4 years I spent at Nichinare, is that I receive a lot of inspiration from people around me. There would always be someone in my class who has the ability to do things that I can’t – it does get frustrating seeing that sometimes, filling me with regret. But it’s also likely that I wouldn’t even have noticed [my shortfalls] if I had never met said person. The more people there are, the more different personalities there will be – it’s a good opportunity for me to acquire more ‘abilities’. I tend to lock myself up at home (laughs), so it’s an asset for me to be able to grow alongside others who are working hard, aiming for the same goal. Our bond deepens when we learn together – it’s also a nice thing when we meet each other in the studio now & encourage each other to do our best.
Q: Please tell us about your future goals, and what kind of seiyuu you’d like to become.
A: I mentioned this in the earlier part (of the interview) – I’m someone who doesn’t have any discerning features in their voice, so for a period of time I was worried, thinking ‘What kind of weapons do I possess?’. However, I gradually came to the conclusion that ‘it could be a strength of mine to become a seiyuu who isn’t stained by any particular colour’. I believe that my career will persist longer if I can become a seiyuu who can ‘win’ by sound, key and colour. I want to become a ‘multi-purpose’ seiyuu, and I mean that in a good way.
Q: Please give some advice, and leave a message for those who are aiming to become seiyuu.
A: To become a seiyuu, ability is obviously essential but luck is just as important. You’ll never know if a chance encounter or trivial plans could lead to something greater so do remember to cherish every encounter, thinking of each as your one chance in a lifetime. Also, know that everything you do in your daily life is never a waste. Prick up your ears and listen and absorb everything you hear, from day-to-day conversations to the sound of the TV. Regardless of the reasons I wanted to become a seiyuu, the effort I put in once I made that decision was not a lie – I can proudly say that I gave my best. If you have a goal then you should tackle it head on, but you must also set limits. If I didn’t give myself that deadline then I’d probably be lazing about or dragging my feet around, so if you set a target and get to a point where you can say assertively that ‘I worked hard from here to there’, it will give you great confidence in the future whether or not you manage to become a seiyuu. Do your best!
Seiyuu+ 
Thank you as always for the translations. I’m really happy for her that she’s been getting a good amount of roles. I didn’t think too much about her during Love Lab, but holy cow has she blown me away lately. And her range feels comfortable and not at all strained. Although, I do prefer her to use a pitch that allows her voice to vibrate to create that smoothness (close to Kaida Yuuko or Shimizu Kaori) that few seiyuu can reproduce.
As for her looks (the other important thing for seiyuu amirite?), I hope that she does something like Yukinco and changes her hair to open up her face a bit more. The wind-blowing shot in the animate gravure is really cute.
It was certainly fun to read about her half-boiled start and I can’t help but wonder whether her closing remarks are directed at some previous Nichinare classmates who started out with more motivation but haven’t broken through or gave up along the way.