Next up in Animate Times’ Nichinare series is Hondo Kaede, the girl with the best shirts in the seiyuu industry who’s having a whale of a 2018 so far – you can catch her headlining MAPPA’s new show Zombieland Saga right now!
(Ps. I confess… this post has been in situ for almost a year now just ‘cos I’m lazy and couldn’t be bothered to proofread & edit 10 pages’ worth of text ;;; perhaps I really should get someone to help me w)
Part 1
Q: Please tell us about yourself.
A: People call me by all sorts of things like ‘Ede-chan’, a name that was given to me by one of my high school seniors, ‘Pon’, something that only 1 particular senior called me, or even just by my surname or first name. Lately, I’ve grown rather fond of red wine and have developed a taste for sake as well. I’m hoping to become a mature woman (laughs). I sleep very well on my days off. Occasionally, it would already be evening or night before I even notice the time and I find myself thinking, “What shall I do?”. My strength is my positivity. In hindsight, I’ve come to realize that many things were possible (for me) thanks to the fact that I am a positive person. I guess my weakness is that I’m very frank?
A hobby that I picked up some time ago is playing acoustic guitar. When I served as the monthly assistant for Washizaki Takeshi’s Yoru Night x Yoru Night radio show, I thought Washizaki-san looked so cool showing off his acoustic guitar skills and I spontaneously thought, ‘I want to do that too! I’ll buy one ASAP!’. I ended up getting a guitar the following week and have been learning ever since. But my fingers can’t seem to form the chords at all and I’m seething with frustration sometimes (laughs)
Q: Maybe you get bored of things too easily? (laugh)
A: Yeah I give up on things easily (laughs). I’m quick to try my hand at anything I’m curious about that seems fun but the minute I think ‘nah it’s not quite my thing’, I’d stop doing it.
Q: Conversely, is there anything that you have done over a long period of time?
A: That would be acting. I joined the theatre club in my first year of high school, thought ‘This is fun!’ and for the first time, saw something through for 3 years right to the end. Up ‘til then I’d dipped in and out of basketball, track and field, swimming, music, soft tennis and softball.
Q: You seem to be good at all the sporty stuff.
A: I had poor motor skills (laughs). I’d get all enthusiastic about something, thinking ‘I’ll get better at it’ but I never did. When I stopped finding them fun I would ponder ‘There must be something out there that suits me better’ and end up joining some other club, but the same process would repeat and I’d quit again – until I found the theatre club. To be fair, I did do a lot of long-endurance running when I was in the track and field club so I might be good at that. The only other thing I’ve continued doing for a long time is trying out different ramen places.
Q: What kind of ramen do you like?
A: The famous spicy Hokkyoku [Arctic] Ramen from Mōkotanmen Nakamoto. When I visited the shop for the first time, Hokkyoku ramen was what I ate, and the only other items I’ve tried there since are the chilled miso ramen and the Hokkyoku Volcano ramen.
Q: The basic Mōkotanmen is already painful; you had to take the challenge of something beyond that (laughs)
A: I like spicy things. I can go for a karaoke session with friends right after eating a bowl of Hokkyoku ramen, no problem. It seems to give me extra strength (laughs). I generally like foods that have different degrees of spiciness; it’s not limited to ramen. Back in my high school days, I once used up 2 bottles of Tabasco on a plate of pasta. Nowadays I’ve moved on from Tabasco to Death Sauce.
Q: Let’s talk about the shows you’re appearing in now. First of all, you play the main character Minoa in Anime-Gataris, which started airing in October [2017]. Tell us your thoughts about the series.
A: There was originally an anime short called Anime-gatari, produced as part of the Shinjuku Animation Project. It ran during intermissions in anime theatrical screenings, and Anime-Gataris is an original anime project that brings together the characters from that short. The story is set against the backdrop of a high school animation research department and Asagaya Minoa, the character I play, is the one who sets up the club despite lacking knowledge of anime. As a result she tends to be easily swayed by the otaku around her even as learns about anime from them. Those who have already watched it will know what I’m talking about, but it’s a truly chaotic show. You have an anime that’s ‘talking about anime’ and ‘depicting anime’ –I’m always thinking how much this series is having fun playing around with its subject matter. The show walks a pretty fine line sometimes, but it pays respect and homage to various different works throughout. People who love anime can enjoy poking fun at the show – you can watch it alone or even better, liven things up by watching with friends. Those who aren’t familiar with anime can put themselves in Minoa’s shoes and learn alongside her – it’s a show I can recommend to anime newcomers. The other characters besides Minoa are very colourful types. It makes me jealous (laughs)
Q: Initially, the series revolves around the relaxing, happy days of the Anime Research Society but I see the PV on the official site warns viewers that ‘[the characters] inadvertently destroyed the world’ – that just makes me curious and anxious.
A: The world ends up in quite the pickle. It’s Minoa’s fault. I’m sorry (laughs). It starts off with her trying to avert the crisis [of the club] being abolished but what happens from then onwards is just pure chaos. The run up to the ending makes it feel almost like a completely different show compared to what you were watching in episode 1. The hint might perhaps, lie in the phrase ‘when normalcy disappears from normal life’? Don’t forget to find out what happens!
Q: The 3 main characters are also tasked with performing the ED theme ‘Good Luck Lilac’. It’s a cute, catchy idol-like pop song.
A: Minoa, Arisu (CV: Senbongi Sayaka) and Miko (CV: Tojo Hisako) form a unit called GATALIS to perform the song. After the anime’s over, they dress up as idols on stage and you see 3D models dancing full of energy. The ED is actually linked to the content of the anime as well. Those who watch the show might think ‘Ah, so the ED was referring to this part’. The song lyrics do reference quite a few things so it’d be great if you tried to remember them.
Q: It’s a show that never lets its guard down.
A: Yeah it doesn’t give the viewers any room to breathe at all; it’s a show that moves at such a quick tempo, throwing one thing after another at you. There’s a lot going on in terms of the animation and the dialogue that keeps things fresh, with plenty of ideas and fun stuff in the mix – the deeper you move into the show, the more entertaining it gets. A lot of love and passion has gone into this series so I hope people will give it a go. Do please anticipate the developments ahead as well as the conclusion that awaits you.
Q: Kamisama Minarai Himitsu no Cocotama (where you play the role of Yotsuba Kokoro) started airing in October 2015 and is now approaching its 3rd year.
A: It’s the first show that I passed an audition for – I signed up with my agency in April and took the audition at the end of May, so my first encounter with Kokoro-chan came fairly early on. At the beginning I was very much concerned over whether I’d be able to sustain the character’s voice over the course of an episode’s recording. Looking back on the first 2 episodes you can hear the innocence and rawness in my performance but nowadays, I think Kokoro-chan’s ingrained within me, and I mean that in a good way.
Q: You do play a 5th-year elementary student, so perhaps that innocence may have worked in your favour?
A: Perhaps it brought a sense of realism to the role. But fans do call Kokoro-chan things like High Angel Kokoro and Bodhisattva (laughs). She’s such a big-hearted person that you’d find it hard to believe that she’s just a 5th grader. Cocotamas, creatures that are serving their apprenticeships as gods, live with her and behave as you’d expect them to, twisting Kokoro around their little fingers. The longer I do this show the more motherly I feel towards them and that kind of seeps into my acting, to the point where the sound director has to tell me, ‘It’d be better if you sounded a bit purer’. So I have to suppress my overflowing maternal instincts in order to maintain the purity of a 5th grader (laughs). Also, it’s a show that lots of young kids watch so I have to make sure that my performance is easy on the ears, easy to comprehend and that the message gets across. Children have good instincts so I have to act straight from the heart, so that they won’t think that [my performance] comes off as sounding fake.
Q: Cocotamas are gods, or spirits born from objects whose owners have taken care of with love, so watching the show helps to cultivate one’s desire to cherish things [that you own].
A: I do feel that too. There are a lot of staff members working on the show in the studio and sometimes, they’ll mention how they receive letters saying things like ‘my child has started to help around the house recently’ or ‘[my child] is taking care of their things now’ and it does make me realize how an anime can help influence children in a positive way. This is a work that can be enjoyed by both the young and the old, and I take great pride in being involved with it.
Q: Where do you think the charm lies in this much-loved, long-running series?
A: The thematic aspects. Two of the major themes are to ‘cherish what you own’ and to ‘cherish your friends’ – these are two aspects that the cast and staff respect. All of us are working with the knowledge that we all have a lot of love for Cocotama, and I hope that these feelings are transmitted to our audience as well. It’s a wonderful series that I wish would continue running forever and I’m giving my best towards making that happen.
Q: Let’s move on to talk about Toji no Miko, which starts airing in January 2018. What kind of series is it?
A: It’s a show that depicts youth; the growth and battles of a group of girls who are attending schools that train them up as Toji, sword-wielding shrine maidens, to fight against creatures known as Aradama. The swords that they wield are real katana, each with its own unique special abilities and techniques. There are 5 training schools throughout the country that have their own set of cute girls with distinct personalities, and they are all equally as strong as the other. There may be fun, everyday scenes but at the same time, you have battles that are incredibly intense. The fighting scenes are so stylish to the point where we kept being directed to ‘not be so conscious of acting cute, and to be serious and go all-out in battle’. You can feel the contrast between those two aspects.
Q: What type of character is the heroine Kanami, whom you play? Are there any aspects that you take particular care with when acting out the role?
A: Kanami is a character who’s bright and positive, with swordsmanship formidable enough to enable her to become a school representative during her junior high school days. On top of that, she is always desperately training and doing drills to improve her skills. During the audition phase, Kanami was the only role I tried out for – I found her easy to play and I’m having fun in recordings right now as well. My first impression of her was that she’s an unpretentious girl who gets along with everybody and loves polishing her sword skills – I try to be careful with how she expresses her feelings in a honest way. There were scenes when I got a little overexcited and I had to be told not to get too fired up and to keep it cool (laughs). We record our lines accompanied by the animation/CG and the Aradama can be big and powerful, making them quite scary. Sometimes I get worried, thinking ‘Can I really beat them?’ but I feel reasssured, knowing that I’m taking them on alongside Kanami-chan.
Q: 6 of the characters, including Kanami, perform the opening and ending themes.
A: Kanami, Hiyori (CV: Onishi Saori), Mai (CV: Waki Azumi), Sayaka (CV: Kino Hina), Kaoru (CV: Matsuda Risae) and Eren (Suzuki Eri) perform the songs. The opening theme ‘Save you Save me’ is a cool song that represents the girls in battle, with the sound resembling a strong attack. The ending theme Kokoro no Memoria is the complete opposite of the opening; it’s a relaxing song that illustrates the cuteness of these junior high school girls and their daily lives. Please look forward to seeing them on air!
Q: Once again, tell us about the highlights of this series.
A: It’s rare to see a 2-cour original series – I’m honoured to have the opportunity to participate in such an ambitious work. It has plenty of charms – from the blistering pace of the story right from the beginning combined with the intense battles and the cute and unique characters, to the more serious and brutal aspects [of the show]; it really strikes at my heart. The cast members are doing their best in pursuit of authenticity. I’d be glad if you could find a character to like, so that you can cheer them on or empathize with them as you watch the show. It’d be great if you developed an interest in swords or history as a result of watching the anime as well. Also, there’ll be a smartphone game. There will be another main girl within in the game as well, and the battles have realistic CG with smooth animation that allows you to feel immersed in the fighting. Do enjoy all these elements together.
Part 2
Q: When did you become aware that there was a profession called ‘seiyuu’?
A: It was back in junior high, when I bought a radio-style CD featuring the voice of a character from an anime that I’d been watching for a while. That was vaguely, the first time I thought, ‘so this is what a seiyuu is’. It was only in high school that I got to know about [seiyuu]. When I joined the theatre club, I found that many of my seniors were attending Nichinare. Most of my friends from Nagoya who were hoping to become seiyuu all went to Nichinare, and they’d tell me things like ‘Nichinare is a place where you aim to become a seiyuu; it’s a job where you can be in an anime’. That was the moment that I became aware of the seiyuu profession.
Q: Did you always like anime?
A: I love Naruto, to the point where I can say that it’s the only show I watched. The manga, the anime, the movies, the CDs – I devoured all of them. I loved the Naruto characters way too much; I’d always thought ‘Ahh, I wish I could have a chat with this or that character’. If I were to be a seiyuu, I could delve into the world of anime and use ninjutsu. That led me to the conclusion that ‘I should become a seiyuu’. I’d record myself doing imitations and let my younger brother listen to them.
Q: So that may have been the motivation, the origins behind your [desire] to become a seiyuu.
A: That may be right. I was confident in myself, but stopped in my tracks when my brother said ‘it’s you isn’t it, sis?’ (laughs)
Q: Why did you join the theatre club in high school?
A: When I was on a field trip when I was in the 5th grade, an elderly lady came up to me and said ‘You have a face that would look good with makeup’. I’d always thought ‘cosmetics’ were something only actresses and models used, and I ended up going for a series of auditions. It wasn’t just voice acting though; I tried out for drama and modelling auditions as well but since I had no understanding of makeup or fashion, it was obvious that I’d fail them all. The disappointments grew, as did my increasing desire to express myself in front of an audience. It was at that moment that I got into Naruto and I realized that acting was another possible avenue for ‘expression’. However, there weren’t any opportunities for me to get involved with acting in my immediate vicinity, so I searched and applied for a high school that had a theatre club in order to create an environment where I could perform on a daily basis.
Q: It’s surprising to hear that quite a few of your theatre club members also joined Nichinare.
A: The theatre club is a place where students who wish to pursue acting would naturally gather. But the number [of people who joined Nichinare] was extraordinary. A 3rd year senior whom I greatly respected was also a Nichinare student – when I was a freshman, I would have the tendency to close my eyes whenever I performed on stage. [My senior] said to me, ‘It’s fine to close your eyes, but if you were to open them, you would realize that you’re not utilizing the whole stage. Don’t you think that you should be moving around more?’. It was from that point onwards that I started taking acting seriously. Obviously I enjoyed the acting parts of a play, but I also loved the script-reading process and it occurred to me that that is what seiyuu do. Just then, a club member who was in the same year said to me ‘I’d like to go to Nichinare but it’d be lonely to attend by myself – would you like to go together?’. I thought ‘why not give it a shot?’ and hurriedly took on part-time jobs so that I could save up enough money to apply for Nichinare.
Q: That was a quick decision. What course did you choose?
A: The weekly class. There was only that one course at the time, and my lessons were on weekends.
Q: What were your impressions upon admission?
A: What surprised me first of all, was the age range of the students – you had high school students all the way up to those in their 30s. There weren’t any age-related hierarchies so we could learn alongside people of various ages – the older students would teach us younger ones many things and they would make many new discoveries of their own; it was nice to be able to work together and learn from each other. Before I signed up, I had this image that [all we’d do] is read scripts in front of a microphone but when I started attending classes, I found out that we would be taught starting from the proper foundations. That was incredibly important, and it wouldn’t be an exaggeration to say that the me of today wouldn’t exist without having built upon the right foundations. The instructor who lectured us during the basic course is a stage actor by trade, and they’d teach us how to utilize our bodies through stretching exercises etc. As a seiyuu, it’s also imperative not to create ‘noise’ in front of the mic so we had to learn how to play our roles without excessive body motion – the stage lessons taught us how to use our muscles and so on.
Q: Would that have been easy for you to handle, since you had the experience of being in a theatre club?
A: I have difficulty memorizing things and could not remember my lines at all so I was often scolded (laughs). However, being able to balance both Nichinare and the theatre club meant that I spent my days feeling fulfilled. I had been taught some of the basics of vocalization etc when I was in the theatre club but those aspects were easier to comprehend in Nichinare with the aid of visual guides.
Q: Which lessons left an impression upon you?
A: The 2nd year of the regular course would focus on stage performances before we’d migrate to microphone work as part of the training class, but my 3rd year instructor was someone who worked as a radio show host and recorded train station announcements so all of a sudden, we were expected to work with the mic. Rather than studio recording, it involved more of voice dramas and other speech-centric methods and I became deeply aware of how tough it was to express myself solely using my voice. The instructor would say, ‘Please look for ways to present yourselves, think of your special skills and unique selling points’. What really helped me at that point was when he took the trouble to teach me how to create my own voice sample. I was grateful that he was so earnest in his teachings about the differences in vocal colour and voice quality – how one could be good or bad, or be suited or unsuited for something in particular depending on the individual. The Nichinare instructors are all very warm people.
Q: I’ve heard that during auditions, people tend to perform what they’re fond of rather than what they’re good at.
A: It’s all about supply and demand, isn’t it? I’d always wanted to do little girls’ voices. I thought that I’d like to act selfish and throw tantrums, but when I started working and came across such roles ie someone’s little sister, I was never asked to audition for them. I was mostly asked to try out for junior or high school characters and at the beginning I struggled to realistically portray a child.
Q: Can you outline how you progressed through the basic course?
A: I spent 1 year in the basic course, 1 year in the regular course and after 2 years in the training course I gained admission to my agency. There are progress reviews when you move up through the courses – not only are you being evaluated by the instructors who teach you on a daily basis, but you also have to ‘sell’ yourself to the agency managers that are present – it’s extremely nerve-wracking and scary. I recall being extremely happy just to be able to go on to the regular course.
Q: You progressed up to the regular course in your 3rd year of high school, which is right around the period when you’d have to think about your future career path.
A: I was really impatient, wasn’t I? I lived in Nagoya, so I thought it’d be nice if I was able to get into an agency while I was doing the regular course, just in time for me to able to move to Tokyo. But those hopes did not become reality so I discussed with my parents about whether I should go on to tertiary education or move to Tokyo. I thought about transferring to the Yoyogi branch [of Nichinare] while attending acting college and I actually attended an open day with that intention, but my parents opposed the idea. So I asked my parents, ‘If I manage to gain admission to an agency or start getting job offers, can I move to Tokyo?’ and they said ‘Yes’, so I applied to a college in Nagoya and passed the exams.
Q: It must’ve been hard to study for your entrance exams and attend Nichinare lessons simultaneously.
A: I only started studying for my entrance exams in October*…. Ah well, things turned out alright anyway (laughs)
*college entrance exams typically take place in January/February
Q: Being in the theatre club throughout your 3 years of high school and attending Nichinare from your 2nd year onwards – having exams added on top of that must’ve made life really busy?
A: I didn’t actually feel that it was that busy. It actually felt fun since I loved anything related to performing.
Q: So when you were on the training course and prior to your agency admission, you were attending college as well.
A: It was towards the end of my freshman year in college – I was really happy and relieved when my acceptance was confirmed. ‘Finally, I’m standing at the start line and now have the chance to convince my parents’. Before I joined the agency however, in association with Nichinare I’d voiced a mascot character for Nagoya Gakuin University’s Project 758 and I was able to inform my parents about that. And they said to me ‘you can move to Tokyo now’. I’d been given the green light, so I started saving money for that purpose.
Q: As you had hoped for, you were accepted into I’m Enterprise and then moved to Tokyo. And you made your debut within the same year.
A: Denpa Kyōshi is the first anime that I was in that was broadcast on TV, but my first experience of recording in a studio was actually for Aoharu x Kikanjū – my one line was ‘That was cool’. My seat was next to my agency senior Ayase Yu’s, and she kindly explained anything that I was unfamiliar with and really helped me out. It was my first time in front of a mic and I was just doing my best to avoid bumping into my seniors and thinking about how to recite my line without making any noise – apart from that my mind was completely blank.
Q: In the same year, you were a regular cast member in Himitsu no Cocotama and Fushigi na Somera-chan.
A: Both were roles that I auditioned for and I was surprised when I was selected. When my manager called to inform me of the news, I was so happy that I started crying.
Q: Were you worried about landing such big roles right after your debut?
A: Honestly, I was scared. ‘What if this was to be my peak as a seiyuu, and what came after would be a roller coaster making a sharp descent?’ – that was what was on my mind. But I do think that there’s a thrill in not knowing what lies ahead. Though it’s scary (laughs)
Q: And you’re still voicing one of those roles at the moment – that’s amazing.
A: In Cocotama, the actors voicing the Cocotamas around Kokoro-chan are all veterans; even the guests are esteemed names. These 3 years have given me the chance to study my seniors; how they treasure their characterizations, performing in their hearts. It was fun to think that I could use the knowledge that I gained from Cocotama and Somera-chan towards other roles that I would audition for in the future.
Q: You continued on the training course even after joining your agency.
A: The system allows us to continue training even after being accepted into the agency and I am grateful for that. I spent the 1st year after I joined [I’m Ent] at the Yoyogi school that I had long admired, with Artsvision’s Hayamizu Risa-san teaching us about studio recording and foreign language dubbing.
Q: Were the lessons useful?
A: All of them proved to be useful but I’d say that my decision to start from the basics by performing in the theatre club was not a mistake. People who are aiming to become seiyuu generally want to start acting in front of a mic as soon as they possibly can but I came to realize that it’s impossible to use your voice to act unless you understand how to project your voice from your body. I learned how remarkably difficult it was when I worked on drama CDs and recitals that weren’t accompanied by visuals. Also I was really grateful that I managed to work out my USP during my 3rd year in the training course. To be able to talk about my own strengths in public, to have the courage to appeal to people – it was a challenge often filled with embarrassment and vulnerability, but because I was allowed to keep trying, I arrived at a stage where I could take pride in my own abilities.
Q: Having experienced studying at Nichinare, what do you think are its merits?
A: First of all, the school building is in a well-accessible area. The Nagoya school had its own building where I studied and it’s fair to say that I wouldn’t be who I am today without Nichinare. The tuition fees too, are reasonable enough for students to be able to cover by themselves if they do part-time jobs. Thanks to that, the age range of the group is quite wide. There are classes for junior seiyuu as well so you can join even when you’re in primary school, plus it’s easy for adults and working people to take up a course as well – lots of opportunities are available. The instructors are all very earnest in their teaching; they’re all experts in their respective fields so I’m grateful to have taken part in their lessons based on actual experience. The instructors would also do demonstrations and attentively guide those who were newcomers to acting. They were strict at times, but also passionate.
Q: Many Nichinare graduates go on to become professionals – is there a high probability of meeting alumni whatever recording studio you go to?
A: There really are so many of us. You’ll often hear things like, ‘He’s from Nichinare…oh so’s she!’. You meet alumni wherever you go; the school does produce so many active seiyuu every year. It’s both amazing and provides reassurance for me in the studio as well. When you meet a fellow Nichinare graduate it helps to kickstart a conversation, be an opportunity to communicate and helps people to get closer.
Q: Tell us about the seiyuu you admire, any future goals you have, and what kind of seiyuu you would like to become?
A: There are so many seniors that I admire but I’d like to mention two whom I worked with recently on Demi-chan wa Kataritai – Suwabe Junichi-san and Hikasa Yoko-san. My character Hikari-chan frequently interacts with both of their characters, and there was so much for me to learn from them in the studio. Outside of recording, they were like caring teachers. For this anime, we were often instructed to ‘sound as natural as possible’ and their performances really got to the heart of the characters. When I first tried [acting naturally] in the studio, I was able to reaffirm how difficult it was to pull off. Having that knowledge in mind allowed me to see [Suwabe and Hikasa] as seniors whom I respect and aspire to be like. I would like to become an actress who can be the mood-maker, putting on a performance that brings out the essence of the character without sounding forced. I want to become an actress who not only creates beautiful sound, but I also want to be a person whose existence blends into the natural sounds in the fabric of daily life.
Q: Please leave a message and some advice for those who aspire to become seiyuu.
A: First of all, I’d like to express my gratitude for taking the time to read both parts of this interview. I’ve always been a fan of this column myself and read the previous articles as well. It’s a surprise to me that I’m able to feature within it as well. Some of you readers are probably aspiring to become seiyuu as well; based on my own experiences I would say that ‘make hay while the sun shines’ is a very apt phrase [that applies to me]: the desire to do something and to be able to enjoy doing it is incredibly important – the existence of such emotions will prove to be the stimulus you need to take that first step [towards your dream]. There may be various circumstances at school and work that prevent you from making that initial move but I encourage you to try attending the weekly course for starters. Once you get a taste of it you’ll see many possibilities opening up. Stage work might be your kind of thing, or you might find narration work to be intriguing – there are many people around me who have developed an interest in narrating. The first step always appears to be the hardest but you will discover that it’s surprisingly simple. I’m speaking from experience (laughs). As long as you possess the hunger to do something and to enjoy it at the same time, keep pushing towards your dream and you’ll live a life without regrets – it’ll definitely be a useful life experience for you. I am still just a rookie walking down the path of a seiyuu; from being involved with Kamisama Minarai Himitsu no Cocotoma since my debut year to appearing in Animegataris [October 2017] to acting in the 2-cour series Toji no Miko from January 2018, my days are filled with challenges and enjoyment. Going forward, I hope to continue living this exciting, heart-pounding seiyuu life. I may love rollercoasters, but I personally hope that I don’t experience too many steep drops myself (laughs). I’ll do my best to become a good seiyuu with a unique flavour that manages to stay the course, so please keep listening to my voice!
Interview & text: Nagai Kazuyuki
Seiyuu+ 