#gankutsuou

File. 1 Interview with creators: Mahiro Maeda

Choosing Albert as the protagonist

Director's intention

How did the project for "The Count of Monte Cristo" come about? 

Maeda: I love the science fiction novel "Tiger! Tiger!" (translator’s note: another name for “The Stars My Destination”) written by Alfred Bester, and for a long time I've thought, "That's great, I want to do that." But I found out that I couldn't animate that work as is due to copyright issues. But then I thought about it, and I realized that it's based on Alexandre Dumas' "The Count of Monte Cristo," so I decided to try making "The Count of Monte Cristo" into a space opera. However, I had only read a simplified version of "The Count of Monte Cristo" when I was a child, so I decided to reread it. And I found it incredibly interesting. I decided to do it properly. If you read it carefully, it's really interesting. The story itself has a great deal of universality, and I felt that it was a work that is still relevant today. If you delve into the historical context and European politics of the time, you'll understand why the story unfolded the way it did, and the scope of the story itself, the scope, is incredibly broad. It encompasses everything from Paris to the Mediterranean and Turkey, and if you want to enjoy it, you can explore the catchy international political situation of the time in great detail. However, to read it in that way requires a certain level of study, a certain level of foundational knowledge. While reading the original work is fine, in that readers can read at their own pace, for a TV anime, especially a 24-episode series, I felt that simply presenting it as is would limit the audience. So I thought that if, I could create something that wasn't constrained by such things, something that could be interpreted as "a story of the present, a story of the future, a story of the past, it's up to the viewer," then I could create a truly universal story. That's partly why I made it science fiction.

What was your intention in making Albert the protagonist?

I was constantly troubled by the fact that I couldn't finish the story if the Count was the protagonist. The original novel is incredibly interesting, but since it's a very long newspaper serial, there are many parts where I question its structure. For example, towards the end, the character seeks salvation in Christian morality. The Count adjusts his moral compass by providing salvation to the relatives of the person who was his benefactor. In doing so, he balances the revenge he has committed. The good deeds at the beginning and the good deeds at the end sandwich the horrific event of revenge, so in a way, it's a clever structure, but there were parts that made me think, "Is that really okay?" Does performing good deeds cancel out the fact that revenge was taken? Revenge stories are incredibly appealing because the characters do what the reader cannot do. As entertainment, they are incredibly interesting. However, looking at the world today, gruesome news are commonplace, and in such a context, I've always wondered if it's really okay to have a story like "Tiger! Tiger!" where the character says, "I got my revenge! I feel so good! It's exhilarating!" That's when I started questioning myself a lot. While I find revenge exhilarating, I also have a cowardly side, and I'm still afraid of violence. When I thought about how I, with those feelings, could create this story, I realized that instead of simply making it a thrilling revenge story of the Count, it would be better to give it multiple perspectives to expand the story. As I kept searching for a clue to that, my attention was drawn to the boys who invite the Count into their home. In Dumas' novel, he dedicates several pages to carefully depicting how two young men, Albert and Franz, invite the vampire-like Count into their mansion. As I read, I felt that the purity and innocence of the boy Albert overlapped with that of the Count, who was framed in the past because of it. Also, by interacting with the targets of his revenge, the Count's heart would naturally be shaken in some way. I wondered if I could depict this not from the Count's own perspective, but through someone else's eyes. So, who would be suitable for that role? For example, if it were the three villains, their suspicious or unpleasant gazes would create suspense, but it would end up being a negative perspective. Ultimately, I myself really like the Count, so I felt I had to write about him properly, and when I searched for someone who could share my perspective, I ended up with Albert. Albert is a boy with the kind of foolishness that comes with youth, who can brazenly say to Franz, "There's no one as cool as him." That's something that resonates with my own experiences when I was in middle school. That's also why I lowered Albert's age to around middle school. When you're in middle school, you often think, "That senpai is so cool," right? But then your friends might say, "He might be cool, but I haven't heard very good things about him." And then you rebel and say, "But that's okay!" I thought that if I could depict that aspect, it would give us Japanese people a chance to easily enter the world of this work. By choosing Albert, I was able to depict the Count himself seeing Albert as "the son of someone I hate, and nothing more than a tool to take revenge on that person, but this guy who's being deceived is like my younger self," and I thought that if I did that, I could create an interesting story that isn't straightforward. So I decided to discard everything I had built up until then and rebuild the story with Albert as the protagonist. The sense of stagnation in aristocratic society that the protagonists feel resonates even in modern times. 

Until then, you had structured the story with the Count as the protagonist, right? 

Yes.I 'd been working on a story with the Count as the main character for about six months now. That's right. At that point, I'd rewritten the first act about ten times, but it just didn't feel right. When I thought about how it would end, I'd think, "Hmm, the Count and Mercedes are lovey-dovey on the beach?" and I realized that was impossible. If that were the case, then why even seek revenge in the first place? The original story, as I mentioned earlier, is fundamentally a story about the Count's own morals. However, when considering how to present it as a drama to modern audiences, I was constantly worried that sticking to the original story's flow might not be easy for them to follow. 

The fact that the story is told from Albert's perspective makes it easier to get into the story.. I feel that the sense of stagnation he feels, stemming from his sense of fulfillment, is very similar to the sense of stagnation prevalent in modern society.

Whether or not that was successfully projected is another matter, but that was something I consciously tried to create. I think there are kids today who, no matter what the topic, think, "I already know that from watching TV" or "I already know that from the internet." I think there's a sense of stagnation in that. So, you could say that today's kids are smart, but on the other hand, I also feel sorry for them. The same goes for Albert and his friends, and the fact that Albert, the only pure-hearted boy among them, doesn't become cynical or overly pragmatic, but instead tries his best, is something I put my own feelings into. 

Many female fans seem to find that aspect of Albert "cute." Was that perspective something you were aware of from the beginning? 

That's somewhat true. When it was decided that it would air late at night, the question arose, "So, who should the target audience be?" As I mentioned earlier, initially I was creating a story from a boy's perspective, a revenge tale told from the count's point of view, but I always wondered if this was something new and if people would actually watch it. With that in mind, when I was talking with the staff and producers about the target audience, the idea came up: "Could we target the F1 demographic?" The F1 demographic is a term used in television, but for example, imagine you're at work late at night and an anime is on. At first you might think, "Oh, it's just an anime..." But in industry jargon, it refers to women between the ages of 20 and 35. They come home tired, turn on the TV, and as they watch, they might think, "This is actually pretty interesting." We thought that if they could do that, then we'd win. Apparently, anime doesn't really target that demographic. So, we thought we'd take on the challenge of targeting that demographic. However, that demographic is very discerning when it comes to dramas, and they're people who spend a lot of money and time on various things in their lives. It's very difficult to get those people to spend their valuable time and money on something. But, if we could do that, we thought it would be something that not only girls but also boys would find interesting. Thinking about it that way, I started to wonder if what I had created up until then was no good, and that became one of the triggers for me to rewrite the story with Albert as the main character.

Behind the scenes stories about casting and the music

How was the casting done? 

We held auditions for the roles of the Count and Albert. Regarding the Count, as soon as I heard the voice samples that each agency had prepared before the auditions, I thought, "Ah, this is the one." Voice samples always start with an introduction, and as soon as I heard the voice saying, "I'm Nakata Jouji from Osawa Agency," I thought, "That's the Count's voice!" Nakata's voice is masculine and deep, but there's something a little ephemeral about it. As far as I know, there's no one else with a voice like that. For example, the Count's lines in the first act are based on what I had imagined, but what he actually gave me was even better. As a result, my own image of the character also shifted in that direction. This kind of thing happened with the other characters as well, especially with Cavalcanti. Seki Tomokazu, who played Cavalcanti, has apparently loved "The Count of Monte Cristo" for a long time and really wanted to be in it. Of course, Seki also wanted to play the Count, so he auditioned. He was really good, but his voice was a little too young, so when I apologized to him, he said, "I'd like to appear in the show, even if it's a different role," so I asked him to play Cavalcanti. He was very happy to do it, and thanks to Mr. Seki's funny performance, Cavalcanti also became a funny character. I'm also really glad that Jun Fukuyama played Albert. If he hadn't played the role with his refined voice, Albert might have just come across as a simple fool. 

Was the decision to commission Jean-Jacques Brunel to compose the music based on your personal taste?

That’s my preference. When we made the promotional video, we used a song by The Stranglers. We were only given permission on the condition that we wouldn't use the promotional video itself for commercial purposes, but I've been a fan of theirs for a long time. I like that eccentric side of them—intellectual, to put it nicely, and pathological (translator’s note: sick, disturbed), to put it less nicely. Actually, I happened to come across someone online who knew Jean-Jacques Burnel, and when I emailed them asking if they could introduce me to him, they replied that they could. I thought, "I have to go to England," so I went to England and asked, and he agreed. I was so happy.

A Wonderful Collaboration of 2D Texture and 3D Technology 

From a visual standpoint, the use of 2D textures for costumes and decorations is what's attracting the most attention. Where did that technique come from? 

Since the characters are nobles or their children, we knew from the beginning that we had to put some effort into their clothing. However, the trend of focusing on clothing in cell animation, as we can see from recent videograms, is simply leading to an increasing complexity. For example, a character sheet looks great on its own. Every single frill is drawn in detail, and even the tiny buttons are depicted. But the character sheet isn't directly translated into animation; many people have to draw hundreds or thousands of frames based on it. This makes it incredibly inefficient. So, I thought, why not abandon that kind of detail-driven character creation and try to focus on clothing in a different way? I thought something like a cutout animation might be interesting. I've always loved that collage-like feel. Of course, the techniques used in short films are absolutely impossible to implement on a regular TV anime schedule, but since digital tools have become so advanced, I thought, "Let's just give it a try!" So I asked a software company called Celsys (translator’s note: Clip Studio Paint company), and they said, "Let's do it!" and we were actually able to realize it in that form. The animation industry is very systematic and specialized, so normally people don't like to do things outside their area of ​​expertise. But the biggest reason we were able to make it happen was because there were people in the company who supported my idea and even found it interesting. I had considered various options, such as stopping if we couldn't finish applying the textures within the time limit, or applying them only to certain parts, but it worked out surprisingly well, which was great. 

The costume Haydée wears in the scene where the Count first visits the opera house is very eye-catching, isn't it? 

That's special. It's made in 3D. The part from the neck down isn't a texture; the body is made with a frame. We called it the "grafting a tree onto a bamboo" method, but only the head is a drawing. We put a board with the drawing on it on top of the frame, so it looks quite strange from the side. We added frills around it. We wanted to combine the best of both 2D and 3D. We could have made the whole thing in 3D, but the character's face is crucial, so I really wanted to draw it in 2D. I apologized to the person who made the 3D model, saying, "I'm sorry, but I want to make the face in 2D," and I begged them to let me do it that way. The staff really enjoyed making the animation down to the smallest detail. For example, the large painting hanging in the background of the dinner scene in Act One was painted by art director Hiroshi Sasaki, but it's actually a hidden image. Since it's a scene where they're talking about love, there are pictures of lovers on the wall, but if you look closely, they're actually skulls. In the scene at the end of the meal when the Count extends his hand, that picture is placed at the edge of the frame, and the poisonous spider is positioned just right—a nice little detail.

Finally, do you have a message for our readers? 

For me, this work was created with the intention of returning to my roots. By returning to my roots and depicting human drama, I was able to experience the unique feeling of "watching characters grow" that is only possible with human drama. So, if I were to depict human drama in this form again, I have many ideas about what I would do this time and that time, so please look forward to it. The manga version of "The Count of Monte Cristo" has also started. This one is planned to be a bit more of a grand drama, so please look forward to it. 

Side things in that interview 

(text next to Haydée) 

𖧹Haydée’s dress

While gorgeous textured costumes appear in each episode, the dress worn by Haydée in Act 6 was the only one created using 3D modeling rather than textures.

𖧹Edmond Dantès & Albert

By making Albert the main character, the intention was to create an image where Albert, who is being deceived by the Count, and the young Count, when he was Edmond Dantès, overlap in terms of their personalities. (translator’s note: selfcest is real he admitted it)

𖧹Act 1

“We meet at the journey’s end” The scene where the Count and Albert and the rest (translator’s note: F Franz you’re that other guy to your creator) meet in Luna and share a meal together. Director Maeda says he was able to create the perfect "timing" in this scene.

𖧹Hidden pictures

It's displayed behind the Count when he talks about his lover during the dinner scene. If you look closely at the painting of the lovers, you'll see that the whole picture forms a skull. It was painted by art director Hiroshi Sasaki.

File. 2 Interview with creators: Suichi Kouyama

(translator’s note: he’s the second writer, he wrote the official novelization and the sequel Diplomatic Journal of Albert Herrera and oh boy if this doesn’t answer some questions about it)

Kouyama Shuichi was born in 1961. He is a novelist and critic. He became involved in animation scriptwriting after writing the novelization of Maeda's 1998 film "Blue Submarine No. 6". In "The Count of Monte Cristo", he not only wrote the script but also took on the role of series composition for the first time. His most recent work is the script for "LAST EXILE" (GONZO). 

Behind the scenes stories from planning stages of Gankutsuou

How did you come to participate in this project, Mr. Kouyama? 

Kouyama: In the initial planning stages, Director Maeda and screenwriter Tomohiro Yamashita were working on the ideas. It seems they had decided to adapt "The Count of Monte Cristo" into an animated science fiction work, and Director Maeda and Yamashita were refining the setting. I joined the project later, after being approached by the director. 

So, the idea of ​​adapting "The Count of Monte Cristo" into a science fiction anime had been decided even before you joined the project?

That's right. I think Director Maeda has mentioned this in various interviews, but it seems he wanted to create something like Alfred Bester's science fiction novel "Tiger! Tiger!" Originally, the director had the idea of ​​creating a very orthodox story set in the vast expanse of outer space. 

What were your responsibilities during the planning stage?

My role was to present various possibilities to the director and help him consolidate his ideas. My main job was to observe the overall flow of the project and, if the direction changed, to suggest new ideas like, "Given that direction, let's try this approach."

You mentioned that various themes were presented before arriving at the current form. Could you tell us specifically what kinds of themes were presented?

We had a lot of ideas. In the early days, there was a suggestion to make it a school story, and we seriously discussed it at first, but then it turned into a silly idea where the Count would come in as the chairman of the board. Another idea was a battle-oriented storyline centered around the armor that appears in Act 18. In fact, I even wrote a scene in Act 2 where the Count fights Luigi Vampa, using that armor. 

How did the ideas ultimately come together?

At first, the focus was definitely on revenge, but as I thought about it more, I began to feel that both we, the production team, and the viewers who watch the show, are closer to the people who are being targeted for revenge than to those who seek it. As I was actually structuring the story, I repeatedly reread the original novel, "The Count of Monte Cristo," and that feeling grew stronger. It's set during the restoration of the monarchy under Louis-Philippe, but before that, there was the great era of Napoleon. However, after that, things generally became smaller and more stagnant. I felt that this atmosphere was similar to the atmosphere we are feeling right now.

Parent-child story from Albert's perspective

When structuring the story with Albert as the main character, what aspects did you pay particular attention to?

Depending on how you look at it, "The Count of Monte Cristo" can be seen as a story in which events of the parents' generation cast a shadow over the children's generation. In the original, the children are depicted as beings who enjoy the wealth that their parents obtained using dirty tricks, but only Valentine and Maximilian are favored because they are not like that. In Valentine's case, she was treated specially because she was the love interest of Edmond’s benefactor's son... But when you look at the story from the children's perspective, it just looks like ghosts from the past, who have suddenly appeared from a completely different world, are attacking them for no reason. However, the core idea is that the form of this calamity that has appeared is not just a calamity to Albert, but a very alluring form, and that is the center around which I constructed the story.

Aside from the parts where the story is told from Albert's perspective, there are several other differences from the original, such as the setting and the order in which events occur. What was the intention behind these changes?

It's not that we're intentionally changing it. Telling the story from Albert's perspective is inherently quite difficult, and it would necessitate changing everything, from the narrative style to everything else. The moment we shift to the victim's perspective, what was originally a fantasy adventure story becomes a mystery, so the story and setting inevitably change. We're not trying to be quirky by changing the original work.

The primary goal was to tell the story from Albert's perspective, and that was the central focus of building narrative?

That's right. If you make Albert the main character, the parent-child relationship inevitably becomes the central focus of the story. From Edmond Dantès' perspective, Albert is nothing more than the fruit of betrayal. In that case, he has no choice but to either spare him out of compassion or simply pluck him away. That's why in the original, Albert is only depicted as someone who is nearly killed as an act of spite towards Mercedes. However, if you look at the story from his perspective, the meaning of the events that occur in the story changes dramatically. This changes what needs to be shown, and the climactic moments in the story as a whole also change. 

Conversely, weren't there also difficulties in not telling the story from the Count of Monte Cristo's perspective?

That's true. Ultimately, if I didn't depict revenge, the story would end up being incomprehensible, so I struggled with where, how, and to what extent to present Edmond Dantès's perspective. People who have read the original novel already know what the story is about, so showing it as "actually, this is what happened" wouldn't make sense…

When you were structuring the story, how did you determine the divisions between parts, such as the beginning, development, climax, and conclusion?

In terms of the narrative structure, there's first the section about "a boy who is drawn to a mysterious stranger from the outside world," then the section about "a boy who is manipulated, confused, and troubled by this man." The climax, the turning point, is the section where "the boy loses his best friend who cared for him, his status, and his family, and is thrown into the abyss of ruin." And finally, the section where "the boy, having been thrown into the depths of despair, stands on his own two feet for the first time and solves the problem." This is just my interpretation, but I see this work as a story in which Albert steals the protagonist role from the Count of Monte Cristo. If you structure the story with this interpretation, Franz's death takes on great significance. By losing the person who had been protecting him, Albert is forced to think and act for himself. And that's how he becomes the true protagonist. What struck me when I watched it was that, not just in the relationship between the two characters, but in every aspect, there's always something that transcends any interpretation. The relationship between the two characters is a very touching story, but the key point is that it's not just that simple.

In terms of the visual aspects, in the conversation scene between Albert and the Count, you can see a blush on Albert's cheeks, right? 

We decided to go for a more theatrical approach in those parts. Initially, the dialogue was a bit more natural overall, but we decided to respect the atmosphere of the original work and make it more dramatic. Initially, the dialogue was a bit more natural overall, but we decided to respect the atmosphere of the original work and give it a more theatrical feel. I tried to write the conversations between Albert and his friends as naturally as possible, but I thought it would be interesting to see how the dialogue becomes more theatrical the moment the Count enters the scene.

There are a lot of lines that make you feel like you're watching a musical, aren't there? 

From the planning stages, Director Maeda strongly recommended the poetry of William Blake and Byron. I think that had a strong influence on the show. As for the dialogue, I struggled with where to put the tension. Initially, I was thinking of making it a bit more laid-back. You can still see some of that in scenes like the one in the third act where everyone goes for a drive.

Favorite character scenes

Which character is your favorite?

It's amusing how much of a Château-Renault enthusiast I am. I really enjoyed writing about the driving scene I mentioned earlier. (translator’s note: so that’s why this nobody mf is shoving up every 5 pages in the journal)

It's a very futuristic world, but the cars have a classic feel, don't they? 

Conversely, perhaps those low-tech aspects are what make it appealing to them. Since they are aristocrats, they probably have a sense that the lower the technology, the more luxurious it is.

For example, there are unexpectedly tech-savvy details, such as the appearance of vintage motorcycles, or the fact that Beauchamp’s camera, despite being high-performance, is large and dated?

Initially, I envisioned the story taking place in space, but ultimately, I decided to set it on Earth. I think that was a natural progression in terms of expressing worldbuilding.

Which scene is your favorite?

My favorite scene is the one between the Count and Heloise in Act Seven, "The Secret Garden." I wrote that scene in the Villefort family’s greenhouse, where the Count approaches Heloise, with the intention of making it as erotic as possible, so I was pleased to see it brought to life through that kind of direction. I also generally like the events at the villa in Auteuil. I also like the scene where Lucien Debrée and Franz access the database to investigate the mystery of the Count of Monte Cristo. Hmm, now that I think about it, every scene was created by everyone putting their heads together, so I'm attached to all of them. 

The novelization is another version of Gankutsuou

Mr. Kouyama, you have written many novels. What are the differences between writing novels and collaborating with the director and other staff members to create anime?

With novels, you can meticulously craft a story and complete it as a meticulously crafted work. I like to meticulously structure the story, lay out lots of plot points, and connect them, but when you want to make each episode exciting in an anime series, that alone isn't enough to make it interesting. By creating the story collaboratively, I received unexpected ideas and the story unfolded in ways I hadn't intended, and that was really interesting. If I had written it all by myself, it might have turned out to be a very different story.(translator’s note: so that’s why journal has so many good ideas but is so ass)

The novelization is precisely that "slightly different story," isn't it? 

There's a certain point to be made that it wouldn't make sense to write the exact same story, and the way novels and anime stories are constructed is completely different. Interestingly, even just considering adapting "The Count of Monte Cristo" into a visual medium, it's completely different depending on whether it's a movie or a TV series. It's not just the visual direction; depending on the creators, everything from the themes onwards can become completely different. And when you think about whether it makes sense to novelize something that has already been adapted into a visual medium, it sounds ridiculous, but if you novelize something that has already been adapted into a visual medium, it won't be the same thing. Everything becomes different. I personally think that the appeal of "The Count of Monte Cristo" lies in those kinds of discrepancies.

Will the novelization reveal mysteries that weren't explained in the anime?

There might be some differences in interpretation. But basically, I think it's best to think of them as completely different things. However, I would be happy if you could find something that makes sense to you as a conclusion. Anyway, I had a tremendous number of ideas, and I rewrote the first and second acts of the anime countless times. I thought I would use the ideas that couldn't be included in the anime in the novelization, but even then, I couldn't fit them all in... As a result, there are parts that I haven't been able to fully explain, and I think I've left some parts to your interpretation.

Finally, do you have a message for our readers? 

The original "The Count of Monte Cristo" is a work composed of various ideas, so it can be interpreted in many ways depending on how you read it. Because it was serialized for a long period of time, like a long-running shonen manga, the setting has subtly changed over time, and before you know it, it has become a different story in several places. I think it is a work that has a mysterious power to make you want to reinterpret those parts in your own way and reconstruct the story as you read it. I would be happy if the anime version of "The Count of Monte Cristo" also has that kind of power. I would be happy as one of the creators if those who watch the anime Gankutsou would use their imaginations in various ways and interpret Gankutsuou in their own way.

Side things in that interview 

(on right)

𖧹Albert & Franz

According to Mr. Kouyama, the relationship between Albert and Franz is one of the pillars of the work. He suggests that there is something more to their relationship than just friendship; there is a strong love between them. (on left)

𖧹Low-tech mechanics

Renault's racing car

From a classic car collection, is a racing car that Renault drives around in.

Albert’s motorcycle

Albert's favorite vintage motorcycle. Among the aristocracy, there's a view that the more low-tech, the more luxurious.

Beauchamp’s camera

The camera that Beauchamp wears around his neck. It's thin and high-tech, but its size is quite striking.

𖧹Act Seven: "The Secret Garden"

The scene of the Count and Eloise's affair in the greenhouse was intentionally made to be as erotic as possible. The greenhouse setting was chosen specifically for this purpose. The Count whispering in Eloise's ear and her expressions are depicted in a highly sensual way.

𖧹Act Eight: "Night at Boulogne"

The scene where Albert and others search for the cursed room at the villa in Auteuil. The events that unfold in the labyrinthine mansion are a favorite. This act also presents various mysteries, including the appearance of Cavalcanti and the relationship between Villefort and Victoria.

𖧹Act Thirteen: "Haydée"

The scene where Franz and Debrée search a database to unravel the mystery of the Count of Monte Cristo. Mr. Kouyama says he likes the sci-fi elements of this scene. The cybernetic imagery that unfolds repeatedly within the programmed library is full of impact.

𖧹 Raoul de Château Renault. Mr. Kouyama says he likes Renault's enthusiastic nature. Renault, who loves mechanics, appears in the second act driving a classic racing car. He says that the scene in the show where he talks about meeting Maximilian was one of the most enjoyable part to write. 

Interview with the cast

Questions, part 1:

Does the character you played resemble you? Or is there a character in the show that resembles you more? 

Please tell us what you consider important, what you pay attention to, and what you find difficult when acting. 

Please share any fun episodes or incidents that occurred while you were working on this film. 

What is the most memorable scene in the show for you? 

To Director Maeda and the production staff: Please feel free to share any messages you have here. 

What is the appeal of Gankutsuou? (Please answer as "personally" and "individually" as possible.) 

Finally, could you give a message to the readers of this book? 

Albert de Morcerf 

Jun Fukuyama 

I don't think I resemble him at all, but apparently, that's how it looks to others (laughs). 

It's hard to explain, but I try to have a feeling of an "open book", both physically and mentally. To put it simply, "becoming stupid" (laughs).

Fernand: "I was able to come this far because I was with you."

Mercedes: "I'm so proud of you." The two embrace.

Mercedes: "Hey, Mr. President!" ← Mr. Inoue added this ad-lib during a test run, and it got a huge laugh. (From Act 14, "A Wandering Heart")

To be honest, this is the question I find the most difficult!! This time it’s the last shot of act 18. It changes every time I'm asked, though. 

The work must have been tough, and the recording started in the morning, so there wasn't much time... Let's definitely go out for drinks together sometime! 

It was my source of comfort!! Oh, I misunderstood the question... Uh, well... I'd say it's the "classic"!!  That's not quite right either... Ah.

I only have one thing to say! After reading this, please watch the anime "The Count of Monte Cristo" again from the beginning! There's still so much more to discover♪ Thank you very much.

The Count of Monte Cristo

Joji Nakata

We don't look alike at all. Hmmm if I had to say maybe it’s his timidity around women. Ah, Mercedes, ah Haydée!

We didn't want any boring realism, but a hollow style wouldn't resonate with viewers either. The top priority was achieving a natural, yet dynamic, demeanor.

I was happy to feel that all the cast members cherished the opportunity to be involved in this work and were highly motivated. In the second half of the story, everyone seemed to embody their characters.

In the first act, when Albert opens the door, light pours in, and suddenly outer space unfolds before his eyes. Then, the encounter with the Count… And the Pharaon takes flight; the curtain rises on everything. (And the ending was also quite exciting!) 

(It really got my heart rate up!) This is truly thanks to Mr. Dumas, who shook Director Maeda, Mr. P and Mr. Jac, who approved the project, everyone who cast me, everyone who created such wonderful artwork, my fellow cast members, everyone who promoted it, and my trusted Mr. Tsuruoka... Love you! 

While it depicts a futuristic, sci-fi city using advanced techniques, its essence lies in the melodrama that shifts towards the charm of its characters and its story…

Some were overwhelmed in an instant, others resisted at first but were slowly violated. Some became hooked after looking at the character designs, PVs, interviews, etc. out of curiosity, etc... Whatever the reason, all of you who, like me, have been corrupted by the Count of Monte Cristo! Come on, join me... This is inevitable. Hehehe... Ahahaha, ahahahaha...

Franz d'Épinay

Daisuke Hirakawa

I've been told I look like him... but only the hairstyle... Seriously, if I could look like such a nice guy, I'd love to!

I was always mindful of the fact that "Franz always acts with Albert's needs in mind, rather than his own." But expressing that in a way that was "true to Franz" was the most difficult part.

After dying in Act 15, I had appearances in Acts 15 and 20 as well, and various cast members would tease me, saying things like, "Oh? Is the person who died still here?" It was really fun to be on set where we could talk like that.

It's definitely Act 18. In the last shot of the A-roll, he's being slashed against a backdrop of a skull-shaped moon, and while the imagery is brutal, it's also incredibly beautiful. It left a strong impression on me. 

Thank you so much for all your hard work. And I am truly grateful for the creation of this work. The wonderful recording environment I was able to experience each time was all thanks to the efforts of the staff. Thank you so much. Being involved in this work is my pride and joy!!! 

Franz said, "Both feelings of love and hate both come from caring about someone." Isn't it about the intertwining and clashing of various "feelings" between people? 

Gankutsuou is a work I hold dear. I'm very happy that a fan book (translator note: he means the beige production book)  like this has been created for it. 

After reading this book, I want to immerse myself in the world of Gankutsuou once again. I hope you all enjoy every corner of the world of Gankutsuou through this book, which is packed with the thoughts and feelings of many people!!!! 

Eugénie Danglars 

Chie Nakamura

I've always had a clear idea of ​​what I wanted to do since I was a student (it wasn't voice acting at first...), and I had a "I'll go my own way!" attitude, so maybe we're similar in that respect. Even our big-sister-like personalities. 

In the beginning, I was rather cold and sometimes harsh towards Albert, so I was thinking, "I need to make sure I don't come across as a mean character." 

Everyone was serious during recording, and I don't think there were many incidents. The story was serious, but the atmosphere on set was friendly and fun. Thanks to the mango sweets Mai-chan brought, many of us, including myself, love mangoes, and we had a great conversation about them. 

There are many things I'd like to mention, but as Eugenie, my favorite part is when she and Albert started to get closer in Act 12. Before that, they didn't really have a romantic vibe... 

I'm extremely shy, so even when we met at the studio, I couldn't really have a conversation beyond a simple greeting. However, I'm truly grateful for the always-present atmosphere and environment that made voice recording so easy. I feel incredibly honored to have been a part of this wonderful project. Thank you so much!

If I were to answer seriously, I'd say the visuals are amazing, the music is cool, or the story is interesting, but to be honest, I have a weakness for "capes" (laughs). I don't know why, maybe it's because I used to like the Fiend with Twenty Faces, but I like the image of a mysterious gentleman dramatically flipping his cape or something and walking along with a tapping sound. It makes the story very exciting. Sorry, that's not much of an answer, is it?

Thank you so much! Thank you for supporting this work, not only by watching the anime but also by picking up this book. After deepening your knowledge with this book, please watch Gankutsuou again, no, many times! I hope it will always be one of your favorite works!

Fernand de Morcerf 

Jūrōta Kosugi

There might be some similarities. I understand Fernand's feelings, as he lived for love and desire...

Balancing Fernand's various facets was very rewarding as a voice actor. 

Nothing in particular, but the studio atmosphere was fun and great. Also, I was inspired by the serious acting of my co-stars. 

The scene where he reveals his true self to Mercedes is definitely memorable. The confrontation scene with Edmond is also very impressive. 

Being able to participate in such a wonderful show, both in terms of story and animation (digitalization), is truly the ultimate reward for a voice actor. Thank you very much. 

A human spectacle that sharply depicts human destiny, desire, and love.

The quality of this work is absolutely outstanding. It's a work I'll never forget. I hope you all enjoy it to your heart's content.

Mercedes de Morcerf 

Kikuko Inoue

Hmm... I feel like there are some similarities... or maybe not... 

As a mother, wife, and woman, Mercedes has many different facets, so I hoped to be able to portray them clearly. 

During the test, Mr. Kosugi, who played Fernand, ad-libbed calling Mercedes "Meru-chan!" which I found hilarious and really got to me. 

I'm sorry, there were so many memorable scenes that I can't choose just one. 

Director Maeda and all the staff, you were truly, truly wonderful!! Thank you for all your hard work and dedication. 

An irresistible thrill.

While participating in the film, I was also a big fan of this work. Let's enjoy it again (and again!) when it comes out on DVD ♡ 

Gérard de Villefort 

Yōsuke Akimoto

I don't think the character is similar to me, but there's no one else who could have played him. If I were to play the role, I think it had to be Villefort. 

The key was how coldly I could portray him. But he also has surprisingly emotional moments, and I paid close attention to those transitions. 

There was a lot of discussion about where Villefort's one-lensed glasses (glasses) were tucked in. 

It's the scene where he complains to his father, Lord Noirtier, saying, "I had a tough time too." 

It was a fun job. The atmosphere in the studio was fantastic. Thank you very much. 

Above all, that unique visual style. I was drawn into the work from the very beginning. 

Please enjoy it. 

Baron Danglars 

Shinpachi Tsuji 

Rather than whether the character is similar to me or not, I think everyone has elements of Danglars in them. He's truly human.

Regarding Danglars' character, I agree that in a way he's very human, so I tried to pay attention to that and create contrast.

I always give my all during performances. That's my most enjoyable memory.

Perhaps it's the scene in Act 20 where Andrea's true identity is revealed.

The original work is very interesting, and it's a book I've always wanted to read, so I was happy to encounter it in this way. I was completely engrossed.

The original work is fascinating, and the clothes are flashy, especially Danglars' costume!! Humans are sad creatures, aren't they!?!?!

I'm really looking forward to the main story, and this book too!!!

Haydée 

Akiko Yajima

"Do I resemble her?"... Not at all!!! Do I possess such deep love?! I'll do my best, though... 

It seemed to me that her entire being relied on the Count. Although she always spoke in a gentle manner, I made sure to portray her with the understanding that she possessed a "quiet strength."

All the cast members had read the original novel (7 paperback volumes) before participating, but for some reason I had only read one children's paperback, so I felt a little embarrassed. (But it was easy to read because it had illustrations!) (^^;)

It was the scene where the Count kissed Haydée on the forehead (;_;) (sad, but happy!!) 

It was a very, very difficult role for me, and there were many things I couldn't express well, so I had to ask them to re-record some parts after the voice-over... Thank you so much for putting up with me. I'm truly grateful. 

The Count's presence!! And that "voice" ♡ And Albert's "cuteness," perhaps ♡ 

I thought there were so many different kinds of love in the world, but what is true love...? Albert taught us that, didn't he? ♡♥♡♥♡♥♡♥♡♥♡

Valentine de Villefort 

Junko Miura 

I don't resemble her. I wish I did (laughs). 

I think her upbringing influenced her somewhat lonely personality. I tried to portray her not just as a gloomy girl, but in a way that expressed her inner feelings. 

Mr. Nakata, who played Monte Cristo, always wore stylish shirts, and I was captivated by how "great" he looked (this has nothing to do with Gankutsuou). 

The fact that there was a sea beneath the Monte Cristo house. I really loved that fantastical scene with Albert. The dialogue was wonderful too. 

I am grateful for the wonderful experience. 

"Beautiful," that's all I can say.

 Please check out Gankutsuou. It's a wonderful work. 

Maximilien Morrel 

Tetsu Inada

We look alike. Visually. 

Honestly. Innocently. 

I was told about a delicious soup shop. 

The confession to Valentine. 

You've created an amazing work. 

A human drama. 

I hope you will cherish this work forever. 

Peppo

Mai Nakahara

I don't think we're similar. I don't tease people I like... but even a not-so-straightforward Peppo is cute. 

I think Peppo is like Pierrot. What she thinks and what she does and says don't match. (translator’s note: there’s no gender inclination in the sentence originally) It was the first time I'd worked with a character like that, so it was challenging. 

Every single recording session was fun. Despite the wide age range, everyone got along well, and it was a great workplace ♡♥ 

I watched the entire first episode! I was stunned by the amazing visuals.

I think it's truly wonderful work. Thank you for letting me be involved in such a fantastic project!

Each character is unique, the art and music are superb, and the story is rich... I think its charm lies in the fact that anyone can enjoy it. Peppo is so cute... (laughs).

Please continue to enjoy Gankutsuou even more!!!

Special interview with Jean-Jaques Brunel

Jean-Jacques Burnel formed "The Stranglers" in 1975. Their music, which stood out even within the punk movement of the time, took the UK by storm. Currently, in addition to his band activities, he is involved in music production as a producer for bands and solo artists in various countries.

We asked Mr. Burnell, who was in charge of the opening and ending themes as well as the music played throughout the film, about this work!!!

What made you want to participate in Gankutsuou?

There are several reasons why I accepted the offer to participate in the "Count of Monte Cristo" project. First, the traditional and passionate elements of "love," "betrayal," and "revenge" are interconnected with the various characters in this work. As a musician, these elements alone allow me to feel a wide dynamic range in many directions. Moreover, director Mahiro Maeda came to London and personally consulted with me about this request. This visit was very courteous, and of course, I was deeply moved by it. I had always wanted to work on soundtracks such as film scores, so this job was a wonderful opportunity for me to fuse music with musical imagery.

What are your impressions of the original "the Count of Monte Cristo"?

The original story is well-known to anyone of my generation living in France and England. However, what I liked about this new anime adaptation is the relationship between the vengeful Count of Monte Cristo and the Mephistopheles-like (like the demonic character in Goethe's novel "Faust") creature. It reminded me that when you accept their help, you must embrace the evil energy they possess.

How did you approach composing the music? 

(p. 006)

(picture description: Tokyo Metropolitan Government Building looms beyond the large window on the right)

A young boy's imagination takes him into the world of entertainment.

Located in a glass-walled building near the Tokyo Metropolitan Government Building is the workspace of Mahiro Maeda. Maeda, one of the most influential animation directors today, showed promise as an animator during his student days, and made his long-awaited directorial debut in 1988 with "Blue Submarine No. 6." Since then, his field of work has continued to expand. He was personally selected to direct "The Animatrix" by the Wachowski brothers, directors of the "Matrix" trilogy and deeply devoted to Japanese animation. He also worked as an animator on Quentin Tarantino's "KILL BILL," and his work, which reaches a global audience, is widely known not only to anime fans but also to the general public.

A man admired by cinematic geniuses, Mahiro Maeda's passion for animation is extraordinary.

Wanting to understand the source of that passion, I visited him.

"I was a TV addict from a young age," Maeda says. Back when black and white televisions were just starting to become common in homes, special effects and animation were "windows to the world and all the information" for children. Of course, young Maeda was no exception and became completely engrossed in it. "I was interested in miniature buildings. I wondered who made them and how. I wanted to destroy them myself." As an elementary school student, young Maeda grew up to be a child who loved manga and science fiction and was always lost in his imagination. "On my way home from school, I would imagine the world of the future, and think things like, 'Is this world real? If sensory transmission is done by electrical signals, then couldn't they also fool human senses?' It was like the world of 'The Matrix.' I loved thinking about those kinds of science fiction worlds, and I often drew illustrations of my images." He had loved drawing since then. During art class, he would draw spontaneously like a fish in water. It was around this time that he drew his first manga. "I watched the movie 'Gamera vs. Guiron' and turned it into a manga." Looking back now, it was more like a comic strip or a storyboard."

It's a strange thing how fate works, considering he would later design the monsters for 'Gamera 3'.

For Maeda, his first anime experience, which he remembers vividly, was Osamu Tezuka's "Triton of the Sea." "I was in fourth grade. The next thing I got hooked on was 'Space Battleship Yamato' when I was in sixth grade. I even remember my age clearly (laughs)." Three years later, he finally encountered a work that would greatly influence his life. That was Hayao Miyazaki's masterpiece, "Future Boy Conan." "It was simply amazing! I couldn't wait for the next episode. When I accidentally missed the episode right before the finale, I was devastated. It was natural that all my friends were hooked, but I was surprised that even the adults were so engrossed. And that's when I vaguely started thinking that I wanted to work on creating anime like that."

It was only natural that Maeda, inspired by "Future Boy Conan," would join the manga research club in high school. In the manga club, he became engrossed not only in manga but also in animation. "It was the burgeoning era of animation, and high school students were finally able to openly discuss anime at school.(p. 007) We'd say things like, 'Why are Miyazaki's drawings so cute!' It was more like an animation research club than a manga research club. And it was in this manga club that I suggested, 'Wouldn't it be more fun if we high school students did something together?' and that's how I created connections with other students. I met Hiroshi Yamaguchi, who co-founded our current company GONZO with me, and Takami Akai, who invited me to work on the legendary opening animation for the 27th Japan SF Convention (nicknamed 'DAICONN')."

This unconsciously laid the groundwork for his involvement in the world of animation. After persuading his parents, he enrolled in Tokyo Zokei University, partly with the goal of moving to Tokyo, where he met Yoshiyuki Sadamoto, the creator of Neon Genesis Evangelion, and Hiroyuki Yamaga and Hideaki Anno, whom he met through Akai. Then, with "DAICONN," which he created with them, as a gift, Maeda, along with Anno, jumped into the world of his idol, Hayao Miyazaki. "I had experience working on 'Super Dimension Fortress Macross' and the opening of DAICONN up until then, but I feel like I learned animation in a professional setting for the first time here. My basic skills were lacking. I only understood things intellectually, or rather, I was thinking too theoretically." Maeda says that his experience at Studio Ghibli, directing "Nadia: The Secret of Blue Water", and his directorial debut with "Blue Submarine No. 6" were turning points in his career. "Around this time, I believed that no matter what anyone said, I should just create what I genuinely found interesting." However, that way of thinking was overturned when he became involved in a certain project. "Isn't it arrogant to think that I'm always right? I suddenly thought, 'If there's something I want to show, I should make it accessible and easy for the viewer to understand.'" That work is his recent critically acclaimed show, "The Count of Monte Cristo." This shift in mindset during production must have been a major turning point in Maeda's animation career. "While working on 'The Count of Monte Cristo,' I became very conscious of entertainment. I wanted to thoroughly entertain others. I realized that I hadn't been able to give back to those who had entertained me in the same way. How can I make my audience happy with my work? That's how my perspective changed." From personal enjoyment to the enjoyment of others—this shift in perspective has now produced genuine entertainment that is accepted by the masses.

(pictures on left: 1. Many staff members work in a vast, open-plan office. Maeda's desk is in a corner by the window. 2. Music CDs are piled up beside and on top of his desk. 3. The computer monitor displays a collage of photos taken during a location scouting trip to Paris. 4. Books purchased for reference. A wide variety, mainly related to architecture. 5. A seashell and a cactus sit neatly next to the computer. Collecting beautiful seashells at the beach is one of his favorite pastimes.)

(pictures on bottom: GONZO is an animation planning and production company whose vision is "to create content without pouring one's soul into it." (translator note: no fucking wonder they’re doing AI shit now) They have attracted attention since their early works such as "Blue Submarine No. 6" (OVA) and "Vandread" (TV) for effectively incorporating 3DCG into their visuals. Recent major works include "Origin: Spirits of the Past" (film), "BLACK CAT" (TV), and "Densha Otoko" (OP). Note that "GONZO" is said to mean "outlaw" or "rogue" in Italian.)

(picture of Maeda on bottom left: Born in 1963. While attending Tokyo Zokei University, he participated in projects such as "Castle in the Sky" (Studio Ghibli, 1986) and "Royal Space Force: The Wings of Honneamise" (GAINAX, 1937). In 1992, he co-founded "GONZO" with Shinji Higuchi and others, and made his directorial debut in 1998 with "Blue Submarine No. 6". He is one of Japan's leading animation directors, having also served as director of "The Animatrix" and as an animator on "KILL BILL".)

(p. 008-009- translator note: timeline of his major works. I'm not translating all of this, you can look it up. Sadly they skip his first animation gig (or one of first, I don’t remember) being momxdaughter hentai, which is funny considering they discuss the GK manga)

(p. 010)

(text on picture of the Count, on the right: How “The Count of Monte Cristo” Came To Be; on the left: “This revenge drama set in the future features stunning visuals that captivate the viewer’s eye. This article follows the unique animation production process”)

This is how the direction of Maeda's "The Count of Monte Cristo" story was decided. 

Of the many animated series broadcast on television last year, "The Count of Monte Cristo" undoubtedly left the strongest impression on viewers. This experimental yet artistic work is nothing less than the true entertainment that director Maeda pursues. Of course, it also received high praise within the industry, including being selected for the Excellent Work Award in the TV category at the Tokyo Anime Awards, at the Tokyo International Anime Fair 2005.

"This project had been in the works for three years, but actually, what I originally wanted to do was a different work. It was 'Tiger! Tiger!’ (translator note: other name for ‘The Stars, My Destination', but for a moment I thought he meant ‘Tora! Tora! Tora!’ and tried to find out the connection between TCoMC and Pearl Harbor), by the science fiction writer Alfred Bester. But I found out that it was impossible to animate it due to copyright issues. However, I then realized that 'Tiger! Tiger!' itself is actually based on Dumas' 'The Count of Monte Cristo.' So I thought, 'I'll just do the same thing!'" Maeda then reread 'The Count of Monte Cristo.' And he made an unexpected discovery.

"I had read 'The Count of Monte Cristo' when I was little, but all I remembered was that it was just scary. But it's interesting! It's set in an era when the rich are on the rise, and it's a hodgepodge of trends and sexual themes. Wow... but now that I've reread it, it's actually a really interesting popular novel! (laughs). So, if we were going to make it into an anime, we didn't want to lose the popular appeal that the original work had, and since the story has universal appeal, we decided it would be best to proceed without changing it too much. We made it science fiction because we thought it would work and stand out precisely because the story has universal appeal." However, in true space opera fashion, he initially envisioned a flamboyant work where the Count boards his private spaceship, duels on certain planets, and dramatically emerges from the spaceship shouting "Wait a minute!" to fight thieves. But even when it came time to produce the promotional video, Maeda was still undecided on the story for the first act. It just didn't feel right to have the Count as the main character.

"I wondered, 'Where will the Count go after he's finished his revenge?' If the protagonist dies, the story will close. It's also impossible for him to get back together with Mercedes and be lovey-dovey. If that's the case, then he shouldn't have sought revenge in the first place. Besides, in a brutal world like today, I thought it wouldn't work to simply say, 'I got my revenge, that felt good!' After thinking about various ways to properly wrap things up, I arrived at a coming-of-age story with Albert as the main character." By making Albert, the one being sought after as a target of revenge, rather than the Count who seeks revenge, the protagonist, the story can continue even after the Count dies. Inevitably, the scenario changed from something full of theatrical flair to one that showcases human drama. This is how the direction of Maeda's Gankutsuou was decided.

(p. 011)

(text next to Count’s design sketches: Initial character sketch

The designs for the Count and Mercedes, who were initially intended to be main characters of the story, were rethought many times. Mercedes’ design is based on her time in Marseille)

(text next to Maeda: Planning draft: how the remake of TCoMC took the shape of Maeda’s Gankutsuou)

(text above Albert sketch: Initial Character Designs

These are line drawings of character designs created by director Maeda in the spring of 2003 as promotional material. Next to Ede is "Muimui," a pet alien creature that was planned to appear. While there were detailed character designs, they were ultimately omitted as the story solidified. Regarding Eugenie, Maeda stated, "At this point, I still envisioned her as a strong-willed lesbian (translator note: punching the wall), so I drew her with a somewhat resolute and sharp look." Albert, who wasn't yet the protagonist, was drawn with the idea that "he could be a bit more of a delinquent and a spoiled brat than in the anime version." (comment by Maeda))

(picture in the left corner: PV

Storyboards and stills for the promotional video. It still has strong SF feel to it)

(p. 012)

(text next to drawing of proto-Count: Image board

Created for project proposal. Since the project’s selling point was innovative visuals, actual texturing was applied. Maeda created the textures himself.)

(text below drawing of proto-servants: 1. the image of the Count’s gentlemanly public persona. 2. Count’s household. From left to right: Ali the android, Baptistin the foul-mouthed cyborg and Bertuccio, who looks tough but has a kind heart, and his companion canary.)

(text below scenery pictures: The original novel TCoMC includes specific locations such as the address of the Count’s mansion. Maeda visited these places during his trip to Paris. This experience is reflected in the episode where Albert and his companions are surprised by the unassuming exterior of the mansion, as well as the general atmosphere of the city and buildings. The photo is a collage of pictures taken during location scouting.)

(text next to Maeda: Establishing characters

The initial concept is solidified, and the character design details are completed)

(p. 013)

(text between anime screenshots and storyboard: The triumvirate that ruled Paris gradually crumbled due to the Count's machinations. Albert, having learned that his father's scandal was a setup, confronts the Count at the airport. Finally, the Count reveals the truth...

(From Act 17, "Confession"))

(text next to Maeda: storyboard

Each individual image is turned into a dynamic animation)

The Masterful Art of Character Design: From Original Concepts to the Final Settings

Character design is a crucial factor in animation. In Gankutsuou the director, who is also an animator, personally created the character designs (initial sketches) and the initial character designs for the promotional video. The fact that Maeda's vision is consistently expressed throughout the work is perhaps a testament to the director's masterful ability to combine the power of words and the power of images.

Looking at Maeda's character designs and initial sketches, it's interesting to see how they differ from the characters in the main story, offering a glimpse into the image he initially had in mind.

"When looking at the initial design of the Count, I was surprised to see that the character as a whole was still quite stylized, and that initially, instead of a goatee, he had very prominent sideburns. We were also unsure whether to give him bangs or not. We hadn't narrowed down the direction yet, so we redrew the Count's face quite a few times before and after this. I remember struggling with Mercedes in terms of capturing her mature sexiness." Based on Maeda's initial design, Hidenori Matsubara, who joined the staff as a character designer, created the character designs for the main anime. In particular, the color setting using textures (details on page 17) was the best in Gankutsuou.

The secret to the success of "The Count of Monte Cristo" lies in the fact that the director also strategized and steered the show. 

Looking back, Gankutsuou was broadcast on television late at night on weekdays. When that time slot was decided, Maeda and the staff aimed to create a "late-night masterpiece theater." Moreover, the target audience was the F1 demographic, women aged 20 to 35. "Adults accept experimental things as artistic conventions. Since it was broadcast late at night, it was good that we could create something bold for adults. Working women would come home exhausted on the last train, turn on the TV, and be greeted by decorative images they had never seen before. They would be captivated, thinking, 'What is this? Is it an anime?' and gradually be drawn into the story..." They also considered the drama's appeal and didn't forget to create a cliffhanger at the end of each episode. Their plan was a resounding success, and "The Count of Monte Cristo" attracted many female fans (and of course male fans as well), becoming a huge hit. If strategizing for a hit with the producer is part of the job, then steering the staff is also part of the director's job. "Not everyone wants to create a robot. I asked around, 'Is there anyone who wants to do XX?' and entrusted it to people who were truly interested and talented. This time there was a new process involving textures, so I think it was tough for the staff. In the animation production process, the director's job is to unleash everyone's talent and to bring them together." Ultimately, Maeda's leadership was successful. He was able to release a high-quality work into the world, which he himself declared to be his "masterpiece."

(p 014)

The Source of Visual Beauty

The visuals in "The Count of Monte Cristo" are truly art. To express this outstanding beauty, the number of layers used in a single scene is immense.

For example, this is a still from the climax of episode 23, the embrace between the Count and Albert. Breaking down the single image in the center reveals that it's composed of so many elements. (Note that the image in the upper right is the layout. This forms the basis for the powerful visuals.) This is a crucial scene where Albert's unwavering feelings negate the Count's hatred - the Gankutsou. It showcases valuable technique.

(p. 015)

Act 23

The climax of the revenge drama

From "Edmond Dantès." Having lost everything, Fernand infiltrates the underground palace on the Champs-Élysées to confront the Count. Albert stands before the Count, determined to stop the long-standing cycle of hatred between his beloved father and the Count he respects... This 23rd episode, which can be considered the de facto finale, is a crucial scene that brings the world of Maeda's version of Gankutsuou to a close. 

(p. 016)

Textures

The latest video technology 

(p.017)

Innovative Visual Technology Transforms Art: 2D Texture Technology

If you were asked to name just one feature of Gankutsuou everyone would answer the textures applied to the characters' costumes and hair. That's how revolutionary this technology was in the animation industry. As is often the case with new things, there were certainly some who questioned it right up until the broadcast, saying, "Is this really fine? It's too bright." But in the end, the experiment was undeniably well-received by the public.

"When the production of Gankutsuou was decided, I knew that since there would be many nobles and wealthy people appearing, the costumes had to be elaborate, otherwise it wouldn't be interesting. Noble culture is a culture of layering clothes, after all. But realistically, tracing each lace pattern by hand wouldn't be possible within the schedule of a TV anime. That's when I came up with the idea of ​​using textures. This way, we could quickly express dazzling clothing, and moreover, we could easily change outfits by simply changing the textures." Through a staff member who knew someone working there, he had them create samples using magazine clippings and other materials. As expected, the result was a luxurious finish like stage costumes. Maeda said that during development, he consulted with a clothing manufacturer, and it was something that could be expected to be very effective in the anime. However, at that stage, the crucial software was still not in sight.

"So I approached Celsys (translator’s note: it’s Clip Art Studio company), the company that makes the animation software 'RETAS!', and they said, 'We have something that might work, so let's give it a try!' That software was 'Pattern Switcher'. We tested its usability and they helped us refine the specifications, which led to the realization of a rational texture application." However, trying something new in the systematic world of animation production required various adjustments. "We decided to apply a base coat as a kind of insurance against that risk. The procedure was that I would explain the digital aspects to Soejima, he would create a preliminary drawing, and then I would send it back to him for color setting. Soejima Yasufumi, the general director, was worried about whether we could really manage to apply so many textures. He asked the person in charge of coloring to paint the image once. Mr. Ejima then applied the textures based on that image, and I checked it... and we went back and forth like that many times. Usually, people on set are reluctant to try new things, but this time everyone was excited and actively cooperated, which was a relief." Because the time required for applying the textures was unpredictable, they had to manage the schedule more thoroughly than usual. However, this worked out well. Despite adding one more step to the process of applying textures, the ahead-of-schedule meant that the burden that would normally fall on the coloring and photography teams was reduced. That extra time allowed each person in charge to further improve the quality of their work. The introduction of textures seems to have had a positive effect not only on the direct visual effects visible on the surface, but also on the production process behind it.

(text above Mercedes: Texturing steps

Color the character

Apply textures based on step 1 to complete the design. 

Apply the single image of the design to the cell paint data using software called "Pattern Switcher". First, create two files:

◆ Configuration file (a numerical representation of textures for each color)

◆ Texture file (a collection of the textures specified in the file above, separated by part)

Once you place the two completed files into the pattern switcher and add the finished paint data, the software will automatically apply the texture to the areas specified by color.)

(text next to Haydée : By applying different materials, the same design of clothing can take on a completely different feel (Haydée).

Even Franz's everyday clothes, which are relatively plain among the other nobles, take on a high-quality look with the addition of textured materials.)

(p. 018)

(text next to Eugenie: texture breakdown: 

Texturing techniques using pattern switchers are used throughout the character. Let's look at Eugenie in her dress, designed by Anna Sui. Two types of materials are applied to the dress. The material used on the chest and hem is applied diagonally at the bottom, enhancing the clothing-like appearance. The materials are applied to details such as the shoes and hat, as well as the metal details on shoes, hat decorations, and necklace. Compare the image on the right, which shows the base color applied to one with the realistic texture. )

(text next to Valentine: Anna Sui’s dresses

The costumes designed by Anna Sui were used in the final episode, Act 24. As can be seen from Eugenie's costume (above), this luxurious collaboration was made possible by texture technology that allowed for specific details, even down to the metal fittings on the shoes. (translator’s note: forced heterosexuality and product placement, name a more iconic duo)

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(text next to Maeda: 3D technology

Backgrounds that combine realistic textures with a theatrical, almost fantastic quality)

In his directorial debut, “Blue Submarine No. 6”, Maeda brilliantly blended 2D and 3D. His skill shines through in “The Count of Monte Cristo”, where he effectively incorporates 3DCG into buildings, cityscapes, spaceships, and armors. "Actually, I initially considered using a collage of actual photographs for the Parisian cityscape, but location modeling designer Gota Nanami created such magnificent 3DCG that I ultimately decided to use that. I had a lot of fun with the 3D backgrounds. For example, the greenhouse at Villefort House is in the style of Taro Okamoto, and the Count's mansion, with its elephant decorations, is in the style of an Indian temple..." Furthermore, Maeda envisioned unfolding the story primarily within the 3D figures (translator’s note: cubes? fractures? Idk about 3D modeling jargon) . Textures were applied to the figures to fix it as the background. Even the furniture models were simplified, with the detailed information contained in the textures. In this way, textures were efficiently used not only for the characters but also for the 3D backgrounds. "This work is very theatrical. The dialogue is interesting, and the story is solid. Moreover, it mostly takes place inside a mansion. So instead of realistically recreating real rooms, I wondered if I could express it with a sense of a theatrical stage. Rather than making it realistic, I thought it would be better to have a decorative feel that is typical of a noble's mansion, even if it's a little distorted." Texture is the perfect tool for that. The golden corridor on the next page is one example, with a background that is a collage of the ruins of Angkor Wat (translator’s note: isn’t Angkor Wat well restored?) and other historical sites.

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(text on top: 3D materials breakdown

The 3D background is created by applying materials to a plain box with no decorations. Each of the materials applied to the completed 3D model (bottom left) can also be broken down into even smaller parts.)

(text on bottom: Scene Composition

A single scene is created by combining two cell drawings depicting individual characters and three 3D images, each created for a specific part such as a railing or stairs, on top of a base 3D background image.)

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(Text next to Maeda: Fusion of 2D and 3D: 

visual expression reaches new level)

A fusion of the best features: A special effect of combining a 2D face and a 3D body.

Among the fusions of 2D and 3D, there is a particularly special one. It is Haydée, who appears in a magnificent dress in the scene when the Count first visits the opera house in Act Six. In the case of Gankutsuou, the characters are drawn in 2D, but in this scene only, Haydée's body is created in 3D. "For Haydée's appearance in this scene, we dressed her in a Macedonian-style costume that is covered in diamonds from head to toe. We wanted it to be absolutely dazzling. Moreover, it's see-through, and she's wearing something fluffy and floating like a celestial robe... The moment she appears, we wanted everyone in the audience to hold their breath. Like, 'Here she comes!' (laughs). But it would be anticlimactic if only the audience in the anime was moved, wouldn't it? We created it with the hope that people watching the anime in the real world would also be moved."

The body is a 3D frame, but the head is 2D. It's like placing a painted board on top of the frame. "The face is the heart of a character, so I absolutely wanted to draw that in 2D. So I begged the staff to let me do it this way. Since 2D is on top of 3D, it actually looks quite strange from the side. I called this the 'grafting a tree onto a bamboo' strategy, and it's exactly like getting the best of both worlds from 2D and 3D (laughs)." This is the work of director Maeda and his staff.

(text next to Haydée: The Count visits the opera house with Haydée. Their entry into a box seat, previously unused due to past circumstances, and Haydée's breathtaking beauty, attract the attention of everyone in the hall. When Haydée spots Albert's father in the audience, she suddenly becomes distraught... (From Act 6, "My Melancholy, Her Melancholy"))

(text above scene breakdown: Scene Composition

Haydée with her arms outstretched. Based on a hand-drawn layout (top left), the 3D-created body (middle left), the celestial robe portion of the costume (top right), and the cell-drawn head (middle right) are combined to create a single image. Of course, textures are applied to her hair and costume. A sparkling effect is added to complete the image (bottom)).

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As mangaka and as anime director

Mahiro Maeda has another facet to his personality besides being an animator and director: he is also a manga artist. Currently, as a manga artist, Maeda is serializing a work in the monthly manga magazine "Afternoon." It's his first work since "Toui Umi kara Kita Coo" (unfortunately out of print), but the title is none other than Gankutsuou. Why does Maeda continue to draw Gankutsuou? "I myself still feel that there are parts I haven't been able to fully depict in anime. Besides, there is an anime version of 'The Count of Monte Cristo,' a novel version, and a manga version. If the means are different, the content will also change. The underlying essence of the work is continuous, but the surface may change a little."

The climactic final scene of the TV anime and the deadline for the first chapter of the manga series coincided, causing Maeda himself to cry out, "I can't do it! I'm going to fail!" but he managed to overcome the crisis and begin drawing the manga "The Count of Monte Cristo." Perhaps that's why he's so particular about it. "I want to go as far as I can with the manga. Creating something from scratch by myself is both refreshing and difficult," Maeda says. For him, manga is the perfect job when he wants to concentrate on something alone. "Don't you ever feel like just stacking matchsticks? That's when I do manga. I get so absorbed in it that I lose myself in it, and when something comes to me, I've won. Just keep going." He draws until he's in a trance-like state, and conversely, when he wants to talk to people, he works on anime. "Animation is a job that can't be done without communication with people. Maybe I have a balance between the two." Maeda Mahiro has many faces. The busy man spoke to us about his future. "Right now, I'm working towards making a film. Of course, I'll continue drawing manga (translator’s note: and he didn’t, goddamn Eva), but I really want to create a work that stands out in animation. The ideal film director I envision is one that everyone looks forward to. A director who, as a reward for entertaining everyone, has everyone eagerly awaiting their next work. I aspire to be that kind of director. So, not for myself, but to entertain everyone, I want to continue creating and delivering genuine entertainment works." Just as Maeda eagerly awaited "Future Boy Conan" every week when he was a boy, someone somewhere is surely waiting for Maeda's next work.

"What I'd like to do someday is a fantasy set in ancient Asia. I want to create that animation and share it with the world from Japan. Pictures are a universal language. The great thing about animation is that it can easily cross the globe. There are no difficult barriers like with language. You'll understand when you see it (laughs)."

Japanese animation is already traveling all over the world. The day when Director Maeda's fantasy animation set in Asia takes the world by storm may be just around the corner. (translator’s note: spoiler it’s Eva all way down until your retirement dude)

(text next to Maeda: Comics

a new word of challenge)

(text below picture of Maeda and his tools: I draw manga using readily available stationery items sold at local stationery stores, such as PILOT drawing pens (0.05mm~0.5mm) and Zebra Hi-Mackie markers. I complete the entire process, from sketching with a mechanical pencil to finishing with an oil-based ballpoint pen, in one go without hesitation.)

(below it is copyright credit of manga and ad for Maeda’s lecture on 1.01.2006 )

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(below Count drawing is a giveaway instruction)

(Below are items related to Gankutsuou with info where to buy them:

original The Count of Monte Christo

Red production book 

Beige production book

Official light novel