The Summer Hikaru Died Director Ryohei Takeshita on Crafting a Sense of Dread

Upcoming hikaru died in summer The anime series has big shoes to fill. Anime series, by Ryohei takeshita ((Jellyfish can’t swim at night),based on MokumokurenThe best-selling comic series. The series has more than 3 million printed versions, with honors including Eisner nominations.

Starring Chiaki Kobayashi As an introverted Giki, shūichirōumeda As “hikaru”, his best friend Different After disappearing, this story takes Yoshiki along a path that is unpaid as he tries to understand what his best friend is if this hikaru is better than without hikaru.

Now, the Cygamepictures team is tasked with bringing creepy stories to screen this summer. We talked with Takeshita-san about the pressure to adapt to the Hit comics series and how his team brought it MokumokurenThe world of the world.

What attracted you to this project in the first place? Is there any element Mokumokuren-San’s comics attract you as an anime director?

Ryohei takeshita: When I first read this comic, I thought, “This is a fresh and unique way to express the comic.” The way to use sound effects and the composition of each panel – everything is stylish. As a creator, I’m deeply attracted Mokumokuren– Sensei’s expressive style, I immediately felt the strong desire to turn this piece into an animation.

Also, I’ve always wanted to take on the challenge of engaging in the horror type. This project marks my first time directing a mature horror work, but I used to create horror-themed plots in the original anime Flip cover When I was young. This experience made me feel that horror might actually fit my sensitivity. So, with that in mind, I’m really happy to be on the project.

Are there any specific aspects of you that portray the horror of this adaptation?

Takeshita: Even when I first read the comics, I was shocked by a strong “weirdness”. It’s not a horror type that relies on jumping fear, but a feeling about something that might exist, a creepy stillness or a weird atmosphere. That is the fear it causes.

I feel like this atmosphere must definitely be recreated in the animation. Of course, the original comics are already incredible, but I’ve always realized the need to go beyond that with the unique possibilities of animation.

Are you doing anything in particular to capture the rural environment of the story? Can the team visit MIE County for reference?

Takeshita: After hearing Mokumokuren-sensei Regarding the location of the inspiration settings, I immediately reconnaissed the location myself. I spent about three nights there myself at first. After that, I returned with the main staff and then again with the director team. In total we had more than three trips and stayed for a few nights each time, capturing the atmosphere of the area through photos and videos.

To portray a realistic rural environment, I think it is crucial to experience it in person. For example, things like plastic bottles hanging on a fence, abandoned cars, or old signs that still stand up – something you don’t usually see in cities. These are subtle details, but we consciously strive to incorporate exactly what we see under the guidance of our intuition.

How did you develop Dorodoro animations Masanoub to Hiraoka– Bring MokumokurenArtwork of life?

Takeshita: It can be said that “dorodoro” is one of the most outstanding elements of the original work, and we are very careful to transform it into animation without breaking the animation Mokumokuren– Sensei’s innovative visual expression.

Initially, we considered a more efficient production approach, such as inserting paste into the layout. But then Masanoub to Hiraoka Say, “I can draw everything by hand.”

Honestly, my first thought was: “Even possible!?” (laugh). But I have a deep trust in Hiraoka-san and I decided to devote myself entirely to this direction. Neither of us tried to avoid sludge-we faced it head-on. That’s why we created a special character called “Dorodoro Animator” in the active animation team. We want to emphasize how important it is to anime.

Sound effects play a big role in the original comics; how did you work with the sound director to capture this in the anime?

Takeshita: When it comes to sound, the biggest thing I pay attention to is the sound of “Dorodoro.” Since Hikaru was identified as “soulless”, I asked the sound team to create “inorganic sounds” to match this.

Again, I chose a music-oriented direction, but instead chose a sfx (sound effect)-centric approach. Like Japanese live-action movies, I stress the importance of pauses, using only visual effects and SFX to convey the atmosphere. We carefully selected the sound to deepen the subtle and quiet form of horror.

hikaru died in summer It is both a horror series and an emotional drama about the relationship between Yoshiki and “Hikaru”. What kind of sound performance are you looking for when you play the lead role?

Takeshita: The relationship between Hikaru and Yoshiki is the most important aspect of the story. So even during the casting process, I thought about how to reproduce its unique chemical reaction.

Kobayashi-san is a very enthusiastic actor. His ability to express explosive emotions, especially from a repressed state, perfectly matches Yoshiki’s character. Umeda-San, on the other hand, is a very versatile actor who can visualize directions and intuitively adjust its performance to fit.

During the recording session, their balance was exactly what I envisioned, and it was really amazing.

As an example of showing their bond, one day after the recording session, I saw Kobayashi-san and Umeda-san go home together. They walked side by side and I thought, “Wow, they really got along.” Seeing this made me think, “Yes, we chose the right actor.”

You not only have to direct the series, but you are also responsible for writing it. Can you talk about your writing process? Once was Mio Nukaga– San’s light novel is used as a reference?

Takeshita: Although I have shared credits before, this is the first time I have been responsible for the series.

When writing a storyboard, what matters most to me is the rhythm of the scene. I first designed the time for each shot, and where it should be faster or slower – and then scripted based on the internal blueprint.

Of course, consistency and logic are important, but even more importantly, I focus on making smooth emotional streams, i.e. animation works well. I keep adjusting the pace to avoid boring the audience. Whether it’s structure, script or storyboard, I aim to connect seamlessly.

Are you particularly proud of the animation sequence?

Takeshita: First, I feel like we’ve really succeeded in anime for “Dorodoro”. I think even fans of the original comics will find it faithful and satisfying. This is entirely thanks to Hiraoka-San’s skills and efforts.

Another highlight is Tanaka’s debut in the first episode. By combining the choir scenes with his intense sequence of action, we were able to create a very amazing moment – ​​I was very happy with the results.

Plus, Matsuura, who appears only in the first episode, plays a key role in the story’s first major horror film. We focus our animation resources on her scenes. The first episode is a barometer for viewers and staff. It would be disastrous if there wasn’t enough impact, or if the director’s plot wasn’t strong – adding to the stress. But I think we succeeded in expressing the uneasiness of the total effect.

There seems to be a lot of expectations for the upcoming Japanese and foreign anime series. Are you feeling stressed about how to deal with these expectations?

Takeshita: I definitely feel a lot of pressure – like I do with every project. There are a lot of young, more talented creators out there, and I often think, “Maybe they’ll be better for that.”

But if it makes any sense for me to do this, it is the moment I spend really getting involved in the work. That is something that cannot be forged. Take the time to honestly struggle, reflect and make decisions – the accumulation of these things may ultimately give me confidence.

Are there any horror movies that impress you as a director, either because of their technical attributes or because they are so creepy?

Takeshita: I’ve seen a lot of horror movies over the years, but the movie I’ve insisted on is alien (1986) James Cameron. Comparison, but Cameron’s work goes beyond simple horror, which cleverly manipulates human psychology.

For example, fear aroused by enemies that appear on radar but are still invisible and panic about not knowing where the danger lies. There is more than just horror in that movie – it’s full of elements that make the audience completely involved. I think mixing is part of its talent.

Finally, do you have a message to fans and readers who are eager to wait for the original comics adapted by the anime hikaru died in summer?

Takeshita: There are high expectations for the original work, I believe many Mokumokuren– Sensei’s fans are attracted by the unique psychological depth and exquisite expression of this comic. Naturally, we know that these fans will judge anime with a critical perspective.

But myself, along with Takahashiyama (character design/chief animation director), producer Kamiuchi-San and our incredible team have sincerely provided everything we have, aiming to somehow surpass the original. The enthusiasm we poured into the project was 100% real.

I really believe that this kind of anime should be shared with the world, so I hope everyone is looking forward to it.

Animation Expo will host its North American premiere hikaru died in summer July 4 at 7:00 pm PDT with special guests Mokumokuren,,,,, Chiaki Kobayashi,,,,, Manami Kabashimaand Chiaki Kurakane. Comic Creator Mokumokuren He is an honorary guest of the 2025 Animation Expo and will participate Yen Publishing House Gift: with Mokumokuren– Creator hikaru died in summer July 4 at 11:30 am group PDT. The anime series will be played Netflix July 5.

Disclosure: Kadokawa World Entertainment (KWE), a wholly owned subsidiary of Kadokawa Corporation, is the majority owner of Anime News Network, LLC. One of the companies mentioned in this article is part of the Kadokawa Group.