An interview with Urusei Yatsura Season 2, Cool 3rd Ending Staff Hitomi Kariya and Yoko

Translated by: Dylan Acres

How was the unique “sparkle” that combines cuteness and sadness created? The second season of the TV anime Urusei Yatsura has been airing since January 2024 on Fuji TV's "Noitamina". ^[1]

With the new season upon us, characters familiar to fans of the original are continuing to appear! As the excitement continues to build, the third ending video, which combines nostalgia and newness, cuteness and sadness, is attracting attention from all quarters.

Animate Times has an exclusive interview with Hitomi Kariya, who directed the ending credits, and Yoko, who was in charge of character design and animation direction for the ending credits. We asked her about the production process of the ending credits, which is something you rarely get to hear about.

How did this collaboration between the two, which caused a stir on social media, come about? With their mutual respect and trust for each other... what unexpected developments did they see?

This is a must-read for fans of Urusei Yatsura, as well as for those who like animators and illustrators. I hope you enjoy it until the end!

Yoko-san's drawings have a strong affinity with the anime Urusei Yatsura

First of all, could you please give us a brief introduction of yourself and tell us what you are responsible for in this ending video?

Hitomi Kariya (hereafter referred to as Kariya): I'm Hitomi Kariya. I usually work mainly as an animator, but occasionally I work as an illustrator. For the ending theme for Urusei Yatsura, I was in charge of direction, key animation, and color design. ^[2]

Yoko (hereafter referred to as Yoko): My name is Yoko, and I'm an illustrator. I was involved in this ending video as a character designer and animation director. ^[3]

Thank you for joining us today. How did the two of you end up being involved in this ending video?

Kariya: First, I was asked through Studio Colorido to create the ending video for Urusei Yatsura. ^[4] The music hadn't even been decided yet, but I accepted the offer. After that, we started talking about who to hire, and that's how I reached out to Yoko-san. I sent her a DM (direct message) asking, "Yoko-san, would you be willing to be the animation director?"

Yoko: I was really surprised. When I received the call, I was like, "What?!" out loud. It was my first time to be involved in an anime in this way, so I was a bit worried about whether it would be okay.

However, I may never again have the opportunity to work with Kariya-san on Urusei Yatsura, so I answered, "I'd like to take on the challenge...!"

What made you decide to ask Yoko-san for help in the first place?

Kariya: I've been a fan of Yoko-san's since I was a student. Her drawings have a unique style that combines the wholesomeness of the past with the new. There's a nostalgic feel to them like '90s anime, but the paintwork and small parts incorporate modern designs.

While watching the original Urusei Yatsura anime, I got the impression that even though it was a remake, it had a pop feel that would be acceptable to the current generation. I thought, "I'm sure Yoko-san's style would be a good fit," so I asked her to help out.

I have the impression that many people were surprised when they saw the credits and said, "These two are in the ending video...!"

Yoko: I am very grateful.

Kariya: I'm grateful. When I first came to Tokyo, I went to a Ranma 1/2 fan event, but the book that Yoko-san was participating in had already sold out, so I had to go home empty-handed. I'm really honored to have had the opportunity to work with you on this project.

There have been interactions on social media that show the two of you have a lot of respect for each other, but have you always wanted to "create something together"?

Yoko: This may be one-sided, but I've always thought to myself, "Let's work together someday," because I've always admired Kariya-san's illustrations.

Kariya: I myself had a vague idea that I wanted to turn Yoko-san's drawings into an anime. I just thought to myself that they would have a good affinity with anime.

Fans will be happy to see Yoko-san's drawings move.

Yoko: I wonder? Personally, I was really happy to have Kariya-san animate my drawings, but I can't help but wonder, "Maybe I'm just getting something out of it?" (laughs)

Storyboard and character design pay tribute to the 1981 version

Yoko: My first encounter with Urusei Yatsura was with the original anime version (1981). When I saw Kariya-san's storyboards, I thought they were peppered with respect for the original, so I wanted the character designs to have that same feel.

Kariya: Every time I received an illustration, I thought, "What a feast for the eyes." I had the most fun tracing Yoko-san's drawing and turning it into animation.

Yoko: I'm so happy...! The design of Lum created by Rumiko Takahashi-sensei is full of cuteness, including the balance of her head and body. I placed the picture in accordance with Kariya-san's storyboard, but it was quite difficult because I had to match the angle as well. Once again, I really felt the difference between illustration work and animation work.

Kariya: I think it was her first time working as a character animation director, but as you said earlier, she was able to pick up on the facial angles and expressions from the storyboards. The storyboards were at the level of a professional animator from the start, so there was no sense of incongruity when I was tracing them.

Yoko: I was very relieved. I was worried that I had caused Kariya-san a lot of trouble (laughs).

Kariya: Oh no! That wasn't the case at all.

On Kariya-san's X, the image board before Yoko-san's illustrations were added has also been made public.

Kariya: I wrote it down while looking at the rhythm and lyrics of the song, but I think that without Yoko-san's illustrations, the video would have been much more subdued. Because of my position, I was in charge of the assembly and the construction of the base, but Yoko's illustrations were absolutely necessary to create a gorgeous image.

Yoko: Kariya-san's art was very precise, and I was able to visualize the finished product from the very beginning. It was a job I had no experience in, but I was able to work on it without any problems.

Kariya: For scenes with a lot of movement, I also drew rough sketches of the movements. Yoko-san would draw pictures according to the order, and then I would draw the movements for the animation based on those drawings.

It's truly a collaboration between the two of you.

Kariya: Yes. I think it's good that Yoko-san's style came out well in the animation. If time had allowed, I would have liked to have consulted with her about the video itself, asking "What would you like to do?" This time, we were only able to order the illustrations, but if the opportunity arises, I would like to create an animation in which Yoko-san's illustrations are moving as they are.

Yoko: Huh!?

(Listening nearby) Studio Colorido staff: That's great to hear. Let's do it at our place!

Kariya: Yes! Please do.

Yoko: It's too hot. Is that really okay? (laughs)

(laughs) I unexpectedly became a witness.

"I was able to create images that I couldn't have produced on my own."

I felt that the color design of this ending video was quite distinctive.

Kariya: I arranged the colors to match the music. The melody had a sad atmosphere, but also a sparkling one, so I thought I'd try to go with that. The vivid accent colors in the background were improvised by Sameshima-san (Kiyoshi Sameshima), who was in charge of the background art. ^[5] It was something I didn't have, so I was very grateful.

I felt that there was something similar to the illustrations you usually draw, so it was just a coincidence.

Kariya: I don't know exactly, but Sameshima-san may have looked at Yoko-san's drawings and made various judgments. Sameshima-san is a professional with many years of experience, so I think that even if you just look at the background, it won't look inferior.

Yoko: It's a magnificent background, isn't it...! Personally, I have a very strong feeling that I was able to create an image that I couldn't have created alone. I feel that the finished product has a different feel from Kariya-san's usual style because he worked with my style.

It's a video that turned out the way it did because so many people were involved.

Yoko: After all, animation cannot be done by one person, so I was always happy to see the finished footage. Kariya-san was in charge of the work itself, so I was able to proceed with peace of mind.

Kariya: From what I saw on social media, I had the impression that Yoko-san was someone who worked diligently and carefully, so I felt at ease. There was a time when I talked to Yoko-san on the phone about Urusei Yatsura, so I was happy that she picked up on that.

I hope you enjoy the whole series, from the opening to the ending.

How long did it take from the time you asked Yoko-san to make the video to the time it was completed?

Kariya: I contacted Yoko-san at a fairly early stage, sending her a DM around July of last year. As a character animation director, I would be in charge of many cuts, so I wanted to give her some leeway. The production period was about 1-2 months. Yoko-san's work itself was finished in September, and I remember that the animation was delivered in October.

Yoko: The work was given to me in several installments, so including the additional work, it took about that long. Kariya: I think it's a little shorter than a typical ending video schedule.

I see. When the New Year came and the ending video was aired, it caused a big stir.

Kariya: While I was making it, I was always thinking about the quality of the delivery date, like "Will it be completed and aired properly?" I was relieved when it was released without any problems. I gradually read the viewers' comments later, and found comments that commented on small details that I hadn't paid much attention to. I thought I was just working on small details in the corner of the room while I was making it, but I realized once it was released that a lot of people were watching it.

Yoko: Being able to be involved with Urusei Yatsura, a series I've loved for a long time, made me feel like it was a dream come true. Kariya: When I heard the excited voices about Yoko-san's drawings moving, I thought to myself as a fan too, "I understand!" I compiled all the ED fan art I'd seen on social media and sent it to Yoko-san (laughs).

Yoko: (laughs) It finally started to sink in when I saw the fan art that Kariya-san sent me.

Listening to your story, I felt that the relationship between the two of you, which is filled with mutual respect, is truly wonderful. Finally, could you each say a few words to the readers who love Urusei Yatsura and the ED video?

Yoko: I would be so happy if everyone could enjoy this ending video. My favorite character from the original work was in the key visual for the second season, so as a fan, I'm looking forward to the upcoming broadcasts even more!

Kariya: I'd like people to watch the whole thing. The illustrations are different from the main story, so I was a little worried that it might stand out, but I hope people will enjoy it in the order of the OP, main story, and ED. ^[6]

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Footnotes

• [1] Noitamina (ノイタミナ, stylized noitaminA, "Animation" written backwards) is a Japanese programming block on Fuji TV devoted to anime, originally broadcast every Thursday late night/Friday morning from 0:45 to 1:15 JST. It was launched with the intention of expanding the target audience beyond the typical young male demographic. Other Shonen Sunday manga that have had anime adaptations air in this timeslot include Silver Spoon (銀の匙/Gin no Saji) and Call of the Night (よふかしのうた/Yofukashi no Uta).
• [2] Hiroshi Kariya can be found on X/Twitter at @KRY_aia.
• [3] Yoko can be found on X/Twitter at @hrn_yc.
• [4] Studio Colorido Co., Ltd. (株式会社スタジオコロリド/Kabushiki-gaisha Sutajio Kororido) is a Japanese animation studio subsidiary of Twin Engine. The company was established by producer Hideo Uda in 2011. "Colorido" translates to "rich in color" or "colorful" in Portuguese and Spanish.
• [5] Kiyoshi Sameshima can be found on X/Twitter at @damachitanu.
• [6]The full staff list for the ending animation is:
  
  Direction, Key Animation, and Color Design: Hiroshi Kariya
  Character Design & Supervisor: Yoko
  Background Art: Kiyoshi Sameshima
  Cinematography: Aozora Maeda
  Editing: Ryota Kiminami
  Production: Azuma Hasegawa, Kazuma Momohara, and Masahiro Kinnae

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