During the 2024 edition of BE COMICS! we had the honor and pleasure of interviewing Nobuyoshi Habaradirector of the film Star Blazers: Space Battleship Yamato 2202 and member of Sunrise Beyondthe studio that among its various projects boasts several productions of the animated universe of Mobile Suit Gundam. But let's get straight to the questions!
Good morning Habara-san, thank you for this interview. You have worked on various productions in the Gundam universe, from ZZ to Char's Counterattack, up to the most recent productions of the “Build” series. What are the differences between working on Gundam series considered “canonical” compared to those set in the “Build” universe?
For Gundam ZZ, I made some key drawings for the opening theme (SILENT VOICE). Specifically, I drew some up until before the transformation and the last scene where the ZZ is seen. In “Char's Counterattack” instead I made the key drawings for the part where Gyunei Guss tries to crush the girl (Kayra Su, Re-GZ pilot, ed.) with his mobile suit and the Nu Gundam comes to his rescue.
How has series like Build Divers and Build Metaverse been received by Japanese audiences? And more generally, how much is Gundam still loved by fans in Japan today?
In Build Divers Re:RISE I was the director of an episode. I also storyboarded and directed the new ending. The series Build it was created for those who build GUNPLA, but we also managed to increase the number of young fans who had never built any. I think this has made a great contribution to the future of the IP of Gundam.
Builder Divers Re:RISE is a special work that has expanded the number of new fans of Gundam and which represents an opportunity for the creation of a type of work related to the franchise in the future.
Is it true that he was responsible for the mecha design of some Z Gundam units? Do you remember what specifically he designed?
I designed a mecha called Bolinoak Sammahnand it was a joint project with many people.
You were Gurren Lagan's Gengaman, defined by the Gainax studio as “the greatest robot anime of the 21st century”. In what way do you think her drawings contributed to his success?
The director of Gurren Lagann he is a friend of mine and I felt that what he wanted were not just drawings that followed the settings, but powerful drawings that went beyond. For this reason, when I worked on the key drawings for episode 3, I thought about inserting original parts for the neck and joints into the robot that were not present in the settings.
Regarding Shaman King, for the 2001 animated adaptation you had to adapt a hasty ending, what problems did it cause in production? And, if you have read it, what do you think of the new ending rewritten by the author?
With regard to Shaman KingI don't remember exactly how things went. However, the original story was not yet complete during the anime's production and thus was concluded with an original ending. Again, I believe it was checked directly by the author as well.
Which of the works you have worked on has a special place in your heart and which are you happy to have worked on?
I have a strong attachment to all of them, and it is impossible to choose just one… I have created completely “Gekiganger“, the anime within the anime that was part of the series Mobile Battleship Nadesico and which the protagonists watched with great passion. This work was created in the 1990s, but is a tribute to the robotic animation of the 1970s. I liked it and worked on it very hard because I love the robotic series of those years. It was a memorable production, in which many great colleagues also participated.
Likewise, it was also a great honor to direct the remake of “Saraba Uchu Senkan Yamato Ai no Senshitachi”which I loved very much as a child.
What plans do you have for the future? Do you have a secret dream, a project you would like to direct or create?
My future project is to train young animators and directors.
We thank sensei Habara for granting us his availability for our interview.
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