Although thewinter anime seasonis in full swing , most anime fans are still tantalize thehigh from last year ’s slate of display — key among them being the first - ballot anime of the year contenderDan Da Dan . forthwith pursue its cliffhanger time of year finale , vitality studio apartment Science Saru revealed that fans wo n’t have to hold their breath for long , as asecond seasonis set to premiere in July 2025 .
To surge folks over as they think over reading ahead in the manga , io9 spoke with theatre director Fuga Yamashiro to blame his brain about the challenge of anime adaptation , Momo Ayase and Okarun ’s bud love affair , and how he and his team brought Yukinobu Tatsu ’s wacky on-going manga to life .
Isaiah Colbert , io9 : Anime adaptations often settle for being a one - for - one recreation of manga control board rather than take risk beyond being an exact copy of its origin material . What was your guiding principle for directingDan Da Dan ?
© Crunchyroll/Science Saru
Fuga Yamashiro : I wanted to stave off having the Zanzibar copal liken to the manga , so I tried sort of rebuildingDan Da Danwith a unlike approach from the manga whenever possible . What I mean is , create animation is a group cognitive operation , so I was try always to change the field we were playing on , to dodge turning it into a “ which has the better prowess ” contest . But at the same time , it was necessary to duplicate the mental picture the manga gives , so I put exploit into capturing the impactful venire from the manga I assumed everyone wanted to see — the really cool panels , the spreads , etc .
io9 : What are some of your favorite moment when deviating from the manga to make additional scene / changes in the gum anime ?
Yamashiro : I retrieve the base is the manga , but a lot of the styles and techniques used are sole to the sensitive of anime . I did n’t transfer this simply because I wanted to transfer thing , but rather because manga and anime are different mediums . You demand to interpret what ’s depicted in manga into anime form to give gum anime viewer the same impression manga readers had . Anime is dissimilar from manga , which you may read at your own pace , in that each frame is put a specific amount of metre . So I pay a mess of care to the point and adjusted thing as necessary to stay closely to the mind ofDan Da Danthat readers of the manga had .
© Crunchyroll/Science Saru
io9 : What has been your favorite sequence to animate forDan Da Dan , and why ?
Yamashiro : The pubic louse following scene in episode four . It really captures the freedom and vitality of animation , and also denounce the first time Momo and Okarun go together from a striking standpoint . They ’re in perfect concordance for the first fourth dimension , completing the buddy unit . There ’s a real catharsis in that drama , and it links really well with the zip on screen . A gross ton of effort was put into the scene in every elbow room — human dramatic play , visuals , and music — and it feels spectacular , but also affirmative . The atmosphere I was aiming for inDan Da Dan , the kinship between Momo and Okarun in sequence 1 - 4 , it ’s all distill in this conniption where they forge together .
By the agency , before they take off , Okarun takes Momo ’s mitt , and helps her stand up . This is n’t supposed to be comedic , but rather this mark the first time they purposefully touch each other . They ’re not really aware of it , but it ’s almost like a handshake . I think that ’s super dramatic and nerveless .
© Crunchyroll/Science Saru
io9 : Dan Da Danstands out by having a filmmaker ’s coming to framing and depicting action through first - person degree - of - view scenes or villains just out of skeletal frame . Where does that direction stem from ? Is it a resultant of stomach out from your contemporaries with conform kit and caboodle , or is it simply taking divine guidance from dissimilar mediums ’ approaches to storytelling ?
Yamashiro : I hop to have visuals and fit with real direction to them , not just simple paper dame on screen . As for the intellect the camera is so often at around human height and not too in high spirits up , it ’s to make the hearing find like they ’re there with the characters . I want to make it feel like you ’re laughing , talking , or feeling afraid along with them .
There are no episodes or scenes that do n’t have any point , no drama or anything . My thinking was that even if something does n’t look tops stylish , someone somewhere is always having striking development , and that that character ’s feeling are always mobile and exchange , so I attempt to capture that in the visuals . I wanted to render the change in feelings that happen when hoi polloi communicate — not just conversations as simple back - and - forths .
© Crunchyroll/Science Saru
I actually think that the character development , the way the reference ’ emotions evolve , is more important than the action inDan Da Dan , and so I really tried to check that all the second details were charm on screenland . The slowing of the tempo in the dialog - sullen scenes was careful — I wanted to make them feel different , to make them put up out .
io9 : What ’s been the most thought-provoking part of bringingDan Da Danto life through animation ?
Yamashiro : I want to forefend making visuals that did n’t have a specific item to them whenever possible . The visuals are there to express something — more than anything I want to void adding thing just because they ’re cool , because they feel good , or because they ’ll mold as a makeshift to wed thing together . I thought about the best way to express the characters ’ situations and feeling , as well as the shifts in emotion throughout the scene , and tried to only compose scenes with visuals that really felt necessary .
© Crunchyroll/Science Saru
I ’d reckon to myself , “ Why is this picture necessary ? ” before adding things . I do n’t think that I really managed it , but that ’s where my mortal is , where my ideal is when I ’m working on a project . I desire to make things that are well - plan , beautiful , and highly polished .
io9 : In theDan Da Dantheatrical covering consultation , you mentioned that you have a notebook filled with blocking and framing for you to refer back to with unlike framing and block while work on the show . Do you often pertain back to it as a bible for directingDan Da Dan ? Have your framing ideas issue forth from theatre director you ’ve view in other anime or films , or do you come up with these idea spontaneously and jot them down as they fare to you ?
Yamashiro : My notebook computer is mostly for my own study . I use it to keep platter of what directorial techniques and what visuals directors and visual creators utilise in their works , so that I can analyze them . This extend for any film , any piece of medium , but there ’s something the creators want to say in a project or in an individual scene . There ’s always some kind of intention or aim from the output side . I like to figure out what those are , to clear those puzzles and analyze them .
© Crunchyroll/Science Saru
Direction is really interesting , you fuck ? Changing the time when selective information appear , or even a single bit of camerawork , can totally change the feeling of the scene . It get me experience like perchance magic is real . I ’m still very much a initiate , so I finger like I need to search at what the great directors before me have done and take stirring from them , take dissimilar ideas and put them together into new ways . I was very careful to ensure that these technique were ‘ sublimated ’ into the task , rather than having it stop at parody .
io9 : Yukinobu Tatsu revealed that he read up on shojo manga to inform how he approachedDan Da Dan ’s romanticism between Okarun and Momo Ayase . Has theDan Da Dananimation team had to go through a similar routine researching romance serial to get further estimation for accentuating the result Latinian language in the show ?
Yamashiro : I was n’t really imagine about shojo manga , but for romantic panorama , I prove the hardest to make those feel rude and realistic .
© Crunchyroll/Science Saru
Regarding the tempo , the show is generally about 1.25x the fastness of normal anime . I tried not to add pauses anywhere . However , with romantic scenes , where we see the inner feelings of characters , or scenes where character are alone , I made sure to add proper suspension there . I think fluctuation in tempo can have a great result on people , that tone of a “ crack ” between extremes .
I think it might be easy to infer if you look at the scene with the classic guitar in episode five . Did n’t that feel unlike from what come before ? Okarun and Momo are mindful of each other here — they must have been feel dissimilar emotions from normal . I wanted to have the audience experience those emotions vicariously through them .
io9 : What have you check from act on other Zanzibar copal labor that has serve you in directingDan Da Dan ?
© Crunchyroll / Science Saru
Yamashiro : I essay to put everything I ’ve learn so far into this labor . I served as an assistant to director Masaaki Yuasa ( Devilman Crybaby , Ping Pong the Animation , Keep Your Hands Off Eizouken ! ) for a farseeing fourth dimension , and I call back that had a big effect on how I think about task and how I work . I do n’t think I ’d exist today without that experience , and I value it very dearly .
All 12 episodes ofDan Da Danare streaming on Crunchyroll , Hulu , and Netflix , and season two is coming before long .
Want more io9 news ? Check out when to expect the latestMarvel , Star Wars , andStar Trekreleases , what ’s next for theDC Universe on motion picture and TV , and everything you need to know about the future ofDoctor Who .
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