UlasanAnime.com – The role of writers in anime production can be complex and varies significantly from project to project. Understanding the nuances of their contributions is crucial for accurately attributing praise or criticism, and this often requires looking beyond simple job titles.
The author recalls attending a convention panel several years ago, possibly before 2009, featuring guests from Japan who were involved in a prominent anime promotion. Among these guests was the show’s writer. The panel primarily consisted of a Q&A session, with attendees lining up to ask questions.
Unfortunately, the author cannot recall the name of the writer-guest, making the recollection more challenging. However, the writer remembers that the show involved intricate writing details, and a question was posed about the inspiration behind these specific elements.
This anecdote leads to a discussion about how individuals are sometimes criticized, using Mari Okada as an example. While open discussion and criticism are welcomed, the author emphasizes the importance of understanding the context and attributing blame or praise accurately. Without direct insight into the production process, fans are left with two options: remain silent or attempt to infer based on typical industry practices.
During the panel, the writer explained their role as the “head” writer. This involved collaborating with core creative staff, such as the director and storyboard artists, to develop the overall plan for the series. They then worked with other writers to flesh out episode scripts, assigning specific story portions. The head writer also penned some scripts themselves.
In some cases, like the project being discussed, the head writer might have written almost the entire script. However, the author notes that writers can also be hired hands, tasked with specific episodes according to specifications. Supervisory duties after script completion, such as making changes for continuity, were also part of the role.
This role is often credited as “series composition.” Other lead writing titles, like “series concept” or “scenario,” also exist, but the general idea of overseeing the narrative structure remains consistent.
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The author then introduces Tatsuo Sato, known for directing the Nadesico TV series and movie. Sato himself once mentioned that Nadesico had many talented writers whose work he largely adopted as is. The author suggests that directors, like Sato, often coordinate scripts, applying them as they see fit. Compared to his later work on Mouretsu Pirates, Sato’s approach in Nadesico was more conservative, with him penning more episodes himself.
The main point being made is that a writer’s influence on an anime project can vary greatly, and relying on a single name or title is often insufficient. For instance, when Hideyuki Kurata was heavily involved in Kannagi episode 7, it was clear he was the writer. However, discerning his role as the “series composition” writer for Kaminomi or Dragon Crisis is more challenging for the average viewer, though ardent fans might recognize his style.
Kurata’s involvement in OreImo is also mentioned, with the author believing he was a key factor in its success. While he often sticks to the source material, Kurata’s talent shines when he is given creative freedom, as seen in works like “Besame mucho.”
When discussing Mari Okada, the author suggests it’s more effective to analyze her original works rather than adaptations. Examples include Fractale (where she likely drew inspiration from others), Hanasaku Iroha (which appears to be largely her brainchild), and AnoHana (which seems more influenced by Tatsuyuki Nagai). However, even these distinctions can be questionable.
For Okada’s work on Fujiko, the author believes it leans more towards Sayo Yamamoto’s influence than anyone else’s, perhaps even more than Monkey Punch. In contrast, Okada’s adaptation of Hourou Musuko is cited as an example where her writing might have been overdone, potentially alienating manga fans despite the author’s enjoyment of the series.
A sense of déjà vu is noted, suggesting a recurring pattern in discussions about anime writing.
With recent works like BRS, AKB0048, and Aquarion EVOL, the author prompts a re-evaluation of initial assumptions. The writing in BRS is seen as an interpretation of Okada’s lyrics, with a common confusion arising from the original OVA and a disregard for the song’s lyrical connection. This type of work, where understanding the underlying concept is key to enjoyment, is compared to Book of Bantorra and Simoun, both of which Okada contributed to.
The author is undecided about AKB0048 due to insufficient content. Aquarion EVOL is described as having a pretentious tension similar to Hanasaku Iroha, with characteristic ups and downs from a structural perspective. Both series share Okada as the “series composition” writer. The author speculates that the differences in feel between these two works stem from Okada writing all of Hanasaku Iroha, compared to only a third of EVOL.
[In such times, the author expresses gratitude that average anime scripts allow voice actors significant room for varied performances, even if the same writer tends to employ similar narrative devices across different works. Otherwise, certain characters might become overly predictable.]
If the author were to criticize Okada’s writing, they would focus on her method of creating dramatic tension. Further detailed criticism would require examining episodic credit lists, which the author currently lacks the motivation to do. However, the author suggests that exploring the structure of Book of Bantorra, for example, and analyzing the collation of its first four episodes could be an educational experience.
The author proposes that practicing criticism on writers with more identifiable stylistic flourishes, such as Yousuke Kuroda, might be more beneficial for developing analytical skills.
PS. The author recalls a detailed explanation of anime screenwriting on ANN but cannot find the link anymore and asks for assistance if anyone has it.
