Interview with Gen Urobuchi, Composer and Scriptwriter of “Gargantia on the Verdurous Planet” [2/4]

Any problems with the work?

Ishikawa: Well then... I’m not sure about what to ask next. This is my first interview and there are a lot... Okay, so... As the series composer, you must also be deeply involved in the scripts for episodes 2-12. Did you have any trouble deciding on the story development? I mean, it is rich in motifs like robots, boy meets girl, oceans...

Urobuchi: Since for this series we received permission relatively easily, there weren’t many troubles.

Ishikawa: Is it usually troublesome?

Urobuchi: It depends.

Ishikawa: Why was it so easy this time?

Hirasawa: This project had started more than half a year before Murata joined in. Until then, we would constantly knead on it - what kind of story should it be in what kind of world, what kind of audience should we deliver it to, and so on. When something is decided, Urobuchi makes suggestions about it, and we go on to tighten the screws one by one, deciding on the elements and putting them together. As the project became more firm, we asked Murata to join us. He answered, “Actually, I’ve been wanting to make something like this,” and he threw in the idea of huge floating fleets. I thought, “This is very interesting, but how do we blend this in?” However, Urobuchi managed to build it in no time. All the producers agreed that it was ready to go. The supervisor himself said, “Wonderful!” And so, the axis was completed relatively fast.

Ishikawa: That’s amazing...

Urobuchi: Isn’t it.

Ishikawa: It must be difficult to completely change the already built-up scenario with a new idea. But then again, you can always say no, right?

Urobuchi: Well..it depends on the case. This time, we managed to change routes unexpectedly easily, just as if we switched rails.

Ishikawa: So, Gargantia is very special in that respect.

Urobuchi: I have to add that Murata had a very clear image about those enormous fleets, and that was the key.

Ishikawa: I see.

Being a strategist

Urobuchi: This time, everything proceeded smoothly. I have to say that Murata’s judgement is very precise.

Ishikawa: You mean, in the sense of telling what would go well and what wouldn’t?

Urobuchi: In the sense of telling something is a go, that it’s okay. When we were lost, his guidance of direction was accurate and without hesitation. That’s why it was very easy.

Ishikawa: I see.

Urobuchi: Because Murata always made it clear what he wanted. After that, things rolled easily, we just had to hand in what was asked from us.

Ishikawa: So if you have proper guidance, it all goes smoothly.

Urobuchi: Yes. However, if that person is unsure about what he wants, everyone loses their way and it turns into chaos (laughs).

Ishikawa: And the workpiece goes astray. It was the same with me, but I think I managed to understand everything about the characters and the world after asking the director about the unclear parts.

Urobuchi: Exactly. If you have a problem, you go ask Murata.

Ishikawa: Is there something that others were better off asking you about, Urobuchi?

Urobuchi: Well, this did include consultations with Murata, but I would say submitting ideas.

Ishikawa: Submitting ideas?

Urobuchi: A writer’s position is similar to that of a strategist’s. Strategy draft, maybe. A general’s job is to win the war, right? A strategist’s role is to be able to answer a question like, “I want to fight in this terrain with an army this big. What kind of tactics can I use?”

Ishikawa: This is an incredibly easy-to-understand example!

Urobuchi: However, moving the troops or choosing the place to fight, such guidelines are entirely up to the director. On the contrary, the role of a writer or strategist is, regardless of the case they are facing, to think through all the possible case scenarios and come up with measures most appropriate for that exact time.

Ishikawa: You need to use your head a lot.

Urobuchi: Yes. We are expected to have inspiration, but we ourselves don’t move the troops. We don’t need to make decisions regarding the guidelines of the big picture, such as who are we fighting or what kind of fighting style should we use here. Such fundamental decision-making is not the concern of a writer. What a writer does is come up with the best way to achieve those points after they are specified.

Ishikawa: I see. That’s amazing (laughs).

Gargantia x Tokyo Otaku Mode Special Site:
http://otakumode.com/sp/gargantia

Source:
http://gargantia.jp/#kaito_0 (Japanese)

© Oceanus / Gargantia on the Verdurous Planet Production Committee