Connect with us

Anime

Creating a Fanclub: Director Sou Toyama on Kirio Fan Club

Published

on

1

Kirio Fanclub is not your typical tale of high school love. Aimi and Nami eschew many of the romanticized aspects we’ve come to expect from anime high school girls: they’re weird and loud and more than a little goofy while still taking themselves and their crush on classmate Kirio very seriously. We sat down with director Sou Yoyama to discuss his upcoming adaptation of Chikyu no Osakana Ponchan’s manga and what choices he made to bring the story to life.


One thing I really love about the original manga is that Aimi and Nami are not portrayed as “idealized high school girls.” Instead, they are depicted as slightly odd but lovable characters. In the anime adaptation, how are you thinking about expressing this charm? Also, are there any particular directing choices or techniques you are consciously using to highlight their slightly foolish and awkward, very teenage-like qualities?

Sō Toyama:You’re absolutely right — the most important thing, I believe, is not to exaggerate them, but to portray them realistically as ordinary high school girls.

For that reason, in the anime, we are trying to avoid typical exaggerated expressions often seen in animation, such as heavy deformation or symbolic visual effects, as much as possible.

Additionally, we are carefully and realistically directing each moment that highlights their awkwardness and their slightly foolish sides, making sure those traits feel natural and relatable rather than overly comedic.

kirio-pv1-3

How do you feel this work portrays adolescence as a stage of life? Do you think its depiction feels more realistic compared with other works?

TOYAMA: Yes, I believe it is portrayed very realistically.

Adolescence is a time when everyone begins to deeply question the meaning of their own existence and the purpose of their lives. I think this work is a very real story about boys and girls in adolescence, one that places a direct and honest focus on those feelings and experiences.

In the original manga, even from Volume 1, there are moments where the tone shifts from a very comedic atmosphere to something quite serious. Do you think these tonal shifts are one of the charms of this work?

TOYAMA: Yes, I think it’s very appealing.

At its core, the series is fun to read as an entertaining, comedic story, but just when you let your guard down, a serious development or deeper human drama suddenly emerges. It’s a source material that never lets you relax completely — and that unpredictability is part of its charm.

The title is Kirio Fanclub, but do you feel that this story is really about Kirio himself? Also, what do you think is the meaning behind the choice to never show Kirio’s face?

TOYAMA: I think it is a story about Kirio himself, but at the same time, it is also a story about Aimi and Nami — and through them, it can ultimately become a story for the readers and viewers as well.

By keeping Kirio’s eyes hidden, readers and viewers are encouraged to imagine and construct their own image of who Kirio is. Through that process, they can become more deeply immersed in the emotions of the two girls and in the unfolding of the story.

kirio-pv1-9

For you as a director, what does it mean to be a “fan”? And in this work, how do you think the idea of being a fan of someone is portrayed?

TOYAMA: For me, being a fan of someone means enriching and deepening one’s life. When you become a fan, you naturally develop the desire to connect more with that person and to learn more about them. I believe that desire helps expand your own knowledge and becomes a source of motivation and energy for the future.

Throughout the series, what kinds of feelings or impressions would you like viewers to take away from the story?

TOYAMA: Beyond simply experiencing the uniquely adolescent drama of Aimi and Nami, as I mentioned earlier, I hope viewers might also reflect — in their own way — on what gives their lives meaning, or what they are living for.

That said, it doesn’t have to be taken that deeply. I would also be very happy if audiences simply enjoy the series and have fun watching it.

Finally, could you share a message for overseas fans who are looking forward to this series?

TOYAMA: I believe there are already many anime depicting Japanese high school life that are watched overseas. Among them, this work stands out as a truly realistic, grounded, and universally relatable human drama.

I hope you will enjoy the comedy, and at the same time, also experience the series as a heartfelt drama.


.jpg
Photo Courtesy of Pony Canyon

After moving to Shizuoka Prefecture in childhood, Sō Toyama began playing soccer and was eventually selected for the Japan High School National Soccer Team. However, as soccer was not yet as popular at the time, he began exploring other paths and developed a strong interest in acting and theater. Through connections made there, he eventually became involved in writing scripts for anime.

After participating as series composition and scriptwriter on titles such as Yadamon, he transitioned into storyboard and directing work. He later served as director for the OVA Ajisai no Uta and worked as an episode director on Pokémon the Movie series, among other projects.

With SATELIGHT, he contributed as an episode director on Helck and Tasūketsu, handling direction for several key episodes. He now serves as the director of Kirio Fanclub.


Kirio Fanclub streams on HIDIVE.

>

Continue Reading

Anime

Voice Actor Kenjirō Tsuda’s TikTok Lawsuit Dismissed After AI-Voiced Videos’ Removal – News

Published

on

Ministry of Justice expert panel had indicated right of publicity protects voices



tsuda
Image via Kenjirō Tsuda’s website

On Wednesday, the Tokyo District Court dismissed the lawsuit voice actor Kenjirō Tsuda filed against the operator of the video-sharing app TikTok for posting videos that allegedly used AI to imitate his voice without permission. Tsuda had sought the removal of the videos, and the court found that the videos had already been removed.

The Singaporean company that operates TikTok in Japan reported that the videos had been removed after the lawsuit’s November 2025 filing. Thus, the company argued that Tsuda no longer has a legal interest in continuing the case.

According to the lawsuit’s filing, an unidentified individual owned the TikTok account that posted at least 188 videos dealing with urban legends and conspiracy theories between July 2024 and September 2025. According to information the individual posted on another site, the revenue from the videos was estimated between 500,000 and 750,000 yen (about US$3,000 to US$4,500) per month.

Tsuda’s legal team argued that the videos featured narration generated by AI to imitate Tsuda’s characteristic “smooth, low-pitched” and “deep, husky” voice. They claimed that the videos were misleading viewers into believing that the narration is Tsuda’s voice, thus attracting them. Tsuda’s camp had sought the removal of the videos based on the Unfair Competition Prevention Act and the right of publicity, which is the right to protect the image of public figures such as celebrities and entertainers.

The defense had argued that the voice in the narration was a “universal male voice” generated by training AI on the voice of the poster’s friend, as was stated on the poster’s external website. The company’s lawyers argued that there was no confusion and therefore no violation of the law. TikTok also denied any infringement of publicity rights, arguing that most of the comments on the videos were opinions and reactions regarding to the content, and the viewers were not drawn in by the voice of the narration.

In related news, an expert panel for the Ministry of Justice issued guidelines in August on how to interpret the existing laws to protect voices from unauthorized generative AI use. The guidelines indicated that the voices of voice actors and actors are legally protected under the right of publicity, just as their likenesses (e.g. photographs) are. The guidelines also indicated that depending on how much they infringed on that right, generative AI providers could face joint liability.

Source: Mainichi Shimbun
(Kōtarō Adachi) via Hachima Kikō


>

Continue Reading

Anime

New Fairy Princess Minky Momo Original Video Anime Delayed – News

Published

on

Mahō no Princess Minky Momo Akogare no Yume e Magokoro no Duo
Image via Mahō no Princess Minky Momo Akogare no Yume e Magokoro no Duo anime’s website

The production committee for Mahō no Princess Minky Momo Akogare no Yume e Magokoro no Duo (Fairy Princess Minky Momo: A Heartfelt Duet for Dreams of Yearning), the new original video anime (OVA) of the Fairy Princess Minky Momo magical girl anime franchise, announced on Wednesday that the new anime has been delayed due to production issues. The committee had planned to open the anime in theaters in Japan on November 13.

The committee apologized to fans looking forward to the anime and all those involved in the production, and said it will announce the new opening date, as soon as it is decided, on the anime’s official website and social media accounts. People who bought advance tickets for the screenings can still use them after the new opening date.

The new OVA‘s story is set in Diginarsa, the land of dreams and hopes, which maintains its existence through dream energy. But the land is in danger of disappearing as humans lose their dreams and hopes, and the dream energy decreases. As a last resort, the land’s king sends off his three companions Chamocha, Dettabook, and Pipirupi to Min ky Momo for help.

On her 12th birthday, a girl named Momo received a smartphone as a present, and awakens as Min ky Momo after meeting the king’s companions and resolves herself to save Diginarsa. As Momo steadily collects dream energy, a mysterious app begins to become popular in the city. But the dreams that children talk about in the app are nothing but frivolous dreams only driven by the desire for recognition or boosting their viewing numbers. Momo starts to question everyone’s dreams.

momo
Image via Fairy Princess Minky Momo franchise’s X/Twitter account

The OVA stars:

Ayumu Watanabe (Witch Hat Atelier, Akane-banashi, Space Brothers) is directing the anime at Ashi Production. The original 1982-1983 anime’s main animator Hiroshi Watanabe and Minky Momo in The Station of Your Memories key animator Mari Tominaga are designing the characters. Deko Akao (Arakawa Under the Bridge two seasons, Pretty Rhythm Aurora Dream) is writing the script, Katsunori Shimizu (Magical Girl Ore, Citrus) is the sound director, Zack Promotion is in charge of sound production, and Tomoki Hasegawa (Minky Momo in The Station of Your Memories, Cherry Magic! Thirty Years of Virginity Can Make You a Wizard?!) is composing the music. Studio Live is credited for design cooperation. MOVIC and Giggly Box are distributing.

The new OVA will be the franchise‘s first new one since 1994’s Minky Momo in The Station of Your Memories, 32 years ago.

William Winckler Productions launched an Amazon Instant Video release of the 1982-1983 television anime as English-dubbed features in 2015, and it described the story:

In Minky Momo, a princess from a magical world is sent to Earth to help people recover their lost hopes and dreams. Using her magic, and with the aid of her magical dog, monkey and bird, Minky – known on Earth as “Gigi” – encounters amazing adventures.

The 1982-1983 series inspired a television series followup in 1991-1992 and several OVAs. Harmony Gold USA released the Fairy Princess Minky Momo: La ronde in my dream OVA in English as Gigi and the Fountain of Youth. Crunchyroll began streaming the original television anime in January 2024.

Sources: Mahō no Princess Minky Momo Akogare no Yume e Magokoro no Duo anime’s website, Comic Natalie

>

Continue Reading

Anime

‘Odebu Akujo ni Tensei shitara, Nazeka Last Boss Oujisama ni Shuuchaku sareteimasu’ Reveals Additional Cast, Staff, First Promo, Winter 2027 Premiere

Published

on

The official website for the television anime adaptation of Kotoko and Kaname Hanamiya‘s Odebu Akujo ni Tensei shitara, Nazeka Last Boss Oujisama ni Shuuchaku sareteimasu (The Final-Boss Prince Is Somehow Obsessed with the Chubby Villainess: Reincarnated Me) web manga revealed additional cast, staff, a first key visual (pictured), and the first promotional video on Wednesday. The anime will premiere on Tokyo MX, BS Nippon, AT-X, CBC TV, and other stations in January 2027.

Voice actors Shunichi Toki (Kuroneko to Majo no Kyoushitsu) and Fuuka Izumi (Shibou Yuugi de Meshi wo Kuu.) are joining the cast as Louis and Adele, respectively.

Staff

Art Director: Yuri Takagi (Watashi no Yuri wa Oshigoto desu!), Keito Watanabe (Watashi ga Koibito ni Nareru Wake Nai jan, Muri Muri!)

3D Art Setting: Jishiro Shida

Color Design: Taeko Mizuno (Ragna Crimson)

2D Design: Suguru Shiga

Director of Photography: Kenji Takehara (Watashi wo Tabetai, Hitodenashi)

Editing: Hitomi Sudou (Uruwashi no Yoi no Tsuki)

Sound Director: Ryousuke Naya (Hanaori-san wa Tensei shitemo Kenka ga Shitai)

Sound Effects: Yuka Kazama (Haibara-kun no Tsuyokute Seishun New Game)

Music: Tsubasa Itou (Osananajimi to wa Love Comedy ni Naranai)

Naoyuki Kuzuya (Eiyuuou, Bu wo Kiwameru Tame Tenseisu) is directing the anime at Studio Lings, with Shuusaku Katou (Sorairo Utility (TV) episode director) serving as the assistant director. Mitsutaka Hirota (Kanojo ga Koushaku-tei ni Itta Riyuu) is handling the series composition and script. Fumino Kakihata (Watashi no Yuri wa Oshigoto desu! chief animation director) and Yukiko Sekita (Maou no Ore ga Dorei Elf wo Yome ni Shitanda ga, Dou Medereba Ii? animation director) are designing the characters.

Kotoko and Hanamiya began serializing the fantasy romance web manga on the Mecha Comic and Comico Japan in April 2023. Kadokawa Shoten released the fifth volume on February 14.

NHN comico Corp. originally licensed the manga for digital release in English through their Pocket Comics platform in September 2024. The series has been licensed by Manga Mirai since October 2025.

PV 1

Source: Comic Natalie

>

Continue Reading

Trending

Copyright © 2017 Zox News Theme. Theme by MVP Themes, powered by WordPress.