The masterpiece isekai fantasy manga "From Far Away" (Kanata Kara), serialized in "LaLa" (Hakusensha) from 1991 to 2002, has finally been adapted into a TV anime. Even after approximately 35 years since its serialization began, it remains beloved by many fans.
For this adaptation, we interviewed four key staff members: Director Noriyuki Abe, Producer Yuya Yoshida, Series Composition Rika Takasugi, and Character Design Eiji Yasuhiko. They shared their thoughts on the original work and the behind-the-scenes of anime production from various perspectives.
In this fourth interview, we delve into the behind-the-scenes of anime production by asking each staff member about what they were most particular about. One particularly impressive point was the difficulty of balancing action sequences with romance elements.
"From Far Away" features a world where many users of mysterious powers appear, leading to flashy battle scenes with intense action. However, the core of the story remains the romantic relationship between Noriko and Izark. Successfully depicting these two elements is essential for the success of the anime adaptation.
Additionally, this session dug deeper into the interactions with the original author, Kyoko Hikawa. A key topic that emerged was the concept of "light and darkness." The world of "From Far Away" is depicted as a place where the power of light and the power of darkness are in conflict, and Noriko and her companions try to determine their path amidst this struggle.
How did the anime staff receive explanations about this grand worldview from Ms. Hikawa? And how did they translate it into the work? The insights shared here are likely crucial points for this anime adaptation.
What Each Staff Member Reveals About Their Key Focus... Balancing Action and Romance
-- Next, let's discuss the behind-the-scenes of the production site. Is there any part you were most particular about during production?
Yoshida: From my position as the planner, I hope we can create a work that satisfies the fans of the original manga as much as possible. We are working hard to achieve this thanks to the efforts of Director Abe, Ms. Takasugi, Mr. Yasuhiko, and the studio team.
-- How about you, Ms. Takasugi?
Takasugi: Due to runtime constraints, we had to condense the story to some extent, but I struggled with not wanting to make it feel like a digest. So, I was very particular about what could be cut without damaging the atmosphere of the original and while maintaining the same flow in a shorter format. Since we couldn't adjust everything at the script stage, I think the storyboard and direction helped refine it.
Regarding dialogue, if characters always have the same vector, viewers might think, "This person only says things like this." Therefore, I wanted to add subtle variations in intensity within the range that wouldn't make them feel disconnected from the original.
-- Adding intensity to dialogue is an interesting approach. It shows how much thought goes into preventing viewers from thinking characters only say similar things. Now, as the director overseeing the entire production, not just the script, where was your biggest focus, Director Abe?
Abe: In terms of visual expression, we prioritize "shojo manga aesthetics." Especially in scenes where Noriko and Izark's emotions clash, we aim for a soft, gentle feel, including color tones, reflecting the delicate drawing style of the original. We are still in the middle of production, so we are constantly experimenting...
Also, because there are many action scenes, balancing them is key. The most important part to show is the relationship between Noriko and Izark, but the weight of action scenes is overwhelmingly higher. Ms. Hikawa draws the choreography and effects of action meticulously, so we cannot slack off there. But if we lean too heavily into action, it starts feeling like a shonen anime, which would lose the unique identity of this work.
-- Indeed, "From Far Away" has a structure where flashy action scenes involving supernatural battles run parallel to the romantic progression between Noriko and Izark. Balancing these two elements perfectly seems quite challenging.
Takasugi: Initially, I thought it would be best to ask female writers for the episode scripts since the original is a shojo manga. But when I tried writing the scripts myself, I realized we needed writers who could also write action scenes well.
I wanted participants who could depict both the characters' personalities and feelings, as well as the action. So, choosing the writers was a big dilemma, but ultimately, I believe we assembled a balanced team.
Long Discussions... Digging Deeper into Interactions with Original Author Kyoko Hikawa
-- What was the most difficult part of adapting this work into anime?
Yoshida: Looking back, the opening sequence was extremely challenging. Parts that flow smoothly in the manga need careful consideration for how to express them in anime. If we don't clearly depict the relationship between light and darkness, viewers won't understand what they are seeing. Also, regarding the "problem of language barriers upon reincarnation into another world," we consulted Ms. Hikawa, which took several months. I remember struggling to even start on Episode 1.
After discussing with Ms. Hikawa, we reached a conclusion everyone agreed on, and now we are moving forward with production.
-- Could you elaborate more on your interactions with Ms. Hikawa? Specifically, what did you consult about while progressing with production?
Abe: For example, when many characters appear in the story, it becomes hard to manage them all in anime, so I suggested reducing the number for better readability. Ms. Hikawa responded, "I understand what you're saying, but I really don't want to cut characters," which made me realize the strength of her attachment to the work.
Unlike in the past, today it is most important to create something that satisfies fans of the original, so we aim to respect the source material as much as possible. Of course, we must adjust runtime for the anime adaptation, and we have our own ideas on improvements, but we strive to honor the original to the maximum extent.
-- As mentioned before, the "concept of light and darkness" is the foundation of the "From Far Away" narrative. What kind of explanation did you receive from Ms. Hikawa?
Yoshida: When Ms. Takasugi tried to incorporate it into the script, she faced the challenge that the concepts of light and darkness were very complex. So, we asked Ms. Hikawa, "What kind of conceptual world did you envision?" She replied with a very long explanation. Then, figuring out how to express this in anime led to about two months of discussion.
Takasugi: Yes. She explained detailed aspects of the worldview, such as what the diviners receive—is it the voice of light or the voice of darkness?
Yoshida: The settings on the side of light seemed particularly difficult.
Takasugi: The side of darkness interferes with humans, but the side of light hardly interferes. We also heard various stories from an SF perspective, but if it gets too complex, it becomes unmanageable in anime, so simplifying it enough for viewers was a major task.
Yoshida: Perhaps the reason "From Far Away" hasn't been adapted into anime despite being such a masterpiece is simply because it was too difficult to adapt.
