[Epitanime 2012] Ryukishi07’s conference transcriptions

Hey there everyone! I guess I shouldn’t make any more excuses, but well I guess I will keep posting special posts such like about events like I did starting 2 years ago (although having a once per year update is quite sad in retrospect).
Anyway, as the title suggest, this entry will cover the conferences held at Epitanime (France, 25-27 may 2012), with Ryukishi07 as the guest of honor. I decide to stick with the transcription alone, as I had an uncommon status during the convention, so I was helping the staff almost full time, so I unfortunately couldn’t exactly take part of the convention activities, check what the booth had at their disposal, nor even taking few pictures, so it would be a lump of text with just description of what I did with Ryukishi07 and the staff (well, unless you REALLY want to know about the boring stuff, but heh unlikely).
Anyway, considering the staff had set a conference for both Saturday and Sunday, we simply focused each of them on Higurashi and Umineko respectively.


[Note for french readers/Note pour les lecteurs français]: Salut tout le monde! Bon, je sais que je ne dois plus vraiment chercher d’excuses à ce sujet, donc je pense que je vais simplement continuer à faire des billets spéciaux sur des événements dont j’ai pu participé (même si une mise à jour par an est assez triste quand on y pense).
Bien, comme le titre le suggère, ce billet va passer en revu les conférences tenues à l’Epitanime (France, 25-27 mai 2012), avec Ryukishi en tant qu’invité d’honneur. J’ai décidé de limiter cet article sur les transcriptions uniquement, vu que j’avais une position assez différente durant la convention, en aidant le staff presque durant tout le temps de la convention, donc je n’ai malheuresement pas pu participer aux activités de la conventions, passer en revu les stands et les marchandises dont ils disposaient, et je n’ai pu faire que très peu de photo, donc à ce rythme, ca aurait été un bloc de texte avec juste des descriptions de ce que j’ai fait avec Ryukishi07 et le staff (sauf si vous voulez VRAIMENT savoir ce qu’on a fait, pas specialement excitant).
Enfin donc, vu que le staff avait prevu une conference pour Samedi ET Dimanche, nous avons focalisé le theme de chacune de celles ci sur Higurashi et Umineko respectivement.
Si vous voulez passer directement sur la partie francaises, après le dash, faites CTRL+F, avec “frmode” (sans les guillemets).


Conference on 26 may 2012,
centred on Higurashi no Naku Koro ni

The initial conference started with pbsaffran (translator of the french license of Higurashi no Naku Koro ni, adapted as “Le sanglot des cigales” (the weeping of the cicadas, “sang” that is part of sanglot means “blood”). This part lasted 30 minutes, then came the Q&A section that lasted for a hour.

Q: We know that Hinamizawa village is largely inspired on the real-life Shirakawa village, that said, why was this village chosen as the basis for Hinamizawa and did the author live in Shirakawa at some point in his life?
A: He didn’t live there but thought very highly of the village as a nice place to live in. It was when he was still looking for something unique as his inspiration for his game that his brother showed him a book about the most beautiful villages in Japan in which Shirakawa was featured.

Q: Did Ryukishi07 know and read works of american author H.P. Lovecraft? If that’s the case, was Ryukishi inspired by Lovecraft as both authors share the same narrative structure in which we start with a very ordinary life atmosphere before diving down into horror genre.
A: Ryukishi07 never read Lovecraft. This peculiar narrative structure comes from his desire to create a giant emotional rollercoaster for his readers, with a progressive but slow start that shifts into a brutal and fast descent, then rinse repeat, which would explain the sudden genre-shifts in his works.

Q: I hope you are currently enjoying your stay in Paris. What is your opinion about this city?
A: This is actually Ryukishi07 second visit in France. Last time, he was part of a tour to Mont Saint Michel and once rode to the Mont by bicycle while wearing very light clothing. Taken by surprise by France’s evening temperature drop, he caught a cold. This time, he brought warmer clothes with him. He’s also enjoying this visit because he can observe what the parisian everyday life is like.

Q: How are the relations between Ryukishi07 and pbsaffran (translator of the official french release of Higurashi) and how did the two of them communicate with each other?
A: Before yesterday dinner, pbsaffran never had the chance to speak with Ryukishi07 but after meeting with him, he can only say « Wow ». When Ryukishi07 first heard about pbsaffran’s project to translate Higurashi, he couldn’t help but feel surprised but also a bit scared.

Q: Ryukishi07’s works are heavily centred on Love as the common theme between them. How are the characters set around this theme?
A: Ryukishi07 admitted he uses “eternal love” as a common theme in his works. In his opinion, one must make “the man lives” in the story, otherwise the work is meaningless. He confesses that he barely nudged the theme in Higurashi, as a love between friends, but he made it much more prominent in Umineko, with a huge emphasis on the eternal aspect of it.

Q: How does the creation process for his works’ background go, and what are his sources of inspirations?
A: The process is relatively simple:
-In Higurashi case, it was based on creating a background set around themes focused on Japan and the countryside
-In Umineko case, it was based on a theme heavily westernized, with the XVIII century style gothic manor as the most obvious example.

Q: During the writing of his works, does Ryukishi07 give more importance to the scenario, or to the idea behind his works, such as a message and set of values towards his readers?
A: After thanking this person for such difficult question while chuckling, Ryukishi07 states that there are 3 points he set as his objectives he follows during the conception of his works:
-Entertain the readers
-Deceive and betray the readers’ expectations
-Please himself

Q: Regarding the background music, does he get in touch with the artists before or after writing the scenes of his works?
A: He contacts the composers before starting the writing. He gives them a summary of his ideas regarding the scenario he’s planning to write. Past that, the composers are given free rein over the conception of the music tracks, which can lead to drastic differences between the actual track and the scene associated with it. Ryukishi used 月うさぎの舞踏 (Tsukiusagi no butou – Dance of the Moon Rabbits) as an example: Dai initially imagined a cute rabbit dancing on the moon while composing this track, while Ryukishi used it for the Chiester Sisters first debut, which was a brutal massacre.

To illustrate the importance of the music tracks, Ryukishi07 also explained that “sound” in “sound novel” uses 4 japanese syllable, while novel is only 3.

Q: Ryukishi07 previously mentioned his interest for the movie Project Blair Witch. Was he inspired by this movie for Higurashi no Naku Koro ni, and if so, to what extent?
Second question: Ryukishi has visited France twice, during periods close to summer. Did the absence of cicadas make him uncomfortable?
A: for the first question, Ryukishi explains the movie has greatly inspired him due to its realism in the narration, as well as the peculiar attention for details.
As for the second question, he confesses their absence made him feel a bit lonely, but was surprised people would expect such awkward feeling.

Q: Additional information regarding characters in Rose Guns Days are available, such as birth day, which are not in the previous works. Does Ryukishi think it would be possible to add such points in the previous works as well?
A: Ryukishi explains that he took notes of the critics, which explains why such data is available for RGD. As for Umineko, due to the inherent problemes of some characters, that kind of material might generate inconsistencies. He however takes note of that suggestion and might work on it later to fill the holes.

Q: Regarding the Naku Koro ni franchise, we can notice the use of animals for the title. Why did Ryukishi07 use cicadas and seagulls for such titles?
A: At that time, there was a popular trend where novels titles were written with a single Kanji. His attention was directed to the kanji for Higurashi (蜩). However, the radical of this kanji is of Insect (虫 – mushi), which he considered as grotesque, bizarre. Thus, he put the word back in Hiragana (ひぐらし), and with his brother, they made the complete title, adding the “のなく頃に – no naku koro ni”.

Ryukishi also added some details:
As for Umineko, he wanted to keep some link between both titles, hence the “naku koro ni”. Due to the island setup, he tried to find a animal typical in an island that make noise, and his first choice was the seagull. However, he doesn’t consider this animal as… “classy” for a lack of better word, and tried to find another one. In the end, he was unable to do so, and kept his first choice: umineko.

Q: what were his sources of inspiration for Rena and Shion?
Did he have a hunch for Umineko while writing Higurashi?
A: Originally, Ryukishi wanted to put Rena as the second protagonist, next to Keiichi. For that matter, he wanted to set her as character with 2 distinct side, with a generally sweet, lovely and cute personality, drastically clashed by sudden violence and aggressivity, giving a stark contrast.
As for Shion, he wanted to generate an echo effect between her and Rena, which explains why he gave a similar treatment to Shion, yet with an amplified effect on the violent side.

As for the second question, Ryukishi explains that he was solely focused on Higurashi and didn’t plan Umineko at all during this period. It is only when he was about to finish Higurashi that he got ideas for Umineko. This is the reason he created Bernkastel in order to put a direct link between Umineko and Higurashi.

Q: Although it was original a doujin game, Higurashi is a long series that could get an anime adaptation, such occurence that which is destined only for popular series. How did the project start?
Second question: considering how his characters meet different violent deaths, are there any characters that die naturally due to age in his works? *huge laughter from the crowd*
A: Ryukishi explains that he didn’t try asking producers to make an anime adaptation of his franchise, as it was the opposite: Frontier Works contacted him, asking if he was free so that they can talk together about his franchise for a project, a demand which he accepted.
Of course, he confesses he would be happy to submit one of his works for a anime adaptation, but things aren’t simple like that.

Regarding the second question, he was quite amused and admitted the time frame for his works is short, thus exploring such point is difficult. However, he reminds that everyone dies eventually, and this point gives him ideas for his future works, such like a time frame set on several generations.

Q: What is Ryukishi’s favorite character in Higurashi?
A: Ryukishi explains that the character he wants to become the most is Maebara Keiichi (the author and translator put emphasis on the “become”, not “favorite character” portion).

Q: Was Ryukishi07 satisfied with Higurashi no Naku Koro ni, Naraku no Hana and Superscription of Data by Shimamiya Eiko?
A: Ryukishi has greatly appreciated Shimamiya’s work, defining it as magnificient.

Q: Just certainly like many people, I’ve decided to read the “Divine Comedy” by Dante after reading several Umineko Episodes, in order to understand Umineko and also to pretend to be more intelligent and educated. I would like to know if Ryukishi07 happens to have literature works to suggest us in order to better grasp his works or to boast in society..
A: Ryukishi07 admit he would love to have suggestions of books in order to boast in society as well. On a more serious note, he greatly suggested Edogawa Ranpo’s works, the first fiction and fantastique author in Japan around the 30’s, who was his prime inspiration for Ryukishi during the full course of his works.

That’s all for saturday. Sunday conference transcription will be available in the future.





Conference du 26 mai 2012,
centré sur Higurashi no Naku Koro ni

La conférence a d’abord débuté avec pbsaffran (traducteur de la license française de Higurashi no Naku Koro ni, sous le nom de “Le sanglot des cigales“. Cette partie a duré 30 minutes, puis la partie Q&A a suivi pour 1 heure.

Q: Nous savons que le village de Hinamizawa s’inspire du village existant de Shirakawa, ceci étant dit, quelles ont été les raisons qui ont poussé à ce choix et est-ce que l’auteur a vécu lui-même à Shirakawa ?
R: Il n’y a pas vécu mais trouvé l’endroit vraiment très agréable. Le choix de Shirakawa s’est fait alors qu’il était à la recherche d’un endroit atypique et c’est son frère qui lui a un jour montré un receuil des plus beaux villages du Japon où se trouvait Shirakawa.

Q: Est-ce que Ryukishi07 connaît et a déjà lu des oeuvres du romancier Américain H.P. Lovecraft et si oui, s’en est-il inspiré pour écrire ses œuvres car les deux auteurs partagent cette même narration qui consiste à partir d’une vie ordinaire toute tranquille avant de se précipiter dans l’horreur.
R: Ryukishi07 n’a jamais lu une œuvre de Lovecraft. Cette structure narrative vient du fait qu’il conçoit ses œuvres comme un grand 8 émotionnel géant pour ses lecteurs, avec une monté progressive mais lente dans la narration pour ensuite avoir une descente brutale et rapide et ainsi de suite,  d’où ce basculement très soudain dans l’atmosphère de ses travaux.

Q: J’espère que vous appréciez votre séjour à Paris. Que pensez-vous de la ville ?
R: Il s’agit  en fait de la seconde venue de Ryûkishi07 en France. Lors de sa précédente visite, il avait visité le Mont Saint Michel dans le cadre d’un circuit touristique et se souvient avoir fait beaucoup de vélo en t-shirt à manches courtes à cause de la chaleur mais a sous-estimé les nuits en France et a attrapé froid. Cette fois-ci il est mieux préparé et est venu avec des habits plus chauds. Il aussi est aussi très content de cette seconde visite, hors circuit touristique, car elle lui permet d’observer la vie parisienne de tous les jours.

Q: Comment sont les relations entre Ryûkishi07 et pbsaffran et comment se sont déroulées les communications entre eux ?
R: Avant le repas d’hier soir, pbsaffran n’avait jamais parlé directement avec Ryûkishi07 et sa réaction après ce premier contact : « Wow ». Ryûkishi07 nous avoue que lorsqu’il a su qu’il y a eu une demande d’autorisation de traduction pour Higurashi, il était vraiment surpris voire même apeuré.

Q: Les oeuvres de Ryûkishi07 tournent énormément autour du thème commun de l’Amour, quelle est utilisation des personnages autour de ce thème ?
R: Ryukishi07 reconnaît ce thème commun de l’amour éternel dans ses oeuvres. Pour lui, il faut “faire vivre l’homme” sinon l’oeuvre n’a aucun interêt. Il reconnaît n’avoir qu’un peu touché ce thème dans Higurashi, se limitant à l’amour entre amis, mais il est beaucoup plus présent dans Umineko, avec une vraie implication de l’aspect éternel.

Q: Comment se déroule le processus de création des univers de ses oeuvres, et quelles sont ses inspirations ?
R: Le processus est relativement simple :
– Pour Higurashi, il s’agissait de créer un univers autour des thèmes du Japon et de la campagne
– Umineko tourne autour d’un thème très occidentalisé, l’exemple le plus concret est le manoir de style gothique du XVIIIème siècle.

Q: Lors de la conception de ses oeuvres, est-ce qu’il préfère privilégier le scénario ou accorde-t-il plus d’importance à l’aspect idéologique de ses oeuvres, i.e.: la transmission d’un message et de valeurs à ses lecteurs.
R: Après avoir remercier cette personne pour sa question difficile tout en rigolant, Ryukishi07 répond qu’il y a 3 principes qu’il utilise en tant qu’objectifs lors de la conception de ses oeuvres:
– Faire plaisir au public
– Tromper et trahir les attentes de ce même public
– Se faire plaisir à soi-même

Q: Comment se passe le travail sur la musique dans ces oeuvres, est-ce qu’il contacte des musiciens avant, pendant ou après avoir amorcé le processus de production ?
R: Il prend contacte avant le processus de production avec un ou plusieurs compositeurs pour leur expliquer les idées qu’il a en tête et ce qu’il recherche sur le plan musical. Au delà, les compositeurs ont carte blanche sur la conception des morceaux de musique, ce qui peut donner des résultats très différents par rapport à l’utilisation de ces compositions. Ryukishi07 a mentionné 月うさぎの舞踏 (Tsukiusagi no butou – Dance des lapins lunaires) en tant qu’exemple: Dai imaginait un lapin tout mignon dansant sur la lune lors de la composition du morceau, alors que Ryukishi l’a utilisé pour les débuts des soeurs Chiester, ce qui se résumait par un massacre brutal.

Ses productions étant classifiées dans le genre “SOUND NOVEL”, le terme SOUND se prononçant en 4 mores en japonais et NOVEL en 3 mores, ceci étant une illustration de l’importance de l’ambiance sonore dans ses oeuvres.

Q: Ryukishi07 a précédemment mentionner son intéret pour le film “Project Blair Witch”. Sur ce, est ce que Higurashi no Naku Koro ni était inspiré de ce film, et à quel point?
Seconde question: Ryukishi a pu visiter la France par 2 fois, pendant des périodes proche de l’été. Est ce que l’absence des cigales l’a perturbé?
R: Pour la première question, Ryukishi explique que le film l’a énormement inspiré dans le réalisme de ce dernier au niveau de la narration et l’attention particulière sur les détails.
Pour la seconde question, il avoue que l’absence de celles-ci le rendait un peu “seul” mais il était étonné que le public puisse s’attendre à cette gêne.

Q: On peut constater la présence d’informations diverses sur les personnages de Rose Guns Days, qui ne sont pas présentes dans les autres oeuvres. Pense-t-il pouvoir apporter ces points
R: Ryukishi explique qu’il a tenu compte des critiques émises sur ce sujet, ce qui explique pourquoi ces informations sont disponibles pour RGD. Pour ce qui est d’Umineko, vu les problèmes inhérents de certains personnages, ce genre d’information risquerait de générer des incohérences. Il retient cependant cette suggestion et va peut etre y travailler pour combler les trous.

Q: Pour la série Naku Koro ni, on remarque l’utilisation d’animaux dans le titre. Pour quelle raison Ryukishi07 a-t-il utilise des cigales et des goelands?
R: A l’époque, il y avait une certaine mode ou les titres de romans se présentait en un seul Kanji. Son attention se portait sur le kanji d’higurashi (蜩). Cependant, la clé de ce kanji est celui de l’insecte (虫 – mushi), ce qu’il trouvait bizarre, grotesque. Du coup, il l’a remis en hiragana (ひぐらし), et avec son frère ils ont décidé du titre complet en ajoutant “のなく頃に – no naku koro ni”.

Ryukishi ajoute certains détails:
Pour umineko, il a voulu garder une similitude au niveau du titre, d’ou le “naku koro ni”. Vu le contexte de l’ile, il cherchait un animal typique d’une ile faisant du bruit, et son premier choix portait sur le goeland. Cependant, il ne considère pas cet animal comme très… “classe”, et cherchait à le modifier. Au final, il en fut incapable et a maintenu son premier choix: umineko.

Q: Quelles furent les inspirations pour Rena et Shion?
Avait-il déjà une idée pour Umineko pendant qu’il écrivait Higurashi?
R: A la base, Ryukishi voulait que Rena soit le second protagoniste, après Keiichi. Et pour cela, il voulait lui assigner une double facette, avec une personalité douce, agreable et mignonne, tranchée fort par une violence et aggressivité soudaine, donnant lieu a un contraste fort.
Pour ce qui est de Shion, il a voulu faire un effet d’echo important entre elle et Rena, ce qui explique pourquoi il a peu près fait la même chose pour elle, mais avec un accent plus important sur la violence.

Pour la seconde question, Ryukishi explique qu’il était focalisé uniquement sur Higurashi et n’avait pas planifié Umineko durant cette période. C’est uniquement lorsqu’il était en train de terminer Higurashi qu’il a eu ses idées pour Umineko.
C’est pour cela qu’il a crée le personnage de Bernkastel afin de mettre un lieu direct entre Umineko et Higurashi.

Q: Malgré que ca soit un doujin, Higurashi est une série très longue qui a pu obtenir une série anime, chose normalement réservée pour des séries plus populaires. Comment le projet de l’anime s’est il produit?
Seconde question: vu les différentes morts violentes, y-a-t-il des personnages qui meurent de vieillesse dans vos oeuvres? *hilarité général chez le publique*
R: Ryukishi explique qu’il n’avait pas essayer d’embarquer sa série pour une adaptation en anime mais bien l’inverse: il a été contacté par Frontier Works qui lui demande s’il était libre pour qu’ils parlent ensemble de sa franchise pour un projet, ce qu’il a accepté.
Bien sur, il avoue qu’il serait heureux de pouvoir proposer une de ses oeuvres pour obtenir une adaptation anime, mais les choses ne sont pas aussi simples que ca.

Pour la seconde question, il fut fort amusé et admet que la periode de temps ou se déroulent ses oeuvres est courte, donc explorer ce point est difficile. Cependant, il rappelle que tout le monde meurt un jour et que ce point lui donne des idées pour ses prochaines oeuvres, telles que le passage sur plusieurs générations.

Q: Quel est votre personnage préféré dans Higurashi?
R: Ryukishi explique que le personnage dont il souhaite devenir le plus est Maebara Keiichi(l’auteur et l’interprete insistent bien sur “le devenir” et non “favori).

Q: Est ce que Ryukishi07 était satisfait de Higurashi no Naku Koro ni, Naraku no Hana et Superscription of Data par Shimamiya Eiko?
R: Ryukishi apprécie grandement le travail fait par Shimamiya, le définissant comme magnifique.

Q: Comme sûrement beaucoup de personnes, après avoir lu plusieurs épisodes de Umineko j’ai décidé de lire la Divine Comédie de Dante, histoire de tenter de mieux comprendre Umineko et aussi pour me prétendre plus intelligent et cultivé. J’aimerais savoir si Ryûkishi07-sensei aurait des oeuvres littéraires à nous conseiller pour nous aider à mieux appréhender ses travaux ou pour briller en société.
R: Ryûkishi aimerait bien aussi avoir des recommandations de livres pour briller en société.
Plus sérieusement, il recommande fortement la lecture des oeuvres de Edogawa Ranpo, le premier auteur de fiction et de fantastique au Japon qui a débuté dans les années 30 et qui est l’inspiration première de Ryûkishi pour l’ensemble de ses travaux.

Voila, c’est tout pour samedi. La transcription de la conférence de dimanche sera disponible plus tard.

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June 2012



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