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「Two people who seem to burst by the lightest touch」

An Igarashi Takuya’s interview.

Two black souls whose paths cross for eternity. Their melancholy, hardness, the bitterness of the innermost facet of their souls that distort and repel, the parallel lines that are drawn along, close to each other, but never touching. This is the story of Port Mafia’s Double Black. At Rando finding eternity, at the betrayal of the weak and young, at the pride of Ogai as the leader of the organization. Dazai and Chῡyaーー this is the beginning of the Soukoku (Double Black) era. 

Two parallel lines that continue together forever.

— Please tell us about the edition of 「Fifteen」 and what led to placing it as the opening for the third season. Igarashi I was very grateful for the warm reception that the 「Bungō Stray Dogs DEAD APPLE」movie had, so I thought that if the audience had the chance to continue to watch the TV show, I wanted to give them a gift on behalf of the production team. The first episode will make you feel pure surprises and pleasures when the curtain opens and was made keeping in mind the Dragon’s Head Conflict at the beginning of the movie and maintaining a connection with that. All of that led to the edition of 「 Fifteen」. 

—This also tells the story of how Dazai and Chῡya met each other. What was the main reason to animate this?

Igarashi The first thing I considered was that feeling of distance between Dazai and Chῡya. For how long do they fight. When did that negative image begin. It’s a relationship between two people who are awful to each other and I don’t think that has changed a lot now that they are 22 years old. That’s why I talk about these two people as parallel lines that continue forever and so I firmly wanted to draw the beginning of those parallel lines that never intersect. As is often said, the first thing to come out is the indifference in the relationships between two people. On the other hand, 「Love」 and 「Hate」are linked and are two sides of the same thing, they can exchange places because they have the same value. That’s why it’s possible that the relationship value between Dazai and Chῡya can also be exchanged between positive and negative, but I don’t think that they have ever done that in their story (laughs). I think that it is certain that by having these two people meet, their existence stood out. I was drawing a storyboard and it was really fun. There isn't one part that I am used to (laughs).

ー What did you focus on when you designed 15-years-old Dazai and Chuya?

Igarashi Between their 15-years-old selves they had a cloudier imagen rather than the fresh and innocent youth. Like chaos after mixing the muddy water (laughs). So I told the cast, Mamoru (Miyano) and Kishō (Taniyama) 「It’s not necessary to make major changes just because they’re 15」. As a result, I think Dazai feels more sluggish than now and Chuya… he thinks he’s more insignificant (meaningless) than now. That’s how it feels (laughs). That’s the taste they present us in the middle of a haunted life and it’s the image they create at their fifteens. Even if the basics remain the same between them, the point was to present these two people that might make each other burst at the slightest touch.

ーNow, to finish, let’s talk about your thoughts about Mori as the leader of the organización. Is there something in which you, as the director who leads the production, sympathize with him?

Igarashi I’m not fully aware that I’m the leader in charge of leading an organization, but I do think that nothing is above the work in the production department. For Mori, the「Organization」 is what I call 「Work」. You often wonder if you have become a slave of the work / organization or if one has sworn allegiance (has committed) to the work. It is only natural that the stuff and the work are constantly on my mind. It’s a feeling of being 「only interested in the works」. But returning to the story behind the work, Mori’s beliefs are even heavier and bigger. To protect the organization is to protect the members, which in turn leads to the protection of Yokohama.I wonder what kind of thoughts Ogai has about Yokohama, and that’s a topic that will be developed in what is coming in the story, so I really hope you enjoy that. 

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「For you - A song that flows while you keep standing」

A LUCK LIFE’s interview

Luck Life is in charge of breaking our hearts the main theme for this season’s ED. It is also the fourth song that PON-san participates in and it’s from him, who is in charge of writing and composing the song, from whom we receive these comments.

ー When it was the time to produce「Namae wo Yobu yo*」, it seems that there was a personal offer to the staff, 「It’s a ballad. Leave it to me」. Was there some personal suggestion this time again?

There wasn’t in particular. So this time I made a song to connect the work and PON freely.

ー What are the thoughts you wanted to translate into the lyrics of the new song『Lily』?

 I wrote the song about that moment when you feel that if you let your tears flow, everything would fall apart. 

ーWhat about the melody?

I wanted to transmit the feeling of something that comes from low self-esteem/self-pity, and that from there gathers strength. Not so much to fly high, but rather as a silent step, that kind of image. 

ーYou say you apply the method of reading the base of the story and overlap parts of yourself to write the melody and the lyrics, but what part of the story inspired 『Lily』?

That time it was said that the past of Chuya and Dazai was drawn, so I made a scene of Chuya spliting from his old friends. It is necessary sometimes to get away from something important because I believe it is important to think/reflect. For myself and the other part. The characters of Bungo Stray Dogs are very human, so I think there are many overlapping fragments.

ーTo put that into the work, what shape did you give it?

We all have been through a lot of goodbyes and separations. Even though now I’m alone and sad, I have this feeling that I keep going on. 

ーThere are some contradictions in the lyrics. On 『Namae wo yobu yo』you say 「I take a deep breath and swallow, only to let it out into the sky」, whereas on『Lily』 it says「I breath out quietly, I held it in so no one'll notice me」. Was this on purpose?

I’m not particularly aware of that, but I’m honest with myself on “Name yo yobu yo” and on “Lily” I pretend to be strong, even if it’s contradictory. There are moments like that in life.

ーWas the cover of the CD an idea from the members?

At first I thought of the concept of 「Comfort/Salvation」as Relief. But it sounded too much like the same, too related, so I decided to name it Lily, which also means Purity. It has a fresh feeling, but it’s also powerful at the same time.

ーHow was the shooting for the PV?

I was able to shoot while sharing brightness and image on the spot with the director. There’s a scene where I sing in front of a mirror, and with the staff we cleaned it vigorously, it seemed like we were handymen (laughs). 

ーThis is the fourth song for 『Bungo Stray Dogs 』, What is it that you particularly worry about when you write them?

All the characters in『Bungo Stray Dogs』 feel so human, that PON is aware he can write and sing for himself. Well, it’s the same for any song (laughs).

ーWhat is attractive about  『Bungo Stray Dogs 』?

Everyone is going through something right now, it’s a mess, but that’s how the human being is, it’s not perfect.

ーWhich one is your favorite character? (the literal translation is: “recommended character”, but “favorite character” sounds more accurate)

PON sincerely chose Ranpo a long time ago. Even when someone is simply a human with no utility, love and talent is still allowed. 

ーPlease, a message for the readers.

I want it to be a song that flows while you keep standing/going on.