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hisinfinities · 6 months

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Maybe it's silly, but I can't get it out of my head - I really do love the potential that putting Gojo and Sukuna into the Death Parade world has.

(When two people die at the same time, they're sent to a mysterious bar where they're forced to compete against each other in a game with their lives on the line. Upon arrival, they don't remember dying. Who they were before, how they choose to play the game, and how they handle their returning memories of their life and death, all help an arbiter judge them, and decide whether their soul is to be reincarnated or sent to the void forever.)

And I love the idea of Gojo and Sukuna going through this together. They battle, as they do in canon, but manage to kill each other at the same time (is this realistic given how Sukuna was holding back? Maybe not, but for the sake of the plot, let's imagine.) Suddenly they're in this weird place. Neither of them of have any memory of how they got there or what they were doing prior to arriving. They don't remember dying, they don't remember fighting, as far as they know it isn't even December 24th yet.

What they do realize, very quickly, is they have no cursed energy, can't use their techniques, can't do anything. Gojo doesn't have his infinity, his six eyes-- it's gone. The internal humming of constant RCT on his brain isn't there. All he can see is what's right in front of him. Sukuna looks closer to how he did in his Heian days (minus the massive size and extra body parts), no longer in Megumi's body.

Neither will voice it, but it makes them feel vulnerable. Feel so incredibly mortal. Human.

They assume, maybe, that this place is someone's domain, something to rationalize how they've suddenly lost every ability they had as Jujutsu sorcerers. The bartender -- the arbiter whom can already see their memories and will soon be judging them -- tells them otherwise, once they've approached the counter. They're skeptical, especially since they're told that they won't be able to leave until they play a game, but they play along. What else are they going to do, right?

I don't know which arbiter would be selected to judge them. Realistically they'd be special cases given Sukuna's list of crimes throughout his life and the destruction they both caused during their fight, but the idea of it being Decim does make me chuckle. I imagine Sukuna taking a seat at the bar, taking one look at this guy (the white hair, the bright, bizarre blue eyes) and immediately commenting about him being related to Gojo.

And what game would they be made to play? I wouldn't want it to be anything too modern, nothing like an arcade game as to be a little more fair to Sukuna. Maybe one of the many traditional Japanese board games, something that forces them to sit down with each other and talk (aside from all the banter we already know will take place regardless), and use their brains to win rather than their brawn. Perhaps Shogi, which has been around in some form since the Heian era? But I also like them having something slightly more physical, something like archery. Or darts, or billiards, games we've already seen in the Death Parade universe.

But they're a competitive pair, and go all out no matter what they end up having to play. Let's consider this a warm up round for the real thing, one of them says. Cue the taunting, the banter. Despite them both trying to win, neither seem to be taking it too seriously. The arbiter eventually reveals to them that their lives, their souls, are in fact on the line.

They don't take that very seriously either. What, is the loser of this game going to die? Whatever this bartender plans to do, they can get out of this-- they're the strongest. Even while being stuck in this place and unable to use their cursed techniques, they don't doubt that, and have a shared moment of "Pfft, get a load of this guy, right?" between them. They don't realize it, but they're bonding. Laughing off the idea of their lives being at stake over a game.

This poor arbiter sighing, stuck with such an egotistical pair of customers.

It's about halfway through the game that the arbiter begins to activate some of their memories. Suddenly they're remembering significant moments in their lives. Gojo being placed on a pedestal since birth, his near-death experience against Toji, his entire history with Suguru, his youth, his students, being sealed, Kenjaku possessing Suguru's body... And Sukuna. His life during the Heian era, being unwanted, to his rise to power and infamy and legend, the feeling of being in a body again after Yuji ate his finger, his first fight with Gojo, taking in the modern world through Yuji's eyes, awaiting the moment he can take his true form once more.

It makes them talk, naturally. Not that either of them are the type to open and up and share their life story, but they voice the oddity when they're both inexplicably hit with memories out of the blue. The way each of them came into their powers is an interest to them both. Their relationship with relating to others (or not.) The solitude that comes with power. These conversations start to happen. They don't see eye to eye on everything, but understanding forms between them. Gojo feels like he's reaching him.

They're nearing the end of their game and they've been damn near tied throughout the entire thing.

Memory of their fight hits Sukuna first. Then Gojo. Their shared fates revealed simultaneously.

They're dead. They've been dead this whole time.

There's the initial shock, sure (and a dramatic "Seriously, I'm dead? This sucks!" from Gojo), but whatever either of them may be truly feeling about it, they hide it well. Instead, they talk about the fight. Would we expect anything else? Tease each other for their blunders, lightheartedly talk about what they could've, should've done differently to win... but most importantly, there's praise. They both proved themselves to the other by the end, after all. And where they are now, well, that tells them they really are equal, aren't they? That the title of the "The Strongest," briefly, truly belonged to two people at the same time.

The two strongest in history.

Sukuna, just barely, wins their game. By one move, one point. Gojo whines in protest, but it's all in jest, in good fun. He feels so relaxed, so light, despite just learning that he's died. They're both taking it surprisingly well. The arbiter is so much more used to seeing their customers become confused, distraught, angry, in denial.

Maybe it's because for Sukuna and Gojo, they can't imagine a more satisfying way to die, going out in a blaze of glory in one of the most exhilarating battles they've ever had.

"So what now?"

The arbiter explains how they were being judged, in order to determine if their souls would be reincarnated or sent to the void.

They both laugh, but Sukuna noticeably harder.

"There's no way you needed me to play this game in order to judge me."

And the arbiter admits that yes, he's right, his soul was doomed to be sent to the void since the moment he set foot in here, and that the game was more for determining Gojo's fate. Gojo jokingly asks if he "passed," but then that he doesn't want to know, wants to wait until it's time. Deep down, he thinks it could easily go either way.

Sukuna eyes the bar, asks the arbiter if there's time for a drink before they go. It's granted to them. Gojo waves it off, says he's not one for alcohol.

"Are you really turning down my offer to have a drink? You're dead, this might be the last thing you ever get to do."

"Is the great Sukuna warming up to me? Fine, I'll have a drink, since you want my company so bad."

And they do, and it's a sight no one could've ever expected: Gojo and Sukuna sitting side by side, having a drink together in the afterlife. They talk briefly of what must be going on back in the world of the living now that the both of them are gone, what it means for the plans each side of the conflict had, but they don't dwell on it much. It's all out of their hands now and Gojo, as always, has full faith in the strength of his students. Whatever's happening now, he has to believe they'll be okay.

He does wonder about Megumi, though. They both do. If they were somehow able to save him or if Sukuna's death meant his own end, too, and if he's in this tower somewhere being judged by someone else.

Eventually silence settles between them and Gojo finds himself looking down at the bar counter, hand loose around his glass.

"This was fun. I had fun."

He doesn't expect to find Sukuna looking at him, looking... amused? Content? Leaning on the counter, drink close to his lips.

"You were magnificent, Gojo Satoru. I won't forget you for as long as I live."

What a strange thing to see such sincerity in Sukuna's eyes, to see him smile. Gojo smiles too, grins, feels a twinge of something in him that almost feels like something he hasn't felt since his youth. But then he scoffs.

"Gee, thanks. It's not like you're already dead or anything."

They share another laugh.

It comes time for them to go. They each stand before their respective elevators, which each sport a different mask hanging above them, indicating their fates.

Gojo is to be reincarnated.

"Good luck in your next life. Use it to become something even more impressive than in your last."

"Yeah, and good luck in your eternal pit of nothingness, or whatever."

The elevator doors open.

"... You know, it's too bad you're not going up with me." Is that the direction reincarnated souls go? Up?

"Why's that?"

"I'm just starting to think we could've gotten along, in another life. Could've been friends."

Sukuna chuckles, grins to himself. "I've never cared about having friends."

"Maybe in that other life, you would've."

"Maybe."

They exchange one final look, one of respect, Gojo offering a final wave before they step inside their elevators and accept their fates. The doors close. Behind one, a soul's memories are being erased and is being sent back to start anew. Behind the other, a soul is being sent into a dark, endless void.

And both of those souls stand equally proud.

#this is where i would write a fic if i knew how to write fics #( verse: death parade. )#( sukugo. )#sukugo #there's so much more i wanted to include but i had to force myself to stop bc this was never meant to turn into such a huge thing #and like i said i can't write fic lol this is just me word vomiting my au ideas at 6 in the morning #and this doesn't even go into other possibilities like! sukuna and gojo as arbiters instead of the ones being judged!#sorry for subjecting you to this but also watch death parade #look at ginti and decim and try to tell me that isn't sukuna and emo gojo #long post #i feel like this should go under a read more but also i don't wanna #this really spiraled out of control when i started adding dialogue i'm so sorry #i'm so scared to post this i'm about to be so embarrassed

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thatanimewriter · 2 years

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DEATH’S DOORSTEP.

➳ request: Hello hello, I hope requests are open, if not, just ignore this request. I can ask for a headcanon, with Death Parade gang or just Decim, where the reader who is Death itself, they are kind, sweet and soft-spoken, they are participating in a game against the one who killed them, imagine death needs to participate in the games of life at least once to feel what it's like when it arrives for humans! and they only find out when Death wins the game, and reveals that every century Death needs to know what it's like to be human, they never lose the games. OP Reader Supremacy! Thanks for your attention. (Inspiration taken from Nail Gaiman's Sandman Comics.)

➳ character/s: decim, nona, ginti

➳ warnings: swearing, mentions of death, actual death??, mentions of murder, can be interpreted as romantic or platonic, it’s not really referring to either of them explicitly

➳ notes: DEATH PARADEEEEE! i took chiyuki outta this one just cause it didn’t really make as much sense in this scenario, but our icons are here :))

𝐫𝐞𝐪𝐮𝐞𝐬𝐭𝐢𝐧𝐠 𝐫𝐮𝐥𝐞𝐬 / 𝐜𝐡𝐚𝐫𝐚𝐜𝐭𝐞𝐫 𝐥𝐢𝐬𝐭 / 𝐦𝐚𝐬𝐭𝐞𝐫𝐥𝐢𝐬𝐭 𝐨𝐟 𝐦𝐚𝐬𝐭𝐞𝐫𝐥𝐢𝐬𝐭𝐬 / 𝐰𝐢𝐩 𝐥𝐢𝐬𝐭

── 𝐃𝐄𝐂𝐈𝐌.

nothing out of the ordinary here

just another set of clients

where one of them killed the other-

he’s quite surprised how sweet and kind you are

always thanking him for the drink

in return you get a ._. from decim

during the game, you end up playing poker and decim is a lil bit impressed with how smart you are

he finds that even when facing your murderer, you’re still nice???

what the hell is up with that?

he knows your memories because he kinda has to have them

but he’s a lil taken aback at how fast yours came back

more so how graciously you took the win

since figuring out you’re death, he now wants you around way more

he wants to know what you think of different guests and possibly have you help with his judgement

eventually he just grew fond of you anyway, cause you’re so SWEET what is it about you that makes him want to hug you-

he hadn’t seen you before, he’d been working for less than 20 years

so the earlier he got to know you and your beliefs on life, the better

not for any self-serving purposes like being the object of your kindness

not at all...

── 𝐍𝐎𝐍𝐀.

i feel like nona would be the first to catch on before the end of the game

she’s been doin this for a whileee

she’d pick up on anomalies quite fast

not many people enjoy the presence of a killer

but nona found herself enjoying your company a lot more

you were so nice and polite

even to the other competitor for some reason

which she saw no point in

but she did give you the benefit of the doubt considering your memories are erased

and she was right to, because even though you took a while to gain any significant memories back

you DESTROYED the other person, it wasn’t even close

and only until the very end did she realise you knew you were death itself once you came to the elevators to leave

in which you just smiled at her and asked if you could have another drink

she said yes cause honestly, you deserved it after that shit show and winning by a landslide

and that was when she decided to make you a a clavis 2.0

she had yet to meet you, since this only happens every century and she hadn’t been in management the last time you came

so she took the time to get to know you and BASK IN THE TOOTH-ROTTING SWEETNESS

that is you :))

you’re now her new pool buddy in her spare time even if you always win

── 𝐆𝐈𝐍𝐓𝐈.

“huh?”

head empty, no thoughts

he doesn’t usually get customer dynamics like murderer vs victim

but he did find himself getting a bit angry

because who is this bitch to kill someone so nice as you??

it took a lot not to punch the guy across the bar as they entered

there’s a clear bias here, but he doesn’t let it impact his judgement

is what he thinks

but while watching you guys compete, he’s already vouching for you

secretly screaming in his head when he sees you continue to get ahead of the opponent

just a casual internal dialogue of

“FUCK HIM UPPPPP-”

he gave you a nice NOOGIE for winning and then had you sit with him after the game to have a nice chat

nona did join you guys to discuss business with you and what you’re job would be

which is a massive bonus for ginti, cause he gets to see you a ton >:)))

lots of playing with the cat

and a lot more noogies

also a lot of ginti asking you about how the other games went from previous centuries

and pisses off nona because he always gets you to stay during his appointments-

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cloudynyxx · 4 months

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"I want to depict the meaning of living." Interview with Death Parade Director, Yuzuru Tachikawa

[Part 1]

Continuing from the first part of the interview, the second part delves deeper into the making of Death Parade with director Yuzuru Tachikawa. We inquire about his staff and his technique as we explore his production process. The Visual Emphasis Was on Attention to Detail [Part 2 of 2] — In the second part of the interview, we will mainly discuss your role as a director. Did you establish any guiding principles for direction while working on this project?

Tachikawa: We discussed not wanting to include too many unnecessary camera movements, so we planned the sequences around fixed shots. This was to ensure that the focus remained on the detailed craftsmanship of the visuals. If we weren't careful, we would end up with more than 300 cuts just within the bar (laughs). — Yes. that's right. Tachikawa: Since we have to stage the scenes in the same location most of the time, using the usual shot-reverse shot technique would make all the cuts look the same. So at the storyboard stage, I asked for the camera positions and pacing to reflect the characters' emotions. I wanted the structure of the composition to maintain a sense of tension throughout the scene.

— The storyboard for Episode 2 was done by Satō Yūzō, the director of Tohai Densetu Akagi -Yamini Maiorita Tensai- and Kaiji: Ultimate Survivor. Was he chosen because you wanted to expose the tension of a psychological battle?

Tachikawa: Actually, the original concept for that episode revolved around mahjong (laughs). But that got scrapped, and Sato was assigned to Episode 2.

— If the mahjong story was done, that would have been interesting (laughs). Earlier, you mentioned that you wanted to emphasize the detailed craftsmanship of the visuals. I heard that you have incorporated 3D layouts this time. What is the reason behind that?

Tachikawa: To start, the room inside the bar is extremely difficult to animate. It’s deceptively wide and circular…drawing curves can be challenging. When we did Death Billiards, we aimed to train young animators, so everyone drew it by hand. But the struggle with layouts alone consumed half of the schedule. If we did the same thing in a TV series, the production would definitely collapse. So this time, we created the bar in 3D and asked the key animators to focus on drawing the characters’ performances. That's why we opted for 3D layouts.

— Was this approach something that you had experienced in previous projects you had participated in? Tachikawa: In the project Terror in Resonance, which I participated in just before this one, we also used 3D for locations like the hideout used in a prolonged scene.

― You were also an assistant director for Terror in Resonance, right? How did you use your experience during that production for this one?

Tachikawa: Yes, that's right, and the direction of both works is quite similar (laughs). Actually, even the direction plans felt close to Director Watanabe Shinichirō's. We had many discussions where I thought, "ah, yes, that's right." I wanted to see Director Watanabe's work up close, so I participated in Terror in Resonance, and I was glad that there were many aspects of it that intuitively made sense to me.

― When you say that the directing plans are similar to Director Watanabe's, what exactly do you mean?

Tachikawa: It’s regarding how we create the visuals and structure the cuts. Terror in Resonance also focuses on crafting the visuals based on a fixed camera, using angles that are more typical of film. The approach is closer to live-action, and in that sense, I think we are similar.

Staffing and Their Tasks

― In this work, there is a position for key animators, but what exactly are they responsible for?

Tachikawa: The key animator is the person who is in charge of the most important part of the animation.

― Three main animators are credited. Could you tell us about their primary responsibilities?

Tachikawa: Tokura-san is good at effects animation, so he does a lot of cuts like that. In each episode, he draws the smoke effects when the game machines come out. Besides effects, he also draws various other elements, but his main focus is on those parts. I asked Ishibashi Shōsuke-san to do the original drawings for the parts where the characters' emotions are running high and more sides of their personalities are exposed. He joined from Episode 4 onwards. For instance, he animated scenes like the one where Misaki was running while shouting “Stop messing with me!," and the scene later on where she was caught up in threads and crying out. Kojima-san similarly works on scenes where the characters' emotions explode. For example, in the latter half of Episode 1, where Takashi shouts while gesturing, "That’s not my child! It has to be someone else’s!." He tends to enjoy working on scenes that are not typically depicted in anime.

― Regarding the staffing, Director Shishido Jun from Hajime no Ippo: Rising is listed as the Chief Director. What exactly is his role?

Tachikawa: At first we thought about an assistant director position, but then it was decided that someone with a career as long as Shishido-san's would not fit well as an assistant director for a rookie director like myself. So, rather than focusing on assistant director duties, he mostly assists in directing aspects at key points, which led to the title of Chief Director.

― What specifically does Shishido-san do?

Tachikawa: He's responsible for requesting the storyboards and directors for each episode. He also assists in checking the work when I become busy with other tasks. Additionally, he occasionally takes on assistant director tasks as well.

― Similar to Death Billiards, the artistry in this work is also incredibly intricate.

Tachikawa: Art Director Hirayanagi Satoru also worked on Death Billiards. For the previous work, we commissioned Studio Easter for background art, but now he has established his own art team called Heikuro. In this series, we show places like behind the bar, which wasn't shown in Death Billiards. When creating such things, we would submit new images, and after discussing them with him and his team, they would put them together into something that would suit this universe.

― How do you balance the art and 3D layout?

Tachikawa: For Quindecim's bar, we model it in 3D and apply textures. By creating it in 3D, we can freely move the camera inside the room. So, for Quindecim's layouts, the art department adds retouches to the still images created from 3D data. As for other settings, they are drawn from scratch.

― In Death Billiards, Murakami Izumi, who was a young key animator, is now in charge of prop design.

Tachikawa: Murakami-san has always had an original sense of creativity. She's responsible for designing small items and the design of Ginti's bar, and we ask her to come up with unconventional ideas.

― Ginti's bar filled with kokeshi dolls was quite amusing.

Tachikawa: In Ginti's bar, there's a large hand statue, and that idea also came from her. She's also involved in key animation, and she draws intricate movements as well.

― How do you delegate tasks between her and Akishino Denforword Hiyori, who also works on prop design?

Tachikawa: Akishino-san mainly works on designing the games featured in the story. Murakami-san is based in the studio, so we can discuss and work together easily. Akishino-san works from home, so we asked for things that are easier to explain, like dartboards.

― The music is handled by Hayashi Yuuki, right?

Tachikawa: Yes, I specifically requested Hayashi-san. I really liked the music he created for the TV drama Strawberry Night. I had the sound director create a music menu, and I communicated my vision and the kind of image I wanted for the music. Opening and Ending

— Please tell us about the much-discussed opening. What was the reason for making the opening more upbeat, contrasting from the main story?

Tachikawa: We had always discussed making the opening bright and enjoyable, especially since the main story tends to be rather dark.

— I think it was a great success, betraying the audience's expectations in a good way.

Tachikawa: Thank you (laughs). If we were to add an opening to the previous work Death Billiards, I think it would have had darker imagery, but I wanted to dispel that image.

— I see. So you wanted to separate it from the image of the work.

Tachikawa: That's right. I hoped that if you feel down after watching the film, the opening will cheer you up.

― (laughs). Was the music the starting point for this, and then you developed the imagery?

Tachikawa: We had the image of how we wanted it to be first. The music we received afterward matched that image quite closely, so it expanded from there.

— It is interesting that the characters are dancing so seriously.

Tachikawa: Throughout the sequence, the arbiters are actually listening to that song. That's why everyone is dedicated to it. Some of the characters are more reluctant, but that too is incorporated into the way each of them dances according to their personality. ― Please tell us about the ending as well. Director Shinichiro Watanabe, mentioned earlier from Terror in Resonance, handled the storyboards and direction, right?

Tachikawa: Because of how tight the schedule for Terror in Resonance, Watanabe-san told me, "If you ever need any help, let me know." Since the main story has a heavy workload and Watanabe-san has another job lined up, we decided he could handle the ending. We conveyed the essence of this work and asked him to create the visuals by summarizing the concept.

― Just like the opening, the show proper seems to have a sharp sense of humor. Episode 6, Cross Heart Attack, which is a gag episode, was also very entertaining. What are your thoughts on humor in this series, Director Tachikawa?

Tachikawa: Rather than consciously thinking, "Let's make people laugh like this," I just did what I liked, so it came out organically. Someone told me that my comedy tends to be surreal. I like when jokes come at unexpected times. In Death Billiards, for example, there was a scene where an old man's dentures flew out after he hit the glass. In the sixth episode of this series, there's a moment when Mayu is about to fall and get pierced by a needle, which then becomes a gag. I think I enjoy the contrast between seriousness and comedy. If it's comedy all the time, it becomes monotonous, right? Before doing comedy, I intentionally insert tense elements and create a contrast, so that's where I aim for laughter.

― Decim also has quite a mischievous side. Is that also aimed at creating contrast?

Tachikawa: Yes, that's right. And Decim has a cute side too, so I thought I'd stretch that a bit.

— (laughs). (Laughs.) Is the change in Decim a key point in this story?

Tachikawa: Yes. I think that will be an important part.

― As the show is enters its final stages, could you tell us about the highlights of the second half?

Tachikawa: In Death Parade, we are trying to depict the essence of human "life." To that end, we need to define what it means to be "alive" within the story. I personally believe that the purpose of living lies in facing and embracing everyone’s individual qualities and destinies, while actively making choices that shape our own paths. This aspect might be related to the core of this work.

― It seems to have philosophical themes. Do you often think about human life and death?

Tachikawa: No, not often (laughs). ━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━┅━ NOTE: I am not fluent in Japanese! I translated this with the help of a language partner. However, as neither of us are fluent in one another’s native tongue, there may be errors in the translation. I typically don’t share things I translate in my free time, but since no one has tackled these interviews in nearly 10 years, I figured it was nice to put these out there for folks who may be interested.

#death parade #cloudytranslates #yuzuru tachikawa #anime #anime interview #interview #decim #mayu #ginti #chiyuki #death billiards #manga

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