Hi there.
Today, September 13, Cyberpunk: Edgerunners is finally out on Netflix, and along with it, Japanese media released an interview with two of its producers, Satoru Homma and Saya Elder. It’s a good read (even if you’re not interested in any anime) and I’d like to share it with you.
Note: Not all articles were picked up for the content. Only the most interesting ones for you. (Source: Part1, Part2)
I think he is already well known to you guys, but just in case: He is a key member of CDPR's Japanese localization team and used to work for Spike Chunsoft on numerous Japanese localizations, including Dragon Age series. It is only because of him that Japanese gamers can play CDPR games with Japanese dubbing on the day of release.
Saya Elder (Twitter):
For those who don't know her, she is also a member of CDPR like Satoru. She is a native English speaker and has previously worked on the English localization of Square Enix "Kingdom Hearts" series.
The framework and flow of the story and basic characterization of Cyberpunk: Edgerunners are presented by CDPR to TRIGGER in English. So Saya needed to explain to TRIGGER firmly CDPR’s desire like, “This is the kind of animation we want you to make!”
On the other hand, TRIGGER had a strong request to make everything in Japanese. Therefore, production began with the premise that all character acting and interactions were to be created under the assumption that it was a Japanese anime and then localizing it for the global market.
For this reason, Cyberpunk: Edgerunners was first conceived in English (by CDPR) and accurately communicated to TRIGGER, who wrote the script in Japanese, CDPR checked the script in English, and then translated the completed Japanese anime into English and other languages for the world.
While many productions do the English localization on the Netflix side, CDPR and Saya were committed to producing an English dubbing as well. Saya’s policy for English translations is to aim for English that native speakers feel comfortable with and localization that does not make them feel uncomfortable.
She said: "I want to make sure that when people see an anime, they don't think, 'This is a Japanese anime, English is a second language!’
All in all, their (Satoru and Saya’s) role was not only to make the exchange between English and Japanese as smooth as possible for the production team, but also to create an English dubbing with a particular focus.
However, TRIGGER, a group of professional animators, said straight out, "That won't be interesting as an anime.” The plot presented by CDPR attempted to express the story with detailed character expressions and live-action-like camera work, but this was not enough to take full advantage of TRIGGER's signature dynamic direction, flashy screen work, and "movement" that captivates viewers' hearts at once. As a result, they had to go back and forth. It took two full years to adjust the script. The most time was spent on the question of "what kind of animation to create.”
CDPR and TRIGGER, both groups have a strong commitment to storytelling. How do they portray Night City? - Even this will be different in their approaches. In games, every detail is drawn and the player moves through it. But, in animation, the balance of depiction changes completely between the picture as a composition and the background that runs behind it. If someone who does not understand these "animation methods" writes a script, the answer will be: "That cannot be done in animation.”
Through liaisons like Satoru and Saya, they deepened their understanding of the "discrepancies" between the methods used in animation and why they were impossible with the methods used in games.
Satoru said: “It was an extremely time-consuming but necessary process when working with a Japanese animation studio."
“If we put out such an adorable character, the world of Cyberpunk 2077 will be destroyed!" In response to CDPR’s request to change the character design, TRIGGER said, "No, it isn’t. It’s this adorable Rebecca that makes the action look great, and above all, it's the motivation for the production that makes all the difference!"
Satoru said: “Of course, since CDPR asked TRIGGER to produce it, we had to ask for a lot of help, but TRIGGER was the one who actually made the anime, I think they were able to fulfill their 'what TRIGGER wanted to do' quite well. That's why it turned out to be a very attractive piece of animation."
P.S.
Satoru and Saya also had the important task of convincing CDPR to make use of TRIGGER's ideas to make it into an animated work.
Today, September 13, Cyberpunk: Edgerunners is finally out on Netflix, and along with it, Japanese media released an interview with two of its producers, Satoru Homma and Saya Elder. It’s a good read (even if you’re not interested in any anime) and I’d like to share it with you.
Note: Not all articles were picked up for the content. Only the most interesting ones for you. (Source: Part1, Part2)
・・・
Who are they?
Satoru Honma (Twitter):I think he is already well known to you guys, but just in case: He is a key member of CDPR's Japanese localization team and used to work for Spike Chunsoft on numerous Japanese localizations, including Dragon Age series. It is only because of him that Japanese gamers can play CDPR games with Japanese dubbing on the day of release.
Saya Elder (Twitter):
For those who don't know her, she is also a member of CDPR like Satoru. She is a native English speaker and has previously worked on the English localization of Square Enix "Kingdom Hearts" series.
What was their role?
As you already surmised, CDPR was very particular about the game world and deeply committed to the original idea they were presenting. Saya was the person as that liaison, so that TRIGGER responded to that commitment and helped them understand it. In addition, She was also responsible for the English localization of Cyberpunk Edgerunners in order to accurately convey the fun of the anime to the rest of the world.The framework and flow of the story and basic characterization of Cyberpunk: Edgerunners are presented by CDPR to TRIGGER in English. So Saya needed to explain to TRIGGER firmly CDPR’s desire like, “This is the kind of animation we want you to make!”
On the other hand, TRIGGER had a strong request to make everything in Japanese. Therefore, production began with the premise that all character acting and interactions were to be created under the assumption that it was a Japanese anime and then localizing it for the global market.
For this reason, Cyberpunk: Edgerunners was first conceived in English (by CDPR) and accurately communicated to TRIGGER, who wrote the script in Japanese, CDPR checked the script in English, and then translated the completed Japanese anime into English and other languages for the world.
While many productions do the English localization on the Netflix side, CDPR and Saya were committed to producing an English dubbing as well. Saya’s policy for English translations is to aim for English that native speakers feel comfortable with and localization that does not make them feel uncomfortable.
She said: "I want to make sure that when people see an anime, they don't think, 'This is a Japanese anime, English is a second language!’
All in all, their (Satoru and Saya’s) role was not only to make the exchange between English and Japanese as smooth as possible for the production team, but also to create an English dubbing with a particular focus.
Discrepancies
CDPR had absolutely no experience in animation production and had a fairly simple idea: "If you have an interesting story, you can make an interesting animation.” They presented a story full of particulars to TRIGGER, such as psychological battles between characters, scenes with a lot of monologues, and tactfully playing with enemies, and said, “Let’s make those into an anime!”However, TRIGGER, a group of professional animators, said straight out, "That won't be interesting as an anime.” The plot presented by CDPR attempted to express the story with detailed character expressions and live-action-like camera work, but this was not enough to take full advantage of TRIGGER's signature dynamic direction, flashy screen work, and "movement" that captivates viewers' hearts at once. As a result, they had to go back and forth. It took two full years to adjust the script. The most time was spent on the question of "what kind of animation to create.”
CDPR and TRIGGER, both groups have a strong commitment to storytelling. How do they portray Night City? - Even this will be different in their approaches. In games, every detail is drawn and the player moves through it. But, in animation, the balance of depiction changes completely between the picture as a composition and the background that runs behind it. If someone who does not understand these "animation methods" writes a script, the answer will be: "That cannot be done in animation.”
Through liaisons like Satoru and Saya, they deepened their understanding of the "discrepancies" between the methods used in animation and why they were impossible with the methods used in games.
Satoru said: “It was an extremely time-consuming but necessary process when working with a Japanese animation studio."
Rebecca
Although CDPR has a strong attachment to the characters, sometimes "modifications" to the characters are proposed to strengthen the animated expression. A prominent example is "Rebecca," one of David's friends. In the animation, Rebecca looks quite young and cute (you might call it “kawaii”), who uses extreme language and shoots guns flamboyantly with both hands. Those are the gaps and interesting aspects of Japanese anime. But for those unfamiliar with "anime techniques," such "common sense" is beyond comprehension. CDPR was initially quite reluctant to accept the character designs that came from TRIGGER's side.“If we put out such an adorable character, the world of Cyberpunk 2077 will be destroyed!" In response to CDPR’s request to change the character design, TRIGGER said, "No, it isn’t. It’s this adorable Rebecca that makes the action look great, and above all, it's the motivation for the production that makes all the difference!"
Satoru said: “Of course, since CDPR asked TRIGGER to produce it, we had to ask for a lot of help, but TRIGGER was the one who actually made the anime, I think they were able to fulfill their 'what TRIGGER wanted to do' quite well. That's why it turned out to be a very attractive piece of animation."
P.S.
Satoru and Saya also had the important task of convincing CDPR to make use of TRIGGER's ideas to make it into an animated work.
