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Guest and Personality

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Guest: Michinoku Pass

Animation Creator / Game Art Designer, primarily engaged in animation production. Currently producing and posting a short anime titled “Michinoku Pass.”

Personality: Yuki Sakoda

After working at a telecommunications company and a general advertising agency, he founded an anime planning and production company, producing videos from music videos to films. In 2021, he moved to Kyoto and began working to promote the entertainment industry in Kyoto. Recently, he has also been involved in the manga and audio entertainment fields, currently planning and producing audio dramas and webtoons. Additionally, he serves as a producer and advisor for several entertainment companies.

Table of Contents

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#01

・From Kazunoko to Michinoku Pass
・The trigger for aspiring to create animation
・Realizing that the foundation for improving 3DCG quality lies in 2D animation
・The appeal of Disney-Pixar storyboards
・The Japanese temperament
・Valuing the atmosphere in cuts during production
・Sources of inspiration from Brother Bear
・Desiring to create a Japanese version of Brother Bear
・Wrapping difficult themes in entertainment to make them digestible
・Enjoying depicting living things
・Wanting to create freely and diversely, leading to joining a game company
・What can be done within a company, what is advantageous, the appeal of freelancing, etc.
・The existence of the inner self
・The major failure of the graduation project

#02

・Lessons learned from company seniors
・Not rushing, mindfulness, not thinking
・Are there tips for not thinking?
・Putting unpleasant things on the shelf, covering up unpleasant things
・Making things gray
・The inspiring MV of Airy Me
・The routine for generating creative ideas
・Researching extensively on topics
・Making difficult concepts easier to convey through art and creativity

#03

・Experiences from crowdfunding
・Initially trying to do everything by oneself…
・Anime that cannot be done smartly
・Where the essence of humanity and creation lies
・Feeling that through the arrival of AI, it has become clearer what we are seeing and seeking through our works
・The importance of context is becoming more pronounced
・About the work “Michinoku Pass”
・Wanting to convey the identity and essence of Tohoku
・What to convey in episode 10 of “Michinoku Pass”
・The fact that constraints are predetermined from birth

Starting #01

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From Kazunoko to Michinoku Pass

Sakoda

Well, the timing when I got to know Michinoku Pass was when they were active under the name “Kazunoko,” and now they have changed their name to “Michinoku Pass,” which is the same as the title of the work they are currently creating.

Michinoku Pass

That’s right. To explain a bit, the pen name “Kazunoko” seems to be quite commonly used. Previously, there was someone named “Kazunoko” among game developers and pro gamers, but since I was in a different field, I didn’t pay much attention to it at the time. Recently, however, there are people on YouTube teaching how to use video production software under the name “Kazunoko,” and it seems there are illustrators with the same name as well. So, I decided to change my name. Since I was producing the work “Michinoku Pass,” I decided to use that name to sell the work. It might be a bit confusing, but I hope you can forgive me for that.

Sakoda

But I really think it was a good change. In fact, both in illustration and After Effects, the elements that Michinoku possesses are indeed in the same realm, so from the viewer’s perspective, it must have been somewhat confusing for customers and fans. By the way, the work “Michinoku Pass” has been in the works for quite some time, right?

Michinoku Pass

Yes, it’s been about 2 or 3 years now, I think? It feels like just yesterday, but time has flown by.

Sakoda

Yes. But when you say 2 or 3 years, it really coincides with the onset of COVID, and while we are still in the midst of it, we are somewhat in the post-COVID timeline, so it feels like a blink of an eye for me as well. This 2 to 3-year timeline feels like a very short time.

The Trigger for Aspiring to Create Animation

Sakoda

I’m curious about what kind of people discovered Michinoku Pass through this crowdfunding and what they have done. Especially creators must be extremely interested. They are shrouded in mystery, yet the quality of what they create is outstanding. I think many people are curious about where this person came from and what they are doing.

So, that’s the current situation, but if we could rewind a bit to the past, could you share what triggered you to step into the career of creating animation?

Michinoku Pass

Yes, well, originally, during my student days, I was studying 3DCG. I think I was in high school at the time. It was a very fresh and groundbreaking tool back then. As I studied it, I began to wonder what the key to improving the quality of 3DCG was, and I realized that the foundation lies in the concepts of 2D animation. The direction and especially the motion in student works of 3DCG at that time were quite poor.

So, I thought I should properly study animation techniques, and as a result, I gradually became interested in the world of 2D animation. Before I knew it, I was deeply involved in 2D animation work instead of 3D CG.

Sakoda

I see. So you started with 3DCG, and among the successful works that were released, you liked 3DCG works, right?

Michinoku Pass

That’s right. At that time, Disney and Pixar were at their peak, and 3DCG was synonymous with Pixar. I didn’t know about Toy Story at that time, but my favorite was Monsters, Inc. I was amazed by how realistic it was and how great the story was, and I found both the story and characters very appealing. I watched the making-of DVD, and rather than focusing on the technical aspects, they talked about the creative side, which was more akin to 2D animation. So, I started watching 2D animation.

Sakoda

I see. During the time of Monsters, Inc., which I believe was around 2000 or 2001, it seems that late-night anime was also booming in Japan. At that time, did you tend to watch more 3DCG films like those from Disney and Pixar rather than late-night anime?

Michinoku Pass

To be precise, I was in middle school or upper elementary school at that time. So, I was not aware of the late-night anime culture. It was a time when otaku culture was not very prominent. Otaku were seen as socially awkward, and I was somewhat aligned with that view. On the other hand, 3DCG was new and had a stylish image associated with Pixar, which was perceived as Hollywood. So, I was more inclined towards that. Later, as I studied 2D to improve the quality of 3DCG, I realized that Japan has a very rich 2D culture.

Sakoda

I see. Even in 3DCG works, the initial stages often involve concept art and layouts that are hand-drawn, and even now, when you look at the making of Disney-Pixar, the initial V-concepts are still drawn as illustrations.

Michinoku Pass

Yes, that’s right. Pixar’s concept art and storyboards are very appealing. Even the storyboard drawings are not just rough sketches like in Japanese storyboards; they are of a quality that stands as illustrations. Moreover, the individuality of the staff is also very attractive. Each staff member draws in a different style, and I thought Pixar was really cool back then. However, now, with the spread of the internet, the boundaries between industries and genres have become transparent, and while the quality has improved significantly, I feel that the individuality and unique styles of creators have diminished. While it may make work easier, from a viewer’s perspective, the older concept art seems more appealing.

Sakoda

That seems to be a natural flow as companies grow larger, needing to adapt and incorporate various elements while losing some individuality. In the early days, each artist could express their uniqueness, which was possible due to the smaller team size. As the scale expands, both the company and the works move to a higher level, leading to a dilution of that individuality, which is something that happens in every industry.

Michinoku Pass

Yes, that’s right. I thought Pixar or Disney might be different, but they have become synonymous with market-driven approaches. So, I feel there is a significant difference between the past and now.

Sakoda

Yes, I would love to delve deeper into the current discussions about Disney-Pixar and market-driven versus product-driven approaches. However, in the early stages, it seems that the people, companies, and works that influenced you as you began your creative journey were primarily Disney and Pixar, especially Pixar. During that time, there were films like Monsters, Inc., Finding Nemo, and The Incredibles, and of course, Toy Story 2 had come out a bit earlier.

Michinoku Pass

Yes, that’s right. The people I admired and were influenced by were all those featured in the making-of DVDs from Pixar. To be honest, I wanted to work at Disney-Pixar. However, by the time I became a student and started job hunting, Disney-Pixar was no longer an attractive company for me.

The Japanese Temperament

Michinoku Pass

I wanted to work in an environment where I could create works that utilize the temperament and nature of Japanese people. Also, I simply lacked the courage to study abroad. At that time, I might have thought it was not a big deal, but I was unsure if a Japanese artist would be respected in Hollywood due to language barriers and other factors, so I made excuses to avoid studying abroad. In the end, I think working domestically has not been a bad choice.

Sakoda

I see. When I heard about your past aspirations, I felt a strong connection to the keyword of Japanese temperament that is reflected in your current work, “Michinoku Pass.” In fact, I always feel that your illustrations, both still images and videos, convey a strong sense of story through their layouts.

The layouts are visually appealing, and they evoke a desire to explore the world you have created, suggesting that there is a rich background behind them. I wonder if this connection to the storyboard admiration you had for Pixar in the past is also reflected in your work.

Michinoku Pass

Well, if you say so, it might have unconsciously influenced me.

Sakoda

When you look at storyboards, even though they are just single images, they convey a tremendous amount of background and story, allowing the imagination to expand. This is what makes Pixar’s storyboards so wonderful.

Michinoku Pass

That’s right. Well, not just with Pixar, but when I was studying 2D animation and illustration, I was working hard on animation, but I couldn’t convey a sense of dynamism.

It didn’t feel lively, and there was a lack of atmosphere. Even though animation and video have more frames than illustrations or comics, they still lacked dynamism. As I pursued the reasons for this, I realized that without the power of the artwork itself, even if it moves, it won’t convey much. So, I started to value the atmosphere that each composition and each frame conveys during production.

Sakoda

Ah, I feel like I’ve uncovered a secret within myself. Yes, what you’ve shared about the triggers for your creative aspirations and your feelings before you started your journey is fascinating. In the second half, after a break with some music, I would like to ask about how you began working in animation after wanting to work at Disney-Pixar, and what changes you went through to get to where you are now. So, could you introduce the music that fits this flow as we wrap up the first half?

Michinoku Pass

Yes, I’ve been talking a lot about Pixar, but there was also a 2D animation released around the same time called “Brother Bear.” I was greatly inspired by it, and I think it influenced my understanding of the importance of artistic sensibility. The soundtrack used in that film is fantastic. I first learned about Phil Collins, an artist who was active in the 80s, and he collaborated with Disney to create the soundtrack. So, this is the soundtrack from that film.

Desiring to Create a Japanese Version of Brother Bear

Sakoda

Yes. What you just heard was “Transformation” from the original soundtrack of “Brother Bear.” Michinoku, you mentioned a bit at the end of the first half, but do you have any personal connections or episodes related to this soundtrack?

Michinoku Pass

Yes, well, the source of “imagination” or “inspiration” that I mentioned earlier is present in the work “Brother Bear,” and I was very moved by it. To put it simply, it is a Disney animation that incorporates the worldview of the Inuit, the indigenous people living in America and Canada. The most important aspect of this work is how it expresses the earthy ethnic identity through a spiritual and mystical worldview. While indigenous and minority cultures can be difficult to approach, this work skillfully embellishes and expresses that in a Disney-like manner. It also became a starting point for the movement of adapting folklore into animation. There are many excellent works, including late-night anime, but for me, this work has been a very important trigger.

Sakoda

It seems that “Brother Bear” has become a creative source for you. I feel that the themes you mentioned, which can sometimes be difficult and imposing, are wrapped in entertainment, making them more digestible.

Michinoku Pass

I feel a strong sense of emotion in that. I genuinely want to create a Japanese version of “Brother Bear.” The term “Michinoku” means “Tohoku,” and to put it simply, I wanted to express the indigenous culture of Tohoku in a “Brother Bear” style. The Ainu people of Hokkaido are also indigenous, and I have thought about that many times, but since there is already a work called “Golden Kamuy,” I decided to focus on Michinoku first and create “Michinoku Pass.”

Sakoda

It might turn into a discussion about Disney, but using animals as motifs to tell stories is something Disney has done well as a metaphor for diversity. Michinoku, you also use animal motifs in your designs. How do you feel about that?

Michinoku Pass

Well, personally, I find designs that focus solely on humans to be unappealing. You know, the kind of faces that a girl in the art club might doodle in the corner of her notebook. I feel a sense of disgust when I see those faces. I think, “Why does it have to be a human? It could be anything.” So, since I enjoy drawing more than manga, I wanted to draw non-human subjects. Animals have various forms, and drawing them is fun. When it comes to inanimate objects, they are lifeless, so I find it more enjoyable to depict living things. I think that’s why my works have increasingly featured animal motifs.

Sakoda

I see. Art is free, and creativity is free, so there is no need to limit it to humans. That seems to be a strong motivation for you.

Michinoku Pass

If everyone is drawing the same thing despite the freedom, then why not just watch a live-action movie? I know that sounds a bit contrarian.

Sakoda

Hmm, I see. To go back a bit, you admired Disney-Pixar’s 3DCG during elementary, middle, and high school, and you realized that the secret lies in 2D. You began studying 2D, but when you decided to pursue a creative career, could you share a bit about how you started working in that field?

Michinoku Pass

Yes. Well, I wanted to draw in a style closer to Pixar and Disney rather than the typical otaku style, so when I was job hunting, I chose companies that had a diverse range of styles rather than those that were just about “Japanimation.” Gradually, I was able to draw the kind of art I wanted, although I also had to draw a lot of things I didn’t want to. I feel that I was able to draw more of what I desired compared to being in the center of the anime industry. After leaving the game company, I became independent and freelanced, allowing me to create my own works and choose my projects, which strengthened my desire to draw various things.

Sakoda

When you decided to pursue art, you likely hypothesized that a game company would be better for maintaining diversity. In hindsight, do you feel that working in a game company was more liberating than being in the heart of the anime industry?

Michinoku Pass

I think if I had been deeply involved in the animation industry, I wouldn’t have been able to draw what I liked. So, I believe I was able to create what I wanted because I was freelancing. Even in a game company, there are various constraints, but they tend to focus more on what appears on screen, so while it didn’t perfectly align with what I wanted to draw, it was somewhat close.

Sakoda

It seems you have a keen sense of where to go. I believe many listeners of this podcast are aspiring to enter the creative industry, and those who have a clear vision of what they want to do often struggle with where to go to achieve that. You initially worked at a company and then became independent, focusing on the work you love. Is that correct?

Michinoku Pass

Yes, it feels like my time as a company employee was both long and short. This year marks my fifth year as a freelancer, and I spent about five years at the company. So, it feels like a 50-50 split. When I was in the game industry, I thought I would continue as a game creator forever, but seeing my friends getting closer to what they loved made me feel dissatisfied, leading me to become a freelancer.

Sakoda

So, the driving force behind your decision was your desire to create animated works, right?

Michinoku Pass

Yes, well, to go back a bit, if someone enters the workforce without knowing what they want to do, it is clearly more meaningful to be part of an organization. In a company, you can learn know-how, and your desires align with the company’s direction, so there is no friction. Because there is no friction, you can do higher-level work, and your life can be more fulfilling, which I think is a form of happiness.

I wanted to be that way during my time as a company employee. However, my inner self was resisting that, and I felt it was difficult to live. I think ideally, one should follow the local customs, but I realized I was a bit different, which led me to choose the freelance path.

As for why I aspired to create animation, I wanted to study it during my student days. I found that in art universities, the individuality of each creator was very prominent, diverse, and incredibly appealing. I wanted to become someone who creates such works. However, during my graduation project, I had the opportunity to do that but ended up failing miserably.

Sakoda

Oh, I see.

Michinoku Pass

Yes. I had no scheduling know-how, and it ended up being half-hearted. It wasn’t just that; during that time, otaku culture was at its peak, and I was trying to create a “moe” anime in the style of Cool Japan. So, I felt I had failed miserably. I ended up creating something I didn’t want to, and it wasn’t completed, which felt terrible. I carried that feeling into my professional life. I think that feeling is part of what shapes who I am today.

Sakoda

Ah, I see. That’s interesting, though perhaps not in a good way. I imagine that if you had created the animation you aspired to during your graduation project and felt satisfied with it, perhaps your inner self wouldn’t have resisted as much during your professional life, and you might have followed a different path, utilizing the power of the organization to reach a higher level.

Michinoku Pass

Yes, that’s right. From a third-party perspective, it can be hard to understand what one is doing, but I feel that I am different from the norm. My life has had its twists and turns, but I think it is what it is.

The Existence of the Inner Self

The existence of the inner self.

Sakoda

Well, life doesn’t have a clear right answer, and there is no definitive answer in a creative career either. No matter what status you are in, there is always something missing or something that hasn’t been fully addressed. However, Michinoku, you have been able to listen to your inner voice for five years. I think most people tend to suppress that voice. It seems that voice is quite strong.

Michinoku Pass

Indeed. I think it’s normal to adapt and reconcile with those feelings. However, I feel that it’s okay for someone to exist who is doing something completely nonsensical or incomprehensible.

Sakoda

That’s great. I believe many people will find that very encouraging. From what I’ve heard, despite the twists and turns, I don’t feel that you are wandering aimlessly; it seems you are following a clear path. Even if you feel that way, I think those who are creating now or those who will create in the future will find it very encouraging to hear the opinions of someone like you who is taking action while grappling with these issues.

Michinoku Pass

Ah, that is a great honor. Yes, I hope that more people will create exclusive and unconventional works, fueled by that feeling.