The Original Creator of "The Kindaichi Case Files," Shin Kibayashi, and Others Launch "Project ONE," an Initiative to Discover and Train Young Animation Creators Through Public Recruitment and Create New IPs

Mr. Nakayama: The market size of Japanese anime overseas has expanded to a level comparable to that of Japan's domestic market. In conjunction with this, the markets for manga and MD (merchandise, etc.) have also grown similarly. How do you view the transition of the anime market?

Mr. Suwa: Since I have been involved in TV anime since 1986, I have a good sense of the changes in anime on television. In terms of broadcast time slots, there certainly was a shift from prime time to Saturday and Sunday mornings, and then to late-night. From a market perspective, of course, getting viewership ratings is important, but at the same time, it involves developing multiple anime simultaneously and aiming for a massive hit to turn them into a business. I feel like each station is establishing its own niche by repeatedly panicking and searching for the next big title when they fail to produce one.

Mr. Nakayama: In the 2010s, "Attack on Titan," in particular, seems to have opened the door to overseas markets.

Mr. Wada: The creation of "Attack on Titan" was around the time WIT Studio Co., Ltd. was established, and I feel like the word overseas sales did not exist at the time. Overseas streaming was not even a consideration; instead, sales of DVDs and Blu-rays were emphasized. Within that context, "Attack on Titan" had passionate fans overseas and became one of the catalysts that allowed us to develop events and other initiatives.

Mr. Hirasawa: I believe that exactly ten years ago marked the beginning of an era where anime production shifted from focusing on DVD and Blu-ray sales to being created for streaming or as promotion for large game IPs. The culture of late-night anime was born around 1996–1997. The anime industry has repeatedly undergone a major transition about once every 20 years. And now, I think we are at a midpoint in the era of anime production that began around 2013–2014, which is based on funding from massive streaming services and massive game IPs. Ten years after 1996, in 2006, works adapted for late-night anime, such as "The Melancholy of Haruhi Suzumiya" and "Code Geass," appeared. I am excited to see if those kinds of works that adapt to the times will emerge from now on.

Mr. Nakayama: Mr. Kibayashi, you have worked not only on TV anime but also with global platformers like Hulu. How has the relationship with platforms changed?

Mr. Kibayashi: Considering the shift from an era where commercials ran within TV time slots—with reruns being the main focus—to an era of worldwide distribution, I think more money should inherently be spent. However, the current method inevitably falls within the framework where the station, original creator, and production company sign a contract... I believe that if, instead, the creators directly pitch to companies or individuals, many people would get on board. Whether through crowdfunding or anything else, creators and users connect directly, and platformers join in. I want it to take on a form where the content-creating side (the creators) can gain power, and I think it will. This is an era where wonderful works can be created even with a small team and a low budget, utilizing the latest applications and AI, so it would be incredibly interesting if things started to revolve around the creators.

Mr. Nakayama: I apologize for bringing up a different genre, but what I heard when I previously interviewed the person who founded the Yoshimoto School of Comedy (NSC) was that Downtown were first-generation NSC students. Because they were debuted immediately after graduating from the school, the duo was formed outside the system's control, and they likely would not have been born under the traditional apprenticeship system. I think that the moment you shake up the media and change the format is full of potential for unprecedented talent to emerge.

Mr. Nakayama: AI is gradually starting to be used in manga, anime, and game production, but if you have any initiatives or thoughts on the matter, could you please share them? I imagine it is still a difficult time to comment.

Mr. Kibayashi: Initially, anime was drawn one frame at a time by hand, but at a certain point, digital technology was used to improve efficiency. Now, the era where generative AI can skillfully create the scene itself is right around the corner. Various companies are exploring many options, and in fact, the staff of Project ONE are approaching CyberAgent's AI-related companies. I believe this is a field for the future, but the foundation for it will be the ideas and individuality of young people. I am looking forward to works that make you feel individuality, not something that obviously looks like it was created by generative AI.

Mr. Nakayama: With generative AI, you can quickly reach a score of about 50 points. However, it's difficult to raise the quality from there. It's often referred to as the so-called Masupi-gao (Masterpiece face, a term for when all pictures created by generative AI look similar).

Mr. Kibayashi: They really are all the same (laughs). Even in advertisements, everyone has the same face with only slight differences in body type. It's not that a so-called well-featured face is cool or beautiful; I want young people to boldly assert their individuality and preferences and approach us.

Mr. Suwa: I am also a judge for the AI Art Grand Prix, and I thought the idea of singing a song with one's late wife as one form of AI was a wonderful piece of work. On the other hand, it is true that there are issues with literacy, and I think preferences might be divided depending on the work or the scene. I believe the most important thing is to master AI as a tool, so I am studying it in my own way.

Mr. Hirasawa: I believe Japan is a country that excels at continuously expanding something created from zero-to-one and eventually nurturing it as a platform. Within that context, the current situation is that there are not many original works in anime that do not have an original source, such as manga or novels. It is an industry that has not been able to provide many opportunities to people who want to polish their creativity and try making anime without going through manga or novels. It is significant to be able to offer video creators, through opportunities like this, the chance to become the foundation of a greatly expanding IP, and I have high expectations.

Mr. Wada: This really is a great project. If you apply, you can meet with Mr. Kibayashi and Mr. Suwa and hear their stories (laughs). We are in an era where we can gather various information, but the opportunity to create things with people who represent the keywords of Project ONE—the legends—and to receive their inheritance is quite rare. I would be happy if an interesting IP could emerge from that.

Mr. Suwa: I received the offer for Project ONE around the same time I left the company in September 2023 and became freelance. Although I had gained a certain level of experience, I was also anxious about what a person who had always focused on one-to-a-hundred could do after leaving the company—and then an offer came to recruit for zero-to-one! It was an offer I couldn't have wished for more. We would like to devote all our energy to viewing enjoyable projects, so we eagerly await your applications.

Mr. Kibayashi: I was basically a person who was good at creating zero-to-one, but on the other hand, I also worked as an editor to nurture that one into a ten. Within that work, I always had the desire to team up with younger people, and just the other day, I worked with someone in their 20s as equals. I know I shouldn't say this about myself, but I am absolutely not the type of person who makes people nervous when they meet me (laughs). Right?

Mr. Suwa: I think so (laughs).

Mr. Kibayashi: Right? (laughs) I never thought of myself as being above or below anyone. I want people to come forward freely and say what they want to say, and I will say what I want to say, too. But rather than just telling them off, I hope I can briefly convey the knack for being interesting that I have cultivated. I also believe it has a role as an educational platform for nurturing talent, and in this day and age, you can do it online without a physical classroom, can't you? It might take some time, but I have high expectations that it will definitely become something interesting.