Within the production teams of an anime adaptation, there is a position known as a " series composer ". He is the person in charge of adapting the original story to fit it into twenty-minute episodes, and in the case of the manga, he must establish from what point to what point each episode covers, and transform the panels into full dialogue sequences. Thus, Crunchyroll interviewed Yoriko Tomita , who was in charge of this task in Sono Bisque Doll wa Koi wo Suru ( My Dress-Up Darling ).
" I think the scriptwriting process for an anime adaptation of a manga is very difficult ," Tomita stated. « is especially difficult to decide how to fit the story of the episode that has been picked up from the manga into the scale of 20 minutes of animation for television and to decide where the most exciting parts of the story should be in those 20 minutes. That was also the most difficult task in this series. The original work wasn't created with a 20-minute scale in mind, so turning that story into an anime script sometimes means it ends up being too short or too long.. But I worked with the director, the assistant director, and the producers to decide where to cut or how to expand the narrative, so the process was generally smooth. All thanks to everyone's cooperation ».
One of the characteristics of Sono Bisque Doll wa Koi wo Suru is the meticulous details of the process of acquiring materials and making the outfits, but Tomita was not introduced to the original manga until he participated in the anime adaptation . However, that is not to say that he did not already have a personal connection to concepts from Sono Bisque Doll wa Koi wo Suru . « My mother and my older sister like to do crafts », commented Tomita, « and I used to make clothes for stuffed animals and bags for myself when I was little ».
It also didn't hurt Tomita to meet Chisato Tsumori , a renowned Japanese fashion designer whose prints on fabric can often be astonishingly vibrant. « I know Chisato Tsumori personally and talk to her often, so she had basic knowledge of fabrics and materials. But I've never been involved in the actual making of outfits like the ones Marin is wearing, so I learned a lot about the actual making tasks by listening to the staff at the storyboard meeting who had cosplay backgrounds. For example, I learned that cutting takes a long time and that cosplaying can be a tough and sweaty experience on a summer's day ." Gojo's dedication to her craft is also faithfully reproduced in the anime.
Tomita considered Gojo to be a relatable character, an aspect he would work on to make adjustments regarding the manga. " As the main theme of this work is not serious, I think I was careful not to make it too heavy ," said Tomita. « Japanese anime fans tend to empathize too much with a passive character and feel pain, so I fixed it so that the negative side of him was not so heavy. I also changed the reactions of the teammates a bit from the original work so they don't seem so cold towards Gojo ». Gojo's progress in communicating with others was a "side issue," and Tomita did a good job of smoothing it out, keeping Gojo engaging with viewers.
Tomita's changes and additions never betrayed the original work of author Shinichi Fukuda, whom she even asked to review and approve the dialogue she added. Working closely with the team on the realization of the story, she was amazed at the level of perfection of the final product. She was looking forward to seeing Marin's first cosplay, the culmination of the first Sono Bisque Doll wa Koi wo Suru story , and was thrilled to see the effort and work that went into creating the billowing lace and thick, heavy fabric, along with the lavish hairstyle from Shizuku's cosplay. And Tomita's biggest surprise came in the final episode. She explained:
« I was also looking forward to the fireworks scene in episode 12. When I was writing the script, I had Gojo remember everything that had happened since he met Marin while watching the fireworks. I did it thinking that it would be difficult to draw the fireworks, but when I looked at the script during the recording, all of that had been cut . After that, the production staff told me that they were working as hard as they could to draw the fireworks, and I suddenly felt like doing it. Of course, I would have liked to see the animation of the fireworks, so I was very happy. The quality was just like a theatrical release, so my jaw dropped.Also, the insert song was really nice and it fit the scene, so I was really glad it didn't come out the way I originally wrote it ."
Lastly, Tomita was asked what he would like fans to enjoy the most. « Everything! That being said, I think each person who sees it will notice different things. I think the characters that people can relate to are also different. As long as each spectator enjoys it according to his own sensitivity, that is what matters. This work also has a message of “Everyone has a lot to do”, which makes this series relatable from many perspectives, and it is a wonderful quality animation. I hope many people will watch Sono Bisque Doll wa Koi wo Suru and enjoy repeatedly ».
Source: Crunchyroll
