Disclaimer: The following article is a non-profit fan-translation, all .hack title series, including .hack//Sekai no Mukou Ni is owned by CyberConnect 2 and Bandai Namco Entertainment.
Original date: January 27, 2012
Source: Animate Times
Translated by Jikanet
The .hack series depicts the struggles of those who fight against invisible threats within the setting of the fictional online game “THE WORLD.” Its latest installment has finally been released as a full-length 3D animated film on January 21!
This time, we had the chance to speak with Hiroshi Matsuyama, the director of “Dot Hack: Sekai no Mukou Ni,” about his thoughts on the project. He shared behind-the-scenes stories from the production of the movie as well as insights into the series up to now. Please enjoy this content-packed interview!
First, could you tell us about how the project came to be?
Director Matsuyama (hereafter, Matsuyama):
I am a game creator by profession, but in 2007, I formed a team called Sai to handle video productions. Many game creators have a wide range of ideas and skills, so I believe that if such people made a film, they would be able to create something truly interesting. That was the motivation behind forming Team Sai. In 2007, we established the team and created the original anime .hack//G.U. TRILOGY, which was fortunately very well received by many people. With that achievement in hand, I wanted to continue making video works. Then, in the following year, 2008, Mr. Shin Unozawa from Bandai Namco Games told me, “Next, make .hack into a nationwide theatrical film,” and I remember feeling incredibly happy about that.
Is there a specific reason why the CG depictions differ between the real world and the in-game world?
Matsuyama:
Well, if we didn’t make that distinction, it would be hard to understand what’s going on (laughs). The worst thing would be if viewers couldn’t grasp what was happening at a given moment. For example, if the real-world and in-game parts looked similar and the audience started wondering, “Huh? Which is this now?” the film would quickly become incomprehensible. So we decided to make a clear distinction between the real world and the game world.
We first decided on the depiction for The WORLD segments. To replicate the image viewers generally have of a game, we opted for a realistic style of expression. Then we thought about what kind of CG expression would stand as the opposite of that style, and after experimenting, we arrived at this soft, watercolor-like CG style for the real-world scenes.
Why did you decide to cast young actors and actresses as voice actors?
Matsuyama:
Since this was a theatrical work, I felt that if the actors couldn’t truly convey emotion in the film, it wouldn’t be satisfying. Unlike previous works, this film places greater emphasis on the real-world segments. I believed that everyday life in the real world had to be depicted not with forced performances, but with natural acting.
Therefore, we asked actors who could convincingly play middle school students to do the voice work, and we also used motion capture to make the real-world performances feel even more natural.
Is there a reason why you chose Yanagawa as the setting for the film?
Matsuyama:
I wanted the setting to be very tranquil and distinctive. Even rural areas, without realizing it, benefit from technology, and I wanted to show that even middle school students living there could end up facing serious trouble. That’s why we chose Yanagawa. At first, we considered setting the story somewhere around the Tokyo metropolitan area, but it felt too “obvious” for a digital hazard to occur there (laughs).
There’s a scene where the characters are playing the game outside. That’s not something we’ve seen much before, is it?
Matsuyama:
Actually, THE WORLD has always been playable outdoors. But in the past works, we didn’t place much focus on the real-world perspective, so we just never depicted that. However, using only a mobile device has poor response speed, so experienced players eventually buy a controller. And if you want an even more immersive experience, you wear that FMD (Face-Mounted Display). Unlike the large ones from before, FMDs have now evolved into small, glasses-like devices.
As expected in 2024, things have evolved!
Matsuyama:
I imagine that by then, both FMDs and controllers wouldn’t even have cables anymore. Since the story is set 12 years in the future, I think there would no longer be a need to plug in devices for charging. When coming up with these elements, we always try to envision a “plausible future” as an extension of the latest technology available today. Creating backstories and detailed settings is something ingrained in us as game developers. I believe that mindset greatly influenced the video production this time as well.
The protagonist really acted like a total beginner at online games, didn’t she?
Matsuyama:
We intentionally designed it so that players familiar with games would think, “Ah, I was just like that at the beginning” (laughs). On the other hand, for people who haven’t played games much, I thought they might relate by thinking, “If I played, I’d probably be just like Sora-chan, the protagonist.” That’s why we went with that kind of direction. After the recording ended, Nanami Sakuraba, who plays Sora Yuuki, told me the same thing, and I thought, “You really are Sora-chan” (laughs).
There are characters whose voices change between the game world and the real world, right?
Matsuyama:
Since THE WORLD is a game set in the future, I figured players wouldn’t be typing conversations on a keyboard like in current games. For example, it wouldn’t make sense if a huge, intimidating-looking character spoke with a cute, high-pitched voice, right? So I assumed that the fictional company CC Corp., which developed THE WORLD, would have implemented a voice synthesis feature. That’s why we established that setting.
There was a ship in the game that we’ve never seen before. What was that?
Matsuyama:
That’s actually a guild in this version of THE WORLD. I’d like you to check the film for details, but essentially, the larger the ship, the larger the guild.
Speaking of which, we heard that a new game is in development.
Matsuyama:
Yes, this theatrical film is set in 2024, and we are preparing to announce a game set one year later, in 2025.
Will it be connected to this film?
Matsuyama:
Of course. I can’t say exactly how just yet, but I think you won’t be able to truly enjoy the game unless you’ve seen the film first (laughs). If you watch the movie and then play the game, you’ll definitely have moments where you think, “Wait! Is that what that meant!?” Honestly, I’m dying to announce it as soon as possible, because it’s going to be pretty incredible (laughs).
Finally, could you give a message to the fans?
Matsuyama:
.hack is a major project that started over ten years ago. This theatrical film is a special project for me because it’s filled with the dreams we’ve nurtured for .hack over that decade. However, I want people coming to the theater to watch it with no preparation, just with a light heart.
One thing I can guarantee is that after you see the film, you’ll leave the theater feeling just a little bit happier than when you walked in. So please, come and see it at the theater without any hesitation!
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