MOBILE SUIT GUNDAM THE WITCH FROM MERCURY VOL.4
SPECIAL BOOKLET
STAFF INTERVIEW: Takashi Ohmama (Music)

Takashi Ohmama, who is participating for the second time in a Gundam series, expresses the world of Mobile Suit Gundam The Witch from Mercury through its music. Combining profound science fiction with strong entertainment elements, we explore how he made the sound resonate. From the main theme centered around vocals and the recordings conducted in multiple locations, we delve into his creative process.

―――First of all, could you share your impressions on Gundam series as a whole?

Ohmama: My first encounter with Gundam was when I was around four or five. My father gave me a Gunpla, so my entry point was through the models and figures rather than the anime. As I progressed through elementary and middle school, I started to rent videos from a local store and began watching the series bit by bit. Once I started composing, I remember thinking, “If I could be involved even once in my lifetime, I’d be happy.”

―――And were you familiar with the soundtracks of the series?

Ohmama: I’d listened to Yoko Kanno’s soundtrack for Turn A Gundam and Hiroyuki Sawano’s for Mobile Suit Gundam UC. That’s why when I got the opportunity to be involved, I felt I had to strive to make something that wasn’t too influenced by their work.

―――What was your impression of these series?

Ohmama: When you think of Gundam, you imagine heavy motifs centered around war. But when it comes to Season 1, I felt a stronger element of entertainment. Beyond the straightforwardness of a robot show, there was the range of the character’s emotions and the unpredictable developments – it felt like a will to reach out to an audience beyond just Gundam fans.

―――Did that become a concept in the composition process as well?

Ohmama: Yes, especially for Season 1. However, the PROLOGUE prior to Season 1 takes on a heavy sci-fi theme. I was mindful of this dual structure and felt a sense of accomplishment in tackling it.

―――What concepts did director Kobayashi convey?

Ohmama: I had several opportunities to speak with Director Kobayashi, who gave me many keywords. Despite his calm demeanor, his words brimmed with hidden passion and deep thought, which stirred my imagination. Ideas for the composition were welling up even on my way home from our meetings.

―――Were there any specific requests regarding the sound?

Ohmama: In a broad sense, there was a desire for a female voice in the main theme. The show is about Suletta, a girl who rides the cursed Gundam (Aerial) in a world where Gundams are reviled. Furthermore, she’s controlled by her mother, and although she herself is unaware, she is a character who struggles to express herself. The aim was to express the voice hidden within such people.

―――Was there any difficulty or interest in using vocals?

Ohmama: While focusing on representing the characters’ “shouts” from within, I aimed for an international, borderless image that wouldn’t make you feel any particular nation or region. The series includes characters with various backgrounds like being born in space or on Earth. It was a conscious effort to make it universal and not lean too heavily toward anyone.

―――On the other hand, were there any elements you wanted to add to the music?

Ohmama: While it is a school-themed series, I feel the show is characterized by its authentic depiction of science fiction. When composing, I was given some image boards, and I considered the sense of space and the vastness of the universe. Specifically, I added some synthesizer-like tones, not just orchestral sounds. On the other hand, after discussing with the Sound Director Jin Aketagawa, the music for the characters’ dialogue scenes doesn’t strongly evoke a sense of sci-fi. I focused more on expressing the emotional aspect, as if normal people were talking, just like ourselves.

―――This time, recording locations range from Budapest in Hungary, Vienna in Austria, Rome in Italy, to Tokyo. Why is that?

Ohmama: Gundam series aren’t just watched in Japan; it’s global content. Therefore, I wanted to finish it with a worldwide consciousness. Considering each orchestra’s characteristics, the studio’s scale, and the musicians’ personalities, we ended up using multiple recording locations. It’s not that we were fixated on doing it overseas, but rather we didn’t confine ourselves to Japan.

―――The string instruments were primarily recorded in Vienna, and the woodwinds mainly in Budapest.

Ohmama: We recorded the orchestra in Vienna, a place also frequently utilized for Hollywood and Disney productions. It possesses an opulence in its acoustics, letting us craft a sound that’s cinematic in its breadth. Moreover, the orchestra’s interpretation was rather bold, or should I say, this time, we aimed for a broad and cosmic scope. This resulted in a sound that could match the grandeur of battle scenes. On the other hand, in Budapest, we recorded music that would flow like a conversation between people in the background, with small ensembles like quartets. The studio there is smaller than in Vienna, and the resonance was a little more intimate, more human. As for the vocals, since the vocalist resides in Italy, we recorded in Rome.

―――During the process of finalizing the music, did you receive any requests from the director?

Ohmama: Communication went smoothly, especially for the main theme and battle scenes. If anything, we mainly discussed the taste of the music for the everyday scenes of the characters. I knew it was a school-based story, but my first proposal was a bit more serious. After several rounds of revisions, I thought it might be too heavy.

―――What memorable scenes do you recall after watching the actual footage?

Ohmama: The moment I heard my music accompanying the scene where Aerial duels in the first episode, I was moved, truly elated. Also, there’s a scene in the third episode where Suletta duels with Guel, and Guel disables the decision-making expansion AI on his mobile suit to fight. The main theme is used there. Seeing it used for Guel, a rival character, was surprising and astonishing.

―――So, there were instances where your music was used in places you didn’t anticipate.

Ohmama: Yes, indeed there were. And then, in the final episode of Season 1, you know the scene where Aerial becomes a rebuilt model and overwhelms its opponent with the GUN-BIT rifle? Composing for that scene, I visualized the overwhelming strength of Aerial, and when it played out, I was genuinely thrilled.

―――Aerial’s madness was evident.

Ohmama: It wasn’t just about looking cool, but there was also a sense of fear which was captured in the visual.

――― Are there any parts in the characters’ everyday scenes that left an impression?

Ohmama: The parts related to Elan, I think they’ve made quite good use of my music. Scenes like when he recalls someone who celebrated his birthday in his flashbacks, I think my music contributed a bit in those moments.

―――What are your thoughts after watching Season 1?

Ohmama: It reflects the coolness of futuristic science fiction, but at the same time, it also reflects modern issues and ways of thinking. Director Kobayashi mentioned that, like the global trend towards a sustainable environment, the closed space of the ‘Front’ is similar, and the expressions for characters’ appearances and costumes seem connected to today’s world. In that sense, The Witch from Mercury is a show that one can enjoy with a modern sensibility rather than a tale of a distant world. It’s also wonderful to have both cool battle scenes and scenes where you can empathize with the characters.

―――Did you also consciously incorporate a contemporary feel into the music you handled?

Ohmama: The orchestration and such were not done in a single take, but rather, it was a process of mixing synthesizers and beats. However, in terms of synthesizer tone, I leaned more towards an analog synth feel, a bit nostalgic rather than modern. I aimed in the direction of it sounding fresh to the younger generation.

―――Are you changing the direction of the music for Season 2 in any way?

Ohmama: Compared to Season 1, it will have more of a serious taste. The music will focus less on the situation and more on the character’s intent.

―――What have you gained anew as a musician from participating in this series?

Ohmama: It’s not about me, but it feels like people worldwide are watching. For instance, a game music creator I admire watched the show and commented, “The music is really good.” It feels like the Gundam series is taking me to a different world than before.

―――So that means the audience has broadened?

Ohmama: Absolutely. When viewers choose what shows to watch, it’s not uncommon for The Witch from Mercury to be lined up alongside Hollywood blockbusters. In that scenario, regardless of budget, scale, or language, ‘interesting things’ are demanded. I can’t have people thinking the music in the show is inferior to something like The Avengers. We live in an age where creators have no excuses, so I approached music production with the hope of contributing even a little to a work that satisfies those who watch it.