MOBILE SUIT GUNDAM THE WITCH FROM MERCURY SEASON 2 VOL.3
SPECIAL BOOKLET
STAFF INTERVIEW: Ichiro Ohkouchi (Screenplay)

———So, this marks your return to a Gundam project after a long hiatus since ∀ Gundam.

Ohkouchi: Yes, it’s been since my debut work.

———How far along was the project when you were approached to participate?

Ohkouchi: When I first heard about it, there was a project proposal from Morion Aviation. The title was “Witch from Mercury,” and it was already decided that the main character would be a girl. That was the starting point, and from there, I was invited to develop the idea further.

———How did the story evolve into a school-based narrative?

Ohkouchi: Initially, I thought of a more war-centric, traditional hard-core Gundam-esque story. Imagine mobile suits traversing a snowy plain with poor communication laying communication cables, something reminiscent of World War I. I had written the first episode in this vein and was discussing the script for the second episode when suddenly, the idea of using Gundams in a school duel popped up. It was more of a light-hearted suggestion, almost a joke. But then, the staff started pitching in, “That’s interesting, how about this?” and “This could work too.” It sparked a flurry of creative ideas.

———So, there was unexpected enthusiasm among the staff?

Ohkouchi: Observing the discussion, I recognized the idea’s tremendous potential, despite meaning I’d have to discard my previous scripts and settings. The opportunity to enhance the story’s intrigue was worth it. I immediately agreed to rewrite it. And when the rewritten script was presented, there was unanimous agreement that this new direction was better.

———And as a broader context to the main story, there’s the PROLOGUE, which depicts Gundam as a catalyst for military conflict.

Ohkouchi: The PROLOGUE wasn’t initially planned. The production team asked us to create an Episode 0 before the broadcast in October. But by then, the script for the first episode was complete, and we were progressing on subsequent episodes. It would’ve been unfair to the audience to bump the first episode to a later date, so we decided to write a prelude, an episode zero.

———Speaking of different narrative strands, when was the novel “Cradle Planet” written?

Ohkouchi: Following YOASOBI’s selection as the opening artist, I was commissioned to write a novel for the opening theme. It had been 20 years since I last wrote a novel, and I was quite unsure, but it turned out to be surprisingly fun to write. It resulted in the wonderful theme song “Blessing,” and the novel served well as a precursor to the main story, setting up anticipation for what’s to come.

———So, these were proposed after the main script was done?

Ohkouchi: Exactly. The thing with The Witch from Mercury is that it’s been a series of wonderful miracles. Responding to these sudden requests and demands has often enhanced the quality of the work. The efforts of many people have brought good fortune to the project.

———Did you have the drive to showcase a new kind of Gundam with the show?

Ohkouchi: Certainly, I personally had that mindset, and the initial request was to create something that would engage not just traditional Gundam fans but also a younger generation.

———What specific aspects did you focus on to bring in this freshness?

Ohkouchi: In the context of Gundam series, having a female protagonist like Suletta and setting the story in a school might be new. But we also employed classic plotlines, like the trio of princely figures at the school, the fateful meeting in the first episode, or the enemy falling for the protagonist. These aren’t necessarily new but classic tropes. We included these not necessarily to cater to Gundam fans but to introduce them to people who hadn’t watched Gundam before.

———Was this specifically to attract a younger audience?

Ohkouchi: While that was part of the production side’s mandate, I, unfortunately, am not young myself. I thought if I tried to write a script pandering to what young people might like, it would be transparent and fail. So, instead of targeting the young specifically, I aimed to broaden the appeal – centering around Gundam fans, then expanding to younger viewers, women, and those not typically into anime. By doing so, I thought that we might ultimately attract a younger audience as well. For that reason, I incorporated elements that would be enjoyable and engaging for various people.

———After ∀ Gundam, did you have any aspirations to write for a Gundam series in this way?

Ohkouchi: No, not really. Before ∀ Gundam, I hadn’t studied scriptwriting; it was my debut. So, just completing that was a big achievement for me, and I didn’t think I would ever get the opportunity to work on Gundam again. Before that, I created a Gundam card game (Gundam War) and wrote a novel (The 08th MS Team). Having scripted a Gundam series directed by Tomino, I felt a deep sense of fulfillment and had no further desires in that regard. After ∀ Gundam finished, I felt like I had achieved closure as a Gundam fan.

———So, it was the new invitation that made you reconsider your engagement with Gundam?

Ohkouchi: Yes, that’s right. Having shifted to non-Gundam robot series like Valvrave the Liberator and Code Geass, I didn’t think I’d be asked to work on Gundam again (laughs).

———As the series composer and scriptwriter, how did you proceed, especially in interactions with other scriptwriters?

Ohkouchi: Initially, it was just me, the director, Mr. Shirato, and the producers solidifying the concept. We gradually involved others as the shape of the project became clear. Inviting scriptwriters too early is risky, as they each have their own strengths, and mismatched projects can lead to mutual dissatisfaction.

———The show is known for its cliffhanger endings in each episode, creating intense build-ups.

Ohkouchi: The more I work on originals, the more I realize the strength of adaptations with established fanbases and predictable futures. The allure of original works lies in their unpredictability. It’s not just about maintaining viewer interest; it also serves as a communication tool. Viewers can use social media for real-time commentary, discussions, and predictions about future episodes. We were more conscious of this aspect, especially wanting to appeal to a broad audience with an original work.

——— The use of social media has indeed become a standard way to enjoy shows.

Ohkouchi: For this, I must thank our promotional staff. Phrases like “hypocritical loser of a father” or “Don’t you dare go all Romeo and Juliet on me!” were not intended to go viral but were character development tools. The audience felt encouraged to engage and enjoy the show on social media, thanks to the skillful management by our promotional team.

———How did Suletta’s slightly awkward character come to be?

Ohkouchi: That was from Director Kobayashi. We shaped it in the script, and ultimately, it was brought to life during voice-acting sessions by Ichinose (Kana) and the director. Ms. Ichinose’s comical performance was exquisite, creating a fantastic character.

———Was Miorine, the other protagonist and a cooler character, created in contrast to Suletta?

Ohkouchi: Initially, the show had dual settings: the school and the corporation. Initially, Suletta was the school’s protagonist, and Miorine was the corporate protagonist, almost the lover of the person Suletta was opposing, enduring everything – quite the opposite of Miorine now. The idea was that both would overcome their respective adversities, eventually meeting and changing their fates. But as we revised the script, we decided to have both in the school from the start. It simplified the story and allowed us to showcase their charm faster, which is important for an original story. This evolution led to Miorine’s current portrayal: a character entangled in corporate affairs while navigating school life.

———Could the setting have been school and war instead of school and corporation?

Ohkouchi: Sure, war would be more natural for traditional Gundam. But isn’t war a distant concept? I think that, especially for the younger generation. The contrast of school life with adults in corporations seemed more relatable. The idea of unemployed adults or parents facing layoffs is easier to imagine than those dying or injured in war. So, a corporate setting felt more immediate and relevant for today’s Japanese audience. It allowed us to introduce fresh elements and scenes not typical in conventional Gundam works, making the writing process enjoyable.

———The climax of the first episode features Suletta winning a duel against Guel and becoming Miorine’s bridegroom.

Ohkouchi: It follows the classic narrative of the protagonist defeating the antagonist. While explaining the unique setting of Asticassia, we introduced Miorine, Suletta, and Guel, leading up to Gundam’s victory. Being an original story, we had to show this is where the enjoyment lies, and we packed as much as we could into it.

———Guel, who loses in the duel in the third episode and starts his downfall, has become quite a beloved character.

Ohkouchi: He was loved beyond what the writers imagined. This was thanks to the post-script direction, animation, and Mr. Azakami’s (Yohei) performance, each enhancing Guel’s appeal. Eventually, social media acted like a megaphone, growing him into a character everyone could enjoy and root for.

——— Another key character in this story is Shaddiq, who acts as the mastermind. He has connections with both the Earth side and Miorine.

Ohkouchi: Yes, that’s right. One reason was I wanted a character who genuinely cared for Miorine as a person, not just as a trophy. Although he’s in the role of a villain, I think he has enough charm to be portrayed as a hero with ideals and resolve. It might be interesting to retell the story from his perspective.

——— And then there’s Elan, representing one of the Big Three. His being an enhanced human seems to align with the themes of the traditional Gundam series.

Ohkouchi: The setup was passionate Guel, flirtatious Shaddiq, and cool Elan. Of course, these are just initial impressions, and as the characters develop, we learn they’re not exactly as they seem.

——— Elan has the unique characteristic of being the same person in appearance but different in personality.

Ohkouchi: Yes, he’s a body double, so I sometimes think he should resemble the real one a bit more (laughs). He was a fun character to write. Asking Natsuki Hanae to play three different personalities with the same face was quite a challenge, but he performed brilliantly. Elan turned out to be a very interesting character.

——— A significant amount of time is also devoted to the interactions of the characters at GUND-ARM, Inc.

Ohkouchi: In robot-themed stories, there’s often tragedy, so I believe the protagonist needs a ‘home’. Continuous hardship can make viewers lose interest in following the story. The people in the Earth House aren’t necessarily all good, but I think we successfully depicted them as lovable characters whom you’d want to be around.

——— One of the main themes of the story is the parent-child relationships, like those between Prospera and Suletta and Delling and Miorine.

Ohkouchi: I thought, having created an accessible entry point with the school setting, the perspective should also be centered on the school. So, what is the world like from a student’s viewpoint? It’s a world they come to know through their parents, and I thought that in this era, parents would still play a significant role. That’s why parent-child relationships naturally became part of the story.

———Prospera, while being Suletta’s ‘parent’, is also portrayed as someone who doesn’t hesitate to use her for creating a world where Ericht can live freely.

Ohkouchi: Parents are significant but not perfect. As a child, I thought parents and adults were amazing, but when you become one yourself, you realize it’s not quite like that. You don’t change that much from when you were a child, and you still have your doubts, make mistakes, and can be uncool at times. We’ve just gotten better at pretending to be grown-up. I didn’t understand this when I was younger, but I think in modern society, these truths are more apparent. Children no longer have as many illusions or expectations of their parents, for better or worse. So, in this sense, not just Prospera but also characters like Belmeria and Vim are depicted as less idealized adults compared to older series.

——— How did Prospera become the traditional masked character in Gundam?

Ohkouchi: That idea came from Director Kobayashi, I believe. It wasn’t like we created the character just to wear a mask. Prospera already existed as a character, so it was more about choosing between a mask or plastic surgery, something along those lines. But, well, it’s Gundam, so maybe that influenced the decision.

——— This interview covers episodes 19 to 21 of Season 2, which increasingly seem to hint at war.

Ohkouchi: That’s right. However, the concept of war has always been present in this world; it just hadn’t entered Suletta’s or the audience’s view yet.

———I see. So, is it also a drama about broadening the characters’ horizons?

Ohkouchi: Exactly. When you step out of the school’s microcosm, it’s surprising how different the world is – in terms of common sense and values. For instance, a shining senior in school might be less impressive in society, or someone inconspicuous in school might turn out to be incredible in the real world. Many people only understand their parents’ struggles after entering society.

———There is, indeed, a sudden exposure to a merit-based society.

Ohkouchi: Yes. Even if you’re theoretically right, sometimes the wrong side wins. The weak are often trampled by the strong. In our series, we depict this through war, but it’s a reality you face when you enter society, even in Japan.

——— From episode 19 onwards, the Space Assembly League also becomes more prominent.

Ohkouchi: The Benerit Group, as one of the leading mobile suit industries, doesn’t control the world. I wanted to show that there’s a broader world out there with varying motives. We could have concluded the story with just the school and the corporation, but that would have felt too constricted.

——— Regarding the climax, it seems to have a happy ending.

Ohkouchi: In this work and others, I generally write with a happy ending in mind. Even “Code Geass,” often seen as a tragedy, is a happy ending for me. Lelouch adheres to his ideals, protects his sister, and brings peace to the world. So, for this series too, resolving the problems Suletta faced and fulfilling her wishes was the most important aspect.

——— Now that the show has become a hit and the broadcast has ended, what are your thoughts?

Ohkouchi: I attended an event for the show in Makuhari recently. It was heartwarming to see not only long-time Gundam fans but also a wide array of people like young folks, kids, couples, friends, and families. It was hard to pinpoint who the core audience was. It was gratifying to see that the story could be loved by such a diverse audience.

——— Indeed, the fan base was quite diverse.

Ohkouchi: Everyone had their unique way of engaging with the work. Some became fans of the characters, others delved into the setting, and some built Gunpla models. I think we managed to create an engaging two-cour series with the show.

——— It brought a different kind of excitement compared to previous Gundam series.

Ohkouchi: I was relieved to hear that the Gunpla sold well, especially since this series had fewer and shorter mobile suit battles compared to previous Gundam series.

——— Did working on this series provide you with new insights or methods as a scriptwriter?

Ohkouchi: The production setup for the show felt much more extensive compared to when I was involved in “∀ Gundam.” Back then, producers would often double as promoters, but now there are multiple people just for promotion. There were two assistant directors in addition to the director, and there were departments like CG that didn’t exist before. More staff participation is necessary to succeed in this era.

——— It seems more than just passion and sense are needed nowadays.

Ohkouchi: Perhaps. Including staff organization, writing for “Reiwa’s Gundam” felt like an impression. As for what I gained… I suppose it’s the constant need for updates. The world is constantly changing, and the issues we face, including the preferences of the viewers, are constantly evolving. The show was a success, but personally, I want to forget this success quickly, stay flexible, not shy away from or reject new things, and keep writing updated scripts. It’s about the idea that “if you run, you gain one, but if you move forward, you gain two.”
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