u/Thin_Painting4879

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Qin Shi Huang’s Seiyuu

Qin Shi Huang

God vs. Humanity: The Final Battle (Ragnarok), Round 7—Humanity’s Fighter. The “King of Beginnings,” who first achieved the unification of China and came closer to the Supreme Heavenly Emperor than anyone in human history.

Kaito Ishikawa

“Through my encounter withQin Shi Huang, I came to realize that recognizing the pain of others,along with gratitude and devotion toward those who support me, are what shape who I am.”

In the seventh battle, Qin Shi Huang engaged in a fierce battle with Hades. Having overcome the hardships of his childhood and keeping the promise he made to Chun Yan close to his heart, Qin Shi Huang stood up for his people. We spoke with Kaito Ishikawa, who brilliantly portrayed Qin Shi Huang’s pride as a king, his reliability, and his charm, to ask him about his impressions of the character and his thoughts on portraying the battle with Hades.

Q:You’ve been actively participating in *Record of Ragnarok* since this season—could you tell us what your impressions of the series were? Also, please share your impressions of the dubbing sessions when you first joined the cast.

A:“I had actually started reading this manga on the recommendation of a senior colleague,so when I was offered the role, I suddenly felt a surge of motivation.Once I actually arrived on set, I saw that the passion of the staff and everyone else involved was incredibly intense, which further fueled my determination. When I realized that a battle—one that goes beyond fighting for one’s life and is instead a fight for one’s very existence—was about to begin, I couldn’t stop trembling.”

Q:Qin Shi Huang is a very compelling character who combines both the nobility of having overcome a difficult past to stand up for his people and a certain charm. How do you, Mr. Ishikawa, perceive Qin Shi Huang? Please tell us what you found most appealing about him while playing the role.

A:“I think you’re absolutely right. Even while playing the role, I felt that the character was brimming with exactly the kind of charm you described. As an actor, I was sometimes taken aback by the words he spoke, and I gained many insights from them. Among them, the scene that left the deepest impression on me was when he declared that the king’s pride lies solely in protecting the people.The realization that those in positions of power are supported by so many people, and his strong determination to protect everyone who supports him—that really struck a chord with me.”

Q:How did you go about developing the character of Qin Shi Huang? Please tell us about the direction you received from the sound director and what you focused on while performing the role.

A:"Above all, he valued being cheerful and upbeat.He believed that the source of his regal confidence was his people, and that those people werehis pride and joy; therefore, he felt that displaying a negative attitude would be disrespectful to the people he held in such high regard. Also,regarding his distinctive lines, such as “Good (Hao)” and “Not good (Buhao),”the direction was to deliver them clearly and without overthinking the potential impact on the situation at that moment,based on the hope that they would leave a lasting impression on the audience.”

Q:Please share your impressions of Hades, the god representative whom the First Emperor fought in the 7th match, and your thoughts on the battle between them.

“Watching the broadcast, I was once again struck by the overwhelming presence of my senior colleague.During the voice recording session, I stood proudly before the microphone as Qin Shi Huang but when I experienced it through the screen,I was completely overwhelmed by a force so powerful it shook my confidence. Just as Qin Shi Huang took pride in his people, Hades takes pride in his brothers—and since both sides have something they cannot lose for reasons unrelated to personal ambition,to be honest, I found myself hoping neither of them would lose in this clash.I could sense genuine love within Mr. Okiayu’s cool, steadfast voice,and it really touched my heart.”

Q:Finally, please share a few words for all the fans supporting Qin Shi Huang!

“I’m Kaito Ishikawa, and I played Qin Shi Huang. In this battle, although we managed to narrowly snatch victory, the result was that we had to withdraw from the front lines. I am truly honored to have been able to portray a battle like this one against Hades—a fleeting yet soul-stirring struggle. Through my encounter with Qin Shi Huang, I came to realize that understanding the pain of others, along with gratitude and devotion toward those who support me,are what shape who I am. He, who shows the way to those he comes into contact with, is truly the King of Kings.”

In the seventh match, Qin Shi Huang faced off against Hades. He parried his opponent’s attacks and immediately countered with “Shōryoku Tenhō,” while also using his special ability—the power to see the “stars,” the key points where the flow of ki resides within an opponent’s body—to corner Hades. Because he feels the pain of what he sees as his own, removing his blindfold and using the power of his eyes to attack would cause him to take damage as well. Yet his positive, unshakable spirit—which regards such sacrifices as nothing—is the very essence of Qin Shi Huang’s strength.

“A king is not swayed, a king does not yield, a king does not rely on others, and a king does not give up!!”

Even after losing an arm to Hades’s fierce assault, Qin Shi Huang rises again—for the sake of humanity and to keep the promise he made to Chun Yan in his childhood: “I will become the greatest king.” His determination to never give up and fight until the very end to secure victory is the very embodiment of the greatest king.

Qin Shi Huang picks up Alvtir, who is angry that he’s always doing whatever he wants. He smiles warmly at him, saying “Hao,” instantly winning over Alvtir’s heart and “forging a divine artifact” out of him—this “sneaky” side of him is one of his charms.

“Stop acting so wild, you tomboy… Hao.”

Born into the royal family of Qin, the young Qin Shi Huang, Ying Zheng, was abandoned by his parents and his country and raised as a hostage in the rival state of Zhao. While enduring the hatred of the people, he spent his days desperately forcing a smile; in the process, he came to feel the hatred and pain of others as his own. He regained his smile after meeting Chun Yan, a woman who served as both his caretaker and bodyguard, but on the journey back to Qin, they were ambushed, and Chun Yan lost her life. Holding the promise he made to Chun Yan close to his heart, Ying Zheng became the Emperor of Qin and achieved the unification of China. , achieved the unification of China.

Kaito Ishikawa

Born on October 13. From Tokyo. Affiliated with Stayrack. His major roles include “Haikyū!!” (as Tobio Kageyama), “My Hero Academia” (as Tenya Iida), “My Happy Marriage” (as Seika Kudō), and many others.

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Hades’ Seiyuu

Ryutaro Okiayu

“As the ‘King of the Underworld (Helheim),’ he is proud yet warm-hearted—actually, he’s a bit human-like, and I think that’s part of his charm.”

Hades, the “King of the Underworld (Helheim),” who rushed into battle from the Underworld to avenge his younger brother Poseidon, who was defeated in the third round. We asked Ryutaro Okiayu—who brings to life Hades’ charm through his performance, showcasing not only his ruthlessness but also his strong brotherly love and the compassion he shows toward Beelzebub, who longs for death, by urging him to “live”—about his impressions of playing the role.

Q:You’ve been part of *Record of Ragnarok* since Season II—what were your initial impressions of the series?

A:“I had failed the initial auditions, so I was thrilled to finally get the chance to join the cast as a sort of redemption. A battle between the gods and humanity! It’s really fascinating to have the crowd watching it all unfold amid such frenzy, isn’t it?”

Q:Hades, the King of the Underworld whom you portray, is a very cool character—both in the way he lives as the eldest of the four Greek brothers and in his magnanimity as a king. How do you,Mr. Ochiayu, perceive Hades as a person?

A:“After he appeared, he spent some time calmly providing commentary. I think there were plenty of scenes that conveyed the dignity and strength radiating from his presence through the awe of those around him,so while I thought it would be difficult to express that before the fight began,at the same time, I was fired up, thinking, ‘Let’s do this~♪’”

Q:Now that you’ve played Hades, could you tell us what you find appealing about him or what your favorite aspects are?

A:“He’s cool, but there are also many memorable scenes—whether as a god, toward humanity, or for the sake of his younger brother. He’s proud as the ‘King of the Underworld’ [Helheim], and I feel that’s actually part of his charm—he possesses that pride, yet he also has a warmth to him; he’s actually a bit human-like.”

Hades

CV: Ryutaro Okiayu

Gods vs. Humans: The Final Battle (Ragnarok) Round 7, fighter on the side of the gods. The eldest of the four Greek brothers who joined the battle urgently from the Underworld, and the “King of Helheim.”

Q: Please share your impressions of Qin Shi Huang, the human representative Hades fought in Round 7, and your thoughts on acting alongside Kaito Ishikawa, who plays Qin Shi Huang.

A:“I was greatly inspired as I imagined Kaito-kun’s earnest and spirited performance.”

Q: The fierce battle between Hades and Qin Shi Huang ended with Qin’s victory,bringing the curtain down. Please share your thoughts on fighting Qin Shi Huang as Hades, as well as your impressions of portraying Hades’s final moments.

A:“I was quite shocked—I thought, ‘Is that really how that battle ends?’ Even though he’s a god?? I still can’t accept the result (laughs). In an alternate timeline, I want to win! I definitely will!!”

Q: Finally, please share a few words for all the fans who support Hades!

A:“Hey, everyone, thank you so much for always supporting Hades. I’m sure his noble spirit and passionate heart have reached all of your hearts, right? ♪ Let’s meet again someday! Persephone-Kallichoron (Iron Hammer of the Netherworld) . Hmm!”

Ryutaro Okiayu

Born on November 17. From Fukuoka Prefecture. Affiliated with Aoni Production. His major roles include “Hell Teacher Nube” (as Narusuke Nueno), “New Prince of Tennis” (as Kunimitsu Tezuka), “BLEACH” (as Byakuya Kuchiki), “Paradox Live” (as Tadanari Shiro), and many others.

Amid the fierce battle, Hades—having acknowledged the First Emperor as king—resolved to become the “King of the Underworld <Helheim>” and used the vast amount of blood gushing from the wound he had inflicted on his own chest with a spear to strengthen his divine weapon. Then, staking his pride as an older brother, he unleashed a blow with all his might, but…!?

Hades was once asked by Beelzebub—who was suffering because he couldn’t die due to the curse of “Live” left behind by Lilith, whom he had killed—to “kill me.” Sensing the true meaning behind her words, Hades told him he should first consider how to live, demonstrating his magnanimity by choosing to witness how Beelzebub would live out his life.

Hades made an emergency appearance in the seventh round to avenge his younger brother Poseidon, who had been defeated in the third round. He pressed the Qin Shi Huang with a barrage of heavy-hitting strikes, but struggled against Shoryu Tenho’s ability to parry his attacks and techniques that disrupted his ki flow. Nevertheless, driven by his pride as the eldest of the Four Greek Brothers, he overcame these techniques and launched a fierce counterattack.

“I cannot lose… as their older brother.”

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Animation Producer

Atsushi Urushiyama

“We’ve been working on this project with the goal of faithfully capturing the original work’s thrilling excitement in the anime.”

We spoke with animation producer Atsushi Urushiyama—who has been involved with the anime *Record of Ragnarok* since its first season and has supported the creative efforts of the staff in bringing the original work’s charm to life—to learn about the behind-the-scenes of the anime’s production.

Q: The first season of the anime was released in 2021, but when the decision was made to produce the “Record of Ragnarok” anime, what were your thoughts at the time?

A: “First, I read the original manga. It had all the appeal of a classic battle manga—it was really interesting and got me excited. However, looking at it from the perspective of adapting it into an anime—as you’ll see if you read the original—Aji Chika-sensei’s artwork features incredibly fine and numerous lines, so I wondered how we could best convey that intensity.I felt that depicting the muscles, in particular, would be difficult.”

Q: Were there any specific requests from the original manga creators regarding the visual style?

A: “They asked us to create expressions unique to animation,but that was also the difficult part. I believe animation is a form of visual expression based on the techniques of omission and exaggeration, but with this work, omitting too much could risk diminishing its appeal, so a dramatic manga-style aesthetic was absolutely necessary. Striking that balance was quite difficult.”

Q: In what specific areas did you focus your efforts?

A: “Especially the contour lines during close-ups. In recent Japanese anime, many works tend to use uniform lines, but in this series, we varied the thickness of the lines to convey a sense of intensity, and we made sure to prioritize that as a key point in the animation guidelines.”

Q: Please tell us what you prioritized during production beyond the animation itself.

A: “One area where we went through a lot of trial and error was the flashback scenes. While this is an action series, I believe that by properly showcasing the backstories of the fighters engaged in battle, viewers can empathize with them and enjoy the series even more. Therefore, it was crucial to determine how to present the origins and backgrounds of both the gods and humanity. We developed the script while discussing with the writers how best to present those flashback scenes in the animated adaptation.”

Q: Looking back on the production of Seasons 1 and 2, could you tell us what left the strongest impression on you?

A: “Fighters like Lü Bu Fengxian and Sasaki Kojirō already look strong to begin with, so it’s easy to imagine how they’d fight, but with characters like Jack the Ripper and Adam, you might think, ‘Huh?’for a moment. Adam, in particular, is slender, and he's wearing nothing but a single leaf (laughs). Actually, his attacks are just punching with brass knuckles, but when you read the original work, Adam is incredibly cool. I think that's precisely because there’s a solid backstory depicting his origins, and his lines are also really cool. So, while prioritizing visual impact, I wanted to make sure we accurately conveyed his essential coolness—that’s what stands out most to me about the production process.”

Q: So, what kind of approach did you take when producing this third season?

A: “Basically, we’re following in the footsteps of Seasons 1 and 2, but since Director Koichi Hatsumi joined us for Season 3, it felt a bit like a fresh start, so first, I asked Director Hatsumi what he wanted to do. At his suggestion, we brought in Yasuyuki Mutō as series composer, and by carefully adjusting the placement of flashback scenes, we were able to create a series that allows viewers to empathize more deeply with the characters. Then there’s the character design. For Season 3, we decided to completely revamp the character designs, and after holding auditions, we commissioned Yoko Tanabe to design the Fighters. Our goal was to retain the dramatic manga-style atmosphere of the past while also expressing a delicate coolness in Season 3, so striking that balance must have been difficult, but she pulled it off really stylishly. As for the Valkyries, Nao Kawashima has been in charge since Season 1, and she created a look that combines a dignified presence with a touch of cuteness—an atmosphere that adds a beautiful flourish to the battles. The presence of the Valkyries makes it easier for viewers to empathize with the story, so I think she played a very important role in that regard.”

Q: Regarding the 7th, 8th, and 9th matches depicted in Season 3,could you share your memories of the production process for each one?

A: “In the 7th match,Qin Shi Huang  and Hades share the common trait of both being kings, but they’re both truly handsome men, aren’t they? Hades is the eldest of the four Greek brothers, and in moments like his interactions with Poseidon, there are subtle hints throughout that really makes you feel, “Ah, he’s the big brother,” and that’s what makes him so cool. As for Qin Shi Huang , precisely because he carries a painful past,I felt he was a positive person who could see the good in things .In any case, I think I was conscious of portraying both Qin Shi Huang  and Hades as cool kings.”

Q: Qin Shi Huang  made his full debut in Season 3. Could you tell us what sealed the deal for casting Kaito Ishikawa?

A: “It’s that ‘good-guy’ vibe. Even within the essence of Qin Shi Huang as the ‘King of Beginnings,’ Mr. Ishikawa has a refreshing charm, and I really like that about him. Ryotaro Okiayu, who plays Hades, has been with us since Season 2, and everyone agreed that his portrayal of Hades was exactly what we had imagined.”

Q:What are your thoughts on Nikola Tesla and Beelzebub in Round 8?

A: “There are inevitably some aspects that can’t be fully expressed with hand-drawn animation alone,so there are several scenes where we’ve enhanced the visuals with 3DCG—a prime example being the depiction of Nikola Tesla’s mecha (Volundr).If we had simplified Nikola Tesla’s mecha (Volundr) with hand-drawn animation,it might have compromised its cool factor, but thanks to the 3DCG work by Felix Film, we were able to create some truly impressive action scenes. Both Nikola Tesla and Beelzebub experienced tragic events in their pasts, but Nikola Tesla had a desire from childhood to move forward without being held back by them. In contrast, Beelzebub lived a very negative life, wishing for someone to kill him, and I think I made a conscious effort to depict that contrast. Also, there’s a flashback featuring Hades and Beelzebub after their defeat in Round 7, and I think it’s really interesting to see that kind of connection emerge.”

Q:What about King Leonidas and Apollo in Round 9?

A: “King Leonidas is a rugged, cool fighter who’s very popular with men. In contrast, Apollo is surrounded by goddesses and is a handsome guy who’s like an idol. At first glance, it looks like a contrast similar to that between Nikola Tesla and Beelzebub,but the fun part is that Apollo has actually been working really hard behind the scenes and, in reality, has a down-to-earth side—so they’re actually kindred spirits. Every matchup has an interesting dynamic, and I really think the author is a master at this.”

Q:Personally, what scene in Season 3 did you find the most exciting?

A: “My favorite is Nikola Tesla’s final moments. His last words, ‘Humanity,march forward!!!!,’ were so cool—they really moved me. Seeing the current state of the world only makes me long for peace even more, and I can’t help but think that if more people shared that kind of mindset, the world might actually become peaceful. Also, although this isn’t related to the animation,something else that really resonated with me was a line in the theme song “Dead Or Alive”:‘It’s ridiculous, but a thousand-year feud between kindred spirits.’ That single line perfectly captures the essence of the original work,and I was truly impressed by the word choice.”In Season 3, the overarching narrative surrounding Brunhilde also began to take shape.“Brünnhilde is such a spirited and interesting character,starting right from the way she picks a fight with Zeus at the beginning of Season 1.Why she proposed the final battle between the gods and humanity〈Ragnarok〉and why she forces them to fight until their souls die are aspects that need to be told from a perspective distinct from the warriors’ stories.After all, she’s essentially sacrificing her own sisters. Although she’s usually dignified, she also lets her emotions show—like when she’s sobbing uncontrollably in the Altar Chamber. I think her true motives will be revealed as the story progresses, so I’m really looking forward to that.”

Q:Looking back, what do you feel is the appeal of “Record of Ragnarok”?

A: “It’s definitely the fact that they’re fighting gods. What’s more, their opponents are humanity’s strongest warriors, and the selection of those 13 is exquisite. You find yourself wondering, ‘How on earth does Nostradamus fight?’ I feel that kind of imaginative flair is what makes it so appealing, and we’ve been producing the anime with the desire to fully capture that kind of thrilling excitement.”

Q:Thank you very much. Finally, could you please share a message for the fans of *Record of Ragnarok*?

A:“I think you’ll be able to enjoy the series even more if you look up the historical background and facts behind the gods and humans who have appeared so far, absorb that information in your own way, and then rewatch the anime. I’d be delighted if you could enjoy the series on that deeper level.”

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Ajichika

Original Manga Artist

“In *Record of Ragnarok*, I always keep in mind the goal of depicting men who are both life-sized and heavily muscled—much like the characters in shōjo manga.”

Our final guest is Ajichika, the artist behind the original manga, who brings to life the drama of the fighters’ intense battles through meticulous and breathtakingly beautiful artwork. We present a rare interview in which we discuss everything from Ajichika’s career as an artist to the behind-the-scenes stories of the character designs for the fighters appearing in Rounds 7 through 9!

Q:Ajichika-Sensei, your team consists of four members: Aji-san, Kato Chika-san, Fuji Subaru-san and Hara-san. Could you tell us how this group of four came to work together?

A:Aji and Chika have been friends since their student days. They used to joke around by taking turns drawing one panel at a time, and because their art styles were so different, the same character would appear thinner in one panel and more muscular in the next within the same manuscript—which always made them laugh. Back then, neither of them could have ever imagined that they’d end up working together in the same way today. Fuji is a senior colleague of Chika’s whom she met at work. He helped out with the manuscript, such as by drawing the large number of gods featured in the “Conference on the Survival of Humanity” at the beginning of the manga. Hara took over from Fuji around that time, drawing the people in the audience and the gods, and helped out with the manuscript for *Record of Ragnarok*. Ajichi decided to boost their creative power, so they reached out to these two artists, who are incredibly talented at drawing characters. As a result, Aji, Fuji, and Hara didn’t know each other at first, and when they met readers for the first time at a signing event, it was actually the first time all the Ajichika members had gathered together for a group meeting.”

Q:I would appreciate it if you could tell me specifically how tasks are divided among the team members on *Record of Ragnarok*.

A:“In terms of division of the work, if we’re just talking about character art, a rough breakdown would be:Aji and Fuji handle female characters, children, and slender characters,while Chika and Hara handle muscular characters. But it’s not set in stone—there are definitely times when Chika and Hara draw female characters, children, or slender characters,and times when Fuji draws muscular characters. Aji absolutely never draws muscular characters unless they’re mini-characters.”

Q:About Qin Shi Huang. How did you go about designing Qin Shi Huang’s character?

Please tell us in detail about the overall image, as well as the attention to detail regarding his facial features, physique, muscles, hairstyle, expressions, facial tattoos, and the nail caps on his fingers,among other elements.

A:“Actually, his first appearance was in volume 3 of *Record of Ragnarok:The Legend of Lü Bu: The Flying General*. He had already been drawn there—both the ‘Historical Qin Shi Huang’ and this version. Since it was an unusual debut where I swapped out the ‘Qin Shi Huang”’ I had designed for the historical one, unlike other characters, Qin Shi Huang didn’t even have a storyboard for his first appearance. The character design was based solely on the specification that he had special abilities in his eyes and needed to wear something to cover his eyes, so I basically did whatever I wanted with him. At that point, I didn’t know anything about his backstory yet, so I decided to incorporate a sense of contrast while still making him feel like Qin Shi Huang. I added Chinese-style clothing and accessories while increasing his skin exposure, put on finger cots—which women tend to wear—and added tattoos like those criminals might have. By equipping him with items that were the complete opposite of what Qin Shi Huang would typically wear, I hoped to create a look that would make people curious about what kind of life he’d led. I kept adding these details while hoping the original creators would make use of them in various ways. However, when adding these “un-Qin Shi Huang-like” items, I wanted to include my own interpretation of the character—thinking, “If Qin Shi Huang were to do this, it would be like this…”. For example, the five fingernail covers are based on the five-clawed dragon—a symbol permitted only to the emperor; the decoration connecting the “jacket” at the back is modeled after the number 8, which is synonymous with Qin Shi Huang; and for the tattoos, even while suffering from mercury poisoning, he has a pseudo-spine implanted so that my version of Qin Shi Huang would die with his back held high until the very end... So I’ve established that he has this “pseudo-spine,” and I’ve also tattooed a spine design on his cheek. As for the blindfold, the story goes that he received it from Chun Yan in a previous chapter—so the timeline is a bit off—but I’ve designed the pattern to resemble the Great Wall of China. I’m sure my Qin Shi Huang drew inspiration from this blindfold when he built the Great Wall.”

Q:I was wondering what kind of image you had in mind when designing the costume.I would appreciate it if you could tell me about the details you paid special attention to, such as the shape of the “Jacket” with its dropped shoulders, as well as the design and way the blindfold is wrapped.

A:“I accidentally failed to separate the nail designs from the clothes, so in the previous question, I ended up answering about the clothes… On the other hand, if I answer here about facial features and body type… Basically, when I draw a handsome guy,I feel that if I draw him with well-defined muscles, it resonates with male readers who like battle manga, and if I draw him with a taller head-to-body ratio, it tends to resonate more with female readers. So, in *Record of Ragnarok*, I always keep in mind the idea of drawing men who combine both of these elements—with a shōjo manga-style, extremely tall head-to-body ratio and a muscular build.With that in mind, I designed the Qin Shi Huang’s physique to be on the smaller side compared to characters from other countries. That said, he’s still 178 cm tall... In the world of *Record of Ragnarok*, where most characters are 190 cm or taller,and some even exceed 2 meters,he’s on the shorter side. Since Chinese martial arts are associated with rapid arm movements, his pectoral muscles have minimal fat; as a result, his rectus abdominis is pulled upward. Since his back is exposed,even though he’s on the shorter side, his back muscles are finely defined. For his facial features, I drew inspiration from the beautiful makeup of Chinese Peking Opera,adding a touch of vermilion to the sharply upturned corners of his eyes. Having heard about his ability that causes his pupils to appear cloudy, I figured that when he’s seeing clearly—before the scene where he removes his blindfold—his eyes would look as if he’s not in pain or anything like that...so I gave his pupils a slightly unfocused look.”

Q:Could you tell us what kind of image you had in mind when designing the characters as kids, and what aspects you focused on?

A:“I worked on the kid design after receiving the storyboards,so I created it to fit the story. The key detail was definitely the hair. I thought he must definitely be cutting his own hair, so I made it look messy, but since he was self-conscious about how he looked, I figured he’d be grooming it carefully to avoid being disliked—even just a little— so I also added a straight, freshly-cut look to it. At first, I included a lot of highlights to give the hair a glossy sheen, but since he probably wasn’t eating nutritious meals or able to take care of his hair, I toned down the shine considerably. Also, since Chun Yan plays such a significant role, I decided to have her hairstyle influence Qin Shi Huang’s later look, so I modeled Qin Shi Huang’s hairstyle as an adult after Chun Yan’s, and conversely, I aimed for a completely different hairstyle for the young Qin Shi Huang.”

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About Hades

Q:How did you go about designing Hades’ character? Please tell us in detail about the overall image, as well as the specific details you focused on—such as his facial features, physique, musculature, hairstyle, expressions, and the patterns on his face and neck.

A:’’Hades has slender limbs, but he doesn't look overly lean; he has a moderate amount of body fat, broad pectoral muscles, and well-developed shoulder muscles from wielding a spear. He’s 192 cm tall. The plant-like patterns on his forehead and arms were added to reflect the image of his wife, the goddess of fertility. The decorations on his neck and the back of his head are a crown. The key feature of his hairstyle is the strands of hair on the sides that resemble crab claws. He always seems relaxed, but since he appears to work harder than anyone else, I gave him dark circles under his eyes to symbolize that he’s working behind the scenes. His expression started out like that of the King of the Underworld, but gradually evolved into one that looks more like an older brother.”

Q:What was the design concept behind the costume? I’d love to hear more about the details you paid special attention to, such as the design of the outer and inner layers, the ornament on the right eye, and  weapon.

A:"The mask he is wearing over my right eye is inspired by the underworld. I had originally planned to add a scar to my eye to make him look like the King of the Underworld when he appeared as a silhouette (Ch.14), but I was told to ‘leave out the scar’ for his actual entrance, so I decided to have him wear the underworld mask instead. The earring is modeled after the Horns of Plenty, and the button on his waist was designed to resemble a pomegranate. Actually, I had originally designed the undershirt with sleeves, but the editorial department asked me to make it sleeveless for the fight scenes. After much back-and-forth and a strong commitment to the design, we ended up with an entrance full of entertainment value where the outfit changes once the coat is removed. I imagine the King of the Underworld probably used to put on quick-change shows to entertain his younger brothers.”

Q:Please name any scenes from the battle between Qin Shi Huang and Hades where the manga was particularly elaborate or that hold special memories for you, and tell us about the details you focused on and your memories from the production process.

A:“Since it came right after *Buddha’s Battle*, which had become incredibly popular, I remember feeling strangely nervous when the two characters’ entrance scenes were published. It was a time when the number of Ajichika members had increased and the division of labor had stabilized, and with more staff on board, we could get away with all sorts of wild embellishments as a matter of course, so I think the animation team was really fired up overall. Even so, the sheer volume of embellishments for those two characters far exceeded our expectations, and our strategy of increasing the number of Ajichika members was largely overwhelmed—but we managed to pull it off somehow. I also think the muscle animation was quite consistent. The first season of the anime had just started at that time, but I never imagined it would run all the way to Season 3. I thought, “Even if I go this over-the-top with the embellishments, it won’t be animated anyway, so it should be fine,” and I ended up drawing however I wanted. When I heard they were making a third season, I felt truly, from the bottom of my heart, sorry to the anime production team. I think I told them many times that it was okay to reduce the embellishments to make the animation flow better, and I believe I even apologized in the message I sent to the wrap party for Season 3.

Q:Please tell us about any scenes from Qin Shi Huang vs. Hades battle in the anime that particularly stuck with you or that are your favorites.

A:This isn’t limited to the battle between Qin Shi Huang and Hades, but in the anime, the audience’s cheers are layered over the scene as background music. So when Qin Shi Huang stood up even after losing his arm, and he said, ‘I can hear it… the voices of the people…,’ and you could actually hear the voices—that really moved me. In the manga, they actually “mute the sound” to let the artwork speak for itself and make the scene stand out, so I really like that this is a way to build excitement unique to the anime.”

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Nikola Tesla & Beelzebub

How did you come up with the character designs for Nikola Tesla and Beelzebub,who faced off in Round 8?

A:“I never intended for Nikola Tesla to be that muscular—he’s supposed to be slender in the character design—but for some reason, before I knew it,he’d gained muscle. It’s a mystery… I suppose he needed the muscles to wear and operate his robot suit. When he’s in casual clothes,he wears a ring on his finger modeled after a coil, and the zipper pull is also shaped like a coil. From the shrimp sword—he pins a pigeon feather to his chest, secured with a label pin featuring a light motif. His tie is tied in a Van Wijk knot. Since Tesla is said to like the number 3, I wanted to give him the quirk of making a weird “3” shape with his fingers,but once the match started, he turned out to be such a radiant guy that I thought it would look too cluttered, so I toned down the quirky elements. I was convinced that if I gave Beelzebub elements of a clergyman—the exact opposite of a demon— the original creators would definitely come up with something interesting, so I went ahead and dressed him that way on my own. And then, in a demon-themed chapter that exceeded my expectations, they gave him a past that makes you think, “No wonder he’d want to live a life of penance,” making the clergyman’s robes a perfect fit. I truly love the creators of the original “Record of Ragnarok” . As for height, Nikola Tesla is 185 cm, and when he becomes Mecha-Tesla (Super Automaton Beta), he’s 210 cm. Beelzebub is 175 cm.”

Q:Could you tell us about any scenes in the drawing for Nikola Tesla vs. Beelzebub match that you put particular effort into?

A:“The eighth round had so many spectacular developments—mecha, electricity, vibrations—that the scenes turned out visually striking on their own, without me having to go out of my way to make them look good. I remember not having much trouble with it.”

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King Leonidas & Apollo

Q:Could you also tell us what kind of image you had in mind when designing the characters for King Leonidas and Apollo, who fought in Round 9?

A:“I thought that if King Leonidas were the kind of person who would fight to the bitter end, he’d likely update his approach based on modern intelligence, so I gave him a military-style look. I wasn’t sure if it would be accepted,but since he was the type to read any books he could get his hands on to gain knowledge, I went with it. The original creators understood my intent, and when I submitted the character design—including a casual outfit and a book—I was incredibly happy that they went along with it for his appearance.

For Apollo, to contrast with the rugged King Leonidas, I wanted to make his character really flashy, so I submitted about five different character design drafts and had the artist create several patterns for his attire; we settled on one from among the various options. The headpiece is, of course, a laurel wreath; the sequin-like decorations around his eyes are arranged in a pattern of five, aligned with the constellation of the Golden Crow. The decoration on his chest represents the sun.The cloth draped over his shoulder features various patterns—the sun, laurel, olive, palm, and lyre—which were created by various members of the staff, but I just couldn’t be satisfied with any of them, so in the end, it became a sunflower.

I agonized quite a bit over how to design a costume that would lend credibility to Apollo’s character, who is utterly devoted to beauty.About their heights King Leonidas is 200 cm tall, and Apollo is 190 cm.”

Q:Please tell us about a scene in the manga for the battle between King Leonidas vs Apollo where you put particular effort into the artwork.

A:“Since it was a brawl-style fight, I was thinking, ‘Compared to the last flashy battle,isn’t this one lacking in spectacle…!?’ But then the shield spun and flew through the air, something amazing appeared, and the threads added color to the fight—so by the ninth round, I found myself thinking, ‘This is another exciting battle,’ and I was drawing it with a sense of excitement. I’d heard from the start that Apollo is actually a man of strong character, so I made sure his facial features remained consistent—I tried to ensure that readers who had misunderstood him would, upon going back and rereading,see him in a different light.”

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Finally, please share a message for all the fans of *Record of Ragnarok*.

A:"Thank you for reading this behind-the-scenes content—not just the manga and anime, but this as well.I struggle, think things through, and work hard on my drawings, but usually,what appears in the manga is all there is, and I rarely have a chance to talk about it like this,so I’m happy to be able to share some of the details—like settings and design motifs—that might otherwise go unnoticed. When I saw the instructions asking me to answer each question with what? At least 200 characters, I wondered, “Can I really write that much…?”But once I started talking, I had so much I wanted to say that it actually ended up being way too long. I wonder if readers will actually enjoy this…? Will anyone even read this far…? Will they even publish this much in the first place...? I’m looking forward to reading the published version. The manga has reached Round 12, and while some shocking revelations have come to light, there’s still so much more to come,so I’d be grateful if you’d look forward to it. I hope you’ll continue to support *Record of Ragnarok*!