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sellbuymusic · 1 year

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Artist of This Week : bEAu

Hello everyone, this is SELLBUYMUSIC, a royalty-free stock music library!

We've brought an interview with this month's artist, bEAu!

[image 1] Introduction of bEAu - Sellbuymusic artist

https://en.sellbuymusic.com/musicDetail/24682

Q1. Please introduce yourself. What genre of music do you mainly produce?

A1. Hello, I'm bEAu. Currently, I'm working as a drama background music composer and bEAu is my stage name. Since I mainly work on drama background music, I don't really stick to a specific genre when composing. When I release my own albums, I tend to produce more ambient and minimalist music!

I think it's influenced by the artists I like. The reason why I started making video music was also because of the artists I admire. When I work on dramas, I have to write songs even for genres I'm not familiar with, so the concept of genre has become less important to me. ^^;;;

Q2. How did you come to know about SellBuyMusic?

A2. While preparing for the drama 'Hyena', I happened to discover Sell Buy Music while looking for music references. In the United States, there are many library companies like Sell Buy Music that are widely used in the drama industry, and I happened to come across a Korean library company during this opportunity.

Q3. Are there any artists or songs that inspire you?

A3. There are two artists who gave me the biggest inspiration to do video music. One of them is Olafur Arnalds from Iceland, and the other is the world-renowned maestro Ryuichi Sakamoto, who recently passed away.

Both of them always give me great influence and inspiration. It's hard to pick a song that inspires me because they have so many hit songs, but if I have to choose, I would pick "Ólafur Arnalds - Ágúst" and "Ryuichi Sakamoto - andata."

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Q4. Is there a particular aspect that you pay the most attention to when making music?

A4. I always think about the situation and scene first when I write a song. I spend a lot of time thinking about what kind of situation and scene the song can be used in. I hope that people who listen to my music can feel like they've become the protagonist in a drama. Music that makes sad scenes sadder or helps people feel more in love when they're in love. That's why I always try to write music while thinking about the situation and scene.

Q5. If you have a favorite song among the music you created, what song is it?

A5. I think the songs that were inserted into the hit dramas last year come to mind first. The two songs that I like the most are "Who Was Killed" from the "Penthouse" OST and "Lovely W.Y.W" from the "Strange Lawyer Woo Young-woo" OST. Especially, I personally love "Lovely W.Y.W" because it suited the cute image of Woo Young-woo in the drama so well~ 😊

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Q6. Can you introduce the attractive points of your music to your readers?

A6. I think the charm of my music lies in its ability to enrich videos. So, the intensity of the music is important. In that sense, my music plays a role in adding to the video. I think the charm of my music is that it does not overpower the video or detract from it.

Q7. When do you get musically inspired in your daily life?

A7. I think it's when I'm taking a walk or daydreaming at a café. I enjoy observing people while walking or daydreaming at a café. Then, I unfold my own imagination. I often get inspiration from imagining, "What kind of music would go well with that story?" while creating my own mini-theater alone.

Q8. Who do you want to be known as in the music industry?

A8. I want to be known as an artist who people say, "This song is definitely his!" An artist who always approaches with a new feeling and makes various attempts. I also want to be remembered as an artist's artist. That's exactly what I admired about Ryuichi Sakamoto. He always tried new things but made music that fit so well. It's my dream to become such an artist. ^^

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creideamhgradochas · 6 years

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Thanks to the lovely @lenavonschweetz for taking the time to answer these! Get to know more about lovely Lena, go give her a follow and then show her some love!

These questions are from this list. You should check it out, there’s 50 questions all together and they’d be great to ask your favorite fic writer!

1) How old were you when you first starting writing fan-fiction?

I believe I was like 14 or 15 (omfg it's been 10 years...). My best friend and I actually got into it together :)

2) Do you prefer writing OC’s or reader inserts? Explain your answer.

Aaaaaah this one is difficult. I love both for different reasons. I just recently explained this to a pal, and he freaked out cuz he loved the metaphor so much lol I like to write reader inserts because I feel like a DM of DnD, kinda weaving a story - which is also why I like reading reader inserts. Because I never reader them and put myself in the Y/N slot, but rather a OC kinda version of myself, like the woman I wish I could be so to speak. But I also find there are some stories that need to be written as an OC, so I have a love for both forms.

3) What is your favorite genre to write for?

I really like AUs that take characters and put them in totally different situations

4) If you had to delete one of your stories and never speak of it again, which would it be and why?

any of the stories I wrote about A7X members - yes, those are out there lol I wrote them in middle school. They are GARBAGE and so laughable

5) When is your preferred time to write?

Middle of the night - when I should be sleeping lol

6) Where do you take your inspiration from?

Music, mainly, whether it be lyrics or the feel of a song

7) In your Show Me Love series, what’s your favorite scene that you wrote?

Natasha and the "Accidentally Suck His Dick Pencil™️" scenes lol

8) Have you ever amended a story due to criticisms you’ve received after posting it?

I've fixed errors in stories, and I've considered editing couple of pieces due to severely harsh criticisms , but haven't had time to do so

9) Who is your favorite character to write for? Why?

Romantically - Bucky, of course. Platonically - Nat is my favorite BFF character to write

10) Who is your least favorite character to write for? Why?

Unfortunately, Steve. I just haven't found a groove for him yet though I wish I had!!

12) How did you come up with the idea for the Show Me Love series?

Like everything - it was inspired by music lol I was listening to Show Me Love by the band t.A.T.u. when writing the desk scene and it just kinda stuck

13) Do you have any abandoned WIPs?

I don't have any that I've abandoned for good, but I do have a few that I had to put on the back burner because of inspiration that stalled or just flat out writer's block

14) Are there any stories that you’ve written that you’d really love to do a sequel to?

YES. I'd really like to write sequels to Show Me Love, Never Have I Ever, and Die A Happy Man to name a few.

15) Are there any stories that you wished you’d ended differently?

Before the Worst. It didn't cooperate with me, and I'm still not 100% satisfied with it.

16) Tell me about another writer(s) who you admire? What is it about them that you admire?

Oh god, All of them!!! It's very hard to narrow down, but anyone who has the guts to create and share their work with the world is worthy of admiration. To be specific though, oh god, uuuummmm @sugardaddytonystark, @myattemptatfanfictioning, @plumfondler, & @papi-chulo-bucky, & @emilyevanstan (BUT I LOVE SO MANY MORE, NARROWING DOWN IS SO DAMN HARD). I'd have to go with these folks in particular because they are all so talented and kind and everything I aspire to be in a writer, honestly. They just have a way with words and world building that is A1!

17) Do you have a story that you look back on and cringe when you reread it?

Can I say all of them? cuz if so, I'd say all of them. lol. Maybe my Loki fic Light in the Hallway. I was in a dark place and wrote it as a form of catharsis.

18) Do you prefer listening to music when you’re writing or do you need silence?

M U S I C. always music.

19) Have you ever cried whilst writing a story?

I am a big baby, sooooo yyyyUUUUUP

20) Which part of your Show Me Love series was the hardest to write?

The ending. I always have a hard time wrapping things up.

21) Do you make a general outline for your stories or do you just go with the flow?

I have a general outline that often morphs along the way

22) What is something you wished you’d known before you started posting fan-fiction?

people can be cruel, BUT, people can also be so kind it's uncanny. Learn to look for the light in people and just keep writing what makes you happy. Writing is not a competition, it's a passion :)

23) Do you have a story that you feel doesn’t get as much love as you’d like?

The Bridges of Time. I get that it's a little off the wall but I just felt an insane need to write it, I wish more people would give it a chance

24) In contrast to 23 is there a story which gets lots of love which you kinda eye roll at?

A hobbit fanfic I wrote on AO3 - Like Flies and Spiders, probably. I started it when I was a LOT younger then picked it up again and you can tell that the first several chapters were written by a youngin and it's kinda funny lol

25) Are any of your characters based on real people?

Oh, always. Natasha and Wanda are based on my irl BFFs in every story I write them. I literally had a friend tell me to drop a pencil and accidentally suck my professor's dick, so there's that lol

26) What’s the biggest compliment you’ve gotten?

OMG so I just saw this recently, and it literally made me cry: @ok-shuri-buck said "I don't know how I fell in love with you through your writing but I just want you to know it reflects your soul. I love your soul" I literally WEPT in front of my mother, it was the kindest thing anyone has ever said of my writing and it still makes me smile

27) What’s the harshest criticism you’ve gotten?

as said in response to my 'imagine riding Bucky' drabble, and I quote, "Perfectly good fic ruined by 2nd person POV and that Y/N cop out." But I totally get that some people don't like reader fics, so ah well. To each their own.

28) Do you share your story ideas with anyone else or do you keep them close to your chest?

I share them with my IRL bff @skrywolf772. he and I bounce fic ideas back and forth all the time, It's wonderful (Also, he's my basis for sassy Nat BFF just fyi)

29) Do people know you write fan-fiction?

A handful of people do. Like I said, my two irl BFFS, a girl from school (who I am mutuals with - love ya Lex ;P) and my mom. Idk if she knows I write fanfiction or not, but she knows I write and post on tumblr

30) What’s you favorite minor character you’ve written?

probably Sam, Tony, or Thor in Never Have I Ever. I just love writing those little shits as the wackiest teammates

31) What spurs you on during the writing process?

Often when I get the idea for a fic, it's a single sentence that will be later in the plot, so often I find myself writing and building to that specific point. After that, I have some trouble wrapping things up (which is why I write more multi-shots than full series) but I usually use music to spur me along after I've reached that peak :)

32) What’s your favourite trope to write?

Friends to Lovers. is. mah. SHIT!!

33) Can you remember the first fic you read? What was it about?

Oh lordy, that was like 15 years ago...but I betcha it was a Avenged Sevenfold or Escape the Fate fanfic lololololllllll

34) If you could write only angst, fluff or smut for the rest of your writing life, which would it be and why?

(don't hate me) Angst >:) it just comes easier to me than the other 2, and I find it so cathartic

#milestone celebration #ask the author #lenavonschweetz

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tefltraininginstitute · 5 years

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Why Students Don't Like Language Class (With Dave Weller)

We discuss what we can apply to the language classroom from Daniel Willingham’s book “Why Don't Students Like School?”, with friend of the podcast (and fellow Daniel Willingham fan), Dave Weller.

Why Students Don’t Like Language Class (With Dave Weller) - Transcription

Tracy Yu: Welcome back to our podcast, everybody. We've got our favorite guest. Can you guess who he is?

Dave Weller: Hurrah!

Tracy: [laughs] Let's welcome Dave Weller. Hey, Dave.

Dave: Hi.

Ross Thorburn: What are we talking about today?

Dave: I think we decided to do something almost akin to a book review on Daniel Willingham's book on cognitive psychology and neuroscience, "Why Students Don't Like School."

Ross: We're going to try and apply what we read and what we remembered. We're going to go further outside taxonomy...

Dave: Oh, no.

[laughter]

Ross: ...and try and apply it to language teaching.

Dave: The book is about neuroscientific principles. The blurb is, "A cognitive scientist answers questions about how the mind works and what it means for the classroom." He's picked nine very robust findings from the field of psychology. Now, I hope you've done your homework, and you've read the book as I have.

Ross: I think it says a lot about us. Dave, for this, read the book twice. I read it once. Tracy read it...

Tracy: The last 10 minutes.

[laughter]

Dave: All it means is Tracy is a very fast reader.

Ross: [laughs]

Dave: What we decided when we set ourselves this challenge was that it'd be really interesting to take a book that was designed with general education in mind and see how well we could transfer the principles across to language teaching.

Ross: Absolutely. We often comment that there's not enough taken from general education and applied to the field of language learning.

Dave: Hopefully is we'll find out that a lot of the principles can equally apply in the language classroom as in normal classrooms.

Ross: Great.

Dave: Ross, one of the things I liked from his introduction was talking about why teachers are naturally skeptical of theory. There is a big gap between theory and practice. Even mental processes aren't isolated in the classroom, whereas they are in research.

A classic example he uses is that about drilling. In the lab where you isolate drilling and see the effect that it has on learning is wonderful. [laughs] The more you drill, the more you repeat, the more you learn.

However, any teacher that steps into a classroom knows if you drill your learners for an hour straight, the drop in motivation is not going to make up for the effectiveness of that technique in learning. This is why that he's taken a very teacher‑centered view of research and only picked principles he thinks can be used effectively in the classroom.

Ross: Whatever you do read in a book, you're passing it through your own filter of what you think is going to be personally useful for you. A lot is going to get filtered out. How about for this podcast, we pick out some of the main principles?

He's got nine cognitive principles. They relate to things that happen in the classroom. How about we pick some of the most interesting ones? We can talk about how we feel language teachers might be able to apply those in their classes. Should we get started?

Tracy: Yeah.

Dave: With this one, the principle of that people are naturally curious, but they aren't naturally good thinkers. For me, when I read this, what struck me was how similar it is to the zone of proximal development, scaffolding, Lev Vygotsky idea.

He talks about oftentimes we think about what the answers are that we want our students to get. If we're trying to say, "What's the answer to this grammar question? There's a word that means this. What's the word?" We should be trying to engage them with the questions and leading them to the answer.

Ross: He says, "It's the question that peaks people's interest. Being told the answer, it doesn't do anything for you." Have you seen "The Prestige" before?

Dave: I've downloaded it. You asked me that the other night, but I haven't watched it yet.

Ross: In The Prestige, they talk about this. As a magician, if you do a magic trick, people are amazed by it. As soon as you show them how to do the trick, people are completely unimpressed by it.

Dave: Maybe, that's one of the reasons that task‑based learning or test‑teach‑test lessons can work well, is because you put this question at the beginning. You put the hardest part first, putting students into a position where it is difficult for them. It gets them to think about it.

It's the question that's interesting. Then it leads to the answer later on, whereas something like PBP, which we know gets a lot of bad press, doesn't put the question at the beginning.

Tracy: That's something related to the teacher's role in the classroom. They're not just to spoon‑feeding the students. They have to make sure what kind of questions they can ask the students. They facilitate the learning.

You don't want to mix the prompting questions which scaffold student learning with guessing what's in my mind.

Dave: Totally agree. Yes, it's a good example from real life, Tracy. One of the things to be careful with this one though is to be careful the questions you pose aren't too hard as well as grading your language, grading your instructions.

If you ask students a question and it's very specific, there's only one possible right answer, it's really difficult. They're beginner students, A1 level maybe, and you ask them, "So the past perfect continuous, when would you use this?" They immediately look up and go, "I don't know. There's no way I can know," and they immediately check out.

Daniel Willingham says, "Respect students' cognitive limits. Don't overload them with information. Don't make the instructions or grade your language too much," is how I would interpret that for TEFL. Also, "Make sure the questions you ask them are within their ability to answer."

Ross: How about we move on to another principle, then? My personal favorite, and probably yours as well, Dave, is, "Memory is the residue of thoughts."

Dave: No, I hate that one. Leave that one out.

[laughter]

Tracy: Can you guys explain this a little bit?

Dave: Yeah. From "Memory is a Residue of Thought," I think what Daniel Willingham is saying is that students remember what they think about. In your class, if they're thinking about your flashy warm‑up where you jumped up and down and screamed around like a monkey, then they're going to remember, "Hey, teacher screamed like a monkey today. That was really funny."

That's what they'll tell their parents. Whereas if they do a task where they have to figure something out and talk to their friend about the best way to negotiate with somebody or the best way to get to the train station, and they're using English to do that, then that's what they'll remember.

One of my biggest takeaways from the book is that he suggests that to review your lesson plan in terms of what the students will think about. Every task you have, every activity, every stage, put yourself in your learners' shoes, and imagine what they're going to think about as they're completing that.

My suggestion on top of that would be, "Do the same thing for the language use." Look at your lesson plan, or imagine it. Think about it from your learner's point of view. What language would you use to complete that task?

Ross: Something else I found interesting, it was a quote from him. He said, "Fold practice into more advanced skills," which got me thinking. The way I would apply that to the language classroom is when your students advance a little bit...

Say they've moved up from present simple, and now they're doing past simple, just a cliched example. Instead of practicing just that skill of past simple, make sure they get a chance to use prior practice.

Make sure they get a chance to use the skills and recycle a language from previous classes. When they're practicing past simple, they're also integrating present simple and the other things and the other vocabulary that they have learned.

You don't just focus only on the target language for that particular lesson, but you bring in the other language that you used previously. I find a lot of teachers don't do that. They're so focused on the target language for that one lesson, they forget the previous lessons.

Ross: That might be one of the reasons why extensive reading works so well, is because all of the forms and grammar that you might have learned previously are all going to be recycled in natural stories.

That's maybe why also genuine tasks where you don't prescribe the language for the students to use in some sort of prior practice can also be beneficial because students will get to bring in language that they've used from previous lessons.

For teachers, if you're using a great textbook that automatically recycles or has in it recycled language from previous units, that's great. Even if you don't, you can just pause in lessons and say, "What is there from previous lessons that we've learned that you could also use in this task or in this activity that could help you," and think about that when you're planning as well.

Before we finish, I wanted to talk about the very last chapter of the book which is about helping teachers improve. He makes this nice distinction between experience and practicing. Teaching, like any other complex skill, must be practiced to be improved.

It reminds me, I think the same author Rubinstein, the pianist, says something like, "I play the piano for nine hours a day, but I only practice for one." There's a nice difference there between what you're actually doing and then when you're making a deliberate effort to get better.

One of the things is that teachers are very busy. It's very easy for all of your classes to just go by in a whirlwind, but if you can find the occasional class or the occasional thing to work on for an hour a week, in the long term, that can improve your teaching.

Dave: Actually, he suggests a good method, which I'm very eager to adopt. To find another teacher he wants to improve, he says, "Perhaps watch a video of another teacher teach and comment together jointly on that so you gain each other's kind of levels and things you talk about."

After you've done that almost bonding experience, then film yourself and swap it with the other person so then they comment on yours. Of course, be nice.

Ross: A couple of other points on that. He says, "When you video yourself, spend time observing. Don't start by critiquing."

Dave: I remember the first time I videoed myself or saw myself teaching. I was amazed at how many unconscious habits I had. I presented myself entirely differently than the way I thought I did. It's almost like watching a stranger teach.

It was that difference in my expectation. The image I had in my head of myself teaching was clearly very different to that. You can only see that if you have that visceral experience, when you see yourself teach.

Ross: The purpose of watching your partner teach is to help them reflect on their practice. Often, when people do peer observations, it's so easy to just say, "Oh, you did this wrong. You need to change this. This didn't work," but the purpose of it isn't to just throw out a few quick fixes. It's to get the person to engage in their own teaching and reflect.

Tracy: Sometimes, I don't blame the teachers. Their experience is like that because they have been criticized from day one. Even if they did something nicely, still their trainer or their manager will just pick the area that they didn't do very well.

Also, for a positive reinforcement, people are more likely to change their behavior if you tell them what they did really well. Then they could keep working on it rather than just starting from the negative aspects, and then you didn't do it very well.

I don't blame the teacher sometimes because that's what they were told. That's how they train. That's how they experience. That requires the trainers to understand how to balance it and how you demonstrate this to your teachers from day one.

Dave: Totally correct. I think you've hit the nail on the head there, Trace, by saying what would change the behavior of the teacher, because they can't. You need to take the tack if the teaching is very directed feedback and that will work, then do that.

If they're unconfident, nervous, anxious, you need to tell them what they've been doing right as well. Don't change everything. Keep what good they have been doing and then tweak a little bit.

Ross: If you've been convinced at all by the last 14 minutes that this book would be useful, it's by Daniel T. Willingham. It's called Why Students Don't Like School. It's subtitled "A cognitive scientist answers questions about how the mind works and what it means to the classroom." I highly recommend it.

Also, since we're on the topic of books and you're about to plan a lesson, I highly recommend...

[laughter]

Tracy: Wow, good. Nice segue.

Ross: ..."Lesson Planning for Language Teachers ‑‑ Evidence‑Based Techniques for Busy Teachers" by...

Tracy: By Dave Weller. Congratulations, Dave.

Dave: Thank you.

Tracy: Hope you guys enjoyed the podcast. See you next time.

#Practical Classroom Ideas

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recentanimenews · 6 years

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TRIGGER's Hiromi Wakabayashi Answers Burning DARLING in the FRANXX Fan Questions in Reddit AMA

TRIGGER took to Reddit, hosting an AMA on the /r/anime subreddit to answer questions about all things TRIGGER and DARLING in the FRANXX. Studio mainstay Hiromi Wakabayashi, with translations courtesy of Tattun, spoke about collaborating with A-1, mecha, favorite Western cartoons, and potential future projects. Here are the highlights of the Q&A!

DARLING in the FRANXX is a co-production between A-1 Pictures and TRIGGER. Has there been any significant benefits or drawbacks to having two anime studios working on one anime?

I like to think that we're (TRIGGER) decent when it comes to creating original contents. For Darling, TRIGGER was mainly in charge for concept planning and development. On the other hand, A-1's got the capacity to produce multiple titles throughout the year, and they're also known for their quality so we got a lot to learn from them when it comes to actual production. I wouldn't say this is a demerit, but since Darling was produced between two studios, the amount of staffs involved were also doubled. The project was more difficult to manage compared to others.

What are your main reasons for choosing to produce your new animes in co-production with other studios?

We've decided to work in collaboration with A-1 pictures since the director specifically requested to do so. TRIGGER was mainly in charge of pre-production since coming up with original content is what we do best. A-1 on the other hand handles most of the actual animation process. However, there are few episodes that we were responsible for, and few designs did come from creators of A-1 as well.

While studio TRIGGER is relatively young compared to most anime studios, I've noticed half of TRIGGER's TV anime works are 24-25 episodes long compared to most studios following 12-13 episodes. Is there a reason for that and does the episode length have any direct impact?

We're a very fortunate studio to receive so many opportunity to produce original contents. Compared to adaptations, original series takes a lot longer to produce. We simply want our audience to enjoy the characters we took so long to create as much as possible. It also works in favor for the production committee since they have a longer span of time to market and sell their merchandise.

Between Trigger and A1, which is the Stamen and Pistil?

I guess TRIGGER would be the Stamen? Our studio's got that rowdy, rascal like vibe.

What happens to the girls when they are in the Franxx? Do they have plenty control over it or they just relay on the boys? Can a boy be in their place?

The girls are mainly responsible for the ignition while the boys pilot the Franxx. The girls also hold the initiative for the Franxx's functionality since they can technically activate the machine without the boys (the stampede mode). Although, Zero Two is the only female character known to be capable of this. The boy and girls role in piloting the Franxx are not interchangeable.

In Evangelion, Diebuster, and Gurren Lagann, the mecha have their own consciousness. Would you say that this inspired you to take it even further with the DarliFra, which blurs the line between character and robot with the Pistils and the Franxx being extensions of each other?

I'm surprised that you've caught on to that. You've definitely studied the concept for GAINAX mech series. DARLING in the FRANXX definitely follows this trend. I cannot disclose any information, but I hope you enjoy the rest of DARLING in the FRANXX!

Who was responsible for the character design for Zero Two from DARLING in the FRANXX, where did they get inspiration to come up with such a beautiful design?

That will probably be Atsushi Nisigori (Director) and Masayoshi Tanaka (Character design)

Since there are already many questions, I will ask a simple one. Who do you prefer more? Zero Two or Ichigo? And why? I find it hard to pick a favorite because they are both so amazing!

Hmm... If I had to choose, it'd be Zero Two. She's however not a waifu material. I guess I'm attracted to her charismatic personality.

As a creative producer, your job is to make this unique premise works. So, how did you or your team come with all this idea? Did you just one day say "How about we make this and see how it goes" jokingly and somehow make that project come to life later?

Let's take Kill la Kill as an example. Kill la Kill's story/premise will probably make sense even if it took place in modern day Japan. However, by using a fictional setting, we're able to visually supplement the premise as well. In the opening scene of Kill la Kill, we see Ryuko looking up to the mountain, which is the Honnouji Academy. The viewers can then assume that Ryuko will be going through many hardships throughout the series.

Even if it may sound absurd on paper, it's important to come up with ideas/concept that will visually compliment the premise.

The animations done by TRIGGER, whether they be originals, adaptations, or even "non-anime" like the "Battlesaurs" segment from Toy Story 3, are always incredibly expressive and full of motion! This seems to carry over to even your most recent show, DARLING in the FRANXX, despite the fact it is a collaboration. What are some of Trigger's philosophies in regards to animating, and why do you think you guys emphasize having so much motion and expression in your animations?

I believe the most important aspect of animation is the process of characterization. For example, the simple act of turning around is enough to portray one's character. The direction might be simple, but the animator must think what the character's motive is, how would the particular character react when he/she is animating the scene. With the above noted, we aspire to express our animation boldly. We will be loud for our actions, and we're not shy to show emotions as well.

What would be your favourite work when it comes to animation?

If we're talking Japanese animation exclusively it'll be FLCL for OVA, DIGIMON ADVENTURE CHILDREN'S WAR GAME! for feature film, and Kaleido Star for TV series.

What are some of your favorite Western cartoons?

That's a difficult question. So many to choose from... I think my top favorites are Simpsons, Billy and Mandy, Kim Possible, Drawn Together, Gravity Falls.

Out of all the TRIGGER shows my absolute favorite has to be Space Patrol Luluco, so when I discovered that it was the origins of Trigger-chan it made me curious whether this was always supposed to be her backstory or if this was just a neat idea added after the fact?

I actually made the pitch to the director to have Luluco transform into Trigger-chan. If I recall correctly, I made this presentation fairly early in the production phase. I hope that I can produce another series that features all 3 Trigger girls in the future.

Are Gurren Lagann, Little Witch Academia, and Kill la Kill all set in the same universe at different points in time? My fan theory is that Akko's using spiral energy, and Croix will be the founder of the Anti-spirals.

Technically they exist in a different universe. However, we have few characters such as Trigger-chan and Inferno cop with the ability to cross between these walls and limitations.

I love Space Patrol Luluco, it's one of my favorite series. Do you guys have plans for other short anime (besides Inferno Cop)?

Both Imaishi and myself really love Space Patrol Luluco's format, so hopefully we'll be able continue with the series in the future.

Mascots like Muzzle and Spring will receive their own anime? We'll be able to see Trigger-chan again in one of your future works?

I almost view it as a duty to deliver the other 2 girls at this point.

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Peter Fobian is an Associate Features Editor for Crunchyroll, author of Monthly Mangaka Spotlight, writer for Anime Academy, and contributor at Anime Feminist. You can follow him on Twitter @PeterFobian.

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