WA2 Fan Club Radio – Episode 81


White Album 2 Radio Episode 81 Analysis

 

This is a lively episode, with Noriaki Sugiyama, the voice of Chikashi Hayasaka, as its guest. The conversation flows freely and easily, thanks in no small part to Sugiyama’s willingness to keep pace and play along, and as a result, the listener is given interesting insights into both the story side and the industry side of White Album 2.

Like Tsuguo Mogami, the guest for episode 84, Sugiyama portrays a secondary character, but the relationships of their respective characters to the main story contrast greatly. While Mogami’s character, Susumu Ogiso, is a parent of one of the three main characters, a guardian and authority figure with a direct, personal investment in their relationship, Chikashi is their peer, a classmate of their same age. He exists in the same space with them on an almost-daily basis, but does not have any involvement by default with the ins and outs of the triangle. Even so, he has his place.

A concept that comes up in this episode, and indeed in several other episodes, as an essential component of the story, is “balance,” through contrast. The balance between Setsuna and Kazusa as the two main girls, the balance between Haruki’s relationships with each of them, even the balance between Susumu and Akina Ogiso that allows their marriage to work (perhaps the most successful balance in the story). The contrast Sugiyama initially brings up, in his assessment of Chikashi as a character, is between Haruki’s tendency to mull things over before expressing his thoughts, and Chikashi’s bluntness. As he points out, the story of White Album 2 runs on characters and performances that are natural rather than exaggerated, so even with Chikashi’s status as something of a comedic character, he isn’t completely out of place; his contrasts with Haruki are worth mentioning by name, even though he isn’t on the same “tier,” so to speak, as Haruki. Sugiyama describes putting particular effort into the way he performed Chikashi, reining himself in when he felt inclined to exaggerate something, in order to achieve this, to make the most of the “natural” style that he considers one of the series’ greatest strengths. As a result, Chikashi is, to borrow Hitomi Nabatame’s term, an “oasis,” a source of welcome levity in the midst of the deep, serious story surrounding the three main characters, without being a sore thumb.

Chikashi’s interpersonal merits are also an important point. As blunt as he is, his realism as a character means that he isn’t overly abrasive, and Nabatame notes that he looks more closely at people than one would expect—he isn’t clueless or altogether detached. One of the letters read for the episode, from frequent writer “Borderman,” mentions Chikashi realizing that Haruki and Kazusa have been staring at each other: even without a deep personal involvement in the relationship, he has an awareness. That same letter also brings up the appeal his personality gives him as a friend. The fans of the series are just as cognizant and appreciative of Chikashi’s value beyond simple comic relief as the members of the cast are.

The discussion of the Kansai dialect is an entertaining branch. To begin, the fact that two separate letters bring up Chikashi’s (scant) use of it reminded me a bit of Borderman’s reference to Chikashi’s sideburns when submitting “sideburns” as a keyword for the poetry segment in episode 85, as another example of how the little things leave an impression, and draw interest. Having to work in different accents and dialects is practically a given for voice actors, and with Japanese in particular, different dialects can sometimes sound like different languages altogether. Sugiyama mentions that the dialect wound up demanding more retakes than his performance itself; it is not surprising that he is at a bit of a loss when the second letter asks him to give a demonstration of Chikashi using it. But he asks the native speaker at hand, Madoka Yonezawa, for an example, like a professional, and even goes along with the silliness of the “Producing Madoka Yonezawa” segment introduction right afterward, making certain to confirm a particular unique sentence ending before he gives it a shot.

The “Let’s Dub In Some Chatter!” segment following this one brings Sugiyama into the role of expert, and amid all its trial and error gives valuable insight into the importance of background voices, and the work required for them. The nature of background chatter is such that most consumers of a given piece of media won’t notice it much—this is, in fact, the aim, as demonstrated by instructions not to make anything stand out too loudly, not to mention any brand names, not to do anything that would detract attention from the main focus of the scene. Earlier on in the episode, Nabatame brings up a somewhat paradoxical struggle, especially for newer voice actors, when it comes to chatter: those performing it are essentially free to do whatever they like, but the lack of a script can actually leave some feeling stuck, unsure what to do. So as to avoid this problem, during the segment, under Sugiyama’s direction, the three presenters plot out their characters and motivations in advance, but some of their attempts still go far from smoothly. That even veteran voice actors have to put this much thought and work into background chatter demonstrates both how difficult and how essential it is. Paying closer attention to it from time to time, as the presenters recommend at the end of the segment, could certainly prove worthwhile to those interested.

On the whole, we would call this a well-balanced episode. While it is not as long as some other episodes, it doesn’t feel rushed, or as though there are any glaring gaps in the discussion, and the talk flows well from segment to segment, without any jarring transitions. Nabatame, Yonezawa, and Sugiyama evidently all sincerely hope that the latter will be able to return as a guest for a future episode, and although it ultimately was not to be, we don’t doubt that the listeners at the time felt the same.


White Album 2 Radio Episode 82 Script

 

Setsuna, Kazusa: WHITE ALBUM2 Fan Club Radio

Todokanai koi

 

S: All right, let’s get started. Hello, everyone. I’m Madoka Yonezawa, the voice of Setsuna Ogiso.

K: Hello, everyone. I’m Hitomi Nabatame, the voice of Kazusa Touma!

S: And this is our eighty-first Fan Club Radio broadcast, isn’t it?

K: Wow, have we done that many already?

S: 81.

K: Oh, that’s the agency.

S: Yes. I just wanted to say it. (laughs)

K: The agency you belong to. (laughs)

S: Instead of saying it in Japanese.

K: Fair enough.

S: More importantly,

K: Uh-huh.

S: it’s March 14th.

K: Oh, right.

S: Oh?

K: It’s White Day.

S: Yes. Now, have—

K: I gave out handmade gifts, but no one gave me anything back.

S: Handmade gifts? (laughs)

(01:00)

S: I gave homemade chocolates, too. Well?

K: Well?

S: In case—just in case the gentlemen of the world have forgotten… (laughs)

K: (laughs)

S: Today is the day to give cash.

K: (laughs) That’s right. Cash will do just fine.

S: Exactly.

K: Today is the day.

S: If you don’t have anything else ready, all you have to do is open your wallet. But, also, it’s graduation season.

K: Right.

S: Yes.

K: I feel like the number of people wearing hakama has increased in the past few years.

S: Oh, you’re right.

K: At graduation ceremonies. The image in my head is more

S: Uh-huh.

K: of people dressed up in their fanciest clothes,

S: Right.

K: but I feel like what I see more lately are hakama.

S: Hm. I think my notion was that people would wear furisode for coming-of-age ceremonies, and hakama more for graduations.

K: You think hakama?

K: Is that what you wore, then?

S: No.

K: I want to. I never wore hakama, either.

S: I want to wear them.

S: Yes, yes.

K: Is that something we can wear at this point, though?

S: Why wouldn’t it be?

K: Well, I mean, furisode, for example,

(02:00)

K: they’re sort of associated with a certain age group, right?

S: Right, right.

K: Is there a thing like that for hakama?

S: I don’t think so.

K: Can I go around like, “Hi, I’m Miss Modern!”

S: What? Miss Modern? I mean, you’re free to do that.

K: Really?

S: Yeah.

K: We should wear hakama some time, then.

S: Yeah, we should, we should do something.

K: Some spring event.

S: Oh, why don’t we go flower-viewing in hakama, then?

K: Ah, or,

S: Uh-huh.

K: we could just sort of meander around,

S: Yeah.

K: and ride in a rickshaw.

S: That sounds nice. Around Kamakura.

K: There’s also Asakusa.

S: Oh.

K: If we want a rickshaw.

S: I’ve never been in a rickshaw.

K: Really?

S: Yeah. It’s like,

K: You should, it’s fun.

S: having a young man with bare, muscular legs—

K: They tout like crazy. “Hop in, hop in!”

S: Oh, right, yeah. They really tried to reel me in in Kyoto,

K: Uh-huh.

S: huh, but I never actually rode in one.

K: Right, there was one time in Asakusa, it was a get-together in yukata,

S: Uh-huh.

K: and we all rode in our yukata.

S: Huh. I think I would be too distracted by the guy’s bare legs. (laughs)

K: What, where are you looking?

S: Why do they have to have their legs out like that?

(03:00)

S: I mean, they’re, they’re not wearing anything like hot pants, or leggings.

K: (laughs) Well, apparently I’m the only one not looking, so I wouldn’t know. Are you a stealth perv, Yone-chan?

S: (laughs) Oh, god, no, Naba-san! You’re so creepy!

K: No, it’s you. You’re creepy.

S: Yes, it’s me. (laughs)

K: (laughs)

S: We don’t need to be talking about this.

K: Right.

S: Our guest for this episode is Noriaki Sugiyama-san, the voice of Chikashi Hayasaka.

K: Yes.

S: You’ve sent in all sorts of questions, so this should be fun. Now, let’s get going. WHITE ALBUM2 Fan Club Radio,

S, K: Begin!

S: This program is sponsored by Aquaplus. WHITE ALBUM2

S, K: Fan Club Radio

 

Rena Uehara’s new album, Emergence.

(04:00)

Includes the theme songs from WHITE ALBUM2 and Tears To Tiara 2. Emergence, by Rena Uehara. Out now.

 

K: WHITE ALBUM2 Fan Club Radio

 

S: Now, without further ado, let’s welcome our guest.

K: Our guest this week is Noriaki Sugiyama-san.

Chikashi: Hello, hello. I’m Noriaki Sugiyama, and I played the role of Chikashi Hayasaka.

K: Yay!

S: Thanks for being here.

C: Thank you.

K: This is your first appearance.

S: Yes.

C: My first.

S: Welcome, welcome.

C: My first time at 81. Well, not 81.

K: Right.

S: On the eighty-first episode.

C: Yes.

S: For me, I think it’s been since the WHITE ALBUM2 closing party?

K: Ah.

C: Yeah, maybe around there?

S: Yeah.

C: Well, since open recording ended,

K: Yeah, yeah.

S: Right.

C: right, we’ve seen each other a bit.

(05:00)

S: And with Naba-san,

K: Now and then—

S: you see each other now and again.

C: Now and then on other projects,

K: Yeah, yeah.

S: Yeah.

C: sometimes, if we’ve both got roles.

K: Right. Our roles are never really especially involved with each other.

C: You know, you’re right.

S, K, C: (laugh)

S: True.

C: Right, there’s that.

S: I mean, even in WHITE ALBUM2 you don’t really interact.

K: Right, right.

C: Right. I feel like we barely talk at all.

K: Even when I’m working with Sugiyama-san, our roles don’t interact much.

C: They don’t.

S: Wow!

K: Now that I think about it, we don’t talk.

C: We don’t, we don’t. It’s actually kind of weird how little we talk. If we’re on the same project, you know, we’ll say “See you later, see you next week, good work today,”

K: But we don’t converse.

S: Right.

C: but from a script standpoint, we don’t ever interact, I feel like.

K: Maybe so.

S: Huh.

K: I don’t think I have any image in my recollection of us interacting.

C: (laughs) Me, neither.

S: That’s funny.

C: Yeah.

S: If you think about it.

K: Yeah.

C: Life’s little mysteries.

S: Huh.

K: Yeah, for sure. Oh, so, Yone-chan,

S: Yes.

K: what kind of image do you have of Sugiyama-san?

S: My image of him

C: Yeah.

S: is someone who knows a ton about computers and machines.

C: All right.

K: I see it.

S: Yeah.

K: Same for me.

S: Like—

K: Your older brother who knows all about technology.

S: Yes, yes, yes.

C: (laughs) No, no.

S: Actually, when we were recording WHITE ALBUM2,

C: Uh-huh.

(06:00)

K: Yeah.

S: recording for the anime, I had my iPhone,

K: Yeah.

S: and no idea what to do with it, and I remember asking him a bunch of questions.

C: Oh, I guess there was

C: some talk about your iPhone, since you’d just switched to a new one.

S: Right, that was it.

C: I remember you showing it off to me.

K: Right.

S: Yes. You really helped me out.

C: Not at all.

K: (laughs) Seriously, when it comes time for me to buy my next computer, I’m contacting Sugiyama-san.

S: Yeah.

S, K: (laugh)

C: It isn’t anything that big.

K: Come on.

C: Just, you know, something hasn’t been working right lately,

K: Yeah, yeah, I’ve come to you with all this stuff,

C: how do I fix it. Just some advice like that.

K: yeah, I’ve asked a lot of questions.

S: Huh.

C: In the studio.

K: Right.

S: Computers, huh.

K: With that stuff,

S: Uh-huh.

K: I always, always think, if something happens, I’ve got Sugiyama-san, he can fix it.

S: (laughs)

C: It really isn’t like that, but, anyway.

S: Computers are tricky.

K: Yeah.

S: Oh, also, Sugiyama-san, your blog has been full of cat photos lately.

C: Yes, yes.

K: Right. I looked at it recently,

C: Yeah.

S: Uh-huh.

K: and there were loads of cats—pictures of animals in general, actually.

C: (laughs)

S: Wait, how frequently are you uploading these cat pictures?

C: Look, at the beginning, I kind of slacked a lot, I wasn’t able to update all that often,

S: Uh-huh.

(07:00)

C: maybe once, twice a month, I guess there are times where I do more,

S: Ah.

C: and it’s mostly pictures of stray cats and things.

K: Yeah.

S: Then, how many do you own?

C: I don’t own any cats.

S: Oh, you don’t.

C: I really want to, but I don’t.

S: Then, you’re a cat person.

C: Yes, I am.

S: We’ve got one.

K: Cats are the best.

C: Yes, cats.

S: We’ve got another cat person.

K: Cats are just so adorable!

S: Doesn’t Daichuu-san also love cats?

C: Yeah, Daichuu definitely has them.

K: Yeah.

S: And so does Naba-san.

K: Yep.

S: When will I ever find another bird person?

K: I don’t think you’re going to find more bird people. (laughs)

C: (laughs) I wasn’t listening super carefully just now and I went, “Wait, bird people?” I wasn’t expecting that.

S: Birds, though—

K: When it comes to that dispute, it’s generally cats versus dogs.

C: Yeah, yeah, yeah.

K: Birds don’t come into it.

S: Listen, though, Sugiyama-san,

C: Uh-huh.

S: just try having a parrot. You can say I talked you into it. They’re so cute.

C: A parrot, so can you take that out of its cage,

S: Take it out.

C: and play with it around the house?

S: Yes, you can.

C: Wow.

K: They talk. They talk very loud.

C: They—

S: “Kinako-chan!” “I love you!”

C: You taught it to say that?

(08:00)

S: Yes, I did.

C: So they can really learn.

S: They can. “I’m home!” and stuff like that. When I get home he always goes “I’m home!”

K: Uh-huh.

S: And when I wake up, he says “Good morning!”

C: Although, the talking

S, K: Uh-huh.

C: is definitely cute, but I’ve heard that birds can be kind of difficult.

S: Really? I think a cat is probably more work, so, (laughs)

K: If you want a pet,

S: start, start with a bird.

K: get a bird.

C: Start with a bird.

S: Yes. Start with a bird. But you can’t have that and a cat at the same time.

K: Right.

C: Yeah, you definitely can’t have both of them together.

K: So, should we start talking about WHITE ALBUM2 now?

C: Yes, yes.

S: Yes. All right, Sugiyama-san, you were the voice of Chikashi Hayasaka in both the anime and the game of WHITE ALBUM2.

C: Right.

S: What are your thoughts on Chikashi as a character?

C: Well, he’s very, let me think. In terms of expressing how he feels,

K: Uh-huh.

S: Yeah.

C: I feel like he’s relatively honest, or blunt,

K: Yeah.

C: not really the type to spend time turning his feelings over in his mind before stating them,

S: Yeah.

C: so when he says something or gives advice, it’s exactly what he thinks,

K: Uh-huh.

(09:00)

C: he’ll say, “Hey, just do it,”

S: Yeah.

C: that kind of character. I felt like he was a fairly realistic character, not extremely pointed.

S: Huh.

K: So, when you were acting for the game, were there any points that were a particular struggle for you, in that regard?

C: Well, in comedic scenes, for example,

K: Uh-huh.

C: I deviated from that a little, tried to figure out how to make it funny,

K: Uh-huh.

S: Yeah.

C: and there was a certain amount of trial and error, but I tried as much as I could to—I actually see this as a quality of the game overall, there aren’t many exaggerated characters,

K: Yeah.

C: or exaggerated performances, it’s a story that runs on more natural performances,

K: Uh-huh.

S: Hm.

C: that’s how it’s built and directed, so I tried to make use of that quality, since it’s one of the game’s best points.

S: Huh.

K: All right. I do think, though,

S: Uh-huh.

K: Chikashi is very blunt, but he looks surprisingly closely at people.

S: Huh.

C: Yeah, he does.

K: That was a deep impression I got.

S: Yeah. There’s this balance between the three of them,

(10:00)

S: and Haruki is the type to mull things over and over.

C: (laughs) Right.

K: (laughs)

S: Hm.

K: Yeah.

S: Right.

C: Yeah.

K: So, in the anime,

C: Uh-huh.

K: he stood out weirdly—maybe weirdly isn’t a good word. (laughs) I mean, compared with the game,

C: Yeah.

K: the impression Chikashi left in the anime was way stronger.

C: Well, in the anime,

S: Yeah.

C: around the time of the first episode, I looked at the character chart thing,

S, K: Yeah.

C: and watched the test footage, and I went, “Whoa, he jumps out way more now.”

K, C: (laughs)

S: It’s the sideburns.

C: I guess so. Overall, sideburns included, his presence was just way stronger,

S: Ah, I know what you mean.

K: Yeah.

C: I remember remarking to someone.

K: Oh, yeah, I was really surprised.

S, C: Yeah.

K: When—

C: That was the first episode, and everyone got really excited,

S: Right. Yeah—

C: about how vibrant everyone looked.

S: Right. Were there any things that were changed between the game and the anime?

C: Well, aesthetically speaking,

S: Uh-huh.

C: I wanted to make him a bit louder and flashier,

S: Uh-huh.

(11:00)

C: but if I did that, then what I just mentioned,

S: Uh-huh.

C: about the triangle between the three of them

S: Yeah.

C: performed in a natural way, they would probably yell at me for being out of line with the sense of the show,

S, K: (laugh)

C: so in order to avoid that, I did my best to—I restrained the parts that I wanted to exaggerate, tried to keep on in such a way that I could turn with everyone else’s gears, so there wasn’t just this one guy out of place.

S: Uh-huh.

K: Still, you were attacking pretty boldly.

C: I was, I was.

K: With the ad-libs.

C: Yes, the ad-libs.

S: The ad-libs were funny.

K: Yeah, you found all kinds of places to fit those ad-libs in.

S: Right. Chikashi was kind of the fool, in a lot of ways.

K: Right, right.

C: Yeah, yeah.

K: In that sense, Chikashi is sort of an oasis.

S: Definitely.

C: While the three main characters are having this deep, serious story,

S, K: Yeah.

C: I saw him as bringing in a lighter element.

S: Yeah.

K: That was very much the image he gave.

C: Yes.

S: Right.

K: For the auditions,

C: Yes.

K: did you read for Haruki?

C: Ah, well, that was a pretty long time ago,

K: Yeah, that’s fair.

C: so my memories of what all I auditioned for are a little fuzzy,

S: Yeah.

C: but there was Haruki, and then

(12:00)

C: I auditioned for Chikashi, and the agency all pulled together

K: Uh-huh.

C: to go and audition, with Daichuu and Terashima-kun, and for about an hour—and the progression of the whole thing was really, they’re always very thorough with their auditions,

S: Yeah.

K: Uh-huh.

C: and the same was true for WHITE ALBUM,

S: Uh-huh.

C: so it took a little time.

K: Uh-huh.

C: A little, meaning about an hour.

K: (laughs) You were waiting for a while.

S: (laughs) You were stuck there a while.

C: We were. So during that time, there were the three of us and Plus, and our manager, and we all talked

K: Ah.

S: Uh-huh.

C: about the mood of the story, what position each character would probably stand in,

S: Yeah.

C: how we should go about doing it. I remember the three of us talking about a lot of stuff like that.

S: Wow.

K: I see. So, the three of you were in the same group,

C: Yeah.

K: and you were all passing your roles around.

S: (laughs)

C: It was something.

S: That teamwork really must have made things go well.

K: Yeah.

C: I guess we had a good balance.

K: Yeah.

S: Yeah.

C: So the three of us talked about, okay, Haruki would take this position, so then Chikashi would probably be more like this,

K: Uh-huh.

(13:00)

S: Uh-huh.

C: so when that balance between the three of us worked, we meshed,

S: Ah.

C: maybe that was it. I don’t know for sure.

K: Wow.

S: That was a really good hour, then.

K: A good hour. And everyone got a role out of it, so, perfect.

C: Yes.

S: (laughs) Who would have thought that you would all end up involved together?

C: Yeah, you don’t see this a lot. Normally, you’re happy being the only one who passed,

S, K: Yeah.

C: but when I think about all of it, I’m really glad.

K: Yeah.

S, K: Wow.

K: So, when recording started,

S: Yes.

C: Yes.

K: from what I hear,

C: Yes.

K: when you were recording background chatter,

C: Yeah.

S: Uh-huh.

K: you sort of got everyone

S: Pulled together.

K: together, you managed everyone.

C: Ah, well, I guess I did pull everyone together,

S: Uh-huh.

C: but, well, just to put it straight out, there were a lot of members of our agency, right?

K: Yeah.

S: Yes.

C: And I think they were being very considerate, the production side were being considerate, and called in all of our rookies for background chatter.

S: Ah.

C: So just for chatter,

K: Uh-huh.

S: Yeah.

C: they called them in, this was, again, their first time on set,

S: Ah.

(14:00)

C: and they showed up,

S: Yeah.

C: and the manager got a little intimidated, and came to me and this other woman,

S: Huh.

C: and said, “Hey, could you help us out a bit?”

K: Ah.

S: Uh-huh.

C: So, while we were all recording the chatter together, if any of the first-timers there

S: Uh-huh.

C: were asking, “Oh, what should I do for this?” I would say, “Oh, do it more like this and it’ll sound like this,” or whatever,

S: Ah.

C: like that.

K: You were a good mentor.

S: Yeah.

C: I talked to them a bit about that kind of thing.

S: Uh-huh.

C: I definitely wasn’t looking down at them, like, “Hey, you, do this, do this.”

S: I don’t think anyone would imagine you doing that.

K: No, no way.

C: I was—I was getting directions from the director, right, and thinking, “Okay, how should I reword this to make it understandable to a newbie?”

K: Right.

S: Yeah, yeah.

C: And going, “Well, this one will probably understand it if it’s put this way,”

K: Yeah.

S: Huh.

C: reword it a little,

S: Yeah.

C: and say, “All right, do it like this.”

K: That was so thoughtful of you.

S: Wow.

C: No, I really just—

K: Chatter, though,

S, C: Uh-huh.

K: you get a lot of newbies asking what that means, “chatter.”

C: Yeah.

S: Right.

(15:00)

K: For example, if you’re in a school,

S: Uh-huh.

K: then the members—if you’re doing an anime, it’s the other voices.

S: Voices.

C: Like ambient noise.

S: Right, like that.

C: Something going on while the characters are talking to each other,

S: Yeah.

C: the surrounding noise.

K: So, even though you can really do whatever you want, they tend to get stuck because they don’t know what to do.

C: Right, right, right.

K: For background chatter.

S: Definitely.

C: Since they don’t have a script, yeah, yeah.

S: They don’t have lines.

K: So, in its own way, it’s difficult.

S: Yeah.

C: For sure.

S: But chatter is what you do before anything else, when you’re a newbie.

K: It’s background voices.

C: You start with background voices.

S: Yeah.

K: I mean, they’re the ones who show up first.

S, C: Yeah, yeah.

K: Going, “No, no, seriously, I have to go.”

S: “I have to get to work.”

C: So if someone goes, “Hey, can I ask you a favor?”

K: And you go, “Ahhh…” You can’t do it, so you go, “Ahhh.”

C: Yeah, yeah.

S: Chatter is surprisingly hard.

K: Yes, it’s hard.

C: It is.

K: Yeah. But, it’s—

S: And you were able to wrangle all of that.

K: That’s amazing.

C: No, I wouldn’t say I wrangled it, but—I gave some advice.

K: But you made it easier to understand, I’m sure.

S: Right. Yeah.

C: I hope I did. Yeah.

K: Also, also—on a totally different note,

S: (laughs)

C: Uh-huh.

K: everyone has been asking,

C: Yeah.

K: Sugiyama-san, do you prefer Setsuna or Kazusa?

S, C: (laugh)

C: Okay, just to check,

(16:00)

C: before I answer, out of the other male actors, or the ones who have come on the show,

S: It was pretty,

C: who got picked more?

S, K: 50-50,

K: I think.

S: roughly.

C: Roughly 50-50.

S: Yes.

K: Daichuu-san said

S, K: 51

K: to 49,

S, K: so—

C: In whose favor?

S: Setsuna.

K: He said Setsuna.

C: Setsuna. And, of course, the man himself acts just like Haruki—

K: Being all vague about it like that.

S: He stuck all kinds of explanation on it afterward.

K: He backed it up like crazy.

S: Yes.

C: It’s like Haruki is rubbing off on him.

S: There’s definitely a similarity.

C: Yeah. So, I—

K: Yes? Yes?

C: Yes. As for me, actually, at the closing party, or while we were out drinking or something, we talked about—we talked about something like this,

K: We did talk about it.

S: Yeah.

C: everyone on the staff said which team they were on,

S: Right, right.

C: and as I said then,

S: Yes.

C: I’m on Team Kazusa.

S: Ah.

K: Yes!

S: All right.

C: While it’s cute, the way that Setsuna will just come right out and say, “I love you,” on the flip side of that,

S: Uh-huh.

C: this thing of not being able to say it, but thinking it, where you can tell by looking at her from the outside,

C: there’s something that’s actually kind of lovable about that,

S: Yeah. Right, right.

C: that makes you want to say, “Yes, it’s okay, I already know.”

S: Ah.

K: I’m tickled.

(17:00)

K: It’s like—

S: You’ll get beat up, though.

C: (laughs)

K: (laughs) What was that?

S: Huh?

C: She’s not all that good at expressing affection.

S: Right, of course.

K: I’m clumsy.

C: But, you know, this thing where she goes “Pow,”

K: (laughs)

S: (laughs) She’s embarrassed.

C: you wouldn’t know it just from seeing her and talking to her,

S: Uh-huh.

C: but if you’re at school with her, constantly together, as you’re talking to her, you might go, “Hey, did she…”

S: Uh-huh.

C: those little subtle changes in her feelings toward you are really cute, I think.

K: Yes! Yes!

C: “Is she embarrassed right now?”

S: Hm. I’ve been rejected.

K: I win!

S, K, C: (laugh)

C: No, no.

K: Well, shall we go on?

S: Yes, to the mail.

S: We’re going to read some mail now.

K: Right.

S: This is from “Borderman”-san.

C: Thank you very much.

S: “Yone-san, Naba-san, and Noriaki Sugiyama-san, hello.”

K, C: Hello.

S: “When you think Chikashi, you think lazy, easily carried away, the essence of a class clown, but because of that, I think he would be very easy to get along with as a friend. Personally, the part where Chikashi realized that Haruki and Kazusa had been staring at each other the whole time,

(18:00)

S: and the part in Coda where he suddenly showed up speaking in the Kansai dialect, really stuck with me.”

C: Uh-huh.

S: “So, here is a question for Sugiyama-san: out of Haruki, Takeya, Chikashi, and Io, who do you think you would be able to be the best friends with?”

C: As friends, well, all of those characters are really

K: Ah. Yeah.

S: Yeah.

C: appealing, I think,

S: Uh-huh.

C: but someone like Io, who you could just talk about anything candidly with,

S: Yeah.

C: with that as a starting point for a friendship, you could become close pretty easily,

S: Huh.

C: is the sense I get.

S: Good point.

K: Yeah.

C: Yeah.

K: Oh, so about the Kansai dialect. Wait, are you from Kansai?

C: Me? No, I’m not. I’m from Tokyo.

K: Was the Kansai dialect difficult?

S: (laughs)

C: The Kansai dialect, well, I’ll just talk about this here, one of the staff members went, “Hey, so, this is what the accent sounds like for the Kansai dialect,” and gave me a reference, which I listened to right beforehand, and I did my best to—not play it by ear, exactly,

S: Huh.

(19:00)

C: but I read the lines, then had someone who actually knew the dialect listen to me, to say, “Actually, this should be different,” and I went, “Oh, sorry, I’ll do it again.”

S, K: (laugh)

C: Even more than the nuances of my performance, the nuances of the Kansai dialect

S, K: Yeah.

C: were what required the most retakes, I remember.

K: Ah.

S: Right, those sorts of voice recordings

K: Yeah

S: tend to be given to you, in this industry.

K: Right, yeah.

C: Yeah. If you’re going to be speaking a foreign language, for example,

K: Right.

S: Yeah.

C: or if there’s going to be a specific dialect,

S: Yeah.

C: you might get that.

S: You did German, right?

K: I did.

S: Yeah.

K: It was exhausting.

S, C: (laugh)

K: All right, let’s go on to the next one.

S, C: Yes.

K: This is from “Dorodorothy”-san.

C: Thank you very much.

K: “Unlike Haruki and the others, Sugiyama-san’s character, Chikashi, goes to Kyoto University, and begins to speak the Kansai dialect.”

C: Yes.

K: “However, in Closing Chapter, which is the university arc, he barely shows up. If possible, I would love to hear Chikashi speaking the Kansai dialect.

(20:00)

K: Sugiyama-san, is there any way you could demonstrate that for me? Sorry to put you on the spot.”

C: I’ll say they put me on the spot.

S: (laughs) They just want to hear a little bit.

C: Right now,

K: Yeah.

C: oh, but, I just heard a bit earlier,

S: Yes. Yes.

C: um, we have a native

S: I’m from the Kansai region, yes.

K: Right, Yone-chan.

C: from the Kansai region here,

S, K: Yes.

C: So, is there any chance

S: You want an example?

C: I could hear an example from you?

S: Huh. What should I say then? What’s my line?

C: Well—I guess what you think of when you think “Kansai dialect”? Anything, though.

S: What!

C: Whatever comes to mind.

S: Okay, then,

C: Uh-huh.

S: Sugiyama-san, why don’t you give me something Kansai-ish?

C: Kansai-ish?

S: Tell me what you want me to say, and I’ll translate it

C: Translate it into the Kansai dialect, I see.

S: into the Kansai dialect. Yes.

C: Okay, then, let me think. Something like, “I’m hungry. Why don’t we get something to eat?”

K: Ah.

S: All right. “Man, I’m starved. Wanna go grab a bite somewhere?”

(21:00)

C: Ah.

K: Ah, okay.

C: All right, here goes.

K: Ah.

C: “Man, I’m starved. Wanna go grab a bite somewhere?”

S: Wow.

C: Something like that?

K: Actually, that was completely—

S: You sound like a native!

C: No, no.

K: Completely natural.

C: I mean, I was just mimicking.

K: You did great.

S: Yeah.

C: I’ll probably forget it in three minutes.

K: But you can still do it.

S: You can.

C: Ah, well. Okay.

K: I was actually given a character who spoke the Kansai dialect once,

S: Uh-huh.

C: Uh-huh.

K: but while I was in the middle of it they went, “Okay, that’s enough,” and—it was a game,

C: (laughs)

S, C: Right.

K: and what was written was “Like the Kansai dialect,” it could just be completely fake,

C: Uh-huh.

K: the girl wasn’t even from the Kansai region anyway. So that’s how I did it.

C: (laughs)

S: Huh.

K: It was discouraging.

S: I can imagine.

C: All right, Nabatame-san, why don’t you try?

K: No way. No, I don’t know how.

C: 3,

S, C: 2, 1.

K: What! “Man, I’m starved.” (laughs) No!

S, C: (laugh)

S: Here, there’s one more,

C: Right.

(22:00)

S: there’s this slip of paper here,

C: Uh-huh.

K: What?

S: All right if I read it?

C: Sure.

S: “With chubby cheeks and a takoyaki smile, you and me make a perfect pair. Madoka Yonezawa, a snow-white angel born in Osaka: let’s huddle our hearts in a circle and build her together. Whoosh!”

K: Oh, that’s—

C: That’s, what is that?

K: Yone-chan just, we have a segment about making Yone-chan into an idol,

C: Uh-huh. Ah.

K: and that’s the intro.

S: Yes.

C: Okay.

K: So, if you would.

S: Oh, but you can say your own name instead of “Madoka Yonezawa.”

S, K: (laugh)

C: Wait, what’s the deal? Is this some project that’s going on?

S: Well, there’s a segment,

K, C: There’s a segment.

K: and here’s the introduction, which is

S: the introduction is in the Osaka dialect,

K: in the Kansai dialect.

S: Yes.

C: Ah.

K: So, it’s your turn.

C: Okay, then, I—but no one wants me to be an idol.

K: That’s not true.

C: This, this—

K: We want to hear you do it, Sugiyama-san.

S: We want to hear.

C: Wait just a second, sorry,

K: If you do it, then I’ll do it next.

C: the staff are also saying on the talkback that they want to hear me do it.

S: You’re very popular.

K: Everyone wants this.

C: All right, how—this sentence ends with “arinsu”?

K: Arinsu.

C: All right, all right.

(23:00)

K: So,

C: What do I do about the name?

K: use your own name.

C: My own name?

S, K: Yes.

C: All right.

K: Your time to shine now. Let’s have it!

C: “With chubby cheeks and a takoyaki smile, you and me make a perfect pair. Noriaki Sugimura, a snow-white angel born in Osaka: let’s huddle our hearts in a circle and build him together. Whoosh!” Are you serious!

S, K: Cute!

C: Oh, wait, wait, wait, though. If this is how we’re doing it, then we need to have Nabatame-san read it in a cute voice, too.

S: Ah!

K: Well, I mean, every week I—

C: You do it?

K: I hear it, I hear Yone-chan say it.

S: Right, right.

K: So I can just do it like Yone-chan does it.

C: No, come on, originality. Let’s have some originality.

K: No, I can do it like Yone-chan. I’m good at impersonations.

K, C: (laugh)

S: Please do.

C: All right, don’t forget to say “Hitomi Nabatame” instead.

K: “With chubby cheeks and a takoyaki smile, you and me make a perfect pair. Hitomi Nabatame, a snow-white angel born in Osaka: let’s huddle our hearts in a circle and build her together. Whoosh!”

S, K, C: (laugh)

S: Are you mocking me!

(24:00)

K: I’m not.

C: You’re kind of dissing her.

K: I’m not dissing her.

S: You are dissing me!

K: Respect. It’s all respect.

S: Terrible! You’re terrible! Man.

K: No, no, listen, I just love you so much, Yone-chan, I can’t possibly imitate—

C: All right, all right.

S: Well, I got to hear Sugiyama-san do the introduction, so I’m content.

C: No, not at all.

S: Thank you.

K: Thank you.

C: Don’t mention it.

S: For playing along.

C: Yes.

S: Now, since Sugiyama-san is our guest this week, we have a special segment prepared. We call it—

K: Let’s Dub In Some Chatter!

S, C: Yay!

K: So, what is it?

C: Yeah, what is it?

S: Well, with the three of us here, in a setting that’s very similar to dubbing, we’re all going to perform some background chatter, taking direction from Sugiyama-san.

C: Huh.

K: Oh, and after each performance, we’ll get an evaluation from him.

C: Why me, though? Why? You have a director.

K: All our members can enjoy, as they’re thinking, “Oh, so this is how they record chatter. Hmm.”

S: Yes.

C: All right, all right, got it.

(25:00)

S: First of all, we actually have

K: Oh.

S: audio of Sugiyama-san giving advice during the recording of the WHITE ALBUM2 game,

C: You seriously have that recording?

K: It’s here.

C: Whoa.

S: so let’s start with that. Here.

 

Yes, please.

Anyone who knows English, anyone who knows English.

C: It can really be anything. No one is going to be listening that closely, so don’t worry about it.

It’s all going to be mixed in together.

Okay.

You don’t have to be super confident with it.

Okay.

Just try saying something.

C: If you feel like there’s any chance you could swing it.

All right, we’re starting.

C: All right.

Three, two, one.

 

S, K, C: (laugh)

S: Was this for a foreign location?

C: It was an airport or something, a foreign airport

K: An airport scene.

C: scene.

S: Ah.

(26:00)

C: And,

S: A lot of “Okay, okay.”

C: well, everyone’s English was pretty awkward, but I thought that actually made it kind of charming.

K: Yeah. Just from listening, though,

S, C: Uh-huh.

K: I can definitely tell this is somewhere abroad.

S: You could tell.

C: The atmosphere came through.

S: We could hear some of Mochizuki-san’s talkback, too.

K: We could.

C: Pretty clearly.

S: Right, that’s what it’s like.

K: That’s what it’s like.

C: Yes.

S: That’s how background chatter is done.

C: Right.

K: Wow, I’m a little nervous now.

S: Right?

C: Do you do much chatter for radio?

K: Not really.

C: Not really.

S: And definitely not with only three people.

K, C: Yeah.

S: It’s more like ten or so people creating a roar.

C: Right, right, right. A lot of people,

K: Yeah.

S: Right.

C: is what you have normally, but—

S: Yep. It’s a little daunting, but why don’t we get right to it?

K: Should we?

K, C: All right.

S: Our first chatter setting: The gymnasium, right before the school festival concert starts.

K, C: Ah.

K: What should we do, Sugiyama-san?

C: Well, so, this is the audience side, right?

S: Yeah, yeah.

C: All right, all right. The audience. Okay, what sort of plan should we—

K: Give us advice.

S: Advise us.

C: Before the advice, we should make a plan so we can act together.

(27:00)

K: What!

S: Our chests are swelling up with anticipation.

K: Swelling up. Right.

C: Yes. Well, so we could think about who we’re there to see.

S: Oh, okay.

C: Right? Why are you here? Whose

S: Right.

C: playing or singing do you want to see? I think that should be our basis.

K: Yeah, yeah.

S: So, who?

C: So, who?

K: Well, it’s the school festival concert.

S: It is.

K: So, I think,

S: Uh-huh.

K: I’m going to be someone who wanted to see the drama club perform, but made a mistake and showed up at the concert time instead.

C: By mistake, someone who’s there by mistake.

S: Then,

C: Uh-huh.

S: I’ll be someone who needs to go to the bathroom, but the next performance is about to start, so I’m torn.

C: All right, all right. I’ll be, I’m a student who’s here to support Kazusa, but I don’t really show it, I’m just secretly excited.

S: Excited, oh, because you’re on Team Kazusa. All right, there we are.

C: Hang on, hang on, hang on. At this current level of scene-setting, I’m foreseeing some seriously boring chatter.

(28:00)

K: Well, we can’t help that! There are only three of us!

C: Couldn’t there be, you know, some sort of high-pitched cheering or something?

K: Okay, I’ll put some high-pitched cheering in there somewhere.

C: Somewhere. (laughs) Where, exactly?

S: Somewhere. But you’re the one who’s there by mistake.

C: The one who messed up. I don’t know what kind of cheering that would be.

S: All right. Well, if we’re all ready,

C: Right. Right.

S: let’s go for it. The gymnasium, right before the school festival concert starts: begin!

 

K: Oh, phew, I hope I made it for Romeo and Juli—that’s not Romeo and Juliet. Wait, is this the concert?

S: Ah, oh, man, it’s just about to start! But my stomach, my stomach hurts a little. Do I have a Stopper or something? My stomach is—

C: This is gonna be so great. I wonder what she’s wearing today? Hey, whoa, don’t push me. Ow, that’s my foot—

S: Kyaaaaa!

K: Wooooo! Bring it on!

 

S, K: (laughs)

C: That was so disconnected. So disconnected.

S: We were all just talking to ourselves.

C: You can’t use any brand names.

K: What? Who did that?

S: I did. I said, “Do I have a Stopper or something?”

(29:00)

C: (laughs) You can’t do that.

K: You can’t do that. They tell us you’re not supposed to use brand names in background chatter.

C: For chatter, you can’t mention specific product names.

S: It’s fine. We’re on the radio.

C: Right, we’re on the radio. But for the real thing, you can’t. Oh, that was an outtake.

S: An outtake. That was an example of what not to do.

C: What not to do, an example, okay. Of course.

S: Yes. That’s what we just did.

C: All right, everyone, you have to try—try not to mention any brand names, or anything associated with any trademarks.

S: Yes, teacher!

K: Yes, sir!

C: Next, then, how should we improve on it?

K: Oh, yeah, what should we do?

S: What should we do?

C: Well, okay, since we were so scattered,

K: Ah.

S: Right.

C: let’s all be there to support one person this time.

K: Okay.

S: Ah.

C: Haruki, let’s say—let’s say we’re all there to cheer for Haruki,

S: Okay. Okay.

C: we don’t all have to be at the same level of enthusiasm.

S: All right.

K: Oh, so, we’re here for Haruki.

C: We’re here for Haruki.

S: We all came as a group,

C: We came as a group.

S: so, we could be conversing with each other?

C: Yes. Before it starts, yes.

S: All right. Got it.

K: Okay, well, then.

S: With this feedback in mind, we’re going to give it another try.

C: Yes.

S: Wait, wait, I’m not ready.

C: Calm down, calm down.

S: The gymnasium,

(30:00)

S: right before the school festival concert starts, round 2: begin!

 

C: Oh, they’re about to start.

S: Hope it goes well.

K: How’s Kitahara-kun gonna do?

S: Think he can pull it off?

C: Well, the guy’s been working at it nonstop.

K: Really?

S: Oh, apparently he’s been practicing like crazy. Yeah, yeah.

K: Yeah?

C: Said he’s got massive calluses now or something.

S, K: Oh, wow.

C: Seriously. He hasn’t even been going home, just practicing.

S: Guess we can expect something good, then?

K: This’ll be great.

C: This’ll be great.

S: Yeah.

K: Oh, yeah, he did a song, too—

S: Yeah, yeah.

 

S, K, C: (laugh)

C: Was that a little too plain?

K: I think that’s what you would get in real life.

C: In real life. Right.

S: Right. Yes.

C: In real life. If we were recording for an anime, they would tell the whole group to feel more excited overall.

S: Right.

S: Still, after how scattered we were before, I feel like we managed to make it better and more cohesive this time.

C: Yeah, yeah. It had direction. If there were more of us,

S: Yeah.

C: then it wouldn’t be a problem for a few people to be disconnected.

K: Right.

S: Right.

C: It wouldn’t make sense for a dozen people all to be having one conversation. But with fewer people—

S: A lot of chatter is about making small groups. Yes.

K: Yeah.

C: Right, right, right.

(31:00)

S: All right, let’s go to our next setting.

K: Yes, yes.

S: This is our next one: an airport lobby, as a young man and woman are in the middle of kissing.

K: Ah.

C: All right.

S: So, that’s what we have.

K: Right, what do we do with this?

C: Well, let me think, this is just me,

C: my opinion, but with a young kiss—not a young kiss, a young man and woman kissing, the way you want to stage that scene in the context of the story, which is to say,

S: Uh-huh.

C: whether you stage it as a sweet, lovely scene,

S: Yeah, yeah.

C: or whether having people all around, watching,

K: Yeah.

C: makes it a scene that’s embarrassing for the two people kissing, will impact the background chatter.

S: Yeah.

K: Ah.

S: So, which way do we go?

C: What do you want?

K: Huh.

S: I would be fine with either one.

C: We could just run with it?

S: So, should we do our first round?

K: First round.

C: Just try

K: Run with it?

C: running with it? Yes.

K: All right, then, oh, are we in a group?

S: Yeah. A group—

C: A group.

K: Are we traveling in a group?

C: Well, we’ll say we’re sitting nearby, you know, on a sofa or a bench,

S: Hmm.

C: passengers sitting there, that should be fine.

(32:00)

K: Ah—

S: Should we give it a try?

C: Okay, I guess we’ll each do our own to start.

S: For the first round. Yes.

K: Sounds good.

S: All right. An airport lobby, as a young man and woman are in the middle of kissing: begin!

 

K: Oh, whoa.

S: Look, look. Oh my god, oh my god!

C: Young people this days.

K: Oh my goood!

S: Are they French kissing?

K: Whoa, really? Seriously? Hang on, I wanna see.

C: Hey, hey, hey, stop that. You young ladies have no shame.

K: Mommy, what are they doing?

S: Shh! Don’t look at them.

 

K: (laughs)

S: Our characters just changed.

C: (laughs)

C: You’ve got grandpa here, grandpa going “Stop, stop, that’s just shameful.” It’s like he’s scolding them for shrieking about it. (laughs)

S, K: (laugh)

S: So, how was that?

K: How was it?

C: How was it? On the whole,

S: Yeah. Didn’t feel like an airport.

C: how was that? It, it didn’t really feel like an airport. The airport vibe—

K: wasn’t there.

S: What is the airport vibe?

K: The writer, the writer himself is calling for a retake.

C: We’ve been ordered to do a retake.

K: No way. No way.

C: Airport vibe? Airport vibe.

(33:00)

K: Airport vibe?

S: What is an airport vibe?

C: An airport—probably a slightly louder atmosphere.

K: Louder.

C: Atmosphere. But, if we talk too loudly,

S: They’ll hear us.

C: It’ll sound like we want them to hear us judging them.

K: Ah, okay.

S: Yeah.

C: We just need the volume to be a bit higher than a normal quiet scene,

S: Yeah.

K: We need to be louder.

C: or we’ll be drowned out by the sound effects. The sound effects and music.

K: Got it, got it.

C: So, with all of that in mind, should we organize ourselves again for the next one?

S, K: Should we?

C: All right, what are our characters going to be this time?

K: Huh, I don’t know.

C: What do you want?

K: Characters. Then, I’ll—wait. I was thinking of being a cabin attendant, but—

C: You would pass right by.

S: You don’t have time to stand around and gab.

C: Right. You’re not looking.

K: “I’m going, I’m going, I’m not looking at that.” That’s what I’m going to be.

C: Why are you trying to cop out like that? You want to be done five seconds after we start?

S: Okay, I’ll be a granny, then. A granny.

C: Granny.

K: Granny.

C: Then, let’s see, I’ll be a young poser guy next.

(34:00)

K: What! Okay, I’m a cabin attendant.

C: A cabin attendant?

S: A cabin attendant with nothing to do.

C: A cabin attendant with nothing to do. Now, you have to stand there, and react.

S: A newbie, a newbie.

K: Okay, a newbie. I’ll be a newbie receptionist.

C: A receptionist, ah.

S: Ah. Okay, let’s give it another try.

K, C: Right.

S: An airport lobby, as a young man and woman are in the middle of kissing, round 2: begin!

 

C: Oh, oh, whoa. Gotta get a pic, gotta get a pic. Seriously? Oh, shoot. Let me just check. I’m gonna take another one. Look, oh my god. Spotted in the airport. This is for real.

S: Oh, Grandpa, just look over there. What a sight. What a show they’re putting on. Youth is so wonderful. Well, well—

K: Is there anyone here for the 10:45 flight to Okinawa? Okinawa? Um, over there, excuse me, um, excuse me, oh, dear, um, are you going—are you going to Okinawa?

 

S, K, C: (laugh)

C: What was that?

S: That was all over the place.

C: It was all over the place. We didn’t connect.

K: I think the airport vibe came through, though.

C: Maybe we got the airport vibe? Yeah.

K: It was all over the place because of the airport vibe.

S: That’s right.

(35:00)

K: I mean, I was looking for someone who was going to Okinawa.

C: (laughs) Okinawa. I was a little voyeur punk with his phone out.

S: (laughs) I was a granny who was super envious of young people.

C: A granny.

S: I was.

C: Yes.

S: Well, there are all sorts of ways to do chatter.

K: Right, there are.

C: Right, right, right.

S: You can handle the situations you like however you like.

C: Oh, do you have any chatter horror stories, though?

K: Oh, yeah, constantly. Do you ever get yelled at?

C: Anything like that? Oh, yeah.

K: For standing out too much, or whatever?

S: Hmm.

C: Well, I think the funniest was I was dubbing for a western movie,

S: Uh-huh. Uh-huh.

C: we were doing chatter for an office scene, all recording together,

S: Uh-huh.

C: and I was doing a simple dialogue with an actress from a different agency who was next to me, fairly young,

S: Yeah. Uh-huh.

C: and, at some point while we were talking, she decided that I was her boss, and she said, “Excuse me, could I get a stamp on this?” Like, no, not a stamp. Not a stamp, we’re in a different country.

S, K, C: (laugh)

S: A signature.

C: Yes, she meant a signature. But you can’t exactly signal that with a wink.

S, K, C: (laugh)

K: That’s definitely a thing that happens, though.

S: It happens.

C: Yeah.

(36:00)

K: If you don’t quite have a grasp of the world you’re in—for example,

C: Uh-huh.

K: if you’re doing something a period piece, something really antiquated,

S: Yeah.

C: Yeah.

K: then the language is tricky. Like, say you’re in a castle town or something.

S: Uh-huh.

S, C: Ah.

K: But you get everyone talking like samurai.

S, C: (laugh)

C: Like an Edo-period feeling. Right.

K: Everyone just going “Hrm, hrm” and nothing else. Yeah.

S: The further the time period is from ours—

K, C: Right, right, right.

K: The further away, the harder it is.

C: That’s hilarious.

S: It turns into nonsense.

C: Yeah. Like, why are you talking like a samurai in this high fantasy story?

S: (laughs)

S: Mochizuki-san, how was our chatter just now? Ah.

K: Oh, it was excellent. It didn’t sound like just three people.

S: Excellent chatter.

C: Thank you very much.

K: So, we sounded like a large number of people.

S: Guess so.

K: We did it.

C: That’s awesome.

S: So, I guess that means with everyone doing their own thing, it sounds like more.

C: If it’s separate. If you’re conversing,

S: Hmm.

C: you have to hear the other person, so one person is waiting while the other is talking.

S: All right. So, it’s better to do your own chatter.

K: Sounds like it.

S: Good to know.

C: If there aren’t many people. Oh, but also, say you’ve got a girls’,

(37:00)

C: a girls’ school or something,

S: Yeah.

C: and it’s, “All right, we’re going to record some chatter where it’s all girls! What? There are only two women in the studio today?” Or something.

K: Ah, yeah, that happens.

S: Right, yeah.

C: That turns into a big pain.

K: It’s a chore. Yeah.

S: Hmm. You have to record a bunch of times, and stack them up. Yeah.

K: If you’re having to record four different times, you start to run out of stuff to talk about.

C: Or you’ve got a bunch of veterans lined up,

S: Yeah.

C: and they go, “Sorry, we need children’s voices!”

S, K: Whee!

C: “Okay, fine, I guess I have to do this one.”

S: That does happen.

K: Although—

C: It does.

S: Ah.

C: Sometimes the staff will join in.

S: Hmm.

K: Yeah, all kinds of stuff can happen.

C: Or the manager gets pulled in, you know, if there aren’t many female voices,

S: That, too.

C: a female manager might get pulled in to do it.

K: There are all sorts of stories to be found in chatter.

S: Yep.

C: There are. You should listen for it.

S: Yes.

K: If you’re so inclined, everyone, try listening closely to background chatter.

S: Yes. Thank you, Sugiyama-san.

C: Yes, thank you.

K: Thank you.

S: This has been our special project, “Let’s Dub In Some Chatter.” WHITE ALBUM2 Fan Club Radio

(38:00)

S: The time has come for the ending of our program, WHITE ALBUM2 Fan Club Radio. Now, we have some announcements from Aquaplus. The track list for the Anime Vocal Collection CD, which will be released on the 26th of this month together with Volume 4 of the TV anime Blu-ray set, has been released. In addition to the songs used in the anime, new Setsuna versions of “Yasashii uso” and “Koi no you na,” sung by Madoka Yonezawa, will be included. Please give it a listen.

K: Preorders are now open for the concert Blu-ray to be released on April 23rd, as well as Takeshi Nakamura’s personal art book, to be released on April 25th, so please contact your nearest stores with any questions.

S: The Mini After-story, which comes as a perk with the Radio CD series, can also be acquired with the concert Blu-ray and Anime Vocal Collection set. All information is subject to change. Please check the corresponding official websites for details and the latest information.

(39:00)

S: We have one more announcement. There will be a WHITE ALBUM2 anime marathon streamed live on Niconico on March 14th, beginning at 7 pm.

K: Well, for the people listening, it might already have started.

S: Right. So, go ahead.

K: It’s happening today. Go and listen, go and watch. Yes.

S: Yes. If it’s still going on for you, please go and watch. All right, Sugiyama-san, how was that?

K: Yeah.

C: Oh, it was great. At first, I felt like I was the one guy barging in, I didn’t know how much space to take up, but I wound up having a really great time.

K: I’m glad to hear that. I mean, the male characters in WHITE ALBUM2

S: Yeah.

K: are all pretty popular,

S: Right.

C: Are they?

K: so I’m sure all the people listening look forward to it.

S: Huh.

C: That’s nice to know.

K: Every time we have one of them on. Yeah, it was great to have you here.

S: Yeah.

C: Thank you.

S, K: Thank you.

C: I mean it, I had a really great time.

K: Hey, you should come and hang out with us again.

C: Yes, yes, I would love to.

S: Please do. So, Sugiyama-san, do you have a message for our members?

C: Yes.

C: All right, let’s see. Well, the level of passion and enthusiasm of the fans

(40:00)

C: of this series is very strong, I feel, and I’m so grateful to have been a part of the series itself, and also to get to be involved in derivative projects like this radio show, and feel that support in other ways, through letters and so on. So, I hope all of you will continue to support WHITE ALBUM related works. And I know these two here will keep running a great show on this radio program, so I hope you’ll keep listening, too.

S: Thank you so much.

K: Thank you.

S: You’ll have to come back.

K: Please come back.

C: I would love to. Thank you.

S: All right. We at the show will be looking forward to mail from all our members.

K: The mail address is wa2@onsen.ag, wa2@onsen.ag, and you can also send it from the show’s mail submission form. Feel free to shoot us material for segments, questions for us, or whatever you like.

S: This brings an end to our fan club meeting for the day. We are Madoka Yonezawa,

(41:00)

K: Hitomi Nabatame,

C: and Noriaki Sugiyama.

S, K, C: Thank you, everyone.

K: This program is sponsored by Aquaplus.