Princess Principal Official Setting Documents Collection Spy and Seek (プリンセス・プリンシパル 公式設定資料集 Spy and Seek) is a 216 page art book released on June 26th, 2020. It contains character illustrations, art boards, settings design and information, character drafts by Kouhaku Kuroboshi and concept art by Rokushichi. It also includes an image board, an interview with director Masaki Tachibana and a sleeve drawn by Kiminori Nishio, the character design and animation director.
Chapters[]
The Princess Principal Official Setting Documents Collection Spy and Seek art book is organised into 6 chapters as follows;
- Chapter 1: Character
- Chapter 2: Mechanical
- Chapter 3: Prop
- Chapter 4: Background Art & Art Board
- Chapter 5: Character Illustration & Concept Art
- Chapter 6: Director Interview
Gallery[]
Released Art Book[]
Front & Contents[]
Character Sheets[]
Mechanic Sheets[]
Prop Sheets[]
Backgrounds[]
Concept Art[]
Director Interview[]
Machine Translation[]
- Disclaimer: Much of the information in this section was machine translated from Japanese, and may thus contain errors. The referenced links still contain the original Japanese text.
– Page 1 –
Interview with Director Masaki Tachibana & Image Board Masaki Tachibana Director Interview
Profile Animation director/director of the "Ghost in the Shell S.A.C." series. He has been in charge of storyboards and direction for many productions, including "Tokyo Magnets." His directorial debut was with TV series 'Tude 8.0'.
"Spy" x "Steampunk" x "High School Girls"
--- How did the idea for "Princess Principal" come about?
Tachibana: This work started with a group consisting of 3Hz CEO Yuichiro Matsuie, Actus' Shunpei Maruyama, Bandai Visual's (now Bandai Namco Arts') Jun Yukawa, setting researcher Seiichi Shirato, and setting cooperation collaborator Rasenjin Hayami. We started with the concept of a "high school spy girl," and then added fantasy elements to it, leading to the idea of a "magician spy."
So he asked me. Previously, Yukawa-san had told me, "I'll give you the job of directing next time!" and I had done some key animation for a certain anime (laughs). So that's how the offer came to me.
However, when Ichiro Okouchi was writing the script, he pointed out that "if you're going to play a spy, you should leave out the magic." This is because a spy must act without being seen by the enemy and without revealing his true identity. But if he were able to use magic, the rules of this world would become unclear, and he would have to solve crises with magic. That would have created a sense of tension and realism that would have been lost.
– Page 2 –
So we reworked what we had in mind, and after pondering together what elements we could add to the "high school spy girl" story, we arrived at the current form.
However, when Ichiro Okouchi was writing the script, he pointed out that "if you're going to play a spy, you should leave out the magic." This is because a spy must act without being seen by the enemy and without revealing his true identity. But if he were able to use magic, the rules of this world would become unclear, and he would have to solve crises with magic. That would have created a sense of tension and realism that would have been lost.
– Page 2 –
So we reworked what we had in mind, and after pondering together what elements we could add to the "high school spy girl" story, we arrived at the current form.
--- So why did you decide to set the story in a "fictional England"?
Tachibana: After receiving Mr. Okouchi's suggestion, we decided to create a special ability to replace magic. At first, we thought of being able to slip through walls only while listening to a certain piece of music, but it was hard to visualize and we couldn't solidify the vision... Then, after some trial and error between the producers, the idea that emerged was "steampunk."
I myself have always wanted to do steampunk. So I suggested, "If we're going to do steampunk, let's do it in 19th century Victorian England." Okouchi-san also said, "If you have a clear visual image in your mind, that's good," and that's how the final worldview was solidified.
--- Why did you choose the specific time period of 19th century England and the Victorian era?
Tachibana: I had an image in my mind of the mechanical technology of the late 1800s, when steam power first began to develop, and the elegant beauty of that era. I felt that I could do a lot of things visually, so I took on the challenge.
Also, in this era, the worlds in which the lower classes lived and the nobility lived were clearly different, so I thought there would be a lot of things that could be depicted from a social perspective, and it seemed interesting.
From Magic to Cavorite --- London is divided into a kingdom and a republic. The worldview is unique.
Tachibana: Because conflicts with foreign countries involve such a wide range of activities, I wanted to keep it all within Japan. So Shirato-san came up with the idea of a divided country like the Berlin Wall. Inspired by the former East and West Germany, we came up with a plot in which spies compete against each other in a country divided by a wall.
If the country splits into two, it would be royalists and republicans. So was the cause of the split a revolution? What kind of forces are fighting now? As I was thinking about this, the idea came up that "if one side is royal, let's have a princess appear." It seems that Okouchi-san had a "prince and the pauper" structure in mind, and the story turned out to be about two people who switch places by chance, reunite, and try to change the country.
Once this background information about the Kingdom of Albion was established, the direction of the work became clear.
--- Could the Cavorite that appears in this work be a substitute for magic?
Tachibana: That's right. I added "steampunk" to the "high school girl spy" theme, but in the end it's just a casual image. It's really about style and fashion. It can be used as a motif for the anime, but it's also a unique fictional character of this work.
– Page 3 –
It can't be a part of the story. While I was thinking about adding a fantasy element to replace magic, Shirato-san noticed the Cavorite that appears in H.G. Wells' novel "The First Men in the Moon" and told me, "If you use this, you can add a science fiction element." This was the source material for the C-ball, which was given to Ange as an advantage for the main character. Shirato-san gave us a great idea for a fantasy that doesn't destroy the worldview.
--- How did you decide on the settings for the Kayberlite technology?
Tachibana: The fact that it blocks gravity and emits light is just like in the original novel. In the anime, the person using it also glows, but that's just to show who the power of the Cavorite is being used on.
I just wanted to show that Ange was shining. I didn't think that people around her would see that he was shining. Also, if you keep using the Cavorite, it will be too convenient and it will be difficult to create a pinch, so we added a Cavorite cooler.
In terms of points, the weaknesses were not clearly stated. It was only used by a few people. It was in episode 3 that I explained that "it will end up like this" [if it’s over-heated?].
--- Flying battleships and the like are fictional creations of the ideas of the Cavorite. Tachibana: Yes. In this world, flying technology is not yet developed.
At a time when airplanes did not exist and other countries still used balloons, the Kingdom of Albion was able to fly battleships with thick armor thanks to its Cavorite technology. Using this advantage, the Kingdom of Albion colonized the world, eventually becoming a nation even larger than the Roman Empire.
---The director paid particular attention to the art aspects, such as the backgrounds and props. What was it that you found interesting?
Tachibana: When we have meetings about art, I told him to "make it sexy." For example, if there was an overpass or arch, I asked him to make the tram part not just a diagonal brace, but to make it a curved and elegant design. The buildings of that time were in the Victorian Gothic style, and were decorated in detail. I wanted to express that kind of antique world, so I was conscious of elegance and gorgeousness in everything from the accessories to the buildings.
We also tried to avoid making the surrounding area look too new. Because the building represents the era, we worked hard to preserve the atmosphere of civilization while incorporating designs such as pipes and gears.
He gave detailed instructions for the world of not only the upper classes of London, but also the poor in the lower classes. He instructed them to have rounded edges and chipped corners to make the tools look like they were well-used, to give them a sense of life.
– Page 5 –
The story behind the birth of Team White Pigeon
--- The unique way in which lighting using gas lamps is depicted in this work is very beautiful and impressive.
Tachibana: I used gas lamps because I wanted to create a world where electricity was not very well developed. The technology level of this work is about 20 to 30 years more advanced than the real late 19th century, thanks to steam engines and cavorite technology. Cars and locomotives are a bit out of date compared to the time. On the other hand, electrical technology was only used in a very small part of the world.
There are no such things. Telephones are a common sight, and flying battleships use light bulbs, so they are not completely nonexistent. I wanted to create a world where everything except the steam engine is a bit old-fashioned.
I was particular about expressing the light and shadow created by the gas lamps so that I could express the dark atmosphere of the girls. There is a film called "Bano Lyndon" directed by Stanley Kubrick, and it was shot using only candles as lighting. I wanted to express the mysteriousness of the screen like that film in an animation, so I made it while consulting with the cinematographer Masaru Wakabayashi.
– Page 6 –
I used color grading. This is a technique to adjust the colors when the background and character drawings are completed. It is also used in Hollywood movies such as Michael Bay's "Transformers", and it allows you to create expressions that are not possible with film digitally, making the screen look flashy.
--- The concept of a "high school girl spy" was decided on from the beginning, but what were your thoughts on it as a director?
Tachibana: At first, when I thought of spy stories, I had the image of super agents in the Mission: Impossible and 007 series.
Maybe "My Little Pony Angel". However, rather than the thrill of a spy's adventures, I wanted to emphasize the contrast between being a high school girl and being a spy. The girls in this film all became spies for unavoidable reasons. As the film's world view gradually became darker, I gave the characters' backgrounds a sense of reality so that it would be a story about girls trying their best to live. I wanted viewers to think about the way these girls live their lives, asking questions like, "Why do these girls have to be spies?" and "Why do they have to live in a world like this?"
– Page 7 –
--- Were the personalities of the five main characters decided from the beginning?
Tachibana: I thought about the five characters while I was creating the story with Okouchi-san. He came up with their names and positions at a fairly early stage. I don't think I had much trouble with character development. As for each character's story, Okouchi-san gave me an interesting plot saying, "This character has this kind of story, and I want to portray them like this," so I just went ahead with it.
The characteristics and skills were also decided at an early stage. The Princess has the qualities and dignity of a princess, and has information that only she in the royal family can know. Ange is a C-pole. Dorothy is the oldest and the team leader, and is also good at shooting. Chise is an excellent combatant because of her excellent swordsmanship. Beatris is an amateur, so to speak, who asks "What is this?" and has to explain what a spy is. However, if she was a complete amateur, she would be a hindrance, so Okouchi-san gave us the idea of a voice changer attached to her throat that can produce seven different voices.
--- How did you decide on the character designs, including their costumes and possessions?
Tachibana: The designs were also decided on smoothly without much fuss. The first Princess and Ange we received had pink hair. Since the concept of the work was down to earth, I told them not to make the hair color too outlandish. But the designs for the five characters that came up in the second wave were pretty much finished.
I also struggled with the spy uniforms, and when I saw the extravagant clothing of the phantom thief, I initially thought, "Can a spy really act in secret in this?" However, if the appearance was too plain, the animation would lose its luster, so I thought, "I have no choice but to create a world where it's okay for the characters to act in these costumes," and I worked hard to create a screen that would not feel out of place with the character's visuals.
--- Because it's a spy story, there are plenty of disguise scenes.
Tachibana: Disguise is a staple of spies, so I knew I wanted to include it somewhere. The body swap between Ange and the Princess is at the core of the story, and Beatrice changing her voice to become someone else is also a method similar to disguise in a way.
However, in reality, disguise in the sense of "impersonating someone else in appearance" isn't something that happens that often. At first, he wanted to peel off his face and show that he was "actually someone else," but the times got in the way... I can't imagine that latex or rubber existed in the 19th century.
Another example would be disguising oneself as an adult by wearing a two-person piggyback jacket. In that case, the girl is trying too hard to carry the boy on her shoulders, so her clothes are too loose and her hands are small... I thought it would be interesting to depict such clumsy tactics, so I drew it.
– Page 9 –
--- Who was the most difficult to create as a character?
Tachibana: If I had to choose, it would be Ange. She tells a lot of lies throughout the film, like saying something outlandish like "I'm from the Black Lizard Planet." This leads to some interesting exchanges, but if you don't understand why Ange is a liar in the first place, she'll just seem like a personality disordered person. As the director, I had to dig deeper and analyze "Why is Ange a liar?"
After much deliberation, she found the title "The Woman in the Mask." When Ange was young, she was swapped with the Princess, and as a result, she forced her friend into a role she didn't like. From then on, she became a spy, driven by her desire to "see her again." However, she is naturally a timid girl, so she isn't really suited to being a spy. Gritting her teeth and training, Ange eventually came to the realization that "I want to be different from my weak self."
"I am Ange, a black lizard alien," is her "mask" that she created to help her endure hardships and suffering. By reaching that point, the character's consistency was achieved and she was able to delve deeper.
--- Ange is particularly good at showing a variety of different expressions.
Tachibana: Because she is hiding her true identity as a spy, her character changes from story to story. When she is working as a spy, she is cool and unfriendly, but at school she speaks in a local dialect and pretends to be a country bumpkin.
I thought a lot about how to make Ange a laughing stock without ruining the story. When illustrating the comical parts of the scenario, I, as the director, have to think about how they fit with the characters. The way she acts and lies is decided in the story, so I directed her while thinking about how to express her actions and emotions, taking into account her cover as a spy and the life she has lived.
--- The director has drawn a huge number of image boards. Can you tell us how and why these were created?
Tachibana: First, I had to decide what kind of visuals I wanted for this work. Not only the design of the streets and walls, but also how densely I should draw them. I started out with absolutely no clue as to how to incorporate steampunk elements into the world of 19th century England. So, I was asked by Matsuya of 3+z to draw an image board first. I tried this and that, and drew every day, trying different things.
Q: Was there any motif you used when drawing these?
Tachibana: While looking at the streetscapes of the time, I researched steam shipyards and locomotive factories, and combined them. The middle-class British buildings of this era are much simpler than you might imagine. If I had just run pipes through the buildings, it wouldn't have worked.
– Page 10 –
When I asked him to create concept art, I told him, "Don't be too tied up in the times, feel free to draw freely," and we developed it together.
--- What was your first image of a flying battleship?
Tachibana: At first, I used illustrations by a 19th century French painter named Albert Robida as reference. However, as I continued to draw, it ended up becoming too retro and didn't fit the worldview of the work. I tried to make it a bit more modern by using an ironclad ship as a motif, but then the image of Goliath from "Castle in the Sky" was too strong (laughs). I tried to somehow get rid of that image by using ocean-going ships as inspiration for the drawing, but it just didn't work out for me... After trying many different things, I ran out of time, so I asked Katakai Fumihiro to design the mecha and we came up with various ideas to create it.
--- There are many different images of what you envision when using a C-ball.
Tachibana: These were drawn while trying to think of interesting ways to use Cavorite. For example, you could make water float in a sphere to block bullets. A pistol bullet loses momentum in an instant when it enters water, so this is a way to use it by taking advantage of that characteristic. I tried drawing all these ideas, but I didn't really have many uses for it.
Others are flying through the streets, or flying upside down in the air. I drew these while thinking about how to express the feeling of weightlessness.
I had hoped that the camera would follow Ange during action scenes and allow him to move freely, but this didn't come up much.
--- The image board depicts a motorcycle, but that did not appear in the main story.
Tachibana: It's hard to draw a bike (laughs). Even if you make it into a CG, you have to make the rider into a CG, so it takes a lot of money and effort. Personally, I think it's good to be able to make something with an interesting design.
I drew it thinking that it would be good, but I couldn't settle on a good one. Retro bikes already existed in this era, but I wanted to create a bike with an original design that was different from those. In the end, I gave up because I couldn't produce the bike itself. I thought that if I could create a good picture, I would say, "This is good, isn't it?" and use it, but it was unfortunate that I didn't get that far.
--- Finally, to those who purchased this setting materials collection
Please leave a message.
Tachibana: I made this work while thinking about various things and making choices. What about this idea? Can I make this kind of item? In the process of trial and error, there are many things that ended up not being reflected in the work, so I hope to compile them in this book. I think that if you can think about the creation of the work, such as "How was I trying to make this?", you will be able to further deepen your understanding of the worldview of the work.
I hope you enjoy it.
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Differences in Release vs Sample[]
The samples released of Princess Principal Official Setting Documents Collection Spy and Seek before it's release, show that the art book was originally organised differently. The only difference in the release compared to the samples are the page numbers.
