They have a humanity inside.Īnd how was the process of designing the characters? Because, of course, they don't exactly look like their classical illustrations. But that concept of eight million gods, I wanted to bring in and hopefully audiences can still relate to our characters, because we still try to write our characters as if they are humans. Although the story is completely made up - it's not like there's a folklore story.
That is kind of like the world of Japanese folklore. I thought it'd be really fun to see an umbrella talking and maybe vegetables having their lives and just a normal, regular classroom and monsters and cat and octopus. "What is Oni?" is really a constant question in the story, and we are in the world of Japanese monsters and gods and they are also afraid of things they don't know. I thought it would be really interesting to just tell this story through almost the opposite perspective. It doesn't have to be anything that others might define, but you can be who you are. And personally, selfishly, I want my son to take this story and then be inspired and find a way to embrace himself uniquely. How is he going to face where he belongs or who he identifies with? What he identifies with? And I felt like the story can be created to inspire people who have that similar experience. He is a Japanese-American living in Berkeley, California. I grew up in Japan and I migrated to United States close to 30 years ago, and I lived through in this country and I worked in the business of Hollywood as a foreigner, as a minority, and I have my personal experience of how people see others that they may not be familiar with.Įven extending to my own child. In the beginning, it was purely just my personal connection to that idea.
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