Q: When you worked with Sonoda Kenichi, you worked with an art style that was more realistic. In your current works, your own style has become much more exaggerated and flamboyant. Which do you prefer and why?

KT: Well, actually, I would prefer to work in the more realistic style more often, but right now the work seems to be in the opposite direction. So, I take what I can get. (laughs)

Q: Character design was a large part of the appeal of SABER MARIONETTE J. Why did the character designs change in SABER MARIONETTE J TO X?

KT: For SABER MARIONETTE J TO X, the director wanted a younger audience, so he wanted a more appropriate look for the characters. That's why they look younger.

Q: Do you have a favorite project?

KT: Well, I really learned a lot from doing the SABER MARIONETTE series. Since I was primarily a doujinshi artist for the last six years before that, this is the show that really got my name out there and established me as a professional.

Q: The two mediums share certain similarities, but realistically there are many differences in producing anime and producing manga. Which medium do you like working in best?

KT: It depends on what you want it for. Anime is definitely the higher profile medium. I prefer having my own freedom to do what I like, but it's really hard to make a living doing that with just a small niche market of fans. I want people to know me and my work, so for that, anime is the better choice.

Q: Do you notice a big difference between Japanese and American anime fans?

KT: In America, fans like things because they really like it. In Japan sometimes, people like shows or manga because it's popular to do so, it's like a fad.

Okuma: The Japanese have a weakness for fads.

Yoko-o: American people tend to stick to what they like.

KT: If viewers and fans don't stick with a show, then no one on the production or sponsoring side is willing to commit to it either. That's why so many sequels and remakes are cropping up.

Okuma: Yet, as a creator in the industry, you have to come up with something new, or you risk being forgotten and left behind.

KT: It's risky to do a single series for a few years now. It's better to not get pigeonholed into a specific area or genre.

Q: Criticisms of the anime industry include that there's too much pressure to produce a hit, not enough funding for shows, and that much of the talent is moving into video games and away from anime. What do you think?

Yoko-o: Yes, it's exactly that way. Honestly, there's no one that can just do manga and survive. Only a small select few. And you can't start from scratch to become an animator, either. And yes, some animators quit and go into the game industry.

Q: If you stopped making money in anime, would you go into games?

KT: I'm going to turn 29 soon; I've spent more than half my life working on doujinshi. Since I've become a professional, I've cut down on doujinshi to work in the industry. So I'd probably go back to doujinshi rather than go into games.