Partial machine translation of Oniisama e Blu-Ray booklet
Riyoko Ikeda (Pages 2-3)
Riyoko Ikeda Biography
 Riyoko Ikeda, Original Creator
 Manga artist and vocalist. Started drawing manga while in college and began serializing "The Rose of Versailles" in 1972, which became a major hit and a social phenomenon, enjoying international popularity to this day. Received the Excellence Award from the Japan Cartoonists Association for "The Window of Orpheus." Other representative works include "The Glory of Napoleon Eroica," "Empress Catherine," and "BeruBara Kids." Graduated from the Vocal Department of Tokyo University of the Arts in 1999 and currently works as a soprano singer. In 2014, she wrote episodes for "The Rose of Versailles" and "The Tale of the Bamboo Cutter," a classic of Japanese literature. In 2009, she was awarded the Legion of Honour by the French government for her contributions to spreading French history and culture in Japan.
Riyoko Ikeda Interview
PULL QUOTE: When the characters start to take on a life of their own, that's when I know I've succeeded.
INTERVIEWER: What inspired the creation of "To My Brother..."?
IKEDA: After finishing the serialization of "The Rose of Versailles," I had decided that my next work would be a historical long-form piece, which turned out to be "The Window of Orpheus." However, the preparation for drawing historical backgrounds took time, so I thought I should write something else in the meantime (laughs). I apologize for using the word "filler," but in reality, "To My Brother..." was born from my own life experience. Therefore, it's an incredibly precious memory for me and it just flowed out of me.
INTERVIEWER: So, is your correspondence with "Onii-sama" also based on your own experiences?
IKEDA: When I was in the same grade as Nanako in junior high school, there were preparatory lectures given by University of Tokyo students. The graduate student in charge of social studies (who was the model for Hemimi Takehiko) was asked by me, just like Nanako, "Will you become my Onii-sama?" (laughs). I was really smitten with the idea of having a 'Big Brother.' It's a different kind of affection from romantic love. Through our letters, I learned about everything from history to religion. When I mentioned my interest in Christianity, he told me, "The uncomfortable truth is that Christianity played a significant role in the last great war, not just as a bystander but as a main actor." I gained so much from those letters and really grew as a person. I even went to the University of Tokyo's May Festival. Actually, the person who's always accompanying that "Onii-sama" is the model for Ichinomiya Takashi. He had the air of a slightly shadowy, delicate young gentleman.
INTERVIEWER: What were you like as a student?
IKEDA: Well, I was pretty bad at sports, but for some reason, I was a hit with the girls during junior high and high school. My junior high was co-ed and maybe it was because I was academically strong, tall, had really dark skin, and lacked any sense of allure (laughs). Even in high school, I'd get letters from underclassmen. After graduating, people often said they were proud to have gotten to know someone like Ikeda-san.
INTERVIEWER: Did you have the entire storyline planned from start to finish?
IKEDA: Not really. Ideas bubbled up as I was drawing. I can't recall if I had everything set in stone, but I had a rough outline, at least. Even the romance between Kaoru and Hemmi was something I came up with on the fly (laughs). With "The Rose of Versailles," for instance, I hadn't predetermined that Oscar and André would end up together. There are aspects where I nail down the details, of course, but characters often start taking on a life of their own. When that happens, I know it's a success.
INTERVIEWER: Nanako may be a crybaby, but she's a strong-willed young woman, isn't she? And Mariko, she was ahead of the curve being a tsundere.
IKEDA: Nanako is a lot like Rosalie—committed and ultimately the strongest, in a way (laughs). Mariko is based on someone I know—a friend whose dad was an erotic novelist. I've pulled in little elements from various people around me. I've poured a lot of facets into these characters. Like Kaoru's literary way of speaking; we actually used to talk that way back in the day. Phrases like "san" and such (laughs). "To My Brother..." is heavily influenced by memories and episodes from my own school days.
PULL QUOTE: The fact that they carefully portrayed the love for Takehiko from a character I hadn't sketched out in the original work—that really meant a lot to me.
INTERVIEWER: "To My Brother…" is a short story, so it doesn't have general popularity, but it does have a very enthusiastic fanbase.
IKEDA: It's interesting how many men are fans! Nowadays, it's not embarrassing for men to say they like shoujo manga. At autograph events, there are quite a few people, men included, who say they love it. When someone says "To My Brother…" is their absolute favorite, I can't help but think they're quite the aficionado (laughs). Women, too, of course. In that sense, I think it holds its own compared to "Rose of Versailles."
INTERVIEWER: And then, it was made into an anime in 1991.
IKEDA: To be honest, I was so busy at the time that I couldn't watch it thoroughly. What impressed me was how they carefully depicted the love between Fuki and Takehiko, something I hadn't depicted in the original work. I felt so grateful for that. It felt perfectly in tune and not jarring at all.
INTERVIEWER: That's a noteworthy point about the anime adaptation. I wish you could have depicted that in your manga as well.
IKEDA: If I had a little more time, I would have liked to draw it myself. I was already working on "Orpheus" during the planning stage, so I felt rushed. I still have more episodes in mind, but it felt like I had to wrap it up forcibly (laughs).
INTERVIEWER: Given what you've said, are you considering remaking your works or creating sequels?
IKEDA: I'm currently working on episodes for "Rose of Versailles," but looking back, my art back then was really not up to par; I even find it hard to reread.
Monologue: Akio Sugino (Pages 10-11)
Akio Sugino Biography
Akio Sugino, Animation Director
Born in 1944 in Hokkaido, I joined Mushi Production in 1964. I worked on animation for 'Astro Boy' and served as the character designer and animation director for 'Tomorrow's Joe.' After contributing to a wide range of projects, I co-founded Madhouse with Osamu Dezaki, Masao Maruyama, and Yoshinobu Kawajiri. In 1980, Dezaki and I founded Studio Annapuru. Since 1991, I've been deeply involved with numerous Tezuka Productions projects. I've had the privilege of collaborating with Dezaki on a multitude of works that have become emblematic of Japan's animation scene, like 'Aim for the Ace!', 'Les Misérables: Shojo Cosette', 'Treasure Island,' 'Space Cobra,' 'Tomorrow's Joe 2,' and 'Black Jack (OVA)."
Looking back at the time of production
Original work
What really stood out to me was the need for artwork that captures the essence of girlhood rather than traditional femininity. Although it's a school drama, the characters come from various backgrounds and face different family issues. I think that zooming in on these facets adds a layer of depth to the story, so it was crucial to depict them thoughtfully. For the color scheme, I opted for lighter and fresher tones, deliberately avoiding strong primary colors. When it came to hair color, I focused on ensuring it did not look greasy, aiming instead for a natural, airy, and silky texture.
Artwork
I focused on maintaining a sense of style and cleanliness, especially in the hairstyles. I made sure to adapt each hairstyle to fit the unique features of each face. If a change in camera angle makes a character unrecognizable, then it's a sign more detail was needed during character design. Creating styles that preserved the characters' youthful appearance was a bit tricky, so the original artists probably had their work cut out for them. At the time, a good number of animators were unfamiliar with the original work and some even struggled with differentiating between male and female characters. So, I practically lived at the studio while serving as the animation director. It's not really an excuse, but looking back, some of the characters do come across as a bit naive. Harmony, in particular, suffered from time constraints and fatigue—I hope you can forgive that.
Characters
I don't want to create or draw characters that I dislike, whether they are villains or minor roles. I believe that unless I come to like the character and understand their existence and actions, I can't say I like them. Ideally, my job is to move the characters as if they were my own limbs. If they end up differing from the original work, that's due to the shortcomings in direction and animation. Subtle differences often result in what's called "artistic deviation." It all comes down to character design. If the design changes gradually due to the staff's effort, it's likely because they are drawing every day and improving. Have you all been able to sense the inner world of the characters? Has Nanako grown? I want to create works that evolve even more, and I continue to think so.
####Osamu Dezaki's Directing Style
I think his techniques were born from works that use sports as a theme. I remember him saying that something akin to athletic ability is necessary for drawing as well. It's not just about making smooth and speedy movements; it involves refining your senses like spatial perception, sense of weight, freshness, sense of direction, and so on. Because this foundation exists, even "still frames" can convey a sense of dynamism. We've employed techniques like using diagonal angles, adding diagonal lines, changing color tones, etc., to craft the screen. Using "still frames" where the wind blows is not a desperate measure due to scheduling but an element that adds rhythm and excitement to the direction.
For animators, drawings full of intricate lines and touches can be a real nightmare —it's a huge time sink and a lot of work. But what sets Dezaki-san apart is his extraordinary talent. He wasn't just a top-tier key animator; he was also a master comic artist and illustrator. In TV animation, I believe he created works that were even more impactful than those by Tezuka.
Thoughts on Osamu Dezaki
Maybe it's just my own guesswork, but I find myself wishing we'd had more discussions and shared more opinions about the work. I have a feeling that Dezaki-san wasn't just emulating established styles like Disney, Toei, or Miyazaki animations. He was committed—putting his life on the line, so to speak—to continually draw storyboards in his own unique way. Even if there was a touch of theatrics or swagger, he was committed to exploring the nuances of human existence through the medium of animation.
(Currently, I am also studying L/O storyboards. I'm awaiting advice, scolding, or criticism from you all.)
Series like 'Tomorrow's Joe,' 'Aim for the Ace!', 'Black Jack,' and 'Dear Brother...'—they're uniquely Dezaki-san's creations. If you find flaws in the animation, just chalk it up to my shortcomings and have a laugh. Please enjoy the unique direction of Dezaki in 'Dear Brother...'.
(June 2016)
Interview 1: Osamu Dezaki (Pages 14-15)
PULL QUOTE: "Us men, we really don't understand women, do we? Sometimes I think they're incredible, and sometimes I find them frightening—truly a world unknown."
After Riyoko Ikeda’s "The Rose of Versailles"
"Dear Brother" was the first project I took on at Tezuka Productions. At that time, I had left my job at Tokyo Movie Shinsha and was working on OVAs like "B・B" and "So Ryuden." One day, I got a call from Kunio Nagayama, a producer I had known since my days at Mushi Production, asking, "Do you want to do it?" I remember saying, "I had wanted to work on original works by Osamu Tezuka. I was made to work on 'Tomorrow's Joe' at Mushi Pro, and even after joining Tezuka Productions, I still can't work on Tezuka's original works." That dream later came true with "Black Jack," but I still haven't been allowed to do anything else (laughs).
In Ikeda Riyoko's original work, I had previously directed the latter half of the TV series "The Rose of Versailles." So it seems like Ikeda remembered me when it came time to animate "To My Brother..." That led me to speculate that maybe she had me in mind for the role.
To be honest, I haven't read much shoujo manga. My experience is limited to "The Rose of Versailles" and "Aim for the Ace!"—both of which I came to know through their anime adaptations (laughs). I was kind of embarrassed that I knew nothing about "To My Brother...", so I went ahead and read the original. And let me tell you, it was captivating. The story is chock-full of self-centered characters, which is totally my jam.
Now, you might think my previous works have a different vibe—take "Tomorrow's Joe" or "Aim for the Ace!" for example. Sure, they're considered sports stories, but what I'm genuinely interested in is not so much the sports, but the human dynamics and the drama. I'm all about depicting drama, so when I encountered "To My Brother...", I thought, "This is drama at its finest!" (laughs). It was like stumbling into an entirely new world, and it was exhilarating. I mean, let's be real, we men don't have a clue about women, right? And that's what makes it all the more fascinating.
Sometimes I find it frightening, this realm of the unknown. I mean, sure, I've had relationships with a handful of people in my life, but that's just a tiny fraction of it. When reading the original work, I let my imagination run wild, thinking how incredible it would be if such beings actually existed. But at the same time, I had to remind myself, "These are humans, just like us."
Before diving into the anime adaptation, I had a chat with Ikeda. She was pretty hands-off, essentially just telling me to do my best. But she did have one specific request: she wanted to keep Kaoru, who dies in the original story for certain reasons, alive in the anime. Ikeda's original works, like "The Rose of Versailles," have this allure; all the characters are struggling to live their lives with gusto. That's why their actions feel believable, and why you can empathize with them. They end up the way they are because they're giving it their all, because they're dealing with their own wounds, and because they're trying to take responsibility for their actions. In that sense, the stories really resonate with me.
Attractive Characters 1: Saint Juste / Mariko Nobuo
The first character who caught my eye was Asakarei, also known as San Just. I was initially drawn to the name "San Just." He's also a killer in "The Rose of Versailles," and that left quite an impression on me. I found him intriguing, but unfortunately, the anime only allowed for a brief exploration of his character, maybe just an episode or two. So I thought, why not present this version of San Just as someone who appears across time in "To Dear Brother"? She's quite the poetic and complex character. Right from the first episode, I had him popping pills. It's a satellite broadcast; we were told we could do whatever we wanted—so why not? 
This work is really about adolescents getting a glimpse into the adult world, right? So, it makes sense that it includes those kinds of elements.
Every character is emotionally wounded in some way, whether it's San-Justo or Kaoru-kun. Nanako is the exception, and honestly, that kind of makes me want to have emotional scars too (laughs). That's the vibe of the story, isn't it?
Mariko Nobuo is such an intriguing character. Her lipstick is iconic. I remember thinking that this series was going to be good when she first burst onto the screen in the first episode. Every work has that one "starting point," and for "Oniisama e," it was definitely Mariko. She's just as compelling in the original material. Her character really nails the emotional turbulence of young girls. There's a strong sense of realism, like how the story about her dad circulates among the characters. The way she quickly cozies up to Nanako is such a feminine thing to do. Men usually have a more distant way of interacting; they have a harder time crossing those emotional barriers. Women, on the other hand, can get super close or even turn that closeness into pure hatred. You get drawn to people who have something you don't, and you want to uncover their secrets. But the moment you realize you can't have that for yourself, they turn into enemies. Everything may seem cool on the surface, but when something sets it off, it's game over. You can't even stand to look at them, let alone hear their voice, and you might even think of stealing their boyfriend. I think that shows how women are often suppressing their "true selves." In my opinion, it must be exhausting for women to always live on that emotional edge. But hey, that's just what I think (laughs).
Blu-Ray Extras (page 30)
① Production Anecdotes ~ Interviews with Stakeholders
Series Composition & Script: Takayashiki Hideo, Kaneharu Tomoko / Role of Onosonona Nanako: Kasahara Hiroko. Staff and cast reflect on their perspectives during the production. Hideo Takayashiki and Tomoko Kaneharu have been involved from the very beginning as the series composers, working on the direction, theme, and coherence of the story alongside Director Dezaki. Valuable insights and episodes from that time have been recorded. Hiroko Kasahara talks about her nearly-debut experiences during that time.
② Exploring the World of Dezaki Osamu through Storyboards
This is a verification video delving into Osamu Dezaki's direction. It features invaluable footage that allows you to watch famous scenes derived from what could be considered Dezaki's lifeblood—"storyboards"—and understand how Director Dezaki was constructing his visual images. You can also learn how he gives detailed instructions on the storyboard for his signature expressions like "still frames (harmony)" and "incidental light." This is an intriguing collection of videos showing how the staff reproduced these aspects.
③ Pilot Film
This is a pilot version produced ahead of the main series. At this stage, the famous line "Big brother, I can't stop crying" can be confirmed as being used. Before the casting for the main series was determined, Director Dezaki worked extensively with Yuko Mizutani, also known as a part of "Dezaki’s group," who provided the voice for this line. Records from February 1991 show that Director Dezaki, Hideo Takayashiki, and Tomoko Kaneharu were refining the narration script for this pilot version.
Enclosed Bonuses
An illustration newly drawn in 2016 by Ikeda Riyoko is featured.
Picture Letter® Booklet (32 pages)
New interviews with Akio Sugino, who served as the animation director, and Fumihiro Yoshimura, who was in charge of direction, are included. Messages and illustrations from Kazuhiko Shimamoto and Hideaki Anno, originally released in the 1993 LaserDisc, have been reprinted. In addition, new comments from 2016 have been added. The "Dezaki Osamu Interview" included in the DVD-BOX released in 2002 has been completely re-recorded.