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Interview with Director Kenichi Imaizumi & Producer Yukihiko Nakao “After School Dice Club” which reproduced the board game play and psychology beautifully


interview

Interview with Director Kenichi Imaizumi & Producer Yukihiko Nakao “After School Dice Club” which reproduced the board game play and psychology beautifully

In the TV anime “After School Dice Club” broadcasted from October 2019, the board game that appeared in the original manga appears almost as it is. Even though it is proved by various works that it is not easy to “ animate the original as it is '', in addition to that, it seems that the difficulty seems to be high “ to make the real game appear as it is '' How was the animation created? We interviewed director Kenichi Imaizumi and producer Yukihiko Nakao.

Anime “After School Dice Club” Official Website
http://saikoro-club.com/

GIGAZINE (G):

In the first place, how did the planning for the TV animation of “After School Dice Club” start to move?

Genco Yukihiko Nakao Producer (hereinafter Nakao):

I wrote a plan and launched it. I first touched the board game six or seven years ago when I was taken to a board game party organized by a game company for the first time. When I went there, I knew life games and monopoly, “ There are so many kinds! '', But I was surprised that there were various other board games and it was very interesting when I played it. . A series of comics called “After school dice club” has just begun.

G:

Oh, just right.

Nakao:

If you read it, the story is interesting and the instrumental of the game is polite. Board games inevitably make it difficult to get to know the rules, and they are also a cause of difficulty. You can read the rule book, but it is hard to read along with the instruction manual of the appliance. That's why a game that says “It looks interesting but does n’t reach” appears. “After school dice club” explained it in a short story, and it was amazing.

G:

How did you learn about “After School Dice Club” itself?

Nakao:

I was told that there is a board game manga. It was just when I started buying board games, so I felt like I wanted to read!


G:

How did you go from Nakao-san's knowledge of the work until the project was shaped like this?

Nakao:

I met “After School Dice Club” about six years ago, but at that time, I was not a producer but a director and was not in a position to launch a work. So, it might be strange, but once I lay it down. Over time, there was a time when the popularity of board games grew at a stretch, whether it was the boom of board games about three years ago.

G:

There was a time when it spread all at once.

Nakao:

If you start talking at that time, there will be people who ride.Leiden filmEdo-san was also a member of the board game. I used to talk about “I want to make board game animation. I hope I can do it with Leiden film”, but Edo-san introduced Mr. Hashimoto of the same Leiden film, “I made such an animation with Leiden film. I told you two years ago. That was the first time I worked with Leiden.

G:

When was the time when I spoke with Director Imaizumi?

Director Kenichi Imaizumi (hereinafter Imaizumi):

I think it was around March 2018. About a year and a half ago.

G:

According to an interview published in "Repotama!"Until I read the comics, I lived in a state where I didn't recognize board games.There is. What was your impression of reading the original?

Imaizumi:

Because it was a human being who didn't know anything, it feels like there is such a world. In the same way as works like “Yurukan △”, which introduces things and things that ordinary people don't know so much in anime and manga, for example, “I may not know but there is such a world. I thought that it was a work that I enjoyed with the story.


Nakao:

I thought that if I could do this work, I would have to be able to express the psychological warfare unique to board games.

Leiden Film Toshi Hashimoto Producer (hereinafter Hashimoto):

I received an order and I spoke to Imaizumi. Therefore, Imaizumi was chosen because he was able to have so much thought about the work.

Nakao:

If Imaizumi was originally an animator and the picture was messed up, he could do a precise character description. At first I thought that I might be refused honestly.

(Laughs)

Imaizumi:

No (laughs), I'm not good for horny guys, gros, and handsome guys, but I thought I would do it if it wasn't.

G:

For director Imaizumi,Shoka TanakaIn the interview thatThis is an instruction from Kenichi Imaizumi and other seniors at Artland, but the animator's picture is only a means of expression. What animators need is the power of layout and theatrical performance and the ability to draw with it. I have been taught that the personality of the person is something that comes out of that. What is important is what to express with a pictureI saw a name appearing. Is this the feeling that Artland taught “this is it”?

Imaizumi:

I did not say such a noble story as it is “ This is it '' (laughs)

(Laughs)

Imaizumi:

With himKatekyo Hitman Reborn!I had been together for four years, so I was talking about going back behind his seat. In such a case, I think that he was able to take his own way out of stupid stories and chats that I did not say with a serious nori. As a work partner, as a companion who eats the same kettle rice, respect is exaggerated, but you can't work without trusting each other.

G:

What is the part you thought you should keep in mind when making a picture at “After School Dice Club”?

Imaizumi:

In the case of comics, you will read what is printed in black and white.Sugorokuya"When I went to the location, it was a" color flood ". In response to the first impact, first of all, if I couldn't reproduce the board game shop properly, I thought that people who see it would not be able to enter the world. As a result, the shop of “Saikoro Club” has come out only occasionally (laughs), but in the first episode it is a key place, and the number of talks after that comes out at the required place I think it would be okay if this is suppressed.

"Dice Roll Club" is clearly depicted in the key visual


Nakao:

The first impact for me is the same as the director said. When I entered the store, “What a colorful different world!” The atmosphere is very different, and the board game packages are often European, so you can't read what the title is written at first glance. I thought that if I didn't tell people who were watching this first impression, I wouldn't be able to see the rest. It was a nice part for me to have reproduced it wonderfully in the first episode.

G:

The first time you enter the “City Rolling Club” in manga, it ’s very sesame and has an impact.

Nakao:

There are board games all over the store, and it feels like you've been drawn into a different world.

G:

Did the staff decide the director first, and then around that?

Imaizumi:

Since there was an audition of character design first,Yuko IbeWas in. Regarding this work, since I am an amateur of the game, I think it was important to know how much preparation you had before the director. Producers and manufacturers who were able to use the design of the real box instead of “ similar and non-similar '' even if it was a board game box lined up in the store that I mentioned earlier However, it means that I put that much feeling into this work. First of all, they made a clay ring. No matter how much you say "I want to reproduce", you can't do anything with it. Rather than doing something as a director, I think that the producers had a spirit and a willingness to "engage and express the whole board game world" and I was able to get on there.

G:

Did you have any pressure to do it?

Imaizumi:

I always do that, but if there is an original, it is assumed that "the original fan must not betray". On top of that, I think that the work that I am entrusted to is safe if I can express the part that I thought was interesting.

G:

Earlier, there was a story about first impact, but what part did Director Imaizumi read and read “this is an interesting point”?

Imaizumi:

I'm sure it was the same as you (laughs) Middle roadIt is not only that the teacher's knowledge about the game is included, but the game exists in parallel with the story, synchronizes well with the anxiety and emotion of the character, and the feeling is solved when the game is over The two things connected to one can be experienced together with the game. That's a well-developed work.


G:

Even in anime, a game came out for each story, and the installation was performed, but the impression I received was different from the time of comics, and it seemed to be easier to understand. Is there anything that you devised in addition to the original?

Nakao:

The instrument itself is quite faithful to the original, but as I mentioned earlier that it was troublesome to read the manual (laugh), I think that “ the power of voice '' is added . The power is necessary to read the letters, but it is the difference that someone is talking about it. This time, there are three main characters, but Midori is also in charge of explaining the game because he works as a part-time worker at “Saikoro Club”. However, this time a problem unique to anime comes out, and if one of them keeps talking, the flow will stop.

G:

Oh, I see (laughs)

Nakao:

In that respect, the cut split is exquisitely done in the work, the expression that listens to the explanation is included, the hand of the match enters, the person who is watching is Aya and You can feel like listening to the instrument with Miki. I think this is an exquisite balance. If you do it, it may be that it was only a description of the game for 30 minutes (laugh), but it is compressed well, the game is half part, and the story is developed I think is the skill of the director.

Imaizumi:

The power of animation is to be able to move with color. Of course, there will be a voice play, but there are parts of the board game that cannot be seen with black and white alone. For example, the game "Celtic" that appeared in Episode 8 has five different paths, but I thought that this is an area where animation is good.


Imaizumi:

I don't have any trouble remembering the direction of the instrument … It was almost the same as the original, and I thought that I could naturally choose the method that suits the situation, such as using speech balloons or inserting simulations.

Nakao:

The director asked me not to play role-playing in the story.

G:

When it comes to in-depth role play …

Nakao:

When you are playing “Gokuburi Poker”, the characters enter the world where there are pests, or they actually dive into the ruins with “Inca Gold”. Since the viewer is confused and I do not know what animation it was, I requested that I do not break the body that “ this child is playing a board game '' to the last . So, even if you are watching, I think that it is something that can be inserted without any sense of incongruity.

G:

In the interview with the original author Nakamichi and Director Imaizumi published on Rooftop,In animation, we deal with how to put out information. Whether to show all of your hand or hide it only with emotion"Are there any other productions that you are particularly careful about to express the atmosphere of your play or your character's feelings?"

Imaizumi:

First of all, the original has become the world of characters that move emotions properly. There are things that each bear, and it's not just fun. I'm not just saying that I played the game and won and lost. It may be possible to follow only the board of the game, but it's good for those who like games, but for those who are not, the story will be overlooked. I always think that the original is easier to understand, but in order to do that, you have to follow the expression exactly.


G:

Is it an expression?

Imaizumi:

I always say “face”, not just this one. Animators and sometimes directors sometimes leave expressions.

G:

What does it mean to leave?

Imaizumi:

There are other things I put in, and sometimes I forget to hold down the facial expression. It resembles the smile on the character table, but even if the mouth laughs, the eyebrows are not so. Also, because there are many original artists involved, it may not be possible to grasp the scene before and after the scene in charge, and the facial expression may not work well. I think that the director check is a facial expression check. As a result, I also do a perspective check, but the emphasis is on the facial expression check.

Nakao:

The details of this work are solid. Basically it's fun, but they are worried about each, so sometimes it comes out. I am looking forward, but I have a problem. It can be resolved by playing the game. Although it looks like “I was glad to win the game”, it seems that the troubles and problems are solved when I look at my facial expression. If it is a normal scenario, I will explain all that part in words, but in this work I do not want to do that, so I show that I have grown up with a facial expression. That's why it won't happen if the expression collapses.

G:

I think that it was an interview received at the same time, but in an interview posted on “Repotama!”A new game appears every episode, and the character's feelings are carried through play." Do you have any particular points not only for facial expressions but also for putting your emotions on top?

Imaizumi:

When the production of the work was over, there was a story of the first episode and the second episode that I drew by myself, so if you think so, what kind of cut it is and then read it again, the original is like this Although I'm making it simple, why did I do so difficult things (laughs)


G:

(Lol)

Imaizumi:

I already drew the story from episode 1 and episode 2 about a year ago, so I have forgotten about it myself. Of course, when drawing, I'm serious, and I'm sure I drew some conclusions and drawn like that, but after a year it seems like someone else (lol) At that time, it was always “ assembled like this '' It should have been the theory, but I already finished the work so I forgot it already (lol)

G:

Does that mean that it is not a methodological drop?

Imaizumi:

There are “things that must be drawn then” in the work. It may be in my mind, or it may be prepared at the time of the original, but I think I can use any hand to draw this. I don't think of "I should do it like this", "I shouldn't make such a cut", or "I am not suitable for this work". For example, I think that there is no forbidden person in me, apart from the deciding factor of the video like “Protecting the imaginary line”.

G:

You have been involved in anime production for a long time, how did you increase the number of such productions?

Imaizumi:

I think I'm doing too many works (laughs) I've been working on various types of works not only as directors but also as animators, directors, and directors. I'm not a young person who said that I was young enough, so I've looked at various ways of directors, but there is nothing wrong with what people are going to do. I think that is why it is supported. That's why I think I should do this time from what I have seen.

G:

Oh, I see.

Imaizumi:

There are various conditions for making a work, such as the scale and the number of cuts. When I received it, I would n’t say, “I ca n’t help, it ’s not my fault.” I think about the best of the conditions. This time, I changed the scene in black sesame, but this was something I had never done in my past work. Usually, it shows the background and shows the passage of time, but it is also possible to improve the tempo. If there is something like "I don't use this technique," that's where I don't have enough knowledge (laughs), and I use whatever I can do.

G:

Mr. Nakao nodded very much (laughs)

Nakao:

Anime always increases the number of daily plays compared to other genres. Even with one action of “entering a store”, you first show which store you want to enter, and then the character enters the store and takes a measure. I also don't need that much (laughs)

G:

(Lol)

Nakao:

I wonder what happened here, even if I don't explain it, I can understand it. (Laughs) Of course, it's not totally denied, but it's good if you put music in the sense of raising your emotions, but you don't need to put it if it doesn't make sense. That is why it has become blackish. I think it's great that this omission was within the 30 minute frame.

G:

In this work, the paintings and productions are fine, but it is impressive that the voice actors often match the characters. In the interview, Director Imaizumi replied, “I didn't look at the profile, I chose it simply because it suits the character with the play and voice quality,” but I chose to emphasize what aspect of the play and voice quality Did you go out?

Imaizumi:

When reading the original, the most difficult thing isTakanoI thought it was Aya who played. Aya is a locomotive girl who is brighter in the brain weather and speaks more positively and pulls everyone, but there are life-size worries and a burden on the past. It's getting brighter, but it's difficult because it looks like it's easy to do it at first glance compared to Miki, whose weakness is on the pillars, and Midori who is pursuing a dream while tasting a frustration. Let ’s go.


Imaizumi:

Miki has the same opinion,MiyashitaI think it was decided that Mr. was exactly Miki.

Nakao:

I think Miki has decided the most easily. I was born in Nara and could do Kansai dialect. Of course, the words in Nara and Kyoto are slightly different, but they are easy to enter without being uncomfortable. It was almost at the same time that the original teacher and director Nakamichi said “Like” with a gap between the voiced voice and the bright part.

Imaizumi:
TomitaThere is also an episode that can be said to be a protagonist in Ms.'s midori, so of course the emotional play can be done properly, but since there is a long instrumental reading, we considered whether you can talk without hesitation.


G:

I see, that's what I saw. Original story Nakamichi-san said, “Episode 5 is a very thoughtful time that I asked for a major change in the scenario. Please enjoy the unique development of anime that is different from comics. This story was a little different from the original, as it was tweeted. When did you decide on this change?


Nakao:

From the time of the first series composition, “Talk to Noto” is an irregular story and there are many things that must be done in the work, so even if you travel, keep all the elements of the original I was talking about not going. So Nakamichi-sensei said,Got itI was directly told that I would like you to include "


Imaizumi:

The first time I met you was to ask for the “going” story. I told you that I want to see you all the time.

G:

(Laughs)

Nakao:

At first, I was in the middle of editing, but Nakamichi-sensei said, “This is a story for the director.”

Imaizumi:

At first, remove “Gita”Doble" The Noto trip itself was also the first episode of swimsuits, and I decided to include it, but I did n’t know that it was a game that the teacher was so fond of, I heard, “I see.” The scenario has been developed up to the fifth draft.


G:

After all, it was a specially designed time.

Imaizumi:

The most difficult thing was that it was a battle that was not “original” in the original game. What should be done for the battle game including Takashi, and what should Miki do to cover well? I decided to do it several times, including the question of whether inspiration during the game would be good with eye contact.

Nakao:

It's a two-person collaborative battle, and the game and story synchronize in terms of how to convey your thoughts to the other party. The game that appears in the original makes a game record as it appeared in the work as it is, but this time “ Goita '' developed not in the original, so how to get to the final feeling I made a game record in reverse. "Preservation party for Noto"I would like to make sure that Takashi and Miki's feelings are aligned around here."

G:

(Lol)

Imaizumi:

What I thought of when I saw this “After School Dice Club” in rush check and V edition was “early” that I can't think of it as a standard scale work on TV. Of course, in a good way. The number of cuts is about 280, so the tempo should be worse than a work with about 350 cuts.

G:

That's right.

Imaizumi:

When you have finished watching any number of stories, you feel like "Is it over already?" This wasn't intentionally made, and as a result, I think it was a good roll. Because it is not a human who can calculate from the beginning of making (lol)

G:

Is it because you are so enthusiastic and look at it? It seems like the A part is over and the ending comes. And the story is also orthodox because the first episode is introduced, but after the second episode, every time you repeat the story, the part that sticks in your heart will come out or it will be inferior …

Imaizumi:

Regarding the composition, I think that it was a way of choosing “I have to choose this number of stories” after completing one course. I think that it should have been possible to replace it here, but it was possible to develop it almost completely. Of course, as the original teacher Nakamichi-sensei, I think there were a number of stories that said “This episode is hard to throw away,” but it is the best that only 12 can be made. this isMaekawaThere is also the power of writer and producers.

An animation “ After school dice club '' series composition that shows that it can be said that “ working is also a job '' Interview with Satoshi Maekawa-GIGAZINE


G:

こういう構成になったことについて、プロデューサーとしての感想はどうですか?

中尾:

原作7巻までの内容で作るということだったので、全12話として考えると、1巻あたり2話しかピックアップできないんです。そこでどの話をピックアップするかと考えると、結局、3人が絡む話をピックアップしていくしかないんです。ゲストキャラの方に傾けすぎると、この3人の心情を描けなくなってしまうので。


G:

確かにそうですね。ということは、話数の選定はわりとすんなりと進んだのでしょうか。

中尾:

シリーズ構成の前川さんがボードゲームをやり込んでいる方なので、「このゲームなら、こういう感情の動きになるからお話として成立するよね」ということをわかっているというのが大きかったと思います。置き換えたものもありますが、それもすんなりできました。

G:

なるほど。

中尾:

ファンの方から「あの話のゲーム、本当はコレじゃないのに」と言われるんじゃないかという心配もしていましたが、納得してもらえるだけの材料を揃えて作ったつもりなので、そこはわかっていただけたのではないかと思います。

G:

キャラクターデザインを担当している伊部由起子さんが「アニメさいころ倶楽部、そろそろミキちゃんが左利きな事に気付かれた方いらっしゃいますでしょうか。これは中道先生から直接伺った設定(希望)で、キャラ表だけでなくコンテにも常に注意書きされています。画面上曖昧にしてる所もありますが、かなり頑張って統一してあるんですよ」とツイートされていて、確かにミキが左利きとして描写されていることに気付いたのですが、ほかにも「実はこういう設定をきっちり反映させている」という部分はあるのでしょうか?


今泉:

ミキの左利きについては、原作を読んでいて「この子、ごはん食べる時も他の時も、いつも左手を使っているような気がする……?」と思って中道先生に聞いてみたら「ちょっとキャラを立てたかったので」ということだったので、これはコンテの段階から気をつけないといけないなと。そこをお任せにしていて、うっかり右利きで描いてしまったら大変なので。

中尾:

あとは、アヤのピアスですね。原作で、プレゼントとしてもらう回があるんですが、そこは入りきらなったんです。第3話までは緑色のピアスをしているんですが、第4話からは白いピアスをしていて、作中では一切触れていないんですが何かがあったんだと(笑)

G:

原作を読めばわかるぞと(笑)

今泉:

本編で触れる代わりに、第4話のアイキャッチで新しいピアスをつけているところを入れていて、「わかってくださいねー」という作りにしています。

どんなアイキャッチなのかは以下のツイートで見られます。


G:

そしてこれは本作で最初から気になっていたことなのですが、実在のゲームが多数登場していますが、これの許可を取るのは大変だったんじゃないでしょうか。まさか、すべて実物のゲームが出てくるとは思っていませんでした。

中尾:

いやぁ……ほんっとに、大変でした。

(一同笑)

中尾:

僕もいざ許可を取る段になってわかったんですが、ボードゲームって大手の数社が一手に手がけているというわけではなく、様々なメーカーさんが個別にやっているんです。それこそ、個人や夫婦でやられているようなメーカーさんもあって、アポイントの取りようもなかったんです。

G:

小さいメーカーさんだとそういうことも……それはどうクリアしたんですか?

中尾:
ゲームマーケットに行って、実際にブースに足を運んで名刺交換して、後日改めて挨拶にうかがって、という流れです。

G:

「『放課後さいころ倶楽部』のアニメを作るんですが……」と。すごいですね、どうやって許可を取ったんだろうかと思っていたら。

中尾:

宣伝になるということで、基本的にみなさんには温かく迎えていただいて許可もいただけました。箱の展開図のデータをいただいたので、3Dで作成したお店の中にテクスチャで貼っています。

G:

すごい画面密度だと感じた要因には、そういうところもあるんですね。

中尾:

よく、パロディ商品というか、実在の商品の名前をもじったものを出しているケースがありますが、そういうことはやりたくなかったんです。本作ではお願いして、実際のパッケージそのもののデザインを使わせていただいているので、画面内にちらっと映ったゲームでも「やったことがあるゲームがあった」と反応してもらえるものになりました。


G:

CMも、他のアニメでは見ないようなものが入っていますよね。

中尾:

今回、ボードゲームメーカーさんに大きな協力をいただけたおかげですね。放送局の中ではTOKYO MXさんで流れたCMが特にバラエティ豊かで、すごろくやさん、JELLY JELLY CAFEさん、アークライトさん、ブシロードさんと入っていて、CMまでボードゲームづくしです。

G:

あと、オープニングとエンディングで、深夜アニメとしては珍しく歌詞が表示されていますが、これはどういった意味があるのですか?

中尾:

放送局がABCテレビさんで、担当が「プリキュア」とかをやっておられる方なんです。「プリキュア」でオープニングとエンディングに歌詞が出ているのは子ども向けだからなんですが、「放課後さいころ倶楽部」も放送時間帯こそ深夜ですが、家族や子ども向けの作品としても問題ないものなので歌詞テロップを出さないかというお話をいただいて。

G:

そうだったんですね。

中尾:

監督に確認を取ったら問題ないということだったので、入れてもらいました。

今泉:

はい、僕はまったく気にしないから大丈夫です。

G:

エンディングは映像も変わっていますが、あれはどのように生まれたのですか?

今泉:

あれは僕ではなくてプロデューサーさんですね(笑)

中尾:

僕でもなく……(隣に座る橋本プロデューサーを見る)

橋本:

エンディングは私が担当しました。映像については、江戸の方が事情に詳しいです。

ライデンフィルム 江戸秀州プロデューサー(以下、江戸):

僕がエンディングアニメーションを担当している白石慶子さんと知り合いだったんです。白石さんはアニメのオープニングやエンディングなどに特化された映像作家さんで、ボードゲームのことも好きな方なので、お願いできないかと声をかけたら、あのエンディングを作っていただけることになった、という形です。

G:

それで、ボードゲームへの理解が深い映像になっているんですね。

江戸:

いろいろなボードゲームのイメージと、ミキがいろいろな人に出会っていくというイメージを合わせています。

中尾:

なので、エンディングはよーく見るとボードゲームのパーツがいっぱい出ています。

G:

ちらっと出るシルエットですら「これ、見たことある形だなぁ」と思っていました。

中尾:

許可を取ったボードゲームの中には、作中に登場するものだけではなく、エンディングにだけ登場するというものもあるんです。ボードゲーム協力で名前の入っている「テンデイズゲームズ」さんは、テレストレーションという絵を描くゲームを出しているんですが、「エンディングに2秒ほど映るんですが……」と。

G:

(笑)

中尾:

「ちらっとなんですが、いいですか?」「いいですよ」ということで許可をいただきました。

G:

放送はまだ続きますが、制作は終えられているということで、作り手としての手応えはいかがでしょうか。

今泉:

キャラクターたちの成長といったストーリーとは別の「ボードゲーム」という大きな柱を扱うために、他の作品ではないようなチーム戦のような感じがありました。ボードゲームを表現するためだけにいろいろなメーカーさんから素材などをいただいて、そのためにプロデューサーさんが交渉して、ゲームを表現するためにライターさんたちが知恵を絞り、背景さんや撮影さんも力を尽くしてくれました。このことについて誰もイヤだとかめんどくさいとは言わず、「ボードゲームを表現するために」と向かってくれました。棋譜についても、助監督の伊東さんが確認してくれて、スタッフみんなが協力したことであの画面ができたなと思います。僕なんか「表情、表情」とチェックしていただけの脳天気な人間ですから(笑)、みなさんのおかげで大きな柱が守られたのだと実感しました。

中尾:

僕はもともと演出だったこともあって、監督からコンテがあがってくるといろいろな確認をするところから入るんですが、今泉監督とはまるでシンクロしていて、口を出すようなところは何もありませんでした。こんなにも意思疎通できる監督との仕事で、本当に楽でした。それに、監督の意思表示が現場で明確に伝わっていたからこそ、やっていることにブレがなく、同じ方向を向いて作ることができました。そのおかげで、見ていてもブレがなく、やりたいことができていると伝わるものになっているのではないかと思います。

G:

本日は長時間、ありがとうございました。

いろいろ話をしてくれた今泉賢一監督と中尾幸彦プロデューサー

TVアニメ「放課後さいころ倶楽部」はいよいよ残り2話。ラストが近づいてきたということで、2019年12月13日(金)19時から、ニコ生にて宮下さん・高野さん・富田さんが出演しての特番&第1話~第10話振り返り一挙放送が決定したので、ここまで見逃していたという人でも、今から一気に追いつくことが可能です。

©中道裕大・小学館/放課後さいころ倶楽部製作委員会

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