From Everyone Who Made Pani Poni Dash!

1. Looking back to the production process, please tell us memories and behind-the-scene stories.
2. Please tell us about the things you paid attention to and took care of in your role, as well as the enjoyment and difficulties you faced.
3. Going back, what kind of a work Pani Poni Dash! is to you?
4. Please leave a message to our readers.

Atsushi Moriyama (Producer)

1. First and foremost, how can we make it possible for our creative staff to realise their overflowing ideas? How to handle with it without losing the momentum? And keeping in mind every time, what kind of a finished film will come out? Nervously (lol), I waited stuff like that in the video editing room.
2. Above all, we prioritised the “Vigour of the Work” during production. Personally, in terms of all various theme songs, CDs and DVD packages, and leveraging anime staff members’ “vigour”, I believe we were able to achieve something quite remarkable. Hikawa-sensei and Director Shinbo, thank you very much...
3. This was a work where I expressed various kinds of “sweating”. Like, we’re still working on producing the DVD releases, so it’s a work still in progress. For that reason, it’s a work where you never know what’s going to happen next!
4. Every fan of Pani Poni Dash!, really, thank you very much for sticking (?) with us until the end. And so, we’ll continue working as DVD releases keep coming out, which is why, we hope you’ll follow us until the very end!

Nobuyuki Kurashige (Planning Cooperation)

1. Hikawa-sensei placed complete trust on the anime staff, and participated greatly in the production cooperation. Anime staff members really took good care of the characters. The mutual respect in the workplace, that was the very first thing I admired in this production!

   Despite being chaotic and hilarious, the Pani Poni-like charm overflowed consistently through all the 26 episodes from start to finish, and I feel it was solely because of the love staff had for the work. To be granted to take part in such a wonderful workplace, I’m happy.

2. Sorry, I was just watching and laughing while holding my stomach. I was constantly impressed by the dedication and godlike work of the staff and all actors for the past six months.
3. I got the impression that of an “animation based on an original work”, but as a kind of ultimate form.
4. There’s a tremendous amount of animated works being created, but undoubtedly Pani Poni Dash! is one of those works to which one can confidently say “if you don’t watch it, you’ll regret it for the rest of your life”. For the anime and the original work, we look forward to your continued support in the future.

Mitsutoshi Kubota (Animation Producer)

1. About one year ago, I received a Pani Poni manga volume from Ootsuki-san of King Records, who requested me to produce an anime out of it.

   I was taken aback by the original work’s sense, like how it was high quality and bursting with fun, and I actually thought “Should I turn this down...” (Oota-san, Hikawa-sensei, I’m very sorry).

2. About one year ago, we welcomed Director Shinbo and Series Composer – Script writer Kanemaki-san to our staff team, and I was thrilled by their attitude of respecting the original work, while boldly trying new things with it. That said, I’m sure the two of them used their earlier work experience when originally creating the rules regarding the work and laying out their plans for it (My own assumption, Shinbo-san, Kanemaki-san, I’m very sorry).

3. And so, one year later, with every staff member’s love, courage, strength and skills (everyone in staff, I’m very sorry), we were able to run through our goal.

   Television animations have limitations with time constrains and many other things, so lots of cooperation among staff members is needed in production. While at it, I believe that this really big scale and high quality team work made this the best work in 21st century.

4. Well, the staff of Pani Poni Dash! is nowhere near of being burned all out. We’ll challenge ourselves with new works in the spirit of Pani Poni Dash!, so please continue supporting us!

Ken'ichi Kanemaki (Series Composition)

1. At the beginning of production, there were so many new characters appearing that it made my head spin. Can’t forget the studio when after-recording Episode 5. It was break time. Hikawa-sensei saying “Oh~, I wonder what will happen with all characters appearing in this episode~”, Asuka Nakase-san, who was there for observing the process, smiled and said this thing:

   ”But Kurusu hasn’t appeared here~”

   Ah! I forgot to include her!!

   It felt like my breathing stopped.

   But as you very well know, Kurusu started appearing more actively from that point on.

2. With the script, we had the concept of “Japanese language is fun”. It’s not about using weird words, but in itself just ordinary words that the make characters’ interactions lively and hilarious. So, when every voice actor acts vividly according to the script and performs their lines well, it becomes a really fun discussion.

   Wonder if I was able to write lots of fun parts.

   Wonder if I wrote lots of painful parts.

3. It’s a treasure!
4. We carelessly presented the birth of a legendary work to everyone (laughs). Now that it has come to this, bear responsibility and pass the story of Pani Poni Dash! to your grandchildren’s generation!

Kazuhiko Oota (Character Design – Chief Animation Director)

1. I was originally in one other studio with two key animators and (Shin) Oonuma-san, where we formed a group of four and worked together in a very boys’ school -like atmosphere while chatting with no screams and yells. The hilarious ideas that we came up with at that time took thoroughly a form when presenting them on screen. Sergeant Har*man was my idea which I drew with that feel in mind.
2. Let’s do silly things with dead seriousness! is what I stated, so that in turn the animation didn’t suffer, chief animation director watched every single episode. If you laugh, don’t scorn us, was my motto to him. Most enjoyable part was when watching completed episode on video. I was probably looking it before more than anyone else.
3. Unclassified, undeterminable, unpredictable. Even now I don’t know what genre it falls into. I think it’s something like a cute girls school life slapstick comedy… but wonder was it really that. It’s undoubtedly a challenge to give an answer for such a thing that’s nonsensical to death... Please tell the genre for us instead.
4. Please buy the DVDs (laughs). No, really, we considerably increased the number of jokes, and in some cases even completely remade entire scenes. So in a way, we fixed in the same vibe as if we’re creating a new work. When you buy them, you’ll make Season 2 possible. You have my regards.

Shin Oonuma (Series Director)

1. At the time we were making Episode 25, I collapsed from stomach pain for five days and it felt like I was going to die (laughs).

   Of course, I was working at that period as well, but... orz

   I included Kashiwagi Twins to Episode 22 just out of my personal taste.

   The art style on characters is pretty old-fashioned, though... (No, I’m not gonna say anything else).

2. Anyhow, I remember working with the mindset of betraying viewers’ expectation in a good way.

   Every week, as the deadline drew closer, my stomach started to hurt...

   It was amusing to see the thoughts from readers of the original manga, who were looking for the uniqueness, and especially on the episodes I worked on, I followed their live commentary with a keen eye.

3. Room with a flipped over toy box.

4. No matter how you think about it, it’s a festival.

   Honestly, thank you very much

   Wow lololol I got lol so lol hyped up lololol

Tatsuya Oishi (Opening Director)

1. It was equal to being on surging waves for six months.

   Whether I was asleep or awake, I was in Pani Poni for six months.

   Inside my head, I had constantly Becky hauhau’ing, Himeko laughing, Miyako shouting, Rei being composed, No. 6 being a good girl, and above all, Ichijou being a complete mystery (What about Kurumi!?).

   ...and I really adored each one of them.

   Before long, that feeling accelerated, and when I realised it, Class C students had been merged with inanimate objects, combined together with one another, and cut into two clean parts.

2. I thought of the colour scheme for the openings by myself. Even tracing a single line in colour was a real headache. Colour coordination sure is tough.

   But, it’s still fun. It becomes addictive...

3. I’m still unable to reflect on it calmly.

   I want to keep making Pani Poni Dash! forever... like an unending dream.

4. Even though it’s a work I was working on, as a viewer, I was excited every week while sitting in front of TV.

   It really was a work where we pushed episodes out on the last minute.

   Everyone is an accomplice to our crime.

Hiroshi Katō (Art Director)

1. I was the one who drew the Red Earth~.

2. The things I paid extra attention to were “intuition and imagination”.

   As for the joys and sorrows, “I was able to meet the wandering old man”.

3. The anime version of Tsukiji fish market, crab crab crabs~~.
4. Submersion of Japan

Tomoyasu Fujise (Art Director)

1. I was confused by the design of Becky’s room, which doesn’t appear in the original work at all (After all, we can’t see what the insides look like during the broadcast…).
2. I constantly paid attention in how to convey the atmosphere of the original work to screen. It was great that Ichijou had a big impact on the show.
3. Fireworks in a night sky.
4. We would appreciate your continued support.

Hitoshi Hibino (Colour Director)

1. For every episode, I enjoyed adding including special effects brush processing to character cuts.
2. Since characters’ clothes changed in every episode, it was difficult to make sure that colours for the characters were distinctive.
3. Each character had an individuality on their own, and I believed this work was able to make full use of them. Also it’s full of jokes!!
4. Various scenes have been fixed in the DVD, so please look forward to watching them.

Izumi Takizawa (Colour Design)

1. When I was thinking about the colour for Lord Cat, I jokingly said to the Director “It would be interesting if his colour changed each time”, and I was surprised it got adopted to the show.
2. When it came to the clothes for Becky and others, the first thing that I agreed with fashion coordinator Kametani-san was the eagerness of making the characters wear clothes that we women normally would wear. Looking at the casual clothes of female characters from other anime, we discussed that we definitely wouldn’t normally wear those ... (laughs). Actually, since I’m a girl, I didn’t want to choose pink or anything like that. For that reason, there’s a quite a lot of last year’s trendy colours.
3. It was a work where the staff had really fun while working on it.
4. No matter how many times you watch it, it’s work that turns out to be fun every single time, so please watch it until you’re sick of it ♥

Motoki Sakai (Visual Effects)

1. Since every episode director had demanded that the materials followed each of their technique, the work became different with each episode and each cut, I often couldn’t give an estimation of time required for the work. The largest workload was for Episode 24, which I think had perhaps around 50 cuts, and even though I thought “this is impossible, absolutely impossible!!”, I actually managed to complete it. How I accomplished it, is even now a mystery to myself.
2. During the work, I was asked to use various materials such as 3DCG, sticking real-life photos and pixel art, but I worked with the question of “How would these materials be ultimately used” in mind. In addition to that, to make the material alive, I checked every necessary detail as best I could, and I put all my effort to make them as realistic as possible.
3. A yaminabe.
4. If there are parts you don’t understand, please ask about it from your father and mother.

Kyouko Kametani (Fashion Coordinator)

1. I didn’t think too much into anything while designing Becky and other girls, but inspecting and looking at the amount, I think I drew qui~te a lot.
2. In short, my aim was to come up with designs that suited to the personality and characteristics of each one of them.
3. For me, it was an enjoyable work. Thank you very much for it.
4. If you buy the DVDs and take a closer look on the many renewed parts, I believe you’ll experience new discoveries. Everyone, please continue to cherish this work for a long time to come.

Tetsuya Nishimura (Filming Director)

1. Since this work used a lot of parody jokes, I looked back to certain old manga, anime and such during the production. While rewatching them, there were cases I got hooked to few of them. There were also anime that many staff members had never seen, which made me worry whether we’d able to grasp the feel of it, but asking around, there usually was bound to be someone who knew it. Once I also referenced a certain message board (laughs).

2. The fun of this work lies in the chalkboard jokes. They were inserted during the filming process in many occasions, and undoubtedly, I always looked forward in maintaining a subtle niche appeal in my own jokes, and keeping them in an understandable range. I anticipated for jokes by the animators and finishers as well. Since everything went ultimately through the filming process, I enjoyed seeing their jokes with “This joke got in!” or “So is a person with same hobbies as me, lol”. I’m sorry for revealing this. The filming staff were roaring with laughter! For real, lol.

   As for the difficulties... too many to count. Please let me forget about them.

3. First and foremost, let’s bring out the best in digital anime and creating something new! is what my feelings were. Indeed, I think this is a work that shines well in innovativeness, tempo and style. However, if I may say this from a personal perspective, I think this a general compilation of everything that has happened so far. This isn’t of course about works itself, but rather about personal things, like technique, experience and such. I feel like we used that base of things up until now everywhere. Did other staff members feel alike? is what I thought. Therefore, even though it has a novel feel to it once finished, I believe we put things together pretty well. Maybe people misunderstand this...
4. This might sound like a cliché, but the film in this work is something you can watch countless times. Hidden jokes and story progressions make it that way. The tempo is so good that I feel that you get tired of watching it. In other words, it’s well-stuffed with content, making it refreshing and pleasant to watch! It’s a great deal! Dear honourable customer (laughs).

Toshiki Kameyama (Sound Director)

1. After the work was finished, from participating staff and cast members, there were multiple people who seemed to have a feeling of loss, which seemed to symbolise the suspicious manic state that was present during the production.

   It’s impressing how everyone in the cast, like waiting for the right moment to strike, did their performance as they intended to do.

   I was impressed by how amidst the nervousness of Alien Captain’s voice actor Mugihito-san constantly saying something unexpected as his next line, Subordinate’s voice actor Tomokazu Sugita-san kept it together, embraced everything, and delivered a compelling performance.

2. This was a work that had a lot to process in animation and sounds, but perhaps as the Director intended it to go, the staff went overall rampant with the work, which is how I felt. From my position, even though I should’ve wrapped things up properly, this time around I personally muttered the stock phrase “It’s funny so it’s fine...”, and there were many of these points where I chose to go along the “leave alone” path.

3. That would probably be “Ichijou Festival”... In the middle of this chaos that no one understands anything, Behoimi faced an unfortunate twist of fate, No. 6 showed longing and Ichijou experienced love, these truths and bittersweet moments of being a human, with strange pauses and bombs, existed all together.

   They say that the dumber the child, the cuter they are, but as the characters swim smoothly and at ease amidst that chaotic vortex, I’ve become to thinking them as something dear.

4. I don’t believe that that work is a model of accumulating subtlety. However, like a gymnasium that had a tornado pass through over its barracks, it’s not something to be taken lightly. Yes, thinking it as the will of the universe (Or was it the will of the Director?), I think there was an extremely careless (Or rather broad-minded), but a strong vector present at the work.

   Somehow, during the peak of making the show, I felt “satisfaction”, and I wish everyone will enjoy it as well.

Emi Ohtsubo (Audio Recording)

1. ”Is this really okay? Are we gonna do it?”

   “It’s fine, just go and do it”

   “Do you know what it means?”

   “It’s funny so it’s fine!”

   I exchanged this discussion with the sound director every week for half a year. I wonder if I’ve grown up a little?

2. “I’ll get to work under the effects of Cho**la BB”

   and saying so, it felt like I was consistently struggling with a huge amount of lines.

   Due to physical limitations, I ended up putting great trouble on the voice actors. At that moment when I heard the original score that sounded just like Ra**o Taiso Dai Ichi for the first time, I almost fell off from my chair. There are many jokes I’m not aware what they’re referring to, which makes myself feel down for my limited knowledge. Anyway, to “I want to see what’s going on inside the Director’s head” I’m offering 40 000 pesetas.

3. From a technical standpoint the work isn’t that confusing, as results are everything, and before making up a reason for “it can’t be done”, you have to first answer to given demands with your all power. Back when I was still getting the hang of recording work, I would almost everyday tell myself, that this work will make me reacknowledge things that should be perfectly reasonable.
4. I’ll be mindful for the future to come.

Kei Haneoka (Music)

1. I had Eri Kawai-san do horror-like groans, and make Takeshi Senoo-san sing like yodeling. I remember clearly how I was treated to precious singing voices that seem like something you wouldn’t normally hear. Also, I played guitar, blew to shakuhachi, hit a shakuhachi with a pencil, and tried doing my best with a lot of things.
2. Regarding to BGM, I wasn’t told that “Please make it as a parody”, but looking at the BGM menu that Sound Director Kameyama-san wrote, “It’s a parody!” is the message I felt like receiving. Maybe it was just my imagination. So we thoroughly pursued the idea of “similar, but different”.
3. Watching in on the air, it was a really funny work.
4. All in all, we made around 100 songs. The stories are so funny that the BGM might not even reach your ears, we’d love for you to listen to it! Please listen the Soundtrack CD!!

Sumiko Shindou (Music Production Co-operation)

1. It’s a very backstory-y story, but in the lyrics of Kiiroi Bakansu, lines like “pichi pichi” and “doki doki” were in the first draft “Enoshima” and “Kamakura”, but then I pointed out “This will be aired on TV Tokyo, so...”, and I got them changed.

2. In my own words, for me, the enjoyable part was to figure out how to incorporate “laughter” to music. I had fun inserts various kinds of small jokes.

   As for the thing that was troublesome, it was recording the song for “Kiiroi Bakansu” that had the singer change during the same orchestra score. It would be boring if it was all the same t. Everyone watching!

3. I think it was a work of pushing the challenging limits in many ways (laughs) and an inspirational chain reaction.

4. Thank you very much for your support and cheering on us! Did you have fun with the show? For Pani Poni Dash! I’ll “Go on a journey to seek the wisdom of laughter”. Please don’t go search for it. Ah, but you can give it a call.

   Well, let’s meet again somewhere!

Mako Aboshi (Chibi Character Design)

1. The first time I visited the company to work there, I was greatly surprised to find someone lying on the floor (they were asleep). Now I’m used to it and it doesn’t bother me anymore. Instead of a workplace, it looked more like a friendly and warm room, which made it fun. I only went to the studio occasionally, as I mostly worked at home. When drawing eyecatchers, just in case to make the main story and my jokes match, I ask for a brief summary of the main story, but since there are many cases of things being unclear and not connected to the earlier part (For example: “Giant Bancho appears at school and Becky boards a robot”), and also because it’s hard to imagine them without any storyboards or set up materials on hand, I just drew pretty much however I pleased. Being able to train your imagination is what I believe to be one of Pani Poni Dash!’s strengths.

   Saying ”Since next week preview isn’t going to be a preview, I don’t know what’ll happen in next week’s episode”, I was told “It wasn’t written nor said anywhere it’ll be a next week preview, so it’s not a preview, but Hekiru Hikawa Theater (by Oonuma-san)”. Speaking of... It really isn’t written anywhere that it’s a next week preview! I hadn’t realised it until it was explained to me!

   Pani Poni Dash! is a rather unusual work, right? It ignores basic anime structures. Like a rebelling child.

2. At first, I was drawing casually, but when I saw my drawings were really broadcasted on TV, I started to feel pressure. However, Oonuma-san told me it was okay for me to draw freely, and I think that made me able to draw without being nervous. Also, I remember having a pleasant feeling of seeing my own art ride along Oota-san’s art. Alongside skilled people’s art, I felt I could re-evaluate my own art. The only real challenge was when I couldn’t think up ideas for the tarot cards~. Afterwards, I really enjoyed drawing. Chibi character eyecatchers and layouts were so much fun.

   I was happy to given the chance to draw also CG cuts that rarely appear in the main story. I looked forward watching the broadcast as well.

3. I learned a great deal. This work is like a collection of reference books.
4. I’d be happy if you could love this work. I recommend holding chibi characters on the palm of your hand and cherishing them.

Miku Ooshima (Literary Production)

1. A lot of things happened, but it was a fulfilling year. I am so grateful to be involved in creating a work unlike anything before, and for meeting all the staff members. During production, I sincerely apologise for causing a lot of nuisances for the staff.

2. Not being able to imagine what each episode would be was both fun, and nerve-wracking (^^ 7 Because a lot of jokes were on the edge of whether they could be broadcasted, there were instances where I stayed up studying the copyright law until dawn.

   Also, after photographing was done with, I looked forward to eating the food that appears in the main story as photos.

3. A long time ago Director Shinbo told me “If even one of staff members was missing, the film couldn’t be made”, and that line fiercely hit me. I believe each and every film is the culmination of the efforts by all staff members.
4. If everyone’s beliefs are strong enough, Pani Poni Dash! will certainly return!! (At least it should...)

Kouji Tanoue (Production Manager)

1. To be honest, they were tough days. I have caused great deal of trouble everywhere around... I myself gained nothing from it. It’s thanks to staff providing their exertion that we were able to complete the series.

   The support and submitted postcards from all our viewers were a great source of encouragement.

2. Even after taking place in all storyboard meetings, and animation meetings, the fact that I couldn’t predict how the contents would turn out to be on film, was both exciting, and challenging.
3. It was a work like Akashic records, like a sea of universal unconsciousness, like a mass of delusions, or in short, had a large amount of information.
4. I believe that people reading this enjoyed this work. If you’d like to enjoy it even more, we’d be happy if you’d consider purchasing the DVDs.

Michiko Morinaga (Advertising)

1. Director Shinbo and Kanemaki-san, I was amazed by the unity of the production team. If you were to describe Pani Poni Dash! with five letters, it would be “unity”!! Director, I won’t let you get away next time! (laughs).
2. I didn’t want to promote it simply as “cute” or “funny”, so I brainstormed with many staff members. At that point, it showed everyone’s deep affection towards Pani Poni Dash!, and I really enjoyed being able to be involved in this work.
3. “Rich” “Flavour” “Para” “dise”
4. I hope you enjoy the TV anime, as well as the original work, to the fullest. We too will do our best to provide even more information of the show.

Emi Fujimura (Advertising)

1. I used to go out drinking with staff members and the author quite often~...
2. Fun part: Searching up reference source.
3. It was a funny work as you had absolutely no idea what would happen next.
4. Please show your love to Pani Poni Dash! from now on.

Katsuhiko Takayama (Scriptwriter for Episodes 4, 10, 12, 17, 22 & 25)

1. At the time I was writing the script for the latter part of the series, the footage for early episodes was completed, and I was honestly blown away. I wrote it that way, and this is how it turned out?

   If I were to write my scripts after seeing the finished results, it’s a question whether I would incorporate that style or not, but getting too much influence from that would make me fail! is what I thought, and I decided to forge even more to my unique direction.

   During the broadcast, I would hear from staff members of other shows that “I’ve been watching Pani Poni Dash!” plenty of times, and especially the animators often asked me “How do you make those episodes?”. Some even said they wanted to see the script and the storyboards. Even when professionals watch it, they can’t imagine how this kind of work can be created.

   So, as to how we were able to create this, I honestly have no idea.

2. The enthusiasm at the workplace is incredible, so it was difficult not to get overwhelmed by that. At the time the show ended, I remember being extremely exhausted.

   The job of a scriptwriter ends once the manuscript leaves one’s hands, so there are only few chances to interact with other teams afterwards, but this work is so much filled with personality that you could even see the faces of the people who made it, and it felt to me that I somehow knew about these staff members despite never meeting them, which made it a strange show.

3. A miracle born from divine intervention and surging waves, those being the two groups that come into mind.

   If even one staff member was missing this time around, it wouldn’t have turned out like it did, and I believe it’s a work that couldn’t have been created intentionally.

   And while saying this, not a single one would’ve thought the work would turn out like this once completed.

4. Thank you everyone!!! And then, please continue to support us from now on as well! You all are our only hope! We wish to meet you all again.

Sumio Uetake (Scriptwriter for Episodes 15, 19 & 21)

1. I participated on the work from halfway onwards, but we have already had unusual things like a giant robot and giant Ichijou in our lineup, so is this how it’s going to be starting from the first cour... is how I remember going dumbfounded.
2. Thoroughly pour all your love into the characters and to their very core.
3. Fun and ease are similar yet different. And fun wins ease.
4. Film is only valuable when it’s cherished by its users. You have my gratitude.

Michio Fukuda (Storyboards for Episodes 1, 10, 11, 16, 19, 22, 25 & 26)

1. Initially I didn’t think it would’ve turned this much of a gag-oriented work, and I hid a reference to my favourite movie in the Final Episode, but that’s a secret...
2. I was careful when moving on the boundary of parody and plagiarism, but I fundamentally respect everything in the work. With team of original author Hikawa-san, Director Shinbo-san, Kanemaki-san and other writers, I was personally able to enjoy while adapting to the directing style.
3. It was a work of improvised performance. It was a fascinating work that allowed me to project my feelings from that time. I wonder if watching it years later, it has become a device to replay my memories...
4. I would be happy if you’ll continue cherishing Pani Poni Dash! together with the original work.

Osamu Tadokoro (Storyboards for Episodes 4, 8, 17 & 23)

1. I was once in so bad physical condition while working on the storyboards that I had to get an IV drip. I was also hospitalised. My memories are in the dark. I caused everyone a lot of trouble as well. I’m sorry, but I don’t want to remember about it.
2. Before the thing about my physical condition, my senses couldn’t keep up and tried to catch up with everyone as hardest I could. Each episode was a constant struggle, like torture.
3. This work reaffirmed my belief that watching comedies is definitely more enjoyable than making them.
4. Since I think watching the show is certainly enjoyable, please feel at ease, get pumped up, relax and go and watch it.

Yasuo Ejima (Director for Episodes 4, 10, 15, 20 & 25, Storyboard for Episode 15)

1. I panicked when asked about the references that I didn’t know, despite them being in my episodes... (sweats).

2. As for myself, I made sure the conversation kept on moving with a good flow.

   Also in any case, since I received ideas from several people, due to storyboard contents changing at a great rate, I was nervous as I didn’t know how the results would look like at the last minute.

3. Work filled with love.
4. If you try each door you come across, one of them will lead to Pani Poni Dash!, probably...

Yūji Moriyama (Animation Director, Storyboards & Director for Episodes 2, 13 & 21)

1. I was basically given a lot of freedom, so it was a fun half a year for me. I was able to conduct experiments that I had wanted to do until now but couldn’t, and it gave me tons of experience more than I had gained in the time of working on anime until now.
2. In the middle when writing a storyboard, I thought to myself “If I continue drawing these types of storyboards, I probably won’t be able to go back to drawing normal storyboard” countless times, but really, I already couldn’t draw them anymore. Even when trying to draw a normal storyboard, I would use the presenting ways I learned from Pani Poni, and try similarly including odd jokes, and it took some time for time to regain my perception (^o^ ;)
3. I think a new media representation called “Pani Poni Style” was born in the world of anime. I believe there will come to be many works that were influenced by it, and I feel really honoured to have been able to take part in such an anime.
4. I apologise that the episodes I was responsible for reek of a direction by an old man. I myself will participate in other anime, but I think the main staff is in the middle of doing DVD revisions. From now, on, I too would like to enjoy Pani Poni as a viewer, through DVD versions.

Yoshiaki Itou (Animation Director for Episodes 1, 8 & 22)

1. I did my utmost to avoid using textual jokes in the keyframes and rough drafts I was charge of... (Because my eyes are drawn to text). But I’m glad I was able so many keyframes after such a long time.
2. Unlike other recent projects, it was fun that I was given free hands to do whatever I wanted.
3. Packed to the brim with variety!
4. Please continue to support us with DVDs.

Noboru Jitsuhara (Animation Director for Episodes 4, 10, 15, 20 & 25)

1. I’ve never replaced this much storyboard content when creating animation before, so drawing was fun, and it was also fun to see how other people replaced things.

   I believe that style of working was only acceptable because it was Pani Poni Dash!, but even if I wanted to something similar on another work it wouldn’t be possible. Thinking this way, I’m happy I was able to do such a fun job.

2. Things I paid attention to... Drawing characters cutely… was the plan, but somehow, they ended up becoming lewd... (I’m clueless...).

   In the second half I stood my ground and firmly went ahead in that direction.

3. Urusei Yatsura of Heisei era... I think the common factor is that anything goes.
4. I wanna draw Rei-chan again. You have my regards...

TL's note: I tried to find a source for each staff member, but with some cases, their participations to anime shows are poorly documented.