INTERVIEW: Dive into the Steampunk Universe of LEVIATHAN, Exclusive Interview with the Producers!

The anime adaptation of Scott Westerfeld‘s “Leviathan” is set to premiere globally as a Netflix original series in 2025. Produced by the acclaimed studio Orange, known for successes like “BEASTARS” and “Trigun Stampede“.

In this exclusive interview, we had the chance to discuss with the creators behind Leviathan, the bold new production from studio Orange. While the official trailer has just been unveiled, Ogawa, Ikeda and Watanabe, key figures on the team, share with us a behind-the-scenes look at this highly anticipated anime adaptation. From the transposition of Scott Westerfeld‘s steampunk universe to the technical innovation of CGI, and the international collaboration with Qubic Pictures.

AnimeTV: Could you please just introduce yourselves?

Ogawa: Hello, my name is Ogawa and I am serving as a line producer for the production of Leviathan alongside Ikeda. Up until now, I have worked as a line producer for 2D animation, and this project marks my first time working on CG animation.

Ikeda: My name is Ikeda and I am serving as an animation producer for Leviathan alongside Ogawa. At Orange, I am responsible for managing the overall studio workflow and systems.

Watanabe: My name is Watanabe, and I work on planning and publicity on Orange side for this show. In the past I’ve been involved in international projects such as League of Legends, and at Orange, I have worked on the marketing producing of BEASTARS and Trigun Stampede. A fair warning, I am a little high on excitement of the release.

Today marks the official release of the trailer for the anime Leviathan! Are you happy with the result?

Ikeda: As we did for Land of the Lustrous, but with an entirely new team, we are producing the background art in-house. I hope you’ll pay special attention to the beautiful background art that brings the world of Leviathan to life.

Ogawa: I am thrilled that the footage, which our in-house animators have meticulously crafted with great attention to detail, is finally being released. We put a lot of care into the expressions of the characters, mecha, and the intricate details of the creatures. I hope this amazing work reaches as many people as possible.

Watanabe: Incredibly excited! We’ve been working closely with the Scott’s original to create something truly special. I can’t wait to deliver this show to you ASAP! Yes, the one reading this interview, right now.

Could you talk about how this anime project started?

Watanabe: Orange is a studio that consistently pushes its limits with every project, always pursuing new boundaries of expression. In 2019, while still in the middle of production of BEASTARS, we were searching for the next challenge beyond Trigun Stampede. Right then, we were approached by Qubic Pictures and Netflix. That is when we found the next milestone in Orange’s journey of challenges.

What was your impression of Scott Westerfeld’s Leviathan novels?

Ikeda: I felt that this work weaves a rich story by blending various elements such as boy-meets-girl, steampunk, creatures, and sci-fi. At the same time, I also sensed the challenge and the excitement in expressing that complex world through animation.

Ogawa: It’s a fascinating story, how a unique world is structured by incorporating steampunk and fantasy elements into the backdrop of World War I. I’ve felt that if this distinctive world could be visualized, it would make for an incredibly compelling piece.

Watanabe: Admittedly, it was only after I received this project offer that I first read the original Leviathan. The moment I met Alek and Sharp, that is when it struck me that this story is to be told now as anime.

Could you tell us about the recruitment process for Leviathan’s creative staff and team?

Ikeda: Initially, Kim Hyun-tae was in charge as the animation producer, but when Kim returned to Korea, I took over the role. From what Kim told me, he reached out to staff who could help bring Director Christophe’s vision to life.

Ogawa: Given the overall image of the work, I felt it was not a realistic war story, but rather a piece with strong fantasy elements. Therefore, instead of gathering staff skilled in realism, I assembled a team that excels in fantasy and fairy tale-like styles. For the backgrounds, we entrusted them to staff who specialize in gentle, warm watercolor expressions, and I believe we were able to beautifully convey a warm and inviting world.

Watanabe: During the early stages of planning, together with BEASTARS line producer Kim, we spent a significant amount of time discussing, along with Justin Leach from Cubic, how to build the team around Scott’s original work, Director Christophe Ferreira’s vision, and Joe Hisaishi’s music. It wasn’t easy, but we were able to assemble the a strong team.

Studio Orange is renowned for its use of CGI in series such as Land of the Lustrous, BEASTARS and TRIGUN STAMPEDE. How have you perfected this approach, and how does it influence the production of Leviathan?

Ikeda: The most significant factor is that our company’s president, Inomoto, personally checks all CG processes, ensuring that each staff member shares the mindset of creating something even better than before. Additionally, by producing most of the CG work in-house, we have been able to accumulate the techniques and know-how from each project. This expertise is also being applied to Leviathan, benefiting from the knowledge gained across Orange’s previous works.

Leviathan universe is rich in historical and steampunk detail. What aspects of this universe did you find most exciting to adapt for animation?

Ikeda: The scenery of various locations around the world, including the UK, will be depicted. I’m excited to see how these alternate reality landscapes, which will differ slightly from reality, will turn out.

Ogawa: I was excited to see how the designs of the Clanker faction’s Stormwalkers, the massive Herkules, and Goeben, as well as the Darwinist faction’s Leviathan and Huxley creatures, would be brought to life—how their structures would be portrayed and how they would move. I was particularly eager to see how we could express the parts that couldn’t be fully captured in the novel.

*Note: names in this article may differ from novel names due to no access of proper database at the time of translation of this article.

Can you tell us about the aesthetic choices you made for the adaptation of Leviathan?

Ikeda: We aimed to create visuals that respect and build upon the traditional animation style, featuring hand-drawn backgrounds and simple cel-shaded characters, while evolving them in a legitimate and meaningful way

Ogawa: We chose to go with the warm visuals typical of traditional Japanese hand-drawn animation, using character designs that resemble 2D animation and conventional 2D backgrounds

Watanabe: Upon transcribing to visuals, Director Christophe spent a long time engaging deeply with Scott’s work. Concept artists, writers, character designers, set designers, art directors, cinematographers and more—everyone combined their best efforts at each stage. This has resulted in visuals you can only experience here. It’s not just the visuals; I hope you also feel the world come to life through the harmonious blend of these visual with music and sound! It will be an experience.

How did you go about creating the action scenes and CGI machines?

Ikeda: We use motion capture as a base, and then manually adjust the movements to create dynamic, impactful action sequences.

Ogawa: While we use motion capture as a base for the animation, the finer acting and facial expressions are meticulously hand-animated by our animators. As for the mecha and creatures, our animators craft them entirely by hand, considering their structure and texture from scratch.

What was it like working with Qubic Pictures on this project? What were the advantages of this co-production?

Ikeda: I felt that having people from various backgrounds involved brought different perspectives, allowing us to create a work that we couldn’t have achieved on our own. That was a significant advantage.

Ogawa: I believe one of the greatest achievements was that, by using an overseas original work and having overseas promotion handled, we were able to create a work not only for Japan but for a global audience.

Watanabe: Collaboration between East and West, saying it is one thing, but communication and working across completely different languages, cultures, and industry practices is far more challenging than words can describe. These kinds of differences can even lead to wars in the global society, after all. This is a show where author Scott Westerfeld, Qubic Pictures, and Orange all pushed, constantly challenging each other, without compromise,  to create the best animated experience. There’s nothing greater than a project that comes from such dedication.

For fans not familiar with Leviathan, how would you describe the show and the premise?

Ikeda: It is a story of a boy and a girl from different backgrounds who, while being caught up in a war between the Allied Nations, advanced in genetic engineering, and the Central Powers, advanced in mechanical engineering, experience various encounters and farewells as they grow.

Ogawa: Although it is set in a steampunk and fantasy world, the backdrop is the real historical period of World War I. It is an adventure story depicting the growth and friendship of a boy and a girl caught up in the flames of the Great War.

What are your final comments for fans eagerly awaiting the anime?

Ikeda: I’m looking forward to the day when everyone can enjoy the world of Leviathan

Ogawa: The entire production team has poured all their effort and attention to detail into creating this film! We believe we can deliver truly remarkable visuals unlike anything you’ve seen before, so please make sure to watch it

Watanabe: Animation is a process of creating another world in another place. The history asd we know it has been rewritten! Please check out the show and feel the energy released from the space and time continuum! But seriously, it’s a sincere story about adventure, please watch it with those who are important to you. Thank you.

© Netflix, Leviathan Production Committee

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