Code Geass’s writer takes a trip down memory lane 3!


I kind of wish Ōkouchi had given me another 1 day break! In any case, this set reveals some broad world-level decisions that have interesting implications for story decisions that writers might make. Quite obvious once you think about it, but really does show the importance of worldbuilding!


(Geass Memory #15) Having learned that the show would be broadcast during a late night slot, the first version of episode 1 that I wrote had terrorists on the run taking refuge in Ashford Academy. The Britannia soldiers chasing after them messed the school up. And the student Lelouch, having gotten caught up in that… That’s how the story went.


(Geass Memory #16) If we set the opening act in the school, we’d be able to show Nunnally and Milly and co., and it’d be easy to understand the protagonist getting angry because the beloved space that is their school has been destroyed. We’d also be able to show the size of the Nightmares (smaller than Gundams and similar mecha). That was my reasoning.


(Geass Memory #17) But the episode that aired was quite different. If Ashford Academy had gotten caught in the war in the very first episode, then it’d be difficult to set it apart as a peaceful space. We decided that after such an incident, it’d become a turbulent place where war could intrude at any time.


(Geass Memory #18) If that shadow of the war remained hanging over it, then it would have been difficult to write episodes with the characters chasing after the cat, or having a cultural festival. That’s why the first episode isn’t set in Ashford Academy. But even then, we wanted to show that the protagonist was a student, and so (con’t)


(Geass Memory #19) (con’t) I had Lelouch wearing his school uniform, and had the lord that was his opponent going “What, a student?” and making fun of him. And Shirley calling him from the school.


(Geass Memory #20) Speaking of which, we also debated whether Lelouch and his friends should have mobile phones. You may not believe it, but back then, there were many anime in which characters didn’t have phones. Possibly because it’d be difficult to create dramatic moments if they did?


(Geass Memory #21) But in the end, we chose a world in which people had mobile phones. The reason being that all the viewers watching had phones themselves. Characters having phones makes certain dramatic moments impossible, but we figured that it’d open up the possibility for other dramatic moments.


(Geass Memory #22) Because we went with a world that had phones, we were able to create a lot of memorable scenes where they were used, such as the phone call before Lelouch and Suzaku face off, and in R2, the scene where Suzaku observes Lelouch after putting him on the phone with Nunnally.

About karice
MAG fan, freelance translator and political scientist-in-training. I also love musicals, travel and figure skating!

2 Responses to Code Geass’s writer takes a trip down memory lane 3!

  1. Pingback: Masterpost: On Anime ‘Writing’ Project | HOT CHOCOLATE IN A BOWL

  2. Pingback: It’s Been A Decade Since Code Geass, So Let’s Talk About It! | Wave Motion Cannon

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