Yu-Gi-Oh! Duel Monsters Screenwriter Round Table

Yu-Gi-Oh! Yoshida Interview
Merry Christmas Happy New Year, let’s wipe away that 心の闇 of yours and do the Duel, Standby! thing. I hope you got some cool presents a nice year to look forward to!

Apparently, setting myself deadlines for almost-finished articles achieves the exact opposite effect. Oh well.

*ahem*

This is an interview found in the Yu-Gi-Oh! Duel Monsters Anime Complete Guide “Millennium Memory”, released in honor of the franchise’s 20th anniversary. The book contains artworks of calenders, DVD boxes, a compilation of the story and its characters as well as settei of characters, monsters, scenery and objects like the duel disks for both the Duel Monsters TV anime and The Dark Side of Dimensions movie. Not to mention the Jashin Ge bonus card. There also are two interviews of which I’ve decided to translate one given that I actually own the guide book.

I’ve figured since it’s only two pages worth of text that even includes furigana, I might as well give translating it a try as it doesn’t look like there’s a translation for this out yet and while there are several translated Kazuki Takahashi interviews out in the wild, one regarding the many writers that turned Duel Monsters into a melting pot of ideas is something I haven’t seen yet. Luckily, the interview itself also used rather easy language and I’ve got a determined sempai who just transcends common sense for the kouhai in need. I also might get down to translating the Takahiro Kagami interview if it’s not already available on the web somewhere. But first things first.

Needless to say, I am a beginner at Japanese so there’s always the chance of me getting something wrong, so take everything with a grain of salt. Or a truckload. I also didn’t bother with editing so quite frankly, it all sounds about as stiff as you would expect. And since I had the pleasure of transcribing this nonsense to put it up for sempai to check my attempts at translating, I figured I might as well leave the original Japanese in. If you find anything wrong with my translation, please make sure to mention that in the comments. And yes, we have comments now. Yet another New Year’s Surprise™. And speaking of surprising things, please also check out my translation for an interview with Takahiro Kagami or my Yu-Gi-Oh! GX manga review!

This interview encompasses four of DM’s writers, namely:
Hikokubo Masahiro: Credited as a “Duel Advisor”
Takegami Junki: Credited for series composition in regards to episodes 1-121 (Duelist Kingdom, Battle City, the anime-original Virtual World)
Maekawa Atsushi: Credited for series composition in regards to episodes 122-144 (Alcatraz)
Yoshida Shin: Credited for series composition in regards to episodes 145-184 (anime-original Doma) as well as 199-224 (Millennium World and Ceremonial Duel)

In case you’re wondering about episodes 185-198 (anime-original KCGP), Akemi Omode was in charge of series composition for those, she’s not part of the discussion.

Yu-Gi-Oh-Writers-Interview.jpg

>Q 最初に、DMに参加されることになった経緯を教えてください。
Question: “First of all, please tell us about the circumstances that led you to partaking in Yu-Gi-Oh! Duel Monsters.”
>武上 当時は広告代理店のADKさんから,「DMのシリーズ構成をやってください」とご依頼をいただき、それがきっかけで遊戯王に参加しました。確かジャンプのイベントの時だったと思います。
Junki Takegami: “At the time, I received a request from the advertisement agency ADK, stating “Please be in charge of the series composition of Duel Monsters”, I took the opportunity and became part of Yu-Gi-Oh!. If I remember correctly, it was around the time of a Jump event I think.”
>彦久保 ぼくは当時「マジック・ザ・ギャザリング」をプレイしていたんですけど、それをDMのプロデューサーさんが知っていて、そこからお話をいただきました。2週間くらいで「OCG]のルールを覚えた記憶があります(笑)。
Masahiro Hikokubo: “As for me, I played ‘Magic The Gathering’ back then, the producer of Duel Monsters knew of that and from thereon, talks between us began. I remember memorizing the rules of the OCG within roughly two weeks. (laughs)”
>武上 すでに「OCG]が発売されている状態からのスタートだったんで、アニメのヂュエルもちゃんとゲームとして成り立つようにというオーダーがあったんですね。だから彦久保さんのように、カードーゲームに詳しい人が必要だったんだと思います。
Junki Takegami: “The OCG was already being sold so we started from that situation and the order came in that the anime’s duels should be composed just like the games’, right? That’s why I think that somebody like Hikokubo-san, someone well-versed in card games, was necessary.”
>吉田 僕はフラッグシップという会社で「鬼武者」のシナリオを書いていたんですが、武上さんそれを知っていて「君、ゲーム好きでしょ?」という感じで誘われたのがきっかけです。
Shin Yoshida: “In my case, I was writing the scenario for ‘Onimusha’ at a company called ‘Flagship’ and so I was approached by Takegami-san who knew of that, a bit like ‘You, you like games, don’t you?’ and that’s how things came to be.”
>武上 吉田さんとはその前にも「ウルトラマン」や「花さか天使テンテンくん」で一緒に仕事をやっていて、メチャクチャなNGを出してもちゃんと仕事してくれるんで誘いました(笑い)。
Junki Takegami: “Even before that, I’ve worked together with Yoshida-san on “Ultraman” and “Hanasaka Tenshi Tenten-kun”, even when I rejected his work all the time, he did his job properly, so I invited him aboard. (laughs)”
>吉田 あの頃はまだ新米だったから。。。「DM]に参加してみたら、武上さんとか十川誠志さんとか有名な方がいたんで、僕みたいな新人が入っても大丈夫かなって感じてましたね。
Shin Yoshida: “Well, I was still a rookie back then after all… when I got involved in Duel Monsters, there were such bigshots as Takegami-san and Sogo Masashi-san, so I couldn’t help but wonder whether or not someone as unexperienced as me joining was okay.”
>前川 僕は「テニスの王子様」などの脚本を書いていて、ADKさんにはお世話になっていたんですが、「DM]から十川誠志さんが抜けられて、その代役としてプロヂューサーさんに声をかけていただいたのがきっかけです。最初に書いたのは58話のエスパー絽場のヂュエルでしたね。あと、ぼくも「ウルトラマン」で武上さんとはお仕事をしていたことがありました。
Atsushi Maekawa: “I wrote scripts for ‘Prince of Tennis’ and was under care of ADK but when Sogo Masashi-san was omitted from Duel Monsters, as a substitute for him, the producer called out to me and that’s how I got my chance. At first, I wrote episode 58, the Esper Roba duel. Also, I have worked with Takegami-san on “Ultraman” as well.”
>彦久保 みんな「ウルトラマン」でつながっていたんですね(笑)。でも、僕が最初に脚本陣を知った時、ほかのアニメではシリーズ構成までやっている人が集まって、各話の脚本を担当するなんて凄い作品だなとおもっていましたよ。
Masahiro Hikokubo: “You were all connected by Ultraman! (laughs) Still, it was a time when I got to know an entire group of scriptwriters from the very beginning, with people even working on series composition on other anime gathering, being in charge of the scripts for every episode, ‘This sure is an outstanding production’ is what I thought.”

Yu-Gi-Oh! Writers Characters

>Q 脚本とデゥエル構成はどのような流れで作られていたのでしょうか
Question: I wonder what kind of flow the construction of the scripts and duels had?
>武上 彦久保さんには、その回のストーリー上のテーマ一致するようなデゥエルを作ってほしいという無茶な注文をしていました。回が進むにつれて、彦久保さんからもうこうした方がストーリーの流れとシンクロしたデゥエルになるんじゃないか、っていう意見が上がってきたりしましたよね・
Junki Takegami: “I would be giving Hikokubo-san reckless requests – I wanted him to make duels that were synchronized with each episode’s storytelling themes. As the episodes progressed, opinions like ‘If we did *this*, the duel would become synchronized with the flow of the story’ would sometimes come from Hikokubo-san.”
>彦久保 アニメの放映時間に合わせるとデゥエルのターン数を調整しなくちゃいけないので、ストーリーの盛り上がりに合わせてどうデゥエルを構成していくのか、というような事を打ち合わせしながら作っていきました。
Masahiro Hikokubo: “As we were adapting to the time the anime would air at, we had to adjust the number of turns in duels, so we were creating it while doing meetings to discuss things like ‘How to compose a duel to be adequate to the story’s tension at a particular time?'”
>吉田 今でこそカードゲームをアニメで描くのが普通になっちゃってるけど、当時としては画期的な事だったよね。昔のアニメは、ピンチになっても気合と根性というよくわからない理由で敵を倒すっていうのが結構多かったけど、カードゲームだとちゃんとゲームとして勝たなきゃならないから。
Shin Yoshida: “Nowadays, card game anime are becoming something very common, however, at the time, they were something revolutionary. With anime back then it was like, even if you’re in a pinch, with guts and fighting spirit yet not rhyme or reason, foes were defeated and there were many such works but with a card game, a victory had to be achieved the proper game way.”
>前川 そいうところで言えば、「DM]での彦久保さんの役割は大きいよね。
Atsushi Maekawa: “And that is precisely why, simply put, the role Hikokubo-san had in the making of Duel Monsters can’t be understated.”
>彦久保 でも、デゥエルだけだとやっぱり成り立ったないし、脚本家の方々のアイデアがないとデゥエルも面白くなりませんから。例えば109話の宇宙で攻撃するシーンとかは、吉田さんの提案で生まれたものでした。あのシーンは吉田さんのプロットには書いてなかったんですけど、打ち合わせが終わったあとにこっそり自分にだけ「青目の白龍」を宇宙まで飛ばせないかなって相談されて。なんでこっそり言うんだろうって思ってしましたけど(笑)。
Masahiro Hikokubo: “However, at the end of the day, a duel alone wouldn’t do any good, since without the scriptwriters’ ideas, a duel wouldn’t be any fun. For instance, for episode 109, the scene with the attack in space, that came to be through a proposal from Yoshida-san. That scene wasn’t written down in Yoshida-san’s synopsis but after the briefing was over, he secretly approached just me and we had a conversation about whether or not it would be a good idea to let Blue-Eyes White Dragon fly all the way to space. I did have to wonder though why he approached me in secret. (laughs)”
>吉田 なんか打ち合わせ通りに脚本を書くと、スタッフが驚かないんだよね。だからプロットに書いてない事を脚本に入れて、驚かせようとしてました。それを見てニヤニヤするのが好きなんですよ(笑)。
Shin Yoshida: “It’s just that, had I written things down into the script as per the briefing, I wouldn’t have surprised the staff. That’s why something that didn’t make it into the synopsis went into the script, I wanted to go for a surprise. Watching them while grinning broadly, I love that. (laughs)”

Yu-Gi-Oh! Writers Blue-Eyes in Space

>Q デュエリストキングダムでは、原作では見られなかった遊戯vs城之内のデュエルがありますが、どうしてデュエルする事になったのでしょうか。
Question: As for Duelist Kingdom, there’s a duel unseen in the source material, Yugi vs. Jounouchi, why did that duel come to exist?
>武上 「DM]は子供むけのアニメとしてつくっていたので、各話でなるべくデュエルを入れようとしていたんです。
Junki Takegami: “Since Duel Monsters was created as an anime geared towards children, with every episode, we tried to insert a duel to the best of our abilities.”
>彦久保 あとは単純に、遊戯vs城之内は見たいと思ってましたよね。
Masahiro Hikokubo: “Afterwards, we simply thought that Yugi vs. Jounouchi was something we wanted to see.”
>武上 そうですよね。あのデュエルは、見たいという気持ちとデュエルを入れたいという考えが一致したんだと思います。デュエルを追加するにしても、ただデュエルをすればよいというのではなく、ちゃんとした理由や、ストーリーのテーマに会ったものじゃなきゃいけないとは考えていました。
Junki Takegami: “That’s right. With that duel it was a matter of the feeling that we wanted to see it and the thought that we wanted to integrate it overlapping I think. Even though we included the duel, a duel for the mere sake of itself wouldn’t have been any good, so we believed a proper reason for it to take place and something that fit the theme of the story to be requirements.”

Yu-Gi-Oh! Writers Yugi vs Jounouchi.png

>Q デュエリストキングダムが終わった頃からアニメオリジナルの展開が増えましたが、どのように作られたのでしょうか
Question: After Duelist Kingdom, original stories rose in numbers, how did you proceed to create them?
>武上 「遊戯王」に限った話ではないですが、どうしてもアニメの進行が早くて原作に追いついちゃうので、オリジナルのストーリーをいらなきゃいけなくなりました。
Junki Takegami: “This isn’t a tale exclusive to Yu-Gi-Oh! but the anime progressed fast and was about to catch up to the source material, so we had to insert original stories.”
>前川 デュエリストキングダムが終了した時点では、まだ原作には追い付いてなかったんですけど、先先の予定は見えていたのでこのあたりからオリジナルストーリーを入れてましたよね。
Atsushi Maekawa: “At the point when Duelist Kingdom had finished, the anime had still not caught up to the source material, however, we perceived it as preparation for the distant future which is why we inserted original stories right around there.”
>吉田 オリジナルストーリーは連載中の原作のストーリーと矛盾しちゃっだめだから、誰を適役にするのかは悩んでいたと思います。ビッグ5とかは、原作には絶対出てこないだろうって(笑)。
Shin Yoshida: “An original story must not contradict a source material that’s still in serialization, so we were worried about who would be the most usable for this. With the Big 5 and the likes, they would – probably – most certainly not make an appearance in the source material. (laughs)”
>彦久保 41話は双六じいさんが「青目の白龍」を譲り受けたストーリーにしようと決まったんですけど、「爺さん、同士のデゥエルじゃあ、視聴者が興味が湧かないんじゃないの?」って話になってレベッカを出したんですよね。(笑) あと、46話からの「D.D.M.]は、デゥエル表を作るのが本当に大変でした。。。
Masahiro Hikokubo: “It was decided that with episode 41, we would tell the story of how Grandpa Sugoroku got the Blue-Eyes White Dragon, but we had talks like ‘An old man dueling a fellow old man, would that really get the audience excited?’ and so Rebecca made her way into the story. (laughs) Afterwards, with Dungeon Dice Monsters starting from episode 46 on, creating the duel field was quite an endeavor…”
>前川 辛そうでしたね(笑)。
Atsushi Maekawa: “That must have been hard. (laughs)”
>彦久保 アニメには反映されていないんですけど、あのデゥエルはマップとダイスの展開や、クレストの数値など全部決めていたんですよ。資料もすごく分厚くなって、それを監督に渡したら「うん。これは全部は盛り込めないね。」って(笑)。
Masahiro Hikokubo: “It’s not reflected in the anime but for that duel, developing the map and dice, the numerical values of the crests and such, I was in charge of all those decisions. The material I had grew enormously and when I handed it over to the director, he just said ‘Alright. I can’t fit this all into the show.’ (laughs).”

Yu-Gi-Oh! Writers Dungeon Dice Monsters

>Q 乃亜が登場するストーリーもオリジナルですが、どのように作られたのでしょうか。
Question: “The story where Noa appears is also an original one, how did you proceed about creating it?”
>前川 乃亜のストーリーは面白かったよね。
Atsushi Maekawa: “The Noa arc was certainly interesting, wasn’t it?”
>武上 うん、高橋先生からも、あそこは良かったって言っていただけました。あのストーリーは、海馬瀬人とモクバのバックボーンをもう少し作り込んだ方がいいのでは、と考えて作られたんです。
Junki Takegami: “Yes, even Takahashi-sensei himself expressed that he was glad to have it there. It’d be good for that story to flesh out Seto Kaiba and Mokuba a bit more, that’s the thought process that went into making it.”
>吉田 海馬剛三郎も、原作には絶対出ないだろうという憶測があったので、それをボスにしちゃえって決めたと思います(笑)。
Shin Yoshida: “Kaiba Gouzaburou was another character we guessed with near certainty to not make it into the source material again, I think that’s how it was decided to make him a boss character. (laughs)”
>彦久保 この前にもオリジナルの展開は少しはありましたが、このボリュームの新規ストーリーは初めてだったんで、ちょっどテンパっていた記憶があります(笑)。
Masahiro Hikokubo: “We had some short original expansions on the story before but starting a story from zero at this magnitude was a first, I remember we were a bit at our wits’ end. (laughs)”
>前川 ラストではミサイルが飛びかう中、遊戯たちと海馬とモクバが飛行船に飛び乗ろうとするんですけど、その時に海馬がモクバの襟をつかんで投げるっていうシーンがあって、そこがすごく好きでした。モクバが驚いた顔で飛んで行って。(笑)そのあと、剛三郎の怨念みたいなものが、炎となって迫ってきて飛行船を燃やすんですけど、海馬がボタンを押すとジェットになって脱出するって一連のシーンはすごく覚えていますね。
Atsushi Maekawa: “In the last episode, with the missile approaching from mid-air, Yugi, his friends, Kaiba and Mokuba were trying to hop on the blimp but that scene when Kaiba grabs Mokuba by his collar and throws him, I really loved that. Mokuba’s surprised face as he’s sent flying. (laughs) Afterwards, what appears to be Gouzaburou’s grudge is manifested in flames, starts to chase the blimp and engulfs it in flames yet Kaiba presses a button, turns the blimp into a jet and they make a run for it, that scene is ingrained into my memory.”

Yu-Gi-Oh! Writers Escape

>Q オリジナル編でもっとも長かったダーツ達との闘いですが、どのような経緯で作られたのでしょうか。
Question: “The longest anime original arc was the battle against Dartz and his group, what kind of circumstances did that bring with itself in making it?”
>吉田 あの時は人気作のオリジナルのシリーズ構成をやらせてもらえるっていうんで、張り切っていましたね。張り切りすぎて、後半は暴走しちゃってました(笑)。この頃には「遊戯王」のストーリーもかなり進んでいて、いろんな闘いがあったんですが、まだやっていなかったのは「闇遊戯の敗北」だって思ってたんですよね。ただ、原作でもやってない事をやっていいのかっていう葛藤はありました。
Shin Yoshida: “At that time, to be given the job of constructing an original story for such a popular work made me feel overjoyed. Too overjoyed even, so I got completely reckless for the second half. (laughs) Back then, the story of Yu-Gi-Oh! was progressing quite nicely and many battles had been fought, however, one that hadn’t been done yet was ‘The Loss Of Yami Yugi’, that was my line of thinking. However, to do something that even the source material didn’t do, that was quite the conflict.”
>彦久保 ラフエールに負けたあと、闇遊戯を救うために武藤遊戯がデゥエルするんですが、その脚本を書いていた吉田さんから電話がかかってきて、「どっちを勝たせたらいいのか、わかんねー!」って相談されました。あの時のデゥエル表は10回以上直してましたね。脚本打ち合わせの当日の朝まで頑張った記憶があります。
Masahiro Hikokubo: “After being defeated by Rafael, Yami Yugi was to be challenged to a duel by Mutou Yugi to save the former but Yoshida-san who had written that into the script called me, telling me ‘I just don’t know which of the two of them should win!’ and so we consulted each other on it. I redid the duel chart more than ten times back then. I remember how we gave our best even until morning of the day of the script briefing.”
>吉田 そうだねえ。あのシリーズは、勧善懲悪みたいな話にはしたくなかったんだよね。どっちも正しい人たちが戦うっていうか。原作の「遊戯王」と同じテイストにしたいと思ってチャレンジしたっていうところもあります。
Shin Yoshida: “Yes, that was a thing. I just didn’t want to turn that story into one where good gets rewarded and evil punished. Why not have both sides be ‘just’ and let a battle ensue between them? My thoughts were that I wanted there to be the taste of the source material’s Yu-Gi-Oh!, I wanted there to be an element of challenge.”

Yu-Gi-Oh! Writers Yugi vs Rafael

>Q それぞれがご担当すれたストーリーで、特に思い入れのあるものはどこでしょうか。
Question: “Among the stories that you were each individually in charge of, what happens to have stuck with you in particular?”
>武上 やっぱり1話目ですかね。まったく、どういう風に作らればいいかわからない段階だったから、苦労して作った記憶があります。
Junki Takegami: “With all that said and done, it’s got to be episode 01 after all. I was stuck in a phase where I couldn’t help but wonder how to best craft it so I remember proceeding with it quite painstakingly.”
>吉田 僕は131話の神が対決する回かな。原作では神同士の戦いは一瞬だったけど、アニメ的には盛り上がるシーンだったんで、彦久保さんにお願いして前後に影響が出ないようなデュエルを作ってもらいました。放送の時は作画も演出も素晴らしくて凄くいい回になりましたね。あとはやっぱり、さっきも話に出た闇遊戯vsラフェールのデュエル。物凄い緊張しながら書いてましたね(笑)。
Shin Yoshida: “For me it’s the confrontation of the Gods in episode 131. In the source material, the battle between the two Gods was over in just a flash but for the anime’s side of things, it turned into this huge climactic scene, I asked of Hikokubo-san to create a duel that wouldn’t influence what happened before or after. When the episode aired, both the animation and direction made quite splendidly for an amazing episode. Another one that comes to my mind just has to be the previously mentioned duel between Yami Yugi and Rafael. I was incredibly nervous while writing it. (laughs)”
>前川 ぼくはやっぱり「バーサーカソウル」が登場した162話ですかね。
Atsushi Maekawa: “In my case, it’s no doubt episode 162 where ‘Berserker Soul’ was introduced.”
>吉田 あれはヤバイよね。
Shin Yoshida: “Now that was quite a thing, wasn’t it.”
>彦久保 「この虫野郎!!」って(笑)。
Masahiro Hikokubo: “‘You piece of insect trash!!’ (laughs)”
>前川 闇遊戯を追い詰める話だから、振り切って書いてほしいって吉田さんからオーダーがあったんですけど(笑)。普通だったら止める人がいて、そこで修正されるはずなのに結局誰も止めなかったんだよね。
Atsushi Maekawa: “It was an episode with Yami Yugi backed into a corner, so I got an order from Yoshida-san, telling me ‘I want you to write without feeling restrained’. Usually, there’s someone pulling the breaks, however, even though there should have been revisions back then, absolutely nobody stopped me after all.”
>吉田 あの脚本読んだ時、実はちょっと引いたもん(笑)。
Shin Yoshida: “To tell the truth, when I read the script, I flinched a little. (laughs)”
>前川 書いてる僕は楽しかったです。やっぱりやるならあのぐらいやないと。今でこそネタみたいになってますけど、当時は本気も本気で、あれくらいじゃないと伝わらないと思っていました。このインタビューがあるんで久しぶりに見返したけど、映像も凄いし演じている風間俊介さんも凄いしで、みんながノリノリでやっているのが伝わってきましたね。羽蛾の声優の高乃麗さんも、生き生きと芝居してくれました。アニメでは「もうやめて遊戯!」って杏子が止めるけど、実際の現場では誰も止める人がいなかったていう。(笑)
Atsushi Maekawa: “To me, who was writing it, it was a lot of fun. Since I had to do it, it had to be done just like that and not any other way. Nowadays it’s become something like a meme but back then I was dead-serious about it, ‘If I don’t do it like this, the point won’t come across’ is what I thought. Now that I’m part of this interview, I’ve looked back on that scene after all this time but both the art and Shunsuke Kazama-san’s performance were stunning and that we all were in high spirits, that part has been conveyed. Takano Urara-san, who voiced Haga, her acting was brimming with life as well. In the anime, you had Anzu shouting ‘Yugi, just stop it already!’ and stopping him but in real life, there wouldn’t have been anyone to stop him at the scene.”
>彦久保 良い話だ(笑)。デュエルで言えば、やっぱり最後の武藤遊戯vsアテムのデュエルかなぁ。最終回だってんで、これまでに活躍したモンスターをできるだけ出してあげたかったんですよね。三玄神も、原作では「オシリスの天空龍」と「オベリスクの巨神兵」しかでないところを全部だしちゃおうと。
Masahiro Hikokubo: “That’s a good story (laughs). As far as duels go, there’s no way it wouldn’t be the last duel between Mutou Yugi and Atem. It was the last episode and I wanted to bring out as many monsters as possible that had been played up until then. The same applied to the Three Illusionary Gods, in the source material, only ‘The Sky Dragon Osiris’ and ‘The Giant God-Soldier Obelisk’ received play but I tried to bring them all out.”
>吉田 話題になる作品って、現場がノっているというか、スタッフ全員が一丸となっていた感じがあるよね。「DM]の制作も、途中からみんながどんどん勢いづいて、凄い作品になっていったんだな、という気がします。
Shin Yoshida: “Works that become a topic of conversations all give off the impression that the staff were into them and the entirety of the staff ended up becoming a unit. As far as the production side of Duel Monsters is concerned, with that, too, along the way, everyone started taking things to heart quite strongly and an amazing work came to be, that’s what I feel.”

Yu-Gi-Oh! Writers Atem Egyptian Gods

Well, folks, that about ends it.

If you also want to check out an interview I translated featuring Takahiro Kagami, the franchise’s most iconic animation director, I’d recommend to check this out.

Regardless, I hope you’ve had an entertaining read and I for one certainly would be delighted to do more articles like this one in the not-so-near future. Anyway, I wish you all a happy new year, Zaku over and out.

2 thoughts on “Yu-Gi-Oh! Duel Monsters Screenwriter Round Table

  1. Pingback: Yu-Gi-Oh! Duel Monsters Millennium Memory Takahiro Kagami Interview | Beyond The Mountain Lies A World Of Frills

  2. Pingback: Yu-Gi-Oh! GX (Manga) | Beyond The Mountain Lies A World Of Frills

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