Celebrating the fifth anniversary of Shun Umezawa’s manga The Darwin Incident, which is also set to receive a TV anime adaptation, Umezawa sat down for his first-ever interview with anime director Naoyuki Tsuda. The two discussed the manga's conception and the creative hurdles of adapting a work often described as “difficult to animate.”

From Short Story to Full Series: The Birth of "The Darwin Incident"

—We heard that The Darwin Incident originated from your earlier short story “Mou ningen（JP: もう人間, Already Human”?

Umezawa:
I’d been wanting to write something dealing with bioethics. When compiling my short story collection Elephon, I created “Mou ningen” from that idea. After finishing it, I felt compelled to explore the theme in a larger world, so I began researching through books and online sources. That research led to the concept for The Darwin Incident. I pitched the idea to several publishers, but most editors said it sounded interesting but had no clue how to market it. I was at a loss—until an editor at Monthly Afternoon showed interest, which eventually led to serialization.

Tsuda:
I still remember when the serialization began. I was just a reader back then, but I thought, “This looks like an incredibly hard series to animate.” Then again, that’s very Afternoon-esque in a good way. I have this occupational habit of mentally imagining how I’d adapt a manga into an anime, and with The Darwin Incident, I honestly thought it might be better suited for a Hollywood movie or drama.

Umezawa:
I’m glad to hear that because I actually structured it to resemble an overseas drama from the beginning!

Staying Timely in a Changing World

—As the series progressed, what have you prioritized most while writing?

Umezawa:
Probably staying sensitive to the times. Even if the core theme remains consistent, the way it’s perceived can shift. For example, the term “vegan” appears in the story. Since the start of serialization, public understanding of veganism has evolved, along with real-world events. I believe it’s important to keep up with these changes and reflect them in the narrative.

Choosing to Take on a Challenge

—Director Tsuda, what was your reaction when offered the anime project?

Tsuda:
A producer presented me with a list of titles and asked which I’d be interested in adapting. The Darwin Incident was one of them. I knew it would be challenging, but I thought, “This is the one worth doing.” Umezawa tackles issues that we all need to think about in everyday life—it's simple in theory, but incredibly hard in practice. I wanted to get on board with that mission.

Umezawa:
I never imagined it would get an anime when the manga started. So when the offer came, I was shocked. I asked them to approach the themes head-on and avoid any potentially discriminatory depictions, even unintentional ones. A single panel taken out of context can lead to accusations—even if no harm was intended. I feel this risk is even higher in anime, so I asked for extra care.

Tsuda:
That’s why our script meetings are filled with careful discussions. This is one of the most intellectually rigorous productions I’ve ever worked on.

Visual Identity and Character Design

—Character designer Shinpei Tomooka is part of the animation team. Did you give him specific instructions?

Tsuda:
Tomooka-san is part of the main production studio, Bellnox Films. We asked him to join because of his outstanding skill and understanding of the original work. I requested that he not overly simplify the designs. While simplifying makes it easier for animators, it risks diluting the theme. Even if it’s more demanding, I asked for faithful renderings.

Umezawa:
I don’t watch a lot of anime, but I was surprised by how the visuals didn’t feel like typical Japanese anime—in a good way. I’d told the team that it was fine to adjust designs to make them more animation-friendly. However, because of a character like Charlie, we naturally have to depict diverse ethnic backgrounds, which adds complexity. They handled that nuance well, and I’m very excited to see how the characters move.

A Studio’s First Big Step

—Bellnox Films is the lead studio for this project—their first as a main contractor. Producer Koji Kajita, formerly of david production, leads the team.

Tsuda:
Kajita-san is ex-david, but our team is diverse, including people from studios like Seven Arcs and others. I also came from david, but since we’re in a new studio, I’m aiming for a different kind of film, pushing for new styles.

—We also noticed that Katsuyuki Nakayama, one of the directors of Evangelion: 3.0+1.0 Thrice Upon a Time, is credited as assistant director.

Tsuda:
Nakayama-san is incredibly talented and inspiring. He’s handling much of the core production work. Bellnox Films is still a young studio, so we’re learning as we go, but with Nakayama-san’s and my experience, we aim to elevate the entire team and deliver something truly special.

Umezawa:
I’m really looking forward to seeing how Charlie’s everyday life and the action scenes are animated.

Tsuda:
American settings tend to have more open space than Japan, so we’re adjusting our layout and art accordingly. We’re running tests and working hard to bring the visuals to their highest level.

Source : The Darwin Incident Official