“Proseca the Movie” Fumiya Imai x Minori Suzuki BD release commemorative interview | Isekai2nd

“Project Sekai: The Broken World and Miku Who Can’t Sing” was released nationwide in January 2025. This work, which marks virtual singer Hatsune Miku's debut on the silver screen, quickly became a hot topic with its vivid theme of “Miku who can't sing.''

The Blu-ray of this work will be released on Wednesday, October 29, 2025! Included with the main movie is a 2-disc set of 20 weekly after-live video bonuses and an original soundtrack of 41 songs. The content is coveted by fans, allowing them to enjoy the essence of “Proseca the Movie.''

To commemorate the release of the Blu-ray, Isekai2nd conducted a series of interviews with the cast and Vocaloid P. This first article features Fumiya Imai, who plays Akito Shinonome from “Vivid BAD SQUAD,” and Minori Suzuki, who plays Ena Shinonome from “25 o'clock, Night Code. (Nigo).”

Akito and Ena, who have a sister-brother relationship in the story. How is the “casual but not casual everyday life'' featured on stage in the theatrical version created?

For Mr. Imai and Mr. Suzuki, what does “Shinonome sister and brother” mean? I could feel the soft scent of dawn as I listened to the many thoughtful stories.

“I think this is a work that can help everyone live in peace.”

──The Blu-ray version of “Proseca the Movie” was released in January 2025.

Fumiya Imai, who plays Akito Shinonome (hereinafter referred to as Imai):To be honest, when I heard about the story (for the movie version), I was worried that the story would really come together, especially since the movie featured characters from all the units.

However, when I actually received the script and read it, even before I saw the finished video, I thought, “It's so well put together…!'' From then on, I was able to participate in the project without worrying too much. I have the impression that everyone who watched the movie received it well.

Minori Suzuki (hereinafter referred to as Suzuki) who plays the role of Shinonome picture name:I thought it would be a work that would be received by a lot of people, but (the response) exceeded my expectations.

Everyone wanted “Proseca'' to become an anime, but since each unit and character has their own fans, it would be difficult to balance them all into one… How to express “Proseca” as an anime, to what extent can we follow the story in the game… I don't think it was really easy to put everything together well.

──How was the dubbing?

Suzuki:I received the script, which was divided into a first half and a second half, before recording for each began. As the production progressed, there was a long gap between the recording of the first half and the beginning of the second half.

Imai:How much space did you have between the first half and the second half?

Suzuki:I think it's about 3 or 4 months, if not half a year. Especially when I was playing the first half, even though I knew the overall flow, I didn't know the ending.

I thought it would be a wonderful story, but there were still many parts I hadn't seen yet. When I actually saw the finished video at a preview screening, I felt that there was a single thread to the beautiful story of Hatsune Miku. (Hiroyuki Hata) I understand what the director meant when he said, “I love Hatsune Miku and 'Proseca.''

It's a work filled with respect for all the communities related to “Proseca'', and I think it's a work that can help everyone live in peace.

──So you also noticed something from the finished video?

Suzuki:For example, when I actually watched the movie, I was reminded of how much negative emotions there are from everyone in the movie (characters without names). When you watch the video, you can understand their feelings more clearly, and you can see that they have become a meaningful presence.

Imai:Basically, we were dubbing without pictures, so there were some scenes where I thought to the extreme, “Who else is there besides Akito in this scene?'' (laughs) There were times when I watched the finished video and realized, “There were no unit members in this scene…!''

Characters who aren't talking to each other may have little to do with what they're talking about in front of the microphone. There were two or three times when I watched the movie that I realized that the characters were in the same space, but I didn't realize that.

Suzuki:(lol). I also felt that the production staff took into consideration the cast's opinions when creating this movie.

Imai:(Nods) You heard our voice.

──Are there any episodes during the recording that particularly left an impression on you?

Imai:There's a scene where he sings the phrase “I'm sure it'll reach you'' a cappella, which later becomes “Hello World,'' but I really couldn't get it right (lol).

Suzuki:Eh? Nigo is all set (lol).

Imai:It seems like the other units finished smoothly (lol). That phrase has a very irregular beginning.

Suzuki:surely. It was difficult.

---

Imai:(While clapping with his hands) If he started the song with the beat like this, “Suretsu'', I'm sure he could sing it, but dubbing takes place in a silent room, and the timing suddenly comes. That's why I was like “……huh?'' (lol).

Suzuki:(lol). Maybe the sound was included when Nigo was recording that scene because the Vivibus didn't match…?

Imai:Is that so?! But Bibibus didn't suit me… After that, the dubbing progressed, and Kohane, Anzu, and Touya were a perfect fit.

Suzuki:…Then Imai-kun is to blame.

Imai:(lol). Director Aketagawa Hitoshi was the one who directed that scene, and I remember he suggested, “Akihito just doesn't fit… let's record it later!'' and we recorded it separately.

Suzuki:Isn't it a sad memory…? (lol)

Imai:Also, after the dubbing was over, the cast got together for lunch, and the pasta we had at that time was delicious.

Vivibus Nigo's “unit color”

──Please tell us about your memories during Suzuki-san's dubbing.

Suzuki:For Nigo, we did the dubbing with just the four unit members on a separate day from the other units. What impresses me is…

Imai:Maybe the songs weren't ready?

Suzuki:I heard it was all set (lol).

The recording of the game “Proseca'' was done with the team that has supported us for many years. So I didn't have to do much coordinating work.

The movie version, on the other hand, was recorded without the entire team present, although Colorful Palette staff were on site to confirm. Therefore, the characters' words and nuances may be slightly different.

──Is the nuance different?

Suzuki:Among the unit members, Ena is the only one who speaks to Kanade (Yozaki) in a kind tone. But when I looked at the storyboard drawn from the script (for “Proseca the Movie''), there was a scene where Kanade was angry, like “Hunsu!''

It's a small point, but when I found a part like this, I made a request like “The picture name for Kanade has a different nuance.'' As with the other unit members, especially in this movie, there were many scenes where Kanade spoke, so Tomori Kusunoki was coordinating things like, “If Kanade, this is what I think she would say.''

Of course, it's wrong to change a character based on one cast member's opinion, but I was impressed by the cast members consulting with each other if there was something they felt was different. When I saw that scene, I realized that I had only seen “Proseca'' through the picture name.

I think it was an opportunity for me to learn from the perspective of actually acting that this is how everyone felt about the characters. I was just observing people without permission (lol).

Imai:I'm doing it right….

Suzuki:I'm doing it right, it looks like this.

──What do you mean by dubbing for Vivid BAD SQUAD?

Imai:Well, Bibibus is smooth. It finished recording really easily.

──Perhaps the color of the unit comes out in the flow of the dubbing.

Suzuki:It's the color. I don't usually come across other people's dubbing, so I think it was refreshing to be able to see the character from that person's perspective.

──Would you say that your understanding has deepened even more after watching the movie version?

Suzuki:I agree!

Imai:I have also become deeper, even more!

Suzuki:(lol).

──This is my personal impression, but I think of Vivibus as a unit that deepens understanding through songs, rather than dialogue.

Imai:That's certainly the image of the characters. When it comes to how each character is perceived through the cast members, I get the impression that each of them has their own particular preferences.

When I come across a line that I think has a slightly different nuance, of course I consult with them, but I think I personally think about how to approach it. I feel like, “If I were to say this line literally, it would sound sarcastic, but if I were to use a different nuance, I wonder if it could be sublimated into a Bivibas-like flavor.'' This is also true when singing, and as you said, I'm not the type of person who consults through words.

However, each of them has their own points that they want to be particular about. Because they each have their own strong styles, they may be able to talk quickly about various things during recording.

Suzuki:Although Nigo's policy is to “change the nuances of the dialogue'' like everyone else in Vivibus, it still has to match the picture, so I think there are times when you have to make sense of the doubts surrounding the scene before changing the nuances.

Since Nigo's story has a heavy main plot, I think there was an intention in creating the story to make it more exciting through the daily parts. All four of us are careful not to let a single word uttered by a character become a thorn in our side. There are times when we are really playing around with each other.

“I can feel the Shinonome blood.”

──The main movie version also depicts daily scenes of the Shinonome siblings. My personal opinion is that the Shinonome House (building) is splendid.

Suzuki:Certainly (laughs).

Imai:It was a successful house, wasn't it?

Suzuki:Dad is working hard!

Imai:He has such a nice house, and his two children go to school in Shibuya, right?

Suzuki:That's admirable!

──What did you think of the scene with the Shinonome family after acting it out and watching the video again?

Imai:It's the same in games, but when dubbing scenes between siblings, I'm concerned about the tension between family members. I thought that when that unique sense of tension was transformed into a moving picture, a more vivid picture of the family would come into view.

Siblings and siblings at the impressionable age of high school…I'm an only child, but I remember feeling nostalgic for the family atmosphere and thinking, “I wonder if there's this much tension between them.'' There's a different kind of consciousness that's different from interacting with other characters.

I don't think you consciously change your face when you go out. Do you say that it comes out of its own accord in daily life? That part of me suddenly wears off, and the tension drops… It's difficult to put it into words, but there was a feeling of confusion that only a family member can have. It's not that I don't like him, but I'm like, “What, it's you again?” (laughs)

Suzuki:(lol).

Imai:Nuances such as “This is what family is like'' have been consciously developed through trial and error from the beginning of the game all the way to the movie version.

──Certainly, I feel a unique feeling of unsteadiness.

Imai:It's the same when I talk to my father and mother, but it's different from when I talk to Touya.

Suzuki:The movie version was filled with many scenes from “Proseca'' that fans wanted to see, and I thought that “Shinonome Family'' was one of them. I was happy.

I have the same feeling about the interaction between the two (Akihito and Ena). When portraying the relationship between a brother and sister, if you put too much expression into it, it becomes too cartoonish, and it ends up sounding like a relationship between a man and a woman…so my first thought was, “I'm really not interested.'' Even when you say the word “moo”, it sounds like “moo is really annoying” rather than a cute “moo!” that raises the end of the sentence (lol).

During the early recording of the game, I remember hearing Imai-kun's excitement when talking to Ena and thinking, “This is definitely what families are like.'' Even in the scenes where I want to express myself when I interact with Akito, I am conscious of the “tension between family members''. Although they were not able to interact during the dubbing of the movie version, they played with Imai-kun's Akito's voice playing in their heads.

──When you talk about “tension between family members,” the “huh?” you say to Mafuyu Asahina and the “huh?” you say to Akito sound completely different nuances.

Suzuki:That's right (lol). The “ha?” response to Mafuyu is more emotional, coupled with the regret that Ena feels. But when he asks Akito, “Huh?”, I think he's expressing his annoying feelings, like, “He's saying something again.”

──As for your younger brother Akito, from your perspective, what kind of charm does he have as a character?

Suzuki:When I have a difficult time with the picture name, Akito lends me a helping hand…When I look at Akito, I can feel the “Shinonome blood.''

Imai:Shinonome's blood (lol).

Suzuki:(lol). Both of them are extremely kind and extremely passionate. Although he is not very good at choosing words, he is considerate of others. I think that a sense of loyalty, where once you trust someone, you never waver, is also attractive. I think that the spirituality that allows him to come forward without hesitation is one thing, but in the end, the charm of Akito is also the charm of his picture name.

──From your perspective, what kind of charm does your sister's picture name have?

Imai:There hasn't been a particularly big turning point, but I think I've started to see a variety of different expressions. The names of the early pictures were a bit more…it's hard to describe, but I think they had a modern-like atmosphere.

However, when I look at the names of recent pictures, there are lines and descriptions that give a sense of spiritual growth. Akito and I still have a quarrel with the siblings, but…

Suzuki:But we're kind of good friends. Even when Akito went to America, I sent him presents.

Imai:We are able to take care of each other, and I think that we are a beautiful “sibling'' group.

Suzuki:I'm sure your mother raised you well.

Imai:We don't have separate dining tables, we sit together.

Suzuki:oh yeah! I was with Mafuyu when she came!

Imai:Even though he says he doesn't like it, he still cares about him (lol). It's heartwarming and I can feel the growth of both of them.

“I would be happy if you could continue to watch over me.”

──“Proseca” will celebrate its 5th anniversary in 2025. Now, 5 years have passed, what kind of existence does Shinonome Akihito mean to you, Mr. Imai?

Imai:Since the character has a lot of similarities with me, I thought from the beginning that it was easy to understand and understand his emotions, but lately I've been having more and more moments where I'm like, “I get it…!”

The connection and sense of balance between the story and the songs has become stronger year by year, and our foundation is solidifying. With that in mind, Akito is a second year high school student and Ena is a third year student…they are still quite young. That's why I told myself not to go too far (lol).

Suzuki:(lol).

Imai:It's important for them to “conquer the world,'' but I think it must be difficult to go to America over and over again (lol). The Vivibus cast members also talk about it from time to time.

Of course, this is what makes them so interesting, so I hope you will continue to watch them.

──You said that your understanding has deepened “even more recently,” but have you noticed any changes in your acting?

Imai:The amount of enthusiasm during recording may have changed a little. Exceeding “RAD WEEKEND” was a turning point for them, and there was also a story in which Akito once lost his passion.

I think my approach to dialogue has changed after going through those experiences. On the other hand, would you say that I stopped acting because I got used to it? I think this nuance will become clearer in the coming chapters of the story, so please look forward to it.

---

──Next, what kind of existence does Ena Shinonome mean to you, Suzuki?

Suzuki:I wonder what it is… It's so important and special that I can't put it into words. I think this is a character that is intertwined with various parts of me that cannot be described as family or friends.

This encounter was so important that I realized that only I could come up with a picture name. All the characters in “Proseca'' are involved in music in some way, so I think they live in a world where there is no right answer, but Ena is in the world of painting and art in addition to music, so there is no right answer. This is similar to my profession as an actor. Once again, you are a special and important person, and I want to be by your side forever.

──I realized once again that I want this character to continue to be with Suzuki-san.

Suzuki:As long as I continue to draw pictures, I will continue to be an actor. But the name of the picture is probably because I will never stop drawing.

---

──Thank you very much. Lastly, for the fans who will watch “Proseca the Movie” on Blu-ray, please tell us the points you would like them to watch over and over again.

Suzuki:Nigo usually sings about his feelings and those of his members, but in “Proseca the Movie” he is clearly trying to convey his songs and feelings to “someone”. Because of this feeling, the approach to the songs is different.

I usually work on Ena while facing myself, but for the movie version, I created a song that conveys a sense of security that Nigo hasn't had before, like things like “Let's deliver it'' and “It's okay.''

Since Nigo is active on the Internet, videos of live scenes are also posted. The only place you can watch such footage is “Proseca the Movie''.

I think there are still many things that can be considered, so I hope you enjoy it while experiencing various things.

Imai:When I was doing the dubbing for “Proseca the Movie'', I thought it looked fluffy. What is this fluffy thing? I thought about it, and realized that the fluffiness was due to the fact that the details of the space were well-developed and recognizable.

It's the same with Feniran (Phoenix Wonderland), and with Nigo's world, I notice that “everyone is standing at this distance from each other.'' Even inside the cafe, you can find detailed footage that shows how close people are to each other.

When it comes to animation, we tend to focus on the character's movements and dialogue, but I thought the space in Proseca seen from the background was also interesting. I would like you to revisit it many times and pay attention to the size of the space.

I would also like people to pay attention to the unit's songs. Bibibus's “Fire Dance” is the first shot of the live scene. Even if I look at it objectively, I think the “spark'' atmosphere and explosive power that Vivibus has is perfect for them. Recording the music didn't take much time at all.

Suzuki:Nigo was almost finished.

Imai:Deco (DECO*27) is quick at recording. Same goes for “Salamander”.

Suzuki:It's early…! Even though I would normally have to record 10 times, I was able to finish recording in 2 or 3 times.

Imai:I'm sure this was due to the heat coming out of my head rather than the lack of retakes. That's why it went so smoothly, and the work has that instantaneous energy. The recording was different from the game's music. I hope you enjoy listening to it over and over again!

[Interview and text: Shuntaro Nishizawa Photography: MoA Editing: Yuki Ota]