After an eventful Anime Expo 2025 panel, Final Weapon had the opportunity to interview KILLTUBE director Kazuaki Kuribayashi to learn more about the new theatrical anime film. In our interview, director Kuribayashi discussed his experience working on KILLTUBE as his first anime production, the initial reaction to fan reception for the April 2024 pilot film, the challenges he and his team faced during production, and much more.
The full interview with Kazuaki Kuribayashi is available below.
KILLTUBE is a highly unique project that brings together creators from outside the traditional film and animation industries to develop an entirely original work. As someone participating in anime production for the first time, what kind of experience has this been for you so far?
Kazuaki Kuribayashi: For me, it’s been like navigating through stormy seas. At first, it was just a small group of people who had no idea what they were doing, setting off with nothing but a single raft. We ran aground multiple times, but gradually more and more allies joined us, and our ship grew bigger. Just like how people skilled in steering and reading the wind came aboard, KILLTUBE has attracted professionals with the knowledge necessary for anime production, as well as people with unique ideas to help elevate the project. Through this adventure, more and more unprecedented creations are starting to take shape.
We understand you didn’t have any prior experience in anime production. How did you go about acquiring the necessary directing skills while leading the development of KILLTUBE?
Kuribayashi: I’ve been learning everything as I go. From how to properly create storyboards, to the sequence of editing, and the fundamentals of modeling—each step has been taught to me patiently by the team. I’m probably causing them some trouble because of my inexperience, but I’m gaining these skills in real time as we move forward.
KILLTUBE’s pilot video was released in April 2024 and attracted major attention from anime fans both in Japan and overseas. What were your initial thoughts when you first saw the reaction? Also, how far along was the production at that time?
Kuribayashi: Honestly, I was very surprised. The audience for the pilot video on YouTube leaned more toward North America than Japan, and the level of response from outside Japan far exceeded our expectations. Even though it was our first attempt, we gained so much courage from the number of people who showed interest. As of April 2024, when we announced the project, the overall story plot had been finalized, and the second draft of the script was already completed.
What challenges did you and your team face during the production of KILLTUBE?
Kuribayashi: The greatest challenge we encountered was figuring out how to maintain a sense of speed in the production process.
KILLTUBE’s identity is built around continuously gathering and integrating ideas from creators across diverse industries. Rather than following a conventional assembly-line workflow, our process revolves around iterating idea cycles. However, this method often takes nearly three times longer than typical anime production.
That said, our producers worked diligently to organize and define the appropriate production flow step by step. We’re now at a stage where that flow is becoming firmly established…
KILLTUBE is set in a parallel version of Japan where the Edo period never ended. What inspired this setting? Were there any specific works or anime that influenced the idea?
Kuribayashi: The setting of KILLTUBE stems from a question I’ve been wondering about since I was a middle schooler: “What if Japan had continued its policy of national isolation (sakoku)?” As for influences, there are far too many to list, but key inspirations include works I grew up with such as Dragon Ball, One Piece, Dragon Quest, Final Fantasy, Harry Potter and Splatoon.
At Anime Expo 2025, footage from KILLTUBE was revealed, giving fans an early glimpse at the animation and several key scenes. What was the creative process like behind the artistic direction and visual style of the series?
Kuribayashi: Once the initial concept was formed, we began by working with concept artists to define the rules of the world. We explored how much of the Edo period aesthetic to include and how to combine it with other elements. After experimenting with various worldbuilding recipes, we discovered that fusing “Edo” sensibilities with “street culture” sparked the most imaginative possibilities. We then had that world rendered as rough sketches. From there, directors, worldbuilding planners, and prop artists layered new ideas on top of those sketches. Additional designers contributed signage and graffiti that would plausibly exist in such a world. Once the visuals were thoroughly saturated with ideas, the concept artist and I refined the artwork together, distilling the scattered concepts into a cohesive direction.
At Anime Expo, part of the KILLTUBE cast was announced. As this is your first time working on an anime, what was your experience like with the casting process?
Kuribayashi: It was incredibly difficult and it took us months to make final decisions because the audition pool was filled with so many truly captivating performers. Among them, the casting of Yui Tsukada as the protagonist, Musashi, left a lasting impression. When we heard her performance during auditions, the entire staff was struck by the sheer intensity of her acting. It gave us chills—an experience I still remember clearly.
KILLTUBE is scheduled for release in 2026. After Anime Expo, are there already plans in place for the next opportunity to showcase the project?
Kuribayashi: Having the chance to present work-in-progress footage at Anime Expo was a major milestone for us. We’re already planning our next reveal, though the details of when, where, and what will be announced remain a secret for now. Please stay tuned.
Lastly, is there anything you’d like to share with fans and readers?
Kuribayashi: Ever since we released the pilot video for KILLTUBE, we’ve received warm reactions from anime fans not only in Japan but also in North America. We are truly grateful for that support. It’s become a major source of motivation for our team. We’re working hard to deliver a brand-new kind of experience, something that makes viewers more excited than ever before. Please look forward to what’s coming!
