Although its premiere is still relatively far off, there’s an increasingly cheeky excitement behind the TV anime adaptation of the action comedy manga Rooster Fighter. The show’s main premise follows a lone rooster named Keiji, who lives in a human world plagued by the onset of dangerous demons. Keiji makes it his mission to eradicate all the rogue demons to avenge his sister’s death.
During this year’s Anime NYC, VIZ Media brought the original manga creator Shu Sakuratani and anime series composer Hiroshi Seko as special guests. Anime Trending had a chance to speak with Sakuratani and Seko on the unique appeal of the manga’s story, the craft of screenwriting, and what fans can expect from the anime adaptation.
Sakuratani-sensei, congratulations on your manga receiving a TV anime series. Have you watched any trailers for it yet? What are you most looking forward to seeing adapted in the series?
Shu Sakuratani: First and foremost, I’ve actually seen all of the episodes already. The action scenes are so much grander and bigger off the page when it becomes an anime. So I think that’s something that fans can definitely look forward to.
The original manga has a lot of great action-packed scenes, explosions, and fights. What’s the process like for creating those scenes in the manga, and how long does it usually take to complete?
Shu Sakuratani: I think that I’m greatly influenced by what I’ve read throughout my life, [especially] Dragon Ball and Fist of the North Star. I think I end up creating all the battle scenes from all those memories. It’s my interpretation of that.
Keiji is like this kind of brooding, solitary figure that you’d see in an old Japanese samurai or yakuza film. How would you describe his characterization throughout the manga, and how does he change as the story progresses?
Shu Sakuratani: In episode one, when it’s revealed that Keiji is out for revenge for his sister, I think that’s when his personality really locks in and we understand what Keiji is all about. I think that throughout Keiji’s journey, he will explore the deeper, darker places, but in the end, I do want to write him a happy ending.
What was the process like in writing a screenplay based on Sakuratani-sensei’s manga? Did you come across any challenges in adapting the unique, but absurd, concept and story?
Hiroshi Seko: I work solo as a screenwriter, and my usual approach is to sit down and figure out the series structure first. Then I go back and just start writing from episode one.
The challenge was that, from the very beginning, I was told this [anime] was going to be 12 episodes, and that was already locked in. Timing-wise, the manga was in the middle of being written [and] I knew that in the manga, all the larger battles were just starting. So I knew that within the 12 episodes, it should end with a big battle. Also, putting several volumes of the manga into 12 episodes means not everything can fit in. Having to choose which portions to cut was pretty challenging because I wanted to make sure that by the time you watched all 12 episodes, it was a satisfying ending.
Now that you mentioned your work as a series composer, you’ve worked on several notable adaptations in recent years. How would you describe your approach to handling series composition for high-profile titles like Rooster Fighter, and how has it changed or been refined in any way?
Hiroshi Seko: I kind of work in a unique way within a normal setting. I talked about the series structure being decided, but that is actually usually done with multiple people in a room. They all figure out the series structure, and then they all start writing. But I do that completely solo. That’s one of the bigger differences about how I work.
Why do I do this? Because with my style, I do have the roadmap structure when I start, but I tend to change and adjust as I write the episodes. For example, around episode 8 through 12, I started adjusting and changing the timing of where each episode ended. Usually, when you’re working in an environment with multiple people, once it’s locked in, it’s kind of immovable. I work by myself because I can continuously make those fine adjustments. That’s just my working style. It’s more conducive as a solo writer.
Keeping that in mind, what’s an important skill or mindset for a series composer to have?
Hiroshi Seko: That’s a hard one. This might be a little embarrassing to say this with Sakuratani-sensei here, but when it comes to handling any original works, whether it’s manga, novels, or anything like that, I think the basic foundation is to have love and respect for the original. That is the foundation of a good screenwriter. As a screenwriter, even if I’m changing and adjusting things, my intention is always to respect the original. I think we would never stray from the ultimate intention.
As far as the actual physical skills for me, it’s actually just watching and absorbing movies and films. It’s kind of like what [Sakuratani-sensei] was saying [in] that his interpretation and memories of all the manga he’s read, then gets interpreted and comes out as Rooster Fighter. For me, everything I’ve watched gets interpreted in my brain and is written out on paper. For example, what I was mentioning before about where you end the episode and things like that, it’s almost instinctual for me [and] is informed by everything I’ve watched in my entire life. It’s almost similar to any athlete, really. You keep practicing [and] doing it until it’s more refined.
What aspects of Rooster Fighter appealed to you most, and what should viewers be excited to see in regards to the anime?
Hiroshi Seko: When I was first presented with Rooster Fighter, it was just straight fun. It was just unquestionably fun. What really jumped out for me was the mob characters like the minor guy walking down the street [who has] a little bit of dialogue. Usually, they don’t really say much of significance, but in Sensei’s case, there’s a school teacher in the manga who says, “Yes, I’m gonna go to the kyabakura,” or the club. Right away, you know what kind of personality that minor character has. It’s those kinds of details.
Also, when the demons are born, there’s that weird mole that appears on the back of the neck. It’s creepy and disgusting. I don’t know if I should say it’s a talent to be able to capture the creepiness that way. It’s not only for Sensei, but for me generally in film and TV, those details are something I really appreciate. Especially with Rooster Fighter, it shows that Sensei doesn’t just look at a very minor character and think, “Oh, it’s a throwaway.” He actually creates a personality [and] knows who that is. It’s the specificity and the details that I was especially drawn to.
Sakuratani-sensei, Seko-san just mentioned the demons and how they’re created and formed in the series. What inspired the various demon designs in the original manga? Was it challenging to create or sketch new demons for every new chapter?
Shu Sakuratani: When I approach the demon character design, they have to be creepy, disgusting, and have a touch of humor. That’s the foundation of all the demons that I draw. Sometimes it’s easy [and] sometimes it’s hard, but first and foremost, I do go back to the story, and think about a demon design that is adjacent to the story. Then I add the creepiness.
Do you have a message for fans who are eagerly awaiting the Rooster Fighter anime series?
Shu Sakuratani: What I want to tell fans is to actually watch it more than once. Every time you watch it, you’ll find something different. It’s almost like an infinitely flavorful piece of gum. You keep chewing it, and you just get more and more flavor.
Hiroshi Seko: I would say to fans that they should watch Keiji. I think most people would really fall in love with him, so to speak, or be your favorite. Maybe not for everyone. But, Keiji reminds me of those Hollywood heroes from the ’80s and ’90s that I grew up with when I was a kid. Those guys are all about justice. They’re very stubborn, they’re nice to ladies, and they keep their friends close. I think you don’t see that kind of straightforward hero as much these days, [but] there’s a sense of nostalgia with Keiji. So I hope that’s something that fans can look forward to.
Interpreter: Junko Goda
This interview has been edited for clarity and length. Questions by William Moo and Melvyn Tan. Interview conducted by WIlliam Moo.
Rooster Fighter is expected to begin broadcasting in Japan in Spring 2026 and will also broadcast in the U.S. on Adult Swim. VIZ Media has licensed both the anime and manga series for English release.
