Malice Mizer Has A Grand Theme Centered Around The Question, "What Does It Mean To Be Human?" The Band's

Yukari Ōba

Yukari Ōba is the exclusive fashion designer for MALICE MIZER. All of their costumes are her work.

People with titles like "planner," "editor," or "writer" often like to separate their jobs into small roles. As a result, some people end up with two or three titles and end up saying how busy they are. Among them i think the profession of designer is currently being broken down into the most minute distinctions. It’s not just about people who create design sketches, cut fabrics, or shape the garments—there are specialists in hats, accessories, knitwear, and so on. I can understand if someone with a foot fetish only wants to make things related to feet, but recently, something’s been bothering me. It starts with the question of whether it's okay to refer to Ōba-san simply as a "costume designer."

She’s responsible for the image of MALICE MIZER after their revival. Under the name of costumes, accessories, and hairstyling, she handles everything from patchwork to welding (pay attention to KAMI's hands this time) to even the stage props. Can we really call her a "designer" or "costume person" in just one second?

However, as I was agonizing over this, Ōba-san spoke enthusiastically, saying, "This part was really difficult, look at it! Oh, and here too..." She talked joyfully about how she changed the fabrics little by little and factored in lighting effects. She said with a laugh, "People often tell me, 'No one will notice you went that far,' but I love doing it." Through her words, I understood one thing: Ōba-san doesn't care what she's called, as long as she can create costumes. It’s her passion. That's why such lively, remarkable costumes are born from her work.

Mana

Mana had told me, "I imagine the feathers gently falling off!" (laughs). It wasn’t meant to change that much, but after making it, I thought, "I want to make it cuter," partly because too much of the legs were showing. I used a fabric called washer organza for the feathers, and also incorporated it into the underskirt, creating a tutu-like effect with about four layers to add volume. The pom-poms were something Mana brought in, saying, "I want to attach these somewhere," and when he attached them herself, she said, "It's cute!" (laughs). Actually, he also made the wig and chains with his own hands.

The butterflies on the wings aren’t real, of course (laughs), but I dyed each one individually. Even in places where it seems casual, there’s a lot of effort behind it (laughs). The fabric for the costume was something Mana requested, saying he wanted a luxurious material that looks like beads. I brought various options and he was especially fond of this one fabric because it’s very light. He even said, "It feels like I’m wearing nothing, this is perfect!" (laughs). It was a hit (laughs). As for the accessories, he said he wanted something with the feel of a wedding fountain with light shining inside it (laughs). I remade it several times to create something that bounces back when touched.

We also tore up light blue feathers and embedded them. We worked hard on even the smallest details that might seem like nothing at first glance (laughs). To make sure the guitar strap doesn’t get tangled, I discreetly made the wings detachable with Velcro (laughs).

Közi

Közi is someone who likes to plan everything from the start. When I first saw the design, I thought of a fiery phoenix, so I decided to make it based on that image. The fabric is the same as Mana's but in a different color. He said, "I've worn something like this before." This time, he wanted something that resembled a jumpsuit. Even though it has no elasticity, I went ahead and made it, but when he wore it, he said, "It's tight..." (laughs). Even though it was restrictive, he’s someone who enters the role through appearance.

The feathers on the chest were dyed with a gradient because I wanted to add that effect, but balancing it was tricky. While adjusting during the fitting, I mixed in red, which is his signature color. This jumpsuit also has Velcro to make it easier for the guitar strap to pass through. The accessories ended up looking very different from the design sketches because when we attached them to the sleeves, it made playing the guitar difficult (laughs). So, when we finished one sleeve, we decided to wrap it around his neck, creating a more luxurious design. The wings on his back are made from aurora film, which changes color depending on the light, appearing red or gold. The material is aluminum, making it very heavy, but the overall cohesiveness of the costume is strong, so he managed to play with it as it was. As for the strawberry hat, we added three-dimensionality using feathers, doubling its size at Közi’s request.

By the way, when he wears the costume, he’s 196 cm tall, from his shoes to the top of his head (laughs). All the members end up being around that height, right? So we make the inseam 100 cm. People always ask, "Who on earth is going to wear these?" (laughs).

Yu~ki

He had an image of a "beast" in mind, and even Yu~ki himself said, "This is quite an adventure." The skirt was actually his first try—a dress made of enamel, something we figured out together during the fitting process. It’s a double-layered design, with the back being longer and slits cut into it, creating this eerie look. The bones are designed to resemble human bones, adding shadow to enhance the effect. The back is made of two layers of umbrella-like fabric, with a sheer fabric sandwiched in between to create a shadow effect. At first glance, it looks like a single layer, but there's a lot of depth (laughs). In terms of time, his costume was the fastest to make because once Yu~ki decides on a design, he sticks to it.

Yu~ki, from the start, based his look on the initial image and always strives to get as close to it as possible. The hardest part was dealing with the enamel fabric's texture. Although we wanted it to look big, enamel has this shiny, slick look, so we used a technique like gathering to create a pinched effect, making it appear more three-dimensional, even under lights. This time, it's sleeveless, but the tattoos he recently got give it a good balance. However, it seems it takes quite a long time to paint his arms, which is a challenge (laughs).

Kami

For Bel Air, it seems that the design he envisioned was difficult to realize. This time, I adjusted the shape of the collar slightly upwards to make it easier to take off. Since taking off the costume was a concern, I incorporated his favorite Rurubar lace in two layers and embroidered it with CD sequins to give off a subtle shimmer, ensuring that the fans could see the light reflecting off it. The sequins were also added to the wings, inspired by his recent thematic focus. They create a fantastical effect, with a gradient from blue to purple as the light shines on them. The wings are the largest element, but they’re lightweight, which allowed Kami to say, "I want to perform while wearing them" (laughs).

For the headpiece, i dyed a cup and embedded black feathers as an accent giving it a mysterious shape that he can just throw on. Lately, he’s been wanting to wear a pink wig that he bought himself, but it’s a bit too intense, so I’m thinking of adding some mesh to tone it down (laughs). The overall concept was inspired by looking at an insect encyclopedia, specifically butterflies. Additionally as Kami insisted from the beginning, there’s a tail attached (laughs).

Gackt

This time, all the members wanted to have wings, so that served as the basis for the design. The members had very detailed requests, particularly Gackt, who was inspired by his favorite movie, The Crow. He wanted the outfit to highlight his beautiful body lines, so while the design is simple, it also needed to allow for movement. Ideally, I would have preferred a stretchy material, but I was determined to use cotton velvet, which has a dark and moody atmosphere, while also creating the effect of gold shining through the darkness.

The cotton velvet, combined with cut velvet, made sitting difficult for Gackt, but when the light hits it, the gold stands out clearly against the black backdrop. The wings, which he was very particular about, were designed in three layers. When closed, they fold up slightly, but when fully opened, they span 4 meters. For live performances, Gackt uses strings to control them, allowing the wings to spread open. The construction is sturdy, with hidden mechanisms for the strings, making the wings quite heavy. The wings were made using about four different patterns, and sequins were added so that when the light hits them, they appear three-dimensional. We used an incredible amount of feathers for the wings as well.

The end

Hibiya Outdoor Music Hall 2 DAYS Concert Sold Out on the Same Day!!

10.10 (Fri) Deuxième Anniversaire - Splendid Resurrection / 10.11 (Sat) Pays de merveilles - The Door to the Empty Moment

(Contact) Hot Staff Promotion 03-5720-9999

"A beautiful and sorrowful story that was once sealed and forgotten long ago is now being revived here. It's hard to distinguish what's reality and what's a dream as this vast and endless journey transcending time and space weaves a grand tapestry of life and death love in its many forms and contrasts all interwoven together. It could perhaps be seen as a grand tapestry of sorts.

The beginning of it all lies with their Malice Mizer's release of their July major debut single "Ver. Aile In the Empty Moment". From this point, they announced that they would express this grand tale in a three dimensional expansion of soundtracks, stage and film. Without a doubt the nationwide standing tour held during this summer, "Pays de merveilles - In the Empty Moment ~", was part of this initiative, and the video of "Ver. Aile In the Empty Moment de l'image" announced here is also the most pivotal point in this journey. Additionally they have decided to set the stage for this story in a medieval French castle shooting it in the style of a silent film. Therefore from mid to late June, they quietly embarked on bringing this story into form as a film in a deep forest in the outskirts of Paris.

The castle in question is truly like something from a fairy tale or a shoujo manga with noble heirs still living in this stone castle that dates back to the 12th century. The distance from the outer gates to the castle is over a kilometer and within the vast grounds are chapels and clock towers with ivy-clad castle walls adorned with red and white climbing roses. This magnificent setting became the perfect stage for the band who have always incorporated medieval European themes into their songs and live shows since their formation.

However for them, this was also the first time they had done full on acting for a film. Each member had to deeply understand their character’s inner world immerse themselves in it and express it directly through film, sometimes even playing dual roles (like Mana and Közi). While they are known as the "ultimate art collective," this was no easy task. Despite some struggles initially, with their efforts, the final result was a stunning set of visuals. The collaboration between the members' sensitivity and dedication, combined with the ideal setting and excellent staff work, resulted in profound, majestic, and beautiful images.

This video, "Ver. Aile In the Empty Moment de l'image", created on an unprecedented scale in the Japanese music industry is not merely a promotional video nor a film. It is a groundbreaking and innovative visual work. At the same time, it serves as a metaphor for the riddles and hints contained within the story that has unfolded through the three dimensional expansion. The relationships between the characters, the hidden intentions in the details, and the multi layered interpretations of the silent format are all things that you should savor while unraveling this work."

Yuki Sugie

Photo credit: Cantavanda

"Malice Mizer's stage is like a scene from a movie."

Interviewer: Did you have a clear sound concept when you first started Malice Mizer?

MANA: I’ve always loved classical music and European music. So I wanted to create a band that fused the beauty and sorrow of melodies using twin guitars to create a mix of these elements. I wanted to combine a European, misty, beautiful image (in terms of aesthetic beauty) with the speed and energy of rock. As for the vocal lines I aimed to create music that has easy to listen to melodies while still hiding a sense of longing and beauty within them.

MANA: Of course when we perform I don't want people to say we sound like anyone else. I want to create Malice Mizer’s unique new sound. In terms of atmosphere, we are gradually getting closer to that, but right now we’re still in the process of experimenting and trying to carve out our own sound.

Interviewer: You’ve only been active for about half a year but do you feel like your sound is starting to solidify?

KOZI: It’s still in its early stages just starting to take shape.

TETSU: It’s just begun to sprout you could say (laughs).

Interviewer: You mentioned "aesthetic beauty" earlier but does that mean you want to create a sound that’s based on melodies with an emphasis on an aesthetic world?

TETSU: Yes, that’s right. We’re not necessarily a "singing band," but we do want to place importance on the vocals.

MANA: As for the other instruments if you listen closely you’ll hear that we carefully craft the harmonies with the guitars and bass. But when it comes to harmonies the more we think about it, the more ideas come up. We often struggle with figuring out the best place to harmonize and where we should put the emphasis in the song, so we end up debating quite a bit.

Interviewer: The interaction between two guitars is quite challenging, right?

MANA: Exactly. It’s not like heavy metal, where there’s a lead and rhythm guitar, and then when you get to the chorus, you harmonize...

I did a little translation on Mana's personal interview. Corrections are very welcome! Thank you so much in advance!

The dark-themed works that were released in the early days. I was captivated by these eerie and unsettling creations, which were far from being considered suitable for children.

I had the opportunity to have a discussion with the person in charge of producing that series of dark games.

All of those games were illustrated by a single designer. That designer had an aura about him and would immerse himself in work for about a month, isolated, to complete the projects. The resulting works had a unique sense of fear, and I was told they even went to Asakusa Shrine for a purification ritual before the games were released. I heard various behind-the-scenes stories like that.

Another memorable discussion was with Konami’s director, Yakushiji. I’ve always been a big fan of the "Castlevania" series since the Famicom days, and I had completed all the previous versions, including the Disk System and PC Engine versions. Our discussion took place around the release of the N64 version, "Castlevania: Legacy of Darkness."

"Legacy of Darkness" was the first 3D installment, breaking away from the traditional side-scrolling action format of the series. Yakushiji asked me, "Did you feel any discomfort with the transition to 3D?" I remember getting quite passionate and responding, "I was deeply moved by the experience of navigating the 3D space in that iconic Castlevania world, which was originally in 2D!"

A landmark encounter that marked the final installment: A conversation with Koichi Sugiyama.

The final interview in this series brought me to visit the home of Koichi Sugiyama, a pioneer of game music. Sugiyama is also a collector of game hardware, and he showed me various rare consoles like the "Intellivision," which surprised me. His collection room was truly a treasure trove for me.

Including the previous interview with Eno-san, my column for "Jugemu" brought me many valuable encounters. Sugiyama, who integrated classical music into game soundtracks and revolutionized game music, had a dramatic and theatrical approach to sound. It’s no exaggeration to say he sparked a revolution in game music. As a musician who also incorporates classical elements into my work, we had many conversations about music. I learned a lot that benefited my own musical activities, and I remember how educational the discussions were.

The world I express in my work was born from the inspiration I received from various games. Though it was only a short period of a year, the experiences I had talking to people involved in game development have become a great treasure to me.

"The song started to take on a different feeling, and the way we approached it also changed.

With the existence of wind, and so on i feel that I am sensing a sense of closeness or maybe i should call it a difficulty in perceiving it in myself."

By the way, with the arena performance now complete and 'Le ciel' being released as a single, the merveilles series is finally coming to an end, right? However, when I think about the final scene expressed at the Yokohama Arena performance and the atmosphere at the ending of this song, I can’t help but wonder… is it really over? There’s a part of me that can’t help but feel doubtful. So, what’s the truth about that?"

Mana: "Who knows? There might be something new starting from here… but it’s not yet the time to talk about that, so I can’t say. Well, it’s certainly true that i can’t say it’s over in an absolute sense."

Interviewer: "Exactly. The way the sound cuts off at the end of the song feels like it has some deep meaning hidden behind it. Why did it end that way?"

Gackt: "Well, why do you think it is? In fact, I’m curious to hear how you felt."

Interviewer: "Hmm… i felt a certain loneliness. It gave me a sense of being left behind, in a way."

Mana: "I see."

Gackt: "To put it another way, that feeling comes from Sugie san’s own sensitivity and past experiences, which made you feel that way. And that’s okay; everyone can feel it in their own way. And in another moment if you listen again, it might leave you with a different impression. On the other hand, what we aim to present is music that creates different stories and landscapes within each listener over time."

Zapping CD Track 24: Interview!

Gackt

"This time, the PV is based on the story of the song’s world."

15:58 - Gackt makes a magnificent entrance through the grasslands.

17:44 - Gackt gives direction to Jasmine, saying, "Relax and entrust your heart and body to me."

18:16 - A playful scene during filming for the engine shot.

"This song was originally created last year when I went to France to shoot a video. I was zoning out on top of a hill when the world of 'Le ciel' suddenly came to me. The version in the album and this version aren’t about which is correct; I think people will feel our emotions and the expanded worldview in this single. And for this promotional video, we wanted to portray the song’s world as a story. We spent a huge amount of time on the storyboard, and I think it changed about 14 or 15 times. By the way, Nagano is really a wonderful place, right? I’m having fun, and it’s been relaxing to film here."

17:03 - During a shoot for this magazine, Gackt asks, "Is this photo an extension of the PV or something separate?" showing his attention to detail.

16:04 - After checking the eyeline, they started the test. Five test takes, two main takes, and it was a wrap.

We enjoyed nature, including the various bird calls, but almost all of the staff were bitten by insects…

MALICE MIZER

Day 2

6:30 - 18:30 Filming in a pasture in Nagano was purely magical!

At 6:30 AM, the staff gathered at a certain location in Tokyo and headed to a ranch in Nagano. The scene was shot in a pasture where ordinary people are not allowed. That day, it was just Gackt and Jasmine appearing again. The two blended so beautifully into the landscape that it seemed almost surreal. On this day, they shot 20 scenes and 48 takes. After each take, they checked the monitor and discussed the subtle expressions and movements with director Muto. The attention to detail and the commitment to refining every shot was a testament to their passion as creators.

At 16:25, Gackt continued holding Jasmine, smiling wryly as he said, "I'm starting to sweat."

Director Hiroyuki Muto

"There's no one more interesting than them."

We held three full meetings with everyone involved. While respecting the vision of Gackt, who wrote the lyrics, we discussed everything as a team and created the storyboard. The challenge was to maintain the unity of the group while highlighting each individual member. Their concept is always clear, so it’s fun to shoot each time.

This is the third time that director Muto, who usually works in television drama, has filmed a PV for MALICE MIZER.

A completely new arrangement of "Le ciel Beyond the Blank Space"

Since their major debut in July of last year, MALICE MIZER has built a world of "merveilles" (which means "wonders"). To conclude the concept of this album, they’ve released this song. While the song was already included in the album "merveilles," this single features a completely new arrangement, making it even more dramatic. The track begins with a bass drum beat (with each beat at a different pitch) and has been meticulously crafted. From the beginning to its shocking ending, it’s a song meant to be played at high volume. (Released by Nippon Columbia CODA-16178, priced at 1,400 yen, released on 9/30.)

A studio where the entire set was completely rearranged in one night.

Yu-ki’s prop was a staff adorned with a crystal ball.

Day 4

9:00 - 22:00 Finally, the entire cast appeared, and it was simply breathtaking!

On the final day, the filming proceeded with Jasmine, followed by Kami. Initially, Kami was unsure of how to move, but gradually, his poses came together, and he finished within two hours. Then, at 16:26, the entire cast appeared. This was the only scene in the video where all the members appeared together, and the tension of the final scene made everyone assume it would take a long time to get an OK take (meaning the end time was undetermined). Surprisingly, though, it was completed in about 40 minutes with just six takes. Afterward, Gackt was filmed alone, marking the end of all shooting.

→ After filming, Kami took Jasmine out for a stroll in this very outfit to a convenience store.

13th Day, 20:56 - Yu-ki checking the oboe fingerings.

Interview!

Yu-ki

Even the other members were surprised.

"At 20:44 on the 13th, I was instructed by Director Muto to take on the image of a 'bad fairy.'"

"I’m trying to surprise everyone."

"It’s not just an ordinary promotional video. I want to capture the world of the song in a concrete way through the visuals, so I’m putting in a lot of effort. Regarding the costumes, this time, for the first time, we used 'white' as a theme, and each of us brought in our own ideas, trying to surprise even the other members. I think everyone had that feeling. I made my own headpiece, but I didn’t have any initial image for the makeup. As I was drawing, it just ended up like this (laughs)."

→ At 20:39 on the 13th, he checks his position during a makeup touch-up.

14th Day, 19:07 - Only two scenes left!

At 1:27 on the 14th, the director instructed, "Don’t forget your affection for her."

Yu-ki’s look was highly praised among the staff. On the 3rd day, he shot three scenes with five takes.

14th Day, 13:54 - Kami shows off a daring move, playing the sitar with a bow.

This song has the most emotion packed into the interlude.

Gackt appeared at 16:26 on the 14th day. The scene of breaking the flower was symbolic.

→ Even just standing still, Kami looks like a picture.

"This was the hardest shoot for me. There was so little movement (laughs). During 'Gekka no Yasoukyoku,' there was quite a bit of movement. Somehow, the movements feel forced. As for 'Le ciel Beyond the Blank Space,' I focused on the pacing, especially in the interlude. We mixed four types of drums, and for me, that part is packed with the most emotion. Some sounds don’t even seem like they’re from drums. In this interlude, I wanted it to feel like the emotions of all five members were clashing. Time off? None (decisively). We’re destined to keep running (laughs)."

Kami teaching Jasmine how to play the sitar.

Filming completed! Time for a commemorative photo!!

After the unexpectedly quick conclusion of the full-cast scene, at 18:38, the staff joined in, and they took a commemorative photo. Some covered their faces, and some turned their backs, but in any case, great job, everyone!

"I feel like we're searching for something beyond that."

In the end, it's about the greatest pleasure in this world— the joy, anger, sorrow, and all emotions.

Music itself comes from the flow of religion, right? Religion itself started from human sin, and I think it was built to overcome it and bring it to zero. Regardless of whether one believes in religion or not the desire to overcome sin is something that every human being has, right? What we do isn’t religious activity, but if there are expressions that seem religious, we won’t deliberately deny them. It’s a matter of how different people interpret it.

In live shows and albums, the emotions of joy, anger, sorrow, and pleasure of humans are included. If someone perceives something religious within that, it's a matter of their sensitivity. We don’t deny or affirm it.

Let's change the approach of the question regarding the term "religious." What if Malice Mizer’s fans, in the future, became the type of people who believe only in Malice Mizer, who have no other support but Malice Mizer?

"There are so many people and so much music, so it's hard to imagine a situation where it's only Malice Mizer. I don’t feel that way on stage," said Gackt.

Mana continued: "I rely on the audience more than they rely on me. I live every day in fear, and when I get letters from the fans, I feel saved."

Hmm? "Fearful..."?

"Yes, that's right. I can't say it directly, but there are hints. Please watch my segment in the TV special about Malice Mizer (those who recorded the video) and also look at the various drawings I make; it’s hidden there."

Mana has once again given a mystery, but Közi also agrees: "Like Mana-chan, I find healing in fan letters every day. Since our major debut, the pace of life has become incredibly fast." It seems that all the members get some form of power from fan letters.

Can the passionate feelings of the fans also be felt from the stage?

"On stage, I enter an unrealistic world, so sometimes when I look at the audience, my mood drops, so I don't consciously focus on it," said Kami.

Yu~ki added: "In the end, I feel like we’re searching for something beyond the greatest pleasure or feeling, something that encompasses all emotions— joy, anger, sorrow, and pleasure. It's like we're trying to find it together."

Gackt continued: "I think the meaning of standing on stage is different for each person, but for us, and for those who come to see us, we are mirrors. When we send out waves, they don’t just go one way, they come back. In that way, both sides discover and grow. Looking in the mirror means that I’m looking at myself. Sometimes, I see a better version of myself, someone who can do even more."

They send out waves from the stage, and the audience receives them.

MALICE MIZER

“Merveilles” The End and the Return TOUR '98 / 7.22 Yokohama Arena

A dangerous drug that captivates those who see it

Text: Roku Ono

Photo: Miwa Oya

"Starting around 4 PM i t began to drizzle which soon turned into a downpour. Even with umbrellas it was only a slight comfort against the incredible intensity of the rain. In the midst of it, girls, filled with thoughts of Malice Mizer and a desire to get as close to them as possible, gathered while desperately lifting the hems of their dresses and cloaks.

On July 2nd at Yokohama Arena. Fans gathered for the final of Malice Mizer’s concert tour “merveilles" The End and the Return~TOUR '98," forming a long line from Shin Yokohama Station. Commuters completely unaware of what was happening, passed by with looks of sympathy and curiosity at the girls dressed in the most inappropriate outfits for the rain. But they didn’t care about that. Ignoring the rain, the fans gathered..."

February 23, 1997, Clear skies

FC (Fan Club) Exclusive Event

HAPPY BIRTHDAY KAMI - 17,432 Days Left Until Extinction Commemoration

Strawberry Picking and Hato Bus Tour

So, we went on the Hato Bus Tour. It's a bit late, but here's a report on the event. The schedule was:

8:00 AM: Meet in Shinjuku

8:40 AM: Departure

Trip to Nagatoro Town in Saitama Prefecture, where we visited Hodosan to view the plum blossoms (we took the ropeway).

Lunch at Seibu Nagatoro Hotel.

Then, we went strawberry picking in Chichibu City, Saitama Prefecture.

We returned to Shinjuku at 6:00 PM.

Of course Kami and all the members seemed to have a great time. As for everyone who participated… there's no need to say anything more, right? Now, please enjoy along with the photos.

Here’s the ropeway we rode that day (edited by Közi). It’s called "Monkey No. 1". It was super comfortable (Kami). - Photo 1 top left

Yes, everyone, this is the Ume Hyakka-en (Plum Hundred Flowers Garden). Please don’t lag behind and follow along! (Mana) - Photo 2 top right

To my beloved…MaCheri - Photo 4 bottom right

In front of MaCheri - Photo 3 bottom left

As you can see from the two photos above, the “MaCheri” part of the tour name was somehow changed to "MaSeri", which gave us a big laugh. This happened at the hotel where we had lunch (even though the name on the bus was correct...).

I did a translation of this interview. I hope you enjoy 🦋

Gackt: "You know, I can look someone in the eye and say, 'You're beautiful' (in a deep voice like Gackt's) even if it's the first time we're meeting (laughs)."

KO: "That's a very foreigner-like attitude."

Y: "Exactly. The way he delivers his lines perfectly fits his character. In a way, he's a dangerous person... ah, so scary, so scary (laughs)."

Everyone: (bursting out in laughter)

Y: "Honestly, I'm jealous. How many more encounters would I have if I could start conversations like that? I'll try my best."

M: "Well, isn't he the guy who gives off the most seductive male pheromones? (laughs). In fact, when I'm on stage with him, I'm just mesmerized. 'Ah, so this is the pheromone he's emitting...' (laughs)."

KO: "You both seem to be mesmerized by each other (laughs)."

M: "He just makes you feel all sorts of things. You're practically ravished with his eyes. I totally get why women are so taken with him. ♪I want to hold you tight and sleep♪ I experience it firsthand when I'm hugged on stage (laughs)."

Y: "Next time, let's sell Gackt's pheromone-infused perfume (laughs). We could advertise it in magazines with a tagline like, 'This will attract women to you,' and it would be a hit (←completely convinced)."

KO: "Hahahahahaha!! (bursting out in laughter)"

KA: "He always stays calm and gives answers that hit the mark. I always think that's amazing. I'm also envious of how he can do anything. I think he feels a sense of aesthetics in creating himself through every gesture. But if I were to point out one thing, it's that if you keep saying 'thank you' over and over it might be hard to tell which one is sincere. That's the risk."

Gackt: "I'm always grateful, though (laughs)."

KO: "He's quick-witted, and like KAMI said, he can handle pretty much anything. He can even ravish a woman with his eyes."

Gackt: (laughs)

KO: "That's why I try not to make too much eye contact with him, or I'll turn to stone (laughs). There's something strangely persuasive about his eyes and words. His daily life is quite mysterious (laughs)."

Interviewer: "So, what is the common ground between these five unique individuals?"

Gackt: "A sense of uniqueness, loneliness, creativity, a strong desire not to lose..."

KA: "Including all of that, I think it's destiny. The five of us are the 'chosen ones'..."

Gackt: "The chosen ones? (laughs)"

KO: "KAMI is actually a god (laughs)! (←Note: this is where you laugh)"

~ End ~