Yojimbot

---

At this year’s Cartoon Forum, a high-quality trailer for a series project was screened, raising expectations for an attractive fusion of Japanese and French animation. The project is Yojimbot, a new animated series (10 x 26’) based on a hit French comic of the same name. Hiroshi Shimizu, a veteran animator from the Japanese anime industry, joins the team of the project as character designer.

We interviewed producer Caroline Audebert and director Quentin Rigaux to hear the story behind this ambitiously conceived project, which inspires high expectations.

---

Interview with Caroline Audebert and Quentin Rigaux

Hideki Nagaishi (HN): What do you think are the key points of this animation series that would attract the potential audience?

Caroline Audebert: Yojimbot is a high-emotion, energy-packed ‘Shonen Nekketsu’ story. Visually stunning, with a breathtaking Japanese anime style, we expect the audience to be captivated by both the power of the story and the art direction and animation.

The show is also a perfect mix of Japanese and Western animation, creating a hybrid style with a balanced blend of dynamic and cinematic storytelling.

It explores concepts of quest and destiny, and what it truly means to be human in a technological world.

HN: Caroline, what was your initial impression of the original comic series, and how did you come to the decision to develop an animated adaptation of the story?

Caroline Audebert: Sylvain Repos’s comic is a well-crafted story with beautiful designs, which is what drew us to Yojimbot. The striking Japanese pop style, vivid colours, and detailed backgrounds are a delight. The comic also has a truly compelling story. Both the visual style and the powerful human narrative were the elements that made us want to adapt the comic.

Dargaud published all four chapters in France, and Dark Horse Comics in the US picked it up to publish this year.

HN: I would also like to ask you, Quentin, about your initial impression of the original comic series.

Quentin Rigaux: When Passion Paris Production gave me Sylvain Repos’s comic to read and asked me to direct the trailer, I was immediately struck by its cinematic quality. More than just a great graphic novel, it felt like storyboards for a film already alive in my head.

The mix of samurai tradition, futuristic tech, and a ruined yet strangely beautiful world was so rich and original. And beyond the action, there was a real emotional core: the story of a boy, Hiro, who has to survive and grow in a hostile world. I felt right away that this universe had the potential to resonate deeply with audiences through animation.

HN: You’ve already produced an engaging short teaser animation. If possible, I would like to hear about the key creators behind the teaser.

Caroline Audebert: Quentin directed the teaser. He is extremely talented and has a clear vision for the project. Trained as an animator and art director at Gobelins, he was in charge of all the creative choices for the teaser.

The character designer for the human characters, Hiroshi Shimizu, is a legendary Japanese designer and animator. He was a perfect fit for the visual style Passion Paris Production was aiming for.

HN: In addition to the previous question, could you please share the current progress in assembling the core creative team for the series? What are your priorities or considerations when selecting the creators?

Caroline Audebert: We are very proud of the team we’ve assembled for this show. Our writer, Katie Baxendale, will continue as head writer, and we are looking for both French and Japanese talents for the writing.

For the animation and art direction team, Jade Khoo, Hiroshi Shimizu, and many more talents from France and Japan will join the production. We are currently recruiting.

And finally, Mark Yaeger will be composing the music for the show.

HN: Quentin, how would you like to transform the story and visuals of the original comic through the medium of animation as a form of visual storytelling?

Quentin Rigaux: For us, the goal, rather than just adapting, was to expand the world and the story. The comic has a very strong visual identity, and I want to stay true to that. Animation gives us tools to amplify the atmosphere: the rhythm of the editing, the sound of rain and thunder, the silence of a character breathing, or the impact of a sword clash. We can bring out both the energy of the action and the emotion of the quieter moments.

My goal is to use cinematic camera language—wide shots, strong silhouettes, dramatic lighting—to keep the audience immersed in Hiro’s point of view. It’s about making the world feel both stylised and believable, brutal yet poetic.

HN: What will you pay the most attention to when developing the story for the series?

Quentin Rigaux: The heart of the story. Of course, there’s action, spectacle, and an exciting post-apocalyptic setting, but what matters most to me is Hiro’s emotional journey. He begins as a scared, distrustful child and evolves into a brave young leader. That transformation is what gives meaning to everything else. So, I’ll pay the most attention to balancing the action with emotional beats, making sure that every explosion, every chase, every silence is tied to Hiro’s growth.

If we can create a show that is thrilling and entertaining, but also touching and deeply human, then we’ll have succeeded.