Studio Mir Director Kang Hei Chul on The Little Mermaid Twist in The Witcher: Sirens of the Deep

The Witcher has sown a bountiful crop of a franchise since Polish author Andrzej Sapkowski published the first Witcher short story in 1986. Sapkowski's The Witcher books acquired adaptations in the form of the CD PROJEKT RED video games, a The Witcher: Ronan manga published by Dark Horse Manga, and television series that include the live-action Netflix series starring Henry Cavill as the eponymous Witcher Geralt.

Following a trend of Netflix “anime” marketed spin-offs of live-action series, the The Witcher Netflix series eventually received a 2021 animated movie spin-off, Nightmare of the Wolf, animated by the South Korea-based Studio Mir. Studio Mir then went on to animate its second Witcher film on Netflix, The Witcher: Sirens of the Deep. This movie reimagines the “A Little Sacrifice” short story from Sapkowski's Sword of Destiny novel, where Geralt (voiced by Doug Cockle) and the bard Jaskier (Joey Batey) are plunged into the conflict between merpeople and humans.

Through an email Q&A, I communicated with the Sirens of the Deep director, Kang Hei Chul, who sent his answers about the oceanic world-building, A Little Mermaid, veteran voice actor Cockle of The Witcher video games, and whether it's right to call the movie an “anime.”

As a kid, did you think you would become an animator? Do you remember your first picture and first animation?

KANG HEI CHUL: I believe people can get into art without any strong background or support from their surroundings. In fact, for a subculture like animation, individuals often enter it from the opposite environment. Did I ever know I would work in this industry one day? I never consciously chose this path; I simply found myself here at some point.

As a child, I didn't receive much attention from my family. My father struggled with alcoholism, and my mother had too many responsibilities. I wanted to live quietly and not cause any issues. Comics and animation became my friends and my shelter.

The first picture I drew was likely inspired by something I read in a comic. I can't recall the exact image. I started drawing to express my inner thoughts. Drawing comforted me when I couldn't share my feelings with my family.

I began animating during elementary school. I didn't have proper tools, so it wasn't technical animation; instead, I doodled on the edges of my math book pages and flipped them. It was a blasting rocket, which was simple but amazing enough for my younger self. Looking back, that was my very first flipbook animation. My journey into the animation world started from the corner of a textbook.

Animation has always been my way of communicating with the world and expressing my emotions. It's more than just a career choice; it has been a loyal companion during my lonely and difficult times. Sometimes, I find it surprising that I've come this far as a comics fan. However, now that I think about it, it seems it might have been my destiny to become an animation director all along.

How did you come to work for Studio Mir?

KANG: I began working for Studio Mir around 2014. The CEO, [Jae-Myung] Yoo, had worked on many challenging projects and was eager to hire artists worldwide. This was when I had the opportunity to participate in The Boondocks as a storyboard artist.

My time at Studio Mir allowed me to work on numerous titles, which helped broaden my horizons. One of my most memorable experiences was with The Witcher: Nightmare of the Wolf. Being part of such a significant franchise inspired me to pursue my creative visions. Eventually, I founded STUDIO I AM CO., LTD and started my own animation business.

Even though I established a separate studio, I still maintain a strong partnership with Studio Mir. I truly believe that I learned a great deal while working there, and it laid the foundation for who I am today.

Initially, I connected with Studio Mir while searching for a job, like many others. However, after a decade of collaboration, it has become much more than that. We recently worked together on The Witcher: Sirens of the Deep, and I now feel a sense of fate in our relationship.

I hope to continue this wonderful partnership and explore ways to contribute to the 2D animation industry together.

You worked on the Nightmare of the Wolf as a storyboard artist. How does it feel to bring your storyboard experience when directing Sirens of the Deep?

KANG: Creating storyboards for Nightmare of the Wolf was incredibly helpful for me while directing this film. Because it was my second time working on The Witcher franchise, I could understand the world more deeply and explore its mood and tone further in Sirens of the Deep.

When creating a storyboard, I take the time to determine how I will visually unfold the story. It's more than just arranging images; it's about understanding the action flow and dramatizing emotions, lessons I learned from my previous film. However, the director's role requires a broader perspective than that of a storyboard artist, who can focus primarily on immediate visual effects and striking aesthetics. Everything must be organically connected: rhythm, pacing, music, light and dark, and compositions. All these elements need to align to support one overarching theme.

Since I was already familiar with the world of The Witcher, I felt more confident and courageous in my directorial choices. This film represented a significant opportunity to showcase my emotional depth, intelligence, and artistic vision. I grew a lot as a director through this experience.

Also, Sirens of the Deep held a special significance for me because my studio's crew members participated in the project while collaborating with Studio Mir. This film became a cherished memory, reflecting the challenges we faced, the goals we achieved, and the growth we experienced together.

You praised Doug Cockle, veteran Geralt of the video games, as “irreplaceable,” and the actor reacted happily. Is there any new praise about Cockle's performance as Geralt?

KANG: I'd say Doug Cockle was Geralt himself. As I mentioned in a previous interview, he doesn't just read the lines; he perfectly conveys Geralt's emotions and feelings. I was amazed by his ability to portray nuanced emotional changes through his vocal tone. Geralt is a complex character—tough and often cynical, yet he grapples with dilemmas and inner turmoil. Doug captured all these emotions flawlessly.

He did the same for this film, The Witcher: Sirens of the Deep. However, he didn't just replicate his performances from the game. His acting was delicate and detailed, matching the new medium of animation. He portrayed Geralt's inner struggles and subtle emotions, bringing every breath and movement to life through his voice. While he possesses exceptional technical skills, I believe his strongest asset is his deep connection to the character. He doesn't just capture the character's emotions; he truly feels them and makes those emotions resonate. That is his greatest talent.

Moreover, he led the recording sessions with flexibility and warmth. I genuinely believe his performances reflect the love and passion we poured into this film. He was the perfect Geralt. I don't know what else to say. His outstanding acting and positive attitude, coupled with his profound connection to the character, are why I feel he is an "irreplaceable" Geralt.

Jaskier (Joey Batey) is an active comic relief and sidekick with distinctive physicality. How much time and labor does it require to make those elaborate movements?

KANG: First of all, thank you for catching those details! We closely examined the actors' performances, facial expressions, and subtle gestures to enrich our characters.

Jaskier serves as a fun sidekick, providing comedic relief in contrast to the serious Geralt. We dedicated significant effort to his portrayal to highlight the chemistry between the two main characters and emphasize their differing personalities. Animating Jaskier's comedic gestures was a joyful task, but it required careful staging due to the various types of acting, poses, and expressions involved. We studied Joey Batey's performance of Jaskier in the live-action series because it was truly unique, and we aimed to capture his lively gestures and comedic movements. This involved numerous animation passes, motion explorations, and countless revisions.

Through these efforts, we brought Jaskier to life in a way that showcases his humor and depth as a character. I felt grateful and sympathetic towards the animators who worked on Jaskier, as it was a complex task. In the film, Jaskier constantly walks alongside Geralt, who is on horseback. I remember our animators feeling just as exhausted after tackling all of Jaskier's scenes. I wish I could shower each of them with a huge present, just as I wanted to give Jaskier one awesome horse!

What were the most important design choices to make for Sirens of the Deep when distinguishing sea and land?

KANG: The sea and land serve not just as backdrops but as crucial environments that reflect the story's emotional depth and key moments. I aimed to emphasize the strong contrast between the two settings in the designs.

For the land, I chose a rough and realistic approach. I highlighted the texture of the stone walls, the authenticity of nature, and the faded colors of old architecture to effectively evoke the medieval era. The color palette was predominantly dark to create a serious atmosphere, with distinct contrasts between light and dark that convey the Witcher's rugged life while maintaining the unique mood of the franchise.

Conversely, the sea had to present a completely different aesthetic. I used lighting to create a mystical and dreamy atmosphere. The subdued blue tones and the lights from luminous sea creatures enhanced the enchanting underwater scenes. Additionally, I wanted the sea to feel fluid, contrasting with the rough and solid nature of the land. As a result, all animations for characters and props underwater were much softer.

One of the most distinctive features that separated the two settings was their color schemes. Predominantly dark colors characterized the land, while I chose blues, greens, and luminous lighting for the sea. This contrast made Geralt's adventure and the conflict between land and sea more dramatic. I aimed for the design elements to reinforce the world and narrative flow so the audience could visually perceive how these physical environments reflect the character's emotional journey.

I researched countless books and references, especially concerning the deep sea. It felt like returning to my student days as I studied even harder than I did back then.

The merpeople have otherworldly voices when out of the water. How did the studio achieve the sound design of the merpeople?

KANG: The merpeople's voice was very crucial since it could determine the overall atmosphere of the entire film. It was essential for their voices to be hauntingly beautiful and melodic underwater while sounding otherworldly and dissonant above the surface. Achieving this was our primary goal during the sound design process.

The sound team and I explored various ideas and references, even very extreme ones. We ultimately decided to layer a human voice over the high-frequency sounds of whales, combining this with a melodic rhythm to represent the merpeople. We began with strong effects and refined them to find a balanced sound, experimenting with different voice modulations along the way. After numerous trials and errors, we successfully developed an optimal sound design that preserved the nuanced performances of the actors.

The merpeople's voices express their identity, highlighting the duality of the sirens: attractive and enchanting underwater, yet threatening and menacing above. I was very pleased with the outcome.

The Witcher stories often play with fairy tales and folklore. There's a huge influence from Disney's The Little Mermaid, including a song inspired by Ursula's “Poor Unfortunate Souls.” Can you talk about the decision to directly homage to Disney?

KANG: In adapting the traditional siren myth into an animated format, some concepts could resemble familiar and iconic images. As a fan who grew up watching Disney's The Little Mermaid, I appreciate the influence of the film, although it is not a direct homage. Nevertheless, it is an iconic, worldwide-beloved work as a portrayal of the sea world. Ursula is such a captivating character, and the whole story captures the theme of the relationship between sea creatures and humans.

But instead of presenting a contrast between good and evil like The Little Mermaid, we wanted to stay true to the high-concept of The Witcher franchise, revealing the ambiguity of the world with more nuanced themes. The merpeople have valid reasons and emotions driving their actions, and Geralt is not always portrayed as a righteous, perfect hero, but rather as someone grappling with moral dilemmas. Although the story structure may seem familiar, it still carries The Witcher's philosophical essence.

In terms of the music, it conveys more than just Melusina's allure; it also illustrates the dynamics between characters and their narratives. The score helps to dramatize the conflicts between these two distinct beings. Since this is The Witcher, we sought to infuse our story with multiple layers that extend beyond the typical fairy tale fantasy. Sirens of the Deep is complex and serious, uniquely reinterpreting myths.

It's truly an honor to be mentioned alongside Disney's The Little Mermaid, as I am a devoted Disney fan myself!

What are other animated movie/TV influences for Sirens of the Deep?

KANG: I believe inspiration can be found in every work we love. Consider the beautiful underwater scenes and graceful visuals from The Little Mermaid, the dramatic naval battles in Pirates of the Caribbean, the apocalyptic monster from Godzilla, and the fun sea creatures in SpongeBob SquarePants. Creators influence one another through their work, drawing inspiration from various titles.

There are complex fight scenes against sea creatures. What does it take to direct those intense sequences?

KANG: Animating the battles underwater was a challenge. We needed to realistically portray the movement, action, and interactions of the characters in this unique environment. The animators and I worked together to find a balance between realistic physics and dramatic storytelling. We invested significant time in developing each character, going beyond simply changing the location of the battle. Our goal was to utilize the characteristics of the sea to build tension and create a more immersive experience.

The characters had to move differently than they would on land, so we studied how divers and sea creatures swim through water. we ensured that the blocking of characters was clear within the camera frame, as the background was expansive and featured many characters interacting with one another. To avoid confusion, we completed the animatic using 3D previs during the storyboard stage, which allowed us to control each character's placement and blocking effectively and match hook-up. Beyond these technical aspects, I wanted to convey the complex drama and dynamics of each character in extreme situations during the action sequences for the audience to connect with them. It was certainly challenging, but it was also very rewarding.

Writers Mike Ostrowski and Rae Benjamin wrote a happier ending than the original short story "A Little Sacrifice." Also, in a twist, the human makes the sacrifice for his mermaid lover rather than the other way around.

KANG: I want to give a big shoutout to our writers once again here. Building on “A Little Sacrifice,” we aimed to expand our story by showcasing more intense drama through animation while preserving the emotional and philosophical depth. We wove the widespread themes of love and sacrifice into something new, presenting our own twist on the story, as you mentioned. This twist was not just for the sake of surprise, but to emphasize the core message.

In the original story, the focus is on a tragic fate; however, we wanted to convey that love is not about forced sacrifice from one side, but rather a willing commitment to give everything for each other. This film goes beyond a simple romantic story by illustrating how individuals from different backgrounds can connect and understand one another. Humans and merpeople are inherently different, and a boundary exists between them, yet they break down this wall through love and sacrifice. This was the core emotion we aimed to highlight. Our version has a happier ending than the original story because we wanted to illustrate that sacrifice does not always lead to tragedy. While we maintained the serious tone and moral ambiguities of The Witcher world, we also sought to explore the idea that sacrifice does not necessarily mean loss.

To sum up, The Witcher: Sirens of the Deep transcends the romantic fantasy genre; it unfolds an overarching narrative of understanding, sacrifice, and love that overcomes every obstacle. I hope both fans and newcomers can interpret this message in their own unique ways.

I once asked the Nightmare of the Wolf director, Kwang Il Han, this question. In the West, Netflix markets Nightmare of the Wolf and Sirens of the Deep as an “anime.” Although “anime” is often associated with being Japanese-based, it's also being applied to non-Japanese productions with anime-inspired styles. Do you have an insight on whether the category “anime” is fitting for Sirens of the Deep?

KANG: The term "anime" refers to Japanese animation or styles inspired by it, but it carries a connotation that Japanese animation is a unique genre with distinct charms that set it apart from other forms of animation. Of course, interpretations of the term can vary based on cultural and regional contexts, and its definition is continuously expanding.

Japanese animation began under the influence of American animation, such as Disney, and developed its own style during the 1980s, when many notable titles emerged, including Katsuhiro Ōtomo's Akira. The anime industry introduced a new language of animation direction that has inspired producers and artists worldwide.

The Witcher: Sirens of the Deep also draws significant influence from the anime style. However, I am proud to say that we have created our own narrative and cinematic approach in this film. I assume that Netflix markets this film as "anime" due to the strong brand value of the anime style in the global market. Additionally, our film possesses a very different aesthetic compared to existing Western animations, so this categorization makes sense to me. Ultimately, what matters most is fostering a positive exchange of influence between different cultures and countries to contribute to a vibrant animation industry.

What advice would you give to animators?

KANG: I'm sure that the animators already know that the path toward animation is not a walk in the park. It's challenging and grueling at times. The animators should have the tenacity and keen eyes to observe the world. Animation is not just a series of drawings of movements; it's a medium to convey emotions and feelings. An animator needs to develop and hone very keen eyes to see how things move in the real world and how someone expresses certain emotions. Also, practice with tenacity. Animation is a work of endless repetition, where you may have to go through tens or hundreds of fixing it to make one shot. That's the way to master the skill and carve your animation style.

Don't be obsessed with creating a "perfect" work. I've seen many junior animators feeling too pressured that they need to draw a "flawless, perfect shot" in one go. It's better in the long run as you make bold choices, fail, and try again.

Last but not least, always remember that animation is a collective work. Communicate with your fellow animators with an open mind for their various feedback. You can make an animation by yourself, but you can't make a "great" animation alone. Share ideas with others and venture together on an animator's long and winding road. That journey with others will lead to great work.

Sometimes, the passion for animation may not be enough to overcome the harsh reality, but that passion can give you a sense of freedom only animators can achieve. Let's enjoy this road together.