Ena Hamabe is intimately familiar with the power of stories that leave a lasting emotional resonance. Working as a producer at Infinite, Inc., she has helped shepherd titles like This Monster Wants to Eat Me and the recent adaptation I Want to Love You Till Your Dying Day. The latter depicts a stark, militaristic school where children are trained in sorcery to serve as living weapons. Its protagonist, Sheena, recoils at the pervasive violence, eventually crossing paths with an unusual girl who happens to harbor a monumental secret as the ultimate weapon.
We caught up with Hamabe at Anime Expo—where Infinite, Inc. hosted a screening of the premiere episode of I Want to Love You Till Your Dying Day (now available on Crunchyroll)—to discuss her approach to selecting projects and the qualities that make narratives truly transformative.
When evaluating a property like I Want to Love You Till Your Dying Day, what is the core feeling you hope lingers with viewers long after the credits roll?
Ena Hamabe:
My hope is that these narratives serve as a release valve for the heavy emotions viewers might be carrying. Even when the journey is melancholic, I want the audience to walk away feeling empowered to try their best again tomorrow, facing the future with a renewed sense of optimism.
You are also producing This Monster Wants to Eat Me. Though distinct from one another, both series spotlight deeply sincere bonds between young women. Why do you believe these specific interpersonal dynamics connect so profoundly with viewers?
Ena Hamabe:
Both projects capture the inner worlds and emotional landscapes of young women in a way that remains true to that specific period of life. I want viewers to recognize fragments of their own past or present selves in these figures. More than that, I hope watching these characters evolve offers a comforting sense of shared growth.
What stands out is how both properties tackle intense, heavy themes. They navigate sadness and dark territory without ever collapsing into hopelessness, ultimately retaining an uplifting perspective.
Ena Hamabe:
That is one of the distinct advantages of the animation medium. Visual storytelling allows us to magnify the hopeful threads woven into the narrative. Despite the sorrow present in the plot, our goal is for people to step away believing they can tackle tomorrow with an upbeat mindset.
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What was your initial emotional response upon picking up This Monster Wants to Eat Me?
Ena Hamabe:
The lead character shoulders a profound grief, yet it is a universal sorrow that anyone might encounter. That made her feel remarkably tangible and authentic. Furthermore, the source material articulated those complex feelings with striking elegance. I immediately knew it was a journey I wanted to help translate into an anime format.
Which aspects of the dynamic between the primary characters struck a chord with you?
Ena Hamabe:
Human perception is often limited; we frequently see only what we wish to see. When reality finally shatters those illusions, it can turn an entire universe upside down. Yet, watching these two characters press forward deliberately after such a revelation—reaching a place where they can trust and believe in something again—possesses a rare, delicate beauty.
Was there a definitive juncture in either story where you realized, “This is the exact sequence I need to see animated”?
Ena Hamabe:
That realization usually hits very early on, often within the opening chapter. There is a precise moment where I find myself deeply attuned to the protagonist’s emotional state, prompting the immediate urge to share that experience with a wider audience. That catalyst is typically the green light for me to pursue the adaptation.
You’ve referred to these narratives as beautiful. How do you personally define beauty in the context of storytelling?
Ena Hamabe:
For me, beauty arises when sorrow and kindness coexist and intertwine. It is equally about the restraint with which those emotions are conveyed. Great stories avoid lecturing the audience; instead, they communicate organically, leaving room for individuals to forge their own personal connection to the material. When those elements harmonize, that is true beauty.
A striking element in I Want to Love You Till Your Dying Day is how the protagonist questions the cruel reality around her—wondering why fighting and suffering are treated as routine—while everyone else complies without hesitation. What kind of relationship did you want the audience to forge with her?
Ena Hamabe:
Within the internal logic of that universe, those harsh conditions are normalized. However, if any of us were dropped into that reality, we would inevitably voice the exact same doubts. We would question the necessity of war and conflict. In that respect, the protagonist acts as a proxy for the viewer, reacting to the setting precisely as we would.
While watching, I confess I felt a sense of frustration toward the other students because they accepted their grim circumstances without a second thought.
Ena Hamabe:
That highlights the brilliance of the original work. To the characters, their environment feels ordinary simply because it is all they have ever known. But viewed from the outside, the contrast is glaring, which naturally drives the audience to question that world right alongside the protagonist.
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Another memorable exchange occurs when Sheena spots two girls who appear on the verge of kissing, only for one to remark, “We’re not kissing. We’re healing each other.” That moment could easily have felt cliché, yet it landed with profound sincerity. How do you handle such scenes to prevent them from feeling forced?
Ena Hamabe:
The key is an unwavering commitment to the characters’ authentic emotional needs. Whether a particular interaction is read as romantic misses the point. What matters is honestly representing what the individuals require from one another at that exact crossroad. Honesty to those feelings ensures the scene feels genuine.
That perspective is refreshing, highlighting that affection doesn’t always have to be tied to romance—it can simply be an act of profound solace.
Ena Hamabe:
Precisely. Love and mutual support take countless forms. My hope is that viewers appreciate these connections on their own terms, free from the constraints of rigid definitions.
As a producer, assembling the right creative crew is a massive undertaking. How do you determine your ideal collaborators?
Ena Hamabe:
I consider myself fortunate to collaborate with exceptionally skilled individuals, and my focus is always on maximizing everyone’s distinct talents. Naturally, the gap between an initial vision and production realities requires navigation, which is just the nature of filmmaking. But when the right synergy occurs, individual strengths merge to build something far greater than any of us could achieve independently.
Do you typically start a production holding onto a rigid blueprint of the final product?
Ena Hamabe:
Yes, we always set out with an ideal target in mind. While practical constraints mean the final result may shift, we consistently strive to honor the foundational spark that inspired us to bring the project to life in the first place.
You have steered multiple projects tackling grief, mortality, and interpersonal bonds, all while maintaining an ultimately uplifting tone. Do you feel your personal worldview dictates the types of stories you choose to champion?
Ena Hamabe: Without a doubt. Those narratives have always stuck with me, acting as vital anchors during difficult periods in my own life. Whenever I faced overwhelming hurdles, certain creative works provided the fortitude to keep going. Because I know firsthand how much they matter, I want to keep producing stories of that caliber, hoping they might offer that same quiet strength to someone else.
It seems these narratives are less about wallowing in sorrow and more about navigating a path through it.
Ena Hamabe:
Exactly. Even when a plot explores painful themes, the objective is never to leave the audience stranded in despair. I want viewers to walk through those emotions alongside the characters, process them, and emerge ready to take a step forward. If a story can anchor someone in that positive way, that achievement is deeply meaningful.
That is a wonderful philosophy. Thank you so much for taking the time to share your insights with us today.
Disclosure: Kadokawa World Entertainment (KWE), a wholly owned subsidiary of Kadokawa Corporation, is the majority owner of Anime News Network, LLC. One or more of the companies mentioned in this article are part of the Kadokawa Group of Companies.