Dragon Ball Super: Groundbreaking — Full Dream Cast & Crew

Master Hypothetical Production Roster

The Dragon Ball Super: Groundbreaking Full Dream Cast & Crew is the consolidated hypothetical production roster for an animated adaptation of Dragon Ball Super: Groundbreaking, with supplementary reference casting for the separate STILL HERE screen-musical adaptation.

The roster combines the Japanese voice cast, English dub cast, anime production staff, animation and background studios, music and sound personnel, guest directors, consultation departments, accessibility and continuity teams, and the AU's own beta-reading and worldbuilding support network.

The list is a dream production reference, not an announcement of actual participation by any performer, studio, director, musician, or production professional.

The broader philosophy is continuity without captivity. Existing Dragon Ball performers are retained where their performance history serves the characters, while original Groundbreaking characters receive new interpretive casting. Open roles remain open where a professional audition process would be more appropriate than forcing a celebrity name into the position.

Production Identity

Title: Dragon Ball Super: Groundbreaking

Format: Prestige seasonal anime / hybrid 2D–3D animated series

Primary Animation Studio: Toei Animation

Hybrid / CG Co-Production: Orange

Background Art Studio: Studio Pablo

Original AU, Story, Lore & Worldbuilding: Zena Airale

Primary Adaptation Era: Full Groundbreaking chronology, ultimately extending through Age 810 / Horizon's Rest

Production Philosophy: Breath-centered, character-centered, ensemble-driven Dragon Ball capable of treating domestic life, disability, infrastructure, politics, family, comedy, philosophical conflict, and martial spectacle as equally legitimate dramatic material.

Original AU & Creative Development

Original AU / Story / Worldbuilding: Zena Airale

Lead Lore Development: Zena Airale

Continuity Architecture: Zena Airale with AU beta-reading and worldbuilding support

Character and Worldbuilding Consultation: AU Beta Team

AU Beta Team — Beta Readers & Worldbuilding Team

The Dragon Ball Super: Groundbreaking AU beta team functions as a creative support network for continuity checking, reader feedback, worldbuilding development, character interpretation, and broader narrative discussion.

Beta Readers and Worldbuilding Team:

• Voidable

• Baklava

• ChaosFlower

• CheeseyPies

• Daelin

• Viktor

• NinjaKai

• otakulicious

• IcyBlade

• Elliot / Chimereya

• Mint

• Westein12

• Erin / erinwasmyidea

This group should be credited as an important part of the AU's development ecosystem rather than folded invisibly into a generic "special thanks" line.

Their role is distinct from the hypothetical professional production staff. The beta team belongs to the existing fan-AU development process, while directors, studios, performers, consultants, and production departments below belong to the dream adaptation framework.

Executive Creative Team

Chief Director: Tetsuro Kodama

Series Director: Masaki Satō

Series Composition: Yūko Kakihara

Script Supervision / Screenplay Oversight: Aya Matsui

Character Design: Chikashi Kubota

Chief Animation Director: Naotoshi Shida

Animation Supervision: Yuya Takahashi

Animation Supervision: Naohiro Shintani

Color Design: Rumiko Nagai

Art Director: Masaru Oshiro

CG Director: Yasuyuki Sato

Photography: Kentaro Yabuki

Editing: Aya Hida

Sound Director: Masafumi Mima

Main Composer: Naoki Satō

Additional / Assistant Composer: Yugo Kanno

Production Studios

Core Animation Production: Toei Animation

Hybrid / CG Support: Orange

Background Art: Studio Pablo

The production would use a hybrid visual pipeline rather than treating either 2D or CG animation as inherently superior.

Hand-drawn animation would remain especially important for character acting, emotional close-ups, major martial exchanges, transformations, expressive movement, irregular ki effects, Ver'loth Shaen manifestations, and sequences where individual physical expression matters.

CG would be used selectively for Nexus architecture, portal systems, repeatable dimensional structures, large environmental transformations, cosmic infrastructure, controlled geometric effects, difficult camera movement, and scenes where artificial regularity is itself meaningful.

The intended effect is not "2D good, CG bad."

The visual language should allow structure and irregularity to coexist.

Direction

Tetsuro Kodama — Chief Director

Tetsuro Kodama serves as the dream chief director.

His role would be to maintain the large-scale visual and dramatic identity of Groundbreaking, particularly its refusal to treat a Gohan-centered story as a temporary departure from "real" Dragon Ball.

The chief director would protect the coexistence of martial spectacle, Gohan's scholarship, family life, political consequences, disability, multiversal scale, comedy, grief, and postwar reconstruction.

Gohan must remain recognizable as the same person whether he is fighting, teaching, writing, parenting, arguing, exhausted, sitting quietly, using his wheelchair, or deliberately refusing another position of authority.

The adaptation should never imply that only the battle-ready version of Gohan is narratively complete.

Masaki Satō — Series Director

Masaki Satō would oversee the everyday dramatic grammar of the series.

His principal territory includes Mount Paozu, family meals, the Son Estate, quiet Nexus spaces, kitchens, meditation rooms, gardens, recovery scenes, intimate conversations, and the numerous situations in which nothing explodes but something important changes.

A core directing principle would be:

Domestic scenes are not filler.

A sequence in which Goku waits for permission before helping Gohan can receive as much intentional staging as a fight.

A sequence in which Solon stops at a doorway rather than entering can constitute major character action.

A sequence in which Pan realizes that helping means waiting can be the dramatic climax of an episode.

Series Composition — Yūko Kakihara

Yūko Kakihara would oversee the adaptation of the enormous Groundbreaking narrative into a sustainable television structure.

Her role would be especially important because a literal chapter-for-episode translation would be impractical.

The adaptation strategy should use thematic compression.

The guiding question is not simply:

"What can be cut?"

It is:

"What later action proves this earlier idea mattered?"

Institutional arguments can be compressed when later environments demonstrate their consequences.

Long philosophical passages can sometimes become a blocked route, a badly positioned interface, an unwanted intervention, a person hesitating before entering a room, or a worker correcting a system designed by more famous people.

The goal is to preserve the argument while translating prose into audiovisual behavior.

Script Supervision — Aya Matsui

Aya Matsui would provide script and tonal oversight.

Her role is especially valuable because Groundbreaking cannot become a series where every person sounds like they are presenting a philosophical dissertation.

The scripts must preserve comedy, domestic absurdity, travel, adventure, family teasing, awkwardness, grief, formal political dialogue, ordinary speech, and the irreverence historically central to Dragon Ball.

Vegeta can be profound and petty.

Gohan can be exhausted and sarcastic.

Goten can destroy solemnity.

Bulla can regard a badly designed system as a personal insult.

Kumo can judge everyone without saying a word.

Solon can possess extraordinary philosophical intelligence and still lose a battle with a shelf.

Character Design — Chikashi Kubota

Chikashi Kubota would oversee principal character design.

The design philosophy would prioritize recognizable lineage without freezing characters in their most famous historical silhouettes.

Age, disability, family roles, professional lives, cultural histories, and shifting social identities should be visible without turning the cast into unrecognizable redesigns.

Gohan as the Primary Design Test

Gohan's model sheets must include his wheelchair as part of his normal visual grammar.

The chair is not a dramatic prop, an injury reveal, a temporary obstacle, a visual shorthand for sadness, or a device that disappears whenever the staging becomes inconvenient.

It belongs in family meals, public meetings, garden scenes, laboratories, transfers, combat observation, training spaces, classrooms, travel, ordinary conversation, and domestic choreography.

His mature design should still visibly contain the scholar, martial artist, father, husband, Son family member, and Great Saiyaman-era self-authored identity rather than selecting one lineage and erasing the others.

Animation Direction

Naotoshi Shida — Chief Animation Director

Naotoshi Shida would supervise the most visually explosive portions of the series.

Major sequences should use motion as characterization.

A fight is not simply a comparison of power levels.

Different combat philosophies should produce visibly different movement.

Creation-oriented movement may spiral, improvise, redirect, open space, change rhythm, or create unexpected trajectories.

Control-oriented movement may compress, repeat, restrict, create grids, close routes, force returns, or make an opponent's next move appear predetermined.

Combat therefore becomes an argument the audience can read physically.

Yuya Takahashi & Naohiro Shintani — Animation Supervisors

Yuya Takahashi and Naohiro Shintani would maintain Dragon Ball's martial sharpness across the production.

Their influence protects the series from becoming so visually contemplative that combat loses force.

Punches must retain weight.

Speed must sometimes become frightening.

Transformations must alter physical grammar rather than simply adding particles.

A character abandoning restraint should look different from the same character choosing control.

The central principle is modulation.

Softness means more when the series knows brutality.

Brutality means more when the series is not screaming visually at all times.

Color Design — Rumiko Nagai

Rumiko Nagai would serve as color designer.

The production deliberately avoids simplistic moral color coding.

Za'reth does not automatically mean warm colors.

Zar'eth does not automatically mean cold colors.

Corruption does not automatically mean red and black.

A coercive system can be beautiful.

A healthy room can be visually austere.

A softly illuminated sanctuary can contain harmful control.

A gray maintenance corridor can be one of the safest places in an episode.

Color should provide emotional and environmental information without revealing the moral answer before the characters understand it.

Art Direction — Masaru Oshiro

Masaru Oshiro would oversee the larger visual identity of environments.

The world should appear used rather than merely designed.

Spaces should contain evidence of maintenance, modification, repair, accessibility, family history, worker presence, previous conflict, adaptation, and ordinary life.

A powerful family home should still look lived in.

A multiversal institution should possess service corridors.

A beautiful council chamber should reveal who is expected to enter from which direction.

Architecture should communicate assumptions about bodies and authority before a character explains them.

Background Art — Studio Pablo

Studio Pablo would handle the principal background-art identity.

The environments should continually place cosmic scale beside ordinary human detail.

The Infinite Table can contain bowls, styluses, notes, repair tools, children's objects, forgotten cups, and the physical debris of actual use.

The Nexus should contain maintenance routes, worker spaces, access infrastructure, quiet rooms, emergency systems, and parts of the building famous characters rarely see.

The Son Estate should visibly evolve as Gohan's access needs change.

The background department becomes part of the storytelling rather than decorative scenery.

CG Direction — Yasuyuki Sato

Yasuyuki Sato would oversee CG integration.

CG would be especially useful when the subject itself represents systematized or artificially repeatable space.

Examples include Nexus gates, dimensional fields, resonance grids, portal geometry, vast council infrastructure, standardized cosmic architecture, and certain forms of corrupted Zar'eth.

The most unsettling version of a control-heavy environment may be one where everything moves too correctly.

Hand-drawn irregularity can then become meaningful when characters reintroduce improvisation and human variability.

Photography — Kentaro Yabuki

Kentaro Yabuki would oversee photographic and compositing language.

Different eras should possess subtly different visual rhythms rather than one permanent house style.

The First Cosmic War can favor stronger visual certainty, centralized framing, and institutional confidence.

The Second Cosmic War can begin fracturing ideological geometry.

The Third Cosmic War can widen the ensemble and introduce more competing centers.

The Fourth Cosmic War can make beautiful control increasingly suspicious.

The Luminary Era can begin to decompress.

Horizon's Rest can allow the camera to remain.

A person can finish chewing before answering.

A hand can stop before touching.

A wheelchair can simply exist in frame.

An uncomfortable silence can remain long enough to become meaningful.

Editing — Aya Hida

Aya Hida would oversee editing.

Memory should not automatically be represented through sepia filters, obvious flashback transitions, or exposition-heavy chronological markers.

Different eras can instead possess distinct editing rhythms.

The Fourth Cosmic War might feel tight and controlled.

Horizon's Rest can permit shots to breathe.

The strongest late-era editing choice may sometimes be refusing to cut.

Music Department

Naoki Satō — Main Composer

Naoki Satō would compose the principal score.

His musical language would support emotional scale, martial grandeur, family themes, aftermath, sacrifice, recovery, wonder, and the enormous geographic scale of the AU.

Yugo Kanno — Additional Composer

Yugo Kanno would provide additional musical material, especially for Ver'loth Shaen sequences, psychological tension, ideological dissonance, Third and Fourth Cosmic War material, corrupted system motifs, and experimental sound textures.

The two-composer approach allows the series to move between melodic emotional accessibility and harsher structural tension.

Sound Direction — Masafumi Mima

Masafumi Mima would serve as sound director.

Sound design is a central storytelling department rather than secondary polish.

Important recurring sounds include Gohan's wheelchair crossing different surfaces, fabric, breath, Pom Cloud fibers moving, Kumo's nonverbal vocalizations, kitchen noises, distant household activity, gates powering down, environmental resonance, footsteps, transfer choreography, and silence.

A council room becoming silent after somebody says "no" should not automatically receive dramatic music.

Sometimes the silence is the score.

Theme Music

Opening Theme Performer: Takanori Nishikawa

Ending Theme Performer: Aimer

The opening should emphasize movement, possibility, martial energy, the horizon, legacy, generations, travel, and the enormous multiversal scope of the story.

The ending should emphasize aftermath.

Possible ending images include Gohan asleep while others continue working, Pan rereading a policy she regrets, Solon leaving a margin blank, a worker closing a service corridor, Goku washing dishes, Bulla repairing a system after everyone leaves, Piccolo sitting quietly outside, or Kumo eating.

The ending theme should remind the viewer that existence continues after plot.

Guest Episode Directors

Yūichirō Hayashi — War & Memory Episodes

Hayashi would handle episodes where history places pressure on the present.

War flashbacks should feel expensive, not nostalgic.

The purpose of revisiting peak-war power is not merely to provide spectacle.

The audience should understand why later quiet scenes require discipline.

Sunghoo Park — Major Martial Episodes

Park would direct selected major martial episodes.

Fight choreography should make tactical and philosophical intent readable through movement.

One fighter may control space.

Another opens it.

One forces repetition.

Another destroys pattern.

One wins exchanges while losing relational control.

The fight becomes dialogue without requiring everyone to narrate the metaphor.

Japanese Voice Cast

Returning Dragon Ball Cast

Goku: Masako Nozawa

Gohan: Masako Nozawa

Goten: Masako Nozawa

Vegeta: Ryō Horikawa

Piccolo: Toshio Furukawa

Bulma: Aya Hisakawa

Chi-Chi: Naoko Watanabe

Videl: Yūko Minaguchi

Pan: Yūko Minaguchi

Trunks: Takeshi Kusao

The Son-family triple performance remains intact.

Their adulthood is differentiated through rhythm, emotional intent, timing, sentence construction, humor, social role, and character-specific stillness.

Gohan does not need an artificially lower voice to prove adulthood.

His maturity emerges from authority, confidence, scholarship, parental timing, controlled irritation, intimacy, and emotional history.

Japanese Groundbreaking Cast

Bulla: Maaya Sakamoto

Solon Valtherion: Kenjirō Tsuda

Mira Valtherion: Yūko Kaida

Elara Valtherion: Saori Hayami

Meilin: Miyuki Sawashiro

Tylah: Fairouz Ai

Pari: Aoi Koga

Lyra Ironclad-Thorne: Yōko Hikasa

Lyria Shaenal: Kikuko Inoue

Valtira: Sayaka Ōhara

Roderick Ironclad: Akio Ōtsuka

Zaroth: Takaya Kuroda

Nozomi: TBD / intentionally unlocked

Uub: TBD / not currently locked

Zhalranis Valtherion: TBD / not currently locked

Kumo: Nonverbal creature performance

Japanese Character Direction Highlights

Kenjirō Tsuda — Solon

Tsuda's Solon should not simply be "the deep-voiced one."

The character needs controlled gravity, unfinished calculation, ritual command, dry comedy, fatigue, awkward affection, overprepared tenderness, embarrassment, and the increasingly significant ability not to finish a speech.

Sometimes the funniest possible Solon scene is one in which the audience can hear that he has prepared six paragraphs and his family has allowed him one sentence.

Maaya Sakamoto — Bulla

Bulla's Japanese performance should combine elegance with extremely rapid cognition.

Her precision is frequently where the emotion has gone.

The interesting change occurs when technical language stops being sufficient.

Yūko Kaida — Mira

Mira requires enough vocal authority to meet Solon rather than orbit him.

She is not merely his emotional counterbalance.

Saori Hayami — Elara

Elara's calmness should feel observant rather than passive.

She notices exits, thresholds, pressure, shifts in group behavior, and when intervention would become control.

Miyuki Sawashiro — Meilin

Meilin's authority is linguistic, civic, social, and practical.

She is often more interested in whether a policy can actually be used than whether it sounds philosophically sophisticated.

Fairouz Ai — Tylah

Tylah requires speed, bluntness, technical confidence, and a certain exhaustion with people turning repair work into metaphysics.

Aoi Koga — Pari

Pari's regression should never become a generic "cute voice."

Different support states remain expressions of the same adult person.

Yōko Hikasa — Lyra

Lyra combines tactical intelligence, emotional fluidity, independence, and ordinary irritation.

Her water symbolism does not require permanent ethereal delivery.

Kikuko Inoue — Lyria

Lyria carries elder presence without being restricted to prophecy or ancient wisdom.

She should remain capable of sounding completely ordinary.

Sayaka Ōhara — Valtira

Valtira combines ritual authority with awareness that ceremony can become coercive when nobody is allowed to leave.

Akio Ōtsuka — Roderick

Roderick must be capable of sounding persuasive, caring, grief-stricken, reasonable, disappointed, gentle, and still dangerous.

His authoritarianism becomes more meaningful when humanity does not disappear beneath it.

Takaya Kuroda — Zaroth

Zaroth should often sound administrative rather than monstrous.

Control is frightening because he regards it as obvious.

English Dub Cast

Returning Dragon Ball Cast

Goku: Seán Schemmel

Gohan: Kyle Hebert

Vegeta: Christopher R. Sabat

Piccolo: Christopher R. Sabat

Bulma: Monica Rial

Chi-Chi: Cynthia Cranz

Videl: Kara Edwards

Goten: Robert McCollum

Trunks: Eric Vale

Pan: Jeannie Tirado

Uub: Zeno Robinson

English Groundbreaking Cast

Bulla: Emily Neves

Solon Valtherion: Matthew Mercer

Mira Valtherion: Elizabeth Maxwell

Elara Valtherion: Erica Lindbeck

Meilin: Michelle Rojas

Tylah: Dani Chambers

Pari: Sarah Wiedenheft

Lyra Ironclad-Thorne: Allegra Clark

Lyria Shaenal: Colleen Clinkenbeard

Valtira: Caitlin Glass

Roderick Ironclad: Jason Marnocha

Zaroth: Patrick Seitz

Nozomi: TBD / intentionally unlocked

Zhalranis Valtherion: TBD / not currently locked

Kumo: Nonverbal creature performance

English Character Direction Highlights

Seán Schemmel — Goku

Goku remains bright, kinetic, competitive, humorous, curious, and physically immediate.

His later development does not require becoming solemn.

The important change is learning where to stop moving.

The same voice that historically communicated forward momentum now has to make the word "Here" feel like an action.

Kyle Hebert — Gohan

Gohan is the English cast's central performance test.

The voice must accommodate scholar, husband, father, martial artist, professor, author, disabled adult, former leader, dry comedian, frightened son, and terrifying protector without turning any of them into separate vocal personalities.

His paralysis is permanent.

It does not require a permanently weakened performance.

Disability is not a microphone filter.

Christopher R. Sabat — Vegeta / Piccolo

The double casting becomes increasingly dependent on contrasting restraint.

Vegeta's silence is compressed.

Piccolo's silence is spacious.

Matthew Mercer — Solon

Mercer's Solon uses stillness and calculation without becoming a copy of Hit.

Late Solon must additionally support domestic awkwardness, ridiculous over-explanation, dry humor, vulnerable family scenes, and the learned ability to stop speaking before eloquence becomes control.

Nozomi

Nozomi remains intentionally actor-unlocked in both Japanese and English.

The role should not simply reproduce Zamasu with softer dialogue.

Nozomi requires refinement after certainty has been broken.

Leaving the role open is a casting decision rather than unfinished bookkeeping.

Kumo — Creature Performance Department

Kumo has no conventional speaking voice.

He is permanently in larval form.

His characterization depends on purrs, hums, trills, soft chirps, warning vibrations, clicks, breath, body movement, color or texture response where applicable, pauses, refusal, and physical timing.

The creature-animation, sound-design, and performance departments should collaborate on a defined Kumo behavioral language.

His noises are not randomly selected "cute sounds."

They are dialogue without words.

Science & Technical Consultation

The original dream-production notes call for a Special Science Advisor panel.

Individual names remain intentionally unlocked.

Areas of consultation should include theoretical physics, energy systems, biological sciences, evolutionary biology, biomechanics, astronomy, cosmology, engineering, systems design, and speculative scientific communication.

The goal is not to make ki scientifically real.

It is to make Gohan sound like an actual scholar working inside the fictional rules of his world.

Disability & Mobility Consultation

A dedicated consultation team is required for Gohan's permanent paralysis, wheelchair use, transfers, positioning, fatigue, access requirements, mobility choreography, environmental design, pressure relief, independent movement, assistance protocols, and the difference between care and unwanted steering.

The chair should be understood by writers, storyboard artists, layout artists, animators, background designers, sound editors, directors, and action staff.

An inaccessible room should look inaccessible before dialogue announces it.

Accessibility Review

The adaptation should maintain a dedicated accessibility department covering both depicted access and audience access.

Potential responsibilities include caption quality, audio-description coordination, flashing-light review, visual-density review, sensory-access review, accessible interface design, subtitle readability, promotional access, and home-media accessibility.

Neurodivergence Consultation

The consultation approach should focus on behavior rather than stereotype.

Goku's ADHD coding does not mean constant noise.

Gohan's autistic coding does not mean flat affect.

Solon's obsessive precision does not require a gimmicky verbal tic.

Bulla's complexity does not require generic instability.

Pari's regression does not erase adulthood.

Cultural Consultation

Dedicated cultural consultants should review the AU's multiple cultural lineages.

The role is not merely to approve surface aesthetics.

Consultation should include family customs, naming, ritual practice, clothing, architecture, food, philosophical references, historical analogies, diasporic representation, mixed heritage, language, and avoidance of flattening Asian and other cultures into generic mystical imagery.

Ver'loth Shaen Language Department

A dedicated Ver'loth Shaen Language & Continuity Team should maintain the constructed-language material.

Responsibilities include pronunciation, attested vocabulary, derived vocabulary, provisional or working vocabulary, grammar, ritual use, corrupted register, subtitle handling, script consistency, and determining when ordinary language is dramatically preferable.

The central question whenever Ver'loth Shaen is used should be:

Why does this scene require it?

If the answer is merely "because it sounds mystical," the line should be reconsidered.

Continuity Department

A large-scale adaptation of Groundbreaking requires dedicated continuity staff.

Responsibilities include chronology, ages, relationships, deaths and revivals, injuries, faction histories, terminology, institutional evolution, cultural details, costume continuity, mobility equipment, weapon configurations, Ver'loth Shaen, transformations, chapter-to-episode compression, later retcons, and era-specific knowledge.

The continuity department should maintain a searchable production bible rather than expecting writers or animators to remember thousands of pages individually.

The existing AU beta team would be a valuable historical knowledge resource for this department because of their familiarity with the project's worldbuilding and development history.

Labor & Production Sustainability

The dream adaptation should favor a seasonal model over an indefinite weekly pipeline.

The story's production ethics should reflect the values dramatized onscreen.

That means adequate preproduction, realistic delivery schedules, protected animation time, planned outsourcing, limited emergency retakes, intentional use of CG, production buffers, and avoiding the assumption that extraordinary animation should require extraordinary worker exhaustion.

A kitchen episode does not need feature-film battle animation.

It does need enough time for someone to animate Goku moving too quickly toward Gohan, noticing, and stopping.

STILL HERE — Screen-Musical Dream Cast

STILL HERE is treated separately because an embodied screen-musical requires a different casting process.

The performer must potentially combine spoken acting, sustained singing, screen intimacy, choreography, movement, ensemble performance, physical characterization, repeated takes, and production accessibility.

Voice actors are therefore not automatically carried over into the musical.

STILL HERE Principal Cast

Goku: Telly Leung — warm tenor

Gohan: Open Call / TBD — lyric baritone

Vegeta: Ramin Karimloo — dramatic baritone

Solon Valtherion: Thom Sesma — bass-baritone

Pan: Eva Noblezada — belt mezzo

Bulla: Phillipa Soo — agile soprano

Videl: Jenna Russell — alto

Mira Valtherion: Preeya Kalidas — dramatic musical-theatre voice

Elara Valtherion: Shoba Narayan — musical theatre / movement-oriented performance

Grand Priest Zhalranis Valtherion: Brian Stokes Mitchell — elder dramatic authority

Gohan — Open Casting Search

Gohan remains the most deliberately open principal role.

The ideal performer must integrate lyric-baritone singing, dramatic acting, scholarship, humor, marriage, fatherhood, martial history, cultural specificity, emotional vulnerability, anger, adult authority, and permanent wheelchair-primary embodiment.

Performance Benchmarks

Ed Larkin: Wheelchair-user / disability-performance benchmark

Kurt Kanazawa: Vocal, cultural, and classical-performance benchmark

Neither is treated as a complete solution.

The casting process should search broadly enough that a performer unknown to the current fancast can win the role.

Wider STILL HERE Company

The following roles remain suitable for major open calls rather than celebrity locking:

Bulma, Chi-Chi, Goten, Trunks, Piccolo, Uub, Marron, Pari, Meilin, Tylah, Lyra, Lyria, Nozomi, Hassa Noy, Pellin of the Half-Minute Bell, Lio, Enru Sel, Nelle, the young dissenter, route workers, festival workers, community members, and the wider Starforge Kinship.

The ensemble should not function as a backdrop behind ten celebrities.

A world about decentralizing power should also decentralize dramatic existence.

STILL HERE Creature Performance

Kumo

Performance Method: Puppetry, practical creature work, and nonverbal sound design

No conventional speaking voice.

The puppeteer or creature performer should have meaningful authorship over movement, timing, refusal, acceptance of touch, reactions, breathing, and emotional rhythm.

Master Dream Credits

Story, Lore & AU Development

Original AU / Story / Worldbuilding: Zena Airale

AU Beta Readers & Worldbuilding Team: Voidable, Baklava, ChaosFlower, CheeseyPies, Daelin, Viktor, NinjaKai, otakulicious, IcyBlade, Elliot / Chimereya, Mint, Westein12, Erin / erinwasmyidea

Direction & Writing

Chief Director: Tetsuro Kodama

Series Director: Masaki Satō

Series Composition: Yūko Kakihara

Script Supervision: Aya Matsui

Visual Department

Character Design: Chikashi Kubota

Chief Animation Director: Naotoshi Shida

Animation Supervisor: Yuya Takahashi

Animation Supervisor: Naohiro Shintani

Color Design: Rumiko Nagai

Art Director: Masaru Oshiro

Background Art: Studio Pablo

CG Director: Yasuyuki Sato

Photography: Kentaro Yabuki

Editing: Aya Hida

Studios

Core Studio: Toei Animation

Hybrid / CG Co-Production: Orange

Background Studio: Studio Pablo

Music & Sound

Main Composer: Naoki Satō

Additional Composer: Yugo Kanno

Sound Director: Masafumi Mima

Opening Theme Performer: Takanori Nishikawa

Ending Theme Performer: Aimer

Guest Direction

War / Memory Episodes: Yūichirō Hayashi

Major Martial Episodes: Sunghoo Park

Consultation

Science Advisors: Specialist panel, TBD

Disability / Mobility Consultants: Specialist panel, TBD

Accessibility Review: Dedicated specialist team, TBD

Cultural Consultants: Dedicated specialist team, TBD

Ver'loth Shaen Language Consultants: Dedicated internal language team, TBD

Neurodivergence Consultants: Specialist panel, TBD

Continuity Editors: Dedicated internal team, TBD

Sensory-Access Review: Specialist team, TBD

Production-Labor & Sustainability Review: Dedicated production-planning team, TBD

Core Production Rule

The dream production should be capable of making all of these things belong to the same Dragon Ball:

Goku and Vegeta fighting at impossible speed.

Gohan publishing research.

Gohan moving through the world in his wheelchair.

Pan leading without needing an elder hero behind her.

Bulla repairing a system.

Videl and Gohan sharing an ordinary private moment.

Solon stopping himself at a doorway.

Piccolo observing without intervening.

Meilin correcting a public form.

Tylah repairing an overlooked connector.

Hassa challenging an inaccessible plan.

A worker closing a service door.

Kumo purring under a blanket.

A multiversal war.

A family dinner.

A cosmic transformation.

And somebody quietly saying "no."

The adaptation succeeds only if none of those scenes feels like the series has temporarily stopped being itself.

The tournament and the dinner table belong to the same production.

The cosmic sky and the wheelchair route belong to the same frame.

The Kamehameha and the silence afterward belong to the same soundscape.

And the AU's development history should remain visible in the credits too: the world was not built by one name alone. The beta readers and worldbuilding team belong to that history alongside the author, just as the hypothetical adaptation would eventually belong to a much larger network of performers, artists, technicians, consultants, and production workers.