And so Land of the Lustrous comes to an end, not in grand fashion but with a melancholic look back that highlights just how much things have changed. One last chance to address the vision of the creators, the quirks of this special production, the likeliness of a sequel, all those details you come here to find out. It’s been a pleasure to cover this show for you!
Land of the Lustrous is approaching its ending, and yet it still finds a myriad of ways to keep on surprising us this late in the game. New registers and tones it also excels at, new ways to combine traditional and digital craft, new directors to share their vision. This is a truly special show, so don’t hesitate and read more to find out about its secrets.
Over the last few weeks, Land of the Lustrous has nonchalantly pulled off some of the best work we’ve seen in TV anime this year. The already unique source material happened to overlap with exceptionally talented anime staff, both veterans and newcomers – something that stands true for the show as a whole, but even more so when it comes to this arc in particular. Let’s learn the secrets of this fascinating production.
Now that Land of the Lustrous is at its halfway point, it feels like a good moment to look into the intertwined creative decisions that have led to such a special series, as an adaptation and on its own right. The staff have been fairly open about the production process too, which means we can peek behind the scenes a bit to look at their craft and the mindset behind it. Hopefully this will deepen your appreciation of the show,…
Land of the Lustrous has immediately managed to captivate its audience with its very particular atmosphere and striking visuals. And it’s achieved that not in spite of its almost fully CGi production, but rather because of it, for the most part. This interview, originally published online in animate Times, sits down with director Takahiko Kyougoku, to talk about his approach to such a unique setting, the fascinating ambiguity of the manga and how he translated it into anime form, as well as the…
It’s no secret that Spy x Family is a co-production between Studio WIT and CloverWorks, but what’s the backstory behind that deal, what does it involve, and what are the dynamics, history, and intent of anime co-productions in the first place?
86: Eighty Six packs a fairly compelling war story with a surprisingly nuanced political message. And this is how its team is streamlining it and amplifying its impact, with direction that emphasizes perspective and tonal shifts to make you viscerally feel the inequality.
BEASTARS‘ TV anime gives us an opportunity to talk about studio Orange’s work and how their 3DCG productions – with beautiful strokes of older techniques – make for animated storytelling that’s satisfying in surprisingly traditional ways.
The new season’s already starting, so you know what that means: it’s time for another detailed rundown of all new anime with particularly talented creative teams, to see what’s got the most potential and how each production is faring.
Get your cards at the ready and climb a mountain for good measure, because Aikatsu Friends! coverage is back! And there’s no better way to return than with a look at the new season’s fantastic opening episode. Enough said, though. It’s time for some passionate blogging activities!