Studio Tonton’s excellent Naruto homage stands toe to toe with professional work, but don’t let its quality fool you: it was actually made by a group full of young artists and fans with no experience whatsoever in animation. We interviewed its producer Blou to find out how that’s even possible, and he explained their learning experience and struggles mastering the Japanese animation pipeline, shared resources for aspiring artists who need to grasp it, and talked about how this indie experience…
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.
SSSS.Dynazenon is an already fascinating follow-up to 2018’s Gridman, an equally evocative love letter to tokusatsu and mecha titles that wears its Anno influences in its sleeves, while also being in conversation with its predecessor. Let’s see how the project came to be, the way they derived the show’s themes and focus from the creator’s passions of youth, and also its fortunate production.
It’s time to go over the many interesting offerings in the Spring 2021 anime season to talk about their creative teams, the themes they’re touching on, and their production circumstances—with a lengthy talk about the increasingly more polarized state of the anime industry.
The final translation to celebrate Kizumonogatari’s 5th anniversary is with none other than director Tatsuya Oishi: his feelings after wrapping up such a monumental production, the reasoning behind his visionary direction, and even themes you might’ve missed.
This week’s Kizumonogatari translation is a collection of commentaries by the ace animators who handled the most iconic sequences, talking about their feelings and goals with those scenes, as well as the techniques employed. This is how the most stunning moments came to be!
Our Kizumonogatari interview translations continue with a conversation with CG director Shinya Takano, who reminisces about the production and its extremely ambitious approach that grew far bigger than studio SHAFT alone could handle, as well as the deliberate contrast between organic and inorganic animation.
SK8 The Infinity and Wonder Egg Priority are two original passion projects, both also being high-profile productions that have been in the works for a long time. Despite being exactly what anime needs on paper, they have crashed to the point where only extreme crunch might allow them to make it to the goal by the intended date. Understanding their distinct issues will help you grasp the nuance of TV anime’s structural problems.
Our next Kizumonogatari staff interview translation has VFX supervisor and eventual director of photography Michiya Kato give an in-depth chronicle about its production: the deliberate aesthetic mismatch yet tremendously cohesive creative approach, and the nearly impossible amount of work behind it all.
Most Wonder Egg Priority episodes so far have been fantastic first time showings by newbie directors, but what is it about this team’s approach that allows them to channel fresh creative energy so much better than their peers? And at the same time, what are the logistical and even thematical problems derived from their approach?