After three episodes into Mob Psycho 100 S2, we’ve got three gems of different kinds. And yet it feels like the show has barely just begun!
The summer anime season has started in the most intense way possible. Hanebado‘s anime adaptation turned out to be a transformative effort, ditching the source material’s lighthearted start for a bitter, emotional, grand and hot-blooded first episode that won’t leave anyone indifferent. And so it’s time to examine this team’s ambitious approach, also peeking behind the scenes to find out exactly what was their mindset and who’s responsible for this impactful beginning.
Anime is hand drawn. By people, with their hands. That’s honestly all there is to this enduring myth, which is somehow alive on both sides of the pond. I’m used to western fans spouting the classic I miss when anime was hand drawn rhetoric, but it got to me last week when I saw Japanese press report Ghibli successor Studio Ponoc as a source of traditional hand drawn animation in an age of digital anime…even though their country has hundreds…
Studio Ghibli’s announcement that they were halting regular operations in 2014 hit mainstream sources as hard as any piece of anime news ever could. It was such a big deal that the discourse understandably revolved around what this would mean for the industry as a whole, but that also means a smaller scale issue was mostly overlooked: Miyazaki was retiring and Takahata on his way out, but what about everyone else at the studio?
Anime sometimes has very specific roles, like Kazunori Ozawa’s recent duty to animate basically every explosion spell by Megumin on KonoSuba. And in rare occasions, these tasks can get explicitly credited under very amusing terms. Consider this a slightly instructive, but mostly comedy-focused, rundown of weird yet entirely real anime credits. What’s a Meal Animation Director? A Bear Supervisor? An Animation Director of Evil?!
It’s finally time for Part 2 of our selection of impressive openings and endings! Established specialists in this field, promising young geniuses, and even sequences that go beyond people’s usual conception of animation.
We’re back with our regular feature exploring the most fascinating opening and ending sequences of the anime season that has just begun; their thematic strengths, the staff that produced them, all those neat pieces of insight you hopefully will appreciate. Let’s go!
Since people enjoyed the quick look at the data last time, let’s once again wrap up a season of anime by tracking how many animators it took to finish every series and how each project tackled its workload.
Please enjoy this piece on the new series by Kazuya Tsurumaki, Evangelion‘s assistant director and the mind behind FLCL – titles that I promise I’m not just namedropping to catch your attention, but that are very relevant to his new work.
Masaaki Yuasa is without a doubt one of anime’s most unique voices; someone worthy of the endless praise he receives as an inventive director, but also a bit of an unsung hero as an actual animator. His particular brand of expressionism and relentless pursuit of love in unexpected corners make him a personal favorite of mine. So here’s the story of his new studio, and how tools can get in the way of the artist even if they’re not intrinsically…