The second episode of Miss Kobayashi’s Dragon Maid S happens to embody some ongoing changes to Kyoto Animation’s inner workings: forced to adapt to the circumstances after the tragedy exactly two years ago, while also protecting the young talent they want to continue training. More than ever before, the studio works as one now.
Mobile Suit Gundam Hathaway is shaping up to be an excellent film trilogy, a collective effort by creators who approach realism from their own angle coupled with stellar character acting—but how come such a high profile work by one of the remaining bastions of 2D mechanical animation went the 3D mecha route?
Maidragon is back. KyoAni is back—in more ways than one, having given free rein to the next generations of creators trained under the studio’s unstoppable mentorship system. All these efforts shared a rallying cry that the studio altogether has adopted after their tragedy: inspiration for the future.
We’re due a final in-depth look at SSSS.Dynazenon: the creators who stood out in the last stages, the fascinating answers to some seemingly unanswered riddles, and what to expect from this unique team in the future.
A teaser for 86: Eighty Six‘s second cours dropped today, so let’s look back at this surprisingly daring show—a stunning showcase of a beginner director’s vision, technical skill, and confidence to stick to his unique style all the way through, except for one brilliant interlude.
SSSS.Dynazenon #10 was an explosive showcase of young creative energy drawing the audience in and out of a stunning illusion, and at the same time, proof of how important it is to have the right environment for unique talent to bloom.
Everyone knows what outsourcing means on a basic level, but at the same time, few get how it works in anime—so here’s a summary of this practice’s historical context, the logistics at play, and the impact on the creative process of the cause and cure of many anime industry problems.
The time has come for another deep dive on SSSS.Dynazenon‘s production: a mix of unique in-house Trigger talent and outside help, working in conjunction to create a show where the animation, writing, structure, and even the staff allocation responds to (and subverts!) existing expectations.
Today we bring you this translated interview with SSSS.Gridman and SSSS.Dynazenon‘s director Akira Amemiya, talking about how each series came to be, the intent behind their unique direction, and how they ended up being studio Triggers’s best managed projects.
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…