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.
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.
Kizumonogatari hit its 5th anniversary last month, and to commemorate that, we’ll be publishing a weekly series of interviews. First, a lengthy conversation with its lead animators and directors about the movie’s creation, and what it’s like to work under an eccentric genius like Tatsuya Oishi.
What does BEASTARS‘ opening sequence have in common with other iconic intros like DRIFTERS and Tatami Galaxy, the filmography of geniuses like Satoshi Kon and Tatsuya Oishi, plus many sweet commercials and educational works? The answer is Michiya Kato and his studio CYCLONE GRAPHICS – a team you might have loved for a long time without even noticing their presence!
Good evening, good afternoon and good morning ladies and gentlemen! We find ourselves at the end of another year, recalling the good and the bad times, celebrating the lack of a hangover despite a wild night out, but also struck with the fear of hanging over a toilet bowl on New Year’s Day to keep the scales balanced. Most importantly, though, it’s the time of the year where we round up the sakubuta to present the ever-growing Sakuga Bowl and…
In perfectly NisioisiN fashion, Monogatari has received closure in the form of the final entry of Endstory, which isn’t quite the end. The tale of Araragi’s adolescence definitely wrapped up however, and the anime itself seemed to be reflecting on the long 8 years journey that has taken us through 96 episodes and 3 films before returning where it all began. To understand all the changes it’s gone through, the best approach is to divide the series into three periods…
We continue to uncover the bright figures that will shape the future – and already the present to some degree – of the world of anime. This time we tackle an up-and-coming artist at Studio SHAFT who exploits his unusual background to craft unforgettable scenes as both an illustrator and key animator.
Last time we examined the past decade of Studio SHAFT to have a better understanding of Tatsuya Oishi’s style and the circumstances that lead to Kizumonogatari’s existence. Time to actually tackle the film.