At its absolute best, Jujutsu Kaisen Season 2 is a focused effort to fully realize its directors’ ideas, from the grandest action to the least perceptible details. But at all points, it’s also something else: a fight against an asphyxiating schedule. Let’s catch up with one of the biggest, coolest, but also most troublesome productions of the year.
Today we bring you a translation of a long conversation between My Dress-Up Darling‘s core staff about the massively talented animation team that gathers around Shouta Umehara, the ups and downs of its production, and what it’s like to animate a work about unashamedly dedicating yourself to the creative process.
Tatsuki Fujimoto’s storytelling is spontaneous, anarchic genius, so how should one adapt Chainsaw Man into anime? Its team committed to a vision that has made two takes on the exact same story feel quite distinct, so let’s dive into the anime’s production to explain how and why that happened.
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?
While current anime get delayed left and right, Yesterday wo Utatte / Sing “Yesterday” for Me sidestepped all those issues by wrapping up its production early. The smart planning led to a more comfortable team and exceptionally consistent character acting that elevates the show.