Mamoru Hosoda and Takayuki Hirao, Pompo the Cinephile and One Piece Baron Omatsuri and the Secret Island: two of the most brilliant anime filmmakers used their personal misfortunes to fuel very entertaining movies, processing their darker feelings through lively animation.
After verifying the leaks that qualified people at studio WIT have indeed said they’re done with Attack on Titan, we wrote about the staff that gave the show such a distinct identity and what could happen in the future if that turns out to be true. Big news for sure, but don’t panic quite yet.
Starting this season we’ll be offering our usual production analysis and behind the scenes information for some individual episodes on top of the full series we commit to. And no better start than Megalo Box: Ashita no Joe‘s 50th anniversary commemoration project has been catching lots of attention due to its impactful old-school vibe, but it’s also been a source of misunderstandings due to its unique aesthetic. Let’s dive into those production quirks and the vision behind it all!
The second season of Attack on Titan has come to an end, not in the most graceful way but still in surprisingly effective fashion. Let’s explore the good and the bad for one last time – all the small yet noticeable improvements on the prequel, but also the production mess it hasn’t been able to fully escape in the end. And while we’re at it, let’s bust some myths about potential delays for its third season.
Attack On Titan’s sequel has finally arrived, and its many fans requested us to take a look at its production. These articles will be examining its staff, the creative process, the animation itself and even some technological advances. This time, special focus on studio WIT’s unique makeup animation process!