The Disappearance of Haruhi Suzumiya was released 10 years ago today, on February 6, 2010. A decade later and despite the tragic losses, its legacy at Kyoto Animation and the industry altogether still endures.
Now that Tsurune‘s past its halfway point, it’s time to return to the series to examine various aspects; how the staff want to balance the meticulous depiction of Japanese archery with entertaining experiences and characterization, the intent behind the storyboards, the state of the production as a whole, and so on!
High☆Speed!, a somewhat overlooked movie in Kyoto Animation’s repertoire, is approaching its third anniversary. To celebrate that we’ll be hosting a series of interviews translated by Pen over the next few days, starting with this roundable where the core staff talked about their general feelings towards the movie as a whole and some key scenes in particular. Yasuhiro Takemoto: Director x Maiko Nishioka: Scriptwriter x Futoshi Nishiya: Character designer and chief animation director
Tsurune‘s pleasant and surprisingly efficient first episode is yet another showcase of the importance of execution. An inspired directorial effort that makes no effort in hiding its inspirations and yet establishes an identity of its own, led by a team with more newcomers than you’d ever imagine. Who are they, and what should we expect?
Article pinned in memoriam of everyone who lost their lives in the terrorist attack today at the studio. We can only extend our heartfelt condolences to the victims, everyone’s families and friends, and all affected parties in general. Please take care.
Fans and critics alike love to associate qualities and flaws to anime studios, but to which extent does that hold any water? Have companies managed to build an in-house style of their own, and do they want to do that in the first place? We’d like to address misconceptions in this regard while explaining the potential of studio culture in the anime industry, as illustrated by the very curious tale of one of the biggest anime series of recent times:…
The arc dealing with Violet’s loss and acceptance comes to an end with a spectacular set of episodes that could, and maybe should, be the show’s grand finale. Let’s examine the work of the talented directors involved and the ups and downs of this production, while waiting for whatever will come next.
Now that the introduction is done and the titular character has wrapped up her training, Kyoto Animation’s aces have come to deliver the strongest episodes of Violet Evergarden to date. We’ll look at the wonderful episodic stories storyboarded by Yasuhiro Takemoto and Naoko Yamada, explain how a new influx of young creators came into play, and try to make sense of this spectacular yet confusing production.
As the finale of this month’s Hyouka coverage we’d like to share this look into one of the aspects that make it such a special show: the recurring fantasies in an otherwise grounded series, which each episode’s staff was given immense creative freedom for. The results were unique aesthetics applied to sequences that articulated the inner feelings of the characters much better than dialogue tends to do.
Our final Hyouka staff translation is yet another conversation with its director and series composer, with perrhaps their most insightful look back on the series after it wrapped up. Enjoy this bittersweet adolescence tale one last time! Yasuhiro Takemoto – Anime series director, animator, unit director. Member of Kyoto Animation’s Board of Directors. Notable works include Full Metal Panic? Fumoffu, High Speed!, and The Disappearance of Haruhi Suzumiya, among others. Shouji Gatou – Author, script writer. In charge of the series composition…