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horncity18-blog · 4 years

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How anime works?

Have you ever wondered how anime is made? For many of us, anime production is all light up and mirror. The distance amongst the conceptual art and the accomplished masterpiece is the period of the 12-week season. Typically the truth is, until you chat Japanese, the production approach that governs Japanese animation is shrouded in secret. Trying to find away more will lead you to a good number of terms like as crucial animator, advanced beginner animator, movement representative, tv show director, artwork home in addition to character developer. How anime is made within Asia is very various from how you may well consider; Often , it's a new significantly more material (read: chaotic) process you might assume. The fine art of toon Animation generation is a messy adventure. Disorderly preparation, strict deadlines, deadlines and even rampant inefficiencies are generally operate hazards that any individual working in a small together with freshly created environment will be conscious of. The spirit is usually a labor involving love and the talent of many folks, while well as the endurance of a select few. Immediately after all, it is single that requires many, numerous steps. The achievements of even a new single show is not a little task, and a incorrect stage can have serious outcomes for the whole development. Dig more deeply together with you will find development programs and color-coded check-lists which have been nightmares. kiss anime watch So many spreadsheets, so many validations. anime generation Another common day at this office for the production director. Image by Sentai Filmworks. I will do my personal better to provide a good guide of the process, describing often the main steps as well as the major celebrities. In this respect, I actually hope to show how complicated it is usually to create a respectable anime, not to point out some sort of great one particular, as your love for typically the setting revives. Above most, we sorry in improvement for any errors or even defects; I am by way of no means an authority around anime production. This production process (ie development difficulties) preproduction This is often the preparing and financing step. Often the anime production business (for example, Aniplex, Bandai Vision, Kadokawa Shoten, Pony Gosier, Sony, Toho, Viz Media) is responsible for personnel, transmission in addition to syndication expenses. In essence, they will pay studios to do it, the tv screen stations in order to broadcast this and in order to the licensee to send out it nationally in addition to around the globe. Above all, this accumulates profits from revenue. At times, several production companies happen to be involved with some sort of single cartoons. This broadcasters (for illustration, A-1 Pictures, Bones, N. M. Staff, Kyoto Animation, Madhouse, Production I. Gary, Studio Ghibli, Trigger) are usually the ones that function, pay and create the particular anime itself. If this anime can be an original idea, the facilities will sometimes help with the expenses. Group assembly The overseer is usually the creative director and it is generally responsible for the particular program. When this will come to staffing, every facility works differently. Quite a few have got full-time animators, colorists, writers and production offices, when others will have the fully committed team of key persons from each department as well as a large network connected with outsourced helpers. Then there will be the reports that outsource the entire work for you to freelancers. storyboard

Often the movie director is furthermore commonly accountable for storyboards. In full-length TV cartoons, unlike in season anime, movie screenplays are generally framed simply by different screenwriters. In an ideal globe, typically the cases would become completely finished before a good episode switches into production. This specific would give the rest of the staff the option to build up a coherent and fully realized account; However, preparing very rarely, and this shows in many cases are in generation, because the storyboards will be still being worked in. It's a nightmare, genuinely. function designs The following may be the projects. Within the administration of the director, often the episode home and at times typically the manufacturer, the layout director may complete this details of the slices (scenes, generally determined by simply the use of a single background). That involves preparing the main image or living "cells" (displayed in relaxing colors) on backgrounds (displayed inside cool colors), along with descriptions of how the digicam should move. In additional words, the planning director support frames each series and appears at the overall formula. anime The example connected with one of a kind cut design. The dark box towards this edge in the paper shows the frame. A design and style movie director determines the make up of each lower, just simply like a movie show. Imagine by way of Nihonden. computer animated A further sort of this is in the Howling ADVENTURE. The backgrounds are dark blue and the cells usually are dark orange. This is unusual because often the clouds are computer animated, not really humans. Image through MangaUK. animation Once the dermal are finished, the production assistant gives the important animators. They are this ones who provide lifetime to images. The particular finished discounts are unveiled in the animation director for the tv show, who checks regularity and even quality. If the special discounts receive the stamp involving authorization, they go to be able to the intermediary unterhaltungskünstler. This particular work is generally outsourced to less experienced computer animators at cheaper prices. Interior frames are sent to typically the intermediate supervisor in order to ensure they are consistent with the quality and support frames of the key animation. If the cut is turned down any kind of time stage, it can be delivered for review. anime manufacturing A key filmtegner is responsible for the main element animation or even, in additional words, the primary frames associated with a slash. Image by means of Pinterest. digitized Finally, the moment the animation is performed, this color team, supervised simply by the color designer, digitizes, clears and colors typically the cuts. At this stage, the slashes are known as cells (or digicells). The colorist spots the color tissues inside the background image (as given in the designs) and brings any 3DCG under the guidance associated with the 3DCG supervisor. One more stage of production is definitely filming, in which arrangement, effects, and editing are generally finalized. animated The fine art director, colorist, and movie director come together to figure out the final coloring pattern or even gradient per character or maybe each using a cut. In this article you can see a number of palaces of different shades in contrast to the background, known as art. Graphic from Sentai Filmworks. Post development Having the end in vision, the production assistant communicates the final cellular material to the post-production recording director. Typically the recording director runs typically the "duplication" process by which post-production teams add voice acting, sound effects, and popular music. End the life period of any cut in cartoons development. Finally, at typically the end, the editor breaks, merges, edits, and evolves all the finished cuts. Meanwhile, the episode overseer and director are tested at each stage to make sure the particular concluded product meets their very own eye-sight. The grassroots managing workforce then reviews your entire tv show and gives their last opinion as well as approval. Essential players (i. e. the right team) the manufacturer Producers generally work for the particular cartoons developer. They happen to be the people responsible intended for finding stories with possible, be it an original strategy from the head associated with a creator or a adaptation of an present work (such as a good mangote or a lighting novel). That they find in addition to request projects for the firm. Manufacturers have a new good deal of weight in the production approach and as a result generally have to agree all important decisions. Creation office The production office will be the studio's command middle and is comprised of the Manufacturing Manager (PM) in addition to a variety of Creation Assistants (PA). The Prime Minister is definitely in charge for handling the particular series' programming, logistics together with financing / finances. Their very own purpose is to present final reductions in moment plus budget. APs function in the PM plus are generally liable for 1 or two episodes. Essentially, the availability office does their job. This is precisely what an anime production display looks like. This can be just an case in point. They are generally a great deal more messy as compared to that. And more horrible, correct? Image through Reddit. overseer The inventive chief produces, the educator, the evaluate, the jury and the particular executioner. Basically, the overseer is the director in the entire project and oversees the final stages of each part of the anime production approach. The representative also has the final word around all creative decisions. They can be directly responsible for the particular circumstances and the closing approval of each one episode. This director from the episode. This specific is self informative. Found in substance, they are typically the film fans of a certain event. The particular episode overseer works directly with the particular overseer on most artistic and logistical judgements regarding the assigned episode. Receive the correct Black Anime figures The script supervisor The particular writer himself (say what? ). Your job, involving course, is usually to make often the characters speak. The representative may present this circumstances, but the script director is responsible for publishing the talk and narratives that guide the episode. Fundamentally, the piece of software supervisor produces the character types, settings, and plot to our lives.

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hypeathon · 6 years

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RWBY & Cinematography, Part 1 - Establishing Techniques

Animation has for a long time now struggled to crawl out of the stigma of appealing only to a younger audience. Combine that with internet animation in particular being very young compared to other film-making mediums, and you have projects within the platform that need to go through much trouble to make a name for themselves. RWBY is no exception to this, as from the beginning it has faced a lot of harsh ridicule by critics who are fans of anime, the very medium the web-series takes direct inspiration from. And despite having a growing fanbase and the production having come a long way in just five years, there are some aspects of the show that even much of its fans have neglected to refer to. If there’s one growing part of RWBY’s presentation that especially deserves mention. it would be the cinematography.

As stated previously, RWBY has always been inspired by and even aimed to emulate anime. As a cultural medium of entertainment, anime has been the pigeon-holed for its various tropes. The tsundere archetype, beach and hot spring scenes, shonen training arcs, transfer student character introductions, etc. And while the dismissal of seeing some the same tropes in many titles every season, every year is understandable, anime as a visual-storytelling medium has been cultivating itself for the past 60 years. With that much time, many names who have taken the positions of directors and storyboard artists in their careers alone have developed recognizable cinematic techniques. One example is Osamu Dezaki. Most may not have even heard of him due to his passing in 2011 or his works due to how old they are. But one may faintly recognize his techniques he pioneered that are casually sprinkled in many anime. Take the “postcard memories” technique for instance, a way of freeze-framing a shot into a hyper-detailed, sketchy still. It’s something meant to make the subject of such shots feel especially tense, mesmerizing or impactful and it can be seen in various works that some fans today have been exposed to like Sailor Moon, Kill la Kill, & One Piece.

And Dezaki is just one name that uses certain techniques to create a vision in anime titles. There are many others who have gone to either provide storyboards for or direct some shows and films well-known within anime fandom to this day. With Takuya Igarashi, the director of Ouran High School Host Club, Soul Eater, Star Driver, Captain Earth and Bungo Stray Dogs, his works commonly have vivid colors and lighting through windows and characters on symmetrically-opposed sides to convey the contextual mood. Then there’s Shigeru Yamauchi, the director of Casshern Sins, Dream Eater Merry, A Town Where You Live, the 8th, 10th, & 12th Dragon Ball Z films, Digimon: The Golden Digimentals, and a storyboard artist of episodes of many, many anime. Yamauchi is especially known for having whole scenes depict close-up shots of a character’s face or showing half of their bodies and having settings be done in a specific, sometimes monochromatic color schemes that feels like something out of a painting. There’s also Naoko Yamada, a name from studio Kyoto Animation who has developed a resume of directing shows and films like K-ON, Tamako Market & A Silent Voice that, despite them mostly having a moe vibe through the character designs, are deceptively-enriched in scenes shifting from bright, pastel colors to more dull colors to provide atmospheric moods and having characters express themselves not through their faces but other ways such as their legs.

There are far too many names to point to, but even ones who have yet to direct a whole anime, manage to apply their cinematic ideas into episodes of anime. Even something like Dragon Ball Super, a recent installment of a popular shonen franchise that’s often dismissed for having characters mindlessly flying and throwing beam blasts and fists, can be known for having episodes with competent stage direction depending on who is working on it.

With all of that said, it’s worth bearing in mind that RWBY, like the many anime it takes inspiration from, could also be credible for having and applying cinematic techniques. But this wasn’t always the case. Back in volumes 1 & 2, the process for storyboards would be led by Patrick Rodriguez, who is known for designing various characters in the show like Ironwood, Amber, & Tyrian, with the rest of the team consisting on Miles Luna & Kerry Shawcross, the writer and director of the show respectively and the animators. The problem however was that even with the storyboard team set up this way, scheduling was very tight, to the point where there was either little time or no time to make the boards for the show. Although the first two volumes were not entirely void of enticing shots, this led to needing to resort to basic camera shots and on few occasions, incomprehensible ones. By volume 3 however, this process changed. Among the many changes in the production pipeline, one of them was the overhaul of the storyboard team to be led by Joe MacDonald, an animator during volume 2 who had nearly 30 years of experience in the creative entertainment industry, with a newly established team consisting specifically of storyboard artist. The second was introducing a complimentary camera & layout team, also led by Joe MacDonald with some of the storyboard artists overlapping. Finally, the third was creating a camera bible. To quote from one of the storyboard and layout artist, Rachel Doda, in the volume 3 audio commentary:

“It was mentioned earlier too in some other commentary, but we originally created like a camera bible or at least tried to create like, stage direction in terms of just… hey! Ya know, If it’s a shot of Ozpin, it has to be kind of stagnant because he’s the most level-headed. And if it’s a shot of Ironwood, usually, they just, ya know, it has to be like he’s in power. So the camera has to be low to the ground. Then, ya know, just like all the characters themselves. Qrow has a little hitch to stuff.”

Since volume 3, the camera served as was a big way to help express the position or mindset of various characters. Take the character, James Ironwood as referred to earlier. Compare most of his shots in volume 2 to his shots in volume 3 & 4, and the differences in his scenes will feel more apparent. Camera manages to communicate when he feels it’s important to be authoritative and when to be more reasonably submissive. And that’s the key word: “communicate.” If Rachel Doda’s words as quoted are of any indication, then multiple elements in cinematography such as lighting, color, transitions, framing, staging, & character posture could be at play to sell and help deeply interpret meaning behind character’s thoughts and intentions.

In the case of volume 3 where this major shift in the show’s direction began, there are several scenes that became very striking to this day. One of the biggest examples is this shot of Pyrrha witnessing the Fall Maiden, Amber in a comatose state in chapter 6. When watching it the first time, one may think that match-cutting from Pyrrha turning away to showing Cinder at the stadium is simply meant to indicate that Cinder is Amber’s assailant. But there’s also a matter of Pyrrha feeling bound to take a risk of having her destiny be Amber’s and not hers compared to Cinder who wants nothing more than to become the very thing the former hesitates to be. Pyrrha feels she can’t avoid any of this and is thus overwhelmed as shown in chapter 8 when she can no longer even attain peace of mind from a simple leaf falling towards her in a burning sunset, all of which from that point on referred to the Fall Maiden in her mind.

Though as much as volume 3 had its strong sense of visual direction, RWBY’s fourth volume arguably pushed the direction further through a variety of ways. While it has been criticized for spreading its story too thin by jumping between multiple plot points, some scenes in plot points tied to certain characters can contain some strong cinematography. Take for instance Cinder’s training scene in chapter 11, which by itself doesn’t seem to say much. But think about the Grimm she fought. They were a bunch of Beowulves and a Beringel, which are the same creatures of Grimm that Ruby Rose fought in the character short. Although Ruby takes longer to defeat her foes than Cinder, the former is shot to end her fight triumphantly while the latter is shown exhausted and has to catch her breath after her bout. All of this can be interpreted as an inadvertent way of presenting how even more salt is poured to Cinder’s wounds.

Another example in volume 4 are scenes of Weiss in the Schnee mansion in chapters 2 & 11. When comparing side-by-side, the shots themselves are practically the same but with three key differences. The first is the lighting, the second is Weiss’s facial expressions and body language, and the third is the fact Klein is accompanying her in the same shots in chapter 11. These shots show very effectively-opposite meanings with Weiss’s character who is first seen feeling lonely and submissive despite being in a fancy, spacious, brightly-lit home only to be feeling more defiant and at-ease when she has Klein to help her escape the home we learn she hates.

It’s this use to linking shots in different episodes that also sheds light to the context of the song “Mirror, Mirror”, which frankly never made much contextual sense up until this point. How can someone who carries pride in her family name be the loneliest of them all as the lyrics go? Well, this visual direction sums up why. Her father and his business-oriented ambitions created a growing rift in her family and she needs someone she can trust to be empathetic towards what she’s feeling. This is also why she felt hurt when she found out Whitley never really intended to look out for her. Combine these moments with shots of her witnessing the Atlas ships passing by her window in chapters 1 & 7, only to finally manage to leave in one by chapter 12, and you have a phase of Weiss’s character story packed with meaning.

There’s also quite a few cinematic techniques regarding Qrow in volume 4. One of the biggest cases is the use of a low light by his side with whoever he talks to about Salem. In times where connection to other Kingdoms in the World of Remnant are cut-off, Qrow welcomes or advises cooperation with other characters out of necessity. Warm lights such as lamps and campfires help illustrate this. With Qrow and Raven in chapter 4, the lamp on the table is closer to the former than the latter who only wants specific information and will otherwise walk away (or make a portal in her case) towards the darker side of the Tavern. And then there’s chapter 8, where Qrow informs team RNJR with as much information about everything to do with Salem and the fall of Beacon as possible, leading to well-presented shots of Jaune stepping briefly outside of the campfire due to his anger and wavering trust. Even this shot where he bluntly referred to Qrow’s motives as using his teammates as bait is framed to show his stance on who he was looking out for and who he wasn’t. Most interestingly though, is this shot here of Qrow framed to be surrounded by the campfire as he describes his semblance. While the cinematic techniques in some scenes can be admittedly up for debate, this shot was actually confirmed by Kerry Shawcross in the volume 4 director’s audio commentary to have been drawn by Rachel Doda and was highly approved after going through every department in the production.

“We uh, the shot inside the fire, was definitely one of the shots that we had uh, Rachel had the idea to do while we were boarding, Rachel Doda. And uh, I told her, “absolutely draw that! I make no promises that’s going to make it all the way through. But every next department after that I explained the shot and it was like, “no, we should do that!” Um, so yeah, it was one of those things where it was like, it was just such a beautiful shot that everyone wanted to make it happen and everyone went out of their way to make it happen.”

One of strongest cases of visual techniques applied though was in the forest scene in chapter 2. Here, we see Jaune, an often talkative character in previous volumes, be unusually silent and uttering only shouts and out-of-breath exhales as he trains through Pyrrha’s recording. He is mostly alone in the dark forest with shades of dark blue and green and bright, blueish lights illuminating his armor. Most fans who see this scene are struck by the music and Pyrrha’s words and Jaune’s determined, yet saddened facial expressions. Alone, those aspects are effective at the scene being a tearjerker. But there’s one other element, a visual one that can add a whole level of meaning: the fireflies.

In Japan, fireflies are theoretically that of Hitodama or “human souls” drifting in the night when away from their bodies. If we were to apply this motion to the forest scene in chapter 2, then the fireflies could be visually representative of the lives lost in Shion village. Thus what Jaune could’ve felt was not sadness for not being able to stop Pyrrha, but for being unable to do anything about tragedy of the villagers. Now to some, such an interpretation may be considered reading a little too much. While that response is fair, bear in mind that the villages seen in volume 4, Shion, Higanbana, Oniyuri and Kuroyuri are all named after flowers with specific meanings in Japanese, the matter of fireflies being that of human souls may not be that unlikely.

“I’m just tired of losing everything.” - Jaune Arc

If there’s any set of scenes that are arguably as striking in visual direction as in chapter 2, if not more-so, it would be in scenes of Ren and Nora in chapters 10 & 12. There’s the matter of how the reveal of Ren’s semblance after cutting from the shot of the lotus flower is representative of how a real lotus flower can bloom after being submerged in mud. There’s also the shots of Nora desperately holding on to Ren’s hand, one of which is out of fear of being left alone when they were kids while the other is to prevent Ren from risking being killed due to anger and reckless abandon. But probably the most powerful moment of stage direction is of this moment here.

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That there concisely explains what Nora means to Ren. Bear in mind, Ren is a very quiet, calm & collected character. He’s the opposite of Nora in that regard, who wears her enthusiasm on her sleeve and openly express how much she enjoys Ren’s company. But up until this point, we hardly seen Ren’s perspective about Nora other than the occasional subtle smile at her antics. It’s not until the scene underneath the house in chapter 12 that we see what Ren sees when Nora is deeply saddened to the point of being in tears, something viewers have never seen her current express before. In his mind, Ren briefly sees the same frightened girl who he first met and swore that they would keep each other safe. He is all Nora has and if he realizes that if he gets himself recklessly killed, then she’ll be alone all over again. And that’s the last thing Ren wants to happen.

Even after all of this is said and done, there’s still more examples of scenes with visual direction to be unpacked and interpreted in volume 4 alone. But those can be talked more depth another time as they help compliment scenes in the focus of the next subject to be talked about in part 2.

#rwby #rwby6 #rwby analysis #crwby #rwby5 #cinematography #storyboards #rachel doda #rachel #doda #kerry shawcross #kerry #shawcross #joe macdonald #joe #macdonald

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marshmallowgoop · 7 years

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TRIGGER MAGAZINE: Kill la Kill Issues

Back when Kill la Kill was first airing, Studio Trigger sent out a weekly newsletter containing a production report from Higuchi, the script writer’s literary assistant, as well as commentary from Tatsuru/Tattun, Trigger’s PR specialist. Each newsletter also contained key frames and layouts from the show.

There was a newsletter devoted to each of the first 24 episodes of Kill la Kill, as well as one issue discussing the premiere. Compiled below is a list of these issues (Issues #000 - 025), complete with information about which episode the issue describes, production report highlights, and which key frames or layout drawings were included. All links to the magazine are courtesy of @triggermagazine.

If you would like to subscribe to the newsletter, you can do so by setting up an account at Trigger’s online shop here.

Please note: As these newsletters describe Kill la Kill, there is a tremendous amount of nudity and fanservice included. Please also be warned that there are depictions of sexual violence and harassment as well.

(All images in the magazine can be found here.)

TRIGGER MAGAZINE, Issue # 000, October 2, 2013

Prior to episode 1

Production report highlights: “I bet all of you are familiar, but “KILL la KILL” is produced by Hiroyuki Imaishi and Kazuki Nakashima, the duo from “Gurren Lagann.” With the staffs being close with each other, each and every staff meeting was filled with jokes and laughter. Each and every staff was really having fun! Despite the staffs horsing around at time, their boldness to create what they truly enjoy, and not catering to the popular trend is something I admire. “KILL la KILL” definitely reflects on the creators passion, and it just might be the punch Japan needs in this laid back times.”

Included key frames/layout: Ryuko holding the Scissor Blade when she first meets Satsuki

TRIGGER MAGAZINE, Issue # 001, October 8, 2013

Episode 1

Production report highlights: “KILL la KILL is a very distinct series, and I think we can agree that the talking sailor uniform got everyone’s attention. To those who are familiar with very old anime series and I mean “really” old series might have caught on to the similarities with Dokonjo Gaeru [Gutsy Frog]. Yes, KILL la KILL is influenced heavily by anime from the Showa period. Other series such as Sakigake!! Otokojuku [Charge!! Men’s Private School], Harisu no Kaze [Harris’s Whirlwind], and other major titles from the Showa period was brought to topic numerous time in the production meeting as well. However, just because the resource is from the Showa period, it does not mean that it will just be a reproduction. With modern techniques and talent worked in, it creates a whole new style of animation. So please stay tuned with KILL la KILL! You won’t be disappointed!”

Included key frames/layout: Senketsu and Ryuko’s first meeting, Ryuko/Senketsu vs. Fukuroda

TRIGGER MAGAZINE, Issue # 003, October 16, 2013

Episode 2

Production report highlights: “Whenever I watch KILL la KILL, it reminds me of this specific act from Mr. Nakashima’s theatrical play Hana no Kurenai Tengu [Renaissance of the Scarlet Phantom]. This act also happens to be Mr. Imaishi’s favorite, and the title is “I will take the path I trust. Vigorously, even if there are no roads.” I feel that this phrase is the intersection between Mr. Imaishi and Mr. Nakashima. Just as their creators are, every character in KILL la KILL share the same unfaltering courage to stay bold with their beliefs. The story is full with passion but so is the character!”

Included key frames/layout: Satsuki and Bakuzan, Ryuko collapsed from blood loss, Aikuro stripping, Aikuro taking Ryuko’s blood

TRIGGER MAGAZINE, Issue # 004, October 22, 2013

Episode 3

Production report highlights: “Some of you may already know, but KILL la KILL was originally planned to become the typical monster/villain of the week style of anime. The first time I attended the staff meeting was a year and a half before the airing of KILL la KILL started. And, that just happened to be the time when the staff decided to throw that style of composition out. With the static format gone, the weekly meeting became even more hectic, and it was almost impossible to keep up with the conversation if I were to take even one week off.”

Included key frames/layout: Baby Satsuki, Satsuki in Junketsu, Ryuko/Senketsu vs. Satsuki/Junketsu, Mako in pajamas, Ryuko and Senketsu trying to work together

TRIGGER MAGAZINE, Issue # 005, October 29, 2013

Episode 4

Production report highlights: “It may be a surprise but all of the KILL la KILL episode titles come from popular Showa Japanese songs! Mr. Nakashima carefully picked out the most fitting song title for each episode, taking in the artist and the lyrics itself into account. The main staff would gather early to a meeting and listen to these songs to further discuss about the episode the individual songs were bound to. Believe it or not, these song titles were taken into account from a very early stage of production. To those who are familiar, the song title will feel nostalgic. To those who aren’t, the title should definitely leave a strong impression.”

Included key frames/layout: Guts and Senketsu, Mankanshoku boys leering at Ryuko, Maiko kicking Guts, Ryuko panty shot, Ryuko embarrassed by pajamas

TRIGGER MAGAZINE, Issue # 006, November 6, 2013

Episode 5

Production report highlights: “How did everyone enjoy the 5th episode? Pretty hardboiled compared to the previous episode, right? A lot of people probably noticed the difference in the script. To reveal the secret, the scripts for episode four and five is actually not done by Mr. Nakashima. Episode four is done by the creative officer Hiromi Wakabayashi, and episode five is done by Hiroshi Seko! It’s quite the surprise how the script can affect the tone of the work so much! Each and every staff has their own taste, for example Mr. Wakabayashi always manages to come up with the most playful ideas and Mr. Seko favors a hardboiled stories. To top it all off, Mr. Nakashima somehow manages to get more pumped up in the script meeting than the actual characters in KILL la KILL! It’s really interesting to see how their taste reflects so much to the different episodes. Although all of the scripts will be done by Mr. Nakashima from episode 6, it may be interesting to re-watch the previous episodes with the individual script writers in mind.”

“One of the bigger surprise to us is the unexpected support we are receiving from oversea. KILL la KILL has little sprinkles of taste from the showa period, and we were worried if it would even appeal to the audience here in Japan at first. Regardless of the reason, it really feels nice to know that we have a supporting fan base even oversea.”

Included key frames/layout: Tsumugu smoking, Mako speech (“Up until now, the only friends I had were in my head!”), Nonon conducting, two more Mako speech frames

This issue also includes a fanart piece done by @belindraw!

TRIGGER MAGAZINE, Issue # 007, November 11, 2013

Episode 6

Production report highlights: “…this episode was our first chance to get in touch with the Elite Four’s past. Not only does this episode function as a turning point for Sanageyama, it is also a vital episode for the other Elites Four as well. According to Mr. Nakashima, the scene where Sanageyama encounters Satsuki and the other three at North Kanto wasteland was the key factor to determine the individual characters personality. I guess if you observe carefully, you can get an idea of who met Satsuki first, and what kind of relation they have. It’s amazing how a single short scene is sufficient enough to provide the characters with their depths!”

Included key frames/layout:/layout Uzu’s Blade Regalia, Uzu’s defeat, Mataro, Mataro’s photos of Ryuko, Ryuko/Senketsu (during their fight against Uzu), Ragyo’s first appearance

TRIGGER MAGAZINE, Issue # 008, November 19, 2013

Episode 7

Production report highlights: “Every week Mr. Toshihiko [Senketsu] wraps up the recording session with his narration for the preview. Mr. Toshihiko is precise to the second with his script and does not fail to impress Mr. Imaishi and Mr. Nakashima. A round of applause from the director’s booth is not a rare sight when it comes to KILL la KILL’s recording session. Did I mention that the preview covers more than just an advance showing of the next episode? The extended 30 second preview (available to view online) contains exclusive information from time to time as well!”

Included key frames/layout: Satsuki, Satsuki (during one of her “pigs in human clothing” speeches), Mankanshokus and Ryuko hug, Mako in her Goku uniform, the golden bust statue of Barazo, Mako in Fight Club

TRIGGER MAGAZINE, Issue # 009, November 26, 2013

Episode 8

Production report highlights: “The idea of Naturals Election originated in one of the scenario meetings when Mr. Nakashima decided to throw out the original idea of 党首頂上決戦 and decided to play with words and went with 塔首頂上決戦. (The two kanji 党 and 塔 is pronounced the same with a different meaning. 塔 resembles tower or a pillar while 党 resembles a political faction or a party.) Mr. Imaishi quickly replied by drawing a sketch of an arena placed on top of a large tower. The teamwork between the two is simply amazing! Mr. Imaishi manages to pick up all of Mr. Nakashima’s idea! Watching the two create such an amazing piece of work out of almost nothing but paper and pencil is truly a magnificent sight to observe.”

Included key frames/layout: Ira, Ira in car, Ryuko/Senketsu, Satsuki, little Ryuko, Nonon

TRIGGER MAGAZINE, Issue # 010, December 4, 2013

Episode 9

Production report highlights: “While the characters of KILL la KILL are distinct, the production of the series is also very distinct. For many animation series, the personality and the orientation of the characters are determined in the plot/script meeting. The designs of the individual characters are then determined in the visual design meeting. It’s normal to think that the characters are developed along with the plot. Surprisingly, there has been few occasions where that was not the case in KILL la KILL. Mr. Nakashima will at times like the character design so much, he would go through the trouble to rewrite the already made script to accommodate for the character. Even in the recording session, Mr. Nakashima has changed the character’s line in order to better match the actor’s voice. This flexibility in production is truly distinct for animation production, and I believe it is one of the many reasons that makes KILL la KILL such a wonderful series.”

Included key frames/layout: Ira’s Scourge Regalia, Ryuko/Senketsu vs. Ira, Mako nosebleed, Ryuko/Senketsu hanging from stage

TRIGGER MAGAZINE, Issue # 011, December 13, 2013

Episode 10

Production report highlights: “I bet many of you are already hooked to the KILL la KILL tunes already, but the BGM to our series is really powerful! Many of the characters like Satsuki would just sound like a lunatic if we were to listen to them without the BGM. What makes Satsuki’s tyrannical speech sound convincing is definitely due to the help of Mr. Sawano’s BGM. Once the sound track is released it may be interesting to review the previous episodes again.”

Included key frames/layout: Nonon’s Symphony Regalia, Houka’s Probe Regalia, Nonon wink, Nonon transformation, little Nonon, little Nonon and Satsuki

TRIGGER MAGAZINE, Issue # 012, December 17, 2013

Episode 11

Production report highlights: “One of the more popular gossips I hear amongst the animator in the studio is how hard it is to draw Mako. She’s cute, yet crazy in the mind. She’s crazy yet she somehow manages to be charming. Even trying to express her verbally is difficult! It really does surprises me how the crew manages to pull off such a crazy character. Mako is also the reason why KILL la KILL had to be written mostly by Mr. Nakashima. The original plan was to have multiple scriptwriters, but her wild personality proved to be too much for outside scriptwriters to handle. Mako is hard to draw for the animators; her personality is way over the top, yet something about her sounds very natural. Why is that? What could possibly make her insane nonsense sound so convincing? Yes, it must be due to the acting done by Ms. Suzaki! She even looks like Mako with her new haircut! Now, I’ve yet to confirm this myself but according to the rumors, even her personality seems to be identical to Mako! I have come to the conclusion that Mako as a character is only made possible due to the love and care of all of the staffs involved in this series!”

Included key frames/layout: Nonon’s defeat, Ryuko/Senketsu (during the Nonon fight), Satsuki telling Uzu to get away from Nui, Nui, Rei, Ryuko/Senketsu (during the Nonon fight), Sukuyo

TRIGGER MAGAZINE, Issue # 013, December 25, 2013

Episode 12

Production report highlights: “We had Nui, Ragyou, and Hououmaru introduced in this episode, and they all have a powerful personality! But, something about these characters felt awkwardly masculine. Come to think of it, that applies to almost all of the female characters in KILL la KILL. A good amount of the characters in this series are female, but it feels as if this series is compiled of just male characters. According to Mr. Nakashima, this is not due to the fact that the characters in KILL la KILL possess a manly personality. It is because the supposed female characters are simply males “packaged” in female bodies. Although the characters gestures and reaction is very feminine, their behavioral principle is the one of a male personality. Mr. Nakashima says that he has intentionally designed his characters in this way. While having the cuteness of the girls, the characters possess the wildness to stir the story and the hook the viewer’s attention at the same time.”

Included key frames/layout: Satsuki vs. berserk!Ryuko/Senketsu, Tsumugu shooting, Nui flashback (with two eyes), Satsuki preparing to kill berserk!Ryuko/Senketsu, Satsuki striking berserk!Ryuko/Senketsu

TRIGGER MAGAZINE, Issue # 014, January 16, 2014

Episode 13

Production report highlights: “With the story entering the second half, the recording booth is also becoming more and more crowded with actors. But that doesn’t stop the voice actors from having loads of fun! The recording session never fails to surprise me. For instance Ms. Koshimizu and Ms. Yuzuki would be having a pleasant conversation one moment, but as soon as the recording lamp lights up, the two would become hostile at each other as their given role as Ryuko and Satsuki. The booth that was filled with laughter is immediately transformed into a stern mood with shouting and yelling. How fast the actors are able to snap into their role amazes me every time, and the whole experience truly feels like a stage play.”

Included key frames/layout: Nui, Ragyo, Satsuki, “the bald dudes from the REVOCS business meeting”

TRIGGER MAGAZINE, Issue # 015, January 21, 2014

Episode 14

Production report highlights: “How is everyone enjoying KILL la KILL’s stereotypical image of Kansai? If episode 4 was Mr. Imaishi’s free ticket to do whatever he wishes to do, Mr. Nakashima says episode 14 was his turn to do so! A lot of new characters were introduced in this week’s episode, but the most impressive out of the bunch is Kaneo Takarada without doubt! It seems like Kaneo has some feud going on with Satsuki, but what’s really amazing is the person inside the character! Mr. Awane who does the voice for Kaneo Takarada isn’t actually a professional voice actor, but a stage actor from Mr. Nakashima’s theatrical team Shinkansen! Mr. Nakashima and Mr. Awane have been working together for about 30 years, and the recording session really reflected that. Some of our subscriber may already know, but Ms. Shintani who does the voice for Nonon also comes from a theatrical team Nylon 100 Degrees Celsius. According to Mr. Imaishi, stage actors take a very different approach when acting their characters. That difference from normal voice actors may also be one of the many factors that give KILL la KILL such a distinct taste!”

Included key frames/layout: Ryuko without Senketsu, Mako in Osaka, tracksuit Nonon, Nonon with band member, three Takarada frames

TRIGGER MAGAZINE, Issue # 016, January 29, 2014

Episode 15

Production report highlights: “According to the plot meeting, many stage performers call the cliff hanger scene “The end of the first act.” If KILL la KILL were to be a play, episode 15 would apply to the end of the first act. I have also made a comment to Mr. Nakashima that excluding Mako and Nonon, all of the characters that support Ryuko and Satsuki are men! Mr. Nakashima says that he has intentionally positioned the male characters to assist the female lead. He says that situation is very similar to the first work he and Mr. Imaishi worked as a pair, Re: Cutey Honey. Male characters supporting a struggling female lead, Mr. Nakashima sure is a gentleman!”

Included key frames/layout: Nonon (with a “scorning look” expression, jitome), Uzu’s Blade Regalia MKIII, Nonon’s Symphony Regalia MKII, Ira’s Shackle Regalia MKII, Houka’s Probe Regalia MKII, Satsuki in Overridden Junketsu, Ryuko and Senketsu (Senketsu-Senjin), Ryuko/Senketsu vs. Satsuki/Junketsu

TRIGGER MAGAZINE, Issue # 018, February 5, 2014

Episode 16

Production report highlights: “The storyboard for episode 16 was done by Mr. Maeda Mahiro. Mr. Maeda has participated in many popular series such as Evangelion! Just a few days ago I had the honor to meet him in person, and was I surprised with how fashionable he was! This happens to remind me of the day I first met Mr. Nakashima as well. My first impression of Mr. Nakashima was oriented toward a father like person. I felt a considerable gap between his personality and the scripts he would write. After attending the KILL la KILL meeting for the first time, I saw Mr. Nakashima joyfully talk about his favorite past time manga and anime. That was the moment when I finally understood what kind of person Mr. Nakashima is. I also thought Mr. Imaishi to be a person with a bold personality since all of his works are so energetic and powerful. He actually turns out to be a lot different than what I imagined him to be. He turns out to be a really frank and kind hearted person. I have yet to see him without a smile on! There seems to be a considerable gap between the personality of the main staff and their creations. I guess the old saying “You can’t judge a book by the cover is ture!””

Included key frames/layout: Aikuro on the world, Ryuko embarrassed by Nudist Beach, Aikuro (before he goes “skinny diving”), Isshin, bath scene

TRIGGER MAGAZINE, Issue # 019, February 13, 2014

Episode 17

Production report highlights: “The first time I attended the audio recording session, I was surprised that the session is conducted with only 4 microphones. Within the recording booth, about 20 voice actors work by sharing the limited microphones with each other. Talk about sharing and caring, right? This is something you don’t get the chance to see at the movies or stage acting. However, according to Ms. Shintani (Nonon Jakuzure) some people do feel uncomfortable when a stage actor gets involved in the scene of animation for their first time. But, I personally thought that the 4 microphones added to the whole experience! Some of our subscriber may already know, but the Elite Fours’ voice actor show strong physical resemblance to the characters they act as. It really packs a punch when the four stand in front of the microphone! It almost feels as if the Elite Four are actually standing in front of me! I’ve also found out that the four get along quite well, and they often go out for a drink together. The actors support one another just as the Elite Four do so in the series. How wonderful, don’t you think?”

Included key frames/layout: Satsuki and her Elite Four, Shiro, Satsuki stabbing Ragyo (two images), Barazo’s “serious” face, Satsuki with tea, Aikuro (DTR!)

TRIGGER MAGAZINE, Issue # 020, February 19, 2014

Episode 18

Production report highlights: “According to the creators, KILL la KILL was intended to depict the characters in great depth! Because there are fewer characters than Guren Lagann, each and every character receives the necessary spotlight to display their personality and their beliefs in greater detail. Even then, there seems to be a lot of untold stories behind some of these characters. For those who are interested, this month’s issue of “Newtype” includes a short novel by Mr. Nakashima which covers the relation of Satsuki and the Elite Four. The BD/DVD also includes a drama CD which gives you the slice of life experience at the Honnouji Academy.”

Included key frames/layout: Ryuko/Senketsu vs. Nui (three images), Ira in his Shackle Regalia MKII, Ryuko/Senketsu and Satsuki, Rei

TRIGGER MAGAZINE, Issue # 021, February 26, 2014

Episode 19

Production report highlights: “It really amazes me on how much effort and passion is put into KILL la KILL by the creators! Just the other day meg rock, the lyrics writer for KILL la KILL’s opening attended the audio recording session. (I must say that she was quite adorable, not that it’s important or anything.) During the first half of the session, she was enjoying the recording just as if anyone would. However, during the 2nd half of the recording, I noticed that she was in tears. After the recording she explained to me that she was extremely touched by today’s session. I say this again and again, but KILL la KILL really is created by the love of each and every staff involved in the series.”

Included key frames/layout: Little Ryuko in Isshin’s study, Uzu’s gang and COVERS, Ira, Nui, Ira

TRIGGER MAGAZINE, Issue # 021, March 04, 2014

Episode 20

Production report highlights: “The recording session for the last episode has finally ended! Just as the session finished, I over heard Mr. Miki (va for Mikisugi) and Ms. Bak (va for Ragyo) commenting that the dialogues for KILL la KILL is very simple and pleasing to the mouth. According to Mr. Imaishi, he intentionally limited the dialogues to contain simple yet exhilarating phrases. His goal was to create a strong set of quotes by using simple vocabulary. Mr. Imaishi explains that it will leave a stronger impression to the viewer if they are familiar with the vocabulary. The simple dialogues also allows the voice actor to recite the line with passion without difficulties. I guess this is the secret to keep long dialogues sound interesting to the viewers!”

Included key frames/layout: Ryuko in Junketsu, Junketsu!Ryuko vs. Senketsu!Satsuki (two images), Nui coughing blood, Senketsu abandoned by Ryuko, Takarada salute

TRIGGER MAGAZINE, Issue # 022, March 13, 2014

Episode 21

Production report highlights: “Just yesterday, I was talking with Mr. Nakashima, and he explained to me that he was surprised that he was able to make episode 20 and 21 so rich in content. He explains, that it’s definitely not a plot to be handled in a 22 minute episode, but it’s obviously not impossible. There must be some contents that other series wouldn’t dare to exclude. We gave it a good thought, and concluded to the fact that the characters in KILL la KILL never stumble upon a mental conflict, or even troubled. A typical series will depict several characters going through mental distress. These issues are barely depicted in KILL la KILL. Most of the characters in KILL la KILL are bold and believe in their motives without doubt. I guess the creators of KILL la KILL can relate to that (laughs).”

Included key frames/layout: Opening scene, Junketsu!Ryuko holding up Senketsu!Satsuki, Nudist Beach!Satsuki vs. Nui, Ryuko removing Junketsu (three images)

TRIGGER MAGAZINE, Issue # 023, March 18, 2014

Episode 22

Production report highlights: “When Mr.Nakashima writes his scripts, he occasionally has an episode where his characters would start a conversation against his will. Mr. Nakashima explains that from their conversation, he is able pick up the overall plot of the story. The conversation between Ryuko and Nui from episode 22 is a great example of this. Nui claims that she is sick of Ryuko ranting about “friends.” Ryuko then explains that the term “friends” come nowhere close to explaining her relationship with Senketsu and Mako, and that their relationship is something much greater and unexplainable. Mr. Nakashima explains that their conversation was what lead to the concept of KILL la KILL. Something unexplainable and ambiguous. Despite having such a creative production team, the person who held the answer to the series was Ryuko. It was at this point when I realized that Ryuko was indeed leading the series as the main character.”

Included key frames/layout: Ryuko and Senketsu come back together (two images), Ryuko blushing at Senketsu’s words, Tsumugu, Shiro, Mako in her Goku uniform

TRIGGER MAGAZINE, Issue # 024, March 27, 2014

Episode 23

Production report highlights: “KILL la KILL is of often compared to the composition of a manga due to their similarities. The series introduces new interesting ideas to the latest episode without hesitation. KILL la KILL is truly living in the moment. Only downside is that we are continuously tested to top or previous episode. This may be the reason why each episode seems so climatic!”

Included key frames/layout: Group shot before the heroes enter the final battle, Satsuki, Ira’s final Shackle Regalia, Uzu’s final Blade Regalia, Houka’s final Probe Regalia, Nonon’s final Symphony Regalia

TRIGGER MAGAZINE, Issue # 025, April 4, 2014

Episode 24

Production report highlights: “Episode 24 has really taught me the values of nonsensical things. The world is beautiful because there are so many things that are beyond our comprehension. It is the result of countless threads of unknown factors woven together. KILL la KILL is a grand example of this. Each and every staffs feelings, their passion are aggregated into a canvas we know as KILL la KILL. I know I am not making much sense right now, but I felt the same way with our creators as well. They are all crazy and over the top! But, after being able to interact with some of our viewers, I realized that our fans are just as crazy as our creators.”

Included key frames/layout: Final group hug, Ryuko in Senketsu-Kisaragi (two images), Ryuko’s tears at Senketsu’s death, Ryuko and Senketsu in Senketsu’s last moments, Ryuko panty shot, date (three images: ice cream together, Satsuki with hat, Satsuki trying on a new outfit)

#kill la kill #trigger magazine #studio trigger #kazuki nakashima #hiroyuki imaishi

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phillismarie-blog · 6 years

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