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reikorun · 22 days

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BLEACH TYBW Anime Cour 2 Booklet: Behind the Scenes [Translation - Part 1]

Translated by @reikorun

Director's Note × Author's Eye

We pick out several points from all 13 episodes (#14 ~ #26) of the second cour. For each point, pay attention to the explanations by Director Tomohisa Taguchi and the perspective of the original creator and general supervisor, Tite Kubo!

Section 1

Start with Yhwach again

1. A baby being held. As that being, raised up by countless hands, grows and opens its eyes, cour 2 "The Separation" begins. (ep. #14)

D: Tomohisa Taguchi

"Let's place the focus on the Sternritter for the second cour", from the early stages, this is what was decided among the staff. On top of that, in order to make a link with the first cour which began with Yhwach reciting the Kaiser Gesang, we thought "let's begin the sequence of events in cour 2 with him as well." In that case, that scene depicting his origin would be appropriate. In the original work, it was drawn in a manner which took a comprehensive view reminiscent of folklore, but I struggled with how to go about creating a similar impression in the anime. As a result, the visual expression became closer to an art film represented through images alone, without the use of any narration or dialogue at all.

A: Tite Kubo

From the moment I laid my eyes on the storyboard for the first time, I had a feeling that it was going to turn out really good. Regarding this scene, there were actually various changes made until we arrived at the final cut, and even the versions we didn't use were very interesting. During the dubbing session, the process of overlapping the collective "Yū, Ha, Vē, Ha" was also enjoyable to listen to.

2. In addition, there was a memorable scene where Yhwach's 'power' was portrayed through a visual representation. This is the scene where a 'shadow' extends from the throne as Yhwach falls asleep, leading to the appearance of Haschwalth. (ep. #18)

D: Tomohisa Taguchi

The portrayal of that shadow was an idea I received from Kubo-sensei. In the original work, we were able to gain an insight into the power of Yhwach as well as the connection between Yhwach and Haschwalth through Haschwalth's words to Uryū, but since there was no concrete depiction in itself for the transfer of power, it lead to discussions where we considered that It would also become an element linking to the subsequent cour, so we thought “let's do that in the anime!”

A: Tite Kubo

At first, the manner in which the shadow emerged looked as if it were surging up from below, but viewing it from a choreography standpoint, I suggested that the shadow itself should appear in a sort of sliding manner, giving the impression that it had some mass to it. The transfer of power occurred while Yhwach was sleeping, so in order to preserve the nuance that the transfer to Haschwalth happened while he was in that state, I also had Haschwalth depicted standing with his eyes slightly lowered.

Section 2

Storytelling

3. In the second cour of 'BLEACH: Thousand-Year Blood War Arc', the war situation changes moment by moment due to the Sternritter invasion, and the outward appearance of the Soul Society also undergoes transformation. As a free-for-all breaks out in various places where enemies and allies intermingle in a state of chaos, the anime adds a scene where the newly appointed Captain-Commander, Kyōraku Shunsui, issues orders to each soldier. (ep. #14, #18)

D: Tomohisa Taguchi

One component of that is our desire to include explanatory scenes and scenes where the narrative is refreshed so that the audience are not confused by the ever-changing situation of the war. Another component was our desire to depict the organization that is the 'Gotei 13', which includes Kyōraku who became the Captain-Commander, in a renewed light, and these components overlapped seamlessly.

As a result, I think we were able to depict his status as Captain-Commander inherited from Yamaji, as well as his work ethic. In combination with the scene depicted in the original work that evokes the essence of Kyoraku, i.e. the handing over of Soul Tickets to Tatsuki and the others in the Human World, I'm happy if we were able to successfully delve deeper into the characters.

A: Tite Kubo

It was a really nice scene with both the essence of Shunsui and the essence of a Captain-Commander coming through.

4. In addition to Kyōraku, the appearance of the other troops were added, including Vice-Captains. (ep. #16)

D: Tomohisa Taguchi

While the scenario building sessions were moving forward, I realized that I also wanted to depict the Shinigami's point of view as they strive to fight back against the invasion and try to fulfill their duty to the Gotei. Rather than simply portraying the scene, we added a series of shots with the intention of showing the state of the Shinigami who remain unyielding even as the war situation worsens and they are gradually forced into a disadvantageous position.

A: Tite Kubo

Even in a fan service sense, I think the audience enjoyed being able to see a variety of characters in the anime.

5. With regard to the main character, Ichigo, extra scenes have been added, such as the manner in which he received training under Hyôsube Ichibei. (ep. #14 and others)

D: Tomohisa Taguchi

As mentioned earlier, the foundational principle for the second cour is to place the main focus on the Sternritter, while that's true, 'BLEACH' is still the story of Kurosaki Ichigo, isn't it? There were some concerns that the number of episodes in which Ichigo does not appear in the anime may end up feeling longer than it was in the original work, so we came up with the idea of showing what Ichigo is doing at the present time. The knowledge that Ichigo was training at the Soul King Palace is also depicted in the manga, so I speculate that even though Kubo-sensei undoubtedly had a concept and an image in his head, perhaps he deliberately chose not to draw the specifics. We had the privilege of making suggestions and consulting with Kubo-sensei about how we would go about incorporating the event into the story; those scenes were the result. In a sense, it's to be expected, but we were able to receive a tremendous amount of material from Kubo-sensei, far more than what we expected…. It made us think, "Ichigo, that's what you were doing in such a place!?'' As a fan of the original work, I was delighted, and I also maintained the feeling that I needed to put all my effort into portraying it.

A: Tite Kubo

About the Irazu Sandō part, I didn't include it because if I tried to draw it in the manga, the scene depicting the agonizing ordeal would span across multiple pages and end up too long. I'm glad that it could be expressed in the anime~!

6. The stage upon which Ichigo undergoes his training, Irazu Sandō. A mysterious and beautiful sight, yet it is also a peculiar place where a solemn air, a stillness and a sense of awe all coexist. (ep. #14 and others)

D: Tomohisa Taguchi

There's torii gates, a cobblestone pavement, shide (*zigzag-shaped paper streamers) adorning both sides…. If we hadn't received materials from Kubo-sensei, I don't think we would have been able to find our way to this point. Whilst enduring something which tries to push him away from the approach path, the more he walked, and the more he advanced, the heavier the wooden sword in Ichigo's right hand became. When he walks, he walks by moving his legs forward without letting his feet leave the ground. A lot of detailed images and ideas were provided, such as scenes of rain falling outside the path. This was then projected into anime visuals, and the Irazu Sandō came to a state of completion. I think this is a training ground packed with every element that is typical of BLEACH, down to the smallest detail, and that cannot be found in any other work. We've also incorporated an abundance of elements that will be connected to the third cour and onwards such as what happened to Ichigo during his training and the scenes he witnessed, so I would be happy if you could take another look.

A: Tite Kubo

Originally, the mental image I had was 'a sacred place, but at the same time, there is a sense that one is being cursed.' However, I thought that if I communicated this to the production team, the eeriness might end up being too pronounced, so I deliberately didn't mention it. The impression I had was that it was like an abandoned path. As a result, I think the team were able to capture that balance in the sense that it is a sacred yet potentially frightening place, and thus they were able to express it well.

Section 3

Design & Color Concepts

7. After the invasion by the Sternritter, the sky of the Seireitei was dyed red, and the squad barracks were transformed into unfamiliar, inorganic blue-white buildings. Director Taguchi's production plan is markedly reflected in those colors as well. (ep. #14)

D: Tomohisa Taguchi

The main goal was to dramatically shift the setting away from Seireitei in a time of peace. Additionally, the upper part of the frame is red and the bottom is blue, which serve as completely opposite elements in terms of hue, so the aim of the production was to consider how the image could be made into something vivid. After the invasion, the Seireitei became perpetually uniform to that coloring, so there were some concerns about whether it would be acceptable as there are very few anime that employ a color scheme which breaks away from the norm to such a degree. However, we wanted to convey the might of Yhwach's power and also the sense that his power had indeed transformed the world. Furthermore, since blue is also the color of 'Quincy Reishi', I considered that perhaps this extreme staging effect in which the space itself ends up dyed in the colors of the Quincy side would make it easier for viewers to perceive the phenomenon where visually, it no longer feels like the Seireitei = the world of the Shinigami.

A: Tite Kubo

When I first received this proposal for the color scheme, I thought the expression might be too extreme, but the way Taguchi-san uses backgrounds is masterful, so I decided that I would try to leave it with him. I harbored some concern that colors of the characters may become difficult to distinguish, but that aspect was also rendered in a well balanced manner. At various points during meetings and dubbing sessions, I often get the feeling that Taguchi-san is someone who can clearly see the final visual outcome.

8. From the standpoint of color, the attire and laboratory, which Kurotsuchi Mayuri contrived as a countermeasure against the Sternritter lurking in the shadows, are also very interesting. (ep. #15 and others)

D: Tomohisa Taguchi

Initially, the glowing Mayuri was only supposed to shine yellow. However, this time, Mayuri's lab itself also shines brightly, so it meant that when we tried to station him there, he ended up blending into the scenery quite a bit. While searching for a way to make Mayuri shine, an idea came from the color scheme designer Gōda-san: "How about a lighting method which shifts into a variety of colors like a gaming PC?" We adopted the idea thinking "it'll probably look great on screen!" We proposed the idea to Kubo-sensei, who readily approved, and it started to take form in the visuals. The colors continuously shifting midway through the plot is an interpretation that can only be represented in the anime, so I believe we were able to exhibit Mayuri's natural presence by using a different approach from the original work.

A: Tite Kubo

This was indeed an interesting portrayal that could only be done in the anime. It's also interesting that it was intentionally made to look like a moiré pattern. After all, this cannot be pulled off by any character other than Mayuri.

9. Mayuri's laboratory is designed to completely eliminate any shadow as a countermeasure against the Sternritter invasion. Evidently, it took a great deal of trouble to express this.

D: Tomohisa Taguchi

It took a lot of trial and error to figure out how to express 'no shadows' in the anime. The most significant factor in creating a three-dimensional effect in an illustration is the contrast of the shadows, isn't it? Given that it was necessary to reject that, we said "there is likely no other way to do this but to test an array of other patterns!" The art staff and I went through the process of trial and error a many number of times. As a result of taking into consideration various opinions that came up along the way, we translated them into the concept of 'creating gradation within the light', ultimately representing three-dimensionality.

A: Tite Kubo

When drawing it in the manga, the way I used to express the idea of 'glowing without shadows' is by erasing around the circumference of what I had drawn. I'm glad that I was able to have it portrayed in such a satisfying manner in the anime too.

10. Hirako Shinji's Bankai, "Sakashima Yokoshima Happōfusagari". A Bankai, which did not appear in the original work (※first appeared in the novelization), is made to enter the stage in the anime, therefore a great deal of enthusiasm has also been poured into its rendition. (ep. #16)

D: Tomohisa Taguchi

The bud of Hirako's Bankai pedestal is formed by the petals narrowing inward when open, retaining their form to become the bud, however I thought that if we produced it with cel animation, the petals would inevitably lose their shape, rather, there's a high possibility that it wouldn't look like a rigid object. So, in order to show the precise movement of a rigid object, we deliberately used CG. At first, what I imagined for the texture was a brass-like luster, similar to the lotus flowers used in Buddhist altar fittings. We struggled while attempting to express the feeling of that material and searched for ways to depict it using CG surface reference / textures and such.

11. Many characters have made their Bankai debut in the original series. Ōtoribashi Rōjūrō's "Kinshara Butōdan", and Humanized Komamura Sajin's "Kokujō Tengen Myō'ō: Dangai Jōe" were also portrayed by utilizing 3DCG technology. (ep. #18, #17)

D: Tomohisa Taguchi

I think 'Kinshara Butōdan' managed to incorporate a finely tuned quality that doesn't look like it was made with cels, having said that, nor does it overly emphasize CG elements, rather it strikes a delicate balance between the two. Similarly, "Kokujō Tengen Myō'ō: Dangai Jōe" was also developed in 3D, I think we were able to well execute the way the gigantic body moves freely and abundantly as opposed to the challenges of producing it with cel animation, which is susceptible to making the movement appear choppy. In the story, there are various Bankai, but in terms of compatibility with 3DCG, rather than the type where it's just the sword changing, it's my opinion that Bankai transformations where the appearance changes completely or another entity emerges, is the kind that fits better from a direction perspective. As mentioned earlier, expressing it in 3D has the effect of altering the feel, so you can stress the distinctness and change in atmosphere brought about by performing Bankai. In a certain way, I suppose it's possible to convey a stronger sense of harnessing something that is not of this world. Therefore, from now on, I intend to continue requesting (to those in the field), that one doesn't adopt a cel animation look completely.

A: Tite Kubo

Both were really good. As Taguchi-san also mentioned, I wanted to avoid having the CG elements coming to the forefront in an odd manner. I think CG shines particularly during Bankai transformations that feature inorganic matter. The CG was skillfully utilized, especially in critical moments where traditional animation eventually tends to falter, like when Myō'ō comes in with a slashing attack, for instance, making it quite impressive to watch.

12. 3DCG is not the only technique utilized for showcasing Bankai. The skills of various staff members have also been brought together.

D: Tomohisa Taguchi

Even though I understood the principle behind it, figuring out how to visually represent Muguruma Kensei's Bankai "Tekken Tachikaze" in the anime, among other things, was challenging because how we'd go about expressing that is a different story. While the blades remain in contact with the target, it continues to explode infinitely. It creates the illusion that the punches being thrown are repeatedly landing tens of thousands of times without the arm ever being pulled back from the point of impact, doesn't it? We worked strenuously to express how immense the power of Kensei's Bankai is by doing things like deliberately adding cel style motion blur to make it look as though the opponent was being hit, aiming for a visual effect that makes it seem like he's trembling after being struck multiple times, and using an approach where we incorporated sound effects reminiscent of a drill used in road construction. In terms of his character and Bankai visualization, Rōjūrō is likened to an Opera, implementing theatrical staging such as the rapidly changing movement of his conductor's baton and the lighting. The music attached to the scene also became particularly important, director of audiography Nagasaki-san and re-recording mixer Hoshino-san fine-tuned it masterfully.

#bleach #bleach anime #tite kubo #tomohisa taguchi #translation #author interview #yhwach #jugram haschwalth #ichigo kurosaki #irazu sando #kensei muguruma #rose otoribashi #shinji hirako #ichibe hyosube #shunsui kyoraku

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travelella · 10 months

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Irazú Volcano, Costa Rica.

#Irazú Volcano #Volcano #Irazu Volcano #Costa Rica #South America

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americanteacherinqatar · 1 year

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Is it Possible to Visit Both Turrialba and Irazu Volcanoes in One Day?

Good tips on how to hike multiple volcanoes in one day.

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#2 volcanoes in 1 day #Can you visit Turrialba and Irazu in the same day #Hiking Volcanos in Costa Rica #Irazu volcano #Life as a expat in Costa Rica #life in Costa Rica #Turrialba Volcano #Visiting an Active Volcano #Volcanoes of Costa Rica

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hauntedbystorytelling · 1 year

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Photographe anonyme. Le Volcan Irazu en éruption. Costa Rica, 1964. Galerie Lumière des roses

Photographe anonyme. Eruption (volcan non identifié), vers 1960. As tu vu tomber les etoiles ?

#volcano #eruption #dialogues #1960s #the anonymous #volcan #lava

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weird-dere-writes · 7 months

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The ending of this cour feels great but we all know that won’t be lasting long lmao. It’s not over yet rip. Get to watch the last few episodes in dub when they come out and then it’s waiting for cour three.

I really did love these fights in the last few episodes!! :3

AUGH AND THEY BROUGHT BACK ILLUSTRATED SHINIGAMI PICTURE BOOK TOO? WHAT A TREAT!!

Kinda wish it were fully animated like before but animators have been working hard enough as it is so I understand uwu.

Senjumaru is such a queen btw, did I mention that? She is so fucking cool I love her so goddamn much.

BUT HEKDUDKDHDICUD. LEARNING FROM THE PICTURE BOOK THAT SHE STRIPS DOWN EVERYONE THAT WENT AND TRAINED AT THE ROYAL PALACE TO MEASURE THEM? AND THAT IT WAS MAD EMBARASSING FOR EVERYONE PLEEEASASSSEEEE.

We know Rukia and Renji’s experience thanks to the picture book, and we knew Byakuya would be going soon lmao. I really wanna know what that was like for him. Something tells me he wasn’t as embarrassed as those two for some reason lol.

BUT IMAGINING THAT ICHIGO HAD TO GO THRU THAT AFTER THE END OF THE IRAZU SANDO??? LMAO MY POOR BBY. I KNOW HE WAS FUCKING DYING DAWG AND IM CACKLING JUST THINKING ABOUT IT I NEED TO KISS HIM.

HWJDUDKDKRNKDFHJENEKDHEJDHDUDJE

#twyla talks 🗣️#bleach tybw

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sweetnsaltymind · 1 year

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Volcan Irazu, Costa Rica

#volcanes #beauitful #blue #skyblue #crater #volcano #volcán #costa rica #backpacking #beauty #natural #ocean

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encantadaarenal · 2 years

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What make Encantada Arenal Top Vacation Stay in Costa Rica?

Costa Rica is dream destination full of exotic birds, butterflies, wild life, and lush green mountains. It’s like a vacation paradise on Earth, a romantic and exotic destination in the bucket list of every traveller. Costa Rica is also the most preferred wedding and honeymoon destinations in the world. Costa Rica is well connected with rest of the world and travellers from Europe, Canada, and United States gets visa on arrival valid up to 30 days. Costa Rica is beautiful tropical rainforest with two beautiful coastlines. For adventure seekers there are numerous options to choose from, rafting, hiking, canoeing, kayaking, suffering, kite surfing, and more. The active stratovolcano in lush and green Arenal’s called Arenal Volcano. To get amazed with the nature you can just sit in the hot springs while the active volcano roars over. Lake Arenal Costa Rica Vacation Rental offers you the best vacation accommodation delight with laid-back relaxing luxurious guestrooms. This vacation rental property is loaded with all the amenities and facilities to make your trip memorable. In addition to this, this property is located in the remotely perched on top lush and green hills of Lake Arenal. Privacy, comfort, and tranquility with luxury are guaranteed in these luxurious rentals.

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lowestflightfares · 2 years

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Ultimate Bucket List: Things To Do In Costa Rica

Costa Rica is a country, famous for its tropical beaches, marvelous volcanos, rich biodiversity and the no army policy. Yes, you read it correctly. After the bloody civil war of 1948, the country decided to not have an army but they do have police for protection. And according to the 2012 Happy Planet Index, it is the happiest country in the world. It is a perfect vacation destination specially for beach lovers, so below is a list of things to do in Costa Rica to help you prepare the vacation itinerary so that you don't miss anything. If you ever visit Costa Rica, you will hear the phrase “pura vida” a lot, which basically means pure life in English.

(1) Visit the beaches

Located between the shores of the Pacific Ocean and the Caribbean, Costa Rica is home to many beautiful beaches making it a dream vacation destination for a beach lover and you can save some money by booking cheap flights to Costa Rica. You can enjoy your time the way you like, if you want to have a peaceful time then you can watch the sunset by the sea or you can also do adventurous water sports like surfing, snorkeling, horse riding, scuba diving, rafting etc. Some of the must visit beaches are Playa Tamarindo, Whale Tail Beach, Playa Conchal, Playa Flamingo etc.

(2) Take a day trip to the National Parks & Reserves

The citizens of Costa Rica have protected their national parks and reserves to save flora and fauna of the country. Thanks to this great initiative, they have a rich marine life and wildlife. It is considered to be one of the most bio-diverse countries in the world with the most interesting and beautiful places to visit like Manuel Antonio National Park, Corcovado National Park, Arenal National Park, Cordillera de Talamanca, Isla del Cocos Island National Park and many more.

(3) Thrill tour to the volcanos

Costa Rica is home to around 60 volcanoes, which are considered to be extinct and safe to visit. They also have national parks plus there are six volcanoes that are still active which means that they have erupted within the past 10,000 years. There is an array of adventurous activities which can be done with great heights which are one of the most fun things to do in Costa Rica. Some of the must visit volcanoes are Arenal Volcano, Irazu Volcano, Poas Volcano, Rincón de la Vieja Volcano and Tenorio Volcano.

(4) Chase the waterfall

Living up to its name “Costa Rica” which translates to “Rich coast” in English as it has drop-dead majestic waterfalls. Located between the Caribbean Sea and Pacific Ocean, you will really miss out on the fun if you don't visit at least one of the many gorgeous waterfalls. It might be a little difficult to find them, so it is suggested to hire a guide. There are some waterfalls that are ideal for swimming and other activities while some are not, so it is best to have the knowledge beforehand. Some of the waterfalls that are worth a visit are The Diamante Falls, Nauyaca Falls, Montezuma Falls, Rio Celeste Falls and La Fortuna.

(5) Explore the country while hiking

Costa Rica has endless opportunities for adventure lovers, from diving and surfing to hiking and biking. And the beauty of Costa Rica can not be enjoyed by sitting in our cars, your trip will be incomplete if you don't take a walk while observing the heavenly beauty of nature. You can do skydiving, cliff diving, hiking etc. Some of the best trails for hiking in Costa Rica are Tenorio National Park, Cerro Chirripo, Santa Rosa National Park, Estación Biológica Pocosol and Rincón de la Vieja.

(6) Relax at the Spa

There is nothing better than relaxing at a luxurious Spa after a tiring day of hiking through the trails. There are so many Spa retreats and you can choose according to your budget. The prices of spa and retreats are relatively low in Costa Rica, in comparison to Canada and The United States.

(7) Try the local cuisine

The list of things to do in Costa Rica will be incomplete without trying authentic food. The easiest and the fastest way to learn about the culture of a country is through its food and it also helps you connect to the local people. Some of the many delicious dishes that you should try here are gallo pinto, Black Bean Soup, Palmito Cheese, Picadillo and Tres Leches.

Conclusion

Costa Rica is the choice of millions of people to spend their vacations as it has so many things to offer to its visitors. From beautiful beaches and picturesque scenery to thrilling adventure and rich culture, here you will find tons of things to explore. The best part is with such high scale tourism, the country has still managed to not harm nature. The country is everything one can ask for in an ideal vacation or holiday destination.

#costa rica #travel #flights #vacation #Holidays #visit #trips #familytrip #places

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reikorun · 15 days

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BLEACH TYBW Anime Cour 2 Booklet: Behind the Scenes [Translation - Part 2]

Translated by @reikorun

Section 4

Scene Direction & "BLEACH" In-depth

13. A colorful, spinning pinwheel. When it suddenly stops and disappears into a black mist, that was the signal for the invasion to begin. (ep. #14)

D: Tomohisa Taguchi

I truly think that was a job very well done by Murata-san, who was in charge of directing this storyboard. I reckon the idea that peace ends the moment the pinwheel stops may have resonated deeply with viewers as an abstract motif.

14. The organization known as the "Sternritter" and its members are explored in depth in the anime. In order to strengthen the impression of their unity as a group, one additional element introduced in the anime is the concept and designation of "Wörtlich", which is the collective term for those who have been bestowed a Schrift by Yhwach. (ep. #15)

D: Tomohisa Taguchi

Keeping in mind the idea of placing focus on the group that is the "Sternritter", when I revisited the original work, I noticed that each character's personality was so unique that there weren't many scenes where they assembled as a group and did something together. Therefore, we added a scene where the Grandmaster, Haschwalth, is positioned as the leader and the Wörtlich who possess a Schrift are gathered together in the same room. We structured it with a view to explicitly define what their purpose is and what kind of group they are. By doing so, I believe we were able to more clearly present the policy held unanimously by the Quincy side, that is, "to completely annihilate the Shinigami." During that meeting, we also had Haschwalth demonstrate his leadership by explaining the significance of "killing the Captains with their own stolen Bankai" in a way that is easy to understand even for new viewers.

A: Tite Kubo

It's a scene where they all come together in the same place, typical of BLEACH, isn't it? I suppose It's a homage to the past compositions where the Shinigami and Espada hold meetings, and it turned out to be something more than just fan service.

15. As for Giselle, Liltotto and Meninas, "Vollständig - Sklaverei" is depicted following on from Quilge, incorporating a "transformation scene" unique to the anime. (ep. #21)

D: Tomohisa Taguchi

When explaining "Sklaverei" to Satō-san, who was in charge of directing the episode in question, it all started when I said, "It's about gathering Reishi from the surroundings to power up and take on something like a second form." When I looked at the storyboard that was sent up to me, it had turned into a scene reminiscent of the magical girl genre, so to speak. I was in two minds after I was asked "Isn't this what you meant…?" But I adopted the idea after considering that, in its own way, it could accentuate the individuality and presence of their characters.

A: Tite Kubo

I also couldn't help but laugh in a positive sense after seeing the staging of that transformation scene. I thought "magical girl, huh!?" (Laughs) I originally created the five members of the Bambies with the image of an idol group and sentai-like shows in mind, so it seemed like a perfect fit.

16. The volume of combat scenes involving the Bambies itself has also increased. (ep. #21)

D: Tomohisa Taguchi

As for their entrance in episode #21, I wanted to expand on Ichigo's battle scenes upon his return to the Seireitei, this was a moment where I felt it may be possible to make that happen. This is the scene in which Ichigo draws his sword for the first time after having undergone training in Irazu Sandō, and it's precisely because extra scenes were being added that I felt it's the place where I wanted to try doing that. When I asked Kubo-sensei to design the Sklaverei forms for Candice and the others, we received materials on their techniques along with it, further accelerating the process. Although Kubo-sensei had mentioned that we didn't have to use everything, the more we looked at it, the more we wanted to incorporate it all, and the result is what you see.

A: Tite Kubo

I handed over the materials thinking that there was absolutely no way it would all fit given the time constraints, but surprisingly, everything was included. During the dubbing session, I was astonished to see that the number of shots had increased significantly compared to other episodes (laughs).

17. The spotlight was also cast on battles such as Kuchiki Byakuya vs NaNaNa Najahkoop, Robert Accutrone and Candice Catnipp. (ep. #23)

D: Tomohisa Taguchi

In the original work, they simply appear in one panel after being defeated by Byakuya, don't they? We decided to take the liberty of supplementing the parts where we thought such a battle would have taken place. Since the TV anime follows a fixed length format, there are often times where it becomes necessary to extend the duration while deciding which part of the story to depict and where it should start and end. On such occasions, you can find the answer by rereading the original work. Given that there are as many battles as there are characters, we pick out what's likely to be the scenes that fans would like to see from among the parts that were omitted in the original work, and so we took the opportunity to add those part in thinking "let's track the movements of this character until they appear again in this panel."

18. The power of Gremmy's "The Visionary" may have troubled the production team the most. (ep. #20)

D: Tomohisa Taguchi

I think it was challenging for the animators. After all, Gremmy can do just about anything. An all-out battle demonstrated by an individual who possesses an extraordinary power, capable of instantly creating huge debris, a large volume of water, a countless number of firearms, and to top it all off, even a colossal meteorite and the vacuum of space. If we ended up condensing it to be more brief, Gremmy's power itself becomes proportionally smaller, so I think it was a part that required energy and perseverance.

A: Tite Kubo

This aspect turned out to be a difficult scene to depict even in the original work (laughs). The CG of the firearms and the choreography of Kenpachi when he slashes the meteorite were also great.

19. Kuchiki Rukia's Bankai, "Hakka no Togame". Its checks were carried out carefully. (ep. #19)

D: Tomohisa Taguchi

If you look at the panels in the original work, there is something like an updraft in a place that appears to be above Rukia, along with a circular area reminiscent of the Tsukishiro unleashed by her Sode no Shirayuki. I didn't quite understand how Rukia performs Bankai, what kind of phenomena occurs, or what mechanism it was that brought down Äs Nödt, so I asked Kubo-sensei: “Sequentially, when activating her Bankai, a freezing mist resembling the surface of a lake appears beneath her feet and in the sky, with a column of freezing mist emanating from Rukia herself piercing through the center.” We have faithfully reflected that. Furthermore, the slight translucency of Rukia's hair and skin is an original expression of the anime.

A: Tite Kubo

During the storyboarding stage, Taguchi-san had noted down "it's so beautiful that it takes your breath away (that's the kind of visual we need to incorporate)." So I've been looking forward to the finished product ever since. Regarding the framework of this Bankai too, I created the materials for it while looking back at my original work and retracing my memories from that time. That task was also fun. Additionally, the length of this episode had slipped into overtime, but since Äs Nödt is a character who tends to talk ominously for long periods of time, which is a 'characteristic trait' that defines him, we discussed if we could somehow manage without cutting anything. Ultimately, I had it made into a special ending format, I thought to myself how exceedingly well it turned out in the end.

20. Zero Division vs the Schutzstaffel. While adhering to the source material, the development spun in the anime original culminates in Shutara Senjumaru, thus raising expectations for the third cour. (ep. #26)

D: Tomohisa Taguchi

As for the battle scene at the Soul King Palace, which can also be described as a clash between the strongest forces of both factions, I wanted to cast more of a spotlight on Uryū, who has been positioned as the face of the second cour. Although Kubo-sensei couldn't draw him due to page limitations, the Uryū that he wanted to draw must be somewhere. I want to see and portray the Bankai of Zero Division. That's the sort of thing I had in mind. So, I contemplated the matter in my head, hoping to express it in the anime, including the motive behind it. After formulating various plans, I presented my ideas to Kubo-sensei, and thus with a significant amount of cooperation from sensei, an anime episode like no other was completed.

21. The chosen, Shutara Senjumaru, and her Bankai. (ep. #26)

D: Tomohisa Taguchi

Once the idea of "Zero Division Bankai" is settled upon, the next challenge arises: "whose Bankai will it be?" In the case of Senjumaru, who bears the meaning of 'having a thousand arms' in her name, we assumed she probably specializes in doing battle with several opponents at the same time. Believing that It is precisely because she is suited for one-to-many battles, we considered her to be the person that the other members of Squad Zero could entrust their fight to without hesitation, so we proposed this to Kubo-sensei from the anime side around the same time.

The visual for Senjumaru's Bankai itself was a completely original idea which we received from Kubo-sensei. The visual based on a giant loom and the depiction of its activation, abilities and techniques were also provided by Sensei through illustrated materials which he had drawn up for us. We then proceeded to develop a scenario based on that as a matter of course. We went through quite a number of drafts for the scene, but I believe it was an episode that was truly worth the effort. The scenario was finalized, and when it came time to consider how it could then be incorporated into a storyboard, we were fortunate to receive further guidance from Sensei on how to depict the scene. I'm not sure of the correct way to word this, but I believe we were able to deliver something with an impact which screams "This is BLEACH!" beyond what was imagined in the scenario. The enthusiasm of everyone involved is particularly evident.

A: Tite Kubo

If I were to choose one person with the given course of events, I'd also have thought it would be Senjumaru who would take responsibility for turning the tide of this battle, so when I heard from the anime side that they wanted to make Senjumaru the Zero Division character to perform Bankai, I sensed the depth of understanding the anime production team had for the work the moment they made that proposal without me even saying anything. I am very grateful. It was also interesting how, in the process leading up to her Bankai, they cleverly utilized the idea that being part of the Zero Division means they're ready to die. The way the seals of the four individuals were depicted is also great.

Section 5

THE BLEACH

22. The author's involvement as "general supervisor" continues into the second cour of this work. What are their thoughts on this production style?

D: Tomohisa Taguchi

Through our interactions and output of materials in the first cour, I suppose the feeling is "this is how we're going to do things" and there's a sense that Kubo-sensei's position as a staff member has solidified as we've progressed. In other words, it's like we've gotten even closer to Kubo-sensei…! What do you think, Kubo-sensei!?

As far as the anime side is concerned, there's a certain level of "familiarity" in a positive sense, and in addition to that, It seems like a style is emerging that encompasses a sense of pressure and a sense of purpose, and I feel like we've been able to establish a relationship where we can easily express our opinions and also share our concerns with each other. For example, when trying to animate "Getsuga Jūjishō" in a cool looking way, I asked sensei about the way Jūjishō should appear after we struggled with posing the two swords. In an anime-oriented mindset, when a character wields two swords, it tends to result in poses where the body opens up or where one sword is raised. Thinking, "that's different from the stance Ichigo from 'BLEACH' takes", we were able to create the current sequence precisely because we could consult with the author about what should be done. I received the following response: "Regarding Jūjishō, the vertical Getsuga generated from Zangetsu in the right hand is violently hit against the first Getsuga generated horizontally by Zangetsu in the left hand. At that moment, energy is infused from the vertical Getsuga into the horizontal one, forming a gigantic cross. It advances forward through the propulsive force of the vertical Getsuga. Therefore, his posture after its activation ends up in a pose where one foot is left heavily leaning inward." Taking that as a hint, we applied it to the visuals.

We've reached a point where we are able to comprehend Kubo-sensei's deep insights better, making it even easier to reflect them in the anime, and I'm sure if we dig deeper in this regard, Kubo-sensei will guide our ideas to even greater heights! There are some instances where we gain motivation like "let's thoroughly pour our hearts and souls into creating ideas that form the groundwork for that!" On the other hand, there are also times where we make a judgment call and say "let's try to ask Kubo-sensei about this from the get-go!" I think it was the second cour where that type of communication became a great deal easier. The third cour and beyond will also be very lively, so please look forward to it!

A: Tite Kubo

In a sense, drawing the rough draft for Senjumaru's battle scene was also a moment where I felt relief, I was able to convey everything I ever wanted to express, and I realized that it wouldn't be a hindrance to the team on the production side. The anime production team were able to make suggestions based on a thorough understanding of the original work, which motivated me as well. Director Taguchi said, "it's like we've gotten closer," but it's not even a question of closeness. After working through the first and second cours, I feel like I've become fully integrated as a member of the staff, so thank you for your continuous support!

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