#thinking about making a storyboard rewrite for the series because…yeah

[ryuichirou]

do u have any favorite dj artists?

Yeah, a bunch of them! I’ll name a few, but there are definitely more very cool artists that I’m forgetting about right now. These ones are just those who I came to mind first +  those whose work I had saved for the occasional appreciation.

Please keep in mind that despite me whining about the characters being OOC all the time, these are also somewhat OOC (some of them are very OOC). I guess their characteristics are simply shifted in a way that we like so I don’t mind is as much, and sometimes the concept/artstyle/everything is just way too good for me to think about how character act.

Another disclaimer: the words “weird” and “messed up” are going to be used a bunch of times, but I mean them as compliments. When it comes to us and djs, the weirder and more messed up they are, the merrier. Here is the list with my little and not helpful summaries:

Atsukunare Kubota (Ereri) – I’d marry her djs if I could lol Her artstyle is so much fun to look at, her ideas are, well, a little weird, but this is why I love them – you’ll never be like “oh right I forgot that I read that”, they’ll be stuck with you forever. And I mean it, it really is the type of stuff where you go “oh I’m not sure if I’m going to like it- woah ok that was fun I’m kind of into it”. I’m so sad she doesn’t post new stuff on pixiv anymore… 

Ongre/Onjire/Tamy (Ereri) – another fave when it comes to Ereri djs. Her works are extremely funny and fun to read, some of them radiate such chaotic energy... it’s so enjoyable to watch lol Her Eren is insane, her Levi is grumpy and cute and she always does her best to showcase how feral Eren is and how adorable Levi is. She has good nsfw scenes too!

8205 (Ereri) – this one is very dear to me and very unique. 8205’s work is very interesting, she rewrites everything about the characters – their age, their “role” (for example, in the latest dj Reiner and Bert are Connie’s grandparents), and it still works well somehow?? Sometimes it all feels ridiculous and funny, but it still is very touching and beautiful. And creepy, it’s also creepy from time to time, I love it. I think I’d read those works even if they weren’t SnK djs. There are some nsfw scenes here and there, but not many, unfortunately. Katsu’s note: I’m ready to die for her Eren and for the author’s fashion sense.  

Zokugun Porno/Inumoto (Ereri) – their djs are more story-oriented, and their stories are interesting to read. I wouldn’t call them super creepy or dark and heavy per-se, but there is some ehh fleur of tragedy in some of their work. The atmosphere is amazing, I love this type of stuff. These djs also have some nice nsfw scenes, these are amazing too. Oh, and I really like how they work with Eren/Levi dynamic and incorporate it into AUs. 

Melomelow/Hyura (Eruri) – our all-time fave. The queen of size difference between Levi and Erwin. Her nsfw scenes are hot af, her Erwin is not ok in a beautiful way, her Levi is… well I was thinking for 5 min but I couldn’t come up with a perfect way to describe him lol, he’s just too good.

Chiruchiru (Eruri) – she has some good depressing djs, some more or less light-hearted ones, but her nsfw scenes are always great (and sometimes it gets weird…). She does Eruri’s size difference justice too, I appreciate her work a lot. 

Hakodume/x_hako (Eruri) – I absolutely adore her work. The storyboard, the frame composition, the artstyle itself – it’s gorgeous. Too bad she keeps deleting all of her galleries ;w; Her work is mostly sfw though, but still, very beautiful.

Uchu Kago (Eruri) – I don’t even have words for this one, every time they’re kind enough to share their dj in its entirety on pixiv I cry a little because of how good their Eruris are. Their AUs are very interesting, they has tons of very cool concepts with them, and oh my god THE SIZE DIFFEREEENCEEEEE it murders me every time we read any of their djs.

鼻子 (Eruri) – their works have such a great dark and depressing atmosphere. They’re mostly story-oriented with great and very fitting visuals: dramatic shading, hatching, rough lines, all this stuff makes their djs feel very… unnerving. In a very good way, I love it when djs make me feel uneasy.

Honorable mentions: here are a bunch of great artists who post short comics and art that we really enjoy. It’s mostly comical and sfw, but occasionally there is nsfw stuff too.

Si_tano (Ereri) – this person draws djs too and have a lot of previews on their pixiv page, and I’d commit a rumbling to be able to pay them and read any of those, but they also post a lot of short funny comics about Eren and Levi. They also have a series of sketches with Erewan 

Migiri (Ereri AND Eruri!) – this person’s short comics art hilarious, I adore their portrayal of Levi and the fact that they ship both of our fav ships. A lof of their works have “two idiots are madly in love with Levi who is just chillin’ there” dynamic and it’s great. 

Zundamochi (Ereri) – we’re in love with this artist’s Eren LOL he’s so moody and clingy and angry, it’s so close to how we see Eren, it’s always a national holiday for us when they post something new. Such a joy. Levi is adorable too

Bubiomaru – they mostly post non-shippy art nowadays, but they have short comics with both Ereri and Eruri. Although their non-shippy art is hilarious too 

Koka-tin (Ereri, Eruri, etc) – they mostly post illustrations, but there are some short stories here and there (both sfw and nsfw). Levi-centric, and oh god if their Levi is good. They illustrate his nature and his sexiness perfectly. There are  a lot of unexpected ideas, stories and characters’ combinations, their mind amazes me. And the art itself is breathtaking good . 

シャケ (Ereri, Eruri, Zevi, etc…) - their Levi is round, soft, smol, tiny, kittenish, everything. And woah they ship him with Zeke!! Well, they ship him with a lot of people, but Zeke is one of them and I’m grateful for that. You most likely won’t like their stuff though, I’m pretty sure about that. You’ll see what I mean when you see their Levi lol 

Once again, there are a lot of people that I’m forgetting about or don’t remember well enough to describe their work, since it’s been forever since I’ve reread some of the older djs… But I think that’s enough for now lol

Too bad there are no Zevi djs yet…….sob

#replies

[steve0discusses]

Yugioh S3 Ep 43: Tea Can Just Knock Over Joey Wheeler With Her Index Finger

Guys guys guys, my favorite Character is back. That’s right--the storyboarder!

So this episode looked helllla nice for a Yugioh episode (again, this is Yugioh, it will win no awards.) It wasn’t as nice and fluid as the episode where they temporarily killed off Joey Wheeler, but I give it a good 2nd place.

You can tell we’re getting to the climax of the season because they’re throwing down their most entertaining art people onto the screen, giving us about 5 zillion dutch angle fashion close-ups of Marik’s cabbage face, and a whole lot of zany and hard to very hard to draw fish-eye lens angles of Pharaoh.

Also, everyone wears flared bell-bottom pants now. New stylistic decision, as decided just now. Everyone in pants now has flares. Even if their pants are cargo pants. How very 00′s. (my pants were flares from like birth until 2006, it was a good trend, super comfy, bring it back.)

(read more under the cut)

First off, Evil Marik decided to rewrite Marik history a little bit with some hilarious retconning that only the most evil Marik would think is legit.

I mean I was there when Marik was introduced and was a complete asshole all of S2. I remember when Odion considered murdering the hell out of his little brother because this Marik guy was such freakin tool and his Dad was an evil cultist bastard. I...I’m gonna go on a limb and assume that calling Marik a “loyal servant” is a freakin stretch. Marik made his choices. Yes, his bad side killed his Dad, but they have made sure to indicate that yes, this is the evil inside of Marik, something that he himself caused--but most of the things that Marik has done (with the exception of killing his own Dad) is still Marik. He did that.

The fact that his evil side can’t quite connect that his good side and evil side are at all the same however, is fitting for an evil Marik to think. More and more, Marik and Marik are becoming 2 different people, and this game is the deciding factor to finally give this guy full autonomy of his other half.

We’ve seen this type of contrast before with Bakura and Ryou--where Ryou and Bakura don’t really get along but have always been clearly different people, so the culpability of what they do tends to fall on Bakura. (which is a pretty GRAND assumption, I still think Ryou is a precious but absolutely still shady little bastard) So, it’s a little different that Marik considers himself two completely different people when it’s just...not the same. Marik’s alter ego is just an ego. More like how Yami was in Season Zero but a little bit more evil. Both Marik’s have the same upbringing and the same source.

It’s been kind of an interesting progression now I can look back on it, where slowly the two have been clashing to the point that they are in fact different, disparate people now. The fact that Marik points out how his situation similar to Yugi and Pharaoh being a host is almost like “well yeah, it would have been nice to see how the whole Season Zero Yami evolved into more of a separate person over time, I’m glad you inferred that, and I’ll never get to see it, thanks” But again, all that is inferred. Whether Yami Yugi eventually became Pharaoh over time or whether Pharaoh is a big retcon of Yami Yugi for the new series in order to keep the culpability for what he does off of Yugi Muto was never directly spoken in the show so it’ll be left to your fanfictions.

Meanwhile, Yugi has decided that they’re going to try and purify the Marik situation and save the good side. This is sort of the Yugioh thing, to dispel the bad forces from people and leave behind hollow husks, so yeah...it tracks. I mean...there’s very little Marik left to save, but it’s better than a husk, amiright? Better than what happened to freakin PaniK, RIP. I’m sure erasing over half of your identity will go over real well for Marik and be absolutely painless.

And then we had a lovely scene that, for those people doing scene redraws from anime, as has been a popular trend on art blogs lately--this is your episode for Yugioh. This episode’s got moody lighting, we’ve subdued all our weird ass colors into one concrete palate (remember how green the carpet used to be?) we got interesting elements of Marik being here despite being chopped into pieces. We got so many ellipses drawn in perspective (y’all I could write an entire posts just about ellipses but I’ll spare you). It’s like Yugioh gave itself a redraw.

I can’t believe this shot came out of freakin Yugioh.

Also, this guy was an ASSHOLE for the past 2 seasons but the show was like “time to make him likeable” and so they dropped some good ass cinematography and sung that sad backstory tune on the trumpet and you know what? It works.

+++++++++++++++RANT ABOUT REDEMPTION ARCS FEEL FREE TO SKIP THIS MASSIVE WALL OF TEXT++++++++++++++++++++++++

Now I think the arc of Marik is pretty simple and people are pretty chill with it. But, I’m gonna talk about villain redemption arcs just in general--gonna sidetrack a little from Yugioh for a moment. Partly because I watched 6 seasons of Once Upon a Time, which is basically Villain Redemption Arc Controversy: The Show.

It bothers a hell ton of people when TV shows have to make a villain redeemable, but there’s only one episode left so they put their hands up and say “but I swear the good side of him was always good” But, does that mean Marik’s going to make up for all the murder and sending people to the shadow realm? No. He never will. Even if Marik was completely his bad half the whole time, it still wouldn’t make up for the damage done. Dead people are...DEAD.

Marik can’t actually make any choices right now to redeem his character. All he’s doing is accepting he will never be a full person ever again. Hence why he is in slices and pieces, and in several shots is trapped either in an empty glass or a window. The choice to redeem him is entirely on other people.

And that’s the thing about redemption arcs that I want to bring up--how much of a character’s redemption relies on what the villains do to “Make up for what they did”, and how much relies on everyone else to redeem them. I think the tendency is for people to assume that the villains should be doing 90-100% of the redeeming, but unless they have a time machine--they can’t do any. Even if they freakin die to sacrifice themselves it’s still like “that character was basically little Stalin, right?

I’ve seen like a million ways to write a redemption arc, but none of them, not a single one that I can think of, can ever truly make up for the things the villian has done. There’s no way that Darth Vadar was suddenly going to become a good Dad, no matter how many Palpatines he can toss into a...whatever that was at the end of that movie. That’s the riddle behind what makes redemption arcs so engaging--By all cultural standards these villains should always be tagged a “bad guy” but, we, the audience, are being challenged to ignore those standards.

And I know a lot of people see redemption arcs as a quasi-religious sort of adventure into atonement, where we’re supposed to see ourselves as the villain searching for some type of forgiveness from a higher, most-likely-a-reference-to-Jesus-power, but I don’t really see them that way. Maybe it’s because, I dunno, I haven’t killed anyone recently or possessed other people’s minds or strung them up to anchors and dropped them into the ocean. But if you see yourself as a Marik, then go for it, I won’t stop you.

But, to me, a redemption arc is more of a question posed for us as viewers. Since it is impossible for the writers to ever fully redeem a character, the only ones doing the redeeming are the people watching it, who’s reaction will differ wildly from person to person, and that’s what makes it fascinating.

And like, that’s my thesis here at the very last paragraph of this long meandering rant. Redemption arcs aren’t about “hey is this person good enough to be redeemed (because that will never happen)” it’s “are you too good to redeem that person?” It’s a large scale experiment on the viewers watching and that’s why it makes people so freakin pissed and uncomfortable. Every redemption arc calls them out directly, and for some people it’s just like--the world ends or something. I have seen actual internet mobs develop over...a villain redemption arc. Which is weird.

And so I’ll leave it with my other spicy take that...you don’t have to redeem every villain when the question is asked. I mean these aren’t real people. The questions of “would you redeem this person” is asked entirely hypothetically. And that’s what makes up stories, not just the interaction of the people inside the stories, but when it affects the moral structure of the readers directly, and seeing how for some people, that can be a very intense and deep reflection. (which usually leads to a hell ton of either retconning fanfiction or a hell ton of really, really angry posts)

bro’s just told me that Yugioh is just a redemption arc for season 0 Yami Yugi. Bro and his spicy headcanons. This one holds some water though, lol.

++++++++++++END OF A SUPER LONG RANT ABOUT VILLAINS THAT I HELD IN FOR THE ENTIRE 6 SEASONS OF ONCE UPON A TIME, WOW A LOT OF PEOPLE HAD OPINIONS ABOUT CERTAIN CHARACTERS THAT THEY JUST EXPECTED EVERYONE ELSE TO HAVE, AMIRIGHT????+++++++++++

Anyway, back to jokes.

Again, Storyboarder just...nailing these weird ass shoes that are somewhere between a dress shoe and a boot. Shoes are hard to draw, y’all. This storyboarder. And they even made sure that the shoes looked very small and precious the way Yugi shoes would be. Little Cinderella size 5 Yugi shoes.

Oh finally.

So it was only a matter of time before the people who actually care about being possessed noticed this situation, it just took like...a season longer than I thought it would. I’ll be honest it was quite cathartic for them to actually address for the first time in what feels like a long time “SHOOT, GHOSTS!?!?”

Although it was kind of funny that the biggest reaction to all of this came straight from Joey. Yugi still doesn’t care, Tristan’s decided to just accept this, and Duke is just slowly backing away. But Joey’s going to try and do the work that Yugi should have done last episode.

HOT DAMN.

So, lets go over the Yugioh power chart here. Tristan can punch out Bakura. Tristan can also defeat Seto Kaiba with a broomstick. Joey can kick Tristan, even when Tristan is armed with a broomstick, so hard that Tristan flew through a metal door and bent it completely over backwards. Tea, however, can knock Joey completely over with one single index finger.

How has this girl ever been abducted? Was she just bored?

Bro wants to bring up that she once incapacitated a man with her butt. Just falling on top of a guy and hitting him with her butt of steel. Was she even in danger from the shipping container when she could just bat it away? She once choked out Season 0 Yugi Muto. She was always fine.

Credit to Joey, he keeps trying, and it gives us, for the first time, a sneak peek into what it must be like for Yugi and Joey to hang out on the offtimes that Yugi switches over and Pharaoh hasn’t quite gotten the memo.

This is in fact, the second time that she’s done this.

(meanwhile, sitting next to Odion, is one single cargo pocket floating in the air, gently smoking a purple haze like incense)

Welcome back Odion! I only now just realized how freakin jacked your neck is.

Like y’all his neck is wider than his head, hot damn.

Anyway, this show is secretly all about the power of big brothers, so I assume he’s going to start the mile long crawl to the top of the tower and then just...walk in...just walk right into a shadow game...?

...no one thought to stay with Odion? Like not even Serenity? Or at least leave him a weelchair? what the hell?

Odion always gets the worst wrap, this poor guy.

Anyway if you just got here, this is a link to read these recaps in chrono order from the beginning and watch my progression of knowing nothing about Yugioh to knowing a lot about random facts about Yugioh but still knowing absolutely nothing at all just like Socrates.

And here’s that shot of Marik for y’alls anime scene redraws, knock yourself out.

#Yugioh #ygo #episode recap #photo recap #S3 ep 43 #Yugi Muto #Marik Ishtar #Tea is possessed again #Tea Gardner #Odion ishtar #Ishizu Ishtar #Joey Wheeler #Duke Devlin #Tristan Taylor #Seto Kaiba #man alive why do I list all the characters all the time there are so many characters #guest appearance by this wonderful storyboarder

[sol1056]

do you think this would be as bad if they'd released seasons 3-5 as once massive season, or would the overall lack of answers and shafting of shiro and keith (plus everything else) still make people too upset and unsatisfied?

Given the pacing of S1 and S2, I think the seasons are meant to be 13 episodes, which would mean S3/S4 would have been one season, and S5/S6 would be one season. (Note: this is different from a production season, which is apparently standardized at 26 episodes – @ptw30 can correct me if I’m wrong, but my impression is that ‘production season’ basically means ‘we do this all in one out-of-order stretch, from voices to music to animation and post-production.)

At this point, I’m starting to think nothing would’ve fixed S3/S4, and likely nothing will fix what’s coming – and it all revolves around the need to bring Shiro back. My guess is they had a significant chunk storyboarded (since we’re dealing with EPs who seem to contribute via storyboarding, not scripts), when the execs caught the “Shiro is gone” part and demanded a rewrite. 

If you take Shiro out of S3/S4/S5… suddenly things make more sense. Going behind the team’s back, with no explanation or warning? Heading off on his own to leave the team scrambling to catch up? That’s not a Shiro thing, that’s a Keith thing. Or even Shiro’s positioning over on the side, against the wall: totally a Keith thing. I can’t recall Shiro ever holding himself separate like that, in S1/S2. But Keith? Sure. All the time. 

Not a peep out of anyone about Keith’s near-suicide at the end of S4? Probably because he wasn’t even supposed to be there; he was meant to be in Black, instead (and then suddenly Shiro’s less-than-certain wording, and bad choices, make more sense – Keith would very much be ‘stay and find out’ while Shiro struck me as a ‘pull back and re-assess’). 

For that matter, not a word from anyone about how they miss Keith and worry about how he’s doing? Because in the original storyboards, he was probably standing right there. (Although it does raise the worse possibility that by S5, no one even thought of Shiro anymore, or they would’ve flipped that to be about Keith, instead.) 

I have a feeling that the start of S4 was meant to be Keith’s decision to stay with the team, rather than leave it (echoing Pidge’s decision in S1). But because Shiro was there, and the writers hadn’t left any room for anyone else to fill Allura’s spot on the castle (must be Altean and all that), there’s literally nothing for that sixth wheel to do. So what probably would’ve been Allura leading the charge against Keith’s distraction became Shiro, and we get that bizarre swerve from the team being furious to suddenly all upset that Keith is leaving. 

It would also explain why Keith feels so shoe-horned in. He appears in the Kral-whatever episode, and changes absolutely nothing. The majority of the bombs still go off, he exchanges no words with anyone, and the most we get is a single there-we’re-even-now shot from Axca. You’d think, at the very least, the Blades and Voltron wold be talking regularly, with Keith now on the Blades – but they’re not, because Keith wasn’t meant to be there. 

And it’d also explain why out of nowhere we get Keith meeting his mom, in an episode that’s more like three episodes thrown together into a bizarre mishmash. One is the Garrison Trio wrecking havoc, one is plot-movement with Lotor and Allura, and one is Keith finding his mother. Considering how careful the EPs/writers were to lay the groundwork for Keith’s galra reveal so far ahead, the absolute lack of even a remote hint of Keith’s mother says to me that this was a last-minute addition – and I would expect this side-plot of “this new quintessence” (seen this already, thanks) and this monster will probably be wrapped up just as fast. 

I’d be willing to bet pizza money the execs said, “sure, you’ve storyboarded almost the entire series, but wtf are you doing getting rid of a main character for three whole seasons? nope, redo that.” 

And the EPs/writers went, well, we still want all these plot points (that bit about “we looked at what we could fit in”), so let’s just switch Keith out and put Shiro in. Then they chopped their two-episode flashback bit into one (good riddance) and used the gap to add in Shiro’s return. And from there, probably replaced Shiro and Keith as needed.

It’s totally an amateur’s move, and it’s lazy as hell. It’s completely disregarding that a character acts a certain way due to a combination of who they are + what they want. Because Shiro and Keith are two separate characters, who (we hope) have their own goals, you cannot simply take one’s dialogue and actions and put it in the other one’s mouth. 

And I’d bet from the way the EPs act in interviews, they probably thought themselves just so clever for the clone-storyline: of course Shiro’s acting out of character, there must be something wrong with him. Yeah, ‘cause he’s acting like Keith, because that was supposed to be Keith’s role.    

#voltron legendary defender #meta #come for the sugar stay for the salt #vld #voltron

[recentanimenews]

INTERVIEW: The Staff of The Ancient Magus' Bride's Studio Kafka

  The following interview was provided in Japanese exclusively to Crunchyroll News, further translated to English for publication. 

    On March 10th, there was an exciting announcement about the new anime project for The Ancient Magus’ Bride. It’s been three years since the series aired its last episode, and fans have been waiting for the new production. This time, it will be produced by Studio Kafka, a newly established animation studio. Today, we interviewed the three founding members, Kouichi Naruse, Kazuaki Terasawa, and Takahiko Abiru. Let’s find out how the studio was established, their visions, and about the new project for The Ancient Magus’ Bride.

  First, could you tell us about how you all came together to start Studio Kafka?

  Naruse: When the new project for The Ancient Magus’ Bride started last year, Studio Kafka was established because I wanted to create a studio that was dedicated to it. I’ve always wanted to have my own production company, so the timing was perfect. When I first started working in this field, I had such a great time working on a project with Mr. Abiru and Mr. Terasawa. I had always wanted to create something with them again, so I asked them if they would join me.

  Mr. Terasawa and Mr. Abiru, what did you think when you first heard about starting a company with Mr. Naruse?

  Terasawa: Mr. Naruse and I went to the same college, so we’ve been friends for a long time. When I first heard about starting the company, I thought we could probably do something fun and exciting together using this opportunity. Then, Mr. Yamamoto from Twin Engine Inc. decided to support Mr. Naruse and we were all on board.

  How about you, Mr. Abiru?

  Abiru: They were always talking about starting a company.

  Terasawa: Yes. We always talked about it.

  Abiru: Yeah. So I knew you would do it someday, but I was surprised it happened so soon. I think it is our fate that our first project is The Ancient Magus’ Bride, which has been longed for by so many fans.

  Naruse: I started working in the anime industry because of Mr. Terasawa. We went to school together so I knew he was an interesting person, and I thought it’d be cool to start a production company where we bring his ideas to life.

  Terasawa: We met when we were 19 and we’ve known each other for 12-13 years. We are practically best friends. I worked as a production assistant before, and I always admired Mr. Abiru not only for his great skills but also for his personality. I honestly didn’t think he’d say “yes” when I asked him to join, but he did! I was so happy!

  Abiru: I’ve been in this field longer than them and have met so many people. I think they are very passionate about what they do. I haven’t seen a lot of people who are eager to start their own companies. But Mr. Naruse wants to start one and be a producer while Mr. Terasawa wants to be a director. They have clear visions and goals, and I admire that.

  Wasn’t it a big decision for you, Mr. Abiru?

  Abiru: Yes. But I think I agreed to join them within 24 hours after they invited me. I’ve worked with them in the past and have trust in them.

Could you tell us what Studio Kafka would like to achieve? How would you describe your goals and ideal production style?

  Naruse: We believe that it’s important to pay attention and put great care into creating each scene. To do so, we will have several teams, each including a pair of a unit director and animation director. By centering our projects around them, we believe we will be able to steadily provide films with great quality. Also, all the creators are working so hard and I’d like to compensate them to match their effort.

What kind of films would you like to create in Studio Kafka?

  Naruse: I had opportunities to work on high-quality productions in the studio I previously worked at. There, I always thought about what kind of films I truly wanted to create. At Studio Kafka, we want to create animation that’s dramatic and attracts viewers with its high-quality animation.

  Terasawa: The first season of The Ancient Magus’ Bride contains beautiful animation with intense saturation, and the landscapes are just stunning. We are working on OADs (Original Anime DVDs that will be attached to the limited edition of the comic books) and we’d like to portray the world of the original manga by putting in great care and details. We have some challenges as we are a young company. However, we will do our best to recreate the world of The Ancient Magus’ Bride.

    There are many fans of The Ancient Magus’ Bride overseas. Do you think about them while creating?

  Terasawa: I’d say we learn a lot from the fans overseas rather than try to include their tastes in our work. When we talk about videos, for example, Japanese dramas and foreign dramas have different color grading. A lot of foreign dramas use colors like you see in movies by diminishing color value and adding ambiance. I’d like to do something like that for The Ancient Magus’ Bride and differentiate it from other slice of life anime in Japan.

What do you think are the strengths of Studio Kafka?

  Naruse: Our staff is very close. Because of COVID-19, we are working remotely, but we always have our voice chat turned on while working so that everyone can communicate with each other as needed.

  Abiru: Sometimes, meetings just happen naturally while working.

  Terasawa: Yes. We surely talk about the project, but we also chat about things like films we were inspired by.

  Abiru: Honestly, we may be communicating better than pre-COVID time. I think we weren’t chatting as much when we were working side by side in person.

  Terasawa: At Kafka, our company culture is pretty friendly, even with directors, producers, and Mr. Abiru who is an experienced character designer. We are always serious about our work, but we can communicate with each other just like friends do.

  Naruse: We don’t want to interrupt anyone’s work, but conversation is important and I believe we are mindful of that.

  What are some of the challenges?

  Naruse: We don’t have enough people right now so we need to find more talent. I would love to work with people with different backgrounds.

  Abiru: It’s difficult in the anime industry to find the people you need. Despite that, Kafka has been able to secure the team we have thus far. This is thanks to Mr. Naruse’s personality. I was impressed that we have been able to cast experts like Mr. Kouhei Tokuoka, the animation director.

  Naruse: Thankfully, we’ve been able to acquire talented members in our company.

  Terasawa: I believe that we will create great films by collaborating and respecting each other’s skillsets.

  Can you talk about the OADs for The Ancient Magus’ Bride? On March 10th, the PV was released for the new project. What were some of the things you particularly paid attention to?

  Terasawa: One of the things we paid attention to was to make sure that the viewers can remember the story of The Ancient Magus’ Bride after three years. We didn’t want to bombard them with the brand new version but rather wanted them to build up their excitement for the new project by remembering the first season. We were carefully crafting this process during the composition and storyboard creation.

  The other thing was to recreate the atmosphere and setting of the original manga into the animation. The PV is centered around the school for magicians, and it has a bit of a dark feel and features relationships among teenagers. To show this in our animation, we carefully chose the colors and expressions of the characters.

  Naruse: Did you feel pressured?

  Terasawa: To tell you the truth, I had to rewrite the storyboard for the PV. The original team asked for more dynamic cuts as it’s been a while since the last time the manga was animated, so I had to brush it up. It was a lot of work at the time, but I can see the accomplishment now. I am thankful for the opportunity because it was a great learning experience for me.

  When you are creating animation from manga, what are the things you consider?

  Terasawa: I think it’s important that I, as a creator, understand the original manga a little deeper than when I’m just reading it as an audience. The more I read, the more I understand the details Kore Yamazaki wants to express in the original, such as the psychological states behind each character’s actions. By working on this project for a period of time, I’ve started to feel like I have a deeper understanding of her perspectives. I pay attention to that.

  Lastly, is there anything you’d like to say to the fans?

  Terasawa: The draft for OADs was created by Kore Yamazaki. Her work reminds us of folktales where something scary happens but the end remains a mystery. I think it’s brilliant. These OADs definitely have that aspect so I hope you will enjoy it. I can tell you this, I’m having lots of fun creating it!

  Naruse: By combining the new staff with the staff from the first season, we are creating animation that’s different and has its own charm. I hope lots of people will have a chance to watch it.

  Abiru: The most important thing is for the viewers to enjoy the project, and we often say that it’s important for us to enjoy creating it as well. We believe that’s possible at Studio Kafka. It is a young studio, but we are committed to make that our advantage. We all have different roles as a producer, director, and animator: I have experience, Mr. Terasawa has great ideas and visions, and Mr. Naruse has balanced views and flexibility. We complement each other's weaknesses and will do our best to create great films at Studio Kafka. We hope you’ll enjoy it!

  By: Guest Author

#Anime #News #Latest in Anime News by Crunchyroll!

[rerwby]

RWBY Volume 4 Commentary Play-by-Play

Chapter 1:

Kerry talks about how each episode had a ‘fuck you’ shot, which is a particular shot that was difficult to create across all departments.

I’d say the whole volume was a fuck-you shot to the fans but

In a little conversation about how much they’ve planned in the show, Kerry talks about how they’ve actually been hanging on to team WTCH (Watts, Tyrian, Cinder and Hazel) since the beginning.

I’m leaning towards believing this since Salem was one of the first things conceived for the show, so her team would follow. Makes you wonder if Miles was always gonna have his “crazy” Tyrian though or if that came later.

I doubt it because I don’t believe Monty would make characters as boring as Hazel and Watts right from the start.

Regarding Oscar and his story this volume, Miles and Kerry had more rewrites with him than with anything else in RWBY, trying to figure out the right way to present it. At one point, Oscar’s first major scene was going to be in chapter 7, instead of 4.

Yeah it’s not breaking news to say that they did the opposite of what would be a good idea.

Mentioned in the commentary, but in more detail in the special features, is the fact that CRWBY had a rough start to the volume due to the new production pipeline, which continued for several episodes.

According to Miles, the Petra Gigas was originally supposed to appear in the Emerald Forest during Volume 1. It was supposed to be a part of the giant nevermore/deathstalker fight, as was a giant Bourbatusk.

Wondering how they would have fit 4 whole monsters in that fight, but I guess that’s why they ended up splitting two bad guys between teams instead.

On that note, they talk about how incredibly different the original 4 episodes of Volume 1 were compared to what we got, and that Fennec and Corsac were originally Volume 1 villains.

Just saying that I believe this. They said that Roman originally played a smaller part in Volume 1? How was this possible? Insert more villains.

On the origin of the Geist, Kerry talks about how, at the time Monty was working on the White trailer, he and Miles were thinking of ways for it to make sense, and came up with the idea of a poltergeist Grimm. They say that particular Geist is called an Armor Gigas.

So Weiss fought a Grimm in her trailer it turns out. Idk how to feel about that. In a way it makes sense because, as we’ve seen with Winter’s summons, the Schnee summons are light versions of Grimm. It makes little sense though when you consider that the Geist inhabits inanimate things and therefore the armor isn’t a natural feature of the Grimm.

The crown on Jaune’s shield was first inserted by layout artist Rachel Doda when creating the storyboards. Kerry thought it was a perfect touch and decided to include it in the official design.

Iunno what fatal flaw to focus on here. Is it how this makes it sound like Jaune’s god damn weapon model design was THAT important that Kerry noticed? That it implies melting Pyrrha’s armor down was a last-minute thought? That the plot hole of Pyrrha fucking disintegrating and therefore leaving no armor or cape for Jaune was made entirely because Kerry liked how a shield looked?

Chapter 2:

In regards to the infamous map, Kerry mentions that in one version of the script, RNJR was going to lose the map in a fight of some sort. A similar was also supposed to happen in Chapter 6 involving Tyrian, but decided against it because of how busy CRWBY already was.

So instead of losing it for a reason they just lose it for the sake of it. Cool.

According to Miles, Jaques is loosely based on Jack Frost, something they try to hint at in the way he keeps his study.

The name kind of gave it away without any other hints.

Kerry says that writing the final scene of chapter 2 was the first time he cried while writing. Likewise, Miles said he lost his shit while performing mocap for the scene. Apparently everyone who worked on it had a pretty strong emotional reaction to this scene.

 Wow. The people working on this show were seriously so disillusioned that they thought Pyrrha’s relationship with Jaune earned that kind of reaction. Not even gonna mention how the existence of the recording makes no sense, especially since Pyrrha signs off on it. Why would she do that on a generic fighting guide. I can’t believe how attached these people were to the Alpha Hets.

Chapter 3:

On the topic of writing RWBY with multiple different storylines all taking place at the same time, Miles called it a ‘scary experiment’ but is happy overall with how it turned out.

I can’t say anything more than what’s been said on this.

I also have nothing to say on the technical stuff. I’m really not versed enough in it.

Miles talks about how they tried to have Salem feel a bit motherly, and not overly cruel, because she’s “better than that” and that she has a certain way of talking to each of her lieutenants.

She seemed pretty cruel to me lol. They need to have Salem do more before they announce these kinds of intentions, because now they’ve just given us a preconceived notion and they won’t have to write it that way.

Chapter 4:

Apparently Yang’s eye color was decided because of Taiyang’s and Raven’s eye colors. Red and Blue making purple.

This might be the stupidest thing I’ve ever read.

Burnie is apparently very invested in voicing Taiyang, and takes it very seriously. He would go over the script with Miles and Kerry before recording sessions and they talk about how Burnie will listen to Yang’s lines and efforts, and try and make Taiyang’s similar, as a way of representing how Yang was influenced by her Father. It’s also mentioned that Joel is similar when it comes to portraying Oobleck.

Wow! Joel and Burnie, two voice acting veterans who formed RT, are invested in their roles? Don’t get too shocked by actors who actually try, guys!

When it came to naming all the villages in Anima, they wanted to keep the theme of Mistral being heavily inspired by Eastern influences, so they named villages after the Japanese names for certain flowers.

Blah blah magical mystical Asia land

Originally, the inn and the pub were the same building, but were separated when they couldn’t figure out how to fit Raven into the scene.

Can you imagine if we had to see RNJR somehow not notice Qrow like twenty feet away from them? Thank god he sat in that pub across the street.

Chapter 5:

Miles says he cried while writing Blake’s reunion with her parents, and that the Belladonna’s are some of his favorite characters.

I mean iunno that scene didn’t scream emotional to me but I also have daddy issues so

Fennec and Corsac, as mentioned earlier, were characters originally conceived pre Volume 1, being the 2nd and 3rd Faunus thought about after Blake.

Makes you wonder if by the time of their conception, Faunus were a thing or if Monty was just making up furry OC’s.

Chapter 6:

In the charity scene, Koen says that there are around 100 different, unique people in the room, each with differing clothing.

Jfc guys went kinda overboard there. Didn’t look like 100+ when I watched it.

When describing Henry Marigold to concept artist Erin Winn, Kerry told her to draw a ‘posery, imposter Neptune’.

That’s about what I guessed yep. Now is there a reason for it to be Neptune? To show that Weiss grew past her affection towards him? Or because it was the first person who came to mind? Who knows.

Tyrian’s jacket, despite being one of Kerry’s favorite design aspects, was a real hassle for the animators and the rigging team, so much so that he was animated without his jacket on, and then would add it afterwards.

I remember when capes were in Kingdom Hearts. Then they realized they were too much work so they removed them to avoid continuity errors and such. It was a smart and humble move, because the capes looked cool. I guess Tyrian’s jacket was just really that awesome though.

Chapter 7:

The original plan with Ozpin was to not reveal him as having anything to do with Oscar until the very end of the Volume.

Just gonna keep reminding us of that huh guys?

This episode was the first time proper reflections were used in a mirror in any Rooster Teeth production. Before they would simply fake it.

well that is a legitimately very interesting fact

When it came to Tyrian swearing, some thought went into whether they could get around it, originally having him say witch instead. Ultimately, Miles and Kerry decided it was the right time for things to get a bit more mature.

Best decision they ever made, thank god.

I love the idea of Miles being all modest and going “ah yes time to be mature.”

Chapter 8:

Miles says the whole campfire scene was probably the most difficult thing in the Volume to write, simply due to how much they needed to cover. Also, Kerry says more people worked on this scene than any other in the Volume.

The RWBY writers struggling with exposition?

The two brothers was Miles’ idea, and his first major contribution to the series, obviously one of the first parts of the show that was conceived.

And it was made known that Miles conceived one of the worst parts of the entire story. And he just copied it from a Grimm Tale.

Miles was the one who wrote the majority of Blake scenes in Volume 4. When she’s slapping Sun, Miles only intended it to be soft slaps on the shoulder, so he was quite surprised by the end result.

 Isn’t this why you, like, direct your scenes? To avoid miscommunication like that?

Chapter 9:

Apparently there were several colour combinations the were tried with Ilia that “did not work”.

Apparently the animation crew’s passion is graphic design.

All the patches of mud on the ground were originally water puddles, but Kerry forgot that while the scene was being animated.

Again, directing.

Chapter 10:

In the scene with Nora being bullied, Miles jokes about that if you feel bad about it, those other kids likely died the next day. To follow that up, Kerry then mentions that they actually considered to have one of those kids lying face down on the ground in the background during the attack. Damn.

Idk how to feel about this but it is kind of disturbing that Miles would be so quick to make that joke.

According to Miles, they actually described Ren’s father in the script as “A handsome Hanzo looking motherfucker”.

guessed everyone who knows of overwatch’s existence

One of the ideas they had that didn’t make it into the episode involved Ren’s father going to see the mayor. Since he’s a hunter, and he had just returned from a hunt, Li was going to talk to the mayor about how they didn’t find any animals and it was almost as if they had been spooked away, and that they should get a Huntsman to come and investigate.

That probably would have made some sense.

According to Kerry, Jaune and Ruby’s moment was originally going to end with them hugging, but was cut due to time and Kerry not wanting people to “worry”.

So Lancaster gets shot down completely, cool. Cool thing of a creator to do. How dare we imply Ruby and Jaune are close after all they’ve been through.

Chapter 11:

Recording Tyrian’s efforts in this episode was a ton of fun according to Miles.

Yeah I bet Miles loved Tyrian.

Kerry’s “proudest accomplishment of this Volume” was having the photo of Whitely on Jacques’ desk be face down after Ironwood slams down on it.

Cool?

Kerry talks about Sun’s abs (as you do) and actually reveals that, contrary to popular belief, they didn’t remove them, but instead Sun’s model was made to be more muscular and they would be picked up by lighting and shadows instead.

Pretty sure Sun’s torso is a tube with the new models.

Chapter 12:

When talking about the fight, it’s mentioned there were several different versions of it. They don’t go into detail, but Kerry does mention that Qrow was originally supposed to do something, but Miles reminds him it’s something they can’t talk about.

God, what is left for Qrow to reveal? We got his weapon’s forms, his Semblance, his transforming thing, what else? Tbh my bet’s on Ozpin’s cane. They planned for him to use the cane but decided against it because of their artifact bullshit.

#rwde

[otakuboy1600]

New Petition

Create a Roger Rabbit Sequel Movie or TV Series

he story follows Eddie Valiant, a private detective who must exonerate "Toon" Roger Rabbit, who is accused of murdering a wealthy businessman.

I watch This film long time Ago and That Film inspired me to make my own Live Action /Animation Films in the Near and I would Love it if they can make a sequel or a TV Series.

With the film's critical and financial success, Disney and Spielberg felt it was obviously time to plan a second installment. J. J. Abrams says that he met Spielberg in 1989 to discuss working on a sequel, to the extent of preparing an outline and storyboards.[70] More substantial work was done by Nat Mauldin, who wrote a prequel titled Roger Rabbit: The Toon Platoon, set in 1941. Similar to the previous film, Toon Platoon featured many cameo appearances by characters from the golden Age of American animation. It began with Roger Rabbit's early years, living on a farm in the Midwestern United States.[57] With human Richie Davenport, Roger travels west to seek his mother, in the process meeting Jessica Krupnick (his future wife), a struggling Hollywood actress. While Roger and Ritchie are enlisting in the Army, Jessica is kidnapped and forced to make pro-Nazi Germany broadcasts. Roger and Ritchie must save her by going into Nazi-occupied Europe accompanied by several other toons in their Army platoon. After their triumph, Roger and Ritchie are given a Hollywood Boulevard parade, and Roger is finally reunited with his mother, and father: Bugs Bunny.[57][71]

Mauldin later re-titled his script Who Discovered Roger Rabbit. Spielberg left the project when deciding he could not satirize Nazis after directing Schindler's List.[72][73] Eisner commissioned a rewrite in 1997 with Sherri Stoner and Deanna Oliver. Although they kept Roger's search for his mother, Stoner and Oliver replaced the WWII subplot with Roger's inadvertent rise to stardom on Broadway and Hollywood. Disney was impressed and Alan Menken was hired to write five songs for the film and offered his services as executive producer.[73] One of the songs, "This Only Happens in the Movies", was recorded in 2008 on the debut album of Broadway actress Kerry Butler.[74] Eric Goldberg was set to be the new animation director, and began to redesign Roger's new character appearance.[73]

Spielberg had no interest in the project because he was establishing DreamWorks, although Frank Marshall and Kathleen Kennedy decided to stay on as producers. Test footage for Who Discovered Roger Rabbit was shot sometime in 1998 at the Disney animation unit in Lake Buena Vista, Florida; the results were a mix of CGI, traditional animation and live-action that did not please Disney. A second test had the toons completely converted to CGI; but this was dropped as the film's projected budget escalated well past $100 million. Eisner felt it was best to cancel the film.[73] In March 2003, producer Don Hahn was doubtful about a sequel being made, arguing that public tastes had changed since the 1990s with the rise of computer animation. "There was something very special about that time when animation was not as much in the forefront as it is now."[75]

In December 2007, Marshall stated that he was still "open" to the idea,[76] and in April 2009, Zemeckis revealed he was still interested.[77] According to a 2009 MTV News story, Jeffrey Price and Peter S. Seaman were writing a new script for the project, and the animated characters would be in traditional 2D, while the rest would be in motion capture.[78]However, in 2010, Zemeckis said that the sequel would remain hand-drawn animated and live-action sequences will be filmed, just like in the original film, but the lighting effects on the cartoon characters and some of the props that the toons handle will be done digitally.[79] Also in 2010, Don Hahn, who was the film's original associate producer, confirmed the sequel's development in an interview with Empire. He stated, "Yeah, I couldn't possibly comment. I deny completely, but yeah... if you're a fan, pretty soon you're going to be very, very, very happy."[80] In 2010, Bob Hoskins stated he was interested in the project, reprising his role as Eddie Valiant.[81] However, he retired from acting in 2012 after being diagnosed with Parkinson's disease a year earlier, and died from those complications in 2014.[82] Marshall has confirmed that the film is a prequel, similar to earlier drafts, and that the writing was almost complete.[83] During an interview at the premiere of Flight, Zemeckis stated that the sequel was still possible, despite Hoskins' absence, and the script for the sequel was sent to Disney for approval from studio executives.[84]

In February 2013, Gary K. Wolf, writer of the original novel, said that he, as well as Erik Von Wodtke were working on a development proposal for an animated Disney buddy comedy starring Mickey Mouse and Roger Rabbit called The Stooge, based on the 1952 film of the same name. The proposed film is set to a prequel, taking place five years before Who Framed Roger Rabbit and part of the story is about how Roger met Jessica, his future wife. Wolf has stated the film is currently wending its way through Disney.[85]

In November 2016, while promoting his latest film, Allied, in England, Zemeckis took some time to have an interview with Robbie Collin of The Daily Telegraph. As the conversation shifted focus to the Roger Rabbit sequel, Zemeckis stated that the sequel "moves the story of Roger and Jessica Rabbit into the next few years of period film, moving on from film noir to the world of the 1950s". He also stated that the sequel would feature a "digital Bob Hoskins", as Eddie Valiant would return in "ghost form". While the director went on to state that the script is "terrific" and the film would still utilize hand-drawn animation, Zemeckis thinks that the chances of Disney green-lighting the sequel are "slim". As he explained more in detail, "The current corporate Disney culture [the current studio management of The Walt Disney Company] has no interest in Roger, and they certainly don't like Jessica at all."[86]

I was thinking for A Pitch of Roger Rabbit Tv Series Project of Roger Rabbit met his Future Wife and Have Some Crazy Adventures in Toon Town

So Help Me Convince Walt Disney Pictures and Walt Disney Company to Make a Roger Rabbit Sequel or a TV Series

Spread the word

https://www.change.org/p/the-walt-disney-company-create-a-roger-rabbit-sequel-movie-or-tv-series

#roger rabbit #petition #change