Major Berserk vibes.
Look. I'll be honest. I only played Dragon's Dogma for the scarred (hands or chest, depending on Arisen or Pawn) lolis. In fact, games with martyr endings never sat well with me.
Interview: Fire Force Photography Director Is All About Perfecting Series’ Flames
I’d like to start by identifying what your job actually entails. What sort of work does a director of photography do, specifically?
Motoki: Simply put, my job is to compose the background art and character materials in the software, then add all sorts of photographic effects. Everything up until it is converted to video data is the photography director’s section.
The word “photography” is a holdover from before everything moved to digital, like it is now. We used to layer cels over the paper with the background art on it, then shoot it with a camera.
You have worked on many other famous anime series before, as well. Many of those also featured some impressive and intense battle scenes.
Do you feel that your experience from those previous works were useful on this series?
Motoki: I have in my head what I call the expectation of shounen manga. It’s what I have gleaned through trial and error over the time in which I have overseen a number of series that were based on shounen manga, as far as the notion of “will doing things this way look cool?” It’s an intuitive thing, so putting it into words is difficult.
Of course, the feel and world setting of a show is different depending on the series, so while drawing on past experience, I adhere to the tone of that production and apply myself to the work for that show.
Spoiler:
Interview: Fire Force Art Director Details Unique Shot Adapting, Staying Faithful to Manga
First, I’d like to ask what your initial impressions were after reading the original manga. As the art director, what about it captured your heart?
Takamine: I was really impressed with the high quality of the design in the artwork. It has the exhilarating feel of a hero manga, but there’s also a distinctive sense of eeriness that remains as well. Especially during Shinra’s fight scenes, where the devilish forms that get depicted lent a cool, dark-hero vibe that I really liked.That's interesting.In the course of making the anime, did you have any direct discussions with the original author, Ohkubo-sensei?
Takamine: Actually, I never had any direct interchange with him. He allowed me to do entirely as I wished. Of course, I picked out all the coolest parts of his world while creating, but there was definitely some trepidation over whether or not I had accurately captured all the charm of the original work.
I’m curious if there are any specific areas where you brought the quality of the original manga to life.
Takamine: For one example, there is the scene in Episode 1 where Shinra first reports for work at the Special Fire Cathedral 8. I wanted to make his mumbling to himself of “What a dump” at the church’s entrance come across even more plainly in the anime, so I used a color palette to convey an “old” feel, and added chipped areas to the walls.So Special Fire Cathedral 8 generated that sort of effect. As the art director, were there any other scenes or episodes that were especially memorable to you?
Takamine: Every episode was memorable, so choosing one is difficult. From a professional standpoint, I would say Episode 15, where Vulcan is introduced.
Would that be because of the machines that are found inside Vulcan’s workshop?
Takamine: Speaking strictly in terms of the amount of detail in the background, that was probably the heaviest section of the whole season. All those countless pieces of junk were as much as I could stand.Wow, I didn't know that was a real place.Are there any other areas where the artwork is different from the original manga?
Takamine: At the beginning of Episode 1, there’s the scene where the main character Shinra runs into an Infernal and Special Fire Force Company 8 on the platform at Tabata Station, right?
Something the director insisted on was that when locations that exist in reality also appear in the show, we were to create the art using a number of motifs from those actual sites, and that station platform was one of them. It is a fascinating station, with a unique, rough-hewn design to its roof and framework.
How did you compose it?
Takamine: First, we used photos that Director Yase had taken, changed the colors to match the world we were creating, and tweaked them a little by including a few elements from the original manga.
Personally, I found it to be an interesting design, but making it work so that the platforms felt consistent with the framework was challenging.
Spoiler:
Wait...wut?
Shenmue Anime Announced as Crunchyroll and Adult Swim Production
Shenmue creator Yu Suzuki to act as Executive ProducerBig Pic
All I know is, if there isn't an entire episode dedicated to finding some sailors then I'll be disappointed.
"Here's a bangin lil' tune about takin' on The Man!"
(Check out my Super Special Awesome Servant Compendium here)
Oh hey, it's the directer of One Punch Man. Season 2. I guess if you want something to really represent the 'meh' that is Shenmue 3, you go for the guy who took OPM from a A+ to a B-.
Binged All Of Gundam In 4 Years, 1 Week and All I Got Was This Stupid Mask
FF XIV: Walked to the End
Started Legend of the Galactic Heroes (14/07/23), pray for me.
Shenmue got anime
Spoiler:
Wandering on internet
Good question.
On one hand, they've only got 13 episodes so they can't do too much. But from what I've heard most of the games have very little actual plot and are mostly milling around doing odd jobs waiting for story to unlock.
Binged All Of Gundam In 4 Years, 1 Week and All I Got Was This Stupid Mask
FF XIV: Walked to the End
Started Legend of the Galactic Heroes (14/07/23), pray for me.
Something that piques my curiosity is how are they going to handle China. The games were made before the advent of the internet so the devs had to use their imagination somewhat as to what this foreign country looks like and so their depiction of British Hong Kong in particular is wildly inaccurate. Thus I wonder will the anime be faithful to the game's visuals or go for more historical accuracy.
Hmm...Considering the removal of gameplay, I reckon you could just about squeeze in Shenmue 1 & 2 into thirteen episodes if you got clever with the pacing. I don't think they would've put Shenhua so prominently on the cover if they weren't going to cover 2 at least. I would prefer to have it end with one of the canonical game endings rather than risk anime original conclusion to be honest.
Eh, that's like saying The Last of Us has little plot because it's just ferrying a kid from one end of the country to the other. It's factually accurate but disingenuously ignores the extremely character-driven narrative style that Shenmue aimed for.
"Here's a bangin lil' tune about takin' on The Man!"
(Check out my Super Special Awesome Servant Compendium here)
Interview: Fire Force Animation Editor Breaks Down Unique Tempo and Rhythm of the Series
I think that there are probably many people who don’t know specifically what the job of an editor is. Can I ask what form your work takes in conjunction with the series?
Hirose: In short, it involves “cutting” and “replacing” and “master versions.” In broad terms, cutting involves the work of connecting each of the individual, separately animated shots, while either shortening or lengthening them, so that they run for the right amount of time.
I work with the director and episode directors on this, and we decide together how to handle this work. This also includes watching the finished movie while the voice recording is performed.So linking the shots together is the editor’s work. What about replacing?
Hirose: Basically, at the time of cutting, not all of the artwork will have been completed, so once it does get finished, the sound effects people add their sound at the right times, and we “replace” the unfinished footage with it.
Also, once all of the work is completed, we transfer it to tape, send it to online editing, and have them do the fine tuning, such as blocking in the right amount of time for commercials so that it can be aired on TV. Once all that is done, we will finally have our master tape. This master tape is also called the “master version.”It seems like editing has a major role in establishing the tempo and rhythm of a production.
Hirose: That’s true. We first get a firm grasp of the director’s and episode directors’ intentions, and then do the editing with that in mind to bring it aboutI like how his own kids the anime, that's pretty cute.With Season 1 being complete, along with its unique tempo and shots, the world of the series has been well established. From your editor’s perspective, have you also come up with your own steadfast format?
Hirose: No, I haven’t. I still haven’t arrived at a stable format or any answers.
I have worked on a good number of anime productions in my life, and it always feels like it’s a matter of trial and error, where I imagine to myself “that went a little better than last time, didn’t it?” Personally, I feel that relying on one format and not doing anything new is boring, so I do my best to work in a way that I’m not pulling right answers out of my own drawer.
Spoiler:
In terms of the new Dragon's Dogma series, I must ask: https://dragonsdogma.fandom.com/wiki...of_Opportunity Is this Arisen going to side with the landlord or side with the tenants dooming them to die in a magic sinkhole?
Tite Kubo to Draw Burn the Witch 'Season 2' Sequel Manga
I hope soon means very soon.
Spoiler:
"Here's a bangin lil' tune about takin' on The Man!"
(Check out my Super Special Awesome Servant Compendium here)
Last edited by Laserman; September 14th, 2020 at 01:09 AM.
Spoiler:
https://higurashianime.com/chara08.html
my man Mr Delicious living up to his nickname in the new higurashi anime, why is he so ikemen kek
Not 100% sure it belongs in this thread, but Hulu is coming out with a new, exclusive Animaniacs series?
https://www.youtube.com/watch?v=nZxU...ature=youtu.be
The Adventure of the Velvet Room (Sherlock Holmes/Persona) (SB, FFN, AO3)
Blog with all of my Servants so far.