#yuuichirou hayashi

[444lpblue]

The Witch and the Beast #1 - The Witch and the City of Blazing Red

Screenplay: Yuuichirou Momose Storyboard/Episode Direction: Takayuki Hamana Chief Animation Direction: Hiroya Iijima Animation Direction: Kei Tsushima, Yuri Hashimoto, Guonian Wang, Kazuharu Tada, Miyoko Shikibu, Asuna Imahashi, Shinya Segawa (Monster AD: Shouya Gotou) Key Animation: Mana Azumaya, Noa Kawamura, Shigenori Taniguchi, Yoshihito Narimatsu, Yuki Uejou, Hiroyuki Kamura, Mitsuyo Tsuno, Kouichi Hayamizu, Kazunori Ozawa, Shouya Gotou, Yoshiko Nakamura, Studio Maf, Yuka Hayashi, Takuya Nemoto, Maru Animation, Yeong-Nam Ko, Su-Jin Oh

A bit late on this, aren't I? But no matter what, I was going to write about this, and I will write about every episode too – don't worry about it!

If you were in the know how of Yokohama Animation Lab's recent animes, much like me, you were probably very nervous about The Witch and the Beast adaptation. I mean, I made a whole write-up on the outlook, which mostly hinges on director Hamana's consistency in terms of quality and his tendency to bring in specific animators. Well, now that the episode is out, how do I actually feel?

It's… surprisingly very well done. Of course, I'm not saying it's perfect; the biggest issues are likely the limited animation and a bit of off-modelness. But I'm not going to lie, guys. Maybe I am biased because The Witch and the Beast is one of my favorite mangas, but I genuinely had a lot of fun with this debut, and I kind of loved it. It felt like it had the soul of the manga I love despite some production hiccups.

First, let's talk about what you probably felt but haven't been able to confirm. The episode was indeed better than the PV. I got a sense of this as I was watching, and I was really kind of confused about why I didn't feel like the PV looked this good. When I looked back, it was very interesting to see how many differences there were and the improvements that made the shots so much better.

The obvious improvement in the shading of Guideau and Ashaf is apparent, but I also love the addition of the impact gust that they added to Guideau's stomp. Personally, it was something I noticed in the PV as feeling a bit too still. The only effects in the PV were just simple camera shakes, which didn't really sell the impact of her stomp that much at all. Seeing improvements like these from the trailer to the actual episode fills me with a lot of hope for the production. I feel like it shows that, unlike more recent Yokohama productions, they are trying a significant amount more.

If you couldn't already tell from some of the close-ups I've provided in this post, while the on-modelness of some farther away shots can be questioned, the close-ups in this show are absolutely gorgeous. I wasn't super sold on Iijima's character designs initially, but after seeing the improved shading and the various shots they kind of hid from us in the PV, the designs are freaking gorgeous up close. The Witch and the Beast, the manga, has always been a visual spectacle that relied a lot on its art direction, aesthetics, and of course, character designs. While it's nearly impossible for the anime to match it, I think they came very close. The characters' eyes are so pretty; I love the compositing effects they applied to them. It feels like it gives them a lot of depth and kind of like an otherworldly blur, which I think looks great. The features are sharp; they're so pretty. Everyone has their premium eyelash extensions on, and it's just about as aesthetically pleasing to me as the manga. To be honest, it might be my favorite character design for the season.

And since I also briefly mentioned the compositing, I have to apologize to Natsumi Uchida. I specifically pointed her out in my social media rambles as someone who was making me worry a bit. And that mostly stems from her recent effort in The Iceblade Sorcerer Shall Rule the World, which, to be frank, I thought was terrible. The effects looked cheap, just due to how bright and almost neon at times they are. They don't fit in with their environments; it just wasn't pleasant to look at. However, her work in The Witch and the Beast is so much better. While some effects are somewhat questionable, like the smoke and Ashaf's crow appearing when he was saving Guideau, I would definitely say the compositing was a highlight in this episode. It really puts a stamp on the character designs with the beautiful compositing over them. It makes every scene paired with the art direction feel so dense, like everything is just so in-depth.

The art direction in this show is probably its best visual element. It absolutely shines. I mean, if you had to pick something out from this production as a major highlight, it has to be one of the undeniable biggest pros of the show so far. The series is a dark fantasy, but it's not a dull one. A lot of adaptations, I feel, confuse this with each other a bit. A dark fantasy doesn't have to mean dull colors or a realistic design; after all, The Witch and the Beast is all about its aesthetically gothic yet fantasy appearance that is quite grandiose and beautiful in nature, and the art direction covers that perfectly. So huge credit to the art director, Hirotsugu Kakoi and his crew at Kagoshima Ramecahirim.

One of my biggest worries for the anime adaptation, when I first saw the trailer, was actually, believe it or not, kind of its color palette. I genuinely thought they didn't get a full sense of Satake's style. It felt a bit too plain to me when I always imagined the colors in the world in this series to be very solid and strong, while not bright. I think the series functions on its boldness, and the backgrounds are a perfect example of it. The opening, I think, is a great example of this too, just them surrounded by those buildings in the midst of the night feels almost overwhelmingly dense. It really serves as the main appeal in many of the show's shots and ties everything (the compositing, the character designs, and the aesthetic) all together. The buildings and architectures, a mix of 2D and 3D, blend in so perfectly. You can take so many of those shots and make them your wallpaper; honestly, it's so pretty. It's also not just the buildings; the flowers in the room where Guideau and Ione fight were stunning. I also love the visual of the flowers always fluttering up due to impact; it just created such a magical experience for me. It's such a simple addition, but it was great. That, paired with the great soundtrack which goes from almost Persona-like music to soft notes of somberness that build up to the release of a monster, just all goes together so well.

At the beginning of this write-up, I already noted its production issues in terms of sometimes limited animation and a good bit of off-modelness in farther away shots (which I hope they'll fix in the Blu-Ray). There are many instances of very solid animation, which you can just look up on Sakugabooru if you want an example. I'm very impressed by Hamana's ability to manage this level of quality and a very strong self-identity of the show's visuals.

His direction in this episode, while some people might not like it due to its reminiscent of older styles, is noteworthy. Many of his shots rely on simple zoom-ins and zoom-outs, which I would say was a more common technique around 2008 or so. His way of transitioning is also a lot less focused on smooth transitions than most styles nowadays. For example, in Ghost Hunt, Gungrave, or Library of Bantorra, the flow of the storyboard is much less smooth and flowing than modern ones. Hamana's boards feel much more jumpy, I suppose? There's a larger gap that isn't covered by anything, which seems to have given many reviewers the impression of a slideshow. Personally, I don't mind it too much, as I think he still has some pretty interesting ideas. The transitions to Guideau getting stabbed and then grabbing Ione, I thought were really well done and mesmerizing. All the choices for the fluttering flowers were probably directly from him.

And hey, normally I don't like his openings, but the opening for The Witch and the Beast is badass, and I might write an individual write-up for it this week. However, I would also love to see other storyboarders and episode directors on some episodes to compare, especially for future episodes like for Johan and Phanora. I would love to see somebody like Shinj Itadaki give it a try, who I really hope to see in this series at some point. I think it's very possible due to the fact he's worked with Hamana before, and he's worked with Yokohama Animation Lab before. Much like a lot of the key animators here, he was also on Ancient Magus Bride S2, which, if you guys didn't know for some reason, contains an oddly large amount of staff that Hamana worked with before across the years, and they're also appearing in The Witch and the Beast now.

As you can tell, I really enjoyed the debut, despite its issues. I could ramble about it all day; there are so many things I want to talk about. However, I think it would be best to save that for when we get to future episodes. In this write-up, I've already spent a lot of time discussing more of what I like about the general direction and visual appeal of the series. Hopefully, in future episodes, I will be able to go more in-depth on specific storyboards, direction, and visuals that the upcoming episodes will showcase. I'll see you guys next week for the next episode of The Witch and the Beast.

#the witch and the beast #majo to yajuu #winter 2024 #winter 2024 anime #魔女と野獣

[hoshii-zoras]

Bocchi The Rock #5

SB/ED: Yusuke Kawakami

AD: Saki Takahashi KA: Shouta Sannomiya, Isao Hayashi, Takeshi Maenami, Toshifumi Akai, Tomoyoshi Tsuchiya, Saki Takahashi, Tenohira, 新山, Tomoki Yoshikawa, Yuuichirou Komuro, Yuuki Itou, MYOUN, Kerorira 2nd KA: Chiemi Nishikawa, Mahmoud, Kiyakiya, Myan, moaang, ani, J-mulli

I should really get to reading it for myself, but like, surely the absolute perfection that is this character/relationship writing isn't something that they added, right??? Especially with the way it connected to the boniji scene just before. The value of human connection, and how the sudden gift of it after isolation is all you've ever known, can immediately make your life so much better, yet scarier at the same time. Bocchi is putting herself out there, and now that she's in a band, she has to carry *everyone's* dreams and ambitions with her, not just her own. It's scary, it's complicated, but *god* does it feel so validating.

Because as Nijika made clear to her in ep 2, now *Bocchi's* dream is being shared with the others as well. Her dreams, her desires, her struggles, all of it is now being recognized by these friends that she could truly call her own... Everyone's individual & unique desires, all coming together to form a single tightly-knit group, with none of those desires being more important than the other... And with her connecting to Nijika this episode of their shared fear that their sheer focus on their own dream is putting pressure on the others. That's what Bocchi was struggling with up to this point as a result of her isolation, to start fighting for her friends' dreams as well as her own, and she discovered with Nijika that she's not alone in that struggle. It's yet another small step in the grand scheme of things, but the amount of catharsis here with Bocchi making those genuine connections with others after a lifetime of isolation is *so* palpable... Even though Bocchi wrote those lyrics as a result of that isolation, it's Ryou who's putting them to music, Kita who's singing them out to the world, and Nijika who's keeping the song on beat, being the glue tying the band together with her own (as of yet unknown) dream 😭🥺 This... this is peak kirara. It's the adaptation I've been waiting for for *years*, and god I'm so happy to be alive to be able experience it... This is why I continue to live. I know it's unhealthy, that I'm just using it as an excuse to regress further into my shell, but the hope that it gives me to see a character that resembles me so much grab hold of a life and friends in that characteristically kirara idealistic way, is a value that nothing can take away. Especially in such an uncaring and capitalistic world, I'm truly and forever grateful to have found a niche that I could fully identify with. I love kirara, I love bocchi,,,,, so, so much.... 😭

The rest of this is mostly a response to this post, which is entirely about the vending machine scene

As the scene begins, Bocchi is still deep in thought about what "growth" means to her. Even though it's so obvious to the rest of us how much progress she's made, she still hasn't fully internalized it, nor does she know yet why she's working so hard for this. All the kindness around her, symbolized by the backlight of the vending machine, but all Bocchi could do is stay pent up in the shadow of her own anxieties.

The specific vibe of this scenery (most definitely unintentionally) calls to the photography of Eiji Ohashi, who's dedicated a large part of his career to taking pictures of vending machines in desolate, dark environments, much like the one we see in this scene. The atmosphere of these photos have always captivated me, with how the light of the vending machine provides a safe haven from the world's darkness. Just as Bocchi's life up to this point has been stagnant and dark, Nijika and Kessoku Band's newfound presence changed her world, and provided the light for her to get up and run towards.

Even as Nijika enters the scene, the focus of the scene remains on the wall of vending machines behind them, with the two lights above them giving each character their own place in the scene. Immediately we're primed to pay attention to the environment—particularly the lighting—around the characters and how it reflects their emotions. During this time, neither of the characters are really saying anything of importance, because Kawakami instead chooses to elevate what could've been a standard dialogue scene, to nonverbally express emotion in a way that's only possible in a visual medium. In order to be immersed in the atmosphere of this tranquil moment of sincerity between Bocchi & Nijika before their big audition, the environment around the characters is just as important as the characters' movements and expressions themselves. Kawakami employed the realistic, yet no less expressive acting of Tomoki Yoshikawa, who, along with his Keisuke Kobayashi-influenced way of depicting everyday, mundane movements—realistic, yet subtly exaggerated in all the right ways—skillfully integrated the blinding backlight of the vending machines into his drawings. Once again another facet of the scene that puts the characters within and a part of the scenery around them. Just as the characters become part of the environment, so too does every shot seamlessly & naturally blend into one another, bringing a sense of wholeness to the scene. Just as the comedy scenes endear us to the characters, it's their complete opposite in scenes like these, depicted in a more objectively realistic manner, that is what makes us truly connect to them; and it's umeP & Saito's team's unending dedication to character acting/expression that is what bridges the two together.

The differences between Bocchi & Nijika are the foundations of this scene—with them obviously being complete opposites in personality, Nijika realizes that she may have pushed Bocchi into her band without considering that Bocchi may be into the guitar for a completely different reason to her (and she'd be right, lol) In the environment, that's depicted through the small barrier between the two vending machines that only Nijika crosses for Bocchi. But as I said, this facet of their characters is being depicted through their movements as well, with Nijika's subtle yet thorough movements contrasting against Bocchi staying still, and with the complete difference in energy levels in their waves to each other here:

Nijika, initially bathed in the light of the vending machines, slips for a moment into the shadows—the very same shadows that Bocchi has mostly been enveloped in for the whole scene. Though her movements are eager & energetic, Nijika continuing to keep Bocchi at arm's length, suggesting that there may be a part of her that she keeps guarded from others, in a very similar way to Bocchi. Though their movements remain completely different, for a moment the way they integrated into the environment (being in the shadow, rather than the light) united together, and we're left with Bocchi contemplatively gazing at Nijika as she leaves the scene. That small similarity to Bocchi is something we've seen with Kita as well, and it's what pushed Bocchi to take that step to bring her back into the band. Though Bocchi doesn't truly know Nijika yet, nor her reason for being in the band, the fact that she cares so much about it that she can't bear to spill the secret to her is something that Bocchi can relate to. Bocchi, who up to this point has been completely alone, is now finding a connection, no matter how small, to someone who's the complete opposite of her. That similar passion for their own dreams & desires—just that alone is enough for Bocchi to put her all into this joint, group effort. Nijika cares, so Bocchi will too. That's all there is to it. That's what friendship is about. All this, conveyed in an otherwise completely normal dialogue scene in front of some vending machines. An ordinary, mundane moment, that Bocchi can only realize how precious it is to her in retrospect, after she's grown. This is the power of slice-of-life when paired with the boundless passion of one of the most prolific teams in the industry. #BOCCHISWEEP

#bocchi the rock! #yusuke kawakami #saki takahashi #tomoki yoshikawa #sakuga

[toraonice]

Yuri on Ice interview translation - Animage 2017/01 (p20-23)

I was going to post this last week but gave priority to the BD stuff. This will be the final interview from the booklet that came with January Animage! There’s still an interview with Kenji Miyamoto left untranslated, but it will be taken care of by @whiteboxgems​ whenever she has time! I’ll reblog it when it’s around.

This is actually 2 interviews, I’m posting them together because they were one after the other and (main reason) because the second one is very short. A few notes below to better understand the interviews.

The first one is with Yuuichirou Hayashi, the one who created the ending (ED = ending by the way) footage. I have the feeling someone previously posted translations of the captions under the ED screenshots, but I don’t remember where and I’m pretty sure it was just the captions and not the interview parts, so here you have it complete. This one is pretty interesting because he explains in detail how they created the ED, and has some extra information on cut scenes etc. Definitely a must read in my opinion!

The second one is a short interview with Kayoko Ishikawa, the one who did the costume designs. Here you might think: didn’t Chacott design the costumes? I’ll explain. It’s more or less like with Mitsurou Kubo and Tadashi Hiramatsu: Kubo created the original designs for the characters, from scratch, and Hiramatsu transformed them into designs specifically created for animation, therefore with simpler lines, detailed expression sheets and so on. Likewise, Chacott did the original designs for the costumes, from scratch, based on the indications by Yamamoto and Kubo, and then the anime’s costume designer simplified and modified them so that they would be suitable to be animated. (Before actually animating them there’s a further step: the anime’s color designer is going to decide the exact colors, shadows and highlights included, that will be used inside the anime. I translated an interview with the color designer Izumi Hirose some time ago)

I usually don’t add pictures but this time I felt that it would be better to add them as an immediate reference. However, they are just for reference and are not meant to be visually stunning, so please bear with the quality because I just took photos of the magazine with my phone and quickly edited them.

Translation under the cut! (kind of image-heavy)

***If you wish to share this translation please do it by reblogging or posting a link to it*** 
***Re-translating into other languages is ok but please mention that this post is the source***

Yuuichirou Hayashi ED storyboard, direction, key animation “I paid attention to the sensuality”

The faint sensuality and physical beautiy created by fireworks & water.

—The ED of “Yuri on Ice” has been highly praised by the fans too. How did you feel when director Sayo Yamamoto offered you the job?

I was told by MAPPA at quite an early stage that they wanted to ask me to do the ED. Director Yamamoto is known for her stylish animation, and I was sure from the start that it would be a challenge. Before the meeting I was really anxious to know what kind of instructions I would receive. —What instructions did director Yamamoto give you?

She already had a concrete image in her head, and she told me that the concept would be to “show candid shots of the skaters”. Real figure skaters actually use Instagram and other SNS a lot, and often post pictures. She showed me the pictures they posted and we talked about how to make the ED. Director Yamamoto really knows a lot about figure skating, and she explained many things to me from a fan’s point of view (LOL). I could feel her love for figure skating very strongly. I also watch it on TV, but my knowledge is limited to knowing the names of the most famous athletes, therefore it was very interesting information for me. —The fireworks in the beginning are very striking.

First of all I created the storyboard and drew all the candid shots I could think of. Then I decided the order of appearance based on the song and did some adjustments like removing the shots that wouldn’t fit, but I was really torn about the first and last pictures… After all, I wanted it to start with a shot of Yuuri, Victor and Yurio having fun together. Real figure skaters too get along well outside of tournaments and post pictures together with other athletes on the SNS. Still, the time the three of them spent together in Japan is actually very short. Yurio returns to Russia around May, and fireworks are a bit weird for that time of the year, but you know… why not?, I thought (LOL). —Why did you choose fireworks?

When I was thinking about what would be nice to see them doing I thought that, since Hasetsu is on the sea, fireworks could be a good idea. Since the concept is SNS and candid shots the footage would be made by a slideshow of still pictures, therefore we could use the kind of pictures taken with the camera shutter left open to effectively show the traces of light drawn by the fireworks. I paid attention to sensuality, not just in this scene but in the whole ED. I thought that motifs of fireworks and water would be good to represent the beauty of colors and of the trained bodies of figure skaters. —The last shot is also with fireworks, but it only has Yuuri in it.

Actually, before thinking of the three of them playing with fireworks, the first image that popped into my mind was Yuuri dancing alone. The first storyboard also started with a picture of “Ice Castle Hasetsu” seen from the outside. However, there are episodes ending with Ice Castle Hasetsu too, so it would have been boring to have the ED start with that too, and that’s when I thought that it would be interesting to add Victor and Yurio to Yuuri’s solo scene that I had imagined first. Lots of love for the characters! Inside stories about how the candid shots were born.

—The SNS pictures of the skaters are also very realistic. It seems that the fans are curious about what is written in the captions too.

The production team recreated the social media screens very carefully, from the account name to the icons, and we made them slide fast on purpose so that it would be difficult to read the text. After all the ED is meant to show the names of the staff, and we thought that it wouldn’t be nice if some other text caught the viewers’ attention too much (LOL).

—It’s also realistic that the number of “likes” for every character is different. Some characters will enjoy writing long posts, while others like Seung-gil only write one word. I really think that the pictures are successful in representing each character’s personality. —How did you decide the order of appearance of the candid shots?

We didn’t follow this pattern for all of them, but since this show is set in various parts of the world, I decided to pay attention to the time difference. The shots in Europe are set around noon and the ones in Asia from evening to night. The director also said that “they come from different countries and live in different places, so there is a time difference”, therefore I tried to reflect this in the pictures. —What did you have a hard time with?

I was the only member of the staff working on this, so the schedule was quite tight (LOL). I thought about how to make it the most effective while still being something that I would be able to do alone. However, and this is not just regarding “Yuri on Ice”, it’s not like I had a hard time. I’m the type who tends to forget any hardship when it’s over (LOL). —Who is the character that caught your attention the most?

I like Victor. I like that, even though he always acts as he pleases, only thinking about himself and not really the others, he also has a playful side and you can’t hate him. Working on this series I could really feel the love that Mitsurou Kubo-san, director Yamamoto and the rest of the staff have for the characters.They really like everyone. That’s also why I naturally felt that I should express “love” in my work as well. —Are there any shots that you had to cut and never saw the light of day?

There was a shot with Yuuri and Victor eating soba. It’s a dish of Hasetsu and you eat it topped with various kinds of ingredients, but since Yuuri tends to gain weight easily he just ate soba without anything on it. While Victor looked all pleased with his soba full of toppings. Unfortunately, when putting the pictures in order we realized that there were too many and it would become chaotic, so we had to cut it. —Did the way you look at figure skating change after you worked for this series?

It feels much closer than before. I didn’t even know that skaters posted pictures on the SNS. It happened that I started checking them out as a reference, but they were so interesting that before I knew it I’d spent lots of time just doing that… —The show is getting closer to the climax.

I’m happy to see that the show is getting a huge response. I feel that Kubo-san and director Yamamoto’s overflowing love for figure skating and the characters is reaching the viewers. I still don’t know how it ends either, so I’m very curious to see whether Yuuri and Victor will be able to win this tournament. Please watch over their battle until the end!

**Captions**

Fireworks on the beach On Hasetsu’s beach. Yurio is covering his ears because he is not used to Japanese stick fireworks that you hold in your hand. In the beginning he’s cautious, but then he gets carried away and starts waving it around. Maybe he will try to shoot at Yuuri the type of fireworks that you place on the ground (LOL).

Wine is the protagonist? This is a picture uploaded on the SNS by a skater and it’s just the landscape. It’s set in France and it’s meant to show that he is just leisurely drinking wine. It would look a bit too crowded to only put pictures of people, so I added this to have a visual break.

Christophe Giacometti The figure skating season is from autumn to winter, and summer is a time for vacation. In this scene he relaxes at home playing with his cat. This is based on something director Yamamoto said in a meeting: “it would be nice if all the skaters had a pet”, and “Giacometti would have a cat”. When I asked her about Christophe’s image she said “anyway, sexy”, and I spent quite some time wondering how I could express sexiness in your everyday life (LOL).

Phichit Chulanont He’s buying some snacks to eat from Bangkok’s food stands. He likes SNS, and he’s probably looking for new stuff to post and uploading his selfies every day, therefore I thought it would be nice to use a really simple everyday life scene. I drew it so that it would look like it’s conveying “I’m having fun!” and “this is delicious!”.

Seung-gil Lee Together with his pet dog in his house in Korea. The dog is a Siberian husky. At the meeting I was told that Seung-gil isn’t really interested in fashion, so I made his casual clothes very plain and uninteresting. Originally I was planning to show him very loosely idling around at home in a sweat shirt, but I though maybe that was too much (LOL) and I changed it to this version.

Michele Crispino The siblings spending some free time together. They are taking a souvenir photo in front of the Cathedral of Santa Maria del Fiore in Florence. Michele looks like he’s having fun with his beloved sister.

Jean-Jacques Leroy JJ is spending his time off at a high-class hotel in Singapore where celebrities gather. I drew him as someone with a satisfactory real life, as if he’s saying “I’m going to a party” (LOL). He looks like he would always be surrounded by girls, but to be considered toward his fans he’s taking the picture so that you can’t see the girls’ faces. He’s the only one looking at the camera.

Otabek Altin A picture from when he goes back to his country Kazakhstan during his time off. It’s taken on a very long escalator in a station of the subway. I made some research about Kazakhstan sceneries, but I couldn’t find anything that gave me a good idea for a situation with Otabek. When I consulted with the director, she told me about this long escalator.

Guang-Hong Ji The picture is taken in front of a sports center and shows him going to practice with his new bicycle. This is also based on something I heard from the director. She said that one day, when she went to watch a figure skating tournament in a certain country, she spotted one of the skaters going to the arena with their bicycle. I thought it was amusing that it was like he’s just going to play in the neighborhood, and I created this situation.

Yuuri and Victor facing each other on a train Yuuri and Victor coming back from practice. I didn’t really mean it to be a parting picture, but the setting sun coming in from the window and the symmetrical layout give the scene a slightly melancholic and lonely feeling. I wanted to use a vehicle, and for this scene I used as a model a train that is actually running in Kyushu*. I carefully researched the interior too when drawing it. [*translator’s note: It should be the 305 Series train that runs on the Karatsu line, look it up on Wikipedia and you’ll see that the seats are like that]

Yuri Plisetsky A picture of him waiting for the train on his way back from practice, in St. Petersburg in Russia. Since he’s a punk he’s lying on the bench sideways checking his phone (LOL).

Yurio and the lion statue Together with the lion statue in front of a museum in St. Petersburg. Since in Hasetsu Yurio was attracted by an animal T-shirt, I was looking around to see if there was a good place that could be used to show his punkiness. With this lion & lion picture I obtained the effect I was looking for.

Victor Nikiforov This is Victor taking a selfie as he’s going on a drinking spree in Nakasu, a place in Kyushu (LOL). In the anime he was also shown going to eat Nagahama ramen while having Yuuri and Yurio practice “eros” and “agape”, so I wanted to draw a picture in the style “meanwhile, Victor… (LOL).

Sneak shot of Yuuri and Victor Victor arranging Yuuri’s hair when they are trying out costumes at Yuuri’s house. I created this picture aiming for an indirect, subtle sensuality. I guess the sneak shot was probably taken by the 3 skating otaku sisters (LOL).

By the sea 1 It’s after Yurio returned home, so it’s mainly Yuuri and Victor. I aimed for a retro feeling, as if the picture was taken with a camera from the 70s. I used this scene in a moment where the ED song changes to a slow pace. Instead of showing the characters up front, I chose a soft look to give importance to the atmosphere.

By the sea 2 They are getting the salt off their bodies after playing by the sea, the place is Niji no Matsubara in Kyushu. There are actually showers like this on the beach. They have this curious shape because they’re meant to be used by people facing each other. I was told that this scene was originally planned to be used in the show, but unfortunately that wasn’t possible in the end, so I decided to at least use it in the ED.

Yurio full of cats Taken at the training place in Russia. The scene shows Mila having fun covering Yurio in cat plushies. Since Yurio has a cat, it’s common for fans to throw cat plushies in the rink after his performances.

Yuuri and fireworks When I was creating the ED, the first image that came to my mind was Yuuri dancing alone on the beach. He’s already dancing on the ice in the show, so I wanted to make this scene different, more fluid, as if he’s dancing ballet.

Cool! Sexy! Cute! Costume designer Kayoko Ishikawa

What is interesting in designing costumes different than normal clothing

—How did you start working for the costume designs in “Yuri on Ice”?

The first instructions I received from (Sayo) Yamamoto-san concerning the design of skating costumes were to make arms and legs longer than in normal character design and to show muscles (especially on the butt and thighs). I then asked what image Chacott-san had in mind when they designed the costumes, with what image Yamamoto-san wanted to proceed, and I started working. —Could you tell us what was difficult and what was interesting about designing figure skating costumes?

The designs by Chacott-san were just full of interesting elements that you cannot find in normal clothes. While keeping the interesting parts and the overall image, I reconstructed them, simplifying them as much as possible to make them less difficult to animate and adding some extra things. At the beginning I found them hard to understand, but I gradually started having fun designing them. I aimed to make them cool! Cute! Sexy! —Do you have a favorite character?

I was shocked by the gap of Yurio and Otabek*. [*translator’s note: I believe she means the gap between their normal appearance and when they are on the ice] —What clothes would you like Yuuri, Victor and Yurio to wear except for the ones you designed this time?

Yuuri had lots of black and dark outfits, so I would like to see him wear something uselessly flashy, cool and over-the-top. Like bright red bondage…… —Bondage! (LOL) What about Victor and Yurio?

I want Victor to do the macho man costume skit Plushenko looked like he had a lot of fun doing years ago! I’m sure it would be amusing. And I would like Yurio to wear make-up and a black leather jacket like KISS (the band) over a cute coquettish ballerina costume like in the masked ball of the “Phantom of the Opera” (opera ver.). Only Yurio would be able to wear both at the same time. It would be such chaos. —Lastly, please tell us the highlights of the climax!

You will be showered with surprising developments (LOL). And the way it ends is very moving. I hope you will watch it until the end!

**Design point**

Yuuri Katsuki I wanted Yuuri’s costume to be sexy, so I designed it with underwear and bondage in mind.

Victor Nikiforov For Victor I used a stoic and prince-like image. I’m glad the gradation successfully looked nice in the show.

Yuri Plisetsky Yurio’s costume is midway between stoic and neat. It’s designed in the image of feathers and flames.

Phichit Chulanont Phichit’s is a mix of neatness and cool-cuteness.

Christophe Giacometti Chris’ SP was the hardest. Until it was colored I couldn’t understand what the final impression was going to be.

Jean-Jacques Leroy JJ is a crazy character, but his costume is quite conventional.

Otabek Altin I purposely incorporated a certain design in Otabek’s costume. Check it out when it airs in the show!

Leo De La Iglesia I like both the music and costume of Leo’s SP. His image reminds of Michael* and it’s both cool and cute. [*translator’s note: Michael Jackson]

Random note #1: Not sure whether I should be happy or sad that the shower scene was not featured in the anime, as I find it very beautiful how it’s shown in the ED. But I’m sad we couldn’t get to see the soba scene.

Random note #2: I’m sure no one couldn’t care less, but actually one of the pictures of the ED is set in my hometown, lol.

Random note #3: The costume designer seems such an amusing person. I mean, she wants to dress Yuuri in red bondage...! I’ve yet to see that even in fanart, lmao. Someone should draw that, AND Victor in the macho man costume AND Yurio with the ballerina dress + leather jacket and KISS make up (which by the way sounds like something he could’ve used in his exhibition performance considering the song...).

EDIT: Just a note because I’ve seen some extreme interpretation of Yuuri’s SP costume being inspired by underwear and bondage, but please remember that the costume was originally designed by Chacott, and the designer said "Since the song is performed from the point of view of a woman, I designed it with the concept of “a femme fatale who seduces men”.” (you can read the full interview here). In this interview the costume designer means that she took inspiration from how bondage and underwear look to edit the design, she doesn’t mean that within the anime the costume was created based on bondage.

#YOI #Yuri on ice #interview #translation #animage #You Only Live Once #costume design #animation #yuuichirou hayashi #kayoko ishikawa

[pkjd]

A new PV for the “Kitsutsuki Tanteidokoro” (Woodpecker Detective’s Office) TV anime has been revealed. The series will have its broadcast premiere April 13th.

-Synopsis-

“The novel’s story is set in 1909 during Japan’s Meiji era, and centers on fictional versions of real-life poet Takuboku Ishikawa and real-life linguist Kyousuke Kindaichi, who were acquaintances in real life. In the novel, Takuboku runs a private detective agency to support his family. Both begin to investigate a case of supposed ghost appearances at the Asakusa Juunikai building, also known as the Ryouunkai.”

-Staff-

Chief Director: Shinpei Ezaki

Director: Tomoe Makino

Series Composition: Taku Kishimoto

Character Design: Shuuichi Hara

Music: MONACA

Studio: Liden Films

-Cast-

Takuboku Ishikawa (CV: Shintarou Asanuma)

Kyousuke Kindaichi (CV: Takahiro Sakurai)

Kodou Nomura (CV: Kenjirou Tsuda)

Tarou Hirai (CV: Kensho Ono)

Isamu Yoshii (CV: Souma Saitou)

Sakutarou Hagiwara (CV: Yuuichirou Umehara)

Bokusui Wakayama (CV: Makoto Furukawa)

Ryuunosuke Akutagawa (CV: Yukiya Hayashi)

via: kimikoe.com/kitsutsuki

#Kitsutsuki Tanteidokoro #Woodpecker Detective’s Office #anime

[recentanimenews]

Netflix's Monster Hunter CG Movie Reveals Japanese Cast Members

  Next week will see the debut of Netflix's Monster Hunter: Legends of the Guild, a CG-animated movie that's set to stream starting on August 12. Netflix dropped the date announcement in July, and now we know who will be voicing the leads in the Japanese language version.

  Here's an overview of the Japanese cast: 

  Aiden - Yuma Uchida (Hayate Immelman in Macross Delta)

Julius - Takanori Hoshino (Van in Gun X Sword)

Mae - Yu Shimamura (Yuuichirou Hyakuya in Seraph of the End)

Nadia - Marika Hayashi (Natalia in GARO -VANISHING LINE-)

Knox - Setsuji Satou (Great Britain in Cyborg 009: Call of Justice)

  Japanese trailer:

    Synopsis:

You may know him as Ace Cadet or Excited A-Lister... now let's meet young Aiden, the self-proclaimed Hunter, in an epic quest to save his village. In a world where humans and fearsome monsters live in an uneasy balance, young hunter Aiden fights to save his village from destruction by a dragon.

  Source: Famitsu via Siliconera

    -------

Joseph Luster is the Games and Web editor at Otaku USA Magazine. You can read his comics at subhumanzoids. Follow him on Twitter @Moldilox.

By: Joseph Luster

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

[kake-gurui]

A interview with Kakegurui’s anime Director  Hayashi Yuuichirou

So the director of the anime had a interview and talked about the anime's last episode.

Translated by our club mod Egg @laughing-milk and AJ from the Kakegurui discord ( https://discord.gg/86BEkj + TOD discord https://discord.gg/f7cSNH

Hayashi Yuuichiro's Interview

Firstly, can you tell us more about the background behind the anime's last episode's story that was drafted by Kawamoto-sensei?

Hayashi: We planned to do the Tower of Door arc. This episode was supposed to be the eventual Sayaka and President main episode. That being the case, we want to end the series with Yumeko. I want Mary and Suzui to have more screen time too! So, as a result of considering some ideas, “I pleaded with Kawamoto-sensei!”

Please tell us about the highlight of the last episode

Hayashi: In the end, it's the gamble between Kirari and Yumeko that has yet to be seen in the original work, right? After that, Runa's role is pretty big too. The conclusion is also like a summary of everything that's happened up till now, and small bits have been crammed into the epilogue. Also, the key item has to be the tarot cards' special point - The designs - I hope you took that in! There's a vital observation to be made here too! Please leave a few last words for everyone watching the anime! Hayashi: We've finally reached the finale. Please have fun with this mysterious gamble no one has known of yet! Though the Tower of Doors was not shown, it would be good if I could have animated that as well. Thank you very much.

The authors comments summarised

> I thought(worried?) a lot about what kind of animation my story could become. > However, In the end under Hayashi's supervision, I was very excited and it turned into something truly wonderful > The hardest part of the production was time constraints and deadlines, the rest was very fun.

> The highlight of the original ending is of course the original gamble. (He elaborates on it - What is gambled, what can be lost, and won... etc)

> I hope those watching the anime enjoy it! I hope people can enjoy both the anime and manga. > The last episode has made this become a much more intense anime than expected initially, so it is a must-watch! It is truly very fun/interesting!

Original source: http://www.animatetimes.com/news/details.php?id=1505964368

#kakegurui #anime director #anime original #interview #kakegurui anime

[oldmanreed]

i swear, yuuichirou hayashi is just jerking himself off with wads of 1 000 000 yen bills while describing scenes to the animators

#kakegurui #seriously #that fucking animation budget

[snknews]

SnK Season 4 Countdown Illustration by Hayashi Yuuichirou

MAPPA has released the broadcast day illustration for Shingeki no Kyojin Season 4 (The Final Season), featuring soldiers drawn by Season 4 Director Hayashi Yuuichirou!

Season 4 is set to premiere today.

All Season 4 countdown illustrations can be seen here.

Related News: MAPPA || Photos: Official Art || Season 4 || Staff

#snk news #snk season 4 #mappa #snk staff #hayashi yuuichirou #photos: official art

[toraonice]

Yuri on Ice interview translation - Animage 2017/01 (p18-19)

Interview with Wataru Hatano, who sang the ending song “You Only Live Once” and is also Georgi Popovich’s voice actor. 2/3 of the interview is about the song and 1/3 is about his role as Georgi. After hearing other seiyuu/staff’s impressions on Georgi, at last we get to know what the person who actually voices him thinks, lol. I was planning on posting it right after his birthday but then I gave priority to other stuff like the BD contents etc... Here it is finally. It was published on the Animage that came out at the beginning of December, so it only covers up to after ep 10.

***If you wish to share this translation please do it by reblogging or posting a link to it*** 
***Re-translating into other languages is ok but please mention that this post is the source***

Wataru Hatano ED artist / voice of Georgi Popovich A song that allowed him to look into his individuality

The recording of the ED song that allowed him to take a new look at himself.

—The ED theme “You Only Live Once”, that you’re singing as “YURI!!! on ICE feat.w.hatano”, was created by the “Yuri on Ice” music producer Keisuke Tominaga. What did you discuss about with Tominaga-san during the creation process?

I had previously received a demo tape with the provisional song, but the first time I met Tominaga-san was on the day of the recording. The first thing he told me is that this song was made for “Yuri on Ice”, therefore we would need to get as close as possible to the show. PIANO already had a clear idea of the image of the song and what it was meant to represent, and I was told “we are going to modify your voice and use it as an element, in a good way”. —Weren’t you reluctant to have your voice modified?

Actually I thought that it was interesting. As voice actors, our voice can also be considered an “element” of a show, and I personally think that it should be that way, so I thought it was worth giving it a try. Since it was a very different approach than what I had previously experienced, I thought that the methods I had used that far wouldn’t work this time, therefore I made sure to closely listen to Tominaga-san’s advice during recording. —What kind of advice did you receive from Tominaga-san?

If I put too much of my individuality in the song, there were parts that wouldn’t match the melody properly after my voice was modified. However, if I didn’t convey any feelings at all, then it would become like a Vocaloid (LOL). The main problem to solve was how to “control my individuality”. —You basically had to adjust how much individuality to show in the song.

If I sang like I normally do I would use vibrato and “shakuri” (pitch shifting up) to add feelings to the song, but this time I couldn’t do it because it would stand out in a weird way when my voice is modified. Tominaga-san gave me many little advices like “sing this part long and steady” or “here only put some personality at the end of the line”. It was quite a meticulous recording, as I would basically sing and record the lines one by one. —So you recorded the song in more takes, with care.

The English pronunciation was especially difficult…… We had to re-record some parts like “You Only Live Once” at the beginning over a dozen times. But it’s definitely something we couldn’t have been able to do if Tominaga-san hadn’t been there. —It was a recording with limits, basically the opposite of singing freely, is that correct?

For character songs you are often requested to fully pull out your individuality and the character’s qualities. But this way of singing was also quite new to me and it was a really good lesson. For the first time I was able to realize what “habits” I have when I sing, and it was a good occasion to take a new, more objective look at myself. —So you mean to say that through the song you were able to look into your own individuality?

Yes, in fact when I heard the completed song I was surprised at how it turned out, also because it almost didn’t sound like myself, as if I wasn’t the one singing it. I think it was a very valuable experience. —What did you come to notice about your “individuality” when you recorded the song?

I have the habit of conveying the message contained in the lyrics by singing in a strong subjective way. But this time I realized that, by singing objectively, you can deliver the message in a more profound way. This is what this experience taught me. Sometimes, instead of “pushing forward”, you can deliver the feelings in a song’s lyrics by “pulling back”.

A song for all figure skating lovers. —What impression did you have of the lyrics?

When I received the lyrics, at first I thought that they were singing the feelings of the protagonist Yuuri. But when I went to the recording the staff told me that “the lyrics are not meant to be associated to a certain character, but to apply to all people who practice figure skating”… and I was like, “ok now I see”. To interpret the lyrics I started from the translation of the English parts, but indeed I thought that it perfectly suits the transient image of figure skating. —What are your favorite lines?

All the lines are beautiful, but the one that left the strongest impression on my mind is “I don’t mind getting hurt if it’s to shine” (“kagayaku tame no kizu wa itowanai”). I genuinely think that it’s a nice phrase. I also like “resound, thunderous applause, so loud that I’ll feel rewarded for all time spent so far” (“ima made no hi ga mukuwareru hodo hibike thunderous applause”). I think the English expression “thunderous applause” really represents the world of figure skating and I like it. —What do you think about the melody?

The first time I listened to the demo tape I thought it was an instrumental song. Like, “wait, there’s nothing to sing here” (LOL). But of course, it did contain a sung part. The voice was extensively modified and almost sounded like one of the instruments, so I didn’t notice. That’s why in the beginning I had no idea of how I should sing it, and until the recording day I received no suggestions at all. —Indeed, listening to the finished song it sounds like your voice has become one with the other instruments.

The part at the start of the song too, in the lyrics it’s supposed to say “Oh… You Only Live Once”, but we actually overlapped other sounds taken after that, like “wooh wooh” and “yeah yeah”, so that who listens cannot catch what is actually said. It’s interesting how many ideas they came up with to better represent the atmosphere of the show. —Yuuri’s voice actor Toshiyuki Toyonaga-san also said that if he were a figure skater he “would like to dance to the ED song sung by Hatano-san”.

Really? I’m happy to hear that! All of the “Yuri on Ice” songs are wonderful, and I’m honored to hear that among all those he picked “You Only Live Once”. —The ED footage by Yuuichirou Hayashi is also splendid.

Everyone has such nice expressions. When “You Only Live Once” overlaps with Yuuri, Victor and Yurio’s wide smiles, among the popness and freshness of the song there’s a lingering transient feeling too…… You can feel the love of all the staff for this show. —What concept did you choose for the song’s MV?

What I told the director is that, since the song is made to be close to “Yuri on Ice”, I would have liked the MV to be the same too. It starts with me walking in a monochrome, colorless city, looking in the distance with a distressed expression, and as the song gets picks up the pace it becomes more carefree. I start spinning around and spreading out my arms. This time we created one MV by overlapping lots of shots. We did it on purpose not to insert an exact story in it, so I’ll be happy if you watch it imagining the story as you prefer. —What about the coupling song “Sing and Dance!”?

I chose it among a few available candidates. Since “You Only Live Once” recalls the icy coldness of the rink and people shining toward their dreams, I wanted the coupling song to be more straightforward, more like “Let’s all dance and dance together!”. The music was composed by fu_mou, who is also a DJ. When I asked him what genre would this song be considered, he told me “tropical house”. The word “tropical” became a hint for me when I was deciding how to sing it. —Like in the image of tropical islands?

Positive and frank, with an excitement that pushes you forward. That’s what I pictured when singing it. It’s house, so it has a fast beat and your body automatically starts moving. It gives you a different impression than “You Only Live Once”, but when you listen to them one after the other I believe that their images are connected. —It sounds like you gained many things from this recording.

It was an occasion to look into my individuality and I could get to know some interesting people. Starting from the composer Genki Hikota, all the members of the music production team PIANO are very young. I heard that Hikota-san is a DJ that works overseas too, and I was wondering, what if when I meet him he’s like “hey, man!”, like a totally loose guy (LOL). But he was actually a very polite person. He is very talented and also has a good personality. It’s amazing that people like that really exist. When he did the track down and the song was born, he shook my hand and told me “we should work together again”. At that time I thought, “I see, it’s because this song is created by people like him that it manages to be so open and clear”. Something in common with Popovich, who manages to turn damage into strength.

—In the anime you are playing the role of Georgi Popovich. I understand that your singing voice in the ED was modified, but still, it sounded so different from Popovich’s voice that I was surprised.

I was surprised too (LOL). The instructions I received from the sound director are to “use a more threatening, low voice. His creepiness must sound amusing”, and that’s why I played him like that. —The character himself means to be totally serious, but that ends up being funny instead.

I’m just doing my best and being faithful to the script, but for some reason…… the moment I step in front of the mike, I see the other members of the cast looking as if they’re trying not to laugh (LOL). I’m happy to see that but it’s also embarrassing. —How is Popovich seen from your point of view?

He’s able to express with his skating the feelings that he experiences in his private life. Since he pushes out his feelings very forcefully when he skates, I didn’t have to hold back when I was playing him. Most of his lines while he is skating are monologues, but I’m being careful to say them energetically, as if he’s almost about to speak them out loud. —At first sight he looks reserved, but when he performs he expresses his attachment toward his ex-lover with tears in his eyes.

The short program was still ok, but in the free he was seriously creepy (LOL). However, normally if something bad happens in your personal life you tend to lose your energy even toward work, but Popovich on the contrary is able to turn it into strength when he skates. I can understand that feeling because I have experienced it too. Actors are curious persons. When they are deeply wounded by something that happened in their personal life, when they are in distress, they can pull off better performances than usual. —It’s like using adversity as a spring to push forward?

I think that maybe, when you reach an extreme condition your mind becomes keener than usual. In that sense, Popovich is a person able to turn a crisis into a chance. That’s why after he has finished his program I’d like to tell him “you gave a nice performance”. —Are there other characters that caught your interest?

They all have very particular personalities, so I find them all interesting. It’s like if you don’t have a strong personality you can’t survive, but if I have to choose I’d say Yuuri and Yurio. Maybe it’s because I’ve watched the series from episode 1, but they touch me emotionally. I especially love Yuuri’s skating song “Yuri on ICE”. When I heard it in the broadcast I thought “beautiful!” and I almost stopped breathing. Many fans were saying that they are happy because the title of the show was actually connected to the story, and I do think that it’s really a song made for this anime. —What image do you have of figure skating?

I was born in the Nagano prefecture. The Winter Olympics were held there when I was a student, and in general I’m familiar with winter sports. In the area I lived speed skating was popular, and I myself took classes for a few years. That’s why I’m also familiar with the temperature and coldness on the rink, and since they are both skating, I can easily imagine the environment surrounding Yuuri and the others. —Did you start watching figure skating after being involved with “Yuri on Ice”?

The Grand Prix series is taking place just now, at the same time as the airing of the anime. I’m watching it on TV, and sometimes when I watch it I think “maybe in the real world too there are skaters with strong personalities like in “Yuri on Ice””… (LOL) —Lastly, could you tell us about the future highlights of the story?

The Grand Prix Final will gather characters with very bold personalities and amazing skills. I think what everyone is wondering since episode 1 is “how will Yuuri fight?”, and “what will Victor do?”. In a world where scores decide the ranking, all skaters shine in their own fleeting moment…… This beautiful world is going to be portrayed in the anime. Please make sure to watch over their performances to the end.

#yoi #yuri on ice #interview #translation #hatano wataru #georgi popovich #you only live once #music #animage

[pkjd]

"DARLING in the FRANXX" TV anime PV and CMs. Series premiere January 2018 (Trigger x A-1 Pictures)

-Staff-

Director: Atsushi Nishigori

Assistant Director: Toshifumi Akai

Series Composition: Atsushi Nishigori, Naotaka Hayashi

Character Designer: Masayoshi Tanaka

Chief Animation Director: Masayoshi Tanaka

Mechanical Designer: Shigeto Koyama

Action Supervisor: Masayoshi Tanaka

Music: Asami Tachibana

Animation Production: Trigger x A-1 Pictures

-Cast-

Hiro - (CV: Yuuto Uemura)

Zero Two - (CV: Haruka Tomatsu)

Ichigo - (CV: Kana Ichinose)

Mitsuru - (CV: Aoi Ichikawa)

Zorome - (CV: Mutsumi Tamura)

Kokoro - (CV: Saori Hayami)

Futoshi - (CV: Hiroshi Gotou)

Miku - (CV: Nanami Yamashita)

Goro - (CV: Yuuichirou Umehara)

Ikuno - (CV: Shizuka Ishikawa)

Source: http://darli-fra.jp/

#darling in the franxx

[animanganews01-blog]

Kakegurui TV anime previsto para el aire de verano de 2017.

"Academia privada de Hyakkaou. Una institución para los privilegiados con un currículo muy peculiar. Usted ve, cuando usted es los hijos e hijas de los más ricos de los ricos, no es la destreza atlética o la inteligencia del libro que te mantienen por delante. Es leer a tu oponente, el arte del trato. ¿Qué mejor manera de afilar esas habilidades que con un plan de estudios riguroso de los juegos de azar? En la Academia Privada Hyakkaou, los ganadores viven como reyes, y los perdedores son puestos a través de la escurridora. Pero cuando Yumeko Jabami se inscriba, ella va a enseñar a estos niños lo que un rodillo alto realmente se parece! "

-Staff-

Director: Yuuichirou Hayashi

Composición de la serie: Yasuko Kobayashi

Diseñador de personajes: Manabu Akita

Producción de animación: MAPPA

#NOTICIAS

[snknews]

Shingeki no Kyojin / Attack on Titan: The Final Season Director Hayashi Yuuichirou Shares Sketch of Attack Titan

With the announcement of Studio MAPPA taking over the animation production of Snk Season 4 / The Final Season and some key staff changes, new director Hayashi Yuuichirou has shared his first sketch of Attack Titan via MAPPA’s official Twitter! He writes that The Final Season is currently in production.

Related News: Season 4 || Staff || MAPPA

#snk news #eren yeager #attack titan #snk season 4 #hayashi yuuichirou #mappa #snk staff

[snknews]

Shingeki no Kyojin Season 4: Premiere Countdown Illustrations

7 Days | Gabi, Falco, Udo, & Zofia, by Akita Manabu 6 Days | Connie & Sasha by Yabuta Shuuhei 5 Days | Gabi, Falco, Udo, & Zofia by Suenaga Junko 4 Days | Titan by Shishido Jun 3 Days | Gabi by Tannawa Yusuke 2 Days | Zeke by Niinuma Daisuke 1 Day | Reiner by Kishi Tomohiro Broadcast Day | Soldiers by Hayashi Yuuichirou

See Also: SnK Season 1 End Cards || SnK Season 2 Post-Episode Illustrations || SnK Season 3 Post-Episode Illustrations

Related News: Collections || MAPPA || Photos: Official Art || Season 4 || Staff

#snk news #gabi braun #falco grice #udo #zofia #connie springer #sasha braus #zeke yeager #mappa #snk season 4 #snk collections #snk staff #akita manabu #yabuta shuuhei #suenaga junko #shishido jun #tannawa yusuke #niinuma daisuke #kishi tomohiro #reiner braun

[newsintheshell]

VVVVID, svelati i nuovi anime in simulcast per questo inverno

Dynit porta in Italia la serie di Kemono Jihen e la seconda stagione di The Promised Neverland!

Annunciati da Dynit i nuovi titoli in simulcast, in arrivo a breve sul catalogo VVVVID, per il palinsesto invernale della piattaforma di streaming. 

NOVITÀ

KEMONO JIHEN - Ogni lunedì a partire dall’11 gennaio alle ore 20.00

Serie animata tratta dall’omonimo shonen manga a tinte sovrannaturali di Shou Aimoto, edito in Italia da J-POP Manga.

Quando in un remoto villaggio di montagna chiamato Inugami iniziano ad apparire una serie di corpi di animali che marciscono dopo una sola notte; un detective di Tokyo specializzato in occulto, viene mandato sul posto a indagare. Mentre lavora al caso, incontra uno strano ragazzo che i coetanei hanno soprannominato "Dorotabo" come uno youkai che vive nel fango.  Le forze soprannaturali sono all'opera da tempo e, sebbene Dorotabo sia solo un soprannome, potrebbe non essere l'unica cosa del ragazzo a non essere umana...

La regia della trasposizione è stata affidata a Masaya Fujimori (Izetta: The Last Witch, Fairy Tail: The Phoenix Priestess), mentre la sceneggiatura è curata da Noboru Kimura (Dragonar Academy, Kokkoku) e il character design è ad opera di Nozomi Tachibana (animatore chiave in Ride Your Wave). Il tutto sta venendo realizzato presso lo studio Ajia-do (Ascendance of a Bookworm, How Not to Summon a Demon Lord).

THE PROMISED NEVERLAND (Stagione 2) - Dall’11 gennaio, poi ogni venerdì alle ore 21:00

Seconda stagione della popolare serie animata tratta dal manga di Kaiu Shirai e Posuka Demizu, edito in Italia da J-POP Manga. In tutto sarà composta da 11 episodi.

Quindici bambini sono fuggiti dalla Grace Field House, un falso paradiso, nella speranza di avere una possibilità di libertà.

Il mondo esterno è così bello, eppure è anche davvero pericoloso e crudele da affrontare. Anche così, i bambini si rifiutano di arrendersi. Sono guidati nella loro ricerca di una vita migliore solo da un messaggio di Minerva e da una penna che Norman ha lasciato dietro di sé...

I nuovi episodi sono diretti ancora una volta da Mamoru Kanbe (The Perfect Insider, So Ra No Wo To) presso lo studio CloverWorks (Seishun Buta Yarou wa Bunny Girl Senpai no Yume wo Minai, Persona 5 the Animation) e alla sceneggiatura troviamo sempre Toshiya Ono (Gatchaman Crowds, Tsuritama), affiancato per per l’occasione da Kaiu Shirai stesso.  

IN CORSO

L’ATTACCO DEI GIGANTI (Stagione 4) - Tutti i martedì sottotitolato e tutti i venerdì doppiato, sia su VVVVID che su Amazon Prime Video

Quarta stagione de “L’Attacco dei Giganti”, la popolare serie animata tratta dal celebre manga di Hajime Isayama, edito in Italia da Planet Manga e prossimo alla conclusione. In tutto sarà composta da 16 episodi.

“Il gigante ha continuato incessantemente a cercare la libertà. Ha combattuto per la libertà. Il suo nome è Gigante d’Attacco.” Al di là del muro viene finalmente svelata la verità.  Finora l’umanità ha compiuto dei sacrifici immensi, ma bisogna continuare ad andare avanti. Sono passati sei anni dall’attacco del Gigante Colossale. Il Corpo investigativo conduce un’indagine al di fuori del Wall Maria. “Fuori dalle mura c’è il mare, e il mare significa libertà. Almeno è così che ho sempre creduto…”. Ma il mare che gli esseri umani hanno raggiunto per la prima volta… sarà veramente sinonimo di libertà?

Quella che viene definita ufficialmente come la final season dell’anime vede un totale cambio di staff al lavoro sull’adattamento, che dopo anni non è più in mano a Wit Studio (Kabaneri of the Iron Fortress, Vinland Saga, The Ancient Magus’ Bride).

Il progetto è infatti diretto da Yuuichirou Hayashi (Kakegurui, Garo: Honoo no Kokuin, Dorohedoro) presso lo studio  MAPPA (Dorohedoro, Kakegurui, Banana Fish). Alla sceneggiatura troviamo Hiroshi Seko (Mob Psycho 100, Vinland Saga), mentre al character design Tomohiro Kishi (Dorohedoro, Garo: Vanishing Line). Le musiche sono ad opera di Kohta Yamamoto (The Seven Deadly Sins: Wrath of the Gods, Blue Exorcist: Kyoto Saga), che è stato comunque affiancato da Hiroyuki Sawano, il compositore storico della serie.

HIGURASHI NO NAKU KORO NI - Ogni giovedì alle ore 20:00

Nuova serie animata basata sulla popolare visual novel mistery-horror di Ryukishi07,  distribuita anche in Occidente su Steam, tradotta in inglese. L’anime è considerabile in parte un retelling e in parte un sequel dell’opera originale e in tutto sarà composto da 24 episodi.

Keiichi Maebara si è appena trasferito nella sua nuova casa nel tranquillo villaggio di Hinamizawa. Fa subito amicizia con alcune ragazze della sua scuola, è tra l’altro arrivato proprio in tempo per la più grande festa dell'anno. Ma qualcosa in questa città isolata sembra “fuori posto” e una sensazione di paura e malessere continuano a crescere in lui. Quali oscuri segreti potrebbe nascondere questa piccola comunità?

Il progetto è diretto da Keiichirou Kawaguchi (Mr. Tonegawa: Middle Management Blues, Island) e il design dei personaggi è quello riconoscibilissimo di Akio Watanabe (Monogatari Series, The Fruit of Grisaia), mentre alla sceneggiatura troviamo Naoki Hayashi (Flip Flappers, Citrus). La colonna sonora è firmata ancora una volta da Kenji Kawai (Ghost in the Shell, Mob Psycho 100), già compositore delle musiche del primo storico adattamento animato.

* NON VUOI PERDERTI NEANCHE UN POST? ENTRA NEL CANALE TELEGRAM! *

Autore: SilenziO)))  - Twitter @s1lenzi0​

[FONTE]

#dynit #vvvvid #streaming #simulcast #kemono jihen #the promised neverland #yakusoku no neverland #serie tv #newsintheshell #cartoni animati #giappone #news in the shell #on demand #manga

[newsintheshell]

Kakegurui ××: una nuova immagine anticipa l’arco narrativo della Torre delle Porte

Diffusa anche un’anteprima della sigla di chiusura della serie.

Pubblicata una nuova immagine promozionale di “Kakegurui ××”, seconda stagione della serie animata tratta dal manga “Kakegurui” di Homura Kawamoto e Tooru Naomura, edito in Italia da J-POP, che debutterà sulle televisioni giapponesi il 9 gennaio, per in seguito approdare anche in streaming su Netflix.

La locandina in questione anticipa l’arco narrativo della Torre delle Porte, che vede protagonista una struttura di cinque piani piena di trucchi e meccanismi, allestita da Kirari Momobami per un nuovo insidioso gioco.

Diffusa anche un’anteprima della sigla di chiusura "AlegriA", pezzo composto dai TECHNOBOYS PULCRAFT GREEN-FUND e cantato dai D-selections.

La serie sarà diretta sempre da Yuuichirou Hayashi presso lo studio MAPPA, questa volta però sarà assistito da Kiyoshi Matsuda. La sceneggiatura sarà sempre curata da Yasuko Kobayashi e il design dei personaggi sarà ancora quello ad opera di Manabu Akita.

Nel prestigioso Liceo Hyakkaou, frequentato dai rampolli delle élite, i rapporti di forza sono decisi dal sangue freddo, dall'ingegno e dall'abilità nel gioco d'azzardo: chi finisce indebitato si ritrova a essere l'animaletto domestico di chi vince. In questa scuola si trasferisce Yumeko, che si dimostrerà una vera maniaca del gioco d'azzardo in grado di sconvolgere gli equilibri…

La prima stagione di 12 episodi è stata trasmessa in patria nell’estate del 2017 ed è disponibile su Netflix, doppiata e sottotitolata in italiano.

SilenziO)))

[FONTE]

#kekegurui #kakegurui xx #anime #serie tv #manga #newsintheshell #news in the shell #compulsive gambler #netflix #the tower of doors

[newsintheshell]

Kakegurui, nuovo trailer per il film live action

La pellicola sarà preceduta da una seconda stagione del telefilm.

Diffuso un trailer esteso del film live action di “Kakegurui”, che sbarcherà nelle sale giapponesi il 3 maggio di quest’anno. Il video anticipa il tema musicale della pellicola, il brano intitolato "I Fake Me", cantato da Soraru. 

Al cast si aggiungono, da sinistra verso destra nell’immagine sottostante: Hio Miyazawa nel ruolo di Amane Murasame, Haruka Fukuhara nei panni di Eri Arukibiju, Marika Ito come Tomu Inuhachi, mentre Akira Onodera interpreterà Kyu Nitobe.

La serie è basata sull’omonimo manga di Homura Kawamoto e Tooru Naomura, edito in Italia da J-POP. La prima stagione di 10 episodi, diretta da Tsutomu Hanabusa, ha fatto il suo debutto in Giappone a gennaio dell’anno scorso ed è poi uscita su Netflix a maggio. Una seconda stagione del telefilm sarà trasmessa a partire dal 31 marzo.

Nel prestigioso Liceo Hyakkaou, frequentato dai rampolli delle élite, i rapporti di forza sono decisi dal sangue freddo, dall'ingegno e dall'abilità nel gioco d'azzardo: chi finisce indebitato si ritrova a essere l'animaletto domestico di chi vince. In questa scuola si trasferisce Yumeko, che si dimostrerà una vera maniaca del gioco d'azzardo in grado di sconvolgere gli equilibri…

Yuuichirou Hayashi (Garo: Honoo no Kokuin) ne ha diretto presso lo studio MAPPA una trasposizione anime di 12 episodi, trasmessa in patria la scorsa estate e anch’essa disponibile su Netflix, doppiata e sottotitolata in italiano. Una seconda stagione sta venendo trasmessa in Giappone da gennaio.

SilenziO)))

[FONTE]

#kakegurui #compulsive gambler #manga #live action #film #serie tv #drama #newsintheshell #news in the shell