[0:00] Jiujutsu Kaisen season 3 episode 4 was
[0:02] the episode. It was the episode the
[0:04] production team went all out for putting
[0:06] in lots and lots of effort and resources
[0:08] a lot more so than usual. And the
[0:10] results spoke for themselves. This
[0:12] episode was absolutely ridiculous,
[0:14] especially the second half. It was one
[0:16] of the most visually interesting things
[0:18] across all of JJK. And I hope you
[0:20] understand how monumental a feat like
[0:22] that is. It looked incredible. Right
[0:24] from the get- go, you could tell that
[0:26] this was about to be special. It had
[0:28] that big episode feel, if that makes
[0:29] sense. And that's saying something
[0:31] because in a production like JJK, nearly
[0:33] every episode has a big episode feel.
[0:35] Like come on, when has JJK ever looked
[0:37] normal? I guess the point I'm trying to
[0:39] make is high priority Sakuga Festival.
[0:42] The big big episode, whatever you want
[0:44] to call it, this episode was one for the
[0:46] history books. And as such, you guessed
[0:48] it, let's break down the visuals. Make
[0:50] sure to subscribe. This episode fried my
[0:52] brain to the point where I can't come up
[0:53] with a clever call to action. So just
[0:55] subscribe. the buttons right there. It
[0:57] takes a second. Go on, do it. You can
[0:59] also become a member of this channel.
[1:01] Members get at least two exclusive
[1:03] videos per month, custom badges and
[1:04] emojis, shoutouts, and more. Just go
[1:06] down there and press the join button. As
[1:09] always, let's go over the staff list
[1:11] first. Starting with the storyboards,
[1:13] which were once again handled by series
[1:15] director Goshono, making this the fourth
[1:17] consecutive episode he has solo
[1:19] storyboarded for this season with many
[1:20] more on the way if the leaks are to be
[1:22] trusted. Goshono's unsurprisingly
[1:25] fantastic storyboards were processed by
[1:27] three episode directors, Risa Suzuki,
[1:29] Yusukeuchi, and Goshono himself. And the
[1:32] overall direction was again
[1:33] unsurprisingly stellar. I'll talk about
[1:36] it in detail in a bit obviously, but
[1:38] long story short, it was Koshono
[1:39] reiterating just how good he is at
[1:41] non-action storyboards, just in case
[1:43] some of you suffer from short-term
[1:44] memory loss and forgot what last week's
[1:46] episode was like, and shutting down all
[1:48] talk of him not being good at action
[1:50] storyboards. Also, of course, his
[1:52] amazing storyboards were processed
[1:53] wonderfully by the episode directors.
[1:55] Shout out to them as well. Over on the
[1:58] animation front, we had four chief
[1:59] animation directors. The two character
[2:01] designers Yusk Yajima and Hiomi Nea.
[2:04] Character artist extraordinaire Sota
[2:05] Yamazaki and JJK regular Takushi Mizu.
[2:08] Four animation directors and three
[2:10] assistant animation directors, which is
[2:11] neither good nor bad in a vacuum. But
[2:13] considering the sheer amount of movement
[2:15] this episode had to offer, aka the sheer
[2:17] number of frames that had to be
[2:19] corrected and the complexity of the
[2:21] shots, it's actually quite decent. More
[2:23] about the animation. The key animator
[2:25] list for this episode was absolutely
[2:27] stacked. Industry-leading talent galore,
[2:29] which isn't exactly new for a project
[2:31] like JJK, but that doesn't make it any
[2:33] less insane. Mega veterans like
[2:35] Tadashiramatsu and Shinsaku Koua,
[2:37] industryleading names like its
[2:39] Kisuchami, Hakugo, and more. exciting
[2:41] new talent like Hon and Koh Hiota around
[2:44] 40 second key animators on cleanup be
[2:46] duty because it is a sichimo line
[2:48] production at the end of the day this
[2:49] episode had it all now yes I can't
[2:52] exactly call this episode perfect by
[2:54] nitpicky eyes won't allow that but this
[2:56] episode was really really well animated
[2:59] that's the headline here not some of the
[3:00] jank I'll point out in a bit please
[3:02] don't let my nitpicking cloud your
[3:04] judgment this episode was amazing with
[3:07] all that being said let's finally do the
[3:09] thing you guys clicked for let's go
[3:11] through this episode scene by scene.
[3:13] Unfortunately, I have to gloss over the
[3:15] first half of this episode a bit. Not
[3:17] only was the main bulk of animation
[3:19] muscle packed into the second half, the
[3:21] first half wasn't the most consistent
[3:23] thing in the world. Let's put it that
[3:24] way. It had issues. First things first,
[3:27] though, composition sense, Koshono has
[3:29] an unfair amount of it. Every shot was
[3:31] incredibly interesting to look at. Even
[3:33] when there wasn't much happening
[3:34] animation wise, I have said all of this
[3:37] before, but it bears repeating. His
[3:39] framing is always spacious and dynamic.
[3:41] There are layers of complexity. There's
[3:43] a pronounced sense of space. There are
[3:45] exaggerated perspectives. As per usual,
[3:47] Koshono is allergic to framing things
[3:49] normally. And as per usual, I love that.
[3:52] We also had so many cool directorial
[3:54] ideas, introducing the piano as a
[3:56] diagetic audio cue, including this
[3:58] flashback as a part of the present scene
[4:00] instead of simply cutting to it and
[4:02] making it look distant and blurry to
[4:03] show how things aren't the same anymore.
[4:05] That man is a genius. Speaking of
[4:08] flashbacks, the flashbacks throughout
[4:09] this entire episode or this season in
[4:11] general had this bloody, choppy look
[4:13] that I loved. It made them seem less
[4:16] like a different, unrelated scene and
[4:18] more like a hazy recollection of
[4:19] memories, which is the whole point.
[4:21] Really good stuff. Back to the scene at
[4:23] hand. Animation wise, there wasn't all
[4:25] that much going on. It was above
[4:27] average, but for a high-profile
[4:28] production like Jiutsu Kaisen, it was
[4:30] typical, if that makes sense. This fight
[4:33] was cool, though. It was very stopand go
[4:35] with quick unorthodox cuts. But unlike
[4:37] most of Yuji versus Utah, this actually
[4:39] worked in my opinion. The timing felt
[4:41] right. It conveyed the chaos of the
[4:43] whole thing well. Plus, the strategic
[4:45] use of close-ups and slow motion shots
[4:47] allowed them to save some of that
[4:48] animation power for later. Shortly
[4:50] afterwards, we got this eerily lielike
[4:52] ragd dolling followed by this meticulous
[4:54] and mostly consistent acting sequence
[4:57] presumably animated by Aya Suzuki. Very
[4:59] subtle stiffness aside, you could feel
[5:01] the weight of every small action, the
[5:03] movement of the fingers, the hair
[5:04] motion, the body mechanics. It was
[5:06] incredibly well animated fundamentally
[5:08] speaking. Also really well-drawn short
[5:11] hair. A really cool stylized sequence
[5:13] drawn by Iki then brought us to the beat
[5:16] scene animated by Tadashiramatsu which
[5:18] is quite funny because he also animated
[5:20] a melancholic beat scene for the
[5:21] Chainsaw Man movie. The acting here
[5:24] wasn't over the top, but as you would
[5:25] expect from the penmanship of a veteran,
[5:27] the fundamentals were on point. The
[5:30] motion was heavy with each action being
[5:31] accompanied by the perfect amount of
[5:33] weight distribution, plus the three to
[5:35] four tone liquid animation, beautiful
[5:37] drawings thanks to C Hiro Mini's
[5:39] corrections, top-notch backgrounds, and
[5:41] that gorgeous compositing shift made
[5:42] this scene incredibly cinematic. Oh, and
[5:45] also Goshono Storyboard's skirt,
[5:47] obviously. Following the beat scene, we
[5:49] got some cool action adjacent shots.
[5:52] Lovely effects there followed by a solid
[5:54] close-up and a large amount of
[5:56] background animation. Really fun stuff.
[5:59] Now, with all that being said, here
[6:01] comes the uncomfortable part. Like I
[6:02] hinted at earlier, this section wasn't
[6:04] perfect. It had issues. I know some
[6:07] people on Twitter get upset at me for
[6:08] pointing out things they themselves
[6:10] don't have the eyesight to notice, but
[6:11] it is an animation breakdown, so deal
[6:14] with it, I guess. Was this walk cycle
[6:16] fairly inconsistent with distracting
[6:18] shifty lines? I'm afraid so. Was this
[6:20] other walk cycle fairly stiff,
[6:22] especially around the arms, despite the
[6:24] cool volutric background work? I'm
[6:26] afraid so. Do May and Maki being dragged
[6:28] by Yogi melt a fair bit? I'm afraid so.
[6:31] Do some of these shots clearly suffer
[6:32] from subpar second key animation? I'm
[6:35] afraid so. Did they linger on this
[6:36] non-animated zoom for a bit too long?
[6:38] I'm afraid so. You get the idea. Really
[6:41] cool, really creative, but not perfect,
[6:43] which is quite on brand to be honest.
[6:46] Anyway, let's now move on to part B, aka
[6:49] the start of this episode. Before we get
[6:51] to the action though, let me get this
[6:53] out of the way. I loved the overall
[6:54] aesthetic during the Maki Kukuru Squad
[6:56] fight. The compositions, the aspect
[6:59] ratio usage, the creative color used,
[7:01] the general look and feel of the whole
[7:02] thing. It was insanely good. I know
[7:05] people who expect their anime
[7:06] adaptations to be strictly one to one,
[7:08] and the entire population of mainland
[7:10] Japan apparently hated this fight, but I
[7:12] personally loved it. The cool visual
[7:14] ideas and composition choices, the
[7:16] tremendous drawings, the dissonant
[7:18] soundtrack choices, so good. All of it
[7:20] gold sticker from me. Anyway, the first
[7:23] minute or so of the action was animated
[7:25] by Izkisuchami, and it was incredible.
[7:28] First off, that's a lot of hand-drawn
[7:30] characters. Of course, not all of them
[7:31] are animated. Moving that is, but still,
[7:33] drawing that many cell components is
[7:35] tedious work, and that's doubly true
[7:38] when they actually move. This shot, for
[7:40] example, this is obviously a throwaway
[7:42] character who almost certainly doesn't
[7:44] even have a design sheet. But through
[7:45] conservative yet meticulous line
[7:47] placement, Sujigami made his face and
[7:49] movement feel incredibly volutric and
[7:51] alive, which is something he excels at.
[7:54] More about the action. This fight used a
[7:56] ton of quick cuts, but once again, it
[7:58] worked. It flowed well. Partially due to
[8:00] the incredible animation and partially
[8:01] due to Sujigami, presumably modifying
[8:04] the storyboards a bit based on his own
[8:06] preferences. The shots had so much
[8:08] volume both in terms of the composition
[8:10] and the drawings themselves. There were
[8:12] layers of mob characters, both static
[8:14] and animated. Plus, the drawings and
[8:16] backgrounds were about as
[8:17] three-dimensional as you'd expect from a
[8:19] Goshon Sujigami sequence. This windup
[8:22] looked amazing. Maki moving was actually
[8:24] animated while the characters in the
[8:26] back were a static cell layer being
[8:28] panned across the screen. And we then
[8:29] got a quick overhead shot followed by a
[8:31] side profile complete with these really
[8:33] cool blood effects with varying degrees
[8:35] of opacity and another overhead shot.
[8:37] Like I said, quick cuts. Of course, the
[8:40] actual movement was on point throughout.
[8:42] The lines and contours were masterfully
[8:44] placed and the drawings were incredible.
[8:46] Even a simple shot of Maki taking a step
[8:49] had fantastic forcehortening and volume
[8:51] control. Also loved Koshono going full
[8:54] Gohans with this underground shot. Now,
[8:56] yes, it is practically impossible to
[8:58] animate 50 guys moving constantly. It's
[9:01] a weekly TV episode, not a Ghibli movie.
[9:03] But Koshono and team came up with clever
[9:05] ways to get around that. Be it the cell
[9:08] parallaxing, be it strategically placed
[9:10] still shots, be it going down the
[9:11] idiosyncritic shorthand drawings route
[9:13] instead of proper character models,
[9:15] something shot sequence did a lot of. It
[9:18] didn't feel like the background
[9:19] characters were unnaturally stiff. I
[9:21] remember that being an issue in an
[9:23] episode from season 2, but not this time
[9:25] around. Also, of course, shorthand
[9:27] drawings or not, animating a rotation
[9:29] with multiple moving characters is an
[9:31] insanely difficult thing to do. And so
[9:33] is animating these buttery smooth body
[9:35] mechanics and these insanely complicated
[9:37] warped compositions. So, props to B. Not
[9:40] the biggest fan of the non-animated zoom
[9:42] on these mobs. But overall, really well
[9:44] animated sequence. Of course, we can't
[9:46] go over every single shot given the
[9:47] confines of time, but really good work.
[9:50] We then got a Hayat Kurosaki sequence
[9:52] and the sheer density of the effects was
[9:55] insane. Why have one layer of gorgeous
[9:57] thick smoke when you can have another
[9:59] and another and another and another and
[10:02] another? Has some eye-catching liquid
[10:04] effects. Has some tone liquid animation
[10:06] that's like the most beautiful thing
[10:07] ever. Has some handdrawn debris so large
[10:09] scale that it almost counts as
[10:11] background animation. More liquid and
[10:13] smoke. Such an insane sequence all
[10:15] around. It'll probably get overshadowed
[10:17] by the insanity that followed, which is
[10:19] a shame because just look at it. It's so
[10:21] cool. From this point on, the episode
[10:24] went full Yotaka Nakamura. The rest of
[10:27] the fight was one big unapologetic
[10:29] homage/lo letter to the cube man, and it
[10:32] was perfect. I was genuinely surprised
[10:34] by how convincing Goshono's Nakamura
[10:36] impression was. The first sequence here
[10:39] was animated by Mochm Mo, which is
[10:41] obviously a pen name. It's not a real
[10:43] person. And I'm pretty sure I know who
[10:45] that is, but let's not delve on that
[10:46] stuff. The scene started with some
[10:48] incredibly cool rawl lookinging smoke
[10:50] and satisfying fabric and hair animation
[10:53] followed by this section, which again is
[10:55] extremely Nakamura. The speedline
[10:57] background conveying a never-ending
[10:59] sense of space, these almost comical
[11:01] poses, the energetic fabric animation,
[11:03] these slow animated zoomins with
[11:05] exponential forcehortening. Fantastic
[11:07] stuff. The background animation here was
[11:10] insane. The shapes were almost identical
[11:12] to the way modern Nakamura draws
[11:14] backgrounds. Plus, the kinetic sparks
[11:16] were a nice addition. Loved this
[11:18] exchange. Fast motion buffered perfectly
[11:20] by the zoom into her hand. It's not all
[11:23] one speed. There's variation in the
[11:25] tempo. There's rising and falling
[11:26] actions. Again, amazing. Really cool
[11:29] lifelike acting here followed by some
[11:31] large scale background animation and
[11:32] this amazing rotation. It's very short,
[11:35] but the animator had to drop both
[11:36] characters in unorthodox poses at every
[11:39] perspective between the starting and
[11:41] finishing points. I hope I don't have to
[11:43] explain why that's an incredibly
[11:44] difficult thing to do. [music] By the
[11:46] way, I loved how in the midst of all
[11:48] this insane movement, they literally
[11:50] zoomed into a still frame. I don't think
[11:52] it's meant to be comedic, but it cracked
[11:54] me up. Now, yes, some of you might say
[11:56] that stuff like this clashes with the
[11:58] tone this episode was trying to convey,
[12:00] and there is some validity to that
[12:02] complaint. However, in my mind, it
[12:04] wasn't a sad, hate-filled massacre.
[12:06] Rather, it was a triumphant moment where
[12:08] Maki broke free of the metaphorical
[12:10] shackles around her ankles. And as such,
[12:12] from that point of view, I felt like the
[12:14] upbeat tone worked perfectly. Anyway,
[12:17] back to the action. This guy's ability
[12:19] was visualized extremely well. The force
[12:21] against Maki was conveyed through
[12:23] expanding concentric circles on the
[12:25] ground hair. Another Nakamura build
[12:27] storyboarding choice followed by
[12:28] constant energetic fabric and hair
[12:30] animation. And speaking of force, this
[12:33] sequence was amazing. The way each
[12:35] muscle on her body was animated to show
[12:36] the sheer weight she was under.
[12:38] Fantastic understanding of weight and
[12:40] anatomy. Reminded me of that one shot
[12:42] from Ghost in the Shell. Also worth
[12:44] mentioning, the head and fabric
[12:46] animation throughout the section was
[12:47] absolutely stellar. It made every
[12:49] action, even the simple ones, feel heavy
[12:51] and powerful. Also also worth
[12:53] mentioning, this shot was incredible.
[12:55] Loved the strong foreshortening effect
[12:57] and the organic shading. Yusuke Yajima
[12:59] corrections if I'm not mistaken. This
[13:02] guy's attack was pure Nakamura goodness
[13:04] with tens of individually drawn fists
[13:06] complete with actual animated shadows
[13:08] literally descending from the sky and
[13:10] raining down on Maki conveyed via a
[13:12] large amount of effects and debris
[13:13] instead of actual physical impact. Did I
[13:16] mention this fight was one big Utaka
[13:18] Nakamura reference? It was overall a
[13:21] very very impressive sequence by a mo
[13:24] which is definitely not just someone
[13:26] else. Was every drawing perfect? No.
[13:28] There were a few rough shots, most
[13:30] likely due to second case scattering,
[13:32] aka poor cleanup, [music] but all things
[13:34] considered, it was ridiculously good.
[13:37] Moving on, some incredible Sotamazaki
[13:39] corrections and a slightly inconsistent
[13:41] bit of acting then brought us to Maki
[13:43] versus Na, and it too was one big Utakan
[13:46] Nakamura reference. We started with a
[13:48] quick exchange of strikes followed by
[13:50] this eye close-up. And not only was the
[13:52] eye wonderfully drawn and animated, you
[13:54] could see a separately animated
[13:55] reflection of the action on it. This was
[13:58] in turn followed by another strike
[14:00] exchange. And neither of these two
[14:01] exchanges were looped. Every strike was
[14:04] uniquely animated, which is quite cool.
[14:06] Also love how the camera actually moves
[14:08] there. They had to draw the speedline
[14:10] backgrounds in a manner in which they
[14:12] had two opposite directions and met in
[14:14] the middle, allowing the camera to pan.
[14:16] We then got a few slow motion shots
[14:18] ensuring the viewer doesn't get
[14:20] overwhelmed. And this sequence, which I
[14:22] know I'm repeating myself, but come on,
[14:24] it doesn't get more Utakan Nakamura
[14:26] built than that, does it? The spiky
[14:28] effects, the literal Utapon cubes with
[14:30] the appropriate timing and everything.
[14:32] The dynamic unidirectional background
[14:34] animation, the slow body movement with
[14:36] extremely fast-paced head and fabric
[14:38] animation, even the use of moving after
[14:40] images and solid one color backgrounds.
[14:42] Hey, I think Nakamura should get
[14:43] royalties for this episode. Anyway, this
[14:46] scene was animated by Julian Bentley.
[14:48] Makes sense given the tremendous volume
[14:50] control on Maki and he had to
[14:52] effectively animate eight different
[14:53] characters here. I counted seven
[14:55] different uniquely animated now each
[14:57] drawn from a different perspective. We
[15:00] then got proto sequence which included
[15:02] some gorgeous debris and smoke
[15:04] animation. This really cool effect where
[15:05] they split the background into several
[15:07] layers and moved them up separately and
[15:09] another after image based shot. I
[15:11] counted four uniquely animated
[15:13] characters here. This gorgeous close-up
[15:16] then brought us to more action because
[15:17] of course we weren't done. We had a ton
[15:20] of Nakamura pill effects followed by Hon
[15:22] sequence which started off with this
[15:24] mind-blowing shot. Maki's body hair kept
[15:27] rotating meaning he had to continuously
[15:29] animate Maki from all sorts of
[15:30] perspectives and this was followed by
[15:32] some large scale background animation
[15:34] with the camera actually moving along
[15:36] with the cell layers and changing angles
[15:37] because the shot wasn't complicated
[15:39] enough as is. I guess now was basically
[15:42] a smear throughout the section. His
[15:44] movement was too fast for our eyes. But
[15:46] again, like always, we were then
[15:48] presented with slower paced shots
[15:49] because visual buffers are important.
[15:52] Also, quick shout out to the literal
[15:53] animation time sheet that shows up for
[15:55] the split second. [music]
[15:56] Loved the smooth camera movement here.
[15:58] The slow partial rotation/an animated
[16:00] zoom in was really fun to look at. We
[16:03] then got some really cool shapes and
[16:05] effects drawn by Kajino and these fun
[16:08] shots with shifting lines on the
[16:09] background meant to convey speed and
[16:11] motion. This shot was amazing as Maki
[16:14] closed in towards the camera. The
[16:15] implied distance between her head and
[16:17] the rest of her body increased thanks to
[16:19] the forcehortening giving it this
[16:21] three-dimensional look. Also, the actual
[16:23] drawings were amazing with those blacked
[16:25] out eyes. Two different styles of
[16:27] lingering smoke effects then brought us
[16:29] to the cinemascope section. And it
[16:31] wasn't a cheap gimmick. [music] This
[16:32] time around, it was actually used with
[16:34] purpose. The entire style of compositing
[16:37] changed the second those black bars
[16:39] appeared. The vibrance and saturation
[16:41] went down. The colors became more muted
[16:43] with war for war for warmer tones taking
[16:44] over. And the color contrast went up.
[16:46] Even the character drawing stood out.
[16:48] This entire section felt like a
[16:50] different scene if that makes sense.
[16:52] Near the start of the sequence, we got
[16:54] this stylized na shot almost certainly
[16:57] drawn by Soyazaki. Those thick inky
[16:59] lines looked amazing and the proportions
[17:01] of the face kept stretching and
[17:03] squashing giving it a satisfying sense
[17:05] of flow. We then got these shots which
[17:07] were presumably animated by Nakaya onen
[17:10] given the elongated facial structure and
[17:12] they looked gorgeous. The placement of
[17:14] each line was purposeful and the overall
[17:16] aesthetic sense was off the charts. Some
[17:19] cool effects followed most likely drawn
[17:21] by Shinsaku Kosuma given those geometric
[17:23] edges and that trademark timing wherein
[17:25] the structure was intact in one frame
[17:27] and completely gone in the next. This
[17:30] shot was straight out of Naruto versus
[17:32] Spain with the Looney Tunes like smeari
[17:34] body language. Not exactly a surprise
[17:36] since this entire setpiece both in the
[17:38] manga and the anime was a reference to
[17:40] that fight. The anime version that is
[17:42] because Kay is a massive sakuga nerd.
[17:45] This shot was cool. Some solid
[17:46] pre-animation. Although I'm not the
[17:48] biggest fan of the texturing on the
[17:50] animation layer. Funny because Naruto
[17:52] versus Spain actually didn't have those
[17:54] textures but it looked weird too. I
[17:56] guess it's just a losing formula. This
[17:58] really cool shot with multi-layered
[18:00] reverse background parallaxing, some
[18:02] solid drawings and cool effects then
[18:04] brought us to another direct
[18:05] utakanakamura reference. Those high
[18:08] energy flickering effects on the wall
[18:10] followed by the cubic to pre exploding
[18:11] out as straight out of concrete revolio.
[18:14] We then got what I think is Daniel Kim's
[18:17] sequence with the background effects
[18:18] having these alternating vertical lines
[18:20] which later transformed into actual
[18:22] smoke. this buttery smooth punching
[18:24] animation and this part where everything
[18:26] besides Maky's mouth froze. We then
[18:29] returned to our regular aspect ratio and
[18:31] compositing and got these highly
[18:33] ambitious partial rotations. Like I said
[18:35] earlier, rotations are inherently
[18:37] difficult to animate, especially when
[18:39] the character has an unorthodox pose.
[18:40] And that's doubly true for slow
[18:42] rotations like these. Think about it. If
[18:45] the rotation is fast, the animator has
[18:46] to draw less frames. But if the rotation
[18:48] is slow, the number of intermediate
[18:50] frames between point A and point B
[18:52] skyrockets, making it incredibly
[18:54] difficult to maintain volume and line
[18:56] consistency. [music]
[18:58] With all that in mind, the sequence
[19:00] wasn't the most consistent thing in the
[19:01] world, but it was an admirable effort.
[19:03] Not sure if it was Daniel Kim as well.
[19:06] [music] We then got the big punch with a
[19:08] brand new buildup, four different
[19:10] angles, and a couple of meticulously
[19:12] animated slow motion shots, including
[19:13] this X-ray view of his skull getting
[19:15] crushed. I believe parts of the section
[19:17] were animated by its suchami since it
[19:20] was his idea to begin with. Such a
[19:22] fantastic sequence all around filled
[19:24] with insanely highlevel talent. Even
[19:27] Hakugo was in there somewhere. I'm not
[19:29] entirely sure where. Perhaps some of the
[19:30] effects, but I'm not sure. But he was
[19:32] there. Insane stuff. And with that, the
[19:36] fight came to a close. Daniel Kim's
[19:38] presumed penmanship served as the
[19:40] immediate aftermath, which was then
[19:42] followed by a hefty amount of slightly
[19:43] stiff but ultimately solid character
[19:45] acting, partially animated by China, and
[19:48] finally by the same composition as the
[19:50] first shot we saw, making it a full
[19:52] cycle moment. Amazing stuff. And that
[19:55] was the episode again for the millionth
[19:57] time. This was insane, even by JJK's
[19:59] standards. A group of incredibly
[20:01] talented artists working under a
[20:03] tremendously creative director and not
[20:05] horrible production conditions usually
[20:07] tend to make magic and this was no
[20:09] different. Of course, I am looking
[20:11] forward to the rest of the core, but I
[20:13] wouldn't be surprised if this ends up
[20:14] being the visual peak. I heard the last
[20:17] episode is supposed to be incredible as
[20:18] well, so who knows? Exciting stuff
[20:20] either way. And that's it. A special
[20:23] thanks to N03, Amir, the Galas 90, and
[20:26] Shiki for becoming tier three members.
[20:28] And until next time.