[0:00] We are back, Jiujutsu Kaisen. Bros, we
[0:02] are so, so back. It's been a solid
[0:05] couple of years, but JuiTutsu Kaisen,
[0:07] one of the most refreshingly creative-l
[0:09] lookinging anime led by one of the most
[0:10] refreshingly creative characters, is
[0:12] finally back. And I'm glad to report
[0:15] it's as good as ever. The first two
[0:17] episodes of the highly anticipated
[0:19] Jiu-Jitsu Kaisen season 3 were exactly
[0:21] what you'd expect them to be. They were
[0:23] textbook examples of creative people
[0:25] ditching the textbook and doing their
[0:26] own thing, of creative people being
[0:29] creative, and I wouldn't have it any
[0:30] other way. They were wonderfully
[0:32] directed. They were well animated. They
[0:34] were eye-catching in all the right ways.
[0:36] They were amazing. Minor issues and all.
[0:38] As such, as always, and as expected,
[0:41] let's break down the visuals. Make sure
[0:43] to subscribe. If you like this video,
[0:45] chances are you'll also like the 17,000
[0:47] more Juutsu Kaisen videos I'll upload in
[0:49] the coming weeks and months. So,
[0:50] subscribe. You can also become a member
[0:53] of this channel. Members get at least
[0:54] two exclusive videos per month, custom
[0:56] badges and emojis, shoutouts, and more.
[0:59] Just go down there and press the join
[1:00] button. As always, let's start with the
[1:03] staff list. Both episodes were
[1:05] storyboarded by series director Shota
[1:07] Shazono with him doubling down as the
[1:09] episode director for the first episode
[1:10] and assistant director Yusuke Takadada
[1:12] taking on that role for episode 2. Now,
[1:15] it's practically mandatory for me at
[1:17] this point to suffix the name Shotoshono
[1:19] with something along the lines of one of
[1:21] the most creative minds in the industry,
[1:22] which he is. And as you'd expect from a
[1:25] Shoison production, the episodes were
[1:27] filled with unorthodox composition
[1:29] choices, highly competent animation and
[1:31] an oxymoronic sense of familiarity in
[1:34] its sheer refusal to do anything
[1:35] familiar, or in other words, the
[1:37] direction and storyboards good for the
[1:39] most part. Over on the drawing front,
[1:42] episode 1 had two chief animation
[1:44] directors in the two character
[1:45] designers, Hiomini and Yusuke Ajima, two
[1:47] animation directors, a small but stacked
[1:50] key animator list, and an entire army of
[1:52] second key animators outnumbering the
[1:54] key animators 7 to1, which is just
[1:56] tradition at this point. Episode 2,
[1:58] meanwhile, had four CADs, the
[2:00] affforementioned two alongside JJK
[2:02] regular Sotaya Yamazaki and Mitsu Mori,
[2:04] 7 ADs, a longer KA list, and a slightly
[2:07] smaller second key animator army.
[2:09] Overall, not bad by Mapa's admittedly
[2:12] low standards. The episodes themselves
[2:15] were extremely solid animation-wise.
[2:17] They were wild in a methodical sense.
[2:19] Let's put it that way. Setting aside the
[2:21] respectable amount of movement, the
[2:23] episodes didn't shy away from having
[2:25] several different approaches to
[2:26] movement, which if that's not your cup
[2:28] of tea, I'm afraid this season is not
[2:30] for you. Depending on the situation, the
[2:33] animation took on many different forms.
[2:35] Be it the weighty kinetic sequence of
[2:37] Yugji fighting the curses, the
[2:38] spectacular unrestrained fright between
[2:40] Choo and Na or the unorthodox
[2:42] hyperdynamic Yuji versus Uta, the show
[2:45] isn't afraid to, for lack of a better
[2:47] phrase, filter out some of the normies
[2:48] with its visuals. A bold choice given
[2:50] the series's global popularity, but an
[2:52] unsurprising one given director Goshono
[2:55] and the rest of the team's track record
[2:56] both with this very show as well as
[2:58] other titles. It is however worth
[3:01] mentioning that these episodes weren't
[3:03] perfect. They had issues, minor issues,
[3:05] but issues nonetheless. Of course, I'll
[3:07] get into the specifics in a bit, but
[3:09] basically the level of polish wasn't as
[3:11] high as I had expected from the first
[3:13] two episodes of a production of this
[3:15] caliber. I wonder if it's because
[3:16] they're trying to give the latter
[3:18] episodes more time or because they had
[3:19] to rush the first two episodes a bit
[3:21] because of that advanced screening
[3:23] thing. Perhaps a combination of both.
[3:24] Who knows? Anyway, with all that being
[3:27] said, let's finally go through these
[3:29] episodes scene by scene. Starting with
[3:31] episode 1. The episode opened up with
[3:33] some trademark Goshono storyboards. This
[3:36] opening shot, for example, it was so
[3:38] eye-catching. Besides the cinemascope
[3:40] aspect ratio, you had the first
[3:41] background layer, the character cell,
[3:43] and another background layer on top
[3:45] making the composition feel dynamic and
[3:47] spacious. Also love the compositing
[3:50] head. The volutric lighting, aka those
[3:52] streaks of light meant to represent the
[3:53] reflective nature of the glass coupled
[3:55] with the bloom effect looks perfect and
[3:57] the light rays changing position gives
[3:59] the illusion that these things are
[4:00] moving despite the fact that they are
[4:02] part of the background layer, meaning
[4:03] they are entirely [music] static.
[4:05] Animation wise, the scene had very
[4:07] little going on, just a tiny Yugji
[4:09] moving in the corner, but it looked
[4:10] amazing regardless thanks to the clever
[4:12] composition and compositing. Moving on,
[4:15] the animation in this shot is a bit
[4:17] wonky. It's hard to tell given the
[4:18] blooding, but the lines don't appear to
[4:20] be particularly consistent, and even the
[4:22] sleeves are slightly off sync, but it's
[4:24] fine overall. Nitpicks aside, there are
[4:27] so many unique compositions here. Too
[4:29] many to go through. Once again, Goshono
[4:31] is a master of framing. He knows exactly
[4:33] how to draw the viewers's eyes towards
[4:35] whatever he wants their eyes drawn to.
[4:37] He knows exactly how much visual
[4:39] information to convey in each shot,
[4:41] ensuring the viewer is neither over
[4:42] stimulated nor bored. He is insanely
[4:45] good. Plus, the shots conveyed a ton of
[4:47] intent. The whole idea here was to
[4:50] convey Yuji's mental isolation and
[4:52] self-hate. And Goshono portrayed that
[4:54] perfectly. Him washing his hands, but
[4:56] the blood refusing to come off, his
[4:58] eyes, aka the most human part of a
[5:00] character being blocked out. Genius.
[5:02] More about the animation. This entire
[5:04] section and the scene that followed,
[5:06] basically everything before the OP was
[5:08] animated by Takafumi Mitani, which is
[5:10] particularly cool because he also
[5:12] animated the first scene of Jiu-Jitsu
[5:13] Kaisen season 2. And while not perfect,
[5:15] his work was really impressive. This
[5:18] shot was insanely fun and a perfect
[5:20] example of Koshaono's dynamic, spacious
[5:22] compositions. The background layers form
[5:25] a horizon and the curse is placed behind
[5:27] it except its arm which is actually in
[5:29] front of the horizon with a strong for
[5:30] shortening effect since it's closer to
[5:32] the camera with the effect getting
[5:34] stronger as it gets closer. Now, most
[5:36] sane directors would end the short hair,
[5:38] but not Goshono. Yuguji starts running
[5:41] and the camera pans backwards revealing
[5:43] that the background is actually 3D.
[5:45] Brilliant. Absolutely breathtaking piece
[5:48] of background art here with some solid
[5:49] creature animation and again every
[5:51] single shot is incredibly complex and
[5:54] layered. This one for example, you have
[5:56] the super super background sky, the
[5:58] super background building, 2D effects
[6:00] over it, another background layer in the
[6:02] windows and stuff, and a second cell
[6:03] layer of Utah. So that's five layers of
[6:05] visual information. Wow. By the way,
[6:08] don't let my obsession with the
[6:09] storyboards fool you. The actual
[6:11] animation was really impressive as well.
[6:13] The body mechanics felt heavy and
[6:15] impactful with every action being
[6:17] consistently drawn to convey the maximum
[6:19] amount of weight. The background work,
[6:21] be it 3D or otherwise, and the motion
[6:23] bluring helped with that. Things weren't
[6:25] perfect, though. This shot looked stiff.
[6:27] I don't like how Yuji's head went
[6:29] downwards and just froze. Also, him
[6:31] jumping out of the window was quite
[6:32] janky. And I didn't like how we saw him
[6:34] running towards the window in one shot
[6:36] and halfway in the air in the next one
[6:37] without any visual indicator of him
[6:39] jumping. Shortly afterwards, we had this
[6:42] shot where the curse is clearly damaging
[6:44] the buildings by brushing against them.
[6:46] But when the smoke clears, the buildings
[6:47] are intact, obviously, because they're a
[6:50] background layer. This makes the shot
[6:52] look flat, hindering the illusion of
[6:54] volume and three-dimensionality that
[6:55] Goshono loves to convey. None of this is
[6:58] significant, of course, but the first
[7:00] episode, which on paper should be the
[7:02] most polished. Having issues like these
[7:03] isn't exactly a good sign. Anyway, the
[7:06] curse itself was quite well drawn. Also,
[7:08] shout out to the random 2D bowls. I
[7:10] appreciate the effort. It was good.
[7:12] Just, you know, small things here and
[7:14] there, things most fans won't even
[7:15] notice. Another thing about Goshono is
[7:18] that he's excellent at making a lack of
[7:20] movement feel intentional. Near the end
[7:23] of Mitani's sequence, we had a 20 second
[7:25] shot of the camera panning up a still
[7:27] frame followed by another 20 second
[7:29] still frame with some simple looped
[7:30] effects near the end. So that's around
[7:33] 40 seconds that needed just two
[7:35] character drawings, a small amount of
[7:36] looped effects and some compositing
[7:38] tricks and it didn't look awkward
[7:40] whatsoever. That man is a genius. We
[7:43] then got to Okoda sequence and once
[7:45] again we had ambitious, dynamic and
[7:48] meaningful storyboards and less than
[7:50] stellar animation. The acting had a
[7:52] certain amount of stiffness to it with
[7:54] some occasional melt. It was ambitious.
[7:56] Absolutely. I'm sure Goshono's
[7:58] storyboards didn't make life any easier
[8:00] for Okuda, but I wouldn't exactly call
[8:02] it polished. This shot, for example,
[8:04] there are unintentional distracting
[8:06] jumps between the poses giving it that
[8:08] stiffness I talked about. Negativity
[8:10] aside, I love the complex framing hair
[8:12] and the drawings kept up. The room
[8:14] feeling claustrophobic because it's too
[8:16] small for all three of them. symbolism
[8:18] for the power struggles within the Zen
[8:20] clan was a brilliant idea. By the way,
[8:22] don't make the mistake of thinking these
[8:24] shots were stills. They weren't. The
[8:26] characters might be static, but the
[8:28] actual shadows were animated back and
[8:30] forth constantly. Also worth mentioning
[8:32] some meticulously animated shoe tying
[8:34] here. As you may know, small movements
[8:36] like these are held to animate. So,
[8:37] props to the team. A very fun scene
[8:39] overall. We then had this section. And
[8:42] while there wasn't much going on
[8:44] animation wise, the drawings, Yoskeima
[8:46] corrections, I believe color use and
[8:48] background art was insanely good. We
[8:50] also had more of Koshazono's Hall of
[8:52] Fame tier resourcefulness. Yuji climbing
[8:55] down the stairs only to end up at the
[8:56] top over and over again had symbolic
[8:58] meaning. It represented his isolation
[9:00] and it allowed the team to reuse the
[9:02] same shot by chopping it up. Two birds
[9:04] with one stone. By the way, the actual
[9:06] stair climbing was quite well animated,
[9:09] albeit slightly melty. I know I said the
[9:11] scene didn't have much going on
[9:12] animation wise, but this was nice. Also,
[9:14] a really well-drawn fist curl hair. And
[9:17] speaking of hands, a tremendously
[9:19] well-drawn pair of hands then brought us
[9:21] to the most technically impressive part
[9:23] of this episode in my opinion. Unpopular
[9:26] opinion perhaps, I don't know. This
[9:28] entire section was animated by Masahiro
[9:30] Tokumaru. And even if you aren't
[9:32] familiar with that name, chances are
[9:33] you've seen some of his work before.
[9:36] Remember those intricately choreographed
[9:37] fights from the anime Vivi? the ones
[9:39] that were plastered all over the
[9:41] internet back in the day. Well, most of
[9:42] them were bent by Tokumaru and more
[9:44] recently, he did a ton of work for the
[9:46] sports anime Oblivion Battery, animating
[9:49] many of its highlights and directing and
[9:50] storyboarding the most impressive
[9:52] looking episode of it. Needless
[9:54] biographies aside, the point is Tokumaru
[9:57] is excellent at kinetic motion at
[9:58] weighty body mechanics and he loves
[10:00] using 3D in his workflow and both of
[10:03] those skills were visible throughout
[10:04] this entire sequence. The scene started
[10:07] with this large scale shot that I've
[10:09] talked about before in a trailer
[10:10] breakdown. The sense of
[10:11] three-dimensionality was off the charts
[10:13] and the three-tone liquid animation
[10:15] complete with these vertical lines
[10:16] looked amazing. We then got this cut
[10:19] with those classic Tokumaru effects. The
[10:21] liquid had tons of organic individually
[10:23] animated shapes, lineless ones of
[10:25] course, because how cool is that? A
[10:28] thing I loved about this entire section
[10:29] was its use of long continuous motion.
[10:32] The action didn't hide behind stopand go
[10:34] payoffs. Not that there's anything wrong
[10:35] with that. Instead, it kept moving. The
[10:38] curses, for example, their movement was
[10:40] so smooth and had this weird sense of
[10:42] weight and flow because they never
[10:44] stopped moving. Also, the drawings
[10:46] themselves were incredibly consistent
[10:48] and volutric, which added to the
[10:50] three-dimensionality of this shot.
[10:52] Speaking of the third dimension, I'll be
[10:54] honest, the 3D bridge does look a bit
[10:56] clunky, especially in this wide shot.
[10:58] But the unorthodox camera placements and
[11:00] Eugi's top-notch body mechanics more
[11:02] than made up for it. There's so much
[11:04] weight behind Yugji's run, jump, and
[11:06] subsequent freef fall. Again, it's not
[11:08] stopand go motion. Rather, it's smooth,
[11:10] continuous animation made possible by
[11:12] Tokumaru's excellent draftsmanship. The
[11:15] placement of every single frame is
[11:17] methodical with the goal of making the
[11:18] curses and Yuji feel like actual
[11:20] physical bodies with consistent weight
[11:22] and volume. We then got this bird's eye,
[11:25] or rather this curs's eye view of the
[11:27] entire city. Meaning, yes, they modeled
[11:29] the entire thing in 3D just for these
[11:31] few seconds of footage. a luxury most
[11:33] other shows can't even think of
[11:34] affording and it was worth it in my
[11:36] opinion. Also, a lot of these curse
[11:39] insights were either 3D or 3D assisted.
[11:41] Again, Tokaroo loves his CGI, but they
[11:43] didn't look out of place given the
[11:45] consistent character animation.
[11:47] The framing throughout this entire
[11:49] section was absolutely topnotch. Here's
[11:52] an example. Why frame Yuji simply
[11:54] hanging from a balcony when you can add
[11:55] an extra building with broken walls that
[11:57] reveal parts of the interior? But wait,
[12:00] what if that's too much? What if the
[12:02] viewer doesn't know where to look? Well,
[12:03] fear not because one, the relevant
[12:05] building is lit while the rest are dark.
[12:07] And two, the composition itself
[12:09] naturally guides your eyes towards the
[12:11] focus. Again, genius. While we're on the
[12:14] topic, as impressive as the compositions
[12:16] were, I do have a few issues with the
[12:18] storyboarding. This section, for
[12:20] example, Yugji jumps down and in the
[12:22] next shot, he has already landed,
[12:23] letting the buildup of the previous shot
[12:25] go to waste. Then in the very next shot,
[12:28] we see him mid-run without ever seeing
[12:30] him get up and start running. We can
[12:32] figure that part out ourselves
[12:33] obviously, but it looks clunky in
[12:35] motion. I'm sure some of you will call
[12:37] this nitpicking, but I have to point
[12:38] this stuff out. Anyway, the curses were
[12:41] incredibly well animated. The weight
[12:43] behind their movement was outstanding,
[12:45] especially because many of them had
[12:46] unorthodox anatomies, the kind you can't
[12:48] use real life references for. Also, the
[12:51] untextured 3D backgrounds looked
[12:53] amazing, and these shots animated on
[12:54] once looked eerily smooth. Pretty sure
[12:57] they're not auto in between, which makes
[12:58] them even more impressive. Tokumaru's
[13:01] outstanding 2 and 1/2 minute sequence
[13:04] was finally brought to a close with some
[13:06] incredible drawings. Yajima productions
[13:07] again, I believe, and some fantastic
[13:09] liquid effects. We then got some fun
[13:12] shorthand drawings followed by the Nawa
[13:14] fight animated by Teepeoka, which was
[13:17] really fun. The motion was extremely
[13:19] smooth. And if you thought Nya's
[13:20] movement was choppy, that there were
[13:22] frames missing, well, mission
[13:24] accomplished, because that's the point.
[13:26] That's literally what his ability is. As
[13:28] per usual, the compositions were off the
[13:30] charts with an unparalleled sense of
[13:32] space and distance. Even the backgrounds
[13:34] were heavily warped at times to convey
[13:36] that effect. The Nya fight was followed
[13:39] by Uta's appearance, which was
[13:40] accompanied by Shinsaku Kosuma's easily
[13:42] recognizable effects with those sharp
[13:44] geometric edges and some solid acting.
[13:47] Love the paradax said. As far as I can
[13:49] tell, the background isn't 3D. It's just
[13:51] some clever fragmentation of the BG
[13:53] illustration and panning. Although I'm
[13:54] not entirely sure. The episodes also
[13:57] used a ton of these short reverse shots.
[14:00] At least that's what I think they're
[14:01] called. Shots where the composition
[14:03] remains the same, but the camera flips
[14:05] 180°. Koshas only used a lot of those
[14:07] hair. This shot was cool in concept. I
[14:10] get what they were going for and I
[14:12] understand how difficult it is to draw a
[14:13] shot from that perspective, but in
[14:15] motion it just looks a bit comical. Not
[14:18] a fan. Anyway, that brief chase sequence
[14:21] then brought us to Yuji versus Uta. And
[14:23] I have opinions. Firstly, it seems like
[14:26] the entire fight was animated by
[14:27] Takafumi Mitani, meaning he animated
[14:30] seven solid minutes around a third of
[14:32] the episode, which insane. And the
[14:34] animation throughout the fight was
[14:36] pretty solid. It's just I don't know how
[14:38] I feel about some of the storyboarding
[14:39] choices. Let's go through it in order.
[14:42] This first exchange looks a bit off to
[14:44] me. Not a fan of the weird zoom in and
[14:46] the whole thing seems to lack the sense
[14:48] of flow it was going for with those
[14:49] quick cuts. Here's an example. The
[14:52] energy/buildup hair was stopped dead in
[14:54] its tracks by this slow motion shot. And
[14:56] the shot that followed didn't build up
[14:58] enough energy for the shot that came
[14:59] after it to feel natural. Does that make
[15:01] sense? Watch it again. Maybe you'll
[15:03] understand what I mean. I did love these
[15:06] long exchanges. The actions made sense.
[15:08] It wasn't just I'll swing wildly and you
[15:11] dodge. Every single slash was carefully
[15:13] thought out. Also, the animation was
[15:15] really solid. The movement wasn't
[15:17] particularly tight or snappy, but that
[15:19] was the intention to convey motion
[15:20] that's more natural and loose. This shot
[15:24] looked really mediocre. Unfortunately,
[15:26] Yugji Ragdolling looked incredibly stiff
[15:28] and janky with massive jumps between key
[15:31] poses and a complete lack of energy near
[15:33] the end. It looked like Yuji rolled over
[15:36] for absolutely no reason whatsoever,
[15:38] like it was a video game and the player
[15:39] had high ping. Even the debris animation
[15:42] melted a fair bit. Plus, some of the
[15:44] drawings and movement around it weren't
[15:46] exactly stellar. We did have more of
[15:47] Midani's loose natural body mechanics,
[15:49] so at least there's that. But the issues
[15:52] were evident. Regardless, really strong
[15:54] drawings here, followed by a ridiculous
[15:56] bit of background animation. And the
[15:58] entire background, including the car and
[16:00] its interior, was hand animated, which
[16:02] of course is insane. But once again, the
[16:04] storyboards were a bit iffy. Goshona
[16:07] tried to do that thing where you use a
[16:09] lot of quick cuts and each cut flows
[16:11] into the next one seamlessly, kind of
[16:12] like what itsami occasionally does, but
[16:15] I don't think he got the timing right.
[16:17] The editing just felt clunky. The flow
[16:19] was almost there, but not quite. In my
[16:21] opinion, the transfer of energy between
[16:23] shots was imperfect. I don't know. Am I
[16:26] the only one? And I'm a massive
[16:27] storyboarding nerd, so I see both what
[16:29] Koshuna was going for and how he didn't
[16:31] quite get there. But do let me know what
[16:33] you guys think. Anyway, some lovely
[16:35] drawings and curse animation then
[16:37] brought us to the end of episode 1. Long
[16:39] story short, a fairly impressive work,
[16:41] but not one without its issues. Episode
[16:44] 2 started with a couple of really smooth
[16:46] walk cycles, some spacious compositions,
[16:49] some insane background art, and this
[16:50] absolutely spectacular fight. Many of
[16:53] those action scenes are presumed to be
[16:55] the work of Yakumo Crack, an animator
[16:57] who caught my eye with his work on
[16:58] Shield Hero season 3. Initially, a lot
[17:01] of people thought those scenes were
[17:02] animated either by Goshono himself or by
[17:04] Rui since both have animated similar
[17:06] shots before. I wasn't the Koshono camp,
[17:08] by the way, but that doesn't appear to
[17:10] be the case. It still looks a bit
[17:12] Goshono to me, but hey, whatever.
[17:14] Anyway, I've talked about these shots
[17:16] before. They are a textbook example of
[17:18] that flow over form mentality that makes
[17:20] 2D animation so special. The idea was to
[17:23] convey speed, force, and intensity. And
[17:25] good god, did they succeed. They weren't
[17:28] afraid to distort and twist the
[17:29] character models to their utmost limits,
[17:31] literally breaking them at times. It's
[17:33] the kind of sequence fans scream
[17:35] incomplete animation or I can't tell
[17:37] what's happening at both very wrong
[17:39] opinions. By the way, as impressive as
[17:41] the animation was, we need to talk about
[17:43] the art direction and the compositing.
[17:46] These Shinyhira inspired pencil lines
[17:48] added by the latter looked amazing and
[17:50] the distorted intensity of the animation
[17:52] was perfectly complemented by the warped
[17:54] backgrounds. Fantastic work. We then got
[17:57] Fay Hung sequence which had a similar
[17:59] flow over form philosophy. Although it
[18:01] wasn't as over the top. Also worth
[18:03] mentioning the sequence used that quick
[18:05] cuts method of action storyboarding that
[18:07] Yuji versus Uta used but it was executed
[18:09] better. The flow was flowing if that
[18:12] makes sense. Some solid character
[18:14] acting, brilliant compositions, and 3D
[18:17] background black magic then brought us
[18:18] to Kichiro Watanabe's sequence. And once
[18:21] again, I have opinions. Animation wise,
[18:24] it was outstanding. One of Watanabe's
[18:26] career best. And think of how much
[18:27] territory that takes in [music] the
[18:29] wild, unrestrained motion, the iconic
[18:31] flowy timing, those trademark effects,
[18:34] it tremendous amount of background
[18:35] animation. It was outstanding. I just
[18:38] wish I could see any of it. What the
[18:40] [ __ ] just happened here? Why did they
[18:42] butcher Watanavi's work like this? Why?
[18:45] The scene was drowned out in red, making
[18:47] it feel a bit one note and making it
[18:49] difficult to appreciate the drawings,
[18:50] which would have been bad enough on its
[18:52] own. But on top of that, they decided to
[18:54] blur everything, as well as add this
[18:56] light flicker and dim effect, which made
[18:57] the animation practically
[18:59] incomprehensible.
[19:01] Don't get me wrong, I don't have a
[19:02] problem with the movement itself being
[19:03] difficult to follow. That's the point.
[19:05] And I don't have a problem with
[19:06] directors prioritizing the overall
[19:08] screen instead of the raw 2D animation.
[19:11] As long as the overall screen looks
[19:13] better than said raw 2D animation, which
[19:15] was not the case here. From what I've
[19:17] seen, the advanced screening didn't have
[19:19] that obnoxious bluring and dimming. I
[19:21] haven't seen it, but based on what I've
[19:23] heard, it didn't, which makes it
[19:24] particularly bizarre. In the back of my
[19:27] mind, I can kind of see what they were
[19:29] going for, enhancing the uncanny nature
[19:31] of Fatanabi's animation with the
[19:32] bluring, but I don't think it worked at
[19:34] all. Anyway, this was cool, though.
[19:37] Loved the black and white negative film
[19:39] aesthetic, especially because they
[19:40] didn't bury the outstanding drawings.
[19:42] Good stuff. Moving on, we had a lot of
[19:45] dialogue, but thanks to Goshono
[19:47] storyboarding, it didn't feel boring.
[19:49] The compositions were consistently
[19:51] outstanding, so much so that they could
[19:53] linger on nearly, if not outright,
[19:55] static shots for long periods of time
[19:57] without it feeling awkward. Of course,
[19:59] we did have a decent bit of character
[20:01] acting. Some shots executed better than
[20:03] others, but by and large, it wasn't
[20:05] exactly a Sakuga fest. Plus, some of the
[20:07] drawings weren't perfect. The drawing
[20:09] supervision was a bit inconsistent.
[20:11] Despite all that though, the shots
[20:13] looked captivating, which hey, that's
[20:15] Shota's owner for you. He'll find a way
[20:17] to make things look interesting no
[20:18] matter what. And those with the episodes
[20:22] a great way to start the season in
[20:24] consistencies and all. As a general rule
[20:26] of thumb, any new Goshono is good
[20:28] Goshono and that's doubly true if he
[20:31] isn't actively being [ __ ] over by the
[20:32] schedule. So, this was great. I don't
[20:35] know how well this season will fared in
[20:37] the long run based on everything I've
[20:38] heard. The answer should be a lot lot
[20:40] better than season 2, but you never
[20:42] know. So, I'll end this video on an
[20:43] optimistic hoping for the best. That's
[20:46] about it. A special thanks to N03,
[20:48] Ahmed, and the Galas 90 for becoming
[20:50] tier three members.