[0:00] Jiujutsu Kaisen season 3, the show the
[0:02] entire world is looking forward to is
[0:04] almost upon us. Almost. We still have a
[0:07] few more weeks to go. But fear not,
[0:08] ladies and gentlemen, that won't stop me
[0:10] from milking it. Never has and never
[0:12] will. Based on the brand new trailer
[0:14] they dropped a few hours back as of this
[0:16] recording, the third season of Jujutsu
[0:18] Kaisen looks exactly as good as we
[0:20] expected, if not better. The
[0:22] star-studded team led by the insanely
[0:24] creative Shot Goshono is firing on all
[0:27] cylinders, creating a final product that
[0:29] looks captivating in every sense of the
[0:31] word. As such, let's go over this newly
[0:34] released trailer and break down the
[0:35] visuals. Or in other more transparent
[0:37] words, let the milking commence. Make
[0:39] sure to subscribe. I'll make tons of
[0:41] Juju Kaisen content in the near future.
[0:43] So, if that sounds enticing to you, just
[0:45] press the subscribe button. It takes a
[0:47] second and it helps out a lot. You can
[0:49] also become a member of this channel.
[0:51] members get at least two exclusive
[0:53] videos per month, custom badges and
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[0:57] down there and press the join button.
[0:59] So, we'll go through this trailer scene
[1:01] by scene in a bit, but as always, let's
[1:03] start with a few general things. The
[1:05] staff, for example. I know I've already
[1:07] gone over the core team behind this show
[1:09] before, and trust me, I won't dwell on
[1:10] it for too long, but there are a few
[1:12] things I have to mention. Firstly, we
[1:14] now have a new assistant director in
[1:16] Studio Mapa regular Taku Sato. a
[1:18] confusing addition that I don't really
[1:20] understand to be honest. Look, an
[1:22] assistant director is supposed to be an
[1:24] important part of a production. He or
[1:26] she is on paper the second most
[1:28] important staff member, someone who
[1:30] stays with a project from beginning to
[1:32] end. As such, I think them randomly
[1:34] adding an assistant director to the
[1:36] staff list me weeks from the release
[1:38] date is bizarre, especially because the
[1:40] show already had an assistant director,
[1:41] Yusketaka. So, it's not like the credit
[1:44] itself is new. Now, yes, this probably
[1:47] isn't a big deal. There probably is a
[1:49] valid reason behind Sato's addition that
[1:51] doesn't lend itself well to Doom
[1:53] posting. Maybe he just didn't want to be
[1:55] credited initially. Maybe his influence
[1:57] is limited to the second core, which
[1:59] should still be in its early to
[2:00] mid-stages of production. I don't know.
[2:02] It's just interesting and slightly
[2:04] confusing, so I thought I'd mention it.
[2:06] Maybe it has something to do with the
[2:07] visuals. Besides that, we now have a
[2:10] better idea of the staff division
[2:12] between Chainsaw Man and Jiujitsu
[2:13] Kaisen, thanks to both IPs receiving
[2:16] theatrical adaptations recently. Quick
[2:18] recap in case any of you are new to this
[2:20] whole fiasco, Jiujutsu Kaisen and
[2:22] Chainsaw Man are produced by what is on
[2:24] paper and up until recently in practice
[2:26] as well, the same production line.
[2:29] That's the reason why the two projects
[2:30] have such a large amount of staff
[2:32] overlap or at least they did in the
[2:34] past. It is however practically
[2:36] impossible to produce both projects
[2:38] sequentially by the same team. They
[2:40] tried with JJK season 2 and CSM season
[2:43] 1, but let's just say they didn't
[2:45] succeed. As such, the most reasonable
[2:48] course of action was to split the
[2:49] production team in two and work on both
[2:51] projects simultaneously. Maybe have some
[2:53] people work on both would by and large
[2:55] separate the two productions. This is a
[2:57] concept I recall pitching a few years
[2:59] back, so it's not exactly rocket
[3:01] science. Now, normally a model like this
[3:04] wouldn't be feasible, but given the
[3:05] sheer amount of industry-leading talent
[3:07] this production line led by Gaseki
[3:09] Sashimo has access to, a soft split
[3:11] isn't that absurd of an idea. And it
[3:13] looks like that's exactly what they are
[3:15] doing. Unsurprisingly, there's very
[3:18] little staff overlap between Chainsaw
[3:20] and Resarch and the first two episodes
[3:21] of Jujutsu Kaisen season 3. The staff
[3:23] list of which is publicly available
[3:25] thanks to that early screening thing. At
[3:28] a cursory glance, I came across multiple
[3:30] artists who did a lot of work for
[3:32] Chainsaw Man season 1 did a lot of work
[3:33] for Jujutsu Kaisen season 2 and either
[3:36] script the Chainsaw Man movie altogether
[3:38] or doing very little for it and focusing
[3:40] on Jujutsu Kaisen season 3 which again
[3:42] illustrates the divide between the two
[3:44] teams. Don't get me wrong, Chainsaw Man
[3:46] Regulars will show up on this show
[3:48] especially in the latter episodes when
[3:50] the production gap between the movie and
[3:51] the second season comes into play. I'm
[3:53] almost sure of it. But by and large, we
[3:55] have separate teams now, and that's a
[3:57] very, very good thing. With all that
[4:00] being said, let's finally go through the
[4:02] trailer, aka do the thing you guys
[4:04] clicked for. First things first, though,
[4:06] let me get this out of my system. Series
[4:08] director Shota Goshono is a genius. He
[4:10] is a [ __ ] genius. Under Goshono's
[4:13] leadership, and if the leaks are to be
[4:14] trusted due to his storyboards as well,
[4:16] every single shot looks interesting with
[4:19] no exceptions. No matter how basic a
[4:21] concept is, no matter how mundane the
[4:23] actions are, and unrestricted Goshono
[4:26] will find a way to make [ __ ] look
[4:27] interesting, you can bet on that. I have
[4:30] said this before, Goshono is allergic to
[4:32] framing things normally, and that's one
[4:33] of the best things about him. His brain
[4:35] works in ways us mortals can't even
[4:37] comprehend. It's insane. Of course,
[4:40] simply having a creative director isn't
[4:42] enough. Anime is a collaborative
[4:44] endeavor. Every single department needs
[4:46] to hold up their end. Amazing
[4:48] storyboards are useless if the animation
[4:50] can't keep up. Amazing compositions have
[4:52] no meaning if the backgrounds fall
[4:53] apart. Amazing visual ideas have no
[4:56] value if the art direction and
[4:57] compositing can't keep up. You get the
[4:59] idea. There [music] are plenty of areas
[5:02] an anime can fall apart in. But
[5:03] thankfully that's not the case here.
[5:06] Every single artist involved with JJK
[5:08] season 3 is going above and beyond to
[5:10] bring Goshono's grand vision to life.
[5:12] Every single department is adding to the
[5:14] final product instead of diminishing it.
[5:16] It's It's perfect so far. At least it
[5:19] seems like the highly capable artists
[5:21] aren't actively being kneecapped this
[5:22] time around, which hey, props to Studio
[5:25] Ma. Thank you for not being awful for
[5:27] once. I hope you guys can keep this up.
[5:29] Anyway, that's enough glazing. Let's
[5:31] finally go through this actual thing.
[5:33] The trailer opened up with this
[5:35] beautiful shadowless drawing that
[5:37] perfectly encapsulates season 3's
[5:38] approach towards character art. The
[5:41] copious amounts of thick, perfectly
[5:42] placed lines add so much character to
[5:44] the drawing. Amazing stuff. We then got
[5:47] a few miscellaneous shots and this is
[5:49] where Goshono's unparalleled composition
[5:51] sense comes into play. The framing is
[5:54] always depth heavy and volutric. There
[5:56] are layers of complexity. The character
[5:58] placements are always quirky and
[5:59] eye-catching. It's so good. Framing
[6:02] aside, the style of backgrounds and
[6:04] compositing around this section really
[6:05] stood out to me. Many of these shots had
[6:08] this photorealistic desaturated look and
[6:10] said look was handled perfectly. It felt
[6:13] uncanny. The heavy blurring in this
[6:15] shot, the distortion around the edges
[6:17] hair, the framing in this skirt. It had
[6:18] a very, I don't know, found footage
[6:20] aesthetic, if that makes sense. It was
[6:22] so cool. We then got a few really
[6:24] well-drawn close-ups. Yoskeima
[6:26] corrections, I believe. Some
[6:28] multi-layered mouse animation of all
[6:29] things, some fantastic large scale
[6:31] backgrounds, and this 3D shot of an
[6:33] entire city with a complex perspective.
[6:36] At least, I believe it's 3D and not
[6:38] clever parallaxing. This cut was really
[6:40] good with the entire bridge being hand
[6:42] animated frame by frame. They didn't
[6:45] need to do that. They could have simply
[6:46] used a background illustration, but
[6:48] background animation gives a shot that
[6:50] added bit of depth. Also, some really
[6:52] good-looking three-tone liquid animation
[6:54] hair complete with these sketch pen-like
[6:56] lines. Really cool stuff. We then got
[6:59] more of those complicated compositions.
[7:01] Why frame a character jumping normally
[7:03] when you can frame it from the top down,
[7:05] making both the background and the
[7:06] characters significantly harder to draw?
[7:09] Why frame characters walking normally
[7:10] when you can place one of their hands
[7:12] right next to the camera and have it
[7:14] sway past it, giving the scene
[7:15] additional depth? The usual goes on
[7:17] black magic. Basically, you know what
[7:19] got a chuckle out of me? This shot. You
[7:22] had these incredibly complex layouts and
[7:24] then suddenly, bam, the most
[7:25] stereotypical shownen composition ever
[7:28] with a speedline based background. One
[7:30] must not lose touch with their roots, I
[7:32] guess. Just so you know, this shot had
[7:33] fantastic drawings and top-notch
[7:35] animation. and it wasn't bad whatsoever,
[7:37] just funny. Anyway, speaking of
[7:40] fantastic drawings, this trailer was
[7:42] filled with them. Unlike season 2,
[7:44] Yajima's designs are fairly detailed
[7:46] with tons of extra lines, giving each
[7:48] shot more substance, more depth. Plus, I
[7:50] believe most of the shots shown in this
[7:52] trailer were corrected by Yajima
[7:53] himself, so that helps. I loved these
[7:56] scenes. Initially, I wasn't a fan of the
[7:58] red outlines, but these close-ups
[8:00] changed my mind. They looked so amazing.
[8:02] Particularly fond of this high angle
[8:04] perspective on Fushiguro complex for no
[8:06] reason. I love it. I've mentioned it
[8:09] before, but it bears repeating. It's
[8:10] insane how well the art direction and
[8:12] compositing kept up with the framing and
[8:14] animation. The multi-layered background
[8:16] pan in this shot looked amazing. The god
[8:18] rays hair and the accompanying
[8:20] compositing was a significant step up
[8:22] from season 2 episode 4. It felt a lot
[8:24] more organic. The red accent/ rim
[8:27] lighting hair looked beautiful. The
[8:28] completely flat look of this shot was
[8:30] really pleasing aesthetically. The shiny
[8:32] like pencil lines in this shot,
[8:34] presumably a compositing effect,
[8:36] perfectly complemented the wild
[8:37] distorted flow of form animation. Again,
[8:40] every single shot had something
[8:41] interesting going on. I was a huge fan
[8:44] of these shots. They were so cinematic.
[8:47] The entire trailer was quote unquote
[8:48] cinematic, but these shots were
[8:50] cinematic cinematic, if you know what I
[8:52] mean. The extreme depth of field
[8:54] blurring head, the gorgeous background
[8:55] in this shot so good. Here's another one
[8:58] of those needless animation flexes. Why
[9:01] just animate Gojo when we can animate
[9:02] frame by frame the entire background,
[9:05] including the window, the bookshelf, and
[9:06] every single book on it? Why not? And
[9:09] speaking of why not, why not pan an
[9:11] entire warped background layer instead
[9:13] of simply animating Yuji turning? Why
[9:15] not add background layers both behind
[9:17] and in front of Uta and pan them
[9:18] separately for added depth? Why not?
[9:21] That's the YMO hair. Why not? Also, I
[9:24] can't get over how good these quote
[9:25] unquote realistic backgrounds look.
[9:27] They're so unnerving. I love it. Some
[9:30] amazing spacious framing, fantastic
[9:32] drawings and animation, and top-notch
[9:34] background art and compositing then
[9:36] brought us to the mandatory action part
[9:37] of the trailer, which started off with
[9:39] these two insane shots. The entire car
[9:42] here, including the interior, was hand
[9:43] animated, which allowed the also handan
[9:45] animated Yugji to physically interact
[9:47] with it, making the action more dynamic.
[9:50] This was the coolest shot from this
[9:52] trailer in my opinion. The background
[9:54] illustration head or the 3D background I
[9:56] can't tell was briefly interrupted by 2D
[9:58] background animation. All while the
[10:00] super background went pitch black. A
[10:02] very utaka Nakamura thing to do. The
[10:04] same can be said about the spiky smears
[10:06] and the static after images. Very
[10:07] Nakamura. Also loved the black
[10:10] highlights on the fist. Such a cool
[10:12] touch. I believe this shot was animated
[10:14] by Kohi Hirota since he animated
[10:16] something similar for the second season,
[10:18] although don't quote me on that. This
[10:20] shot was great. I loved these thick inky
[10:22] smears and the acting was quite solid,
[10:24] albeit ever so slightly stiff. We then
[10:27] got to the maki scenes and dear lord,
[10:30] this in my opinion is the best Maki has
[10:32] ever looked. Absolutely jaw-dropping
[10:34] art. Quite possibly the work of Nakaya,
[10:37] especially given that pronounced chin.
[10:39] Also loved the simple vibrant blood. It
[10:41] works with the overall aesthetic. This
[10:44] shot was ridiculous. Not only were the
[10:46] drawings amazing, not only was the
[10:48] foreshortening on his arm perfect, not
[10:50] only was the character animation
[10:51] insanely high level, the entire
[10:53] background was hand animated, all while
[10:55] the camera changed perspectives not just
[10:57] once, but twice. Mind-blowing stuff.
[11:00] This shot started with a standard
[11:02] fisheye background illustration, but
[11:04] then seamlessly switched to top-notch
[11:06] background animation. Also, these desks
[11:08] lead me to believe that this room was
[11:10] modeled after the actual studio
[11:12] building, not the first dot. The second
[11:13] time they've done something like that.
[11:16] Again, for the millionth time, just look
[11:18] at these compositions. The background
[11:20] perspective here, the backlit camera pan
[11:22] in this shot, Koshao cinema. The trailer
[11:24] finally ended with this cool partial
[11:27] camera rotation complete with the strong
[11:29] red and blue accents. Amazing stuff. And
[11:32] that was the trailer. Again, not a
[11:34] single filler shot. Absolutely brilliant
[11:36] from front to back. It was Shota Goshono
[11:39] at his best. And that's it. I won't tap
[11:42] on for too long. I'll get plenty of
[11:43] opportunities to do so next month. So,
[11:46] let's call it a day for now. A special
[11:48] thanks to Node 03, Ahmed, and the Galas
[11:50] 90 for becoming tier three members. And
[11:52] until next time.