[0:00] It's no secret that human beings crave
[0:02] escapism. Anything that separates us
[0:04] from our boring, miserable lives allows
[0:06] us to keep going on with our boring,
[0:07] miserable lives. So, we seek out
[0:09] immersive worlds in other media. And
[0:11] while such immersive media can be really
[0:13] intriguing because of the technical
[0:15] progress that goes into making it so
[0:17] hyperrealistic, it can also be boring.
[0:21] I play games to escape reality, not to
[0:24] be annoyed by it. So, what about the
[0:26] other end of the spectrum? Surrealism.
[0:27] it is. Then this is not possible in real
[0:30] life whatsoever. I can only do this in a
[0:32] video game and that's boring. If you
[0:33] remove any semblance of realism
[0:35] whatsoever, that piece of art is no
[0:37] longer relatable. If it's not relatable
[0:39] whatsoever, it's not possible to get
[0:41] invested in it. I don't want to drive a
[0:43] hypercar with zero sense of speed
[0:45] worried about fuel consumption and tire
[0:47] wear. Neither do I want to do barrier
[0:48] rolls on a hypercar cuz that is
[0:50] absolutely impossible. But so is driving
[0:52] a hypercar through a thunderstorm.
[0:54] However, something's different here. The
[0:55] presentation of the impossible here is
[0:57] realistic. Raindroplets are not that
[0:59] big. However, the physics with which
[1:01] they sway left and right look absolutely
[1:03] stunning. This is realism with a splash
[1:05] of expressionism thrown in there.
[1:07] Magical realism. The idea of coming up
[1:09] with impossible scenarios, but then
[1:11] executing it in a way that feels real.
[1:14] And the appeal that this magical realism
[1:16] has, it can translate to animation as
[1:18] well. It's one of the things that makes
[1:19] Utapon's animation so appealing. He
[1:21] constantly drops you into settings that
[1:23] make no sense. But he animates
[1:25] everything in it realistically as if it
[1:28] could exist in our world. Look at this
[1:30] space. It physically makes no sense. Why
[1:33] is there no floor? Why is the background
[1:36] this color? But what if you draw a
[1:37] character running realistically through
[1:40] the space? If a goo monster slowly
[1:42] reformed its body, what would that look
[1:44] like in real life? A boy hanging off the
[1:46] face of a dragon. It's impossible. But
[1:48] even then looking at this animation some
[1:50] part of your brain goes holy [ __ ] that
[1:52] is so realistic. That contrast of
[1:54] realism is incredibly appealing. Now
[1:56] this magical realism as I call it it
[1:58] does fall in a spectrum. Examples I
[2:00] could use to explain this is Thunderclap
[2:02] part one and Thunderclap part two. The
[2:03] spaces that Nakaya onen and Miso
[2:05] constructed for Thunderclap part one.
[2:07] All of them physically make sense. Yes,
[2:09] a bunch of buildings melting together.
[2:11] It's unrealistic, but if it did exist,
[2:14] this is probably what it would look
[2:15] like. Our brains understand that. For
[2:17] Thunderclap part two, on the other hand,
[2:18] Hakugo immediately drops you into a
[2:21] space that makes no sense. Why does the
[2:23] background slowly shift from floor level
[2:25] to the side of a building in between the
[2:27] fight? It makes no sense, yet it is
[2:29] grounded in absolute realism because
[2:31] look at these movements. The body
[2:33] dynamics of the characters still have
[2:35] weight. Chainsaw Man season 1 is
[2:37] incredibly technically impressive
[2:38] because it emulates realism to such a
[2:41] perfect degree. Chainsaw Man's movie
[2:43] dials up the expressionism to a degree
[2:45] where you still feel like it's
[2:47] technically impressive because of how
[2:48] realistic it is, but the action scenes
[2:50] are just more fun to watch. Shono has
[2:52] put Jiu-jitsu Kaisen season 3 at the
[2:55] extreme end of the spectrum. He's
[2:56] dropping us to a world that he's
[2:58] constructed. There are unique and
[2:59] unrealistic colors that exist in this
[3:01] world and yet all these elements are
[3:03] grounded using realistic rules that make
[3:06] sense to us. Due to Kaisen season 3's
[3:08] core staff mostly remains the same. It
[3:09] is still led by the most visionary,
[3:12] ambitious director of our generation,
[3:14] Shiro Jizono. It would be on the same
[3:15] level as if Atsushi Kabayashi or
[3:17] Toshiuru directed the entirety of Naruto
[3:20] instead of individual episodes or if
[3:21] Hakugo or Miso directed a whole series.
[3:24] I guess it is also happening with Fate
[3:26] Strange Fake, but you can't really call
[3:27] that show a proper series now, can you?
[3:30] But yes, what can you expect when a
[3:31] highlight director is the series
[3:33] director? You'll get a show that is
[3:35] trying to be ambitious and fascinating
[3:37] 100% of the time. Series directors
[3:40] supervise the entire project and
[3:41] supervise every single element of the
[3:43] entire project whether that's art
[3:45] direction, the compositic, the music
[3:47] direction and sound direction and with
[3:49] action animators turned directors like
[3:51] Shushono of course he supervised the
[3:53] action animation and the animation
[3:54] direction as well. Gosso's supervision
[3:56] as a series director can be best seen in
[3:58] the hidden inventory arc. He was very
[4:00] hands-on with the first five episodes of
[4:01] season 2. So even though every episode
[4:03] of H inventory arc was directed by
[4:05] different artists, you could absolutely
[4:07] still make out Shotokuno's sensibilities
[4:09] within these same episodes. The
[4:10] atrocious schedule of season 2 didn't
[4:12] allow him to maintain that level of
[4:13] supervision throughout the show. For the
[4:15] Shibuya, he basically went back to his
[4:17] role of episode director while also
[4:18] doing a lot of emergency key animation,
[4:20] emergency direction, and also some
[4:22] highlight animation thrown in there as
[4:24] he's still a [ __ ] insane artist. For
[4:25] the Culling Games teaser, it just looks
[4:27] like every single shot was supervised by
[4:29] Gosso, which kind of checks out because
[4:31] from my understanding, most of these
[4:32] shots are from episode 1, which is
[4:34] almost always storyboarded and directed
[4:36] by the series director. So, in this case
[4:38] being Gosso, but expect the base level
[4:41] of quality for season 3, to be the same
[4:43] as that for the first five episodes of
[4:44] season 2, which is incredible cuz that
[4:46] arc was a masterpiece, quite possibly
[4:49] the best produced arc in modern shownen.
[4:50] Now, Gossu's hands-on supervision does
[4:52] not mean that you're not going to see as
[4:54] much experimentation as season 2. What
[4:56] Gossu is going to provide as a series
[4:57] director is an incredibly ambitious base
[4:59] for experimentation and also super
[5:02] highquality supervision that comes with
[5:03] all of his experience. There are
[5:05] definitely going to be episodes where
[5:06] he's going to be mostly handsoff because
[5:08] there are going to be other equally
[5:10] ambitious episode directors in this
[5:11] project. God, I'm so excited for it. His
[5:13] skill with direction does not end with
[5:15] the visual elements. The director is
[5:16] supposed to supervise everything and you
[5:18] can tell that in the trailer. This is
[5:19] the best art direction and compositing
[5:21] that Juditsu Kaisen has ever had. Even
[5:22] though the staff in that regard remains
[5:24] unchanged from season 2. It's just that
[5:26] the team couldn't focus on these two
[5:27] elements while producing season 2
[5:29] because 17 out of season 2's 23 episodes
[5:31] were being worked on days before they
[5:34] went on air. I am not even exaggerating.
[5:36] But here the compositing, the art
[5:38] direction and the animation can be
[5:40] unified under a proper directorial
[5:42] vision. The other things that have
[5:43] changed is the art style itself. The
[5:46] character designs have changed. Season
[5:47] 2's character designs were great. Hakoso
[5:49] provided a really good base for the
[5:51] artist to work with, but it wasn't
[5:53] really the most impressive from an
[5:54] aesthetic sense. This is not me
[5:55] disparaging Asia Koso. Absolutely. Now,
[5:58] she's an incredible artist, but it was
[5:59] in the same vein as the art direction
[6:01] and compositing in the sense that the
[6:02] goal was just to provide something for
[6:05] the animators to start working. Kosiso
[6:07] was picked because she was a character
[6:08] designer alongside Hiamatu in season 1.
[6:10] So, she's most familiar with the designs
[6:12] and can provide a solid easy to work
[6:13] with base. And they were just really
[6:15] good on model designs. They were not
[6:17] trying to be ambitious, unique, or
[6:19] idiosyncratic, which of course didn't
[6:21] matter because everyone did whatever
[6:22] they wanted with her designs anyway,
[6:24] including Saiaka Koso herself. As the
[6:26] season progressed, we could see Koiso's
[6:27] art style evolving, especially with the
[6:29] Blu-ray covers that she drew. These look
[6:31] absolutely nothing like her own
[6:32] character designs. Season 3, the common
[6:34] recurring theme is to treat every single
[6:36] element as a work of art that can be
[6:38] pushed to its limit. There were six main
[6:40] chief animation directors for season 2
[6:42] or at least it started off as such.
[6:44] Takusho Shimizu left after the fifth
[6:46] episode to most likely work on Chinsaw
[6:47] Man. Technically, she did contribute in
[6:49] Shibuya arc. She made this wonderful
[6:51] Megumi drawing, but for the actual
[6:52] anime, she didn't actually do anything.
[6:54] The rest of the names were significantly
[6:55] important to the production, especially
[6:58] Yoshi Yajima and Soazaki who did
[7:00] absolutely unfathomable levels of work.
[7:02] Yamasu displayed his talent as a
[7:04] character designer almost instantly. He
[7:06] almost always did his own thing or what
[7:08] the episode director expected out of
[7:10] him. Whereas Yuzuki Aajima was focused
[7:12] on elevating the base character designs.
[7:14] He was never really displaying his own
[7:16] artistic idiosyncrasies, but his
[7:18] impressive artistic sense could
[7:19] immediately be spotted. This looks like
[7:22] it's faithful to the character design,
[7:23] but it has its own yosima appeal.
[7:26] Whereas this is just a complete
[7:28] transformation of the design by Nakaya
[7:29] onen. And that's just what these artists
[7:32] usually do. Yuki never did that. Even
[7:34] when he drew with a ridiculous level of
[7:36] detail, he kept the aesthetic of the
[7:37] base designs in mind. So, I was really
[7:39] excited to see what his interpretation
[7:41] of the designs would look like. And
[7:42] guess who the character designer is for
[7:44] season 3? Yajima's designs look
[7:46] absolutely stunning. Yajima's
[7:48] corrections were exclusively composed of
[7:50] full even lines with very sharp
[7:52] features, which definitely makes the
[7:53] lives of Dogemen much easier cuz all you
[7:56] have to do is trace those simple lines.
[7:57] Whereas if I was a dog man and I saw
[7:59] this drawing, I would be [ __ ] crying
[8:01] which wouldn't matter at the end of the
[8:02] day cuz Soaut Mazaki would do the dog
[8:04] himself. Here the designs that Yajima
[8:05] has created itself has uneven lines and
[8:08] it it's rendered so beautifully. The
[8:10] appeal in this animation is the fact
[8:11] that it's handdrawn animation and the
[8:13] raw unprocessed nature of this line art
[8:15] just boosts that appeal. The most
[8:17] impressive thing about this is just that
[8:18] these are the base designs. This is what
[8:21] the drawings made by the character
[8:23] designer looks like. The base level is
[8:25] this astronomically high which just
[8:27] means that every drawing will look good.
[8:30] Yajima is not the only designer
[8:31] involved. There are two character
[8:32] designers. You might be expecting
[8:33] another name from this list. But no,
[8:36] this artist was not credited as one of
[8:37] the main chief animation directors for
[8:39] the project. It rarely happens where you
[8:41] have to change the credit after the show
[8:43] airs. But honestly in this is one of
[8:44] those rare cases where it should have
[8:46] been done. And I'm talking about Hiomi.
[8:47] Na was not credited as a chief animation
[8:50] director because she was not a chief
[8:52] animation director when the project
[8:53] charted up. She was a recurring
[8:54] animation director even for season 1 of
[8:56] Jutsu Kaisen. For season 2, she
[8:58] continued with the same working as an
[8:59] animation director. Halfway through the
[9:00] production, however, she made her chief
[9:02] animation director deb alongside the
[9:03] affforementioned Yosi and Raina. Then
[9:06] she appeared once again as a chief
[9:07] animation director for the last four
[9:08] episodes back to back chief animation
[9:10] director for four episodes in a row
[9:12] because the last four episodes were the
[9:14] absolute extreme of brute forcing, the
[9:16] tail end of the worst TV anime
[9:18] production of all time. But the point is
[9:20] all the other people who worked as chief
[9:22] animation directors for all the episodes
[9:24] were usually a combination of these
[9:26] names. In rare cases, we did have guest
[9:28] chief animation directors like episode
[9:30] 14 with Totos and Shun. They probably
[9:32] just moved their chairs from the
[9:33] Chainsaw Man side to the Jiujitsu Kaisen
[9:35] side to work on this episode. But yeah,
[9:36] they did not consistently keep appearing
[9:38] in the last four episodes as well. Well,
[9:40] there was one exception in Yuruko Ishi.
[9:42] All the other names credited as were a
[9:44] combination of the main chief animation
[9:46] director's name with the sole exception
[9:48] of Hiominiba. So yeah, she was basically
[9:50] one of the main chief animation
[9:51] directors for season 2. She was just not
[9:53] credited as such. She was just so
[9:54] skilled and familiar with Jiutsu Kaisen
[9:56] that she was allowed to take up that
[9:58] role halfway into the project. And now
[10:00] she's a casual designer alongside Yosuki
[10:02] Hajima. From the sequences in the
[10:03] trailer, it looks like most of the UT
[10:04] sequences were corrected by Neva and the
[10:06] Eugis were corrected by Yajima to
[10:08] further create a dichotomy while they
[10:10] fight. It's a poetic production. Of
[10:12] course, it's going to be with Gosso as
[10:13] the head. Neva has drawn Yugji as well.
[10:15] I mean, this KV is just a testament to
[10:18] her skill. Another change with the core
[10:19] staff list is the assistant director
[10:20] Toyota Ike being replaced by Yosukada.
[10:23] I'm assuming it's because Ike was just
[10:24] busy acting as a chief director for
[10:26] Mono, which by the way, incredible
[10:28] production. Just have to point that out.
[10:29] And the best possible person to replace
[10:31] him is Yosukakada. The first proper
[10:33] Gosso high-profile episode was episode
[10:35] 17 of Jiu Kaisen season 1, which was
[10:37] followed up by episode 18 by Yosuket
[10:40] Takada. Go then directed season 2,
[10:42] episode 1, which was followed up by
[10:43] Yosuk Takata's episode 2. Gosso then
[10:45] directed episode 9 of season 2 which was
[10:48] followed up by can you guess episode 10.
[10:51] He's also directly worked alongside
[10:53] Gosso with episode 18 where he processed
[10:55] the storyboards alongside him.
[10:56] Regrettably a very broken episode
[10:58] because of the schedule. The rest of the
[10:59] core staff remain unchanged. I'm
[11:00] particularly happy about Yoshi Master
[11:02] Tui staying as a composer. In episode 8
[11:04] of Chainsaw Man, we saw the best
[11:05] utilization of Kenuk Ushio's score.
[11:09] And watching the trailer for season 3,
[11:10] it's pretty much guaranteed that Gosso
[11:12] is going to be doing the same with
[11:12] Tedui's music.
[11:16] We still don't know what the full extent
[11:17] of the core staff is like, you know,
[11:19] more chief animation directors maybe. We
[11:21] don't know who the main animators are
[11:22] going to be. I'm assuming Kosuk Kato
[11:24] might not be back because he was busy
[11:25] with the IBA and the other three main
[11:27] animators definitely has some level of
[11:28] contribution in the Chainsaw Man movie
[11:30] as well. But the production pipelines in
[11:31] Mapa is still completely broken. Uh it's
[11:35] not really accurate to say that. It's
[11:37] more like they've never existed in the
[11:38] first place. And while that is still
[11:40] technically a bad thing, it is no longer
[11:42] as awful as it was before. What I mean
[11:44] by the production pipelines not existing
[11:46] is that MAPA operates in a way such that
[11:48] they put whatever stuff is available on
[11:50] whatever project at whatever time they
[11:52] need them to be there. That is not
[11:54] necessarily a bad thing. It is howable
[11:56] operates for example and they're doing
[11:58] great. It's just that they simply have
[11:59] more time for each project. And for the
[12:01] first time in forever, MAPA has that
[12:04] too. Splitting production lines can also
[12:06] have their demerits like Mob Psycho
[12:08] season 3 for example. We got one Utapon
[12:10] scene for the show. I wanted more Utapon
[12:12] scenes. Utakan Nakamura himself wanted
[12:14] more Utapon scenes. He loves the project
[12:16] so much and wanted to work on it so
[12:17] desperately that he ended up
[12:18] contributing with second key animation
[12:20] just to have his name attached to the
[12:21] project once again cuz the production
[12:22] lines between Mobs 100 and My Hero
[12:25] Academia are split and he has to focus
[12:26] more on My Hero Academia. But in Studio
[12:28] Mappa's case, even though Mazaki is a
[12:30] chief animation director for a bulk of
[12:32] the Chainsaw Man movie, I wouldn't be
[12:34] surprised if he appears on Jiujitsu
[12:36] Kaisen season 3. Conversely, I also
[12:38] wouldn't be surprised if Yajima did
[12:39] something for Chainsaw Man, though his
[12:41] presence is not really needed there. The
[12:43] staff list is [ __ ] insane after all.
[12:44] Basically, what I'm getting to is that
[12:46] the Sichimo team has such an insane
[12:49] range of staff. They can definitely be
[12:52] split for the most part into two
[12:54] different project. And as long as these
[12:55] two projects have enough time available
[12:57] for production, all the animators and
[12:59] animation directors can just work on
[13:01] both of them as there are going to be
[13:02] buffer periods during the production.
[13:04] keywords as long as both of them have
[13:06] enough time. Jujutsu Kaisen season 2 was
[13:08] produced in a particularly unlucky time
[13:10] because what it was following up was a
[13:12] TV anime production of Chainsaw Man.
[13:14] Also, they did not have a core staff.
[13:15] So, it was the classic mappa technique
[13:17] of building a new production line out of
[13:19] an existing production line and making
[13:21] an anime out of it. This time, you have
[13:22] a base because the jiu-jitsu kaizen
[13:24] season 2 staff are still here. The
[13:25] Chainsaw Man season one staff are still
[13:27] here for the most part and you're
[13:29] following after a movie production, not
[13:30] a TV anime production, which is also
[13:32] greatly beneficial. It's going to
[13:33] release in January. Is that a healthy
[13:35] production? No, there's no way that's a
[13:36] healthy production. But it's more in the
[13:38] line of classic anime industry bad like
[13:40] how Frein is a struggling production.
[13:43] Like how My Hero Academia is a
[13:44] struggling production. It's no longer
[13:46] mapper levels of bad. And that is fine.
[13:48] And considering the staff that's on
[13:50] board, this is definitely more than
[13:51] enough time for them to create a
[13:53] masterpiece. It might not be perfect,
[13:54] but that's basically every project in
[13:56] the anime industry. But I do feel like
[13:57] this production line is going in a
[13:59] better path, especially because it might
[14:00] not even just be a single production
[14:02] line anymore. Neither Chainsaw Man Movie
[14:04] nor Juju Kaisen season 3 have revealed
[14:06] who the animation producer is going to
[14:07] be. And Quesog Sashima was promoted to
[14:09] an executive officer at MAPA. So any of
[14:11] the production assistants who worked
[14:12] under him might have been promoted to
[14:14] animation producers now. So all we know
[14:15] JJK and CSM might have two different
[14:17] animation producers with Sichimo just
[14:19] acting as the head. And regardless of
[14:20] whether you're working with the same
[14:21] talent pool or not, having different
[14:23] animation producers is always going to
[14:25] be beneficial for two different
[14:26] projects. And January sounds good for a
[14:28] single core, unless they throw some
[14:30] release gimmicks in there.
[14:36] Why do they do this? Episode one of a
[14:38] project is a special project is the
[14:40] prime opportunity for the core staff to
[14:43] show everything that they have. which is
[14:44] why it's usually directed by the series
[14:46] director, which is why usually it's
[14:48] corrected by the character designers.
[14:50] So, these dumb [ __ ] release gimmicks
[14:52] do nothing but unnecessarily strain the
[14:55] project. Episode one of Heavenly
[14:56] Delusion, for example, had a production
[14:58] schedule of two [ __ ] years. They're
[15:00] not just producing one episode. They're
[15:01] laying out the identity for all the
[15:03] future episodes. Particularly, cutting
[15:05] short the schedule for episode 1 for a
[15:08] [ __ ] release gimmick only puts strain
[15:10] on the production. I might have to make
[15:12] a whole video on this cuz it it
[15:13] completely [ __ ] sucks. When has this
[15:15] ever worked out? Demon Slayer has first
[15:17] episodes grouped with other episodes and
[15:19] released in form of movies. Sure,
[15:20] produced in a specialized studio like
[15:22] you with strong in-house culture. Do the
[15:24] same with Dandelan. What do you get? A
[15:26] completely [ __ ] up production. While
[15:28] Ever Garden can release the first four
[15:29] episodes simultaneously in a specialized
[15:31] TV slot, producing Kyoto Animation, the
[15:33] studio that finishes production months
[15:35] before the first episode airs. Breen
[15:37] does the same thing and what happens? A
[15:39] [ __ ] up production. No [ __ ] The
[15:41] producers are looking at the release
[15:42] gimmicks and only thinking about the
[15:43] possible profits. Release gimmick can
[15:45] only exist in gimmick studios. And yes,
[15:48] your portable and cyto animation could
[15:50] be called gimmick studios. I'm not
[15:52] saying that in a negative way. I'm
[15:53] saying that in a positive way. In the
[15:55] vast hellscape of the anime industry,
[15:57] having good working conditions is a
[15:59] gimmick. The only thing it does is
[16:01] negatively affect the show. Some shows
[16:02] can't even figure out what their gimmick
[16:04] is before releasing. Like [ __ ] fade,
[16:06] strange, fake. At best, this November
[16:08] release of the first two episodes didn't
[16:10] negatively affect the production, but it
[16:12] undoubtedly put some level of strain on
[16:14] the project that did not need to exist.
[16:16] People are blaming Demon Slayer and
[16:18] Evotable for this. But are they really
[16:20] at fault? If your studio is built in a
[16:22] way such that it facilitates making more
[16:24] profit, why the [ __ ] wouldn't you do it?
[16:26] The problem with other studios is that
[16:27] they only look at the latter half of
[16:29] that sentence. I'm sorry. I'm just
[16:31] really annoyed by this goddamn movie
[16:33] release gimmick. It is what it is. What
[16:36] are you going to do about it? Let's just
[16:37] finally talk about the actual animation
[16:39] in the trailer. All right, literal first
[16:40] cut from the trailer. And look at that
[16:42] art direction. The anime is supposed to
[16:44] adapt and elevate. This is what doing
[16:46] both looks like. If you put the manga
[16:48] panel side by side, I mean, there really
[16:50] isn't much competition here, is there?
[16:52] The position of Yugji is changed with
[16:54] respect to the manga as well. This was
[16:55] definitely a deliberate decision to
[16:57] parallel where Gojo was sitting in
[16:58] episode 5. The art direction is
[17:00] absolutely gorgeous. The glass painted
[17:02] window and the red coming through it,
[17:03] the reflection of that red on the tiles,
[17:06] it's surreal in the sense that a red
[17:08] space like this doesn't make any sense,
[17:11] but it is also tangible. It's also
[17:13] realistic. I've never seen the sky in
[17:15] this shade of red. But for creating that
[17:17] artistic mood, realism can be dropped.
[17:19] So, while this space makes no sense, if
[17:21] this space existed, this is exactly how
[17:23] it would look. When you talk about the
[17:24] sky in my hurricane looking bland, the
[17:27] usual retort that the fans of the show
[17:28] throw is, "Isn't the sky supposed to be
[17:30] blue?" That is called missing the point.
[17:32] The sky is supposed to be blue. Yes, but
[17:34] the sky can also be red. The fact that
[17:36] it's unrealistic does not matter if
[17:38] there is a vision behind it. Hm, I
[17:40] wonder why the sky suddenly turned red
[17:42] in this shot. Why was realism suddenly
[17:44] thrown out of the window? You see the
[17:45] point? Speaking of being thrown out of
[17:47] the windows, everything is reflected on
[17:50] the windows as well, right? Every
[17:51] element of the art direction is
[17:52] reflected on top of the window. So, we
[17:53] have a ray tracing on here. The screen
[17:55] is engulfed in pink light. It's not
[17:57] entirely engulfed in the light in a way
[17:59] that literally every element looks pink.
[18:01] No, but the overall color profile is
[18:03] pink. Really cool effects animation
[18:04] here. Lots of granularity in that
[18:06] effects. And the shot composition is
[18:08] also incredible. UT just casually walks
[18:10] in front of the frame. Two different
[18:12] layers of animation and two different
[18:13] layers of art direction. You have the
[18:15] background art all the way behind the
[18:16] building, which is just the sky. You
[18:18] have the building itself, which is also
[18:19] part of the art direction, but on top of
[18:21] the building, you also have a layer of
[18:23] hand-drawn effects animation. Then in
[18:25] front of it is another layer of art
[18:27] direction. The background painting that
[18:29] has all these boxes, this cloth, and
[18:31] then another layer of 2D animation that
[18:32] walks in front of it. It's a very
[18:34] ambitious board and wouldn't really be
[18:35] possible if the compositing and art
[18:37] direction wasn't completely in tune with
[18:39] the director. And the thing is, this is
[18:41] not even that complex with its short
[18:43] composition. It's difficult to get your
[18:44] point across if you don't exaggerate
[18:46] things. Depth, for example, doesn't
[18:48] exist. It's a 2D medium. There's no
[18:50] depth. Gosso uses all kinds of fisheye
[18:52] and complex perspectives to get that
[18:54] sense of depth across here. It's simply
[18:56] just art direction and compositing
[18:58] brilliance here. Even through the
[19:00] incredibly pathetic YouTube compression,
[19:03] the shape of the shading within the
[19:04] smoke definitely looks like something
[19:06] Hayer Kurasaki would do. All but
[19:07] confirmed to be working on Chainsaw Man
[19:09] as well. Just another further proof that
[19:11] there's going to be a lot of intermixing
[19:12] between the staff. Starting with great
[19:13] shots of hands over here. I'm assuming
[19:15] that's Yuji's hand washing away the
[19:17] blood. This I don't really understand
[19:18] the sense of scale. That's either a very
[19:20] big hand or a very tiny chair. A very
[19:22] cool shot. It almost looks like 4x3.
[19:24] It's It's cinemascope, right? Yes, it's
[19:26] cinemascope, but it looks like it's 4x3
[19:29] just because of this box framing. You're
[19:31] looking into a room past these glass
[19:34] ornaments. There's only one director
[19:35] who's thinking of shots like these. And
[19:37] this is just exceptionally beautiful
[19:38] animation over here. It looks like
[19:40] something Soaki would do. Here you can
[19:42] really look at the design language. Very
[19:44] similar to something like look back.
[19:45] This is the kind of beautiful line art
[19:46] that would usually be lost in second key
[19:48] animation or Doga, but here it looks
[19:50] beautiful. Of course, it's going to be,
[19:51] I'm assuming, the first scene in season
[19:53] 1, so it makes sense that it looks good.
[19:55] And these effects look very much like
[19:57] Masahiro Tko's effects. The curses are
[19:59] handdrawn, but they look 3D because of
[20:01] the incredibly fluid movements, which
[20:03] again, if it's Tokomo animating, that
[20:05] kind of checks out. This is not CGI.
[20:07] That is handdrawn animation. Took is
[20:09] just that guy. We see another incredibly
[20:11] beautiful correction. Look at the
[20:12] strokes of black lines on his hair.
[20:14] particularly some of it has dyed
[20:16] outlines but on other cases there's some
[20:18] strong black outlines thrown on top the
[20:20] facial shading why is there an
[20:22] unevenness over here cuz that's how
[20:24] light usually bounces off someone's face
[20:26] when you look at my face you can tell
[20:27] that there's levels of depth to it is a
[20:29] 2D character look at his nose it's two
[20:32] lines throw this droplet shaped light in
[20:34] there however and boom you have a nose
[20:36] it also moves it and moves quite a bit
[20:38] I'm assuming it was probably just two
[20:40] key frames for the entire thing and the
[20:42] rest was completed by doga it doesn't
[20:44] look like auto in betweening as well
[20:45] like you portable uses. Same with Megumi
[20:47] again individual frames that's done
[20:49] beautifully. I'm assuming just two key
[20:50] frames again and the rest of it is
[20:52] filled in by the in between animators.
[20:54] Lots of subtle acting as well. Like just
[20:56] look at Yuki moving her face a little
[20:58] bit. Those are individual frames that's
[21:00] going to add to the frame count of the
[21:02] episode. About the background, however,
[21:04] don't know what the [ __ ] is going on
[21:05] here. I don't know if that's intentional
[21:06] or not. It's such an obvious error if
[21:08] it's unintentional. So, I'm not sure.
[21:10] They do seem to be in a different
[21:12] dimension here. They do have red
[21:13] outlines. Choso is officially a good guy
[21:15] as well, I'm guessing. Again, just small
[21:17] subtle movements that you would usually
[21:19] only see in a movie production. The
[21:21] crumpling of his shirt as well, the
[21:22] force of his hands. The illustration of
[21:23] the hand itself, the shading is so
[21:25] gorgeous. This is more in line with the
[21:26] complex layouts that we used to seeing
[21:28] from Gosso. There's a giant monster in
[21:30] the background, but that's not the only
[21:31] thing he wants you to look at. Of
[21:32] course, there are curses flying in the
[21:33] foreground as well. This white mirror,
[21:35] I'm assuming that is Utah landing in
[21:38] there. And then it's just beautifully
[21:40] flows into cubic debris. it it's not
[21:42] utapon cubes but the shapes of the cubes
[21:44] are very utaponesque. It's definitely
[21:46] Shinsaku Kosuma's animation. I don't
[21:48] know who this character is in the
[21:49] forward. I think it's the same guy who
[21:51] we see fights Choso later. And yes, this
[21:53] cut is also once again absolutely done
[21:54] by Kosuma. He uses a lot of geometrical
[21:57] squarel-like shapes with his FX
[21:58] animation and he uses like no depth
[22:01] outline within those drawings. Like this
[22:04] smoke has no layer of depth. Like it's
[22:06] just one layer of smoke. It's like the
[22:07] exact opposite of Hayatkuraki style. And
[22:10] I'm assuming that's a metaphorical
[22:11] representation of UT's hand. Another
[22:13] case of just adding frames for the sake
[22:15] of animation. The way his sword vibrates
[22:17] there looks so cool. That's three or
[22:18] four frames of animation, right? It's
[22:20] not really necessary, but it adds
[22:22] something to the scene. This is funny. I
[22:24] think they're still using the same CGI
[22:26] finger model from season 1. It's iconic
[22:28] at this point, so I'm glad that they're
[22:30] using it. Another really ambitious shot
[22:31] composition. There's no pseudo fish eye
[22:33] effect here, but still, it's a really
[22:34] good perspective drawing. Multiple
[22:36] elements to the animation. Again, Eugi's
[22:38] character model drawn with extreme
[22:39] realism to the character acting. In the
[22:41] background, there's lots of effects
[22:42] animation, but to add to that depth
[22:44] perception, this background element is
[22:46] also animated. That is really cool. It
[22:47] could definitely be a rough 3D model
[22:49] that is made to look 2D via Go Magic.
[22:52] Another excellent utilization of 3D
[22:53] background here with flawless
[22:55] perspective on Yuji. I love the smears
[22:57] on the electric lines going upwards as
[22:59] well. Looking at the debris animation
[23:00] here, I'm assuming that's still animated
[23:01] by Kosuma. Yeah, the effect is very
[23:03] similar to Utapon Cubes, but but there's
[23:05] really any anticipation with the timing.
[23:06] The knife just breaks apart in a gradual
[23:08] manner. These do look like Hiro Miniva's
[23:10] collections and these look like Yoski
[23:12] Aima's collections. So, I'm assuming
[23:13] that's how they're just going to stick
[23:15] with episode one. Particularly enjoy the
[23:17] look of Uta's hands here. So
[23:18] three-dimensional and so rounded. Hiro
[23:20] Mininoa does use a lot of rounded
[23:22] shapes. I guess that's how you can
[23:23] differentiate between their and Yugi
[23:25] Hajima style, which is a lot more sharp
[23:27] with the features. This is once again
[23:29] some other dimensional stuff. And yeah,
[23:31] it's our main cast again. Um, these
[23:33] cuts, they do look a little bit awkward,
[23:35] which I'm just assuming is because of
[23:37] the editing because it's just one
[23:38] zoomed-in cut going to another zoomed-in
[23:40] cut. It reminds me a lot of um, episode
[23:42] 9, another storyboard by Gosso, but in
[23:44] that case, I'm sure it happened only
[23:45] because it's unfinished. If you saw the
[23:47] full cuts and we saw the clips in order,
[23:49] I'm sure it would look much better.
[23:50] Sometimes the opposite is also true. I
[23:52] had seen Chainsaw Man's trailer so many
[23:54] times that once we got the full
[23:56] Tatsuyoshi power cut, that ended up
[23:58] looking awkward because I was so used to
[24:00] how it was edited in the trailer. And
[24:01] Utah looks [ __ ] menacing, man.
[24:03] Another incredibly beautiful collection
[24:05] right there. Here we go. I think that's
[24:06] the same character. The drawing style is
[24:08] very shiny inspired. I'm assuming this
[24:09] is done by Rui. Go's Ohira style timing
[24:12] is a little bit different to this. This
[24:13] feels more in line with Rui's timing.
[24:15] Rui is just such an incredible up and
[24:17] upcoming animator. He's so awesome. The
[24:19] space they're fighting in again is feels
[24:21] so surreal, right? The background here
[24:23] works as such an appealing negative
[24:25] space. If this is the same guy as we saw
[24:27] previously, I'm quite sure that this is
[24:29] a Zenin character because escaping
[24:31] Jiujitsu Kaisen spoilers is next to
[24:33] impossible if he is a Zenin because of
[24:35] the way he's basically teleporting here.
[24:37] I'm assuming he has the same technique
[24:39] as the old guy Zenin. His technique is
[24:41] animation. Basically, he's skipping
[24:42] frames quite literally. Oh yeah, these
[24:44] drawings are absolutely unreal. I mean,
[24:45] Ruy did this. So yeah, as for the
[24:48] drawings, I'm still assuming that these
[24:49] are corrected by Yosuk Yajima,
[24:51] especially Choso cuz you know Yajima and
[24:53] Choso is a match made in heaven.
[24:55] Incredible use of negative space. And
[24:56] look at the line art. Dyed outlines for
[24:58] his hair. First of all, it's white
[25:00] outlines over here cuz the background is
[25:02] black. Even his blood is almost black. A
[25:05] very slight shade of purple in there. As
[25:07] for here, I do not understand this
[25:08] background. Oh, yeah. I can see I can
[25:10] make it out right here. What is that
[25:11] supposed to be though? And then Yuji
[25:13] punches a curse here. Yep, that's a
[25:15] curse that's exploding into effects
[25:17] animation. Again, looks like Tokomoto's
[25:19] effects. Assuming that's still animated
[25:20] by him. The corrections there, however,
[25:22] it's just straight up Yajima. This is
[25:24] just straight up season 2. Yosuki Ajima.
[25:26] So, I haven't read the manga, but I'm
[25:27] assuming this is Ra's blood. Ra or Rico.
[25:30] Okay, so Ra is Uta's curse. Rico is the
[25:33] one who got shot by Toji, which would
[25:35] kind of make sense because it might mean
[25:36] that this gang is going to meet up
[25:38] Tangen, which is that alternate reality
[25:40] that we saw. Yuki does say that this is
[25:42] where everything started. It was Toji
[25:44] who unknowingly set off all the events
[25:46] that we see in Shibuya arc, because he
[25:47] decided to kill teenagers. It's kind of
[25:49] borderline creepy that we getting to see
[25:51] this. This is definitely Kale reference
[25:53] and that's Maki who's looking [ __ ]
[25:55] insane here. There's also Mai over here.
[25:58] I also remember reading in some
[25:59] interviews somewhere that there's a Maki
[26:02] episode coming up and Gosso really
[26:03] wanted to do that. I'm assuming this is
[26:05] what he was talking about. Extreme
[26:06] attention to detail where it matters.
[26:08] Look at the way her boobs are moving
[26:10] with the inertia. God, that's
[26:12] incredible, isn't it? Yeah. Here she
[26:13] she's twisting her body. It's going this
[26:15] way. So, her boobs are basically
[26:17] squished over here. here because of the
[26:18] inertia, they're still tilted towards
[26:20] her left and then they catch up over
[26:22] here. Beautiful animation and yeah,
[26:24] incredible perspectives over here. I do
[26:26] not appreciate the motion blur. Hope
[26:28] that won't exist in the final version,
[26:29] but again, it's uh mainly the editing
[26:31] that kind of makes this look awkward. As
[26:33] for guessing who animated this scene,
[26:35] the way the jawline is drawn is a dead
[26:37] giveaway that this is not corrected by
[26:39] the base chief animation directors. I
[26:41] have a couple of guesses here. It could
[26:42] be Nakaya onen. The line art here feels
[26:45] a little bit too clean to be by Onen. It
[26:47] could also be a Taku Ninuma correction
[26:49] or his key animation, which would be
[26:50] very interesting. Ninuma rarely draws
[26:52] action. And the shading and the volume
[26:53] that's presented through these drawings
[26:55] look very Ninum like. Regardless, I'm
[26:57] very excited to see who really animated
[26:59] this. That is 3D debris. I can make out
[27:01] from the debris that's flying into the
[27:03] air. It's go trickery. Again, go 3D
[27:06] looks very much like 2D cuz he's, you
[27:07] know, making them himself in Blender.
[27:09] He's not depending on the 3D team and
[27:11] doing that. Another cool cut. The red
[27:12] just fading away from the background and
[27:14] going back to grayscale. I wonder what
[27:16] that's about. Maybe this scene is before
[27:18] the Rui cut. It's a space that's
[27:20] supposed to be red. Engulfed in red.
[27:22] Maybe Choso's red. Another really cool,
[27:24] impressive cut. Again, self-made 3D
[27:26] backgrounds. Again, classic Yajima
[27:28] corrections over there. Look at this
[27:29] drawing. So [ __ ] cool. Finally, we
[27:30] left with another drawing that doesn't
[27:32] really look like it's Yajima. I'm
[27:33] assuming it's Nea again. So maybe the
[27:35] theory is correct. All the Uta
[27:36] corrections by Nea, whereas everything
[27:38] else is being done by Yajima because I'm
[27:39] sure Choso is also Yajima. And even the
[27:41] Rui cut over here with all the obvious
[27:43] line art insanity, it still feels like
[27:45] there's a base correction by Yajima over
[27:47] here. So yeah, that's an excellent
[27:48] trailer. I mean, what were you [ __ ]
[27:50] expecting? Some of the best stuff that
[27:51] the industry has ever seen. No longer
[27:53] completely nerfed by the schedule. You
[27:55] were always going to get something of
[27:56] this caliber. I'm not sure if I'll get
[27:57] to watch the movie cuz I'm going to be
[27:58] really busy with personal stuff in
[28:00] November, but I am really excited for
[28:01] Chainsaw Man later this month. I'm
[28:03] definitely going to be watching that.
[28:04] Outside of that, this was just supposed
[28:05] to be a quick and easy to make video,
[28:06] but all of my focus currently is going
[28:08] towards making videos on Takupi.
[28:10] regardless of whether those videos don't
[28:11] get views or if they get age restricted.
[28:13] So, I hope you're looking forward to
[28:14] that. It's a lot of work, but I'm trying
[28:16] my best. If you like this video, leave a
[28:18] like. If you did not like it, leave a
[28:19] dislike. Tell me what you liked or
[28:20] disliked about it in the comment
[28:21] section. I read most, if not all,
[28:24] comments. If you'd like to give me an
[28:25] extra little bit of support, you can
[28:26] join these fellow art connoisseurs as
[28:28] one of my members. But yeah, that's
[28:30] about it. Thanks for the views.