A MASTERPIECE | Jujutsu Kaisen Season 3 Episode 4 Animation Breakdown

[00:00] Jiujutsu Kaisen season 3 episode 4 was

[00:02] the episode. It was the episode the

[00:04] production team went all out for putting

[00:06] in lots and lots of effort and resources

[00:08] a lot more so than usual. And the

[00:10] results spoke for themselves. This

[00:12] episode was absolutely ridiculous,

[00:14] especially the second half. It was one

[00:16] of the most visually interesting things

[00:18] across all of JJK. And I hope you

[00:20] understand how monumental a feat like

[00:22] that is. It looked incredible. Right

[00:24] from the get- go, you could tell that

[00:26] this was about to be special. It had

[00:28] that big episode feel, if that makes

[00:29] sense. And that's saying something

[00:31] because in a production like JJK, nearly

[00:33] every episode has a big episode feel.

[00:35] Like come on, when has JJK ever looked

[00:37] normal? I guess the point I'm trying to

[00:39] make is high priority Sakuga Festival.

[00:42] The big big episode, whatever you want

[00:44] to call it, this episode was one for the

[00:46] history books. And as such, you guessed

[00:48] it, let's break down the visuals. Make

[00:50] sure to subscribe. This episode fried my

[00:52] brain to the point where I can't come up

[00:53] with a clever call to action. So just

[00:55] subscribe. the buttons right there. It

[00:57] takes a second. Go on, do it. You can

[00:59] also become a member of this channel.

[01:01] Members get at least two exclusive

[01:03] videos per month, custom badges and

[01:04] emojis, shoutouts, and more. Just go

[01:06] down there and press the join button. As

[01:09] always, let's go over the staff list

[01:11] first. Starting with the storyboards,

[01:13] which were once again handled by series

[01:15] director Goshono, making this the fourth

[01:17] consecutive episode he has solo

[01:19] storyboarded for this season with many

[01:20] more on the way if the leaks are to be

[01:22] trusted. Goshono's unsurprisingly

[01:25] fantastic storyboards were processed by

[01:27] three episode directors, Risa Suzuki,

[01:29] Yusukeuchi, and Goshono himself. And the

[01:32] overall direction was again

[01:33] unsurprisingly stellar. I'll talk about

[01:36] it in detail in a bit obviously, but

[01:38] long story short, it was Koshono

[01:39] reiterating just how good he is at

[01:41] non-action storyboards, just in case

[01:43] some of you suffer from short-term

[01:44] memory loss and forgot what last week's

[01:46] episode was like, and shutting down all

[01:48] talk of him not being good at action

[01:50] storyboards. Also, of course, his

[01:52] amazing storyboards were processed

[01:53] wonderfully by the episode directors.

[01:55] Shout out to them as well. Over on the

[01:58] animation front, we had four chief

[01:59] animation directors. The two character

[02:01] designers Yusk Yajima and Hiomi Nea.

[02:04] Character artist extraordinaire Sota

[02:05] Yamazaki and JJK regular Takushi Mizu.

[02:08] Four animation directors and three

[02:10] assistant animation directors, which is

[02:11] neither good nor bad in a vacuum. But

[02:13] considering the sheer amount of movement

[02:15] this episode had to offer, aka the sheer

[02:17] number of frames that had to be

[02:19] corrected and the complexity of the

[02:21] shots, it's actually quite decent. More

[02:23] about the animation. The key animator

[02:25] list for this episode was absolutely

[02:27] stacked. Industry-leading talent galore,

[02:29] which isn't exactly new for a project

[02:31] like JJK, but that doesn't make it any

[02:33] less insane. Mega veterans like

[02:35] Tadashiramatsu and Shinsaku Koua,

[02:37] industryleading names like its

[02:39] Kisuchami, Hakugo, and more. exciting

[02:41] new talent like Hon and Koh Hiota around

[02:44] 40 second key animators on cleanup be

[02:46] duty because it is a sichimo line

[02:48] production at the end of the day this

[02:49] episode had it all now yes I can't

[02:52] exactly call this episode perfect by

[02:54] nitpicky eyes won't allow that but this

[02:56] episode was really really well animated

[02:59] that's the headline here not some of the

[03:00] jank I'll point out in a bit please

[03:02] don't let my nitpicking cloud your

[03:04] judgment this episode was amazing with

[03:07] all that being said let's finally do the

[03:09] thing you guys clicked for let's go

[03:11] through this episode scene by scene.

[03:13] Unfortunately, I have to gloss over the

[03:15] first half of this episode a bit. Not

[03:17] only was the main bulk of animation

[03:19] muscle packed into the second half, the

[03:21] first half wasn't the most consistent

[03:23] thing in the world. Let's put it that

[03:24] way. It had issues. First things first,

[03:27] though, composition sense, Koshono has

[03:29] an unfair amount of it. Every shot was

[03:31] incredibly interesting to look at. Even

[03:33] when there wasn't much happening

[03:34] animation wise, I have said all of this

[03:37] before, but it bears repeating. His

[03:39] framing is always spacious and dynamic.

[03:41] There are layers of complexity. There's

[03:43] a pronounced sense of space. There are

[03:45] exaggerated perspectives. As per usual,

[03:47] Koshono is allergic to framing things

[03:49] normally. And as per usual, I love that.

[03:52] We also had so many cool directorial

[03:54] ideas, introducing the piano as a

[03:56] diagetic audio cue, including this

[03:58] flashback as a part of the present scene

[04:00] instead of simply cutting to it and

[04:02] making it look distant and blurry to

[04:03] show how things aren't the same anymore.

[04:05] That man is a genius. Speaking of

[04:08] flashbacks, the flashbacks throughout

[04:09] this entire episode or this season in

[04:11] general had this bloody, choppy look

[04:13] that I loved. It made them seem less

[04:16] like a different, unrelated scene and

[04:18] more like a hazy recollection of

[04:19] memories, which is the whole point.

[04:21] Really good stuff. Back to the scene at

[04:23] hand. Animation wise, there wasn't all

[04:25] that much going on. It was above

[04:27] average, but for a high-profile

[04:28] production like Jiutsu Kaisen, it was

[04:30] typical, if that makes sense. This fight

[04:33] was cool, though. It was very stopand go

[04:35] with quick unorthodox cuts. But unlike

[04:37] most of Yuji versus Utah, this actually

[04:39] worked in my opinion. The timing felt

[04:41] right. It conveyed the chaos of the

[04:43] whole thing well. Plus, the strategic

[04:45] use of close-ups and slow motion shots

[04:47] allowed them to save some of that

[04:48] animation power for later. Shortly

[04:50] afterwards, we got this eerily lielike

[04:52] ragd dolling followed by this meticulous

[04:54] and mostly consistent acting sequence

[04:57] presumably animated by Aya Suzuki. Very

[04:59] subtle stiffness aside, you could feel

[05:01] the weight of every small action, the

[05:03] movement of the fingers, the hair

[05:04] motion, the body mechanics. It was

[05:06] incredibly well animated fundamentally

[05:08] speaking. Also really well-drawn short

[05:11] hair. A really cool stylized sequence

[05:13] drawn by Iki then brought us to the beat

[05:16] scene animated by Tadashiramatsu which

[05:18] is quite funny because he also animated

[05:20] a melancholic beat scene for the

[05:21] Chainsaw Man movie. The acting here

[05:24] wasn't over the top, but as you would

[05:25] expect from the penmanship of a veteran,

[05:27] the fundamentals were on point. The

[05:30] motion was heavy with each action being

[05:31] accompanied by the perfect amount of

[05:33] weight distribution, plus the three to

[05:35] four tone liquid animation, beautiful

[05:37] drawings thanks to C Hiro Mini's

[05:39] corrections, top-notch backgrounds, and

[05:41] that gorgeous compositing shift made

[05:42] this scene incredibly cinematic. Oh, and

[05:45] also Goshono Storyboard's skirt,

[05:47] obviously. Following the beat scene, we

[05:49] got some cool action adjacent shots.

[05:52] Lovely effects there followed by a solid

[05:54] close-up and a large amount of

[05:56] background animation. Really fun stuff.

[05:59] Now, with all that being said, here

[06:01] comes the uncomfortable part. Like I

[06:02] hinted at earlier, this section wasn't

[06:04] perfect. It had issues. I know some

[06:07] people on Twitter get upset at me for

[06:08] pointing out things they themselves

[06:10] don't have the eyesight to notice, but

[06:11] it is an animation breakdown, so deal

[06:14] with it, I guess. Was this walk cycle

[06:16] fairly inconsistent with distracting

[06:18] shifty lines? I'm afraid so. Was this

[06:20] other walk cycle fairly stiff,

[06:22] especially around the arms, despite the

[06:24] cool volutric background work? I'm

[06:26] afraid so. Do May and Maki being dragged

[06:28] by Yogi melt a fair bit? I'm afraid so.

[06:31] Do some of these shots clearly suffer

[06:32] from subpar second key animation? I'm

[06:35] afraid so. Did they linger on this

[06:36] non-animated zoom for a bit too long?

[06:38] I'm afraid so. You get the idea. Really

[06:41] cool, really creative, but not perfect,

[06:43] which is quite on brand to be honest.

[06:46] Anyway, let's now move on to part B, aka

[06:49] the start of this episode. Before we get

[06:51] to the action though, let me get this

[06:53] out of the way. I loved the overall

[06:54] aesthetic during the Maki Kukuru Squad

[06:56] fight. The compositions, the aspect

[06:59] ratio usage, the creative color used,

[07:01] the general look and feel of the whole

[07:02] thing. It was insanely good. I know

[07:05] people who expect their anime

[07:06] adaptations to be strictly one to one,

[07:08] and the entire population of mainland

[07:10] Japan apparently hated this fight, but I

[07:12] personally loved it. The cool visual

[07:14] ideas and composition choices, the

[07:16] tremendous drawings, the dissonant

[07:18] soundtrack choices, so good. All of it

[07:20] gold sticker from me. Anyway, the first

[07:23] minute or so of the action was animated

[07:25] by Izkisuchami, and it was incredible.

[07:28] First off, that's a lot of hand-drawn

[07:30] characters. Of course, not all of them

[07:31] are animated. Moving that is, but still,

[07:33] drawing that many cell components is

[07:35] tedious work, and that's doubly true

[07:38] when they actually move. This shot, for

[07:40] example, this is obviously a throwaway

[07:42] character who almost certainly doesn't

[07:44] even have a design sheet. But through

[07:45] conservative yet meticulous line

[07:47] placement, Sujigami made his face and

[07:49] movement feel incredibly volutric and

[07:51] alive, which is something he excels at.

[07:54] More about the action. This fight used a

[07:56] ton of quick cuts, but once again, it

[07:58] worked. It flowed well. Partially due to

[08:00] the incredible animation and partially

[08:01] due to Sujigami, presumably modifying

[08:04] the storyboards a bit based on his own

[08:06] preferences. The shots had so much

[08:08] volume both in terms of the composition

[08:10] and the drawings themselves. There were

[08:12] layers of mob characters, both static

[08:14] and animated. Plus, the drawings and

[08:16] backgrounds were about as

[08:17] three-dimensional as you'd expect from a

[08:19] Goshon Sujigami sequence. This windup

[08:22] looked amazing. Maki moving was actually

[08:24] animated while the characters in the

[08:26] back were a static cell layer being

[08:28] panned across the screen. And we then

[08:29] got a quick overhead shot followed by a

[08:31] side profile complete with these really

[08:33] cool blood effects with varying degrees

[08:35] of opacity and another overhead shot.

[08:37] Like I said, quick cuts. Of course, the

[08:40] actual movement was on point throughout.

[08:42] The lines and contours were masterfully

[08:44] placed and the drawings were incredible.

[08:46] Even a simple shot of Maki taking a step

[08:49] had fantastic forcehortening and volume

[08:51] control. Also loved Koshono going full

[08:54] Gohans with this underground shot. Now,

[08:56] yes, it is practically impossible to

[08:58] animate 50 guys moving constantly. It's

[09:01] a weekly TV episode, not a Ghibli movie.

[09:03] But Koshono and team came up with clever

[09:05] ways to get around that. Be it the cell

[09:08] parallaxing, be it strategically placed

[09:10] still shots, be it going down the

[09:11] idiosyncritic shorthand drawings route

[09:13] instead of proper character models,

[09:15] something shot sequence did a lot of. It

[09:18] didn't feel like the background

[09:19] characters were unnaturally stiff. I

[09:21] remember that being an issue in an

[09:23] episode from season 2, but not this time

[09:25] around. Also, of course, shorthand

[09:27] drawings or not, animating a rotation

[09:29] with multiple moving characters is an

[09:31] insanely difficult thing to do. And so

[09:33] is animating these buttery smooth body

[09:35] mechanics and these insanely complicated

[09:37] warped compositions. So, props to B. Not

[09:40] the biggest fan of the non-animated zoom

[09:42] on these mobs. But overall, really well

[09:44] animated sequence. Of course, we can't

[09:46] go over every single shot given the

[09:47] confines of time, but really good work.

[09:50] We then got a Hayat Kurosaki sequence

[09:52] and the sheer density of the effects was

[09:55] insane. Why have one layer of gorgeous

[09:57] thick smoke when you can have another

[09:59] 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.