Animation Analysis + Staff Spotlight | Jujutsu Kaisen Season 3 Teaser

[00:00] It's no secret that human beings crave

[00:02] escapism. Anything that separates us

[00:04] from our boring, miserable lives allows

[00:06] us to keep going on with our boring,

[00:07] miserable lives. So, we seek out

[00:09] immersive worlds in other media. And

[00:11] while such immersive media can be really

[00:13] intriguing because of the technical

[00:15] progress that goes into making it so

[00:17] hyperrealistic, it can also be boring.

[00:21] I play games to escape reality, not to

[00:24] be annoyed by it. So, what about the

[00:26] other end of the spectrum? Surrealism.

[00:27] it is. Then this is not possible in real

[00:30] life whatsoever. I can only do this in a

[00:32] video game and that's boring. If you

[00:33] remove any semblance of realism

[00:35] whatsoever, that piece of art is no

[00:37] longer relatable. If it's not relatable

[00:39] whatsoever, it's not possible to get

[00:41] invested in it. I don't want to drive a

[00:43] hypercar with zero sense of speed

[00:45] worried about fuel consumption and tire

[00:47] wear. Neither do I want to do barrier

[00:48] rolls on a hypercar cuz that is

[00:50] absolutely impossible. But so is driving

[00:52] a hypercar through a thunderstorm.

[00:54] However, something's different here. The

[00:55] presentation of the impossible here is

[00:57] realistic. Raindroplets are not that

[00:59] big. However, the physics with which

[01:01] they sway left and right look absolutely

[01:03] stunning. This is realism with a splash

[01:05] of expressionism thrown in there.

[01:07] Magical realism. The idea of coming up

[01:09] with impossible scenarios, but then

[01:11] executing it in a way that feels real.

[01:14] And the appeal that this magical realism

[01:16] has, it can translate to animation as

[01:18] well. It's one of the things that makes

[01:19] Utapon's animation so appealing. He

[01:21] constantly drops you into settings that

[01:23] make no sense. But he animates

[01:25] everything in it realistically as if it

[01:28] could exist in our world. Look at this

[01:30] space. It physically makes no sense. Why

[01:33] is there no floor? Why is the background

[01:36] this color? But what if you draw a

[01:37] character running realistically through

[01:40] the space? If a goo monster slowly

[01:42] reformed its body, what would that look

[01:44] like in real life? A boy hanging off the

[01:46] face of a dragon. It's impossible. But

[01:48] even then looking at this animation some

[01:50] part of your brain goes holy [ __ ] that

[01:52] is so realistic. That contrast of

[01:54] realism is incredibly appealing. Now

[01:56] this magical realism as I call it it

[01:58] does fall in a spectrum. Examples I

[02:00] could use to explain this is Thunderclap

[02:02] part one and Thunderclap part two. The

[02:03] spaces that Nakaya onen and Miso

[02:05] constructed for Thunderclap part one.

[02:07] All of them physically make sense. Yes,

[02:09] a bunch of buildings melting together.

[02:11] It's unrealistic, but if it did exist,

[02:14] this is probably what it would look

[02:15] like. Our brains understand that. For

[02:17] Thunderclap part two, on the other hand,

[02:18] Hakugo immediately drops you into a

[02:21] space that makes no sense. Why does the

[02:23] background slowly shift from floor level

[02:25] to the side of a building in between the

[02:27] fight? It makes no sense, yet it is

[02:29] grounded in absolute realism because

[02:31] look at these movements. The body

[02:33] dynamics of the characters still have

[02:35] weight. Chainsaw Man season 1 is

[02:37] incredibly technically impressive

[02:38] because it emulates realism to such a

[02:41] perfect degree. Chainsaw Man's movie

[02:43] dials up the expressionism to a degree

[02:45] where you still feel like it's

[02:47] technically impressive because of how

[02:48] realistic it is, but the action scenes

[02:50] are just more fun to watch. Shono has

[02:52] put Jiu-jitsu Kaisen season 3 at the

[02:55] extreme end of the spectrum. He's

[02:56] dropping us to a world that he's

[02:58] constructed. There are unique and

[02:59] unrealistic colors that exist in this

[03:01] world and yet all these elements are

[03:03] grounded using realistic rules that make

[03:06] sense to us. Due to Kaisen season 3's

[03:08] core staff mostly remains the same. It

[03:09] is still led by the most visionary,

[03:12] ambitious director of our generation,

[03:14] Shiro Jizono. It would be on the same

[03:15] level as if Atsushi Kabayashi or

[03:17] Toshiuru directed the entirety of Naruto

[03:20] instead of individual episodes or if

[03:21] Hakugo or Miso directed a whole series.

[03:24] I guess it is also happening with Fate

[03:26] Strange Fake, but you can't really call

[03:27] that show a proper series now, can you?

[03:30] But yes, what can you expect when a

[03:31] highlight director is the series

[03:33] director? You'll get a show that is

[03:35] trying to be ambitious and fascinating

[03:37] 100% of the time. Series directors

[03:40] supervise the entire project and

[03:41] supervise every single element of the

[03:43] entire project whether that's art

[03:45] direction, the compositic, the music

[03:47] direction and sound direction and with

[03:49] action animators turned directors like

[03:51] Shushono of course he supervised the

[03:53] action animation and the animation

[03:54] direction as well. Gosso's supervision

[03:56] as a series director can be best seen in

[03:58] the hidden inventory arc. He was very

[04:00] hands-on with the first five episodes of

[04:01] season 2. So even though every episode

[04:03] of H inventory arc was directed by

[04:05] different artists, you could absolutely

[04:07] still make out Shotokuno's sensibilities

[04:09] within these same episodes. The

[04:10] atrocious schedule of season 2 didn't

[04:12] allow him to maintain that level of

[04:13] supervision throughout the show. For the

[04:15] Shibuya, he basically went back to his

[04:17] role of episode director while also

[04:18] doing a lot of emergency key animation,

[04:20] emergency direction, and also some

[04:22] highlight animation thrown in there as

[04:24] he's still a [ __ ] insane artist. For

[04:25] the Culling Games teaser, it just looks

[04:27] like every single shot was supervised by

[04:29] Gosso, which kind of checks out because

[04:31] from my understanding, most of these

[04:32] shots are from episode 1, which is

[04:34] almost always storyboarded and directed

[04:36] by the series director. So, in this case

[04:38] being Gosso, but expect the base level

[04:41] of quality for season 3, to be the same

[04:43] as that for the first five episodes of

[04:44] season 2, which is incredible cuz that

[04:46] arc was a masterpiece, quite possibly

[04:49] the best produced arc in modern shownen.

[04:50] Now, Gossu's hands-on supervision does

[04:52] not mean that you're not going to see as

[04:54] much experimentation as season 2. What

[04:56] Gossu is going to provide as a series

[04:57] director is an incredibly ambitious base

[04:59] for experimentation and also super

[05:02] highquality supervision that comes with

[05:03] all of his experience. There are

[05:05] definitely going to be episodes where

[05:06] he's going to be mostly handsoff because

[05:08] there are going to be other equally

[05:10] ambitious episode directors in this

[05:11] project. God, I'm so excited for it. His

[05:13] skill with direction does not end with

[05:15] the visual elements. The director is

[05:16] supposed to supervise everything and you

[05:18] can tell that in the trailer. This is

[05:19] the best art direction and compositing

[05:21] that Juditsu Kaisen has ever had. Even

[05:22] though the staff in that regard remains

[05:24] unchanged from season 2. It's just that

[05:26] the team couldn't focus on these two

[05:27] elements while producing season 2

[05:29] because 17 out of season 2's 23 episodes

[05:31] were being worked on days before they

[05:34] went on air. I am not even exaggerating.

[05:36] But here the compositing, the art

[05:38] direction and the animation can be

[05:40] unified under a proper directorial

[05:42] vision. The other things that have

[05:43] changed is the art style itself. The

[05:46] character designs have changed. Season

[05:47] 2's character designs were great. Hakoso

[05:49] provided a really good base for the

[05:51] artist to work with, but it wasn't

[05:53] really the most impressive from an

[05:54] aesthetic sense. This is not me

[05:55] disparaging Asia Koso. Absolutely. Now,

[05:58] she's an incredible artist, but it was

[05:59] in the same vein as the art direction

[06:01] and compositing in the sense that the

[06:02] goal was just to provide something for

[06:05] the animators to start working. Kosiso

[06:07] was picked because she was a character

[06:08] designer alongside Hiamatu in season 1.

[06:10] So, she's most familiar with the designs

[06:12] and can provide a solid easy to work

[06:13] with base. And they were just really

[06:15] good on model designs. They were not

[06:17] trying to be ambitious, unique, or

[06:19] idiosyncratic, which of course didn't

[06:21] matter because everyone did whatever

[06:22] they wanted with her designs anyway,

[06:24] including Saiaka Koso herself. As the

[06:26] season progressed, we could see Koiso's

[06:27] art style evolving, especially with the

[06:29] Blu-ray covers that she drew. These look

[06:31] absolutely nothing like her own

[06:32] character designs. Season 3, the common

[06:34] recurring theme is to treat every single

[06:36] element as a work of art that can be

[06:38] pushed to its limit. There were six main

[06:40] chief animation directors for season 2

[06:42] or at least it started off as such.

[06:44] Takusho Shimizu left after the fifth

[06:46] episode to most likely work on Chinsaw

[06:47] Man. Technically, she did contribute in

[06:49] Shibuya arc. She made this wonderful

[06:51] Megumi drawing, but for the actual

[06:52] anime, she didn't actually do anything.

[06:54] The rest of the names were significantly

[06:55] important to the production, especially

[06:58] Yoshi Yajima and Soazaki who did

[07:00] absolutely unfathomable levels of work.

[07:02] Yamasu displayed his talent as a

[07:04] character designer almost instantly. He

[07:06] almost always did his own thing or what

[07:08] the episode director expected out of

[07:10] him. Whereas Yuzuki Aajima was focused

[07:12] on elevating the base character designs.

[07:14] He was never really displaying his own

[07:16] artistic idiosyncrasies, but his

[07:18] impressive artistic sense could

[07:19] immediately be spotted. This looks like

[07:22] it's faithful to the character design,

[07:23] but it has its own yosima appeal.

[07:26] Whereas this is just a complete

[07:28] transformation of the design by Nakaya

[07:29] onen. And that's just what these artists

[07:32] usually do. Yuki never did that. Even

[07:34] when he drew with a ridiculous level of

[07:36] detail, he kept the aesthetic of the

[07:37] base designs in mind. So, I was really

[07:39] excited to see what his interpretation

[07:41] of the designs would look like. And

[07:42] guess who the character designer is for

[07:44] season 3? Yajima's designs look

[07:46] absolutely stunning. Yajima's

[07:48] corrections were exclusively composed of

[07:50] full even lines with very sharp

[07:52] features, which definitely makes the

[07:53] lives of Dogemen much easier cuz all you

[07:56] have to do is trace those simple lines.

[07:57] Whereas if I was a dog man and I saw

[07:59] this drawing, I would be [ __ ] crying

[08:01] which wouldn't matter at the end of the

[08:02] day cuz Soaut Mazaki would do the dog

[08:04] himself. Here the designs that Yajima

[08:05] has created itself has uneven lines and

[08:08] it it's rendered so beautifully. The

[08:10] appeal in this animation is the fact

[08:11] that it's handdrawn animation and the

[08:13] raw unprocessed nature of this line art

[08:15] just boosts that appeal. The most

[08:17] impressive thing about this is just that

[08:18] these are the base designs. This is what

[08:21] the drawings made by the character

[08:23] designer looks like. The base level is

[08:25] this astronomically high which just

[08:27] means that every drawing will look good.

[08:30] Yajima is not the only designer

[08:31] involved. There are two character

[08:32] designers. You might be expecting

[08:33] another name from this list. But no,

[08:36] this artist was not credited as one of

[08:37] the main chief animation directors for

[08:39] the project. It rarely happens where you

[08:41] have to change the credit after the show

[08:43] airs. But honestly in this is one of

[08:44] those rare cases where it should have

[08:46] been done. And I'm talking about Hiomi.

[08:47] Na was not credited as a chief animation

[08:50] director because she was not a chief

[08:52] animation director when the project

[08:53] charted up. She was a recurring

[08:54] animation director even for season 1 of

[08:56] Jutsu Kaisen. For season 2, she

[08:58] continued with the same working as an

[08:59] animation director. Halfway through the

[09:00] production, however, she made her chief

[09:02] animation director deb alongside the

[09:03] affforementioned Yosi and Raina. Then

[09:06] she appeared once again as a chief

[09:07] animation director for the last four

[09:08] episodes back to back chief animation

[09:10] director for four episodes in a row

[09:12] because the last four episodes were the

[09:14] absolute extreme of brute forcing, the

[09:16] tail end of the worst TV anime

[09:18] production of all time. But the point is

[09:20] all the other people who worked as chief

[09:22] animation directors for all the episodes

[09:24] were usually a combination of these

[09:26] names. In rare cases, we did have guest

[09:28] chief animation directors like episode

[09:30] 14 with Totos and Shun. They probably

[09:32] just moved their chairs from the

[09:33] Chainsaw Man side to the Jiujitsu Kaisen

[09:35] side to work on this episode. But yeah,

[09:36] they did not consistently keep appearing

[09:38] in the last four episodes as well. Well,

[09:40] there was one exception in Yuruko Ishi.

[09:42] All the other names credited as were a

[09:44] combination of the main chief animation

[09:46] director's name with the sole exception

[09:48] of Hiominiba. So yeah, she was basically

[09:50] one of the main chief animation

[09:51] directors for season 2. She was just not

[09:53] credited as such. She was just so

[09:54] skilled and familiar with Jiutsu Kaisen

[09:56] that she was allowed to take up that

[09:58] 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.