輝夜大人第 3 季是一部非常有趣且發自內心的浪漫喜劇寶石，但許多人不知道的是，它也是一場持續不斷的戰鬥逆境讓其團隊證明他們是動漫中最足智多謀和創造力的人之一。讓我們回顧一下它的整個製作過程！
經過多次成功的迭代，輝夜大人在沒有重新發明輪子的情況下接近了第三季。其動畫改編的動力不僅在於對源材料吸引力的理解，還在於系列導演的傳染性創造力系列導演:（監督，kantoku）:整個製作的負責人，既是創意決策者和最終主管。他們的排名高於其他員工，最終擁有最終決定權。然而，確實存在具有不同導演級別的系列——總導演、助理導演、系列劇集導演，各種非標準角色。這些情況下的層次結構是逐案情況的。這鼓勵他周圍的每個人也繼續提出新的想法。該節目的身份由 Mamoru Hatakeyama 自己設置的支柱維持:引人注目的 kagenashi 快照 以捕捉不斷變化的情緒，上演的戲劇性，對其他媒體的最不可預測的參考，也許還有整個行業中最有趣的音頻即興演奏。正是圍繞這些不靈活的想法，這些想法總是讓輝夜大人感覺像自己，他們建立了他們的公式，允許無休止的迭代，沒有一絲陳舊的痕跡。最值得注意的是，該節目擅長將漫畫的說明性面板重新想像成獨立的視覺噱頭，主題切線與正在轉儲的信息有關。比其亮點的執行技巧更重要的是，這種改編的最大成功在於提升了即時體驗，使停機時間同樣令人愉快。
鑑於這種方法的效果如何，並且迄今為止，輝夜大人已經建立了非常緊密的團隊，第三季應該很容易召集相同的工作人員並堅持他們的獲勝模式。對於那些不聽周圍的噪音來簡單地享受這個系列的人來說，他們在完成系列後的假設是這就是發生的事情——如果有的話，他們可能會認為這是他們迄今為止最大的成功。但實際上，輝夜大人第 3 季是一部不穩定平衡的傑作，這是一個讓觀眾相信，當工作人員陷入困境時，一切都在完美控制之下的魔術。就像站在鐘樓上的白銀一樣，這支隊伍的勝利條件是依靠無數的棋子，巧妙的計劃，以及近乎荒謬的足智多謀。就像他一樣，它來到了電線上，有些人直到最後一秒才懷疑結果。而且，和他一樣，最終還是取得了巨大的勝利。
在播出之前，人們就一直在問這個賽季的製作到底出了什麼問題，部分原因是我們已經提到它的問題很久了。雖然他們在播出的最終截止日期前勉強完成了，但問題並不像輝夜大人 S3 有你經典的匆忙電視動畫時間表那麼簡單；畢竟，在同一事件中，他們承認他們在發布前幾個小時就調整了結局，他們還解釋說一年多來已經計劃了一個完全任意的額外堵嘴。事實是，本季的續集製作時間非常合理，該系列的續集並沒有對大量設計工作的內在需求——儘管導演們極具創造力的執行力不斷挑戰這一說法。在真空中，輝夜大人 S3 會像在一個總是凌亂的工作室一樣舒適地製作；也就是說，這絕不是一份輕鬆的工作，而是一份他們能夠更早結束的工作，妥協更少，管理人員的頭痛也少了一個數量級。
那麼，是什麼讓輝夜大人 S3 偏離了軌道呢?粉絲們指責與 Visual Prison 的重疊是正確的——這是一部 2021 年秋季發布的視覺系音樂動畫——但這需要更多的細微差別，而不是話語所保留的細節。如果多個作品共享人員是這樣一個明確的死亡標誌，恐怕幾乎所有的動漫都已經被埋葬了。而且，如果輝夜大人 S3 從一開始就被搞砸了，他們本賽季的許多最壯觀、最耗時的特技將永遠不可能。
事實上，輝夜大人 S3 已經完成了合理的開始。團隊確實知道他們必須通過製作視覺監獄來分配資源，但不幸的是，這在這個行業中並不是什麼新鮮事，因此他們或多或少地為此做好了準備。如果有的話，那就是視覺監獄沒有準備好，所以為什麼原計劃為輝夜大人準備的許多資源不得不匆忙投入其中，以至於第三季的製作幾乎停滯不前，而他們卻解決了這個問題。更快接近最後期限的混亂。結果，Visual Prison 的導演輪換結果比預期的更充滿了輝夜大人的常客，每集負責繁重工作的主要動畫師都成為了與兄弟項目相同的王牌，而監工的情況也相似。雖然一直認為輝夜大人 S3 必須聯繫新的創作者來彌補這次必須分享的資源，但這些新人的幫助注定會遲到、筋疲力盡或一點也不。然而，儘管這聽起來很嚴峻，但該節目仍然非常出色。讓我們回顧一下他們是如何扭轉這種局面的。
表面上看，第一集似乎沒有改變輝夜大人獲勝公式的一個逗號。 Hatakeyama的故事板故事板（絵コンテ，ekonte）:動畫的藍圖。一系列通常用作動畫視覺腳本的簡單圖畫，繪製在特殊的紙上，其中包含動畫剪輯編號、五線譜註釋和匹配的對話台詞。更多，像菊地孝之這樣的回歸導演的執行力一如既往地出色；漫畫中的小插科打諢和說明性序列被重新制定為具有 視覺 和 音頻他們自己的噱頭，然後給出低調的連續性來製作那些快速的傻瓜更有趣。這些最終導致源材料中的原始妙語，提升到一個新的水平以避免被原始材料所掩蓋這個團隊在每一集中都在使用的噱頭。這種方法由一位具有藝術才能的導演領導，他可以一舉兩得 ，只要他的想像力不枯竭，真的不會變老——而這一集證明了我們不應該擔心很快就會發生這種情況。
同時，這個介紹是也預示著更複雜的幕後情況。第一集的動畫完全由 Shinnosuke Ota 完成，他是一個活潑的角色動畫師，這個團隊非常熟悉他，因為他是 Sigrdrifa 等遊戲中的王牌之一。與團隊中的大多數人不同，Ota 完全跳過了 Visual Prison 的製作，他被委以這一集，基本上沒有任何幫助。任何動畫導演都沒有進行一次更正，外部 2nd KA2nd Key Animation（第二原畫/第 2 原畫，Daini Genga）沒有一次剪輯清理:當關鍵動畫師的工作過於粗糙時，這個清理角色就會出現，未拋光或完全未完成。它的範圍可以從整理到繪製關鍵動畫師無法繪製的次要元素。這個團隊在前幾季調整了他們的日程安排，以便一位特定的藝術家可以處理比嚴格的計劃所允許的更大的集中工作量，但同時出於藝術原因，這個決定歸結為可以大大減少精簡團隊的工作量。製作台杉本俊介確實向他提出了這個想法，理由是動畫製作人菊地由一郎認為由太田製作的完整動畫情節在視覺上會很有趣，但兩人都沒有隱瞞如何感謝他們對這在管理方面的意義，並稱讚太田的精神毅力——獨自工作了好幾個月——甚至超過了他的技術能力。
第二集放了小原正和，為數不多的免於視覺監獄責任的系列老兵中的另一位，掌管著一個相當有趣的插曲，Hayasaka 形亮點; Akihito “Kasen” Sudou是一位非常有才華的動畫師，碰巧熱衷於浪漫喜劇系列，所以你可以打賭，他在動畫她狡猾的表演時玩得很開心。不過，輝夜大人 S3 #02 最重要的部分不是劇集本身，而是本季的新結局序列，無恥地模仿了 Starship士兵。儘管很荒謬，但這個結局卻體現了團隊的雄心、他們的體貼以及他們對節目粉絲的關心程度，這比其他任何事情都好。
回到第一季，小野日香
strong> 有精美的導演、故事板和獨奏關鍵動畫節目的第一個結局序列。小野找到了一種方法，將節目的主題與他自己對飛機的熱情聯繫起來，反複播放 宮崎駿的 On Your Mark 帶有可愛，含蓄的星光熠熠的戀人敘事。粉絲們喜歡它並要求跟進，小野和團隊的其他成員都非常清楚這一點。一旦他被委託執行這個新序列，他們就開始思考如何實現它，從未考慮過簡單地做更多相同的事情——回收執行的細節根本不在這個工作人員的 DNA 中。小野發現輝夜姬的物語，明顯的民俗靈感，該系列由同名的人主演，屬於她必將返回的另一個世界，具有不可否認的科幻色彩;畢竟，她確實是來自月球的公主。在考慮了他們本可以構建的各種科幻屬性之後，小野最終選擇了另一個完全不合時宜但又非常適合星河戰隊的選擇。他還決定讓藤原光頭作為懲罰，因為她在第一季的舞蹈序列中變得過於受歡迎，因為這就是這支球隊所擁有的力量。
雖然這已經證明了這支球隊的創造力，體貼的球迷和有趣的參考，但結局也體現了製作的另一個品質:他們的能力超過他們的重量。甚至在他們發現自己處於本賽季複雜的情況之前，輝夜大人就從來不是一個高調的製作人。 Aniplex 可能願意為音樂花在大牌上，但在動畫方面看不到這樣的慷慨，而且他們肯定沒有像工作室過去的旗艦作品那樣在內部得到優先考慮。儘管缺乏適當的支持，這個團隊總是有辦法接觸到意想不到的非凡創作者並在戰術上部署他們認為合適的軍用級武器。小野沒有令人印象深刻的單人努力，而是讓空井紀文在他身邊完成了一項了不起的動畫壯舉。 現實主義和後者的鬆散形式的完美結合，一旦小林圭介醒來，風格就會變得更加接地氣我們從那個夢想中振作起來。總而言之，這個結局是密密麻麻的，本身就佔了2000張圖紙——也就是說，你平均一集動漫的一半圖紙，僅僅一分半鐘。
現在，這並不意味著這支球隊可以憑空召喚出神奇的動畫力量，尤其是在像第三季這樣的環境中。輝夜大人 S3 的大部分內容都因核心團隊較瘦和有效地縮短了日程而被標記為偷工減料，但他們不得不做出妥協，例如動畫監督不夠徹底，有時野心不那麼大的董事會幾乎在他們的眼中註冊那些忙於享受仍然愉快，仍然富有想像力的改編的觀眾。像輝夜大人 S3 #03 這樣的情節對於像畠山這樣的導演來說一反常態，但重要的是要理解，按照他的標準，這仍然意味著他將故事板故事板（絵コンテ，ekonte）:動畫的藍圖。一系列通常用作動畫視覺腳本的簡單圖畫，繪製在特殊的紙上，其中包含動畫剪輯編號、五線譜註釋和匹配的對話台詞。更多主角幾乎被無故斬首的序列。他本賽季的低優先級劇集不像往常那樣冒險，而是將他的力量集中在主要的節拍和最愚蠢的噱頭上，以確保這些情節一如既往地強大。話雖如此，節儉的畠山導演比這個行業的大多數人都火力全開更離譜，像這樣的情節也說明了這一點。
另一個方面在這個階段變得顯而易見展示的是團隊需要接觸到行業的不同角落。考慮到減半的團隊在視覺監獄出軌之後才變得更薄，輝夜大人 S3 不得不歡迎許多新人，然後賦予他們比預期更重要的角色。給你一個想法，你應該知道輝夜大人的第二季與第一季幾乎相同的團隊，只是在理論上的 24 個插槽中引入了 4 位新導演——一個劇集導演和一個故事板，作為這個團隊通常將它們分開。相比之下，第 3 季在前兩季已經擴大的人才庫中增加了 10 位新導演，他們在這方面的角色更大。導演和製片人不得不打電話給從未參與過該劇的老朋友，推銷新面孔，依靠工作室其他生產線合作的自由職業者，並打出完全意想不到的電話來吸引新人才。雖然他們一直是一群足智多謀的人，但這確實是一個挑戰。
第四集體現了這種擔憂，新的 Aniplex 相鄰故事板和首席動畫導演在 Kanta Kamei和川上哲也；後者，多虧了像星號戰爭這樣的項目，有點認識輝夜大人的動畫製作人，前者很高興找到一個新的地方 做他的事。團隊的慣用王牌屏幕時間有限，他們將精力完全投入到 荒謬的要求上，例如 引導 1976 年穆罕默德·阿里與安東尼奧·豬木的能量 和其他 意外 a> 參考，可能比你想的更多的責任落在不適應輝夜大人的人手中獨特的氛圍。幸運的是，這並沒有對他們造成傷害，這在一定程度上要歸功於 Hatakeyama 對其他導演劇集的更正。
如果有一個劇集體現了增加意想不到的新人才的真正潛力對於通常的工作人員來說，那無疑是輝夜大人 S3 #05。但首先，我們必須將製作的問題更多地置於上下文中。我們已經討論過這個團隊的不同項目如何相互影響，幾乎失控，但重要的是要記住，工作室並不是在真空中存在的，因此輝夜大人 S3 也是一個完全外部環境的受害者。在本季動畫製作時不幸被預訂的所有藝術家中，沒有人比海老名秀和更受傷。正是他的動畫介紹了該系列的前提，在最初的幾季中，他成為了藤原標誌性的白銀育兒的代名詞。海老名一手為這些短劇製作動畫，改變了一季的整個製作時間表，以實現人們所期待的這種非常特殊的喜劇動畫類型。不幸的是，對于輝夜大人來說，從一開始就很明顯，這次他將被排除在外，因為他是 即將上映的假面騎士動漫。
團隊固執地拒絕在粉絲如此喜愛的情節情節中放棄球；藤原的育兒在宏偉的計劃中可能並不那麼重要，但它是許多人最喜歡的反復出現的噱頭，尤其是如果他們通過動漫的離譜處決體驗過的話。在海老名不在的情況下，該團隊再次改變了標準的生產實踐，然後準備了巨大的收官一擊。在一些 位置偵察旅行之後，Hatakeyama 用自己的聲音為 讓視覺和音頻同時完美同步。考慮到儘管藤原盡了最大的努力，他們仍然是一群業餘愛好者，他們可笑的說唱戰是仿照 各種 音樂視頻，而不是專門在酷嘻哈表演之後。相反，這種酷感是為My Nonfiction保留的，這個年輕神童的特殊結局Vercreek 導演和獨奏第一鍵動畫。雖然這一集本身已經充分體現了這一主題，但他們堅持以這種超現實主義的設計全力以赴，不斷變換動畫以突出 FX 般的陰影，並使用時髦的 Hyperbole 合成來補充酷感。有了這樣的作品，觀眾應該如何意識到這一季是在嚴格的限制下製作的?
接下來的幾集在經歷了非凡的製作彈性之後又回到了現實，但保持了創造性執行的門檻感謝 Hatakeyama，即使他不在演職員表中，他仍然是不可避免的存在。雖然他既不是故事板也不是劇集導演，但讓白銀父親在輝夜大人 S3 #06 中的出現比以往任何時候都更令人毛骨悚然的連動呼吸當然是由 Hatakeyama 自己設計的。這一次恰當地掌控故事板，#07 結合了非常引人注目的風格轉變和更加低調的視覺幽默，其亮點是非常深思熟慮 Osamu Dezaki模仿，將非常愚蠢的學校衝突變成了經典的動漫情節劇。 Dezaki 的影響在像 Hatakeyama 這樣的 SHAFT 起源的導演中是顯而易見的，他的明信片記憶已經成為一種常規的技術，就像在動畫中一樣，但這個節目通過更多地考慮任意視覺噱頭的合成，再次提升了它的競爭力。你會期待的。雖然它的 VHS 模仿不是你會看到的最漂亮的後期處理，但他們為照明模擬實際 cel 效果的嘗試非常清晰，以至於很容易 趕上它，在工作人員確認他們在社交媒體上的意圖之前。
對於本賽季期待已久的最後弧線的序幕，Hatakeyama 依靠 他最偉大的朋友之一，也是這個時代最悲慘地被忽視的劇集導演之一。 木村信影在細田守和五十嵐拓哉等東映動畫巨星的指導下成熟，與中村健二和<強>山內茂康。他不拘一格的方法像他的許多影響一樣包含人工，他抓住了他經常合作的所有傑出導演的點點滴滴-包括 Hatakeyama 本人。
第 08 集的最大序列是 輝夜在思考是否應該在她的浪漫征服中變得更加主動時的頭部空間插圖，這既令人心酸又很有趣。 排版和的專家用法通過鑲板隔離讓每個場景在視覺上保持新鮮，同時非常有目的地強調關鍵的敘事節拍。正如許多人所注意到的那樣，木村使用該面板作為一種優雅地整合特定漫畫面板的娛樂方式，這是一種冒險但成本很高的方法-有效的舉措，目的是讓這些時刻的重要性一目了然。順便說一句，這些漫畫面板是由 Gainax 管理人員的江頭大樹重新繪製的，他最終退出動畫製作，成為一名自由插畫師、漫畫家和故事板，參與項目包括最終幻想 7 Remake 和三麗鷗的主題公園活動。如果您仍然想知道這個團隊有多足智多謀，那麼答案就是這麼多。
Shuchiin 的文化節就這樣開始了，這是整個系列中最受歡迎的弧線之一。儘管積累了製作疲勞，但這些劇集的即時執行卻一如既往地迷人，甚至在高潮結局之前就顯示出各種優勢。 Shinobu Nishioka，這個團隊的官方指定瘋狂動畫師，在視覺監獄的每一集都出現後，本賽季的產量大大減少，他恢復了他們的精英 4 動畫職責 再次在第 09 集中畫出他們不合時宜的酷臉；這不僅得益於 Hatakeyama 的純粹創造力，還得益於 他故事板的技術可靠性。第 10 集介紹了上述太田區最強大的核心動畫導演，多才多藝的橫山穗香， Kota Sera 中非常可靠的角色藝術家。加上一些被劇集導演拉進來的明星嘉賓，劇集的吸引力來自於爆炸性動畫，與其通常建立在古怪故事板之上的吸引力相反——這是一個符合弧線節日的令人耳目一新的變化。與此相反，Ryota Aikei 的第 11 集展示了該節目的一貫風格，無論是在 精緻和響亮場景。
而不是總是令人愉快的時刻-然而，此刻，這條弧線值得後退一步來欣賞它的基本結構。當然，這意味著要給 Aka Akasaka 作為原作者提供道具。整個弧線的情節是驚人的，其不斷升級的敘事線索涉及許多動人的片段，所有人都覺得它們具有代理作用；是的，這確實包括藤原，他的想法範圍從認為棉花糖很好吃到實際上根本沒有思考。
再次，動漫設法進一步完善了材料，這要歸功於其最被低估的方面之一:系列構成系列構成（シリーズ構成，系列Kousei）:賦予系列主要作家的關鍵角色.他們會與導演（從技術上講仍然比他們高）會面，有時還會在前期製作期間與製片人會面，以起草該系列的概念，提出重大事件並決定如何安排這一切。不要與個別編劇（腳本，Kyakuhon）混淆，他們通常表達空間很小，只開發現有草稿——當然，系列作曲家自己寫劇本。粉絲們很快注意到輝夜大人的劇集從那以後開頭跳躍了不同的音量，歸因於古怪，實際上這是一個非常深思熟慮的過程，可以將流暢的短劇串在一起。由於這個最後的弧線遵循更連續的敘述，因此跳躍的次數減少了很多，但他們仍然做出了很大的調整，例如白銀過去的小延遲，以更有影響力和有序地交付。值得注意的是，有很大一部分粉絲在社交媒體上打擾了團隊中的人，他們認為重要的材料被跳過了——即使發生了這種情況也是一種尷尬的反應——所以可以公平地說，這個系列確實比某些人應得的要好，並且對源材料的宗教信仰的痴迷已經走得太遠了。
這最終導致了雙集形式的大結局，由 Hatakeyama 完成他參與最多的導演迄今為止為輝夜大人所做的努力；在他身邊，前半部分的劇集導演是常規的Tsuyoshi Tobita，最後還有菊池導演。像往常一樣，也許比以往任何時候都更容易被這麼多時刻的立即執行所迷住。塔樓場景中非常複雜的攝影——他們調整到最後一秒的元素之一——為高潮增添了額外的魅力，西岡最偉大的能量爆發，展覽期間一些最好的附帶視覺噱頭，天才決定給予yukkuri 旁白 的機器人聲音來模擬 meme 享受的第二人生，精彩的列表不勝枚舉。
在所有那些熱鬧的小時刻中，我覺得值得一提的是新聞俱樂部的成員不小心偷看了高潮的吻。 Hatakeyama 將其作為令人費解的高達參考的荒謬想法和 Hirotaka Tokuda 在動畫中完美佈局的再現足以使它成為一個有趣的亮點，但這個團隊再次更進一步。攝影助理導演Photography（撮影，Satsuei）:將不同部門製作的元素結合成一張成品圖，涉及到過濾讓畫面更加和諧。從過去繼承的名稱，當時在此過程中實際使用了相機。 信川廣也 回去研究原場景後親自合成現場和高達的攝影攝影（撮影，Satsuei）:將不同部門製作的元素結合成一張成品圖，涉及過濾讓畫面更和諧.從過去繼承的名稱，當時在此過程中實際使用了相機。一般過程；令人信服的 cel 過濾器，爆炸上的粉色色調，儘管不是原始場景的一部分，但人們對這個系列的期望是，它比你對這種隨意的快速噱頭所期望的要小心得多。早在第一集的參考 金肉人開場——他可能是一個值得關注的名字。
再一次，儘管如此，這一集值得在更基本的層面上受到讚賞。 Hatakeyama 是在昭和元祿落語新劇之後來到這個項目的，這是一部關於舞台的有時刻意不帶個人色彩、極其精緻的作品，基本上相當於電視動畫中的高級料理。他在完全不同的流派空間中切換檔位以指導節目但保持相同的風格怪癖的能力值得世界上所有的讚譽，這仍然無法與我對他對這兩個項目的真誠態度的欽佩相提並論。 Some of the more painful bits in Rakugo felt like they came straight from the heart, which can also be said about his enthusiastic references to everything in anything that he likes throughout Kaguya-sama. This grand finale has the same gravitas as his more serious works, seamlessly attached to the most ridiculous comedy and a heartfelt romantic plot. Never has it felt like the director put himself above any of those aspects that make up Kaguya-sama, so I can wholeheartedly believe his peers when they say that he loves working on it.
This hasn’t been an easy project, but rather than bumming out all the fans who have been raving about season 3 after this fantastic ending, I felt like this production recap deserved a positive spin to it. The negative circumstances surrounding the show should be understood and condemned, but this team’s efforts don’t deserve to be overshadowed by a corporation’s awful management. You might be surprised to hear that my initial reaction to the announcement of a sequel—should have told that to the team before they obscurely hinted it—was somewhat bittersweet. Aniplex studios are very likely to keep running into situations like this given how their most popular animation producers have been pushed into always having multiple active projects, which leaves no room for error and creates multiple casualties out of every singular accident. And on a creative level, the idea of Hatakeyama moving onto something entirely new simply felt more attractive than him returning for yet another iteration of Kaguya-sama.
Don’t get me wrong: those circumstances haven’t changed. This would have been an ideal stopping point for the anime, if not narratively so, simply because no other arc will end as emphatically as this one. The ideal outcome would have also been Hatakeyama proving his unbelievable adaptability by tackling yet another genre.但你知道嗎? None of the circumstances surrounding this project have been ideal, and it still has been an excellent show. If this team loves the series as much as they’ve shown to, continuing to get something that’s this good can only be positive news. All we can do is pray that the production isn’t once again derailed by external factors, and maybe yell at Sony a bit for good measure—that might not help, but it can’t hurt either.
Episode 01
storyboardStoryboard (絵コンテ, ekonte): The blueprints of animation. A series of usually simple drawings serving as anime’s visual script, drawn on special sheets with fields for the animation cut number, notes for the staff and the matching lines of dialogue. More: Mamoru Hatakeyama
Episode DirectionEpisode Direction (演出, enshutsu): A creative but also coordinative task, as it entails supervising the many departments and artists involved in the production of an episode – approving animation layouts alongside the Animation Director, overseeing the work of the photography team, the art department, CG staff… The role also exists in movies, refering to the individuals similarly in charge of segments of the film.: Mamoru Hatakeyama, Takayuki Kikuchi
Chief Animation DirectorChief Animation Director (総作画監督, Sou Sakuga Kantoku): Often an overall credit that tends to be in the hands of the character designer, though as of late messy projects with multiple Chief ADs have increased in number; moreso than the regular animation directors, their job is to ensure the characters look like they’re supposed to. Consistency is their goal, which they will enforce as much as they want (and can)., Animation DirectionAnimation Direction (作画監督, sakuga kantoku): The artists supervising the quality and consistency of the animation itself. They might correct cuts that deviate from the designs too much if they see it fit, but their job is mostly to ensure the motion is up to par while not looking too rough. Plenty of specialized Animation Direction roles exist – mecha, effects, creatures, all focused in one particular recurring element.: No one, pure Shinnosuke Ota
Episode 02
storyboardStoryboard (絵コンテ, ekonte): The blueprints of animation. A series of usually simple drawings serving as anime’s visual script, drawn on special sheets with fields for the animation cut number, notes for the staff and the matching lines of dialogue. More, Episode DirectionEpisode Direction (演出, enshutsu): A creative but also coordinative task, as it entails supervising the many departments and artists involved in the production of an episode – approving animation layouts alongside the Animation Director, overseeing the work of the photography team, the art department, CG staff… The role also exists in movies, refering to the individuals similarly in charge of segments of the film.: Masakazu Obara
Chief Animation DirectorChief Animation Director (総作画監督, Sou Sakuga Kantoku): Often an overall credit that tends to be in the hands of the character designer, though as of late messy projects with multiple Chief ADs have increased in number; moreso than the regular animation directors, their job is to ensure the characters look like they’re supposed to. Consistency is their goal, which they will enforce as much as they want (and can).: Kibidango Number 14 (Azuma Tozawa)
Animation DirectionAnimation Direction (作画監督, sakuga kantoku): The artists supervising the quality and consistency of the animation itself. They might correct cuts that deviate from the designs too much if they see it fit, but their job is mostly to ensure the motion is up to par while not looking too rough. Plenty of specialized Animation Direction roles exist – mecha, effects, creatures, all focused in one particular recurring element.: Kotaro Okubo, Yoichi Ishikawa
Episode 03
storyboardStoryboard (絵コンテ, ekonte): The blueprints of animation. A series of usually simple drawings serving as anime’s visual script, drawn on special sheets with fields for the animation cut number, notes for the staff and the matching lines of dialogue. More: Mamoru Hatakeyama
Episode DirectionEpisode Direction (演出, enshutsu): A creative but also coordinative task, as it entails supervising the many departments and artists involved in the production of an episode – approving animation layouts alongside the Animation Director, overseeing the work of the photography team, the art department, CG staff… The role also exists in movies, refering to the individuals similarly in charge of segments of the film.: Aya Ikeda
Chief Animation DirectorChief Animation Director (総作画監督, Sou Sakuga Kantoku): Often an overall credit that tends to be in the hands of the character designer, though as of late messy projects with multiple Chief ADs have increased in number; moreso than the regular animation directors, their job is to ensure the characters look like they’re supposed to. Consistency is their goal, which they will enforce as much as they want (and can).: Hiroshi Yako
Animation DirectionAnimation Direction (作画監督, sakuga kantoku): The artists supervising the quality and consistency of the animation itself. They might correct cuts that deviate from the designs too much if they see it fit, but their job is mostly to ensure the motion is up to par while not looking too rough. Plenty of specialized Animation Direction roles exist – mecha, effects, creatures, all focused in one particular recurring element.: Hiroshi Yako, Yuichiro Mizutani, Honoka Yokoyama
Episode 04
storyboardStoryboard (絵コンテ, ekonte): The blueprints of animation. A series of usually simple drawings serving as anime’s visual script, drawn on special sheets with fields for the animation cut number, notes for the staff and the matching lines of dialogue. More: Kanta Kamei
Episode DirectionEpisode Direction (演出, enshutsu): A creative but also coordinative task, as it entails supervising the many departments and artists involved in the production of an episode – approving animation layouts alongside the Animation Director, overseeing the work of the photography team, the art department, CG staff… The role also exists in movies, refering to the individuals similarly in charge of segments of the film.: Tsuyoshi Tobita
Chief Animation DirectorChief Animation Director (総作画監督, Sou Sakuga Kantoku): Often an overall credit that tends to be in the hands of the character designer, though as of late messy projects with multiple Chief ADs have increased in number; moreso than the regular animation directors, their job is to ensure the characters look like they’re supposed to. Consistency is their goal, which they will enforce as much as they want (and can).: Tetsuya Kawakami
Animation DirectionAnimation Direction (作画監督, sakuga kantoku): The artists supervising the quality and consistency of the animation itself. They might correct cuts that deviate from the designs too much if they see it fit, but their job is mostly to ensure the motion is up to par while not looking too rough. Plenty of specialized Animation Direction roles exist – mecha, effects, creatures, all focused in one particular recurring element.: Satoshi Noma, Hayato Hashiguchi
Action Animation Director: Shinobu Nishioka
Episode 05
storyboardStoryboard (絵コンテ, ekonte): The blueprints of animation. A series of usually simple drawings serving as anime’s visual script, drawn on special sheets with fields for the animation cut number, notes for the staff and the matching lines of dialogue. More: Toshinori Watanabe
Rap Battle storyboardStoryboard (絵コンテ, ekonte): The blueprints of animation. A series of usually simple drawings serving as anime’s visual script, drawn on special sheets with fields for the animation cut number, notes for the staff and the matching lines of dialogue. More: Mamoru Hatakeyama
Episode DirectionEpisode Direction (演出, enshutsu): A creative but also coordinative task, as it entails supervising the many departments and artists involved in the production of an episode – approving animation layouts alongside the Animation Director, overseeing the work of the photography team, the art department, CG staff… The role also exists in movies, refering to the individuals similarly in charge of segments of the film.: Takayuki Kikuchi
Chief Animation DirectorChief Animation Director (総作画監督, Sou Sakuga Kantoku): Often an overall credit that tends to be in the hands of the character designer, though as of late messy projects with multiple Chief ADs have increased in number; moreso than the regular animation directors, their job is to ensure the characters look like they’re supposed to. Consistency is their goal, which they will enforce as much as they want (and can).: Yuko Hariba, Kii Tanaka
Animation DirectionAnimation Direction (作画監督, sakuga kantoku): The artists supervising the quality and consistency of the animation itself. They might correct cuts that deviate from the designs too much if they see it fit, but their job is mostly to ensure the motion is up to par while not looking too rough. Plenty of specialized Animation Direction roles exist – mecha, effects, creatures, all focused in one particular recurring element.: Junichi Saito, Kota Sera, Honoka Yokoyama
Prop Animation Director: Takayuki Kikuchi
Episode 06
storyboardStoryboard (絵コンテ, ekonte): The blueprints of animation. A series of usually simple drawings serving as anime’s visual script, drawn on special sheets with fields for the animation cut number, notes for the staff and the matching lines of dialogue. More: Takashi Kawabata
Episode DirectionEpisode Direction (演出, enshutsu): A creative but also coordinative task, as it entails supervising the many departments and artists involved in the production of an episode – approving animation layouts alongside the Animation Director, overseeing the work of the photography team, the art department, CG staff… The role also exists in movies, refering to the individuals similarly in charge of segments of the film.: Motoki Nakanishi
Chief Animation DirectorChief Animation Director (総作画監督, Sou Sakuga Kantoku): Often an overall credit that tends to be in the hands of the character designer, though as of late messy projects with multiple Chief ADs have increased in number; moreso than the regular animation directors, their job is to ensure the characters look like they’re supposed to. Consistency is their goal, which they will enforce as much as they want (and can).: Hiroshi Yako
Animation DirectionAnimation Direction (作画監督, sakuga kantoku): The artists supervising the quality and consistency of the animation itself. They might correct cuts that deviate from the designs too much if they see it fit, but their job is mostly to ensure the motion is up to par while not looking too rough. Plenty of specialized Animation Direction roles exist – mecha, effects, creatures, all focused in one particular recurring element.: Shuntaro Yamada, Maya Kisanuki, Kotaro Okubo, Miharu Nagano, Akihito Kato, Kazuaki Imoto
Episode 07
storyboardStoryboard (絵コンテ, ekonte): The blueprints of animation. A series of usually simple drawings serving as anime’s visual script, drawn on special sheets with fields for the animation cut number, notes for the staff and the matching lines of dialogue. More: Mamoru Hatakeyama
Episode DirectionEpisode Direction (演出, enshutsu): A creative but also coordinative task, as it entails supervising the many departments and artists involved in the production of an episode – approving animation layouts alongside the Animation Director, overseeing the work of the photography team, the art department, CG staff… The role also exists in movies, refering to the individuals similarly in charge of segments of the film.: Ryouta Aikei
Chief Animation DirectorChief Animation Director (総作画監督, Sou Sakuga Kantoku): Often an overall credit that tends to be in the hands of the character designer, though as of late messy projects with multiple Chief ADs have increased in number; moreso than the regular animation directors, their job is to ensure the characters look like they’re supposed to. Consistency is their goal, which they will enforce as much as they want (and can).: Nishichi Yamaguchi, Hiroshi Yako
Animation DirectionAnimation Direction (作画監督, sakuga kantoku): The artists supervising the quality and consistency of the animation itself. They might correct cuts that deviate from the designs too much if they see it fit, but their job is mostly to ensure the motion is up to par while not looking too rough. Plenty of specialized Animation Direction roles exist – mecha, effects, creatures, all focused in one particular recurring element.: Kohei Yamazaki, Satoshi Noma
Episode 08
storyboardStoryboard (絵コンテ, ekonte): The blueprints of animation. A series of usually simple drawings serving as anime’s visual script, drawn on special sheets with fields for the animation cut number, notes for the staff and the matching lines of dialogue. More, Episode DirectionEpisode Direction (演出, enshutsu): A creative but also coordinative task, as it entails supervising the many departments and artists involved in the production of an episode – approving animation layouts alongside the Animation Director, overseeing the work of the photography team, the art department, CG staff… The role also exists in movies, refering to the individuals similarly in charge of segments of the film.: Nobukage Kimura
Chief Animation DirectorChief Animation Director (総作画監督, Sou Sakuga Kantoku): Often an overall credit that tends to be in the hands of the character designer, though as of late messy projects with multiple Chief ADs have increased in number; moreso than the regular animation directors, their job is to ensure the characters look like they’re supposed to. Consistency is their goal, which they will enforce as much as they want (and can).: Kibidango Number 14 (Azuma Tozawa)
Animation DirectionAnimation Direction (作画監督, sakuga kantoku): The artists supervising the quality and consistency of the animation itself. They might correct cuts that deviate from the designs too much if they see it fit, but their job is mostly to ensure the motion is up to par while not looking too rough. Plenty of specialized Animation Direction roles exist – mecha, effects, creatures, all focused in one particular recurring element.: Yuichiro Mizutani, Takayuki Kido, Yoichi Ishikawa, Miharu Nagano
Episode 09
storyboardStoryboard (絵コンテ, ekonte): The blueprints of animation. A series of usually simple drawings serving as anime’s visual script, drawn on special sheets with fields for the animation cut number, notes for the staff and the matching lines of dialogue. More: Mamoru Hatakeyama
Episode DirectionEpisode Direction (演出, enshutsu): A creative but also coordinative task, as it entails supervising the many departments and artists involved in the production of an episode – approving animation layouts alongside the Animation Director, overseeing the work of the photography team, the art department, CG staff… The role also exists in movies, refering to the individuals similarly in charge of segments of the film.: Motoki Nakanishi
Chief Animation DirectorChief Animation Director (総作画監督, Sou Sakuga Kantoku): Often an overall credit that tends to be in the hands of the character designer, though as of late messy projects with multiple Chief ADs have increased in number; moreso than the regular animation directors, their job is to ensure the characters look like they’re supposed to. Consistency is their goal, which they will enforce as much as they want (and can).: Tetsuya Kawakami
Animation DirectionAnimation Direction (作画監督, sakuga kantoku): The artists supervising the quality and consistency of the animation itself. They might correct cuts that deviate from the designs too much if they see it fit, but their job is mostly to ensure the motion is up to par while not looking too rough. Plenty of specialized Animation Direction roles exist – mecha, effects, creatures, all focused in one particular recurring element.: Rena Kawasaki, Kohei Yamazaki
Supervision Of The Four Devas Of Ramen (And Also A Few Shots Of Shirogane’s Dad): Shinobu Nishioka
Episode 10
storyboardStoryboard (絵コンテ, ekonte): The blueprints of animation. A series of usually simple drawings serving as anime’s visual script, drawn on special sheets with fields for the animation cut number, notes for the staff and the matching lines of dialogue. More: Shinichiro Ushijima
Episode DirectionEpisode Direction (演出, enshutsu): A creative but also coordinative task, as it entails supervising the many departments and artists involved in the production of an episode – approving animation layouts alongside the Animation Director, overseeing the work of the photography team, the art department, CG staff… The role also exists in movies, refering to the individuals similarly in charge of segments of the film.: Shotaro Kimura
Chief Animation DirectorChief Animation Director (総作画監督, Sou Sakuga Kantoku): Often an overall credit that tends to be in the hands of the character designer, though as of late messy projects with multiple Chief ADs have increased in number; moreso than the regular animation directors, their job is to ensure the characters look like they’re supposed to. Consistency is their goal, which they will enforce as much as they want (and can).: Koji Shiyoki
Animation DirectionAnimation Direction (作画監督, sakuga kantoku): The artists supervising the quality and consistency of the animation itself. They might correct cuts that deviate from the designs too much if they see it fit, but their job is mostly to ensure the motion is up to par while not looking too rough. Plenty of specialized Animation Direction roles exist – mecha, effects, creatures, all focused in one particular recurring element.: Shinnosuke Ota, Kota Sera, Honoka Yokoyama
Assistant Animation Director: Maya Kisanuki
Episode 11
storyboardStoryboard (絵コンテ, ekonte): The blueprints of animation. A series of usually simple drawings serving as anime’s visual script, drawn on special sheets with fields for the animation cut number, notes for the staff and the matching lines of dialogue. More, Episode DirectionEpisode Direction (演出, enshutsu): A creative but also coordinative task, as it entails supervising the many departments and artists involved in the production of an episode – approving animation layouts alongside the Animation Director, overseeing the work of the photography team, the art department, CG staff… The role also exists in movies, refering to the individuals similarly in charge of segments of the film.: Ryota Aikei
Chief Animation DirectorChief Animation Director (総作画監督, Sou Sakuga Kantoku): Often an overall credit that tends to be in the hands of the character designer, though as of late messy projects with multiple Chief ADs have increased in number; moreso than the regular animation directors, their job is to ensure the characters look like they’re supposed to. Consistency is their goal, which they will enforce as much as they want (and can).: Hiroshi Yako
Animation DirectionAnimation Direction (作画監督, sakuga kantoku): The artists supervising the quality and consistency of the animation itself. They might correct cuts that deviate from the designs too much if they see it fit, but their job is mostly to ensure the motion is up to par while not looking too rough. Plenty of specialized Animation Direction roles exist – mecha, effects, creatures, all focused in one particular recurring element.: Miharu Nagano, Kohei Yamazaki, Junichi Saito
Assistant Animation Director: Takayuki Kido, Saori Suruki, Kibidango Number 14 (Azuma Tozawa)
Action Supervisor: Shinobu Nishioka
Episode 12-13
storyboardStoryboard (絵コンテ, ekonte): The blueprints of animation. A series of usually simple drawings serving as anime’s visual script, drawn on special sheets with fields for the animation cut number, notes for the staff and the matching lines of dialogue. More: Mamoru Hatakeyama
Episode DirectionEpisode Direction (演出, enshutsu): A creative but also coordinative task, as it entails supervising the many departments and artists involved in the production of an episode – approving animation layouts alongside the Animation Director, overseeing the work of the photography team, the art department, CG staff… The role also exists in movies, refering to the individuals similarly in charge of segments of the film.: Tsuyoshi Tobita, Takayuki Kikuchi
Chief Animation DirectorChief Animation Director (総作画監督, Sou Sakuga Kantoku): Often an overall credit that tends to be in the hands of the character designer, though as of late messy projects with multiple Chief ADs have increased in number; moreso than the regular animation directors, their job is to ensure the characters look like they’re supposed to. Consistency is their goal, which they will enforce as much as they want (and can).: Tetsuya Kawakami, Koji Shiyoki, Yuko Yahiro
Animation DirectionAnimation Direction (作画監督, sakuga kantoku): The artists supervising the quality and consistency of the animation itself. They might correct cuts that deviate from the designs too much if they see it fit, but their job is mostly to ensure the motion is up to par while not looking too rough. Plenty of specialized Animation Direction roles exist – mecha, effects, creatures, all focused in one particular recurring element.: Shinnosuke Ota, Kota Sera, Rena Kawasaki, Kotaro Okubo, Satoshi Noma, Yoichi Ishikawa, Honoka Yokoyama, Yuichiro Mizutani, Takayuki Kido
Assistant Animation Director: Hiroshi Yako, Saori Suruki, Wakako Yoshida, Takumitsu Miura, Shuntaro Yamada, Kibidango Number 14 (Azuma Tozawa)
Action Supervisor: Shinobu Nishioka
Support us on Patreon to help us reach our new goal to sustain the animation archive at Sakugabooru, SakugaSakuga (作画): Technically drawing pictures but more specifically animation. Western fans have long since appropriated the word to refer to instances of particularly good animation, in the same way that a subset of Japanese fans do. Pretty integral to our sites’brand. Video on Youtube, as well as this SakugaSakuga (作画): Technically drawing pictures but more specifically animation. Western fans have long since appropriated the word to refer to instances of particularly good animation, in the same way that a subset of Japanese fans do. Pretty integral to our sites’brand. Blog. Thanks to everyone who’s helped out so far!