現在許多作品都試圖製造膚淺的懷舊，但通過自然地喚起它，Ousama Ranking 可以將真正的老派風味與許多創新的現代技術相結合——正如其壯觀的最新一集所展示的那樣。
自從我們推出 Ousama Ranking 及其製作以來，發生了很多事情，但並沒有從根本上改變——認為這是對其始終如一的質量和連貫性的證明，而不是對缺乏新鮮的想法。 Studio WIT 對這部現代童話的改編，作為八田洋介的導演處女作，由於坦白說不需要改變的配方，它仍然像開始時一樣迷人。
其非常主觀的框架仍然是一個系列的完美交付機制，其基本道德是不以外表和表面特徵判斷他人，並在系列構成中進行巧妙的調整系列構成（シリーズ構成，系列 Kousei）:給予的關鍵角色該系列的主要作者。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，只開發現有的草稿——當然，系列作曲家自己寫劇本。階段加強了敘事中的陰謀。一些變化確實是以犧牲原作的幼稚模糊為代價的，但這最終使電視節目也能在常規節目中呈現出很酷的奇觀；而且，在您的核心員工中有 Arifumi Imai 之類的人，沒有人會挑剔這個選擇。也許這不是 Ousama Ranking 無可爭議的最終版本，但這部動漫改編幾乎完美地執行了他們處理故事的新角度。
雖然令人眼花繚亂的潤色和淚水，但你確定在節目的前半部分脫落可以掩蓋它可能存在的任何小瑕疵——誰知道它們是否在那裡，它對我有用——事實上，它的缺點在第二個課程中變得更加明顯，兩者都是一個故事和一個改編。 Ousama Ranking 最引人入勝的方面之一是其隨意豐富的世界建築和豐富的獨特設置。這在動畫中尤為有效，在各種 不同 位置。在早期階段，該節目輕鬆地穿越了不同的文化，展示了一個比故事需要簡單運作的神話更複雜的一瞥。它經常漫不經心的交付——儘管從不粗心或準系統——使它的世界風俗更加迷人，尤其是該系列不乏的險惡風俗。作為觀眾，它不斷讓你想了解更多關於設置的信息，同時也明白如果你有所有的答案就會失去魔力。雖然改編強調了故事的清晰性，但它也理解了神秘的巨大力量。
然而，從長遠來看，這顯然是不可持續的。從長遠來看，故事必然會變得更加固定，有趣的新場景的密度無論如何都會減少，該系列甚至在引入新文化方面也有一些失誤。雖然說明這些的背景仍然很漂亮，因為 Kaneko 和他的 Aoshashin 工作室是他們業務中最好的，但與第二批劇集相比，第二批劇集的整體執行降低了它們的拋光和高密度上半場;無論如何都不是戲劇性的，但足以讓普通觀眾仍然意識到整體上沒有那麼多令人難忘的序列。以穩定的人員輪換開始的製作最終成為 WIT 工作室的經典案例，基本上每週部署整個團隊以完成工作，儘管不可否認，它從未達到他們 Shingeki 時代的純粹混亂。現在他們的工作已經完成，儘管事情在最後變得更加混亂，但很容易理解工作室仍然朝著正確的方向前進，管理更加明智。
說完所有完成後，Ousama Ranking 仍然是一部出色的作品，擁有令人痛苦的可愛角色，我會推薦給所有人。即使它的第二個課程沒有完美的早期階段那麼引人注目，它仍然堅持一個有效的公式，同時收集大量的情感回報，從而提供整體非常愉快的體驗；令人羨慕的結果應該是最弱的系列。從長遠來看，這種改編的許多方面都會讓我印象深刻，但考慮到商業媒體的當前狀態，有一個在其他媒體中脫穎而出:它毫不費力的懷舊，以及如何讓他們將其老派風味與迷人的現代結合起來技術。
眾所周知，我們正處於一個懷舊的農業時代。重製、重新啟動和重新製作充斥著憤世嫉俗的市場，就像某些單獨的遊戲一樣好。相比之下，Ousama Ranking 的老派味道感覺更真實。這是一個新書名，也是處女作，但它藉鑑了幾十年前的內容，因為作者非正統的職業生涯直到他 40 多歲才給他帶來這個機會。雖然很容易看到與 Popolocrois Monogatari 和 90 年代早期風格化作品之類的美學相似之處，但這恰好是其創作者冒險的代名詞，而不是為現在的人口製造懷舊情緒的機制年齡大到可以盈利。
即使將其擴展到動漫改編，Ousama Ranking 中的所有創意選擇都感覺像是單一願景的連貫延伸，而不是目標本身；這是一個從不癡迷於以某種方式看待的節目，而是因為這是其世界觀的自然結果。甚至其美學中更人工的方面也完全合理，例如數字紋理。雖然你可以找到稍微尷尬的例子，因為它被應用在角色圖層上，但只有在他們移動時——檢查當他停止說話時顆粒是如何凍結的——它仍然是給屏幕帶來凝聚力的自然方式，匹配傳統繪畫背景的紋理。
通過如此自然地喚起懷舊感的方式，Ousama Ranking 動畫為自己留下了足夠的空間來轉向相反的方向，利用數字動畫的潛力。這種新舊平衡的例子有很多，儘管沒有前面提到的今井領導的劇集那麼精彩。尤其是#09，這恰好是他第一次完全導演和故事板完整的電視動畫劇集。作為自己從傳統工具過渡到數字工具的人，以及動態動作方面的專家，今井創造了一個領域，其中土上五樹等藝術家的現代三維與龜田佳通所喚起的傳統衝擊感完美共存。所有這一切，同時也是該劇在取景中總體主觀性的一個典型例子——他是助理系列導演系列導演:（監督，kantoku）:負責整個製作的人，既是創意決策者，也是最終監督者.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。畢竟！
將 Ousama Ranking 的老派基礎與現代技術相結合的最極端的例子是它的第二個開場序列，由唯一的 Shingo Yamashita 導演和故事板。而其他早期的webgenWebgen（網絡系）:流行術語，指的是最近加入專業動漫行業的大多數年輕的數字動畫師；他們最著名的藝術家開始通過在線 gif 和同人製作的動畫獲得關注，因此產生了網絡一代。在這一點上，它包含了各種各樣的藝術家浪潮，所以它幾乎不再是一代人了，但這個詞已經卡住了。 ryochimo 等明星已經開始專注於推進技術並在幾乎意識形態層面為該領域做出貢獻，Yama 對日本數字 2D 動畫的寶貴工作更加務實。他的方法就是提升和完善他周圍人的創造性聲音，找到這些新工具的具體應用，並創作出令人信服的作品，希望能激勵其他人也這樣做。
僅僅幾年以前，Yama 在他的網絡系列《口袋妖怪暮光之翼》中取得了成功，他華麗的燈光與該節目對描繪這些生物和人類共存的真實世界的低調關注完美結合；寫一個口袋妖怪是社會不可分割的一部分的場景是一回事，而實際看著他們都被同樣的陽光令人信服地沐浴是另一回事。許多分鏡師使用反射作為渴望的表達，但很少有導演掌握了可以如此優雅地將自然變成空靈的合成。即使這些工具已經掌握在許多人手中，像 Yama 這樣的創作者也需要展示出任何技術演示都無法傳達的潛力。
長期以來，他的專業領域之一就是描繪動畫中的光，以及如何將其用作傳達溫暖等無形資產的工具。在他的 Ousama 排名開幕式上展示的所有技術對他來說都不是全新的:垂死線稿來模擬邊緣照明，模擬折射等其他效果和輕塵，這都是他現在常用的曲目的一部分……然而，這一切都比以往任何時候都更加明亮。在一個經常背叛的世界裡，最耀眼的鏡頭是那些專注於人際溫暖的鏡頭。雖然該節目通常的風格化似乎與這種複雜的紙上合成不一致，但純粹的美感和 貼合圖案讓 Yama 獲得遠離數字奇觀。即使在最極端的情況下，Ousama Ranking 也具有令人難以置信的融合新舊情感的能力。
然而，就節目本身而言，沒有導演能比 Shouta Goshozono
更能體現這一點strong>——在第七集中負責與 Despa 的第一次會面，最近擔任第 21 集的導演、分鏡師、部分動畫監督和關鍵動畫師。雖然他作為導演只有 3.5 集，但即使作為一名普通動畫師，戈索也被稱為變革型存在。一個不僅能拼湊出令人印象深刻的場景，而且還能以完全不同的方式拼湊而成的人，你還不如踏入一個完全不同的頭銜。
許多動畫迷都知道，很多動畫迷都知道，這要歸功於他對技術的創新使用。特別是，他對 Blender 等 3D 軟件的掌握以及他製作自己的資產的意願使他的作品如此與眾不同；有時像實驗一樣粗糙，但具有不可否認的能力，可以將觀眾帶入他自己的世界。不過，就像 Yama 的情況一樣，它在工具集上的使用方式與它的使用方式一樣多，而且擔任導演角色似乎已經釋放了 Gosso 的真正潛力。通過讓他能夠在這些 3D 場景中構思整個劇集，曾經純屬誇張的鏡頭現在感覺更加尖銳，能夠在不失去任何令人驚嘆的因素的情況下說明心理狀態。 Gosso 很快就想出瞭如何使用這種攝影作品來隨意調動緊張感，繼續利用宏偉的佈局佈局（レイアウト）的莊嚴:動畫實際上誕生的圖紙；他們將通常簡單的視覺創意從故事板擴展到動畫的實際骨架，詳細介紹了關鍵動畫師和背景藝術家的工作。授予他。
同時，他的故事板也在更傳統的意義上改進了對圖像的使用，這再次極大地有利於 Ousama Ranking 的動畫時代融合。無論是扭曲立體感和主觀POV，以抽象的旋轉來預示惡魔的到來，優雅地揭露血跡斑斑的過去，讓你成為一個有愛心的兄弟，或者只是突出Bojji的弱點盟友們正在奮起反抗，很明顯，戈索的工作不僅僅是使用一套新的數字玩具。當那些萌芽的故事板敏感性與他對他多年來一直掌握的工具集的掌握相結合時，我們開始看到他作為導演的真正能力。
而且，正如任何看過第 21 集的人都可以證明，他作為導演的成長並沒有以他的動作奇觀為代價。在所有情感上的回報之間，戈索抽出時間來製作一個基本上是原創的場景，結果證明這是整個節目中最激動人心的動作。大量的背景動畫實際上與 Ousama Ranking 的老派美學相得益彰，但對於習慣於更具活力的觀眾來說，它具有明顯的現代攝影作品。對比例的關注對於這個系列來說並不是什麼新鮮事，但沒有人把它走得如此極端，更不用說如此堅固的角色藝術了。你可能會說這太過分了，完全過分了，戈索只會點頭反駁，不過，王者的劍術不是很酷嗎?就我而言，答案是肯定的。很酷，很懷舊，很新鮮——簡而言之就是 Ousama 排名。
第 04 集
StoryboardStoryboard（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，劇集指導劇集指導（表演，enshutsu）:一項創造性但同時也是協調的任務，因為它需要監督參與劇集製作的許多部門和藝術家——與動畫導演一起批准動畫佈局，監督攝影團隊的工作、美術部、CG工作人員……這個角色也存在於電影中，指的是同樣負責電影各個環節的個人。: Makoto Fuchigami
Chief Animation DirectorChief Animation Director（総作畫監督，Sou Sakuga Kantoku）:通常，總體功勞往往掌握在角色設計師手中，儘管最近有多個首席廣告的混亂項目數量有所增加；與普通動畫導演相比，他們的工作是確保角色看起來像他們應該做的那樣。一致性是他們的目標，他們將盡可能多地執行（並且可以）。: Maki Kawake
動畫指導動畫指導（作畫監督，sakuga kantoku）:監督質量和一致性的藝術家動畫本身。如果他們認為合適，他們可能會糾正與設計偏差太大的剪裁，但他們的工作主要是確保運動達到標準，同時看起來不太粗糙。存在大量專門的動畫指導角色——機甲、效果、生物，都集中在一個特定的重複元素上。:萬一、姜勇、前田佳弘
Key AnimationKey Animation（原畫，genga）:這些藝術家在動畫中繪製關鍵時刻，基本上是在沒有實際完成剪輯的情況下定義動作。動漫產業以允許這些個人藝術家有很大的空間來表達自己的風格而聞名。監督:矢島洋介，柴田千紗
第05集
StoryboardStoryboard（絵コンテ，ekonte）:藍圖的動畫。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: 田頭忍
劇集指導劇集指導（表演，enshutsu）:一項創造性但同時也是協調的任務，因為它需要監督參與劇集製作的許多部門和藝術家-批准動畫佈局與動畫總監一起，監督攝影團隊、藝術部門、CG 人員的工作……這個角色也存在於電影中，指的是同樣負責電影各個部分的個人。: Masahiro Okamura
副集導演: 八田洋介、今井有文、平木智子
首席動畫導演首席動畫導演（総作畫監督、Sau Sakuga Kantoku）:通常是一個整體的功勞，往往是在角色設計師的手中，儘管最近有多個首席廣告的混亂項目數量有所增加；與普通動畫導演相比，他們的工作是確保角色看起來像他們應該做的那樣。一致性是他們的目標，他們將盡可能多地執行（並且可以）。: Atsuko Nozaki
動畫指導動畫指導（作畫監督，sakuga kantoku）:監督質量和一致性的藝術家動畫本身。如果他們認為合適，他們可能會糾正與設計偏差太大的剪裁，但他們的工作主要是確保運動達到標準，同時看起來不太粗糙。存在大量專門的動畫指導角色——機甲、效果、生物，都集中在一個特定的重複元素上。:Hideyuki Arao、Natsuki Shimabukuro、Atsuko Nozaki、Shinya Kitamura、Tatsuo Kamiuto
第06集
StoryboardStoryboard（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: Shintarou Nakazawa
劇集指導劇集指導（表演，enshutsu）:一項創造性但同時也是協調的任務，因為它需要監督參與劇集製作的許多部門和藝術家-批准動畫佈局與動畫總監一起，監督攝影團隊、藝術部門、CG 人員的工作……這個角色也存在於電影中，指的是同樣負責電影各個部分的個人。: Hitomi Ezoe
首席動畫總監首席動畫總監（総作畫監督，Sou Sakuga Kantoku）:通常，總體功勞往往掌握在角色設計師手中，儘管最近有多個首席廣告的混亂項目數量有所增加;與普通動畫導演相比，他們的工作是確保角色看起來像他們應該做的那樣。一致性是他們的目標，他們將盡可能多地執行（並且可以）。: Maki Kawake
動畫指導動畫指導（作畫監督，sakuga kantoku）:監督質量和一致性的藝術家動畫本身。如果他們認為合適，他們可能會糾正與設計偏差太大的剪裁，但他們的工作主要是確保運動達到標準，同時看起來不太粗糙。存在大量專門的動畫指導角色——機甲、效果、生物，都集中在一個特定的重複元素上。 小川麻衣、齋藤美香、前原薰、中田久美子
第 7 集
StoryboardStoryboard（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，劇集指導劇集指導（表演，enshutsu）:一項創造性但同時也是協調的任務，因為它需要監督參與劇集製作的許多部門和藝術家——與動畫導演一起批准動畫佈局，監督攝影團隊的工作、美術部、CG工作人員……這個角色也存在於電影中，指的是同樣負責電影各個環節的個人。: Shouta Goshozono
Chief Animation DirectorChief Animation Director（総作畫監督，Sou Sakuga Kantoku）:通常，總體功勞往往掌握在角色設計師手中，儘管最近有多個首席廣告的混亂項目數量有所增加；與普通動畫導演相比，他們的工作是確保角色看起來像他們應該做的那樣。一致性是他們的目標，他們將盡可能多地執行（並且可以）。: Atsuko Nozaki
動畫指導動畫指導（作畫監督，sakuga kantoku）:監督質量和一致性的藝術家動畫本身。如果他們認為合適，他們可能會糾正與設計偏差太大的剪裁，但他們的工作主要是確保運動達到標準，同時看起來不太粗糙。存在大量專門的動畫指導角色——機甲、效果、生物，都專注於一個特定的重複元素。:Ayumi Abe、Shouta Goshozono、Atsuko Nozaki、Takuo Noda、Kumiko Nakata、Wan Yi、Natsuki Shimabukuro
第08集
StoryboardStoryboard（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: Makoto Fuchigami
劇集指導劇集指導（表演，enshutsu）:一項創造性但也是協調的任務，因為它需要監督參與劇集製作的許多部門和藝術家-批准動畫佈局與動畫總監一起，監督攝影團隊、藝術部門、CG 人員的工作……這個角色也存在於電影中，指的是同樣負責電影各個部分的個人。: Yumi Kamakura
首席動畫總監首席動畫總監（総作畫監督，Sou Sakuga Kantoku）:通常，總體功勞往往掌握在角色設計師手中，儘管最近有多個首席廣告的混亂項目數量有所增加;與普通動畫導演相比，他們的工作是確保角色看起來像他們應該做的那樣。一致性是他們的目標，他們將盡可能多地執行（並且可以）。: Maki Kawake
動畫指導動畫指導（作畫監督，sakuga kantoku）:監督質量和一致性的藝術家動畫本身。如果他們認為合適，他們可能會糾正與設計偏差太大的剪裁，但他們的工作主要是確保運動達到標準，同時看起來不太粗糙。存在大量專門的動畫指導角色-機甲、效果、生物，所有這些都集中在一個特定的重複元素上。: Yukiko Watabe、Wu Yao、Tian Tang、Shunsuke Yamamura、Wakako Yoshida
製作協助:製作I.G
第09集
StoryboardStoryboard（絵コンテ，ekonte）:動畫。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，劇集指導劇集指導（表演，enshutsu）:一項創造性但同時也是協調的任務，因為它需要監督參與劇集製作的許多部門和藝術家——與動畫導演一起批准動畫佈局，監督攝影團隊的工作、美術部、CG工作人員……這個角色也存在於電影中，指的是同樣負責電影各個環節的個人。:今井有文
動畫總導演總動畫導演（総）作畫監督，Sou Sakuga Kantoku）:通常，總體功勞往往掌握在角色設計師手中，儘管最近有多個首席廣告的混亂項目數量有所增加；與普通動畫導演相比，他們的工作是確保角色看起來像他們應該做的那樣。一致性是他們的目標，他們將盡可能多地執行（並且可以）。: Atsuko Nozaki
動畫指導動畫指導（作畫監督，sakuga kantoku）:監督質量和一致性的藝術家動畫本身。如果他們認為合適，他們可能會糾正與設計偏差太大的剪裁，但他們的工作主要是確保運動達到標準，同時看起來不太粗糙。存在大量專門的動畫指導角色——機甲、效果、生物，都集中在一個特定的重複元素上。:荒尾秀之、北村智之、日浦麗奈、野崎敦子、小笠原信、土上伊月、藤本幸樹、村田修, Takeshi Maenami, Speak, Hirofumi Masuda, Arifumi Imai, Shunsuke Aoki
Key AnimationKey Animation（原畫，genga）:這些藝術家在動畫中繪製關鍵時刻，基本上在沒有實際完成剪輯的情況下定義動作。動漫產業以允許這些個人藝術家有很大的空間來表達自己的風格而聞名。監製:中谷久美子、柴田千紗、Ikakko忍
第10集
StoryboardStoryboard（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，劇集指導劇集指導（表演，enshutsu）:一項創造性但同時也是協調的任務，因為它需要監督參與劇集製作的許多部門和藝術家——與動畫導演一起批准動畫佈局，監督攝影團隊的工作、美術部、CG人員……這個角色也存在於電影中，指的是同樣負責電影各個環節的個人。:手島麻衣
首席動畫總監首席動畫總監（総作畫監督，Sou Sakuga Kantoku）:通常，總體功勞往往掌握在角色設計師手中，儘管最近有多個首席廣告的混亂項目數量有所增加；與普通動畫導演相比，他們的工作是確保角色看起來像他們應該做的那樣。一致性是他們的目標，他們將盡可能多地執行（並且可以）。: Maki Kawake
動畫指導動畫指導（作畫監督，sakuga kantoku）:監督質量和一致性的藝術家動畫本身。如果他們認為合適，他們可能會糾正與設計偏差太大的剪裁，但他們的工作主要是確保運動達到標準，同時看起來不太粗糙。存在大量專門的動畫指導角色-機甲、效果、生物，所有這些都專注於一個特定的重複元素。:山村俊介、波上由里、日浦麗奈、前原薰、池津久江、齋藤美香
Key AnimationKey Animation（原畫，genga）:這些藝術家在動畫中繪製關鍵時刻，基本上在沒有實際完成剪輯的情況下定義動作。動漫產業以允許這些個人藝術家有很大的空間來表達自己的風格而聞名。監製:手島麻衣、上瓦關彩香、大野彩香、吳秀敏
第11集
StoryboardStoryboard（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，劇集指導劇集指導（表演，enshutsu）:一項創造性但同時也是協調的任務，因為它需要監督參與劇集製作的許多部門和藝術家——與動畫導演一起批准動畫佈局，監督攝影團隊的工作、美術部門、CG 工作人員……這個角色也存在於電影中，指的是同樣負責電影各個部分的個人。: 愛基良太
副集導演: Hitomi Ezoe
首席動畫導演首席動畫導演（総作畫監督，Sou Sakuga Kantoku）:通常總體功勞往往掌握在角色設計師手中，儘管最近有多個首席廣告的混亂項目數量有所增加；與普通動畫導演相比，他們的工作是確保角色看起來像他們應該做的那樣。一致性是他們的目標，他們將盡可能多地執行（並且可以）。: Atsuko Nozaki
動畫指導動畫指導（作畫監督，sakuga kantoku）:監督質量和一致性的藝術家動畫本身。如果他們認為合適，他們可能會糾正與設計偏差太大的剪裁，但他們的工作主要是確保運動達到標準，同時看起來不太粗糙。 Plenty of specialized Animation Direction roles exist – mecha, effects, creatures, all focused in one particular recurring element.: Yuko Yamamoto, Tomoyuki Kitamura, Wan Yi, Guo Xinyuan, Kumiko Nakata, Rena Hiura, Yang Rui
Episode 12
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: Shinsaku Sasaki
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.: Makoto Fuchigami
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).: Maki Kawake
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.: Ayumi Abe, Natsuki Shimabukuro, Jung Eun Chae, Aya Nishimura, Shinya Kitamura,
Episode 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: Masayuki Miyaji
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.: Chihiro Kumano, Atsushi Nakagawa
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).: Atsuko Nozaki
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.: Masaru Oshiro, SNIPES, Hideyuki Arao, Yuji Kawauchi
Assistant Animation Director: Aya Nishimura, Tatsuo Kamiuto, Ayaka Uwaseki
Episode 14
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.: Yumi Kamakura
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).: Maki Kawake
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.: Wakako Yoshida, Hisako Shimozuma, Mariko Ishikawa, ChiaWei Weng, Yang Rui, Ai Watanabe, Tian Tang
Production Assistance: Production I.G
Episode 15
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: Shinsaku Sasaki
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.: Hitomi Ezoe
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).: Tomoyo Kamoi
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.: Mai Ogawa, Tomoyuki Kitamura, Tomoyo Kamoi, Kaoru Maehara, Ayaka Ofusa, Nao Takano
Episode 16
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: Yoshiki Kitai, Mai Teshima, Youko Kanamori
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.: Mai Teshima
Assistant Episode Director: Naoki Murata
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).: Maki Kawake, Atsuko Nozaki
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.: Wan Yi, Yuko Yamamoto, SNIPES, Jung Eun Chae, Ayaka Ofusa, Yuki Togashi, Hideyuki Arao, Su-min Oh, Why Is Ayaka Ofusa Credited Again
Key AnimationKey Animation (原画, genga): These artists draw the pivotal moments within the animation, basically defining the motion without actually completing the cut. The anime industry is known for allowing these individual artists lots of room to express their own style. Supervision: Natsuki Shimabukuro, Kumiko Nakata, Mika Saito, Kaoru Maehara
Episode 17
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: Hiroaki Shimura
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.: Tomoko Hiramuki, Mitsutoshi Sato, Atsushi Nakagawa
Assistant Episode Director: Hitomi Ezoe, Naoki Murata
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).: Atsuko Nozaki
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.: Masaru Oshiro, Ayumi Abe, Yuko Yamamoto, Aya Nishimura, Yuji Kawauchi, Kumiko Nakata
Key AnimationKey Animation (原画, genga): These artists draw the pivotal moments within the animation, basically defining the motion without actually completing the cut. The anime industry is known for allowing these individual artists lots of room to express their own style. Supervision: Mika Saito, Kaoru Maehara
Episode 18
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: Shintarou Nakazawa
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.: Makoto Fuchigami, Mitsutoshi Sato, Hitomi Ezoe
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).: Maki Kawake
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.: Ayaka Ofusa, Hideyuki Arao, Mai Ogawa, Tomoyo Kamoi, Jung Eun Chae, Yuki Togashi, Kumiko Nakata, Ayaka Uwaseki, Maki Kawake, SNIPES
Key AnimationKey Animation (原画, genga): These artists draw the pivotal moments within the animation, basically defining the motion without actually completing the cut. The anime industry is known for allowing these individual artists lots of room to express their own style. Supervision: Mika Saito, Yuri Naminoue
Episode 19
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: Atsushi Takahashi
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.: Arifumi Imai
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).: Atsuko Nozaki
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.: Wan Yi, Aya Nishimura, Natsuki Shimabukuro, Ayumi Abe, Yuko Yamamoto, Tomoyuki Kitamura, Masaru Oshiro, Shin Ogasawara
Key AnimationKey Animation (原画, genga): These artists draw the pivotal moments within the animation, basically defining the motion without actually completing the cut. The anime industry is known for allowing these individual artists lots of room to express their own style. Supervision: Youko Kuji, Yuri Naminoue
Episode 20
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.: Yumi Kamakura
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).: Maki Kawake
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.: Masaaki Sakurai, Satoshi Nagura, Wakako Yoshida, Mariko Ishikawa, Ai Watanabe
Production Assistance: Production I.G
Episode 21
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., 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.: Shouta Goshozono
Assistant Episode Director: Hiroyuki Tanaka
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).: Atsuko Nozaki
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.: Jung Eun Chae, Hideyuki Arao, Yuko Yamamoto, Tomoyo Kamoi, Takuo Noda, Natsuki Shimabukuro, Atsuko Nozaki, Su-min Oh, Yuji Kawauchi, Itsuki Tsuchigami, Hirofumi Masuda
Key AnimationKey Animation (原画, genga): These artists draw the pivotal moments within the animation, basically defining the motion without actually completing the cut. The anime industry is known for allowing these individual artists lots of room to express their own style. Supervision: Mika Saito, Youko Kuji
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!