Кагуя-сама: Хайр бол дайн 3-р улирал Бүтээлийн тэмдэглэл: Авьяаслаг, хүсэл тэмүүлэлтэй багийн зовлон бэрхшээлийг даван туулсан ялалт

Дахин хэлэхэд энэ анги илүү суурь түвшинд үнэлэгдэх ёстой. Хатакеяма энэ төсөлд шууд л Шоуа Женроку Ракуго Шинжүү-ийн дараа ирсэн бөгөөд энэ нь тайзны тухай заримдаа зориудаар хувь хүнгүй, гайхалтай боловсронгуй бүтээл бөгөөд энэ нь үндсэндээ өндөр хоолтой тэнцэхүйц телевизийн анимэ юм. Түүний шал өөр жанрын орон зайд шоу найруулахын тулд араа солих чадвар нь ижил хэв маягийн өвөрмөц байдлаа хадгалж үлдсэн нь дэлхийн бүх магтаалыг хүртэх ёстой бөгөөд энэ нь түүний хоёр төсөлд жинхэнэ хандлагыг нь биширдэгтэй харьцуулах аргагүй юм. Ракугогийн зарим илүү зовиуртай хэсгүүд нь зүрх сэтгэлээс шууд гарсан мэт санагдсан бөгөөд энэ нь Кагуя-самад дуртай бүх зүйлийн талаар түүний урам зоригтой иш татсан тухай ч хэлж болно. Энэхүү гайхалтай төгсгөл нь түүний илүү ноцтой бүтээлүүдтэй адил таталцлыг агуулсан бөгөөд хамгийн инээдтэй инээдмийн жүжиг, чин сэтгэлийн романтик үйл явдалтай холбоотой юм. Найруулагч Кагуя-самаг бүрдүүлдэг эдгээр талаас нь өөрийгөө дээгүүрт тавьж байгаа юм шиг хэзээ ч байгаагүй тул түүний үе тэнгийнхэн түүнийг энэ дээр ажиллах дуртай гэж хэлэхэд нь би чин сэтгэлээсээ итгэж байна.

Ингэж байгаагүй. хялбар төсөл, гэхдээ энэ гайхалтай төгсөлтийн дараа 3-р улирлын талаар шуугиан тарьж байсан бүх шүтэн бишрэгчдээ гонсойлгохын оронд энэ продакшны тоймыг эерэгээр эргүүлэх ёстой юм шиг санагдсан. 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. But you know what? 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.

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Episode 01

storyboardStoryboard (絵コンテ, ekonte): The blueprints of animation. Хүүхэлдэйн киноны визуал скриптийн үүрэг гүйцэтгэдэг хэд хэдэн энгийн зургуудыг тусгай хуудсан дээр зурж, хөдөлгөөнт дүрсийг тайрах талбарууд, ажилтнуудад зориулсан тэмдэглэл, харилцан ярианы тохирох шугамууд байдаг. 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. Тэд загвараас хэт их хазайсан зүслэгийг тохирох гэж үзвэл засаж болох ч тэдний үүрэг бол голдуу хөдөлгөөнийг жигд байлгахын зэрэгцээ хэт бүдүүлэг харагдахгүй байх явдал юм. 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. Хүүхэлдэйн киноны визуал скриптийн үүрэг гүйцэтгэдэг хэд хэдэн энгийн зургуудыг тусгай хуудсан дээр зурж, хөдөлгөөнт дүрсийг тайрах талбарууд, ажилтнуудад зориулсан тэмдэглэл, харилцан ярианы тохирох шугамууд байдаг. 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. Тэд загвараас хэт их хазайсан зүслэгийг тохирох гэж үзвэл засаж болох ч тэдний үүрэг бол голдуу хөдөлгөөнийг жигд байлгахын зэрэгцээ хэт бүдүүлэг харагдахгүй байх явдал юм. 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. Хүүхэлдэйн киноны визуал скриптийн үүрэг гүйцэтгэдэг хэд хэдэн энгийн зургуудыг тусгай хуудсан дээр зурж, хөдөлгөөнт дүрсийг тайрах талбарууд, ажилтнуудад зориулсан тэмдэглэл, харилцан ярианы тохирох шугамууд байдаг. 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. Тэд загвараас хэт их хазайсан зүслэгийг тохирох гэж үзвэл засаж болох ч тэдний үүрэг бол голдуу хөдөлгөөнийг жигд байлгахын зэрэгцээ хэт бүдүүлэг харагдахгүй байх явдал юм. 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. Хүүхэлдэйн киноны визуал скриптийн үүрэг гүйцэтгэдэг хэд хэдэн энгийн зургуудыг тусгай хуудсан дээр зурж, хөдөлгөөнт дүрсийг тайрах талбарууд, ажилтнуудад зориулсан тэмдэглэл, харилцан ярианы тохирох шугамууд байдаг. 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. Тэд загвараас хэт их хазайсан зүслэгийг тохирох гэж үзвэл засаж болох ч тэдний үүрэг бол голдуу хөдөлгөөнийг жигд байлгахын зэрэгцээ хэт бүдүүлэг харагдахгүй байх явдал юм. 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. Хүүхэлдэйн киноны визуал скриптийн үүрэг гүйцэтгэдэг хэд хэдэн энгийн зургуудыг тусгай хуудсан дээр зурж, хөдөлгөөнт дүрсийг тайрах талбарууд, ажилтнуудад зориулсан тэмдэглэл, харилцан ярианы тохирох шугамууд байдаг. More: Toshinori Watanabe
Rap Battle storyboardStoryboard (絵コンテ, ekonte): The blueprints of animation. Хүүхэлдэйн киноны визуал скриптийн үүрэг гүйцэтгэдэг хэд хэдэн энгийн зургуудыг тусгай хуудсан дээр зурж, хөдөлгөөнт дүрсийг тайрах талбарууд, ажилтнуудад зориулсан тэмдэглэл, харилцан ярианы тохирох шугамууд байдаг. 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. Тэд загвараас хэт их хазайсан зүслэгийг тохирох гэж үзвэл засаж болох ч тэдний үүрэг бол голдуу хөдөлгөөнийг жигд байлгахын зэрэгцээ хэт бүдүүлэг харагдахгүй байх явдал юм. 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. Хүүхэлдэйн киноны визуал скриптийн үүрэг гүйцэтгэдэг хэд хэдэн энгийн зургуудыг тусгай хуудсан дээр зурж, хөдөлгөөнт дүрсийг тайрах талбарууд, ажилтнуудад зориулсан тэмдэглэл, харилцан ярианы тохирох шугамууд байдаг. 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. Тэд загвараас хэт их хазайсан зүслэгийг тохирох гэж үзвэл засаж болох ч тэдний үүрэг бол голдуу хөдөлгөөнийг жигд байлгахын зэрэгцээ хэт бүдүүлэг харагдахгүй байх явдал юм. 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. Хүүхэлдэйн киноны визуал скриптийн үүрэг гүйцэтгэдэг хэд хэдэн энгийн зургуудыг тусгай хуудсан дээр зурж, хөдөлгөөнт дүрсийг тайрах талбарууд, ажилтнуудад зориулсан тэмдэглэл, харилцан ярианы тохирох шугамууд байдаг. 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. Тэд загвараас хэт их хазайсан зүслэгийг тохирох гэж үзвэл засаж болох ч тэдний үүрэг бол голдуу хөдөлгөөнийг жигд байлгахын зэрэгцээ хэт бүдүүлэг харагдахгүй байх явдал юм. 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. Хүүхэлдэйн киноны визуал скриптийн үүрэг гүйцэтгэдэг хэд хэдэн энгийн зургуудыг тусгай хуудсан дээр зурж, хөдөлгөөнт дүрсийг тайрах талбарууд, ажилтнуудад зориулсан тэмдэглэл, харилцан ярианы тохирох шугамууд байдаг. 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. Тэд загвараас хэт их хазайсан зүслэгийг тохирох гэж үзвэл засаж болох ч тэдний үүрэг бол голдуу хөдөлгөөнийг жигд байлгахын зэрэгцээ хэт бүдүүлэг харагдахгүй байх явдал юм. 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. Хүүхэлдэйн киноны визуал скриптийн үүрэг гүйцэтгэдэг хэд хэдэн энгийн зургуудыг тусгай хуудсан дээр зурж, хөдөлгөөнт дүрсийг тайрах талбарууд, ажилтнуудад зориулсан тэмдэглэл, харилцан ярианы тохирох шугамууд байдаг. 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. Тэд загвараас хэт их хазайсан зүслэгийг тохирох гэж үзвэл засаж болох ч тэдний үүрэг бол голдуу хөдөлгөөнийг жигд байлгахын зэрэгцээ хэт бүдүүлэг харагдахгүй байх явдал юм. 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. Хүүхэлдэйн киноны визуал скриптийн үүрэг гүйцэтгэдэг хэд хэдэн энгийн зургуудыг тусгай хуудсан дээр зурж, хөдөлгөөнт дүрсийг тайрах талбарууд, ажилтнуудад зориулсан тэмдэглэл, харилцан ярианы тохирох шугамууд байдаг. 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. Тэд загвараас хэт их хазайсан зүслэгийг тохирох гэж үзвэл засаж болох ч тэдний үүрэг бол голдуу хөдөлгөөнийг жигд байлгахын зэрэгцээ хэт бүдүүлэг харагдахгүй байх явдал юм. 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. Хүүхэлдэйн киноны визуал скриптийн үүрэг гүйцэтгэдэг хэд хэдэн энгийн зургуудыг тусгай хуудсан дээр зурж, хөдөлгөөнт дүрсийг тайрах талбарууд, ажилтнуудад зориулсан тэмдэглэл, харилцан ярианы тохирох шугамууд байдаг. 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. Тэд загвараас хэт их хазайсан зүслэгийг тохирох гэж үзвэл засаж болох ч тэдний үүрэг бол голдуу хөдөлгөөнийг жигд байлгахын зэрэгцээ хэт бүдүүлэг харагдахгүй байх явдал юм. 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. Хүүхэлдэйн киноны визуал скриптийн үүрэг гүйцэтгэдэг хэд хэдэн энгийн зургуудыг тусгай хуудсан дээр зурж, хөдөлгөөнт дүрсийг тайрах талбарууд, ажилтнуудад зориулсан тэмдэглэл, харилцан ярианы тохирох шугамууд байдаг. 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. Тэд загвараас хэт их хазайсан зүслэгийг тохирох гэж үзвэл засаж болох ч тэдний үүрэг бол голдуу хөдөлгөөнийг жигд байлгахын зэрэгцээ хэт бүдүүлэг харагдахгүй байх явдал юм. 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. Барууны шүтэн бишрэгчид энэ үгийг Японы зарим шүтэн бишрэгчидтэй адил сайн хөдөлгөөнт дүрслэлийг илэрхийлэхийн тулд аль эрт хэрэглэх болсон. Манай сайтын брэндтэй салшгүй холбоотой. Youtube дээрх видео, мөн энэ SakugaSakuga (作画): Техникийн хувьд зураг зурах боловч илүү тодорхой  хөдөлгөөнт дүрс. Барууны шүтэн бишрэгчид энэ үгийг Японы зарим шүтэн бишрэгчидтэй адил сайн хөдөлгөөнт дүрслэлийг илэрхийлэхийн тулд аль эрт хэрэглэх болсон. Манай сайтын брэндтэй салшгүй холбоотой. Блог. Thanks to everyone who’s helped out so far!