Penyesuaian anime dosa asal Takopi adalah hasil luar biasa dari pengeluar yang berani, pengarah yang diabaikan, dan studio yang akan datang dengan tangan untuk membuat pilihan orang lain tidak berani. Laluan yang sukar, tetapi pada akhirnya, perwujudan yang menakjubkan dari pengakuan siri untuk komunikasi.
Jika anda sensitif terhadap gambaran penderaan fizikal dan tingkah laku bunuh diri, saya akan menasihati mendekati Takopi dengan berhati-hati. Walaupun topik-topik tersebut tidak mencetuskan secara langsung untuk anda, ini adalah pertunjukan yang paling berpengalaman apabila anda berada di ruang depan yang betul untuknya; Terlepas dari mesej yang diharapkannya, anda boleh terjebak dalam rawa kesengsaraan yang diterokai dengan cara yang membantah aspek-aspek yang paling menarik dalam siri ini. Sekiranya anda merasa bersedia untuk itu, jangan ragu untuk meneruskan. Saya tidak akan menulis tentangnya jika saya tidak fikir ia adalah satu kerja yang hebat.
Terdapat dua laluan bersilang yang bernilai retreading jika anda ingin memahami mengapa anime Takopi adalah pengalaman yang luar biasa. Yang pertama sepadan dengan profesion yang kita tidak meneliti dengan banyak perhatian seperti yang di sisi kreatif: pengeluar. Fikiran anda, melihat istilah di laman web ini akan membawa anda kepada berpuluh-puluh artikel, tetapi mereka cenderung menjadi watak sampingan yang kami bawa kerana mereka mendedahkan trivia yang kemas, atau mungkin untuk menggambarkan rangkaian hubungan profesional dalam satu projek. Apabila anda memberi tumpuan kepada merit artistik anime dan keadaan buruh di sekelilingnya, kebenaran yang jelas adalah bahawa kebanyakan pengeluar berkisar dari neutral hingga agak memudaratkan aspek bekas, sementara tidak aktif dalam mengubah status quo yang berbahaya untuk yang terakhir. src=”https://blog.sakuugabooru.com/wp-content/uploads/2025/08/they-actualy-did-jokingly-threat-an-animate-employee.jpg”height=”480″>
Ia tidak benar setiap pengeluar, dan istilah seperti yang kita gunakan dalam perenggan terdahulu merangkumi banyak peranan yang berbeza dengan tanggungjawab dan kepentingan yang sama sekali berbeza. Walaupun anda memindahkan pengeluar animasi yang lalu, sememangnya lebih dekat dengan pasukan artis, ada saman yang tepat yang motivasi dan pilihannya mempunyai kesan yang nyata, menarik pada tahap kreatif. Salah satu pengeluar seperti itu adalah Kotaro Sudo , yang antik yang eksentrik kita sudah diliputi dalam wawancara yang diterjemahkan yang menggambarkan peranannya dalam salah satu anime TV yang paling keterlaluan sepanjang masa.
Sudo berarak dengan anak-anaknya yang berbahaya, sehingga beberapa rancangan jahat.
Sudo terus menggariskan bagaimana dia kemudian menghadapi pasukan yang berkumpul untuk projek-projek yang luar biasa ini. Sebagai seseorang yang tidak mempunyai artistik, dia lebih suka tidak mendapat jalan aliran kerja mereka. Walau bagaimanapun, apa yang boleh dilakukannya adalah menjatuhkan mereka ke arah yang mereka mungkin sudah ingin meneroka. Di dalam projeknya, bukan hanya tajuk sendiri yang berada di luar norma, tetapi selalunya spesifik mengenai pengeluaran juga; Pertemuan pertama Sudo dengan mana-mana pasukan kreatif melibatkan meminta mereka untuk menyusun semua idea yang pernah mereka miliki yang ditolak atau dianggap tidak mungkin di tempat lain, yang membantu dia memenangkannya dan menguatkan bahawa salah satu perasaan yang baik. Sama ada dalam peranan publisiti awalnya ( seitokai yakuindomo , yosuga no sora , Penguindrum ), beberapa peranannya yang pertama sebagai pengeluar Nama yang ditubuhkan di lapangan (sila tonton Bravern ), keperibadiannya yang keterlaluan memusnahkannya bukan hanya kepada genre yang kurang ditelan tetapi juga untuk tajuk-tajuk yang aneh. Seperti yang terperinci di sana, Sudo menjumpai manga dan merasakan potensi yang kuat… hanya untuk dipenuhi dengan keraguan ketika dia menonjolkan projek itu untuk lebih tinggi di King Records. Veteran Akio Mishima , yang akhirnya berkhidmat sebagai pengeluar eksekutifnya, memaklumkan kepadanya bahawa dalam bidang mereka anda mempunyai peluang sekali dalam seumur hidup untuk menolak satu projek tertentu. Dan dia melakukannya, bukan sahaja mendapatnya diluluskan tetapi menjadikan syarikat itu secara tunggal membiayai itu-fakta bahawa Epic Team Pop kemudian berulang kali mengejek dalam persembahan itu sendiri, dengan protagonis jahatnya gembira untuk membakar wang King Records.
Satu pertunjukan bahawa gloats tentang menjadi pelik, yang mengalu-alukan pelbagai artis eksperimen liar, dan juga sukan struktur yang tidak pernah dilihat sebelum ini dan putaran pelakon suara. Semua itu membuktikan Sudo Hak: Buat sesuatu yang unik, kuku, dan anda akan segera menjadi raja niche virus. Anda mungkin berfikir bahawa pengeluar yang merancang semuanya mempunyai peluang yang sempurna untuk melekat di sekitar syarikat itu dan bersenang-senang tentang pertaruhannya yang berjaya yang membawa kepada sekuel yang tidak dirancang, tetapi dalam bentuk sudo, dia melakukan rekod Raja yang tidak dijangka dan meninggalkan. Mempertahankan pasukan pop epik S2 ke protegee yang sama-sama menakutkan, dia enggan memanfaatkannya. Judul sejak itu, Wawancara baru-baru ini dengan Mantan mengesahkan bahawa kita baru sahaja melihat projek-projek pertama yang dia merancang ketika dia menyertai tempat kerja barunya. Yang pertama adalah pengeluaran teater yang menyesuaikan diri, dari semua perkara, makanan ringan pendidikan. tabekko doubutsu adalah Cara yang menyeronokkan untuk anak-anak untuk mempelajari nama-nama haiwan Dalam era yang ditakrifkan oleh komunikasi melalui media sosial dan cara lain dalam talian, Sudo melihat konsep yang dinikmati secara universal seperti makanan ringan sebagai pautan fizikal yang masih relevan . Dan, sebagai flipside idea yang sihat itu, pengeluar juga mensasarkan cara kerja yang lebih berat dengan komunikasi sebagai tema: dosa asal Takopi. Kuki dan penggambaran penderaan kanak-kanak yang tidak menentu, hanya pukulan 1-2 biasa selepas menyertai syarikat baru-sekurang-kurangnya dalam fikiran seperti sudo. Sudo pergi sejauh mengatakan bahawa hanya berkumpul secara teknikal yang mahir, animator yang mencolok tidak akan menjadi sia-sia jika mereka tidak memahami tema siri ini; Sesuatu yang perlu diingat ketika memeriksa orang-orang yang (dan kenalan mereka yang tidak) dalam kedudukan penting di kalangan pasukan. Hubungannya sendiri dengan siri ini telah melalui seluruh arka ketika dia memproses perasaannya. Ia bermula dengan penghargaan, tetapi juga bimbang tentang kandungan yang melampau yang dikurangkan dan mengambil nyawa sendiri sebagai meme semasa penerbitan manga. Akhirnya, Sudo menyimpulkan bahawa pengarang asal Taizan5 adalah senjata yang memberi kesan kepada peristiwa-peristiwa yang memberi perhatian untuk menarik perhatiannya untuk komunikasi yang lebih baik dan lebih jujur. Salah satu yang tidak sepatutnya ditajuk, menumpahkan terlalu banyak butiran yang sangat berharga, tetapi juga tidak tumpul dan terlalu banyak. Idea teras di sebalik penyelesaiannya agak mudah, tetapi untuk memahami mengapa ia penting, ia patut dipertimbangkan sesuatu: apakah aspek yang paling membatasi bercerita anime bersiri? Mungkin bertentangan dengan kepercayaan popular, saya akan mengatakan bahawa mereka bukanlah penjadualan dan sering keadaan yang lemah, atau peraturan yang ditulis atau tidak-tentang kandungan yang mungkin muncul di televisyen. Iaitu, dengan mengingati bahawa semua itu adalah faktor, jadi mereka harus dipertimbangkan apabila anda tertanya-tanya mengapa mana-mana pasukan telah membuat keputusan tertentu. Ia adalah perkara yang mudah: peraturan runtime. Bentuk anime bersiri yang paling biasa adalah, oleh tanah runtuh, rancangan TV. Projek-projek ini tidak dapat dielakkan melibatkan bangunan sekitar 30 minit slot, yang juga menyumbang kepada rehat komersial. Ini meninggalkan kita dengan episod sekitar 24 minit, dengan 3 daripadanya didedikasikan untuk pembukaan dan berakhir dengan panjang tetap mereka sendiri. Walaupun ada kemungkinan untuk beroperasi dalam gandaan nombor ini, dengan episod dua kali ganda adalah kejadian yang agak biasa, itu tidak mengubah paradigma asas. Dan dengan cara yang sama bahawa ini semua dikawal mingguan, struktur bermusim sama seperti tegar; Menunjukkan wujud dalam kursus episod 12/13 kerana itu juga bagaimana pengaturcaraan TV secara umum dianjurkan, yang bermaksud bahawa berlepas dari yang memperkenalkan pengeluar geseran tidak mahu.
Ini terutama tidak benar dalam kes penyesuaian, roti dan mentega anime TV. Struktur dalaman bahan sumber tidak dapat dilihat dengan peraturan-peraturan sedemikian-dan jika ia telah menjadi apa-apa, ia adalah untuk medium yang berbeza, yang memusnahkan bentuk pacing lain. Kesilapan ini adalah untuk menyalahkan banyak komposisi komposisi siri (シリーズ構成, siri kousei): peranan utama yang diberikan kepada penulis utama siri ini. Mereka bertemu dengan pengarah (yang secara teknikal masih mengalahkan mereka) dan kadang-kadang pengeluar semasa pra-pengeluaran untuk merangka konsep siri ini, datang dengan peristiwa-peristiwa utama dan memutuskan betapa pantasnya. Tidak boleh dikelirukan dengan penulis skrip individu (脚本, kyakuhon) yang umumnya mempunyai ruang yang sangat sedikit untuk ekspresi dan hanya mengembangkan draf sedia ada-walaupun tentu saja, komposer siri menulis skrip sendiri. Kesalahan dalam bidang ini, namun, sifat kronik itu membuat orang terlalu cepat menerima bahawa ini adalah bagaimana keadaannya. Ini boleh membantu anda memahami mengapa era streaming mempunyai sedikit perubahan nombor tersebut, walaupun isu-isu akar tidak relevan dengan video dalam talian. Pada akhirnya, ia adalah inersia aliran kerja klasik dan kemungkinan untuk membuang kerja-kerja ini di TV akhirnya menang, oleh itu mengapa siri web akhirnya hampir sama. Sebab-sebab yang tidak kreatif pada masa lalu terus memberi kesan kepada bagaimana cerita dalam anime bersiri diberitahu, walaupun kita menghadapi masa depan.
Semua yang dikatakan, penyakit yang kronik tidak bermakna bahawa tidak ada paliatif. Pasukan kreatif kerap menavigasi isu-isu ini, mencari cara yang besar dan kecil untuk mencabar norma-norma. Usaha-usaha itu, serta perjuangan yang datang dengan mereka, banyak jelas dalam penyesuaian yang paling terinspirasi musim ini. Pengarah Hikaru Summer meninggal Ryouhei Takeshita juga bertindak sebagai komposer siri, yang membawa penstrukturan semula siri yang tenang; Tidak ada satu pun kelemahan, tetapi juga difahami bagaimana ia cuba membentuk cerita yang menyeluruh kepada batasan-batasan yang wujud dalam format. Walaupun anda menganggap kerugian dalam mempercepatkan aspek-aspek tertentu dari misteri, mengikis perasaan tidak senonoh yang tidak disengajakan pada mulanya, ini mungkin membantu ia mencapai kesimpulan yang cukup memuaskan dengan jumlah episod yang terhad.
untuk menentukan bahagian mana yang harus disesuaikan dan bahkan berkembang apabila menghidupkannya-mempraktikkan atmosfera atas kemasukan peristiwa semata-mata. Memandangkan siaran TV untuk kerja-kerja studio hampir seluruhnya disertai oleh iklan mereka sendiri, Kyoani dapat meningkatkan runtime setiap minggu hingga ke titik yang berkesan mempunyai keseluruhan episod tambahan yang mereka ada. Dengan cara yang sama, momen-momen yang sangat penting dalam anime TV membawa kepada bukaan dan pengakhiran yang dilangkau, pilihan-pilihan yang kelihatannya lebih kecil ini juga dapat mencapai panjangnya untuk memaksimumkan sumber-sumber. Sekali lagi, struktur TV yang tegar tidak menyambut pendekatan yang berbeza, tetapi itu tidak bermakna tiada pengecualian. Pertunjukan pendek-biasanya digabungkan dengan tajuk yang sama untuk mengisi slot 30 minit biasa-adalah kejadian yang cukup biasa, dan kadang-kadang syarikat bersedia untuk menolak penyelesaian yang kurang konvensional juga. Lihatlah lebih jauh daripada anime makanan semasa yang telah memilih 6 episod penuh. Apabila dibandingkan dengan adaptasi Webmanga cahaya purata anda, yang melebih-lebihkan berapa lama seseorang mungkin mahu duduk untuk menonton sesuatu yang dikandung untuk menatal melalui media sosial atau yang disukai, projek itu menunjukkan pemahaman yang baik tentang rayuan bahan sumber. Ia membantu, tentu saja, bahawa ia adalah siri yang sangat lucu untuk permulaan; Anda boleh membaca sedikit lebih lanjut mengenainya dalam nota Patreon baru-baru ini Sama seperti pengadilan makanan, kami juga berurusan dengan bahan sumber pendek. Mendapatkan dua jilid yang menyusun 16 bab, siri ini perlu dibekalkan dengan jumlah yang besar untuk dapat mengisi keseluruhan kursus. Walaupun pasukan telah menunjukkan kesediaan mereka untuk menambah konteks lebih lanjut kepada peristiwa-peristiwa dengan cara yang merasakan organik untuk penglihatan Taizan, Sudo dengan tegas menentang meregangkan siri ini dengan panjang biasa. Lagipun, sifat Takopi menjadikannya terlalu banyak sambutan hangat bukan sekadar isu pacing, tetapi berpotensi rasuah mesej dan potensinya. Pertunjukan ini akan menjadi wallowing dalam kesengsaraan terlalu lama, meningkatkan peluang untuk merenung ke dalam rasa tidak enak, dengan kasar membosankan kelebihan melalui gerakan tragis berulang. Memahami bahawa pilihan tentang kiraan episod Takopi tidak dibuat kerana tidak ada halaman yang cukup untuk lebih, tetapi kerana mereka yang merancangnya benar-benar mendapat apa yang terkandung, adalah kunci untuk memahami mengapa penyesuaian ini menjadi permulaan yang hebat. Sejak peringkat konseptual terawal dan atas cadangannya, ia telah memutuskan untuk menggunakan platform streaming yang betul yang dituju; yang, seperti yang telah disebutkan sebelumnya, jarang berlaku walaupun ini bertahun-tahun ke era pengedaran dalam talian. Kerana sebagai pilihan yang kemas kerana ia adalah untuk membenarkan pembukaan (1:10) dan The raison d’etre Video muzik href=”https://i.imgur.com/ww3ipir.png”> Kongregasi besar pertama Top-of-the-Line Animation Talent . Di samping memenuhi tuntutan teknikal reka bentuk Yoneyama, ia juga menonjol sebagai pengganti 2020 mereka kepada Rie Matsumoto Mv , tetapi yang paling penting, Chinathi dan Moaang
Bagaimana dengan episod ketiga yang dihasilkan oleh studio? Walaupun pengarah pengarah siri Takopi: (監督, Kantoku): Orang yang menjaga keseluruhan pengeluaran, baik sebagai pembuat keputusan kreatif dan penyelia akhir. Mereka mengalahkan seluruh kakitangan dan akhirnya mempunyai perkataan terakhir. Siri dengan tahap pengarah yang berlainan ada-Ketua Pengarah, Penolong Pengarah, Pengarah Episod Siri, segala macam peranan bukan standard. Hierarki dalam keadaan tersebut adalah kes oleh senario kes. Telah bekerja dengan pasukan ini sebelum ini, peranannya sebagai pengarah dan storyboarder untuk Frieren #14 terasa seperti isyarat yang sempurna untuk memperkenalkannya dan daya tarikannya yang kurang jelas. Maksudnya: Bertemu shinya iino , sering disebut sebagai persona dalam taliannya ponte . Watak utama terakhir dalam pengeluaran ini adalah seseorang yang anda boleh panggil Sakugasakuga (作画 作画): secara teknikal melukis gambar tetapi animasi yang lebih khusus. Peminat Barat telah lama memperuntukkan perkataan untuk merujuk kepada contoh animasi yang sangat baik, dengan cara yang sama seperti subset peminat Jepun. Cukup penting untuk jenama laman web kami. Nerd, yang dikenali bukan hanya sebagai pencipta tetapi sebagai peserta aktif dalam komuniti yang berfokus pada animasi. Di dalam industri ini, dia mula-mula menjadi terkenal di kalangan kakitangan pengurusan di Kinema Citrus di era di mana mereka sinonim dengan bakat muda yang menarik; Anehnya, sebagai pendahulu langsung fenomena yang sama yang kami sebutkan tadi mengenai 3Hz. Melihat sebelahnya, bagaimanapun, tidak menceritakan kisah penuh. Kehadiran Ponte dalam Sakugasakuga Jepun (作画): Secara teknikal melukis gambar tetapi lebih khusus animasi. Peminat Barat telah lama memperuntukkan perkataan untuk merujuk kepada contoh animasi yang sangat baik, dengan cara yang sama seperti subset peminat Jepun. Cukup penting untuk jenama laman web kami. Masyarakat bukan sekadar sekadar trivia masa lalu, tetapi sebaliknya aspek yang berkembang bersama kerjaya profesionalnya. Malah hakikat bahawa dia melancarkan program radionya sendiri dapat dilihat sebagai jambatan antara fandom dan penyumbang aktif kepada industri-terutama jika anda menganggap berapa banyak orang di sekitar program itu mempunyai trajektori yang sama. Ini termasuk nama-nama seperti Yuji Tokuno aka mutobe (pengarah salah satu episod yang paling mengagumkan tahun ini di Yaiba #06 mengorbit sekitar Mappa sekarang), atau menyusun superstar Fukkun , hanya untuk menamakan beberapa. Bagaimana dengan penonton yang lebih luas, walaupun? Mereka yang kurang cenderung untuk melihat artis melainkan mereka memimpin keseluruhan projek lebih meragukannya. Alasannya adalah mudah: animasi yang terhad dalam dr. Musim awal Stone tangki stok Ponte, kerana itu adalah namanya yang paling jelas terikat. Memang benar bahawa musim pertama dibuat di Abyss -di mana dia berkhidmat sebagai pengarah siri penolong-adalah sayang kritikal, tetapi ia adalah pencipta lain yang lebih jelas yang menerima semua pujian. Dan itu membawa kita kepada ciri-ciri lain yang menarik: walaupun ketika memainkan peranan dalam karya-karya yang dikasihi, gaya Ponte tidak semestinya sebagai menarik perhatian sebagai rakan-rakannya yang lebih terkenal, walaupun sering menjadi salah satu penyumbang yang paling baik untuk produksi mereka.
Kami boleh membungkus semua ini ke Frieren #14, yang menjadi pameran yang sangat baik dari kemahiran yang tidak dinilai secara meluas. Pada babak pertama, pertikaian antara Fern dan Stark disampaikan dengan tahap kejelasan emosi yang tidak hadir dalam kerja asal. Ponte menunjukkan asasnya dalam penggunaan bayang-bayang dengan implikasi jelas mereka dalam StoryboardStoryboard (絵コンテ, Ekonte): pelan animasi. Satu siri lukisan yang biasanya mudah berfungsi sebagai skrip visual anime, yang ditarik pada lembaran khas dengan bidang untuk nombor pemotongan animasi, nota untuk kakitangan dan garis dialog yang sepadan. Walaupun tidak menjadi jenis pengarah yang akan menggegarkan bot, dia dengan senang hati menyesuaikan diri dengan senario di mana otot animasi sebenarnya hadir, sambil menambah idea-idea yang menonjol seperti Ash Falling apabila watak-watak titular Pets Sein. Ia sangat modus operandi untuk memahami skop itu, menyesuaikan idea-ideanya kepadanya, dan kemudian mengumpulkan idea-idea yang cukup licik untuk secara senyap-senyap membuat perbezaan. Sudah tentu, itu tidak menjadikan mereka lebih rendah; Frieren #14 adalah jauh lebih baik untuk gambaran komedinya tentang kenangan kereta dan Frieren, pembentukan yang tegas (mengeksploitasi kawalan fizikal Ponte yang hebat) kepada apa yang cepat membuktikan menjadi strategi yang buruk, dan banyak butiran yang lebih tinggi seperti memastikan watak-wataknya terus-menerus ketika makhluk itu menyentuh sayapnya. Often, his greatest quality as a director is that those small additions feel so natural that the viewer will simply take them for granted. Adaptable directors who are happy to keep a low profile are easily overlooked, but don’t take that to mean that they’re mediocre at their job. As Ponte demonstrates, that isn’t necessarily the case.
By entrusting everything to such a deceitfully capable director and studio, Sudo’s vision of an impactful but also thoughtful realization of Takopi became possible. The level of draftsmanship across the whole show is impressive, consistent in quality right up to the final stages yet surprisingly diverse in stylistic angles. There is no denying that it’ll be one of the greatest anime productions of the year; in a regular season, it would easily take the crown for the summer, but a metropolis-shaped abnormality has gotten in the way of that. It’s no exaggeration to say that this has solidified Enishiya’s growth as the most textbook rise within the industry in recent times. While other new studios (like CyPic or Soigne) have immediately made a lot of noise upon their arrival, Enishiya’s gradual escalation feels like the example to follow. If they proceed to make carefully chosen, spaced-out full series and theatrical offerings over the next few years, they’ll have completed the most perfectly step-by-step growth in scope you could hope to plan. Rather impressive, considering they haven’t sacrificed their quality along the way.
Takopi has benefited from all the positive aspects we’ve explicitly shouted out, as well as some that we’ve left implied. One of the reasons it was important to note that the planning began all the way back in 2022 was to make it clear that the actual production also spanned an unusually lengthy span of time—hitting two years for those most deeply involved. That is mandatory when you aim to create animation with these standards of quality, though conversely, don’t take their results to mean that it was a breeze. Takopi’s production only wrapped up a few days before the broadcast of the last episode, with some members of the team rather burned out by the nature of the title and its demanding quality. Although it never dips to worrying levels, you may have noticed that the finale in particular has no room for extra flair. And, even if that hadn’t been the case, the fact remains that they cut it close by the end. A studio that tries to act the right way like Enishiya still isn’t immune to these issues, especially given their ambition.
As important as it is to keep that in mind, rather than the ending of it, we should consider the early stages of this project some more. I believe you can approach Takopi from various angles, but frankly, many of them would result in a frustrating, self-defeating experience. Ponte’s wish not to relish in the violence, alluded to in his own interview with Mantan, is a fundamental precept that put him on the same page as the producer at the genesis of this project. That said, the director also mentions embracing the viewpoint of one of his mentors: Masayuki Kojima, who led the aforementioned Made in Abyss with Ponte under his wing. When facing similarly heavy works, Kojima is a proponent of tackling every single topic originally explored, though also the type of creator to take a quiet step back to keep a watchful eye on the characters. In Takopi terms, that means not shying away from the depictions of abuse even if (and to a degree, because) those are tough to swallow, but also not zooming in on the violence so much that you forget about the personhood of the victims.
Even with that core stance established early on, there was more nuance to the framing that took longer to solidify. Ponte mentions a pivot from a more Shizuka-centric angle, which would have put the viewer in the shoes of a victim of parental neglect and severe harassment in school, to the story as we finally experienced—a camera closer to the titular alien, with its naive yet also admirable optimism. This is in line with the team’s wish to deliver glimmers of hope off the bat; sure, Takopi is an ultimately uplifting tale, but it’s easy to forget that across the often-miserable events that lead to that conclusion.
Choices like ever so slightly approaching the happy octopus and adjusting Shizuka’s pants to be brighter add up to a feeling that, for as dark as the situation is, there is some hope to that world. This latter choice was of course made by color designerColor Designer (色彩設定/色彩設計, Shikisai Settei/Shikisai Sekkei): The person establishing the show’s overall palette. Episodes have their own color coordinator (色指定, Iroshitei) in charge of supervising and supplying painters with the model sheets that particular outing requires, which they might even make themselves if they’re tones that weren’t already defined by the color designer. Yuki Akimoto, one of the best in the business, but it’s worth noting that so was the former. Consistent with his position of allowing others to shine around him, Ponte is also very open to feedback from anyone in the team. His broad understanding of animation leads to the belief that, if you’re intertwining it with storytelling, then all its elements are pieces in the same puzzle. Compartmentalization can be useful from a management perspective, but buying into it too much from a creative standpoint is inherently limiting. Sure, the main role of individuals in color and design duties isn’t to write a story on paper—but theirs are among the tools that will ultimately breathe life into that script. And so, you might as well listen to their big picture vision as well. Not a coincidence, then, that Takopi also entrusted Awoi Otani with the color scripts that define much of the texture of the adaptation (just like they’d already done for the surprisingly atmospheric Makeine anime!).
If we delve into the first episode, the series directorSeries Director: (監督, kantoku): The person in charge of the entire production, both as a creative decision-maker and final supervisor. They outrank the rest of the staff and ultimately have the last word. Series with different levels of directors do exist however – Chief Director, Assistant Director, Series Episode Director, all sorts of non-standard roles. The hierarchy in those instances is a case by case scenario. does indeed leave the spotlight to someone else: character designer and 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). Nagahara. In the manga, Taizan matches the roughness of the events with their own raw, pointedly disheveled drawings. This is the type of illustrative quality that tends to get lost when adapting things to animation, which requires countless drawings and for them to be able to move. Given this project’s exceptional circumstances and Nagahara’s own skills, though, he goes line for line with the original author when it comes to depicting the consequences of abuse. Ponte explained that this degree of reproduction—and even elevation—of this aspect was so costly that they couldn’t use it willy-nilly. Whenever possible, though, Nagahara’s pen was there to take the show to the next level. And boy, is that first episode a showcase of that.
It goes without saying, but the reason why this is such an important point in Takopi isn’t the technical achievement required, but its visceral effect on the viewer. When going over Nagahara’s previous work, some aspects that stood out were the depiction of space and the tangible animation. The former increases the immersive feeling, leading to the type of layout that makes this series even more reminiscent of the cult classic Alien 9 anime. However, it’s the latter that makes a difference for Takopi. Whereas Nagahara has used this tactile quality before in tender ways (we still get some of that with his own key animation here), the commitment to a style that makes you feel like you can touch the animation has an entirely different effect when you’re dealing with such horrifying events.
Before any depiction of abuse, preceding even the opening itself, the harsh reality of Shizuka’s life is palpable in the weariness of her backpack. The severity of her situation is gradually conveyed through details like that, with an impact that far transcends the objective pieces of information like “her belongings are old and have insulting words written all over them”. Once the full extent of the abuse becomes explicit, the already gut-wrenching events become even more uncomfortable through artwork; a style that isn’t realistic, yet packs very thorough detail that magnifies the effects of real violence. I believe that overall, this is part of what makes this show so special, though it admittedly is overdone in spots. The rendering of Shizuka’s wounds is so ghastly that it challenges the suspension of disbelief, especially in later episodes where she’s very visibly injured while in class. A tough pill to swallow, even accounting for the subjective framing, and too close to a type of gratuitousness you don’t want given the sensitivity of these topics. In the end, though, small issues given the tremendous upside.
To put those together, tentoten was in charge of a parallel, solo production process that led to visuals closer to what one might see in non-commercial animation; we can’t forget that they were an independent animator before CSM catapulted them to fame, and that they remain active in that space. When watching the show along with viewers, Ponte recalled the non-chronological way that the series-wide Happy Artist role came to be. Although he didn’t meddle much in the cut distribution for episodes other than his own, he had originally requested tentoten to give special treatment to a pivotal scene with Takopi during the fifth episode. As it came together, Ponte liked the result so much that he decided to retroactively apply this all-encompassing approach anytime that Takopi’s worldview had to be rendered. It may not have been originally planned, but this was an excellent swerve into what has now become one of the cornerstones of the Takopi anime.
Across these early stages of the story, contrast remains a central concept. One of the most memorable introductions of such friction comes at the very end of episode #02. While the schedule didn’t allow for the entire series to use film scoring, they were able to selectively apply that approach as the director saw most fit—and understandably, that was the case for this closing scene. After watching Shizuka endure so much harassment at the hands of her classmate Marina, even Takopi’s overwhelming optimism is being tested; no matter how many Doraemon-like gadgets it uses, how many times they redo the events, tragedy always awaits. As the flipside of those Happy Artist moments, the 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. uses Takopi’s subjective perception to illustrate why it’s compelled to spring into action… and how that leads to the accidental murder of Marina.
Even in such an immediately dark series, this becomes the most shocking event you’ve witnessed at this point. Anyone would be overwhelmed by negative feelings, save for one exception: the child who has been systemically denied a sense of normalcy, for whom the death of her ruthless bully is a reason to rejoice. And this is where the music plays a key role. Ponte had vaguely asked for a classical-like piece of music to capture this discrepancy, but it was sound director Jin Aketagawa who specifically suggested to (mis)match this objective tragedy with Shizuka’s perceived feelings of triumph through Vivaldi’s Spring. Apart from the sheer impact of the scene, moments like this also help underline that these two lead characters parallel each other in a fascinating way. Both Shizuka and Takopi are effectively aliens who haven’t experienced regular, peaceful human coexistence; the tragedy being, of course, that Shizuka should have had access to the type of life that would allow her to conclude that this wasn’t a positive event.
Mirroring those tonal clashes, the episode also deliberately deploys stylistic whiplashes to illustrate the mismatches in perception. That much is true of the first episode, but the flavor in the following one is rather distinct. Even as the grittier detail still gets used to show the darker side of this story, its realization is noticeably different from the first episode; much thinner lines this time around, matching character art that does a whole lot more implication compared to Nagahara’s explicit detail. This isn’t an accident, but rather the natural result of Moaang’s central role in episode #02. As the storyboarder, director, and animation supervisor, the departure toward more naturalistic animation is an excellent example of how Takopi’s framework gives plenty of pivoting room to specific artists.
We observe a similar shift in the third episode, as another artist takes a similarly central role. Compared to Moaang’s preceding work, it’s certainly not as extravagant, but the reasons why have very little to do with Eri Irei’s undeniable skills. For starters, it’s worth noting that Takopi’s directorial team was small. Assistance aside, it effectively contained only 4 members working alongside Ponte. Among them, half were individuals whom the team actively reached out to. Specifically, Moaang and the person who led the fifth episode went through that guest treatment. In contrast, the other two got the job by virtue of being employed at the studio and having the sophistication that the team was looking for. Unfortunately, that poor Irei got a heavy job dumped on him with little input, which helps explain why his experience in particular was so mentally draining.
Again, this isn’t to say that the episode is worse because its director struggled. If anything, Irei is somewhat similar to Ponte in that he excels in such a casual manner that you’re led to believe that great filmmaking happens on its own. As the story opens up more to the other kids around Shizuka, this episode does an excellent job of illustrating those new perspectives. Through his storyboards, Irei puts you in the shoes of Naoki: born to a seemingly more stable family, but clearly neglected by a mother who barely recognizes his personhood. The quivering of the camera matches his confusion when he stumbles upon this accidental killing, while the transitions and body language allow you to understand that he happens to be susceptible to Shizuka’s perhaps inadvertent manipulation. There is a toxic chemistry between the two that is never verbalized, for starters, because he wouldn’t even have the words to properly explain why his childish mind associates those two women in his life. And when you can’t use words, you need the finesse that Irei’s direction quietly delivers.
In addition to those glimpses of Naoki’s everyday struggles, Marina’s passing and her replacement with a shape-shifting octopus also provide a real taste of the everyday experience in another broken home. Like basically every father in the story, Marina’s dad is absent; in his case, on an emotional level, compared to Shizuka’s dad who has physically left everything behind. Irei’s storyboards convey that by constantly obscuring his expression, while Takopi in Marina form tragically misreads the conflict in this household as lively rather than violent. Even more than the violence it experiences as Marina’s mom takes everything out on her daughter, it’s the knowledge that this was once a happy family that really hits Takopi’s mind. Notably, the thing that first disappeared from this family is what the series yearns for: real communication.
The way that Takopi finds out about their past, through environmental storytelling that showcases not just photos but the decoration that Marina and her mom would adorn their home with, illuminates another excellent side of this adaptation. Ponte’s words garnered attention by pointing out how much research went into figuring out period-appropriate popular colors for school supplies, but this mentality is broader than that specific detail. Marina’s purple backpack matches her room, her sense of fashion feels like a natural extension of the hobbies she shared with her mother, and you can feel a sense of consistency in such details that allows you to imagine lives beyond the constraints of this story. When each of the kids returns to their home, you can feel their social standing in more nuanced ways than the sheer size of their house. In a series so unflinching in depicting child abuse, especially with this episode’s more realistic and commonplace examples, this humanization is essential.
That mindset carries over to episode #04, which is rightfully considered one of the greatest in an already impressive series. It’s not unfair to say that it was set up for success, as it’s arguably the most self-contained, satisfying catharsis before the end of the series. Noting that, though, shouldn’t distract us from how exceptional the execution is. Toya Oshima, another Enishiya mainstay we talked about before, left even his fans speechless with the first episode he ever led as storyboarder and director.
Best known for an expressionistic approach to animation that he has cultivated around his adoration of living legend Shinya Ohira, Oshima opens up the episode in a perfectly clinical way instead. After realizing that the real Marina corpse they’d hidden has been found, Naoki’s initial shock isn’t conveyed through the abstractions the director often utilizes, but rather through sound and jump cuts that demonstrate that nothing is registering for him. By rearranging the events so the intro ends with his older brother shaking him out of this shock, it’s already building up to the satisfying climax.
Once we venture into the meat of the episode, the more bombastic side of the director rears its head, though always in a very pointed way. There’s one natural consequence of the tactile approach to the show’s drawings that we haven’t mentioned so far: the direct relationship it has with the usage of background animation since the very beginning. After all, cel-forward cuts are inherently more tangible, making them a great fit for Takopi’s goals. As someone with a great affinity for such cuts, as well as with gritty linework in general (shout out to animation director Hayate Nakamura for helping preserve the charm of rough genga lines too) Oshima finds great ways to weaponize background animation sequences.
That is the type of animation that we see as Naoki is once again drawn by Shizuka’s toxic magnetism; something that, as a bystander, Takopi perceives as the two of them straying away despite their objective physical proximity. Background animation can embody the dread of feeling a disappointed parent approach, and just by adding some more Ohira-like undulation, capture a growing emotional gulf and a whole worldview collapsing. It’s also used in the most interesting relationship we see play out in this episode—one of the very few healthy familial bonds in the entirety of Takopi. That is, Naoki’s relationship with his older brother Junya.
Previous episodes had already shown glimpses of Junya as this supremely talented sibling who, by no wish of his own, tormented Naoki through their mother’s demands to follow his path of unmatched excellence. Thanks to that slight step back from the events that Ponte initially decided to take, you could always intuit that he was a fantastic older brother who genuinely cared for Naoki; a precious presence in a show where so many kids are denied parental affection, the one love that should be completely unconditional.
As he regularly does, Hayate Nakamura also key animated a massive number of cuts (116 this time around) in addition to his supervision duties. Whenever people talk about animators with an absurd balance of quality and quantity, he should be one of the names that pops in everyone’s minds—especially given how emotive his work remains despite those workloads.
Through his direction in episode #04, Oshima does a masterful job in highlighting that gap. Naoki’s emotional baggage makes him misread his brother’s approaches as ominous, but there are enough level-headed moments surrounding those subjective sequences that, as a viewer, you can always tell that Junya’s intent is good. With a mother who has given up on him completely, the person to break through Naoki’s jaded view of his life—the one that leads to him embracing a toxic relationship with Shizuka—is none other than Junya. The little brother perceives him as towering and monstrous as he comes close, but when his plea shatters those nightmares, it’s a caring older brother who looks at him straight in the eye and on his level. The way he formulates his help is, again, a straightforward allusion to the overarching theme of the show: communication. Junya doesn’t know the truth about what his sibling has been up to, so more than anything else, he begs Naoki to properly talk and listen to him from now on. This won’t undo all problems, but it’s the foundation of the happiness Takopi believes in.
Even with his fondness for abstraction, Oshima’s delivery is explicit and pointed outward. That is the norm in Takopi, and also what makes the team’s choice of a guest director and storyboarder for the following episode especially interesting. Hirotaka Mori is a name we’ve highlighted multiple times on this site, especially as it relates to his series direction debut in the impressive Tengoku Daimakyou adaptation. Whenever Mori comes up, one of his most admired qualities is the ability not to openly expose the most heinous details of the dark topics he’s often entrusted with, while still retaining their impact in the delivery. This mentality isn’t foreign to Takopi—we’ve talked about both Ponte and his mentor deliberately taking a small step back—but Mori’s elegant, non-invasive framing is quite unlike the explicit violence that most of this show portrays.
And so, for episode #05, those two tendencies meet in the middle. It’s immediately clear that Mori’s polite approach isn’t necessarily subtle, with a neglectful mother being the only one with even a slight access to the light, and the most hopeful visuals around Shizuka coinciding with her coming across happy families. Her quest to meet her dad (and the dog she refuses to believe is dead) leads to the discovery that he has found a new happy family of his own, one with no place for her. It’s in moments like this that Mori’s storyboarding tends to gracefully turn the camera away, giving the characters some room while still showing enough to make feelings clear. We see this repeatedly across the most tragic scenes, but also the quieter moments of vulnerability.
Looking back at episode #04 for a second, the bombastic climax is also worth highlighting because of the amusing parallels with Ken Yamamoto’s Uma Musume film. Rainbow sparkles flying as a hand extends to crush a phantom that was stunting someone’s spiritual growth should feel very familiar to fans of that movie, even more so given that Shuu Sugita animated both scenes.
With Shizuka on the brink of falling apart, the titular alien finally remembers the true beginning of the story: its meeting with an older Marina, mentally and physically scarred from the escalation of the abusive household we’ve already seen. A chance meeting with Naoki opens up a door to a potentially brighter future, not only as support for her, but as a way to reestablish a traditional family that her mother has come to obsessively idolize after her marriage fell apart. And yet, the reappearance of Shizuka—grown to be a deliberate manipulator at this point—leads to even more violent abuse. This rollercoaster of unstable emotions uses color to depict a sad truth: even though we follow this story from Marina’s point of view, it’s clear that in an abuser’s home, it’s their feelings alone that dictate the atmosphere. This turn for the worse is intertwined with the cynical facsimile of romance around Shizuka’s actions, delivered through an amazing sequence that shows how much he absorbed from Toshimasa Ishii in their collaborations.
Normally, Mori would be able to combine those moments with his beautiful, evocative shots to tell even the darkest stories. But that wouldn’t suffice for Takopi, a series that has made a point to closely examine the worst type of violence. As the abuse escalates, with Marina accidentally killing her mother in self-defense before taking her own life as well, the director’s usual implications don’t make the cut on their own; perhaps they would in an adaptation led by him, but not in the equivalent of letting the foot off the gas in a version of this story that has gotten you used to an imposing, uncomfortable sense of speed. And thus, Mori swerves towards a more visceral, explicit framing that will leave no viewer feeling comfortable.
On its own, those distressing feelings are already important to capture. And when examining the narrative in its entirety, this is the right moment for the show to be as direct and explicit as possible. Takopi’s status as a naïve, well-meaning outsider to these human woes allows the series to use the alien to verbalize its message about the cyclic nature of violence in a natural way—this would be discovery for the alien, and one that it could weirdly frame as positive still. This conclusion is obviously not revolutionary; frankly, it’s not new for the series either, as it’s easy to deduce from the beginning that they’re making this point. That said, and as is often the case with Takopi, there’s a lot of power in the bitter traces that spell out these words.
You may have noticed that Marina’s mother has clear patterns in her physical abuse. She tends to slap her daughter repeatedly, often on the same side of the face. Grabbing Marina by her hair and threatening her with sharp objects near her face is something she has done so many times, across multiple timelines, that it always elicits a traumatic response. If you return to the first episode with that in mind, you’ll quickly pick up on the specific way she begins hitting the person she believes to be Shizuka, whom she grabs by her hair and threatens to stab with a pencil near her face. Incidentally, that final moment of violence was handled by Danny Cho, the animation director for the fifth episode that illuminates Marina’s inherited abusive tendencies. His style is rounder and more pleasant than the show gets you used to, but he’s perfectly in his bag when handling these moments of bleakness; so much so, that he joked about swiftly drawing an ominous Shizuka because he’s always in charge of evil faces.
The truth is that Danny Cho had already contributed to Takopi, including the chilling portrayal of Shizuka taking her own life in the first episode—obvious content warning for those who want to proceed. Despite that cuter roundness in his style that we mentioned, likely tied to his experience at Dogakobo, his affinity for this type of material is clear. In fact, that wouldn’t be the first time he depicts a traumatic death in the first episode of a show that haunts it for its entire runtime. Which is to say that yes, he was also in charge of Ai’s final moments in Oshi no Ko.
Obviously, it’s not just Marina who is stuck inside a toxic cycle. Shizuka has been abandoned by her father, and while working as an escort, her mother doesn’t seem to look out for anyone but herself. She grows up with no remotely positive parental figure, so what she learns is to use seduction as a tool of manipulation like we see in her reencounter with Naoki. Again, this is similar to what we’d already observed of them as kids, but multiple years in such an environment have further poisoned her. Even the pure Takopi, in its attempt to help Marina, demonstrates that it has learned violence from its experience in the darkest corners of human society.
All three of them have forms of kindness within them, which the show depicts with as much detail as the inherited cruelty. Even if the intergenerational nature of abuse is a commonly understood idea, few works can examine their perpetrators without blinking and then carefully depict how those traits manifest in their victims. Frankly, most series wouldn’t even want to do that, as it’s more comfortable for everyone to pretend that abusers are ontologically evil, and their victims, unquestionable forces of good. For as preposterous as some aspects of Takopi are, it feels more attuned to the realities of disenfranchised people than the norm, hence its choice to illustrate (but not individually condemn) what it’s like to be at the bottom of this pyramid of violence. Takopi isn’t here to blame Shizuka and Marina for their acts, but rather to beg for a situation where children are not pushed to a position like theirs; and that, if they are, they at least have supportive relationships of any kind.
What is Taizan’s suggested solution, then? As far as specific, structural change that we could apply as actual policy, none. The protagonist of the series is an octopus whose best-known line is that it doesn’t understand(pi), so it was never going to alchemize a social panacea to solve issues we haven’t figured out in the real world. It also wasn’t going to reflect that violence onto other characters—for as much as some parents are asking for it—as that would have been satisfaction for the readers more than for the characters themselves. Instead, it’s the titular alien’s idealism that is used to channel its one wish: improving communication to, if not solve, at least palliate issues like this.
With Ponte back in the director’s seat, that’s the one thing left for the finale to illustrate. Having gone all out on the preceding episodes, the production arrives at this point with just enough energy to make it to the goal, but his fundamentals and Reina Ueda’s amazing performance as Shizuka seal the deal. When Takopi confronts her again, she breaks down about the cruelty she’s had to quietly endure, about everything children are supposed to take for granted but she never had. The alien has no answer to her questions about what she could have done instead, but it can apologize for not having tried to listen to her and then promise to do so moving forward. For as touching as it is, especially with the montage of their many moments together after that, Takopi realizes that she never managed to smile wholeheartedly. The episode begins with her allusion to something she’d always wished for, and Takopi understands what: a real peer to communicate with on the same level. And so, with a final act of self-sacrificing Doraemon magic, it resets the world.
This new timeline appears very similar, but Takopi’s wish has endured. By being more willing to confront his brother, Naoki is off to a life more of his own, with someone genuinely supporting him. None of the girls’ households has been magically fixed, but right as Marina is about to unleash that violence on Shizuka again, her casual drawing of a weird octopus creature derails the two of them. This may seem minor, but human relationships aren’t all built on monumental achievements that speak about our characters. More often than not, it’ll be an arbitrary shared experience that creates a bond. Less stressed about school results, Naoki accidentally made more friends by mentioning he has a PS4. A round alien that neither girl knows but that feels familiar to both can, with time and the right attitude, shift an abusive relationship into one where each other become the support they need.
And so we hit the epilogue, with a hint of their lives as high schoolers. Both are still saddled with problematic households, as the reappearing scar in Marina’s face makes it clear. But now that they have someone they can be frank about and who’ll fully understand their struggles, the atmosphere around them is completely different. Even aspects of them that were once signs of toxic parenting are reframed. The glimpse of Shizuka’s nails and the way she interrupts the conversation because she wants to buy make-up bring her mother to mind, but now that she’s close with Marina, they come across as another point of connection between them; after all, Marina was quite the coquettish child back then. There is a recognizable core to the characters, and sadly, still recognizable problems. But Takopi wants us to believe that they’ll be alright, and I want to believe it. I also want to believe that it’s a yuri anime, though thankfully that’s easy because it’s factual.
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