Thread by @Yuyucow

Most episodes of Wonder Egg Priority have been fantastic showings by complete novice directors, so what is it about the show that lets it channel fresh creative energy so well? And at the same time, what are the logistical&thematic issues it faces?
Read🥚➡️blog.sakugabooru.com/2021/02/27/won…

To celebrate Kizumonogatari's 5th anniversary we'll also be publishing weekly interviews with its staff: first, a conversation with lead animators & directors about its creation and what it's like to work under an eccentric genius like Tatsuya Oishi
Read➡️blog.sakugabooru.com/2021/02/27/kiz…

Next time you see someone asking why Kizu took so long to get finished, just tell them that Oishi spent all those years decking Madoka's director. It's only a slight lie

(They all greatly enjoyed working with him for the record)

Our next Kizumonogatari staff interview tl is VFX supervisor Michiya Kato's in-depth chronicle about its production: the deliberate aesthetic mismatch yet tremendously cohesive creative approach, and the nearly impossible amount of work behind it
Read✨➡️ blog.sakugabooru.com/2021/03/08/kiz…

If you want to know more about Kato, I wrote about his overlooked contributions alongside unique directors like Kizu's Oishi and Satoshi Kon, as well as all the other charming work he's done with studio Cyclone Graphics blog.sakugabooru.com/2019/10/24/ani…

And again: the more you find out about Kizumonogatari's production, the more you realize that the remarkable part is not how long it took, but rather that they managed to fool enough people to fund it & then didn't die in the process

The Kizumonogatari interviews continue with CG Director Shinya Takano, talking about the extremely ambitious approach that grew bigger than studio SHAFT alone could handle, as well as the deliberate contrast between organic & inorganic animation
Read✨➡️ blog.sakugabooru.com/2021/03/15/kiz…

Kizu uses global illumination rendering for visual cohesion, but its aesthetic is built on a fundamental clash between the characters and the world they inhabit that mirrors its themes. Oishi made that distinction very clear to the team, even though it led to way more work

This week's Kizumonogatari translation is a collection of commentaries by the animators who handled the most iconic scenes, talking about their feelings & goals, as well as the techniques employed. This is how the most stunning moments came to be!
Read✨➡️blog.sakugabooru.com/2021/03/23/kiz…

Oishi is an exceptional director at modulating reality, so in the same breath where he'll tell animators to transcend the realism of rotoscoping or research authentic dispersion of raindrops, he'll turn around to others to conform to the emotional reality of the shot instead

The final translation to celebrate Kizumonogatari's 5th anniversary is with director Tatsuya Oishi himself: his feelings after wrapping up a monumental production, the reasoning behind his visionary direction, and even themes you might've missed.
Read✨➡️ blog.sakugabooru.com/2021/03/31/kiz…

Many works over the last decade have been shaped by the 3.11 earthquake, but Oishi extended it to the sorry state of the world that youngsters have inherited. Turning imagery of past economic prosperity into very somber icons, and tying it back to his own artistic influences