Fairy Ranmaru's a spiritual successor to Boueibu with 10x the confidence. Rather than constantly signaling that it's doing a bit, it's an earnest magical girl show where the cast happens to be lightly dressed dudes. Perfect fit for Masakazu Hishida & his Kinpri/Pretty series pals
Before watching the episode I saw that Tetsuya Ishikawa, an artist with a notoriously bold style who's acting as the action supervisor, was credited for something along the lines of Heavens Space Animation and had no idea what it was
After watching, I still dunno, but it's good
Another neat detail is that the normal and transformed forms don't just have different designers, but also different chief animation directors supervising them across the whole show. Character-specific supervision is unusual in anime but with differences this stark, it's sensible
Also Ryouhei Takeshita's opening sequence is every bit as gaudy and extra as the show deserves to be. Neat ways to present both forms of the main characters and of course I'm going to give a shout out to somewhat integrated credits
Good action relay for the chorus too
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Been seeing praise for the small team on Eupho S3. Usual disclaimer: even with the proven efficacy of this approach, don't reduce anime credits to "lower number = better quality/conditions", they don't tell you everything & often lie. But it's a neat topic
KyoAni episodes across a show are split between key animator units in rotation. They tend to be led by a veteran (Hiroshi Karata in this case, I suspect he animated the fun intro) and have a handful more people, including some of the youngest staff. Presumed unit 1 in green here
For early episodes where things aren't settled in stone yet, or particularly tricky ones, you might see more than one unit credited. They may handle clean-up or entire cuts, involving a whole different unit, available individuals, or ace animators hovering above these norms
Been really looking forward to the Tengoku Daimakyou adaptation - out of excitement due to its interesting high-profile team, but also because I was curious how they'd navigate such a tricky series to adapt. So far, the anime's qualities far outweigh the compromises. Great start!
TDM is a dense series with maniacal foreshadowing, but at the same time a breezy and comfortably paced read. The manga balances the page-turner side with laid-back postapocalyptic adventures very well, and with just 1 cours for this long arc, the anime has to shift the approach
That makes me appreciate the involved series composition over just speeding through the manga as it was. The way they're finding new points to connect the two storylines & coming up with very effective cliffhangers of their own tells me they do get (at least part of) the appeal
Vibrant start to Hirogaru Sky Precure, one of the most energetic intros in the franchise at a time when you can't take that for granted. Wealth of amusing scenarios, witty irreverent script, and a bunch of neat animation that culminates in this cool & loosely expressive setpiece
Brought to mind Ryunosuke Kingetsu's older anime works, when he came up with many off-kilter worlds where surreal nonsense passes as their own normality - hope his wild ideas don't clash too much with Precure's rigid formula. For now they're letting him be a nasty freak, lol
I think the series has the right ingredients for the staff to offer genuinely diverse scenarios weekly, like how Sora is a parkour master so they'd be able to have her solve issues without her Precure powers. Pls let them have fun, o merch overlords
The stunning Yama no Susume Next Summit finale explains the unusual structural choices they made. Early recaps even at the cost of runtime, switching to full eps at the end, all for the sake of the conquest of the mountain Aoi painfully lost to *8 years ago*. Now, sweet revenge
The scenery alone is enough to move you to the core if you've been watching this far - for what it signifies, and because it makes it easier to tell that they put everything they had into this. Their own experiences, their own photos, carefully tweaked to fit YamaSusu's worldview
Yama no Susume (Mama no Susume?) NS #09-B was led by the opening team of Irei Eri direction x Yusei Koumoto supervision. The former's processing is the show at its prettiest & the latter offers the most lavish art, so it's no wonder they got called *2 years later* to make the OP
Hinata's view of Aoi's back as they climb brings to mind all the POV shots in that sequence. Irei's camera's movement emulates the eye so in this case it's got rhythmic swaying, while in the OP there's a wider variety with appropriate tracking, more stationary takes, etc
The most impressive aspect has to be the animation direction. There are many valid approaches to YamaSusu's design work and the show embraces that, but this is the most fully-realized one, obscenely detailed and still not compromising the usual expressiveness. Sasuga Yusei.......
Beautiful sequence regardless, a bit of an alternative retelling of the relationship the episode is all about. The looming Makima eye in their moment of intimacy got me good