Thread by @SakugaRelux

Jujutsu Kaisen S2 #05

A heavy arc conclusion brings arguably the series' strongest-ever showing from a production standpoint, and at the source stands a pair of staggeringly skilled animation directors. Let's break down how their efforts and others shape this all-timer.

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The anime industry has undergone rapid and dramatic change throughout the past few years, about which one could easily write many thousands of words. What concerns us here is how that change has impacted the role of the animation director, essentially transforming its definition.

In simplified terms, animation directors check every cut of an episode or assigned section and apply corrections when necessary to keep things consistent with the model sheets or up to a certain standard. 1-2 ADs per episode was the norm in the past, and still is for long-

-running series such as One Piece. However, as times have changed, the majority of productions will now throw however many ADs are required to keep things looking inoffensive. This is a nuanced topic worth a thread of its own, but the point here is that Mappa projects rarely-

-include AD-driven episodes, as most of their output requires too many animation directors for the work of individual ADs to be easily discernable. A good example would be Hironori Tanaka's CSM episodes. His first, #03, is completely filled with his artwork.

As 1 of 3 ADs, he had time to correct and even redraw large chunks, allowing his style to characterize the full experience. His 2nd episode, #09, dealt with a much tighter schedule. He wasn't able to direct and was 1 of 7 ADs, making his corrections sparse in comparison.

Although we remain early in the season, JJK S2 has thus far conformed to the usual Mappa strategy of several ADs, chief ADs, and assistant ADs per episode. This has been largely successful in maintaining a consistent look, but episode 5 proves just how big of an impact the-

-AD role can have when talented individuals are given ample time and freedom to apply their skills across the board. The influence of Takuya Niinuma and Souta Yamazaki's animation direction is just as prominent as Gosso's storyboard in aiding visual storytelling.

Both Niinuma and Yamazaki are relatively new to the industry and have been turning heads for the past few years. This is only Niinuma's 2nd stab at animation direction, his 1st being in Gosso's CSM #08. Beyond that, he has thoroughly proved himself as an animator.

It's not uncommon for his work to be mistaken for CGI, which is often the mark of an especially talented artist. His output has generated minor controversy in the past as it differs dramatically from the norm. In a way, he's so good that it actually becomes jarring in some cases.

While Yamazaki's presence in the industry is even more recent, he was employed for both AD and CAD work on CSM and became a critical member of that team. One of his earliest contributions as a key animator actually comes from Gosso's JJK S1 #17, so we've come full circle.

Similarly instrumental in this episode's quality is Gosso himself handling the storyboard. It's fitting that, as the series director, he'd take charge of the final episode of the arc. However, as his time is limited due to his role in the overall production, he passed episode-

-director duties to Atsushi Nakagawa. Gosso likely first encountered Nakagawa while working on Ousama Ranking, after which they would help out as assistant ED for the JJK S2 premiere, and eventually direct this one. Needless to say, they did a solid job of processing the board.

Niinuma and Yamazaki happen to be credited as assistant directors themselves, which I presume is due to a heightened level of communication with the key animators working under them and increased freedom in how their own work is handled. That's only my guess, though.

From the start of the episode, it's clear that we're in for something different. Feature placement in anime designs tends to be flexible, but Niinuma has taken extra care to keep it realistic based on the angle of Shoko's face. Realistic enough that some viewers are thrown off.

Even just this opening conversation is filled with things to unpack. Attention to detail in both the artwork and movement is at an extremely high level. The folds in Gojo's shirt react appropriately when he raises his arm, while his body weight visually shifts in a natural way.

Gosso's framing is, as always, varied and engaging, even directly setting up the duality that will be further developed throughout the episode. The high and wide angles that tend to characterize his boards are plentiful alongside some notably creative shots.

Potentially the handiwork of Daniel Kim, this cut is one of the most impressive (and unnecessary) pieces of hand animation I've seen in a while. Mixing in the red and blue hand signals with their respective colors of cursed energy adds to the readability of the exposition.

As Geto recites his monologue from the premiere we're placed directly in his headspace. He stands next to ordinary commuting civilians while he reflects on why he does what he does. Silent flashes of the Riko incident bring him to question whether those civilians are worth it.

The shower sound devolves into that same traumatic clapping, increasing steadily in volume until it suddenly ceases when Geto taps into that non-sorcerer-hating mindset. Sound design is telling a story of its own here alongside some of Niinuma's greatest drawings.

Once again I'm amazed by how well this season can transition from comedically simplistic (yet well-drawn) artwork to intricately detailed renditions while maintaining a consistent tone. We learn about Yuki's light nature, but it doesn't detract from Geto's ongoing struggle.

A conversation with this much exposition and back-and-forth can be difficult to navigate as a storyboard artist as it's tough to keep the viewer engaged. Top-tier artwork, cutaways, creatively implemented flashbacks, and even a change in weather help to solve this problem.

The clapping returns as Geto runs through the same debate in his head once again, fading only when Yuki begins to provide the clarity he has been seeking. Afterward, it's no coincidence that she points at Jujutsu High's exit sign when referring to the option Geto later chooses.

Sounding as abrupt and violent as Haibara's demise seemingly was, a thrown stool shocks us and Geto back into the reality of the 'profession.' This cut of Nanami is one of the best in the episode, between his believably exhausted pose and Niinuma's usual absurd fabric detail.

Geto's breaking point is signaled via the loss of a candle and the corresponding loss of a shadow, leaving only 1 of each behind and indicating that his path has been definitively chosen. Not necessarily subtle, but clever visual storytelling regardless.

Non-sorcerer faces are never in full view, their voices being drowned out. At this point, Geto has lost sight of their humanity. A show of cruelty finally drew the line between who he considers to be of value and who he does not. More amazing artwork and framing.

Hisashi Mori (who also appeared in Gosso's CSM ep) produced a bone-chilling sequence. Quick cuts and a panning BG leave a lot to the imagination, but the screaming provides a clear enough picture of what took place. Very nice post-processing around here as well.

Niinuma's half ends there, but Yamazaki continues to deliver on a similarly high level. Some lip-sync is utilized for Gojo's line, which is a good way of adding extra weight to an emotional bit of dialogue. Dramatic head movement contributes further to that effect.

Yamazaki's crowds differ from most of Niinuma's in that the mob characters are largely shadowless, which plays an important role here. Our key characters will inherently stand out from the crowd if they're drawn with a completely different philosophy, making for striking shots.

There has been some discussion as to whether this soundtrack choice works for Gojo and Geto's confrontation, which steps away from the expected solemn tone. To me, it works with the quick car/truck transitions in framing the conversation like a heated debate and as a moment of-

-triumph and clarity for Geto, who has finally found what he wants to do.
Maybe a random choice, but this Gojo is probably my favorite drawing in an episode filled with incredible drawings. It's not highly detailed, but the pose and weight distribution feel absolutely perfect.

It's followed by my favorite sequence of the episode, which is also the peak of Yamazaki's work here (and maybe his career). Just about every aspect of the audiovisual experience is working as well as it possibly could during this scene. I've watched it at least 700 times.

Gojo's meeting with Megumi is a visual feast as well but frankly, I'm running out of ways to praise artwork and framing. If nothing else, it allows for a clear look at the difference in aesthetic approach between seasons.

Another powerful soundtrack manages to make a return to the present feel more nostalgic than the past. Our first look at the usual crew confirms they too received the glow-up provided by Sayaka Koiso's new character designs. Megumi in particular is looking better than ever.

This is the type of episode that might be better covered with an in-depth video analysis than a thread, but I'm not equipped for that yet. In any case, there was a lot to break down and I could easily have kept going. It's hard to not get carried away with something this good.

The chances of another episode with this level of polish and AD flex in S2 are very low due to the dangerously tight schedule, but hopefully, Niinuma and Yamazaki will continue to help out to whatever degree possible. This month break would be better as a 3 or 6-month break, but-

-either way, it's going to be important in preventing this season from imploding completely.
I apologize for being pretty late with this one, got a lot going on and I almost feel bad for not going even more in-depth. Maybe one day I'll drop the director's cut of this thread.