Anime + Manga l 2024

By DY_nasty Go To Post

https://youtube.com/shorts/0MIgXzJUxdI?si=mkearCzPdEucJmJf

Happier times

By Call Sign: Apollo Go To PostWhy do you guys read something you don’t even like anymore?

By Call Sign: Apollo Go To PostWhy do you guys read something you don’t even like anymore?

By Call Sign: Apollo Go To PostWhy do you guys read something you don’t even like anymore?

By EldritchTrapStar Go To PostJJK anime:

I don't remember if it was done this way in the manga. If not, LMAO @ Mappa. If it was LOL @ Gege.

Gojo: The situation is really bad. Things are not looking good all around.
*Cut to Nobara**Cut to Megumi*

By domino Go To Postyeah it was like that in the manga. Gege the original terrorist

By s y Go To Post1st 4 episodes of Frieren are live(2 hr premiere)

By Lunatic Go To PostDid you manage to read the manga? Hope the anime has the same kind of chill vibe like Mushishi

By Kibner Go To Post

https://x.com/OhMyMithrandir/status/1707949114468585887?s=20

By s y Go To Post

https://youtu.be/xS6F81CV6Sw

By Call Sign: Apollo Go To PostFr has this been good?

He first pointed at the continuous mentorship of younger artists, the act of passing down techniques from generation to generation, as the main reason behind the studio’s consistently high-quality work. Technological disruptions can help us bypass challenges that once demanded the application of those carefully fostered techniques, but in his experience, that is a double-edged sword. To illustrate it, he brought up the depiction of one of his hobbies: train animation. Once upon a time, they were all drawn traditionally, but with the adoption of CGi people embraced that less cumbersome alternative… until virtually no one was able to draw them by hand anymore. Ishihara’s fear is to live in a world where increasingly fewer things can be expressed—not just by hand, but altogether in a way, because the choice of material is an important factor in what your work evokes.

It’s worth noting that Ishihara is no Luddite, as someone who has made an art out of the emulation of real photographic lenses in digital animation. What he is expressing worry for here, though, is the dangerous partnership between convenient technological advances—whether those are genuinely positive or not in their own right—and the failure to continue passing down anime’s accumulated knowledge and traditional techniques. And he’s saying this at a time when the industry’s systems of training have completely collapsed, with the mechanical canaries in the robot mines long dead, and with plenty of other industry members already complaining about having to face the consequences of that loss of institutional knowledge.

Although the discourse often approaches webgen animation like an artistic movement and its distinct digital stylizations, its relationship with working practices is the one baked into the term itself—it refers to artists scouted across the web rather than traditionally hired and trained, after all.

That process started with visionaries like the late Osamu Kobayashi cherrypicking young talent from different scenes, and very importantly, ensuring those were then guided by excellent veterans with sturdy fundamentals. After several webgen waves led by people who are now industry titans in their own right, that process has deteriorated so much that you can no longer consider it a distinct movement. Skipping all the introductory phases to work as a key animator or layout artist is no longer an exception supervised by veterans who will follow up with proper guidance, but rather an extremely common occurrence hastily brought by desperation at studios. And for every case where it works out well, many more lead to problems for all parties.

In an environment where meaningful training can’t be taken for granted even for artists joining studios through traditional paths—due to a lack of time, willingness, and simple respect for those supposedly lower-ranking jobs—newcomers scouted online must figure out nearly everything on their own, rely on small online communities with people who’ve suffered through the same paths, or simply fail. If that prospect wasn’t too much on its own, you can add the fact that a whole lot of people in that situation are also very young overseas artists, struggling with language barriers and physical distance on top of it. And to make things even worse, the consequences of those struggles extend to already overworked veteran enshutsu and animation directors, who are the main reason seasonal anime barely manages to air week to week.

To better understand the situation, both the gravity and how widespread the impact of this negative synergy is, it’s worth going through more specific examples. We started the piece with Ishihara lamenting the loss of hand-drawn trains, but when it comes to technological advances eroding anime’s traditional expression, that relates to a historically controversial change: the gradual disappearance of mechanical 2D animation. Specialized animation is by definition more susceptible to fade away from that pool of shared knowledge, and given its massive decline, few cases have been felt as strongly as this one. Although there are clearly other factors at play here, like mecha anime becoming less prevalent for starters, it’s once again that combination of lacking mentorship and a convenient alternative that has led to a loss of traditional technique.

As Gundam’s series producer Naohiro Ogata has noted multiple times, especially when he has to justify his studio’s decision to opt for 3D mechs, it’s a shortage of trained in-betweeners that gets in the way of more traditional robot productions. While enough specialized veterans have stuck around and could be in leading roles, all these years opting for the less cumbersome—which doesn’t necessarily mean cheaper, easy, or even bad—CG alternative means that it has become near-impossible to build an entire team to support such a production.

While this is the most notable case, there are other types of specialized animation that are being genuinely lost to a more manageable alternative; one that again evokes different feelings, and given the dodgy nature of your average 3D cut in anime, realistically isn’t great for starters. If you watched the anime industry-themed hit Shirobako nearly a decade ago, you might recall that an arc revolved around the necessity to seek a great veteran animator to draw horses by hand. That conflict alluded to the increasing inability to animate animals and other creatures in traditional fashion, for very similar reasons as the whole mecha kerfuffle. By not passing down these specific skills to younger generations, means of expression are already being lost, as veterans like Ishihara worry about.

By Kibner Go To PostI do appreciate those industry writeups, Sy.

By joefu Go To PostFreiren was amazing. Knew nothing about it before watching. Excited for the rest of it

By s y Go To PostDaniel Kim's key animation during the A part of JJK S2E9 was great. Really like his drawings(and Souta Yamazaki's corrections). He draws the characters with great volume and weight.
Wanted to post the genga so you can really appreciate the draftsmanship. Jogo's mouth has never looked more like an actual mouth. The teeth drawings make me so envious.

By s y Go To PostSorry Frieren, forgot PLUTO drops this month

https://www.youtube.com/watch?v=9ez8lm9I26Y&pp=ygUFUExVVE8%3D

By s y Go To PostSpy X Family Season 2 OP. Directed by Masaaki Yuasa( Devilman Crybaby, Eizouken, Ping Pong, he's a legend etc)
Invalid Video URL