Keep Your Hands Off Eizouken!

BrainBlow said:
Saw a link posted in another thread, but apparently the OP is made in flash. Only a bad artist blames the tools.
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This whole anime is basically made in Flash. Yuasa and his Science Saru studio are MASTERs at using flash animation to it's full extent and it's impressive as fuck to me how well their studio is managed production wise. They actually save time on it.
 
Gens said:
This whole anime is basically made in Flash. Yuasa and his Science Saru studio are MASTERs at using flash animation to it's full extent and it's impressive as fuck to me how well their studio is managed production wise. They actually save time on it.
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Something interesting about that: Because of the format flash uses, how it fundamentally works, it means flash animations can pretty much upscale forever.
Avatar the Last Airbender will age poorly from a visual perspective as visual fidelity keeps increasing while the original show is locked in old standards and traditionally animated, but freaking Mucha Lucha can be officially re-released in 64K or whatever and will still look just fine, as Flash animation uses Vectors instead of Rasters. That means if you zoom in on something with rasters it eventually pixelates to its component pixels, but something made with Vectors is smooth no matter how far you zoom.

It's especially noticeable on the internet where Youtube keeps changing Codec in ways that reduce the quality of older videos, literally making them age like some real world painting and eventually possibly making them lost media if the creators don't have the original file, while flash animations look more or less the same as their release date so long as they weren't put through some alternate recording method.
 
BrainBlow said:
Something interesting about that: Because of the format flash uses, how it fundamentally works, it means flash animations can pretty much upscale forever.
Avatar the Last Airbender will age poorly from a visual perspective as visual fidelity keeps increasing while the original show is locked in old standards and traditionally animated, but freaking Mucha Lucha can be officially re-released in 64K or whatever and will still look just fine, as Flash animation uses Vectors instead of Rasters. That means if you zoom in on something with rasters it eventually pixelates to its component pixels, but something made with Vectors is smooth no matter how far you zoom.
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Holy fuck you're right. I technically knew this but never even fucking thought about it...

*sits back and re-thinks everything he's ever known*
 
A quick note about Asakusa in that last episode before the new one rolls in: anyone else notice that little anti-anxiety doll she carried around here?

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I dunno either, man. Just seemed like a cute detail to point out.
 
Akishima said:
Ep. 7-
This episode was a total braingasm for me. I just loved it to pieces. Even the visualizations of the girls thoughts/conversations were totally immersive and on point. The animation is so beautiful. Gods, I love this show so much.
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I definitely enjoyed the focus on Mizusaki this episode. Sure she's a normie compared to the overwhelming authority of Kanamori or the eccentric mental wanderings of Asakusa, but she's got soul. But one of my favorite moments from E7 came from Asakusa's little boat segment, where you could see a large puddle of water under the lock as it took her boat upward. Reminded me of a Bethesda bug, with so much running around that minor details get glossed over and forgotten until they "ruin" the immersion. I like that.

BrainBlow said:
freaking Mucha Lucha can be officially re-released in 64K or whatever and will still look just fine
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Hey hey now, don't be knocking Mucha Lucha. Shit was grande fabuloso c. 200-whenever the fuck it came out.
 
Vuh said:
I definitely enjoyed the focus on Mizusaki this episode. Sure she's a normie compared to the overwhelming authority of Kanamori or the eccentric mental wanderings of Asakusa, but she's got soul. But one of my favorite moments from E7 came from Asakusa's little boat segment, where you could see a large puddle of water under the lock as it took her boat upward. Reminded me of a Bethesda bug, with so much running around that minor details get glossed over and forgotten until they "ruin" the immersion. I like that.
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Mizusaki is probably the one I most relate to honestly. I'm an extremely big stickler for the smallest of details, I kind of have to with my job when I'm running through so many lines of code. It reminds me too, doing background programming where you do a lot of these little optimizations and graphic enhancements that make things run more efficient and smoothly but it's not as if anyone will notice those things you did the extra mile for either when you're playing around with an application. I still love putting in the extra effort anyway and am always curious as fuck about how things work. I'm like a mix between Mizusaki and Kanmori's sterness. They were really flexing the water animation this episode and that's funny to think about, because water is one of the most notoriously hard things to animate.
 
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Gens said:
Mizusaki is probably the one I most relate to honestly. I'm an extremely big stickler for the smallest of details, I kind of have to with my job when I'm running through so many lines of code. It reminds me too, doing background programming where you do a lot of these little optimizations and graphic enhancements that make things run more efficient and smoothly but it's not as if anyone will notice those things you did the extra mile for either when you're playing around with an application. I still love putting in the extra effort anyway and am always curious as fuck about how things work. I'm like a mix between Mizusaki and Kanmori's sterness. They were really flexing the water animation this episode and that's funny to think about, because water is one of the most notoriously hard things to animate.
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This is such a weird anime for me to watch because while I love the entire trio, I definitely empathize most with Mizusaki, then Asakusa, then literally everyone except Kanamori. But according to everyone I've worked with in the military, civil government, and private sector, I'm basically Kanamori. Here I am pleading at my TV for her to remove the stick out of her ass when I have a veritable I-beam up mine. Go figure.

Also I have no fucking clue what's going on in half the episode when it comes to animation-speak. It's like me and my best friend: he's a chemical engineer who's working on his MS in chemical engineering, right? We talk about everything but every time he talks about chemistry I feel like I'm just indulging an over-curious child. That's kinda how I feel watching this anime. Like holy shit I don't know what any of you girls are talking about but I'll take your word for it.
 
Vuh said:
Also I have no fucking clue what's going on in half the episode when it comes to animation-speak. It's like me and my best friend: he's a chemical engineer who's working on his MS in chemical engineering, right? We talk about everything but every time he talks about chemistry I feel like I'm just indulging an over-curious child. That's kinda how I feel watching this anime. Like holy shit I don't know what any of you girls are talking about but I'll take your word for it.
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I think this is probably the biggest weakness of the show from a realistic perspective. Animation is a complicated process- no matter how much of a nerd you are, it seems like doing it on the level that they are would be something you'd have to intern at a studio to do. Also, no matter how much of a mechanical nerd you are, a ton of research and concept design goes into creating mechanical gadgets in anime. That the girls would be able to create them more or less from the top of their heads requires a broad knowledge of a lot of different topics and does stretch credibility a bit. I'm not saying they're not doing their research, but it's not really shown.

I'm really enjoying all the animation-speak regardless. I think the explanations are actually done in such a way that isn't too difficult to envision, but I have read a bit about how anime is made before, so it's not entirely foreign to me.

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Ignoring the click-baity title, this was actually a pretty interesting interview with the other half of the Science Saru duo. I think it's great that it's a woman and Yuasa obviously respects her, and I couldn't help thinking about Kanamori while reading it. Link here.
 
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Vuh said:
This is such a weird anime for me to watch because while I love the entire trio, I definitely empathize most with Mizusaki, then Asakusa, then literally everyone except Kanamori. But according to everyone I've worked with in the military, civil government, and private sector, I'm basically Kanamori. Here I am pleading at my TV for her to remove the stick out of her ass when I have a veritable I-beam up mine. Go figure.

Also I have no fucking clue what's going on in half the episode when it comes to animation-speak. It's like me and my best friend: he's a chemical engineer who's working on his MS in chemical engineering, right? We talk about everything but every time he talks about chemistry I feel like I'm just indulging an over-curious child. That's kinda how I feel watching this anime. Like holy shit I don't know what any of you girls are talking about but I'll take your word for it.
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I wanna have as many weird experiences as you do when I grow up. That's what life is all about. By the way I probably relate the most to Asakusa, then Kanamori and then Mizusaki.

Episode 7:
I really liked the more personal content of this episode. I'm glad we got to see more about Mizusaki's past cause I always felt like she was falling behind a bit compared to the other two in terms of screen time. I liked the way this show turned a hot springs scene into something so trippy, crazy and actually somewhat beneficial to the plot, considering we learned more about the relationships the girls have with their families. I absolutely loved this episode.
 
Akishima said:
I think this is probably the biggest weakness of the show from a realistic perspective. Animation is a complicated process- no matter how much of a nerd you are, it seems like doing it on the level that they are would be something you'd have to intern at a studio to do. Also, no matter how much of a mechanical nerd you are, a ton of research and concept design goes into creating mechanical gadgets in anime. That the girls would be able to create them more or less from the top of their heads requires a broad knowledge of a lot of different topics and does stretch credibility a bit. I'm not saying they're not doing their research, but it's not really shown.
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The show isn't meant to be particularly realistic. It seems to be a simplified allegorical version of the anime industry.

Episode 7:

Weird to see a bathhouse involving females scene that isn't fan service driven.
 
VII - Stand up

those first few minutes were almost as emotional as the first few minutes of UP to me. Is tsubame my new favorite character? Yes. Yes she is.

Something about seeing a child be passionate about something through growing up really gets me. It's something I never had but it's still so nostalgic for some reason. That first sequence was just so awesome.

And that last one? Aw man. "i want to announce to those who can pick up every tiny detail... here i am!"

it's like she's talking directly to me.
My wishes for the show have come true. Wish there was higher than a 10/10 i could give to this shit.
 
Gens said:
Mizusaki is probably the one I most relate to honestly. I'm an extremely big stickler for the smallest of details, I kind of have to with my job when I'm running through so many lines of code. It reminds me too, doing background programming where you do a lot of these little optimizations and graphic enhancements that make things run more efficient and smoothly but it's not as if anyone will notice those things you did the extra mile for either when you're playing around with an application. I still love putting in the extra effort anyway and am always curious as fuck about how things work. I'm like a mix between Mizusaki and Kanmori's sterness. They were really flexing the water animation this episode and that's funny to think about, because water is one of the most notoriously hard things to animate.
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Whereas I definitely relate to Asakusa more, her imaginings and grand ideas that she likes to daydream through, but also the fact that she can think about how things would actually work too, it's like seeing myself at 15 years old.

Episode 7 was fucking great again. I literally have not one single criticism of this show at all.
 
Episode 7.
Mizusaki was the least interesting of the 3 for me before this...now she might have supplanted Tall Girl in my hierarchy.
Like using that eye for movement and whatnot to help her grandma get around better? That is just heartwarming. And my heart is a frozen waste of space, so that should tell you something. That ending spiel was dang near inspiring.

Good stuff.

Also, this.
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Akishima said:
I think this is probably the biggest weakness of the show from a realistic perspective. Animation is a complicated process- no matter how much of a nerd you are, it seems like doing it on the level that they are would be something you'd have to intern at a studio to do.
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It's complicated, but the number of people involved has more to do with speed, not technical ability.
This was made by like five people in their early 20s back in 2009.

Episode 7
Yuasa confirmed adapting Chainsaw Man, apparently.
I do love the near hyper realism in the way social interactions go. It's so nuanced even when someone is presented as being lazy or troublesome. The episode further highlights how a good director isn't just someone with the best ideas, but also the one with the ability to make others comply and synergize with the process you've set up. Same as how a great animator isn't just the one that can make the most technically impressive shot of animation ever made, but the one that can actually make it in a reasonable time frame.
Kanamori is also in a tough spot because she detects when there's goofing around or unneeded perfectionism going on, but she isn't the expert on the subject, and it really vexes her to basically make director decisions, or threatening to do so, to keep the project going on the needed time frame.
Like in that Extra Credits video I linked way back, the producer is not the expert on the stuff in the project, and will never be as close to those other parts of the production as those people directly working on it are. The producer is the one that has to be objective and keep things on track while managing the ambitions of the workers with the budget and time frame of the project. Their love is to see a product actually ship, and to see production running smoothly before that. It is not the product itself, but that requires an enormous amount of self-insight and mental discipline to manage and not become a dictatorial micromanager.
I relate most with Kanamori. I've grown up around and been affected by people whose ambition and enthusiasm outstrips their actual capabilities or cause poor planning, leading to the complete collapse of their ambition with just debt and problems remaining.
Kanamori's annoyed face is like a mirror of my own any time I hear of some ambitious project that's happening real soon or is already underway, but any answers regarding time frame are either wishy-washy or clearly show no room for error happening in the process.
After all, this isn't just in art, it's very much a thing in many other businesses as well, be it a construction company or a restaurant.

At the same time I love that Kanamori isn't actually defined by greed, which would be an easy box the writer could have put her in, which would have cheapened the conveyance of the conflicts she deals with. In many ways she's actually the most ambitious and passionate out of the three of them.
 
BrainBlow said:
It's complicated, but the number of people involved has more to do with speed, not technical ability.
This was made by like five people in their early 20s back in 2009.
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I also thought of Makoto Shinkai, who animated both the original She and Her Cat and Voices of a Distant Star, by himself. Also, as ZK aptly pointed out, Eizoken is showing the creative process of making anime- despite its groundedness in the tiny details of daily life, it's not meant to be taken literally. But, given how talented and driven the characters are, it's probably still believable that they could pull something like this off. I just thought all the hand-drawn stuff would be pretty difficult for this few people- but Kanamori pointed that out, and then they switch to digital, so it's even recognized in-universe.
 
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