I’m on mobile so this will be a trip but I believe I’ve already lost my mind and now all my followers gotta suffer through it as I take what knowledge I DO have about animation and talk out of my ass for a bit. As quite a few of my followers are well aware, I have been watching Dragon Ball Z as per re-watching my favorite series for the hell of it with my sister @redasuki My followers will also know that I am currently in the Namek Saga. This saga has been so great for my animation heart. Thanks to everyone talking down on Dragon Ball’s animation I have been focusing SUPER HARD on it all so every moment that’s off makes me cringe while every moment like the gif (or gifs we’ll see what happens on the app) I put below my no-doubt-gonna-be-a wall of text makes me squee in happiness. I’m going into animation for a reason guys. Shit that’s by no means impressive by professional standards always gets me so excited. I love looking at quality animation. There’s a feeling to it I can’t quite describe. It’s better than what I feel when I sing a song I’m confident in and the more I learn about the art, the more I train my eyes to catch inbetweens while looking at full motions, the more I love to stare and the stronger that feeling becomes. This scene is an example. It’s just standard quality stuff. In a perfect world everything would always look this good at least. What’s different about this scene from 82% of Dragon Ball Super is that the entire character moves. What gets me going in my re-watching is when the entire character moves because by the 90/80’s standard of Anime, you don’t see that a lot. The folds of Bulma’s clothes are moving very naturally. That shit is so hard for me to do. I can’t keep track of stripes, folds, any sorts of line like that and I have Adobe Animate with the onion skin tool! These guys had light-boxes how the holy hell did you guys manage to not lose track of the letters on Krillin’s hat? They all move the way they should with the hat. That’s impressive to me. Same with the lines in Bulma’s hair. Let’s talk about Bulma’s hair. As she hits Krillin some of it moves after her. That’s animation. Part of animating is knowing what moves with your main subject and moves after. Nothing here settles which would’ve made the motion all the better but I have a soft spot in my heart for settling. It’s not a necessity when your motion goes by so quickly. Then there’s the slap. The key focus. The motion that leads you across and into the center square of your scene while not keeping you there for so long that it begins to feel unnatural. Storyboarding 101, Y'all, divide your scene into 9 equal squares, recognize that the center square is where the audiences focus will be but do not place characters directly in the center of your center square for more than a moment or two at a time. Even if this gif were 4:3, Krillin’s head after the slap would still be center. It is center because everything in this composition points you there. It is the most important part of the sequence. Krillin’s head after getting slapped. The contact of the slap itself is important of course, but not as important as the reaction. Comedy isn’t about pain. It’s about the reaction to pain. (This is a comedic scene, remember that). Of course before and after, Krillin is slightly off center. Where he should be. For the record, I love how well drawn the fact that the hat was resting on Krillin’s ear before the slap is. That must’ve been a really hard hit. Okay now the real number 1 thing that makes me go “basic shit that Super SHOULD and IS NOT doing 101” In DBS, after the slap, they would’ve animated the scene how I animate. Everything frozen aside from the mouth, the eyes and the hand that gives the peace sign. But this sequence is better than that. This sequence shows how Krillin’s entire body reacts to movement in a natural way. Krillin was tense from the slap. His shoulders were up. But he relaxes and so his right arm falls slightly. Not by a jerky movement of two frames, but by taking just as long as everything else, showing how slow the motion goes. When Krillin grins, you can see how his entire face moves. How the muscles connected to his smile react ever so slightly. I could go on but I have rambled for long enough. I could do this with a ton of scenes. You guys should watch Crowne Prince’s YouTube show “Scribble Kibble”. She’s a more talented and much more learned animator than myself. My university dropped my major two and a half years in so 70% of my knowledge is self-taught with tons and tons and tons of books. I dare anyone to give me a scene like this in Super for me to ramble about all the things that make it great. Find me a scene in the black arc that wasn’t a fight that gives me the same feeling that this scene gives me. I didn’t even talk about the end of Bulma’s shirt/dress and how it moves, or her headband, or how they all stayed on model, or the actual slap itself. Give me a relaxed, pretty average scene from Dragon Ball Super’s Black arc that I can gush like this about. You can’t, and if you can, it’s probably one or two and surrounded by red flags of “don’t be DBS future animators. They used a single picture and tweeted it to signify running while expecting the audience to feel the weight of the character through magic”.
Yeah exactly! Elena wanting to get the "old her" back should've lasted a few episodes after the 4x06 break up and then she could've been like "Stefan... stop. There's no point, this is who I am now" then she could go do whatever the hell she wanted like go have sex with Damon but it was legit the very next day?? Her brain was so messed up during season 4.. and it almost makes me sad for her character, I wish the writers would've focused more on her confusion that would result from a sire bond