bad quality but animation so good

So I just saw the Castlevania animated series on Netflix.

I’ve never played any of the games but I did know someone who was obsessed with the artwork of Ayami Kojima, who’s the games’ concept artist. Therefore, my knowledge prior to watching the series can be distilled down to:

a. Alucard wants Dracula, his father, dead for various reasons, but mostly because Dracula is Evil.

b. There’s a family surnamed Belmont in this series and they help Alucard out.


c. Everyone is blindingly pretty unless they’re monsters (excepting Dracula because you can’t share genetics with someone who looks like Alucard and not be gorgeous yourself).

So when I saw the Castlevania animated series pop up on my Netflix queue one fine night, I decided to give it a shot. And you know what?

I like it. The animation quality’s very good, and the voice work isn’t half bad (there’s some over-acting in some places that made me cringe a wee bit, but that’s probably just me). What I find especially impressive is they managed to get Richard Armitage AND Graham McTavish to do voice work. I mean, I know they’re not Marvel-famous or anything but they’re not small-time talents either, so kudos to the casting team for getting them to sign up.

Kudos also to the writing team, because they’ve created a damn fine script, with great dramatic highlights and enough humorous lines and moments to keep things interesting.

The only problem I have with this is that it’s so. Damn. Short. Like: seriously, four episodes only? Netflix, c’mon: this isn’t like you. Either you follow up with four more episodes in three months’ time (which would be appropriate, since it’d be October, which means Halloween), or give me a full ten-episode thing so I don’t feel so shortchanged and can do a halfway-decent bingewatch session.

And one more thing:

I would bang Trevor Belmont like a screen door in a hurricane - but only after he took a bath first. A long one. In hot water. With plenty of soap. And maybe a tick-and-lice treatment, just to be sure. But yeah: would otherwise definitely bang Trevor Belmont. 


Seto Kaiba may have had some of the worst animation quality- but

…he has also had some of the best~

A few more since someone said since those were all from the movie //which I already knew and said so in the tags // SO here’s a few from DM as well~
PLUS my Kaiba post from a couple years ago – (x)

anonymous asked:

Is welcome to nhk an anime? Is it a good anime?

Is not only an anime, is one of the best animes created ever imo. 

We’re talking about an anime that touches on issues such as depression, desolation, relationships, love, disappointment, dependency, anxiety and even existentialism. It’s a black comedy, so sometimes it gets very depressing from time to time, and even if you don’t trust me, it’s also a drama.

One of the strongest points of this anime, of course, are the characters. All are either (1) Very funny and charismatic. Or (2) Very interesting. OR (3) Both things at the same time. We talk about characters suffering from severe cases of anxiety and paranoia, how to deal with these issues may surprise us coming from a comedy with sexual references but done in a way that isn’t superficial, making much emphasis on them and deepening each time the anime can do it

Sound smart? Well, the truth is that is not. The first episodes are full of humor and sexual references, and at first glance the characters look like your typical Japanese stereotypes reused to exhaustion, but don’t make the tone of the anime fool you, I can assure you that every subject raised in this is done in a very mature way.

What I liked the most is how the scriptwriter managed to make all the issues end up important for me. In addition he knew how to delve into each of the characters, what they like, dislike, their way of seeing life and sometimes their questionable behavior in front of some occasions. 

It’s a great balance between story and characters. It’s because for these characters and their charisma that it’s worthwhile to follow these issues that could be uncomfortable to watch, although it’s true that many times they can be quite exaggerated, I love how realistic the characters and their actions are.

They show you the otakus as they are.

It doesn’t insult them or degrade them in any way and in fact it’s quite positive with them, plus it shows you that even the worst being on earth is capable of doing something that everyone appreciates without cheap speeches, without stupid solutions or miracles.

Being the only bad thing about this anime, the animation. Because regardless if you have problems with it or not, it tends to lower the quality in a rather bad way in certain episodes, the movement looks awkward and the drawing loses all kinds of detail. And that’s basically the only bad thing this anime have, because in everything else it’s certainly perfect.

It’s an almost perfect anime but outside for the small detail of the animation. Graceful, depressing and even touching in the least expected moments.

Besides that it has the best anime ending ever, and if you don’t think so it’s because you’re simply being harmed by the work of a great conspiracy. ;^)


I’ve been asked several times what I think about The Lion Guard. I have to admit that I got curious and, despite my old-ass age and despite it being a cartoon airing on Disney Junior, I watched the whole season. My opinions are a bit conflicting, so it’s better if I explain myself in terms of pros and cons.

Pros: first of all, I loved the design. All of it. Characters and sceneries. Ah, the good old 1990s 2D animation! Of course, the quality doesn’t reach that of the original movie, but nonetheless the background paintings and character design were great – we know, after all, that when it comes to character design Disney is the best. The voice acting was great, too! Then, what a lovely bunch of bad guys! I liked how Janja wears his spiky mane backwards like a true gangster, I liked how Cheezi bears an amazing resemblance to Ed, I liked the jackal couple, the cunning committee of vultures… And, not surprisingly, the villains songs are the best. And then, Jasiri! I think she’s the best character in the show so far. Her design is beautiful, her tough and mocking attitude balanced by her good heart make her downright adorable, and the message she carries (Sisi Ni Sawa) is one of the most important things to preach to children. Also, I thought that making up the Guard with different animals was not a bad idea in this sense. Another thing I appreciated was the accuracy as far as the animals’ behavior is concerned (the aardwolves being shy and nocturnal termite-eaters, the honey badger being a little pest and his immunity to snake venom, the zebras being the predators’ favorite dish, the cheetah’s strong sense of independence, etc.), and the fairly more significant presence of other species than what was shown in The Lion King movies and in the Timon & Pumbaa TV show: I found all this potentially edifying for kids, and I hope the producers and writers will continue on this line. Last but not least, I loved the usage of that awesome language that is Swahili: maybe the catchphrases were a bit too much repetitive, but surely the choice of names was damn clever.

Cons: “After all, hyenas are scavengers…” Again. We know it’s not always true; actually, accredited research has shown that this behavior is most of the time attributable to lions. Speaking of hyenas and their enduring bad image in the human mind, it’s shocking how this cartoon criminalizes this species. Okay, it’s a cartoon and bad guys are needed and who better than hyenas, jackals, and vultures if the protagonist is a lion? I get that. But the blind, senseless racism against these species, no. That, I don’t like. Despite the sporadic positive messages like Jasiri’s, the selective racism – or classism is predominant and it is also expressed in the settings: the sunny, luxuriant Pridelands versus the barren, dark, creepy Outlands; the beauty and wealth are reserved to ‘good’ animals, while the ‘bad’ ones (the POOR, the STARVING) are exiled in the ghetto without any clear reason. The song from the pilot, “Tonight We Strike!”, is about a fair rebellion of the outcasts against the privileged Pridelanders, yet it is represented as a vicious, despicable act, without specifying the fact that who is excluded from the sharing creates chaos as a natural reaction. In the same way, that ridiculous Kupatana thing was nothing else than a pathetic, fake pietism towards the outcasts. This leads me to the question of the Circle of Life, which is rightly depicted as the natural balance for survival and preservation of life; but the Guard also has a fanatical attitude towards it, as if it were a goddamn Reich! Like, “You, filthy hyena, you’re ugly and evil, no I don’t care that you have to eat and survive as well, you don’t respect the Circle of Life so you’re out!”, and “You, beautiful zebra, you’re every carnivore’s yummiest dream, I can save you from the hyenas and you can live in the Pridelands, and no don’t worry about me getting hungry and chewing up your stripy ass, it’s the Circle of Life!” To quote Fuli, see what I mean? I know, I’m almost 30, I have an education that has given me the skills to read between the lines, and all this may sound like a bunch of philosophical details kids will never catch. Maybe. But some of these ideas should be rethought, because kids do acknowledge the message, at least subconsciously! Never underestimate the kids’ powers of reception, guys. They notice everything. Their little minds are huge containers and their memory is fresh and amazing. We don’t want wrong stuff to get to them, do we?

That would be all. This is not the first time Disney subtly expresses such ideologies, after all. Anyway, as a cartoon freak and artist, I’ll gladly watch the next season. I think I’ll watch cartoons as long as I’m alive.

Heyoo so as I’ve done before, heres the list of summer anime I will be following. Plus a short commentary on each.

(bc I am and always will be a fate/ho. Also, Joan of Arc)

Originally posted by wakata

Welcome to the Ballroom
(BIG neck. Fluid animation. Nice artstyle. REALLY awesome OP!!! ((same artists as the Kekkai Sensen ED))

Originally posted by noisylovepatrol

Made in Abyss
(May just prove to have the most potential out of all new shows this season. Also has a super cute style)

Originally posted by suitegigax

(Guilty pleasure show. A lot of fanservice. Interesting female characters I guess. Idk it just really drew me in, even tho the fanservice is really annoying. Good op)

Originally posted by ufotable

Kappeki Danshi Aoyama kun
(Really funny show. This kid is #relatable. Ima be projecting on him so hard)

Originally posted by natsv

Tsurezure Children 
(Mega cute and super funny. I highly recommend checking it out. Plus its short)

Originally posted by sugoihentai

Fastest Finger First
(Sports anime but not bc everyone is just a giant nerd)

Originally posted by ufotable

Katsugeki Touken Ranbu
(Probably will be bad. But I’m a sucker for that type-moon animation quality)

Originally posted by sarukui

Plus rollover from last season

My Hero Academia S2
(Love these babes to death. Will probably be the death of me actually)

Originally posted by lawlu

Shingeki Bahamut S2:Virgin Soul
(Not as good as season 1. But still absolutely worth watching. Plz watch season 1 actually. Its so good, fantastic animation/artstyle, charming protag. And theres dragon girls!! And demon/god wars and stuff. And also has Joan of Arc lol.)

Originally posted by eevaleev

(*is not over naruto phase lmao*)

Originally posted by zamasu

Rin-ne S3
(I mean its by Rumiko Takahashi. What else is there to say)

Originally posted by fantamix

pineapplebank  asked:

How bad is Filmation back in the 80's? Like I used to remember hear cartoonist like John K, Sam Simon, Paul Dini and Eddie Fitzgerald said that Filmation is the worst animation studio of all time. Like I know the shows bad but why?

TL;DR version: everything about FILMATION was CHEAP

  • animation
  • storytelling
  • editing
  • production

It was so cheap it took over and forced everybody else down for a very, very long time.

Let me back up a sec, growing up I didn’t have a lot of cartoons, what I got was either old crap from the 60s/70s or 80s toy cartoons. Now don’t get me wrong, I have a lot of affection for old crap because it was my childhood, watching G.I. Joe, Transformers, He-Man, SuperFriends and Scooby Doo is built into my being, I have a soft spot for the fucking WONDER TWINS so like, I get that a lot of people outright love these old shows. But time marched on and good cartoons were just on the horizon and they changed our perception of what cartoons could be on TV forever…

Originally posted by nothingislinear

That’s not to say my childhood wasn’t devoid of good cartoons; Yogi Bear, Rocky & Bullwinkle, The Flintstones and Jetsons all 1960s vintage, but otherwise there was just so much crap SO MUCH CRAP being pumped out to fill Saturday morning advertising spots and I just can’t forgive abhorrent turds like Gilligan’s Planet, not now, not ever

So what made FILMATION suck? It was CHEAP with a capital ¢

Limited animation, boring interchangeable stories, lazy, lazy editing. Even as a kid you knew you were watching 2nd rate crapola but it was either that or the Farm Report so you watched it anyway (any port in a storm right?) You can always tell a FILMATION cartoon because not only is the animation limited BUT that animation going to be shown again and again and again and again (and again). Sometimes even in reverse. Star Trek was at least blessed with some decent writing to distract you from the crumby everything-else (thank you DC Fontana) but it was virtually a slide show. When a show has less animation per episode than Rocket Robin Hood or Spider-Man ‘67 my face kind of scrunches up in amazement that we ate it up like we did (but then again there weren’t as many controls regarding sugar to food value ratios in breakfast cereals back in those days, so maybe my sugar fits added frames of animation where there were none)

Originally posted by welele

Most shows only assembled mouth animation for each episode and if you were lucky the eyes, otherwise everything else was recycled. All the shows were written first and then animated after with these interchangeable factory parts. Even Synchro Vox stuff like Space Angel and Clutch Cargo had new art from time to time but with Fat Albert you saw one episode you saw them all blah-blah-blah all talk, no moving around. You might as well dust off your storybook 45″ and listen to that, at least there’d be voice acting in those

Originally posted by napsmear

What sometimes confused me though was after they escaped the 70s they got ambitious in the 80s with stuff like He-Man and She-Ra (and maybe BraveStarr much later as they fought to survive actual cartoons) the problem with it was you’ve got some realistic bodies to animate with complex shapes and a company that is notorious for moving characters the least amount possible; the result was twitchy and weird and recycled beyond belief. SIDE NOTE: I challenge anybody not on the 80s nostalgia wagon to marathon She-Ra episodes and not fall asleep, watch 10 episodes in a row and then tell me what each one was about. People take it for granted these days that even with serial cartoons like Steven Universe each episode gives you something, whether its story or some new character detail or just something really fun happenin’ (Star vs The Forces of Evil) cartoons of yore were made like sausage links on an assembly line. If I wasn’t a horny little kid there’d be no reason AT ALL to watch garbage like The Archies or She-Ra

Anyway, sometimes you can’t see how big a circus is until you escape it and look back at the size of the tent. In the late 80s something started happening to cartoons, they were getting better, more interesting, more … animated. There are a lot of theories as to why this was. Some people claimed ownership over the movement that happened, I just think it was the zeitgeist at the time, Disney wasn’t the king of animation anymore and that meant there was a gap to fill and more stuff going on at the theatre where REAL money was being made with things like Heavy Metal and The Secret of NiMH, home grown animators were giving a shit about what they made. Then on TV when old timey cartoons with more than 24 frames of animation per second were shown to us by the geniuses at Pee Wee’s Playhouse we got woke real quick, most people hadn’t seen that stuff in decades. And then surprise! Roughly the same time that was happening The New Adventures of Mighty Mouse came about, and man, what a cartoon! That was the first cartoon I remember my parents watching with us kids. It was funny and interesting and WEIRD. It was also animated differently from other shows. It wasn’t as janky as He-Man and yet it wasn’t as somehow as slick-yet-boring as 80s Hanna-Barbara, it was fluid and interesting and weird and funny….

…and then it got yanked off the air because the 80s was a strange, strange time and place BUT the fire was lit and so many other more zany cartoons came out shortly after, Tiny Toons is pretty dated now but back then it was like WHAT! they can do that on TELEVISION? It was animated fairly well and it was funny and it wasn’t that episode of The Flintsones or Looney Tunes you’d seen for the billionth time it was fresh and interesting.

Disney started making a comeback as well what with Family Channel; new original works like Gummi Bears and DuckTales was a big departure from other stuff that was on TV at the time, it was fresh and interesting. Game changers!

Originally posted by ducktales88

At the box office we had stuff like Who Framed Roger Rabbit breathing life back into so many cartoons at once, what happened through the 80s really sparked what would lead to the animation explosion of the 90s

For me looking back at the first half of the 80s (and most of the 70s) you could clearly see how cheap and uninspired the cartoons from that era really were, and then later as an adult learning about other TV cartoons that struggled to pit entertainment vs cost was equally eye opening. The problem with TV animation has always been the expense, TV has always been the “cheap” medium. When it started they used to show old crappy cowboy serials because that was the cheapest stuff they could show to fill airtime. Early cartoons tried very hard to be economical AND funny (Tom Terrific, Rocky & Bullwinkle!) a lot of these shows benefited from a simplistic style and a bunch of animators who’d been plying their craft for years. When they started retiring in the later 60s you could see the impact it had on everything. To my mind Hanna-Barbara was the only shop that was still producing decent cartoons through the mid-60s to the mid-70s, and even then Scooby Do was cearly made in haste to combat newcomers like FILMATION but luckily for HB it caught on in a major way. But by then it was like there was a race to the bottom. Who could make the cheapest crap to get away with and then land syndication rights YIKES (I’m sure somewhere Scooby-Doo, Where are you! is still playing right now)

Originally posted by witchywoman22

Now I’ve seen cartoon trends wax and wane between creator-driven and merch-driven, cheap as dirt / actual care and attention over the last 30+ years, to me its cyclical. We have been blessed with a lot of great shows for a few years which means we’re in for a bust cycle of cash-in dreck, I feel that this time around its main cause is television as a format is shrinking and producers are scared to death that their ad revenue isn’t as fat as it was over the last 30 odd years so they’re rapidly trying to make bank on easy-to-sell crap (remakes, toy tie-ins, all the stuff that make cartoons BAD).

Who knows maybe direct to web / streaming services are the next step for quality cartoons and help us avoid another dank age of animation, but for now I feel that we’re already seeing cheap, rushed out the door stuff seep in between our good cartoons.

Originally posted by jwblogofrandomness

Time will tell… time will tell…

okay so i saw someone say that it’s hypocritical to make fun of adamtots/owlturd/matpat’s work but be against making fun of kids’ art (aka cringe compilations) and i just wanna give my Hot Take on it

the reason why cringe compilations are so hated is because they blindly mock kids. they rarely ever offer any criticism and if they do it’s still littered with bleach and cancer jokes when all the kid really did was make an animation meme and draw for the first time.

most people making fun of matpat/owlturd/adamtots usually do criticise what they do, even if it’s in a joking way. and these men are adults, and people who are perfectly capable of making good content but stick to a bad quality formula because it’s what works easiest for them

idk i just don’t get it. do you want kids to be treated like adults or adults to be treated like kids?

Hi guys. we need to have a serious chat right now.

Two years ago, there was a movie called Paranorman.

It didn’t do so good at the box office, despite it being one of the most important, game changing animated movies since the Disney renaissance. It made its money back, but it wasn’t the smash hit Frozen was.

And this is a fucking tragedy. 


People read into Frozen that Elsa was an allegory for many things, one of them being LGBT. That’s cute. Meanwhile, Paranorman had the first ever openly, proudly gay character in an animated movie. ever. There was no allegory, there was no “well if you squint”. HE WAS GAY. HE HAD A BOYFRIEND. And Tumblr didn’t make this movie a smash success. There wasn’t a million mash ups with this and Return of the Guardians and HTTYD and Brave or whatever. There wasn’t long posts reading into Agatha Penderghast and how they handled bullying. This movie had a smallish following and fell off the map.

Now, Laika has a new movie coming out.

People are scared for Dreamworks right now. The news that if HTTYD 2 doesn’t do well, they’re going to lay off a bunch of animators is terrible. Don’t get me wrong. But Laika is a small company doing fantastic things. Everyone loved Coraline. Great, where was your money when it counted? Coraline didn’t do fantastic either. This is a SMALL STUDIO. THEY NEED ALL THE HELP YOU CAN GIVE THEM. All the money you threw at Frozen, a far inferior film, could’ve gone to a movie that mattered. 

(just putting it out there, I liked Frozen. But Paranorman was not even in the same ballpark of quality).

what i’m trying to say is, Laika needs to be protected at all costs. It isn’t wrong to love the big three of Disney/Dreamworks/Pixar, but small companies deserve a chance to grow just as big. there is room in the industry for new and beautiful things, and Laika is SO going to be the frontrunner for this. Their movies are, so far, dark and challenging, beautiful and haunting, and innovative. Give them a reason and a means to make more movies. 

Go see the Boxtrolls. Good, bad, mediocre, Laika deserves it.


Does everyone remember that audio post from forever ago where Jeff sounded like Bill Cipher? (Total props to @weirdmageddon for that. Awesome work, bruh.) Yes? Everyone remember that? Good. I had a mighty need for an animatic based off of it. Frankly, I’m surprised no one made a better one sooner.

As if it wasn’t bad enough this is my first time using a tablet, doggoned tumblr fricked up the quality.

ayu-ohseki replied to your post “toradh replied to your post: toradh replied to…”

LOL considering how much hate the Symphonia OVAs got from the Symphonia fans at the time, I suspect how good an anime adaptation is depends on how much one loved the original game.

ayu-ohseki replied to your post “karereiko replied to your post: toradh replied to…”

On the other hand, Abyss’s art/animation were… not so great. But TBQH, I would prefer great writing and bad art/animation over great art/animation and bad writing.

MORE GOOD RESPONSES. I’m totally in the same boat. I would’ve taken a nosedive in animation a thousand times over what we got with the writing quality. Justice for Mikleo and Sorey and Lailah and Edna and fucking everyone 2KForever.

Ok let’s start with the good

- This is a high quality big budget movie made by skillful people

It’s at least somewhat attractive (if it wasn’t for the characters)

I’ve been critical of animation since I can remember and I work in the industry. I see flaws and unoriginality in every aspect from animation to texturing. You probably won’t see that

- Some of the jokes landed

They missed all the beats completely but at least the intent was there

And lastly

- It keeps your attention. At least I didn’t feel bored at any point.

Like it’ll keep your kids entertained

If you don’t care about what they fill their young fragile minds with

Hi! So this is my first animation and i wanted to make it special so I decided to make something for one of my favorite accounts on here @askmercyseries​ a.k.a. @sai-shou​ . I lover her art style and everything about it I hope I can be as good as you one day Till then I have to stay DETERMINED and keep practicing. The audio is from AMS. I just decided to animate this. Hope you like it! (P.S. The video quality is really bad because I made this on the 3DS. -_-)

Gundam Explained for Normal People #4

#0 - Intro
#1 - 0079
#2 - IGLOO
#3 - 08th

Title: Mobile Suit Gundam Thunderbolt (2015)
Episodes: 8

Key points:

  • Focuses equally on two opposing pilots.
  • One pilot uses a disability to his advantage in controlling a specially-made mobile suit.
  • Powerfully depicts grief and trauma of war being the same for everyone on all sides. Everyone shares it but they might not think about it.
  • No one knows how to break the cycle of violence so they desperately continue fighting each other instead, hoping it brings them peace.
  • It doesn’t.
  • This one’s pretty intense.

What’s good:

  • Themes are well-presented and hit harder than in other series.
  • Zeon side isn’t just warty, ugly people this time. Zeon protagonist is more likable than the Federation one.
  • High-quality art and animation.
  • Fun use of music to parallel each pilot’s fighting style.

What’s bad:

  • The second half introduces a splinter faction into the conflict, so it may be confusing for new viewers.
  • I don’t think the second half is as good as the first.

Quickest way to watch:

  • The compilation movie Mobile Suit Gundam Thunderbolt: December Sky sums up the first four episodes. Bandit Flower (not yet released) will sum up the last four.

Best way to watch:

  • Just watch December Sky and you’ll get the best parts of the show.
  • If you get super into it you can continue into Episode 5, but I think the end of the movie is a good stopping point for casual viewing.
  • Oh look here it is now:

So let’s talk about ARC-V #61

I think even people who aren’t traditionally geared towards nitpicking at animation can tell that last Sunday’s episode was definitely “off”. Lots of “QUALITY”, if you will. On this blog I generally want to avoid taking time to point out all of the less-than-stellar animation the series tends to have, and bring attention to the moments that Yu-Gi-Oh shines in. That being said, last week’s episode is a good example of when a lot of things go wrong in animation production, so let’s see what’s up.

Top Image:

Animation Directors: Kazuyuki Igai, Naoki Aisaka, Satoru Shiroishi.

This alone actually isn’t so bad. While one animation director is usually the gold standard for Japanese animation, it’s an ideal at best. Many episodes of even ongoing anime have plentiful, even absurd amounts of animation directors working on a single episode. (See any mid-season episode of a WIT Studio show like Titan, Rolling Girls, or Seraph lol) It’s not necessarily bad, but it usually means that the one AD that was originally assigned to the episode can’t reasonably correct all of the cuts in time, so other animators have to step in and pick up the slack. Not ideal, but not uncommon for YGO, especially ARC-V.

Igai is an AD in every Studio Blanc episode (more on that later) from episode 28 onwards. Aisaka has never worked on ARC-V before this, and Shiroishi is a first time AD on ARC-V, who did key animation on the three previous Blanc episodes before this one. That’s about where things get messy…

Middle Image:

Blue underline is key animation. The red underline in the KA group is “Studio Wanpack”, which is pretty infamous for having lower-quality work. When you see a studio instead of names in credits, it’s a good sign that the work handed to them was either menial, or either side didn’t feel it was worth to credit actual people behind it. Not good stuff, generally.

In low-quality episodes, the number of key animation staff can be a decent hint as to what happened. If there’s a lot of names, that means that the studio had trouble getting the episode done on time, and had to pull in a lot of people to help get it done. Not quite the case here as this KA list is a tad on the large side but nothing absurd.

Green underline is 2nd key animation. Underlined are “Ace Company” and “Studio Mark”, again, same deal as when whole companies are credited for 2ndKA. 2ndKA ideally shouldn’t be necessary, as it often means that key animators didn’t have time to make detailed drawings so they had to ship them off to another part of the process to get them done. There are plenty of ARC-V episodes with little to none 2ndKA. Industry-wise however, it’s increasingly common.

Bottom Image:

Production Assistance: Studio Blanc. Effectively the entirety of the animation production on the episode was done not at Gallop, but this studio instead. Not an uncommon practice, and Yu-Gi-Oh has been doing it pretty much since the beginning. About ¼ to 1/8 episodes are in-house. Not much!

Studio Blanc’s ARC-V episodes are 5, 12, 20, 28, 36, 44, 52, and 61.

Now, let’s look at the content of the episode itself. First, the good: 

There are plenty of cuts (mostly stills) that have a nice line weight to them. They’re on model. I can’t really call it animation, but for what it is, I’ll take it. Some of these look like Hiroshi Tatezaki (who was KA in this ep), but for some reason I can’t convince myself that ALL of these are him. I know for sure that Yuya in the middle-left is though. That’s his style. There’s also this cut below that gets reused a few times, that has Tatezaki’s style of timing, and the heavy black shading. I really like Tatezaki’s work, I may have to make a post about him later…

In addition, there’s this mysteriously good looking summoning shot. My two instant guesses would be uncredited work by either Kenichi Hara or Junpei Ogawa, sort of leaning towards the former. A few people think it’s Ogawa, but I can’t be too sure. I really don’t know.

(I hate having to neuter these gifs to get under the size limit)

And now, the not so good:

I tried to make sure I wasn’t getting any inbetweens, so these are all shots that you shouldn’t have to go frame-stepping to find. They’re all missing a fresh coat of polish that could have at least lessened the blow. The six still shots I posted above probably got the attention they needed, but even with three animation directors, two of which are incredibly inexperienced, a lot gets through the cracks when you’re strapped for time. 

Next week episode is in-house and AD is Hidekazu Ebina, so we’re in for a treat. If anyone has any questions, or if something is unclear, don’t be afraid to drop an ask. I’m here to make sure everyone understands animation!

youwillneverguessmyurl  asked:

What would have to be your favourite scene/gif out of all the Sonic cartoons?

I’ll be honest, that’s a tough one. As you said ‘scene/gif’ I’ll narrow it down to just gifs I’ve made rather than complete scenes from the shows, of which there are many moments to choose from.

Even then, there’s a lot of choice. However, while I have many favourites I think the crown has to be given to that gifset, the one where Sonic watches Knuckles fall off a cliff and then grows to twice his size. It’s my most popular post with over 100,000 notes and was even on a Vinesauce stream in a repainted Sonic Adventure 2 hack as well as being riffed on by Joel, which I wasn’t even aware of until a few weeks ago. I honestly feel rather satisfied to see a gif I worked on (and I do work on the gifs I make; I go through them and delete the repeated frames in order to keep the file size down and the quality up) being posted and enjoyed by others. Getting people to know more about these shows in both their good and bad was part of the reason why I started this blog.

Of course, that’s not the real reason why I like that scene/gifset, it’s because it’s such a unique and utterly baffling scene. Every single shot has something wrong about it, but what makes it so special in my opinion is that apart from the scaling issue with Sonic being bigger than Knuckles (which I’ll get onto in a moment), there aren’t any obvious animation errors. There are no miscolours (well, actually Knuckle’s shoes are miscoloured a couple of times but it’s not too noticeable), nor are there missing cels, continuity errors, or incorrectly layered cels, and the framerate isn’t terribly jerky. Yet despite that it’s undeniably bad, and there are so many layers to it’s badness. The timing or lack thereof and the awkward, gormless expressions in every shot being the key elements. Then there are things like the stretchy arm, the lack of gravity (though in context Angel Island is falling so that might explain it) and of course the off-model aspect of Sonic and Knuckles all mix together to make this tragedy.

Then there is giant Sonic and/or tiny Knuckles, which is the final crowning fireball in this train wreck. With most animation errors you can tell what the original intention of the shot was supposed to be, but here it’s an enigma. Was Sonic supposed to be a little farther back from Knuckles? Did the animator just think Knuckles was smaller than Sonic for some reason? Did two separate people draw Sonic and Knuckles here? Was the storyboard off? I have actually spoken to a man (Pierre De Celles) who oversaw animation for DiC with Hong Ying, the studio who did Underground, and he can’t seem to remember (animation is extremely hectic after all), but I’d love to see what the storyboard for this scene was. Anything that might provide a clue as to what that shot was supposed to look like.

I could go on, the whole piece is a case study in bad animation, I think the thing which really makes it such a masterpiece is that it’s an entire scene that is poorly animated. Sonic Underground’s animation as a whole was generally competent, but always on the verge of going off the rails. However it’s rare to see a whole scene where everything goes so spectacularly wrong. Oh, and there’s that dinosaur at the end.

dynamiceyebrows  asked:

HOly shit I haven't seen the Meenster in a couple decades. Suddenly I'm highly tempted to look it up and remind myself of the animation quality of the time. Damn you for bringing back the nostalgia.

i seriously do love the animation from i.m. meen, just because it’s in that stem of “so good it’s bad”

like, it looks like different people animate him from time to time, because he’s ever so slightly off model in different cutscenes

and as a lot of you know there’s also other DOS games and the infamous series of CD-I games from philips that also have this kind of animation

anonymous asked:

What's your opinion on the PH anime?

List of things we need:

Pandora Hearts: Brotherhood