I'm going to completely forget about it if we do a podcast about it and I'm rubbish at taking notes, but in regards to Zero no Tsukaima, Shakugan no Shana and Toradora, they're all Kadokawa branch adaptations. It's been documented that manga/LN companies will sometimes return to studios who they've worked with in the past (In this case, someone at Kadokawa probably knew Yuji Matsukara quite well) and produce similar shows with them. I don't have any interviews in regards to this case specifically, but industry trends suggest that it was just Kadokawa that asked them to do these same type of shows. Much of the time in regards to adaptations, it's just other companies designating the sort of image they have based on wanting the same type of shows and returning to the scene of the crime, saying "We want you to do this like _____". This isn't a studio image though, rather, it's a production pitch based on a certain set of shows. In the case with Akagami, that was an animator who very very frequently works with Bones. Whilst Bones doesn't have an active key animation staff, many of those who work with them trained at the studio. So when they need to staff a scene, they know who to go to. Not all studios have those sort of relationships though and every studio has different types of relationships with freelancers and in-house staff. (In fact, the image you showed of Bones shows was drawn by Yoshiyuki Ito, who is presumed to have animated that exact cut from Shirayuki-hime) Every Dogakobo show doesn't have that high energy of animation. They bring back a lot of the same staff, many of whom just work for them, but there's Parappa the Rapper, Luck and Logic and Touken Ranbu just this year that did not feature that same sort of visual energy that many attribute to Dogakobo staff. Basically, there are many cases of studio consistency (I'd be out of a job if there wasn't). But that sort of consistency isn't uniform. Some studios will bring back the same groups of animators, some studios will work with certain background studios, some studios will always bring in the same 3D teams, some studios have the same producer on every work. It's a messy and really interesting process, but I totally disagree with the idea that every studio has a specific and uniform personality that can be easily be pointed out and I believe that a significant part of that is working backwards from the answer, whether consciously or not.
***** Is that a /studio/ personality/aesthetic though? I mean, an executive asked JC Staff to make three similar types of shows, but that doesn't mean that becomes part of the studio culture or studio mission. And without executives paying them to do it, there's nothing to suggest that Matsukara's going to immediately say "We need short girls with 'tsundere' personalities. Take those jobs."
The Hunter x Hunter 2011 Dickriding Association I was so clueless but hearing that each studio has characteristics but also consistent staff or non consistent staff.
But punchline looked like a trigger show and it was not one it was a Mappa show. Madhouse went from one punch man to prince of stride and they look nothing alike.
This video... maybe it's a bit long for that, but i kind of want to show this to people who are not into anime. Cause you highlight so many stylistic nuances and show off a bunch of impressive animation and designs. It's inspiring in a way.
I'm kind of surprised you didn't put this on you main channel. I don't keep up with it as much, but this seams like the kind of topic that you would address on there
Kinda random, but your anime-centric v-logs remind me of how my big sister and I talk about anime together. If she wasn't so mic-shy, I'd really wanna start a pod cast with her! Anyway thanks for keeping us informed. When Imaishi left Gainax my interest in the studio went down a little so it made me wonder if studios did matter, especially with A1 pictures constantly changing up the kind of work they put out, but it's nice to see that a majority of studios still have a deliberate identity, even if it's sometimes kinda subtle.
It would be cool to do an experiment were digi watches every few minutes of every show in a season without having looked at who's made it beforehand and try to guess the studios.
what gets me is people who blame the studio when a show is bad... it's not the animation studio it's the staff.. the animation teams make it come to life.
+Pavorish Not necessarily. I mean, there's a production desk at the studio, but the people who call those guys up are not necessarily producers, but are often animation directors, directors, character designers etc. A notable example was how even though animator Yoshimichi Kameda worked for AIC, Episode Dirctor Hiroshi Ikehata was inviting him to work on a wide range of shows outside of the studio until he quit to go freelance.
At Anime Expo 2013, George Wada, president of Wit Studio, he showed a template given to all animators on staff for how NOT to draw characters: outline of the eyes showing through hair on the face. So consistently, through all Wit shows from Hal onwards, the outline of the eyes never shows through the characters hair when it obscures the face. It is really a template for consistence in quality, but one that very few other studios follow, so it helps give Wit an identity in terms of what level of quality you can expect from their content.
I believe what you're trying to describe here is branding. Branding is complicated - it can be good, it can be bad. It can give the audience some idea what to expect from a company, but it can also hamstring that company creatively, pigeonhole their work into a very specific niche, even at the expense of the work's own integrity.
Well but it would be curious to know if, when following those specific artists, if it appeared in non-Gainax shows. Or rather if it was because of the creative liberty that Gainax had that allowed the boob bounce to exist in the first place.
That being said though, the cultural impact of Daicon 3 + 4, which first introduces that bounce, is so monumentous that it might be hard to say with any certainty anyway,
I think a big part of it was that the original Daicon was just a group of mates animating around. Most of the future 'Gainax bounces' have been homages to that. I think a lot of examples are even done by people who've never even worked at the studio, but were inspired by early Gainax works.
Alright that was a pretty bad example, I still think there is a point to be made about it if you look at the attitudes a studio has. Look at for example the pulpy and vibrant attitude of trigger. But I will admit that I don't really know what I'm talking about on this matter to begin with, and haven't really done my own research. I've always held the thought that producers are playing into a certain reputation of what they want the studio to be known for, and I've never seen anything to say they wouldn't be doing that. But whatevs I might just not know enough yet anyway.
God I hate the "Madhouse never makes second seasons" meme so much. Barely any anime gets greenlit for a second season. It's not a studio specific phenomenon, it's a industry wide phenomenon. Tell me, where are all the Brain's Base, Bee Train, Diomedia, Doga Kobo, Gonzo, Manglobe, PA Works, Gainax, Silver Link, Studio 4c, Trigger, or Xebec second seasons? The only reason studios like Bones and Production IG have a lot of second seasons is because they are almost always part of their anime's production committees, so they share in the profits.
Brain's base.... Let's see, they have Durarara and Natsume which got more than 2 seasons. But also they had shows like Kamisama Dolls, Blood Lad, D-Frag and My Little Monster which ended abruptly in the first season where the show haven't reached the climax. And maybe Oregairu will get another season... Diomedea had the 2nd season of Squid Girl. Manglobe did The World God Only Knows more than 2 seasons, but with cutting lots of story arcs.
Manglobe ;( RIP You're right tho, it's an industry-wide thing which is something that sucks about anime. It's easier to find a show with no ending ever coming vs something wrapped up nicely.
Also they actually have a lot of second seasons people seem to forget with Galaxy Angel, Di Gi Charat, Chihayafuru, Jubee-chan, Dia no Ace, Saiunkoku Monogatari, Stitch, Chi.... so definitely not just Kaiji and Ippo.
I completely agree with you Digi. I am a big fan of Studio Bones and have always been able to tell if a show is theirs or not without any previous knowledge.
To me Madhouse was always the icon of variety in terms of character/visual designs in anime. When someone tells me something like "all anime looks the same" then they are the first ones to pop into my mind. With on the one hand the minimalistic style of all Yuasa shows, the mignola-ness of Koike, realism of Kon. When they do adaptations of existing works they also keep their distinctivness where other studios would try to make them less so (either because that's what people like or it's easier for them to animate). I mean when Xebec adapted the designs of Triage X it looked like almost any other ecchi show while when Madhouse did it with HotD it really does look like the mangaka's style making it one of the most distinctive ecchi out there. And of course we've got all the other adaptations of manga with pretty out there styles like all the Clamp stuff, Akagi, Kaiji, Hellsing and a bunch of other original shows like Casshern Sins, Texhnolyze (the last studio to adapt ABe's designs), Metropolis or Vampire Hunter D.
I mean when it comes to a fully animated production, it's such a multi-faceted work by its very nature that there's wiggle room on all sides here; A director's signature color palette, background style, or design sensibility can get tossed in the melting pot alongside a Studio's calling card of angle/shot choices, voice actor selection, and sound design, and they can coexist entirely. Neither exists in a vacuum, and neither completely overwhelms or subsumes the other. Personally, I work in comics, and having talked to editors about various books they publish, each one does sort of have their own 'Identity' that is almost entirely independent of the artist/writer teams working on any individual book. Oni Press (of Scott Pilgrim fame) has a pretty solid sensibility (to me, at least) as sort of the AMC of american comics; Character-driven dramas with diverse casts of very real-feeling people spanning a wide range of backgrounds. Oni has published dark fantasy, supernatural mystery, slice of life, comedy, and sci-fi series, all handled by totally different creative teams and with art running the gamut from simple and cartoony to beautiful and pristine to grungy and dark. But every comic they put out maintains a sense of unity by pushing for character-driven stories that almost feel like they're trying to emulate modern television dramas in a lot of ways. Dynamite, on the other hand, is a little more pulpy; they seem to thrive on the same old-fashioned sense of adventure and exploration that Indiana Jones takes from. IDW and Boom have a lot of adaptations and licensed properties that they seem to take a lot of pride in expanding on and fleshing out in a way the source material can't (The Adventure Time, My Little Pony, and Steven Universe comics are all handled by those two, I believe, as well as stuff like Planet of The Apes and I think the Doctor Who comics as well). Each publisher sorta has their own wheelhouse in which they operate, and I wish I'd followed the landscape of the comics industry more closely to provide more examples, but this is my knowledge as it stands now. I can't help but feel like this Anime Studio conundrum is pretty similar; there's a sense of identity that each studio wants to put out, but it's often more broad-strokes than the particular stylistic trappings that any single show might have. Like you mentioned; Gorgeous fight choreography is usually a priority for Bones, so they're gonna hire directors and storyboarders who can deliver on that. J.C. Staff probably seeks out shows that fit their own self-defined sensibilities for pretty girls, etc. etc. It may be the diectors, designers, storyboarders, and all the rest of the creative staff that gives each individual show its style and flavor, and you can even track directors like Ryousuke Nakamura from studio to studio based on their extremely distinct styles, but the studios will, passively or actively, attract the kinds of directors, designers, and head creative staff that best fit the style they want for any given production, and since each studio (A-1 excluded, given that they seem to be a chop shop for picking up whatever can't get made elsewhere) has this identity it wants, more shows of a certain type will be coming from each, therefore causing the artists who work best in that style to circulate within/between studios that produce that sort of show.
I am pretty sure that no other company could have done the Jojo series better than David productions and I can´t think of any studio less suited to do a Berserk adaptation than Millepensee. So the studio does matter, only that sometimes they matter a lot and sometimes not so much.
"I don't think this anime could have been done better" "I don't think any studio can do berserk better than millepensee" "so the studio matters" ... wtf kind of logic is that? you don't think these anime could have been done better therefore studio matters? wth
Most likely the who own and run the studios also get a say in what gets made, allowing them to deside to make what they think will succeed and what they like. Thus similarity between shows done by the same studio but not the same people.
I wish you would do more of these "lectures". The stuff that is not quite main channel, (and probably requires less effort), but that still leaves me with new knowledge and perspectives on anime.
Oh what?! hearing what you said about Madhouse's attitude towards Hajime no Ippo is the best thing I've heard all year! haha also, I'm surprised by the fact that there was editing in this vlog at all.
I agree with this. Just look how similar the art styles in Re:Zero and Attack on Titan are. Both are produced by White Fox and their style of animation is distinct and easily recognizable.
My bad. I just rewatched some Attack on Titan yesterday and I couldn't help notice how similar their color palate is and that their backgrounds of the sky, water etc are really similar to each other. I just assumed that it was the same studio. Should maybe have checked that.
I was just thinking of Cardcaptor Sakura maybe not looking like the typical Madhouse show, and then you bring it up. And yes, the manga was filled with flowers and close up shots, so it was cool how Madhouse handeled. But anyway, studios matter, although the complaints people usually have involve the staff.
It could be that like, some of the people in charge are making sure the guys doing the art in animation are doing things "their way". Like whoever is in charge of A1 could be like "yo, make sure that the protagonist's face looks a little like Kirito's, SAO was like super successful and we want its fans to recognize that that was us and they should check this one out too." So whoever's in charge of the animation then does that, because who are they to say no? That's what the people in charge of their paycheck want, they should probably do that, so they do it. Hence, the A1 face. EDIT: NVM you said that already. I'm dumb.
I found this video to be very educational and surprising. I had no idea the anime has such commonalities like this within their studios. *Definitely one of your best videos, digi.* ❤ :)
Trigger and Shaft probably the two most recognizable for me. Not even 10 seconds in to the first episode of Little Witch Academia "is this a goddamn Trigger show?".
I find it kind of interesting how studio expectations change per decade or so. Like JC Staff used to be well known for harems in the 2000s, but then they do things like Wixoss (sometimes I'm surprised by the anime they used to make before 2000 as well) or how what people used to expect from Gainax shifted to Trigger once those staff left. I'd say a mix of studio and staff make up the final product. I usually don't expect much from A-1 for example even if the staff changes I've been burned by them in the past when it comes to their rapid produced adaptations.
i think studios tend to bring in people with similar tastes and ideals like it might be different people working all these shows but there the same kind of people
I'm always surprised by what you don't mention because I feel like I can follow your thinking after watching enough of your content. I thought Gainax would have been a perfect example with all of the patterns they have made "trope" in their shows. I guess they come out with so few shows though that that would make it harder to come across one and not already know it's them.
Funny enough, J C Staff does have another similar looking show to Flying Witch and Amanchu slotted to air this winter season. It's called Urara Meirochou and just from the key visual, summary, and the fact that all the main characters are female, I can tell it's probably going to be another iyashikai show. Also, there is one staff member all three of these shows do have in common. All of their series composition is done by Hitomi Mieno, so that could mean something in regards to their similarity.
From this video and watching Gekkan Shojo Nozaki-kun I think that face thing is mainly out of choice by what the head of the company likes to see and as you said before, "because it's familiar".
I feel like every studio has a hidden creative figure or two that dictates their visual flair that separates them from other studios, and I believe that the CEOs or president of an animation company has some say in the overall individual nature of a show or OVA, and maybe the guidelines of what an animation director/supervisor would do on their corrections of a key pose/frame are dictated by some socially subconscious mentality that is instilled in every staff member at an anime studio that, no matter how idiosyncratic their vision or art style may be, is influenced by the major herd of the company.
I always thought this whole: "Studios don't matter" thing to be dumb. As you pointed out in your video, each studio has its own distinctive traits. Also, let's say we take the exact same staff and the exact same source material to adapt, one of the studios that does it is Bones and the other one is Production IMS. The staff is completely the same, but the animators each studio has to offer will be completely different. I don't think it''s too difficult to tell which one of the studios would do a better job.
I still get thrown for a loop if someone says a studio sparse on originals like J.C. Staff is their favorite studio and also if they attribute J.C. Staff to Utena. Underrated studio in terms of identity: Asread, who did Big Order, whose style is also present in Tsubasa Wa Nai prelude vid, kind of in Shuffle, totally in Minami-Ke Okawari.
What do you mean attribute J.C. Staff to Utena? They were the only animation studio who worked on the show AFAIK. Sure it was Ikuhara's baby but it is a JC Staff anime. Also I am pretty meh on all of BONES's original anime, but I still really like them. Original anime is great and all but it doesn't mean Tatsunoko and Sunrise are above adaptation factories.
Sometimes when people want to say JC Staff is great they'll bring up Utena even though it's almost 20 years old and they've done nothing else like it. It is a JC Staff anime but you can't use it to praise JC Staff, I think Utena could have been made pretty much the same with any other studio.
I won't finish this video but up till 10 minutes I haven't heard anything I disagree with. The influence of corporate policy and the involvement of non-creative staff should not be ignored, it's up to directors animators/sound Technicians/composers/VAs to have skill and passion but the distribution of resources and what state the show is released in can be wholly the decision of a financier.
I have a bit of a soft spot for J.C. Staff, I found out relatively recently that a lot of my favourite shows from the 90s just so happened to have been made by them, that said though, I don't think I've watched any of their post-90s shows...
I hate to be so jaded and say studios just copy what has been successful, but it happens. I try to be on the lookout for cool new ideas and aesthetics.
Have you realized Lerche has recently had a string of "killing" anime? They went from Assassination classroom, to Danganronpa 3 to Magical Girl Raising Project. They're breaking the chain with this next season, but it's still an extremely strange string that happened.
and more recently they buckled under the pressure and agreed to do OPM season 2. then again, when an army of fans and the fucking creator is begging you to continue it, your arms become kind of tied.
Another human being acknowledged the existence of Mouryou no Hako. My life is complete. Furthermore, you can quote Digi saying it has the best first episode ever (Ctrl + F the word Mouryou): myswordisunbelievablydull.wordpress.com/2009/10/20/aoi-bungaku-ep-1-another-spectacular-madhouse-show/
Konosuba (by studio deen) had a goofy artstyle and people used to complain about it. The source material had cutesy illustrations but i'm glad it wasn't a-1 pictures or kyoani who picked up the LN. Sure the jokes are all in the novel but in animation the staff also had to consider the visual aspect (cues?) of those jokes (i.e. aqua's desperate face or dullahan rolling in pain). I'm not saying other studios would have done a bad job but studio deen did a good job in my book. xD
I find it unhelpful to try and predict the quality of a show based on the studio. I think the two shows that sold me onto the idea of making an effort to try and make my own opinion about how the series will go are Shigatsu wa Kimi no Uso and Erased. While Erased had a prolific director behind it, whether you liked his work or not, Shigatsu wa Kimi no Uso had a no-one randy directing it. Both came from A-1 pictures, a studio which hate for I understand, but also despise as there are quite a few shows that are, at worst quite decent, and at best really good, that people may sweep under the rug. Your Lie in April is a show I would recommend to anyone as it is an excellent show taken seriously, designed well, with good quality animation throughout the whole series and, as an adaptation of a great manga, a good adaptation, a show with a really good story and director's choices that make the adaptation all the more satysfying. Erased, allthough not appealing to everyone, had a decent quality and was at least enjoyable. AnoHana was done by A-1 as well and may really be not your things, but non the less it's at least a well made anime. I can also spell out a dozen of directors whose some works I love while some I hate. Even if a sudio has a distinctive style and similar quality in most of their works, still, there may be works you liked and works you thought were below decent. I love Kyoto Animation, one of my fav shows comes from them, yet still they managed to make a lot of shows which, I have to say, are visually at least above average, but in total are nothing of my interest and something I'd call at most fine.
Though Inaho is from Aldnoah Zero which was done by Troyca. So that may be more of a critique of the generic male anime protagonist face is general rather than specifically A1.
***** Yeah but i mean that the subject is great for discussion and i think it would've been a great main channel video because more people follow it more than this channel
Why don't you talk about the Shaft style? That's not "anime done by Shaft", because some seasons the best Shaft anime isn't by Shaft. It's what Shinbo, Oonuma, and the other guys developed in the '00s, and is quite often used even by people who are not working under them.
JC Staff also made Hidan no Aria, which was also a loli voiced by Rie Kugimiya. Not the same staff by the way. Bones did have a shitty ass fight scene in Soul Eater NOT! Another thing is voice actors. Tsutomu Isobe almost exclusively worked with Madhouse in his big roles. Black Lagoon, Monster, One Outs, Memories, Gungrave, Blade, The Trigun movie. Plus let's not forget SHAFT and Hiroshi Kamiya. There's also genres, Xebec and Arms well known for their ecchi anime. Toei has their kids anime. Canipa does have a point, but only if every studio was as Schizophrenic as Tokyo Movie Shinsa. That studio is the only one without a clear identity.
Did you see the "fixed" version? By the way here's the scene I'm talking about: Original: abload.de/img/fa11460obkrk.gif "Fix": gfycat.com/MerryBoringIrishsetter I love how the background shifts suddenly, reminds me of a school play.
I thought I was loving this for the golden nuggets of raw similarities, as if harvesting from your knowledge of several shows. Then I thought it was pretty neat how you were getting in to the fine details: directors, char designers, etc. Like, there's other rare jewels too?! _Hot_ *DAMN* this man has enriched his wealth: thank goodness. I was afraid you were just spinning your wheels at the end, at least to new viewers. I know that's not what this channel's for but I considered it as sharing it with those not as heavily in to anime interest me nonetheless. Yet in the end way to come out on top kid (takes off coach hat. Wtf, why do I have a--thinking of Hajime no Ippo too much lol): your rabbit hole gained noticeable velocity again after...16 minutes, or so? Gonna near-willy-nilly guess 16 min lol The conclusion summed up your simple question. Thankfully, we got so much more than what was needed for that answer :D
I wasn't sold on this idea until 7:13. But when I saw that Bones anime fight II immediately thought of Fullmetal Alchemist Brotherhood and Darker than Black. Immediately. Those were the only shows I thought of. Cut to that poster with my boys Hei and Ed. Wtf.
not going to lie, i fell in love with shaft when they were pumping out the new shit everyone loves. AIC is another one i grew up on as well . What i have always wondered about is how the actual japanese watching audience feels about studios. Is digi even niche for them? I mean i really not sure how to grasp the whole phenomenon of anime, but i can only wonder how it affects those who are the "target market".
With your knowledge and talks of thumbnails, Im surprised you went with the white background with the names of the studios. Were you trying to test a basic thumb with a interesting title? or was there any particular intent?
i can't recognize an anime studio (i didnt watch enough animes for that, and Considering my free time, i never will) but i can recognize some composers (or at least 1, i cant remember if i did it with others or my memory is trolling me) yuki kajiura for example, i was watching a lot of shows and recognize the composer, i think i was getting crazy then i saw who did the sound track, yep! she strikes again!
In the past I would split J.C. Staff into 2 sections based on how the anime looked: The Honey and Clover team and the Shakugan no Shana team i bet all of you immediately thought of 2-4 anime in each style and, if you look them up, they were done by J.C. Staff. This Amanchu - Flying Which team is new to me, doesn't fit in those past 2 categories.
Thank you Digibro for taking my fave studio in the spotlight. While I don't get why they had to use that loli trope. back when it was kinda cool, I loved Toradora. After which I watched Shakugan THEN Tsukaima. I like their works. and their adaptations because except for Hayate, they finished them. all those 3. with really close ln tie ins... Hard of that to come by this years.
***** Thanks a lot man, I honestly didn't expect a long post, and am glad for it. I had a pretty good feeling that there isn't one single way to judge good animation, but I did want some basic principles to start off. From what I know, they are: -Things move smoothly -You can see shit -Characters go with backgrounds -How detailed expressions are -Things look good -Consistency -Shit moves -Background detail
Correct me if I'm wrong, but wouldn't a lot of the studio's identities be related to the producers that work at them? Don't they have the connections to get projects that they want approved for production as well as the connections to get particular staff on the project?
Most likely. My question for the whole video was "And what about the management above directors?". I don't know how many studios are like Image Comics/ Valiant comics and artist owned, but most are likely like Disney and Co. Not everything Disney does is with the same staff, but there is definitely a Katzenberg era (aka the Disney renaissance). And probably the changing staff knowing what the studio did before. I assume they work in the same building and have archives and just an in-industry reputation for styles.
Studio has never really been an issue for me. I like a lot of shows from hated studios like Toei, A-1 and Pierrot. The only studio I can't deal with is Shaft. I just can't deal with their quirks and color schemes. Even a manga like March Comes in Like a Lion is an eyesore for me when they touch it.
If you see a long running shounen with questionable animation you know its Toei Animation
pierrot is also really known for making those
I didn't know Fairy Tail, Twinstar Exorcists and Beelzebub are from Toei Animation.
Fairy Tail has very quesitonable animation and so Does Twinstar. Haven't seen Beelzebub, though.
Me trying to watch One Piece:
Wow this is awesome ... except it's so fucking ugly.
Fairy tail is done by A1 pictures and Twin star and Beelzebub is done by pierrot
I'm going to completely forget about it if we do a podcast about it and I'm rubbish at taking notes, but in regards to Zero no Tsukaima, Shakugan no Shana and Toradora, they're all Kadokawa branch adaptations. It's been documented that manga/LN companies will sometimes return to studios who they've worked with in the past (In this case, someone at Kadokawa probably knew Yuji Matsukara quite well) and produce similar shows with them. I don't have any interviews in regards to this case specifically, but industry trends suggest that it was just Kadokawa that asked them to do these same type of shows.
Much of the time in regards to adaptations, it's just other companies designating the sort of image they have based on wanting the same type of shows and returning to the scene of the crime, saying "We want you to do this like _____". This isn't a studio image though, rather, it's a production pitch based on a certain set of shows.
In the case with Akagami, that was an animator who very very frequently works with Bones. Whilst Bones doesn't have an active key animation staff, many of those who work with them trained at the studio. So when they need to staff a scene, they know who to go to. Not all studios have those sort of relationships though and every studio has different types of relationships with freelancers and in-house staff. (In fact, the image you showed of Bones shows was drawn by Yoshiyuki Ito, who is presumed to have animated that exact cut from Shirayuki-hime)
Every Dogakobo show doesn't have that high energy of animation. They bring back a lot of the same staff, many of whom just work for them, but there's Parappa the Rapper, Luck and Logic and Touken Ranbu just this year that did not feature that same sort of visual energy that many attribute to Dogakobo staff.
Basically, there are many cases of studio consistency (I'd be out of a job if there wasn't). But that sort of consistency isn't uniform. Some studios will bring back the same groups of animators, some studios will work with certain background studios, some studios will always bring in the same 3D teams, some studios have the same producer on every work. It's a messy and really interesting process, but I totally disagree with the idea that every studio has a specific and uniform personality that can be easily be pointed out and I believe that a significant part of that is working backwards from the answer, whether consciously or not.
I don't really see how there's a difference between that being a studio image, if the result is a studio making a bunch of like shows.
That reminds me of the "Marvel Symphonic Universe" video that said composers get stuck imitating substitute music in big movies.
***** Is that a /studio/ personality/aesthetic though? I mean, an executive asked JC Staff to make three similar types of shows, but that doesn't mean that becomes part of the studio culture or studio mission. And without executives paying them to do it, there's nothing to suggest that Matsukara's going to immediately say "We need short girls with 'tsundere' personalities. Take those jobs."
On another note, I'd love to hear you and Digi get together and discuss this, maybe with Mother's Basement too?
Cedric Wong The plan is for it to be Digi, Josh Dunham EiC of WaveMotionCannon and myself.
A-1 Pictures have an Identity,
as long as you see ass in the show, you'll know it's A-1 Pictures
The problem with talking about individuals is the fact that you can't be sure how much freedom and impact they will have on a production.
FUCKING THANK YOU DIGI!!! God I wanted to ranted when I heard "Studios don't matter" but I couldn't make a logical argument in my RAGE!!!
Dude does that really make you angry, I would just be indifferent at worst
Drason Vender
I take my Chinese cartoons *VERY* seriously sir!!!
The Hunter x Hunter 2011 Dickriding Association I was so clueless but hearing that each studio has characteristics but also consistent staff or non consistent staff.
I really enjoy the bits of editing added into the vlogs. Definitely helpful when you talk about things that I have never seen.
Kyoto Animation (Kyoani) is the only anime studio that anime fans watch because of the studio, regardless of the anime.
Hm hm Amagi Brilliant Park wasn't really that big.
I'm pretty sure a lot of people watch some anime solely because it's from Madhouse.
I think Trigger applies as well.
But punchline looked like a trigger show and it was not one it was a Mappa show.
Madhouse went from one punch man to prince of stride and they look nothing alike.
Nope, that happens with Ufotable, Shaft, Trigger, Madhouse and Bones as well
This video... maybe it's a bit long for that, but i kind of want to show this to people who are not into anime. Cause you highlight so many stylistic nuances and show off a bunch of impressive animation and designs. It's inspiring in a way.
I was holding my breath almost the entire video for Digibro to talk about A1 :-)
I'm kind of surprised you didn't put this on you main channel. I don't keep up with it as much, but this seams like the kind of topic that you would address on there
Kinda random, but your anime-centric v-logs remind me of how my big sister and I talk about anime together. If she wasn't so mic-shy, I'd really wanna start a pod cast with her!
Anyway thanks for keeping us informed. When Imaishi left Gainax my interest in the studio went down a little so it made me wonder if studios did matter, especially with A1 pictures constantly changing up the kind of work they put out, but it's nice to see that a majority of studios still have a deliberate identity, even if it's sometimes kinda subtle.
It would be cool to do an experiment were digi watches every few minutes of every show in a season without having looked at who's made it beforehand and try to guess the studios.
what gets me is people who blame the studio when a show is bad... it's not the animation studio it's the staff.. the animation teams make it come to life.
But isn't it the studio that hires the staff?
I think the blame should go to the producers, since all the shows about making anime they are the bad guys.
ew275x The best part about that is some producer had to greenlight that lol.
MemoryNK this coming from the guy who consistently blames Pierrot for all their shows being bad lol
+Pavorish Not necessarily. I mean, there's a production desk at the studio, but the people who call those guys up are not necessarily producers, but are often animation directors, directors, character designers etc.
A notable example was how even though animator Yoshimichi Kameda worked for AIC, Episode Dirctor Hiroshi Ikehata was inviting him to work on a wide range of shows outside of the studio until he quit to go freelance.
At Anime Expo 2013, George Wada, president of Wit Studio, he showed a template given to all animators on staff for how NOT to draw characters: outline of the eyes showing through hair on the face. So consistently, through all Wit shows from Hal onwards, the outline of the eyes never shows through the characters hair when it obscures the face.
It is really a template for consistence in quality, but one that very few other studios follow, so it helps give Wit an identity in terms of what level of quality you can expect from their content.
I believe what you're trying to describe here is branding. Branding is complicated - it can be good, it can be bad. It can give the audience some idea what to expect from a company, but it can also hamstring that company creatively, pigeonhole their work into a very specific niche, even at the expense of the work's own integrity.
Yeah exactly, the gainax boob bounce didn't get called that for no reason.
Well, it got called that because of the Gainax staff who drew it.
Well but it would be curious to know if, when following those specific artists, if it appeared in non-Gainax shows. Or rather if it was because of the creative liberty that Gainax had that allowed the boob bounce to exist in the first place.
That being said though, the cultural impact of Daicon 3 + 4, which first introduces that bounce, is so monumentous that it might be hard to say with any certainty anyway,
I think a big part of it was that the original Daicon was just a group of mates animating around. Most of the future 'Gainax bounces' have been homages to that. I think a lot of examples are even done by people who've never even worked at the studio, but were inspired by early Gainax works.
Alright that was a pretty bad example, I still think there is a point to be made about it if you look at the attitudes a studio has. Look at for example the pulpy and vibrant attitude of trigger. But I will admit that I don't really know what I'm talking about on this matter to begin with, and haven't really done my own research. I've always held the thought that producers are playing into a certain reputation of what they want the studio to be known for, and I've never seen anything to say they wouldn't be doing that. But whatevs I might just not know enough yet anyway.
God I hate the "Madhouse never makes second seasons" meme so much.
Barely any anime gets greenlit for a second season. It's not a studio specific phenomenon, it's a industry wide phenomenon.
Tell me, where are all the Brain's Base, Bee Train, Diomedia, Doga Kobo, Gonzo, Manglobe, PA Works, Gainax, Silver Link, Studio 4c, Trigger, or Xebec second seasons?
The only reason studios like Bones and Production IG have a lot of second seasons is because they are almost always part of their anime's production committees, so they share in the profits.
Brain's base.... Let's see, they have Durarara and Natsume which got more than 2 seasons. But also they had shows like Kamisama Dolls, Blood Lad, D-Frag and My Little Monster which ended abruptly in the first season where the show haven't reached the climax. And maybe Oregairu will get another season...
Diomedea had the 2nd season of Squid Girl.
Manglobe did The World God Only Knows more than 2 seasons, but with cutting lots of story arcs.
Manglobe ;( RIP
You're right tho, it's an industry-wide thing which is something that sucks about anime. It's easier to find a show with no ending ever coming vs something wrapped up nicely.
Also they actually have a lot of second seasons people seem to forget with Galaxy Angel, Di Gi Charat, Chihayafuru, Jubee-chan, Dia no Ace, Saiunkoku Monogatari, Stitch, Chi.... so definitely not just Kaiji and Ippo.
Though I'm not sure about that production committee thing, as most studios are part of the production committee in their anime.
I completely agree with you Digi. I am a big fan of Studio Bones and have always been able to tell if a show is theirs or not without any previous knowledge.
To me Madhouse was always the icon of variety in terms of character/visual designs in anime. When someone tells me something like "all anime looks the same" then they are the first ones to pop into my mind. With on the one hand the minimalistic style of all Yuasa shows, the mignola-ness of Koike, realism of Kon. When they do adaptations of existing works they also keep their distinctivness where other studios would try to make them less so (either because that's what people like or it's easier for them to animate). I mean when Xebec adapted the designs of Triage X it looked like almost any other ecchi show while when Madhouse did it with HotD it really does look like the mangaka's style making it one of the most distinctive ecchi out there. And of course we've got all the other adaptations of manga with pretty out there styles like all the Clamp stuff, Akagi, Kaiji, Hellsing and a bunch of other original shows like Casshern Sins, Texhnolyze (the last studio to adapt ABe's designs), Metropolis or Vampire Hunter D.
I mean when it comes to a fully animated production, it's such a multi-faceted work by its very nature that there's wiggle room on all sides here; A director's signature color palette, background style, or design sensibility can get tossed in the melting pot alongside a Studio's calling card of angle/shot choices, voice actor selection, and sound design, and they can coexist entirely. Neither exists in a vacuum, and neither completely overwhelms or subsumes the other.
Personally, I work in comics, and having talked to editors about various books they publish, each one does sort of have their own 'Identity' that is almost entirely independent of the artist/writer teams working on any individual book. Oni Press (of Scott Pilgrim fame) has a pretty solid sensibility (to me, at least) as sort of the AMC of american comics; Character-driven dramas with diverse casts of very real-feeling people spanning a wide range of backgrounds. Oni has published dark fantasy, supernatural mystery, slice of life, comedy, and sci-fi series, all handled by totally different creative teams and with art running the gamut from simple and cartoony to beautiful and pristine to grungy and dark. But every comic they put out maintains a sense of unity by pushing for character-driven stories that almost feel like they're trying to emulate modern television dramas in a lot of ways.
Dynamite, on the other hand, is a little more pulpy; they seem to thrive on the same old-fashioned sense of adventure and exploration that Indiana Jones takes from. IDW and Boom have a lot of adaptations and licensed properties that they seem to take a lot of pride in expanding on and fleshing out in a way the source material can't (The Adventure Time, My Little Pony, and Steven Universe comics are all handled by those two, I believe, as well as stuff like Planet of The Apes and I think the Doctor Who comics as well). Each publisher sorta has their own wheelhouse in which they operate, and I wish I'd followed the landscape of the comics industry more closely to provide more examples, but this is my knowledge as it stands now.
I can't help but feel like this Anime Studio conundrum is pretty similar; there's a sense of identity that each studio wants to put out, but it's often more broad-strokes than the particular stylistic trappings that any single show might have. Like you mentioned; Gorgeous fight choreography is usually a priority for Bones, so they're gonna hire directors and storyboarders who can deliver on that. J.C. Staff probably seeks out shows that fit their own self-defined sensibilities for pretty girls, etc. etc.
It may be the diectors, designers, storyboarders, and all the rest of the creative staff that gives each individual show its style and flavor, and you can even track directors like Ryousuke Nakamura from studio to studio based on their extremely distinct styles, but the studios will, passively or actively, attract the kinds of directors, designers, and head creative staff that best fit the style they want for any given production, and since each studio (A-1 excluded, given that they seem to be a chop shop for picking up whatever can't get made elsewhere) has this identity it wants, more shows of a certain type will be coming from each, therefore causing the artists who work best in that style to circulate within/between studios that produce that sort of show.
I am pretty sure that no other company could have done the Jojo series better than David productions and I can´t think of any studio less suited to do a Berserk adaptation than Millepensee. So the studio does matter, only that sometimes they matter a lot and sometimes not so much.
"I don't think this anime could have been done better" "I don't think any studio can do berserk better than millepensee" "so the studio matters"
...
wtf kind of logic is that? you don't think these anime could have been done better therefore studio matters? wth
I think bones would have been better for jojo
Any plans to do a video on Keijojo's Bizarre Adventure?
Most likely the who own and run the studios also get a say in what gets made, allowing them to deside to make what they think will succeed and what they like. Thus similarity between shows done by the same studio but not the same people.
I wish you would do more of these "lectures". The stuff that is not quite main channel, (and probably requires less effort), but that still leaves me with new knowledge and perspectives on anime.
Oh what?! hearing what you said about Madhouse's attitude towards Hajime no Ippo is the best thing I've heard all year! haha also, I'm surprised by the fact that there was editing in this vlog at all.
Digi I could listen to you ramble about random stuff for ages, ever thought of doing a podcast?
Look for The Pro Crastinators podcast and the Pub Crawl; both podcasts with Digi
lmao
Really like the editing on this video. Kudos to your team.
I agree with this. Just look how similar the art styles in Re:Zero and Attack on Titan are. Both are produced by White Fox and their style of animation is distinct and easily recognizable.
ToastChickens No.SnK was by Wit studios who are somehow related to Production I.G
My bad. I just rewatched some Attack on Titan yesterday and I couldn't help notice how similar their color palate is and that their backgrounds of the sky, water etc are really similar to each other. I just assumed that it was the same studio. Should maybe have checked that.
I was just thinking of Cardcaptor Sakura maybe not looking like the typical Madhouse show, and then you bring it up. And yes, the manga was filled with flowers and close up shots, so it was cool how Madhouse handeled. But anyway, studios matter, although the complaints people usually have involve the staff.
Mad props for bringing up Ryosuke Nakamura and Mouryo. no hako
It could be that like, some of the people in charge are making sure the guys doing the art in animation are doing things "their way". Like whoever is in charge of A1 could be like "yo, make sure that the protagonist's face looks a little like Kirito's, SAO was like super successful and we want its fans to recognize that that was us and they should check this one out too." So whoever's in charge of the animation then does that, because who are they to say no? That's what the people in charge of their paycheck want, they should probably do that, so they do it. Hence, the A1 face.
EDIT: NVM you said that already. I'm dumb.
I found this video to be very educational and surprising. I had no idea the anime has such commonalities like this within their studios. *Definitely one of your best videos, digi.* ❤ :)
Trigger and Shaft probably the two most recognizable for me. Not even 10 seconds in to the first episode of Little Witch Academia "is this a goddamn Trigger show?".
Praise Shaft!
Does anyone else notice that signature madhouse sound, that bang sound.
I find it kind of interesting how studio expectations change per decade or so. Like JC Staff used to be well known for harems in the 2000s, but then they do things like Wixoss (sometimes I'm surprised by the anime they used to make before 2000 as well) or how what people used to expect from Gainax shifted to Trigger once those staff left. I'd say a mix of studio and staff make up the final product. I usually don't expect much from A-1 for example even if the staff changes I've been burned by them in the past when it comes to their rapid produced adaptations.
i think studios tend to bring in people with similar tastes and ideals like it might be different people working all these shows but there the same kind of people
Give me anything by Gainax or Trigger...and I'll watch it. Most definitely my favorite anime studios
Ximena Macías dude Little Witch Academia 4life
I'm always surprised by what you don't mention because I feel like I can follow your thinking after watching enough of your content. I thought Gainax would have been a perfect example with all of the patterns they have made "trope" in their shows. I guess they come out with so few shows though that that would make it harder to come across one and not already know it's them.
Funny enough, J C Staff does have another similar looking show to Flying Witch and Amanchu slotted to air this winter season. It's called Urara Meirochou and just from the key visual, summary, and the fact that all the main characters are female, I can tell it's probably going to be another iyashikai show. Also, there is one staff member all three of these shows do have in common. All of their series composition is done by Hitomi Mieno, so that could mean something in regards to their similarity.
From this video and watching Gekkan Shojo Nozaki-kun I think that face thing is mainly out of choice by what the head of the company likes to see and as you said before, "because it's familiar".
I feel like every studio has a hidden creative figure or two that dictates their visual flair that separates them from other studios, and I believe that the CEOs or president of an animation company has some say in the overall individual nature of a show or OVA, and maybe the guidelines of what an animation director/supervisor would do on their corrections of a key pose/frame are dictated by some socially subconscious mentality that is instilled in every staff member at an anime studio that, no matter how idiosyncratic their vision or art style may be, is influenced by the major herd of the company.
Good points, I'd actually love to hear a more in depth analysis at some point!
congratulations Digibro, you have made a video I 100% agree with you on
Madhouse, huh?
I'm still waiting for S3 of Kaiji, which may never happen. I really loved the series. And maybe Hanayamata, if the manga has ended.
I always thought this whole: "Studios don't matter" thing to be dumb. As you pointed out in your video, each studio has its own distinctive traits. Also, let's say we take the exact same staff and the exact same source material to adapt, one of the studios that does it is Bones and the other one is Production IMS. The staff is completely the same, but the animators each studio has to offer will be completely different. I don't think it''s too difficult to tell which one of the studios would do a better job.
I see that thumbnail game going down, digi. I see that.
I still get thrown for a loop if someone says a studio sparse on originals like J.C. Staff is their favorite studio and also if they attribute J.C. Staff to Utena.
Underrated studio in terms of identity: Asread, who did Big Order, whose style is also present in Tsubasa Wa Nai prelude vid, kind of in Shuffle, totally in Minami-Ke Okawari.
What do you mean attribute J.C. Staff to Utena? They were the only animation studio who worked on the show AFAIK. Sure it was Ikuhara's baby but it is a JC Staff anime.
Also I am pretty meh on all of BONES's original anime, but I still really like them. Original anime is great and all but it doesn't mean Tatsunoko and Sunrise are above adaptation factories.
Sometimes when people want to say JC Staff is great they'll bring up Utena even though it's almost 20 years old and they've done nothing else like it. It is a JC Staff anime but you can't use it to praise JC Staff, I think Utena could have been made pretty much the same with any other studio.
I won't finish this video but up till 10 minutes I haven't heard anything I disagree with. The influence of corporate policy and the involvement of non-creative staff should not be ignored, it's up to directors animators/sound Technicians/composers/VAs to have skill and passion but the distribution of resources and what state the show is released in can be wholly the decision of a financier.
I have a bit of a soft spot for J.C. Staff, I found out relatively recently that a lot of my favourite shows from the 90s just so happened to have been made by them, that said though, I don't think I've watched any of their post-90s shows...
I hate to be so jaded and say studios just copy what has been successful, but it happens. I try to be on the lookout for cool new ideas and aesthetics.
and then comes Hood Entertainment.... who introduced us to how to make a proper tits jiggle animation and sound effects
Have you realized Lerche has recently had a string of "killing" anime?
They went from Assassination classroom, to Danganronpa 3 to Magical Girl Raising Project. They're breaking the chain with this next season, but it's still an extremely strange string that happened.
Exactly the kinda video I was looking for, curious about people's associations with different studios! If you know of similar vids let me know
Madhouse did do a second season of Chihayafuru though...Even though I think they called that a special case.
and more recently they buckled under the pressure and agreed to do OPM season 2.
then again, when an army of fans and the fucking creator is begging you to continue it, your arms become kind of tied.
the real madhouse is mappa now
Another human being acknowledged the existence of Mouryou no Hako. My life is complete.
Furthermore, you can quote Digi saying it has the best first episode ever (Ctrl + F the word Mouryou): myswordisunbelievablydull.wordpress.com/2009/10/20/aoi-bungaku-ep-1-another-spectacular-madhouse-show/
This is another great video that should be on the main channel.
Konosuba (by studio deen) had a goofy artstyle and people used to complain about it. The source material had cutesy illustrations but i'm glad it wasn't a-1 pictures or kyoani who picked up the LN. Sure the jokes are all in the novel but in animation the staff also had to consider the visual aspect (cues?) of those jokes (i.e. aqua's desperate face or dullahan rolling in pain). I'm not saying other studios would have done a bad job but studio deen did a good job in my book. xD
Dude, if KyoAni had picked up KonoSuba, that would have been fucking lit.
I find it unhelpful to try and predict the quality of a show based on the studio. I think the two shows that sold me onto the idea of making an effort to try and make my own opinion about how the series will go are Shigatsu wa Kimi no Uso and Erased. While Erased had a prolific director behind it, whether you liked his work or not, Shigatsu wa Kimi no Uso had a no-one randy directing it. Both came from A-1 pictures, a studio which hate for I understand, but also despise as there are quite a few shows that are, at worst quite decent, and at best really good, that people may sweep under the rug. Your Lie in April is a show I would recommend to anyone as it is an excellent show taken seriously, designed well, with good quality animation throughout the whole series and, as an adaptation of a great manga, a good adaptation, a show with a really good story and director's choices that make the adaptation all the more satysfying. Erased, allthough not appealing to everyone, had a decent quality and was at least enjoyable. AnoHana was done by A-1 as well and may really be not your things, but non the less it's at least a well made anime.
I can also spell out a dozen of directors whose some works I love while some I hate. Even if a sudio has a distinctive style and similar quality in most of their works, still, there may be works you liked and works you thought were below decent. I love Kyoto Animation, one of my fav shows comes from them, yet still they managed to make a lot of shows which, I have to say, are visually at least above average, but in total are nothing of my interest and something I'd call at most fine.
Though Inaho is from Aldnoah Zero which was done by Troyca. So that may be more of a critique of the generic male anime protagonist face is general rather than specifically A1.
Aldnoah Zero was a co production between Troyca & A1 Pictures.
Is it just me, or is the audio on this vid just slightly off-sync from what Digi is actually saying?
This would've been a great main channel video
***** Yeah but i mean that the subject is great for discussion and i think it would've been a great main channel video because more people follow it more than this channel
What's the point of putting Sunrise and Toei on the thumbnail if you don't talk about it?
This podcast needs to happen, lots of great discussion already going on, just don't waste it all in the comments.
Why don't you talk about the Shaft style? That's not "anime done by Shaft", because some seasons the best Shaft anime isn't by Shaft. It's what Shinbo, Oonuma, and the other guys developed in the '00s, and is quite often used even by people who are not working under them.
JC Staff also made Hidan no Aria, which was also a loli voiced by Rie Kugimiya. Not the same staff by the way.
Bones did have a shitty ass fight scene in Soul Eater NOT!
Another thing is voice actors. Tsutomu Isobe almost exclusively worked with Madhouse in his big roles. Black Lagoon, Monster, One Outs, Memories, Gungrave, Blade, The Trigun movie. Plus let's not forget SHAFT and Hiroshi Kamiya.
There's also genres, Xebec and Arms well known for their ecchi anime. Toei has their kids anime. Canipa does have a point, but only if every studio was as Schizophrenic as Tokyo Movie Shinsa. That studio is the only one without a clear identity.
ew275x Dear lord, that fight scene was just... a goddamn mess. It was wiped from my memory and suddenly I'm picturing it in my head.
Did you see the "fixed" version?
By the way here's the scene I'm talking about:
Original: abload.de/img/fa11460obkrk.gif
"Fix": gfycat.com/MerryBoringIrishsetter
I love how the background shifts suddenly, reminds me of a school play.
Manglobe shows also looked different over time if you wacth Digibro's vid about the studio.
Of course studios have their own styles, the people who decide what to make and who to hire for a project are the executives.
Digibro will you ever do a video about straying away from source material like fma 2003 or kuroshitsuji do
"Your Lie in April" was a good one done by A1 Pictures. Sometimes they can make a good show.
Digi dropped that show in one episode lol.
I thought I was loving this for the golden nuggets of raw similarities, as if harvesting from your knowledge of several shows.
Then I thought it was pretty neat how you were getting in to the fine details: directors, char designers, etc. Like, there's other rare jewels too?! _Hot_ *DAMN* this man has enriched his wealth: thank goodness.
I was afraid you were just spinning your wheels at the end, at least to new viewers. I know that's not what this channel's for but I considered it as sharing it with those not as heavily in to anime interest me nonetheless. Yet in the end way to come out on top kid (takes off coach hat. Wtf, why do I have a--thinking of Hajime no Ippo too much lol): your rabbit hole gained noticeable velocity again after...16 minutes, or so? Gonna near-willy-nilly guess 16 min lol
The conclusion summed up your simple question. Thankfully, we got so much more than what was needed for that answer :D
I wasn't sold on this idea until 7:13. But when I saw that Bones anime fight II immediately thought of Fullmetal Alchemist Brotherhood and Darker than Black. Immediately. Those were the only shows I thought of. Cut to that poster with my boys Hei and Ed. Wtf.
not going to lie, i fell in love with shaft when they were pumping out the new shit everyone loves. AIC is another one i grew up on as well .
What i have always wondered about is how the actual japanese watching audience feels about studios. Is digi even niche for them? I mean i really not sure how to grasp the whole phenomenon of anime, but i can only wonder how it affects those who are the "target market".
I've always thought MAPPA kind of carried over some of Manglobe's traits in addition to Madhouse, kind of being an interesting marriage.
With your knowledge and talks of thumbnails, Im surprised you went with the white background with the names of the studios. Were you trying to test a basic thumb with a interesting title? or was there any particular intent?
Grimgar of Fantasy and Ash is legit good tho
i can't recognize an anime studio (i didnt watch enough animes for that, and Considering my free time, i never will) but i can recognize some composers (or at least 1, i cant remember if i did it with others or my memory is trolling me) yuki kajiura for example, i was watching a lot of shows and recognize the composer, i think i was getting crazy then i saw who did the sound track, yep! she strikes again!
Oh shit, I see that Splendor And Misery vinyl in the background
during the bones section you should have mentioned what shows don't fall under the expressive character bones aesthetic
In the past I would split J.C. Staff into 2 sections based on how the anime looked:
The Honey and Clover team
and the
Shakugan no Shana team
i bet all of you immediately thought of 2-4 anime in each style and, if you look them up, they were done by J.C. Staff.
This Amanchu - Flying Which team is new to me, doesn't fit in those past 2 categories.
Thank you Digibro for taking my fave studio in the spotlight. While I don't get why they had to use that loli trope. back when it was kinda cool, I loved Toradora. After which I watched Shakugan THEN Tsukaima. I like their works. and their adaptations because except for Hayate, they finished them.
all those 3. with really close ln tie ins...
Hard of that to come by this years.
How do you keep track of all this detail in animation? Is there some easy animation class online for free I can take?
*****
I understand style, but what about *judging quality*? That's a different kind of beast, there.
usually the fluidity and lifelike-ness of animation is the show of quality
*****
Thanks a lot man, I honestly didn't expect a long post, and am glad for it.
I had a pretty good feeling that there isn't one single way to judge good animation, but I did want some basic principles to start off. From what I know, they are:
-Things move smoothly
-You can see shit
-Characters go with backgrounds
-How detailed expressions are
-Things look good
-Consistency
-Shit moves
-Background detail
Correct me if I'm wrong, but wouldn't a lot of the studio's identities be related to the producers that work at them? Don't they have the connections to get projects that they want approved for production as well as the connections to get particular staff on the project?
Most likely. My question for the whole video was "And what about the management above directors?". I don't know how many studios are like Image Comics/ Valiant comics and artist owned, but most are likely like Disney and Co. Not everything Disney does is with the same staff, but there is definitely a Katzenberg era (aka the Disney renaissance).
And probably the changing staff knowing what the studio did before. I assume they work in the same building and have archives and just an in-industry reputation for styles.
Always happy with a shout out to Claymore.
silver link also loves that smoke like effect, it's everywhere.
i LOVED the look of Grimgar.
and there goes my hope for new seasons for no game no life, overlord, alderamin on the sky, mahouka koukou no rettousei and some more...
Studio has never really been an issue for me. I like a lot of shows from hated studios like Toei, A-1 and Pierrot.
The only studio I can't deal with is Shaft. I just can't deal with their quirks and color schemes. Even a manga like March Comes in Like a Lion is an eyesore for me when they touch it.
I need this podcast now
please make this happen
Every time I watch your videos I remember how much I don't know
lol. I got an SAO ad for this video.
If you looking for the studio that love their products and bring passion to it, is Madhouse
I would really like to listen to that podcast sooo, make it please?
Someone do the quick math. How many shows that he brought up during this video did he finish?
I would kill for another season of Kaiji
looks like there's some slight audio desync. it isn't that bad at all, but it's noticeable
or it might just be me, who knows
camzore now that I read it I can't unsee it :/
Hey digi in terms of character designs whats your thoughts on Asui Tsuyu and Neferpitou
I would let them financially abuse me. Both introduced me to their own manga/anime.
what would you say the style of white fox is?
Wait Madhouse is still planning more Ippo? Thank the lawd!
if you watch Production IG you gonna get random 3D CGI on some little details quite often.
davior12 True
Maybe it's because I was just watching 97 wcw, but I thought your channel icon was Sting at first