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Shorts

Both sides of the Precure x Conan collaboration were a lot of fun, especially the latter! You could tell it was a labor of love from the recreation of the transformation

The action in this week's episode of Dungeon Meshi has a real edge that makes it stand out. Sushio's fleeing animation at the end might be one of my favorite sequences in the adaptation so far: fury but also palpable desperation in how the claws struggle to attach to the wall

We're so fucking back

Ribbon Hero...Ribbon Hero...Ribbon Hero...Ribbon Hero...Ribbon Hero...Ribbon Hero...Ribbon Hero...Ribbon Hero...Ribbon Hero...Ribbon Hero...Ribbon Hero...Ribbon Hero...Ribbon Hero...Ribbon Hero...Ribbon Hero...Ribbon Hero...Ribbon Hero...Ribbon Hero...Ribbon Hero...Ribbon Hero...

So fun to have a show with such beautiful, thorough animation but also so committed to Keiichi Arawi's Cartoon Logic. You see a chase with fluid smoke animated on the 1s and then immediately trip into the goofiest fall

Funny to end Yomi no Tsugai #05 with this super cool, emphatic sequence when you can guess what the punchline is to "Yuru isn't used to these fancy bows". Wasn't emphasized as a gag in the manga, but animation &amp; series composition joined hands to turn it into a great one

coalowl's new music video for iinchou is her best work yet. The nature of her essentially solo indie efforts tend to enforce a strict production economy on her work, but all of that goes out the window with a short film with as much ambition as imagination

Thanks to Kameda's designs, Yaiba's expressions nail late 80s/early 90s kids anime in a way you can't take for granted with remakes. That creates a fun contrast with the dashes of modern three-dimensionality in the staging, the drawings themselves, or the way they're processed

Never interrupt detectives when they're celebrating, they might use their prodigious intellect to kick the shit out of you

Credit order for Kusuriya #39 indicates that the promising Mayu Tanimoto boarded the second half. Loved the conversation between Maomao &amp; Gyokuyo where her eureka moment is literalized by light. Nicely executed, shout out to a very international director team led by Misu Yamaneko

Nekotomi Chao paid back Chiramune's director Mutobe for his Oshi no Ko contribution with a stunning ending! Somewhat more realistic renderings of the designs, but in a way that allows them to be abstracted into effects-like shapes through amoji's action supervision. Cool as hell

You can BET nara was going to use the goofiest characters in Bisque Doll to stage another fun scene with paper cutout puppets 🫡

Best thing about Digimon Beatbreak so far is Gekkomon using its tongue to launch itself around. This thing is a damn menace

There's still one episode left, but the big finale for Tsurune S2 was clearly this week. The titledrop, closure to many arcs, the cast naturally reaching the message that the whole show has gestured toward, and the end of a competition. And what an end that is

Apocalypse Hotel: Ah, the impermanence of life mono: Ah, the impermanence of ice cream

Videos

Watch Anya Live

Sayonara Lara's opening is lovely. Glamorous gathering of star animators, but Koide doesn't betray the show's vibe for excessive bombast. Instead, it's a cheery extension of its WMT-esque feeling with a moderate dash of in-vogue OP techniques, like crossfades &amp; photo progressions

Jaadugar #04's highlight is the graceful depiction of Genghis Khan's passing. Beautiful and as interested as ever in engaging with the cultures it explores: the anime incorporates both his mythical ancestry with the wolf and the series' core motif through the falling star

Jaadugar #03 is a nice, lowkey immersion in a culture that's new to Sitara, but also a chance for her to reciprocate by sharing her own knowledge. The coolest example of that is guest artist Ryoko Tanaka, who turned the protagonist's fable into a neat papercut animation sequence

Amazingly tactile, ani &amp; co did an incredible job

Witch Hat Atelier staff interview shows how much they care about the specificities of this work. Depicting light in a world w/o electricity, capturing the richness of the setting through color design even when the palette's muted, the sheer precision of magic in clips like this…

The grander aspirations on a thematic &amp; aesthetic level by series director Ota don't obscure Spark of Tomorrow's romcom core for a simple reason: even the traditionally romantic and inspirational moments are wrapped around insane hijinks. Gloriously goofy show that's got heart

Sparks of Tomorrow #03 is the most traditional but hardest-hitting episode so far! Ota's imagery/choices of material remind us that electricity in the series represents a dazzling revolution like the world he hasn't seen, an opportunity to leave behind a gritty &amp; stagnant present

Directorial debut for a very ambitious director who can match his desire to explore new, idiosyncratic techniques with a story where electricity is posed as a fantastical revolution for a steampunk world that's fallen into gritty lethargy. Denmoku off to a great start!

Nichijou was an ambitious, bombastic yet thoughtful experiment to match the unique styles of Keiichi Arawi and Kyoto Animation. Both parties have evolved as storytellers since then, and now it's time for their next collaboration: CITY The Animation Read✨➡️

Put that final Laios scream in the Louvre where it belongs

L'etoile de Paris en fleur continues to feel refreshingly old-school. Carefully drafted layouts, thorough arcs of motion and otherwise deliberate posing, anatomically sound but also shape-based when it needs to be. Good in increasingly rarer ways!

World is Dancing #01's amazing climax is even better in contrast to the first performance. Oniyasha hadn't grasped the appeal of dance, which he'd seen as mechanical routine through his dad's technique, but emotion-driven expression that skyrockets the abstraction makes it click

The Witch Hat Atelier OP alludes to the manga's magical, free-flowing paneling with many of its cuts. Even though the show needs to find new forms of expression to match Shirahama's appeal, because competing at her own game is impossible, it's nice to have this direct nod as well

Funniest moment in Yomi no Tsugai #03 is the very attentive sequence, either highly referenced or roto'd, for Yuru eating an onigiri. Plainest meal possible but it's an amazing delicacy to him, so the lavish animation is somehow perfectly fitting

One of the reasons Akanebanashi is so entertaining is that it has a genuine interest in classic arts and dabbles in debates like preservation vs modernization, but at the same time, it's structured like a battle manga. I think the OP gets that unusual mix very well

When the Look Back movie was publicly revealed, word came from their in-betweening team of experimenting with methods to preserve the raw lines of the key animators, which is a naturally good match for Fujimoto's spontaneous style and for the theme of the work itself

Fugo took over as the sole key animator for Kamiina Botan #02, entirely shifting the show's style. Linework that embodies his current ksd era and an overall emphasis on comfortable posing, using neck &amp; torso articulation to add nuance to body language and acting. Pure modern fugo

In an industry where everything comes down to personal relationships, is it possible to quickly assemble an all-new, high-profile anime studio? Cygames Pictures found a way, and Uma Musume ROAD TO THE TOP's raw, expressive animation stands as proof Read✨➡️

Amazing sense of scale all of a sudden, easily the most impressive part of Yaiba this week

Big fan of the Atelier Witch Hat anime reimagining the first page of the manga as ink animation, as an element so tied to the magic of its world. Hard to compete with Shirahama's stunning art, so I love seeing the team use the tools of its world to try and match its impact

Funny to end Yomi no Tsugai #05 with this super cool, emphatic sequence when you can guess what the punchline is to "Yuru isn't used to these fancy bows". Wasn't emphasized as a gag in the manga, but animation & series composition joined hands to turn it into a great one

Credit order for Kusuriya #39 indicates that the promising Mayu Tanimoto boarded the second half. Loved the conversation between Maomao & Gyokuyo where her eureka moment is literalized by light. Nicely executed, shout out to a very international director team led by Misu Yamaneko

Sayonara Lara's opening is lovely. Glamorous gathering of star animators, but Koide doesn't betray the show's vibe for excessive bombast. Instead, it's a cheery extension of its WMT-esque feeling with a moderate dash of in-vogue OP techniques, like crossfades & photo progressions

Amazingly tactile, ani & co did an incredible job

The grander aspirations on a thematic & aesthetic level by series director Ota don't obscure Spark of Tomorrow's romcom core for a simple reason: even the traditionally romantic and inspirational moments are wrapped around insane hijinks. Gloriously goofy show that's got heart

Sparks of Tomorrow #03 is the most traditional but hardest-hitting episode so far! Ota's imagery/choices of material remind us that electricity in the series represents a dazzling revolution like the world he hasn't seen, an opportunity to leave behind a gritty & stagnant present

Fugo took over as the sole key animator for Kamiina Botan #02, entirely shifting the show's style. Linework that embodies his current ksd era and an overall emphasis on comfortable posing, using neck & torso articulation to add nuance to body language and acting. Pure modern fugo