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In the locker #hentai,#lewd,#anime,#segs,#waifu,#animation,#nsfw,#popularhentai,#doujin,#manga,#animesex,#vanilla,#mizugi,#orgasm

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Anime Sex

5,585 subscribers

13,383 Aufrufe • vor 3 Jahren •via X (Twitter)

NSFW#hentai#lewd#anime#segs#waifu#animation#nsfw#popularhentai#doujin#manga#animesex#vanilla#mizugi#orgasm
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GM! Thanks for sticking with me through these long posts as we dive into the complexities of Kaidro. Today, let's talk about the development of our animation series. We haven't discussed this much because it's quite detailed. Where are we with the animation series development? It's a complex answer because our IP spans multiple mediums. Here's a simplified breakdown: - Learning from Anime: Like popular series such as "Fullmetal Alchemist," "Naruto," and "One Piece," where manga serves as the storyboard for anime, we've taken a similar approach but with a twist. - Starting with the end in mind: We began by creating 3-D assets in Unreal Engine 5 for our Webtoons and print manga. This choice allows us to use the same high-quality assets for cinematic TV, movies, and games, reducing costs and enhancing consistency. - Asset Reuse: By developing assets once for high-quality output, we can use them across comics, games, and animations. This method, similar to what was done in "Arcane," involves hand-painting over 3-D models for a unique look. - Cost and Efficiency: This approach isn't common due to its difficulty and the need for story consistency. However, it allows for smarter production, echoing the methods of visionaries like Disney and Hanna-Barbera, ensuring we can sustain and grow our IP like Pokémon. Current Status: - Pre-production: We're well into preproduction, with story development, storyboards, color scripts, and asset creation nearly complete. This groundwork usually takes years but we're ahead. This is because what I listed above are the mangas. Each manga counts as two episodes. And because each of those are fully developed, we have all the information we need to develop an episode. - Production Timeline: We're set to move into full production in 2025. Post our animation lock-up system with the community we am to go into full production after that in January. - Quality and Speed: An example of our efficiency is the cinematic for December 18th, where we reused game assets for backgrounds, finishing 43 scenes in just a month, which is exceptionally fast. Why This Matters: - For Investors and Community: This strategy not only reduces costs but also extends the life and reach of Kaidro, ensuring long-term success. We're significantly further in our animation development than most Web3 projects, maintaining high quality while pushing boundaries. Our hyper focus is on the production pipeline to allow for the anime to come to life. LFG $KDR
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GM! Thanks for sticking with me through these long posts as we dive into the complexities of Kaidro. Today, let's talk about the development of our animation series. We haven't discussed this much because it's quite detailed. Where are we with the animation series development? It's a complex answer because our IP spans multiple mediums. Here's a simplified breakdown: - Learning from Anime: Like popular series such as "Fullmetal Alchemist," "Naruto," and "One Piece," where manga serves as the storyboard for anime, we've taken a similar approach but with a twist. - Starting with the end in mind: We began by creating 3-D assets in Unreal Engine 5 for our Webtoons and print manga. This choice allows us to use the same high-quality assets for cinematic TV, movies, and games, reducing costs and enhancing consistency. - Asset Reuse: By developing assets once for high-quality output, we can use them across comics, games, and animations. This method, similar to what was done in "Arcane," involves hand-painting over 3-D models for a unique look. - Cost and Efficiency: This approach isn't common due to its difficulty and the need for story consistency. However, it allows for smarter production, echoing the methods of visionaries like Disney and Hanna-Barbera, ensuring we can sustain and grow our IP like Pokémon. Current Status: - Pre-production: We're well into preproduction, with story development, storyboards, color scripts, and asset creation nearly complete. This groundwork usually takes years but we're ahead. This is because what I listed above are the mangas. Each manga counts as two episodes. And because each of those are fully developed, we have all the information we need to develop an episode. - Production Timeline: We're set to move into full production in 2025. Post our animation lock-up system with the community we am to go into full production after that in January. - Quality and Speed: An example of our efficiency is the cinematic for December 18th, where we reused game assets for backgrounds, finishing 43 scenes in just a month, which is exceptionally fast. Why This Matters: - For Investors and Community: This strategy not only reduces costs but also extends the life and reach of Kaidro, ensuring long-term success. We're significantly further in our animation development than most Web3 projects, maintaining high quality while pushing boundaries. Our hyper focus is on the production pipeline to allow for the anime to come to life. LFG $KDR

Robert Simons | $KDR 🐉

37,206 Aufrufe • vor 1 Jahr

In my career, I've spent over $100,000 commissioning artists and animators. I held a fundraiser for animators in Japan. I've given graphic tablets to artists in need. I promote young animators that I think are talented without asking for anything in return. I created an original series (Demon Rush), with 15 manga chapters and 2 animated promo episodes- all original art and animation. Spent 4 years on it, but was not recognized for doing it the true hard way. In my latest video, I hired 3 animators and paid them well for their cuts. People on X are upset that I used AI to speed up the process in the fan animation, even though in the 4 update videos leading up to it, I was completely open about how I was using it. The same people who complained about Saitama vs Cosmic Garou having too many impact frames for their liking. I don't care about these people. They complain about literally everything. I make these for fun, not to impress anyone. Even if I spent 10 years making the best episode possible, 100% hand done, these guys would still complain. I did that before with Demon Rush. In any case, this was my last animated video. I am retiring from anime and moving onto other things, so you won't have to worry about me.
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In my career, I've spent over $100,000 commissioning artists and animators. I held a fundraiser for animators in Japan. I've given graphic tablets to artists in need. I promote young animators that I think are talented without asking for anything in return. I created an original series (Demon Rush), with 15 manga chapters and 2 animated promo episodes- all original art and animation. Spent 4 years on it, but was not recognized for doing it the true hard way. In my latest video, I hired 3 animators and paid them well for their cuts. People on X are upset that I used AI to speed up the process in the fan animation, even though in the 4 update videos leading up to it, I was completely open about how I was using it. The same people who complained about Saitama vs Cosmic Garou having too many impact frames for their liking. I don't care about these people. They complain about literally everything. I make these for fun, not to impress anyone. Even if I spent 10 years making the best episode possible, 100% hand done, these guys would still complain. I did that before with Demon Rush. In any case, this was my last animated video. I am retiring from anime and moving onto other things, so you won't have to worry about me.

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10,897 Aufrufe • vor 10 Monaten