#shishido jun

[valkaryah]

The Princess and the Pilot (とある飛空士への追憶)

[stuff-diary]

Attack on Titan: The Final Chapter

TV Shows/Dramas watched in 2023

Attack on Titan: The Final Chapter (2023, Japan)

Directors: Yuichiro Hayashi & Tokio Igarashi

Writer: Hiroshi Seko (based on the manga by Hajime Isayama)

Mini-review:

God, I don't even know how to begin this review. Attack on Titan has been part of my life for so long, and I find it hard to accept that it's finally over. Overall, I'm very satisfied with this final episode. It gave us show-stopping action, it gave us drama, it gave us a powerful anti-war message. Like this show has always done. In some ways, the mixture of cynicism and hopefulness that permeates this final act reminds me of Evangelion, and I mean that in the best possible way. Tbh, now that I've finally seen it, I can't understand why people have hated it so much ever since it was first published. How else could it have ended, after all the twists and turns the story took? I think Isayama did the best he could, and MAPPA took things to the next level with some of the best animation they've ever produced. This final chapter gave me a lot of food for thought, and I'm pretty sure it will stay in my mind for a long time, just like this world and its characters.

[otakutale]

Attack on Titan: The Final Season Part 3 Visual Revealed

https://wp.me/p4jiOt-dcr

The official website of the anime adaptation of Hajime Isayama’s Attack on Titan (Shingeki no Kyojin) has revealed a brand new visual…

[silvadour]

Attack on Titan S04E30 - Act 2 - "A Long Dream" Episode Director(s): Yuichiro Hayashi (林 祐一郎) & Tokio Igarashi (五十嵐 季旺) Chief Episode Director: Jun Shishido (宍戸 淳) Screenplay: Hiroshi Seko (瀬古 浩司) Key animator: Arifumi Imai (今井 有文) Storyboarder(s): Arifumi Imai (今井 有文) & Yuichiro Hayashi (林 祐一郎)

[rikeijo]

Today’s translation #700

Animestyle 2017/05, Staff's round-table discussion

Yuri!!! on ICE was supported by teamwork, trials, errors and 'love'

Oguro: You all did very good job on Yuri!!! That one cour was really a miracle. When I saw the first episode I thought that surely, it'd be impossible to have so many skating scenes every week, but actually there was more and more skating scenes every week - it shocked me.

All: (laugh)

Hiramatsu: Everyone was thinking the same thing. That even if there were going to be figure skating scenes in the show, surely no longer than 5 minutes or so. After all, it's an anime, so we will cut those scenes short in a nice form. That's what I thought, when I heard about the project, but when we started, It turned out that they were going to show everything. I was surprised.

Tatenaka: They were really serious about the show.

Hiramatsu: I underestimated them. There was also another design for a costume ready, but in the end, we decided not to change the design.

Ito: We didn't have enough time in the schedule to do that!

Hiramatsu: Because even if it's just changing the character's clothes, it's still a lot of work.

Oguro: So there was a plan to change the costume, but not the movements, is that right?

Hiramatsu: Yes, yes. But even if it's just the clothes that change, you have to redraw everything.

Tatenaka: In the end, the number of frames that would need to be redrawn would be the same as when drawing everything from zero.

Ito: If we decided to do something like that, the Animation Director would correct a few frames and the film would be re-made.

[Notes: A very interesting cross-talk between staff members: Hiramatsu-san (character design & animation director), Ito Noriko-san (assistant animation director), Tatenaka Junpei-san (animator of skating scenes) and Shishido Jun-san (episode director/storyboards).

The costume they talk about is, I believe, Yuuri's Eros costume, which from what I've heard was supposed to be changed mid-season to his own 'proper' costume from the one that we see and that was designed with teenage Victor in mind per Sagiri Yuuko's interviews. (I think that everyone assumed that it's the design that we see on the cover of soundtrack CD, but I'm not sure it was confirmed).]

[cloudynyxx]

Interview of Death Parade Staff - Key Animators

The Appeal of Key Animation and the Joy of Animation Supervision Animator Roundtable Discussion

Shōsuke Ishibashi / 石橋 翔祐 [Key Animator] Takashi Kojima / 小島 崇史 [Key Animator] Ryōta Azuma / 東 亮太 [Animation Director / Key Animator] Izumi Murakami / 村上 泉 [Prop Design / Key Animator] — Please tell us about a memorable scene from "Death Parade" that you participated in

Azuma: I have mainly worked on PD Takuya's works, which is how I got involved in Death Parade. I was given the opportunity to be the animation director for episode six, which was a very unique episode. To be honest, I didn't have much experience as an animation director, so key cuts were handled by Kojima-san, Ishibashi-san, Murakami-san, and other skilled animators and artists, who made the important scenes more appealing. Especially Ishibashi-san. His cuts were the first to get delivered, and they had an enormous number of keyframes where Mayu was moving ecstatically with very detailed acting. It was completely different from the keyframes I usually draw, so I was shocked to see how he handled it. It had a positive influence on me. Murakami: I think Ishibashi-san created Mayu's character. Ishibashi: No, that's not it. Since I participated in episode six first, Mayu was the first character I animated. I was like, "Huh? Decim hasn’t shown up yet," (laughs). I worked on episode 4 afterwards. Murakami: When I joined, Ishibashi-san's rough animation was already complete, so I watched the footage and thought, "Mayu is a girl who moves like this," and I understood what to do. Also, Episode Director Shishido was the type to entrust a lot to the animators. Kojima: Yes, Shishido [Jun]-san's storyboards are very easy to visualize in motion. Speaking of memorable things, in Death Parade, there were many scenes where the space was constructed in 3D, right? Ishibashi: Yeah, that's right. The first scene I worked on was in front of the bar counter in Viginti in episode six. It was challenging because it was not originally constructed in 3D. But then when I started working on other episodes, I realized that this [3D layout] was easy. Kojima: Working with 3D layouts means you don't have to draw backgrounds [laughs], which is convenient, but I also worried that neglecting to draw them might make my skills in that area rusty, so I had some doubts about whether it was the right approach. Ishibashi: I understand that. But drawing so many kokeshi dolls was tough... Murakami: Oh, I'm sorry. It's my fault that there were so many kokeshi dolls. When I was asked by Tachikawa-san (series composer and director) to design a Japanese-style bar, I thought it would be nice to have lots of kokeshi dolls lined up like bottles of alcohol, so I drew the image board with that in mind...

— PD Takuya and Kurita-san mentioned that Kojima-san broadened the range of character acting in Death Parade.

Kojima: Is that so? That's great to hear. In the first episode we worked on around 55 cuts, and during the meeting, either Director Tachikawa or Director Shishido-san requested that I present the acting with all the intensity of someone emotionally breaking down in tears at a press conference. So, I watched some videos for reference and drew accordingly. When it came to the ninth episode, I was initially consulted about the air hockey scen, but wanting to try something new, I asked to work on the scene where Shimada's sister is assaulted instead. Ishibashi: I thought you were definitely going to choose hockey, so I was like, "Oh, this is it?” (laughs). The cut with the light glinting on the knife,  the acting was so skillful there that we left it untouched and just let it run as it was. Kojima: (laughs) Well, I can't help but feel like I've been doing nothing but pitiful scenes most of the time. Also, the skating scene in episode eleven was very difficult. Ishibashi: That scene was mainly handled by Murakami-san, right? I also participated a bit, like drawing the childhood skating scenes. Kojima: I was allowed to draw the start of the skating scene. I did about 4 cuts in that area. Murakami: As for me…I am filled with a feeling of wanting to fix it… Ishibashi: No, you did really well. You had quite a number of cuts, right?Murakami: The number of cuts was around twelve. With everyone's help, we managed to complete it somehow. We had assistance from the 2nd key animation team as well.

— It seems that episode eleven had one of the stricter schedules among all the episodes. Ishibashi: Indeed, I was worried about whether we could really broadcast the episode or not, but the atmosphere in the studio wasn’t tense at all, and I felt very good. It was more like, "Can we do it?" rather than "Oh no, oh no!" (laughs). In the end, we managed to complete it (laughs). Murakami: While drawing, I kept thinking, "I can't believe this is going to air in a week," "unbelievable." Ishibashi: I think it was because Kurita-san, PD Takuya, and desk clerk Nakatani (Satoshi) were people who had such a reassuring presence. When I heard laughter coming from their corner, I thought, "As long as Tachikawa-san is laughing, it will still be OK.” — Who was the easiest character to draw? Azuma: The dark-haired woman was relatively easy to draw, but Decim was quite challenging to get right. Kurita-san's designs are characterized by having their mouths positioned lower on their jaws, but when I started drawing, I unconsciously kept placing the mouth too high… Kojima: All the main characters were difficult. Decim especially was a total struggle for me. Personally, I might not be good with characters who lack expressions. I found it enjoyable to draw characters with expressive faces or those in despair. Ishibashi: I found the dark-haired woman somewhat difficult to draw, but Decim was relatively easier for me. With guest characters, there was some flexibility in altering their faces, which might have been influenced by Kojima-kun's work in episode 1, where he broadened the scope of the acting. Murakami: I had already given up on trying to make them look on-model (laughs). Kurita-san's characters, when drawn by him, are very beautiful, but if you don't draw them well, the balance gets messed up. It's beyond me... (laughs). Also, in episode six, drawing Memine the cat was challenging. Azuma: But you were the one who could draw the cat the best. It was really helpful while working as an animation director. Murakami: Really? I didn't know what to do, so I started with a lot of cat sketches. Ishibashi: In episode six, Murakami-san drew great facial expressions in the live scene in the C part. Especially when everyone was like, "Yay!" (laughs). Speaking of what left an impression on me, in episode nine where I was the animation director, Hiromi Ishigami-san, Ryoma Ebata-san, Tetsuya Masuda-san, and Akitsugu Hisagi-san participated as key animators, and it was really enjoyable. Ishigami-san is my senior, but it had been about 7 years since I last saw her original drawings, and I was again impressed by how good she is. Ebata-san's presentation of Tatsumi smoking a cigarette and putting it out with his foot had a very good sense of perspective. Ebata-san was also in charge of the part during the ending theme, where the emotions were conveyed amazingly even without any dialogue. And Masuda-san also did a lot of keyframes. I personally like Masuda-san's drawings, so I got excited whenever I received his keyframes... But even though I'm talking so familiarly, I don't actually know Masuda-san at all (laughs).

— So you've only seen his keyframes.

Ishibashi: That's right. So when I came to the studio for the animation meetings, I wanted to meet him... I was saying "Masuda-san, Masuda-san" so much that they thought we were old acquaintances, but no one told me "Masuda-san is here" (laughs). I was shocked (laughs). Azuma: As an animation director, it makes me happy when I receive wonderful keyframe drawings. This time, there were a lot of good people of a similar age as me who participated, and I was glad that I was able to get a lot of inspiration from them. Kojima: As for what left an impression... Well, due to certain circumstances, I didn't work inside the building, so I feel like there's a bit of a difference in atmosphere here (laughs). But if I had been working inside, it would have been a bit more enjoyable, so it's a bit disappointing (laughs). Ishibashi: Kojima-kun and I have worked together at a different company before so I was looking forward to working together again, but when I heard that you wouldn't be joining the company, I was a little disappointed. Kojima: Since I didn't have many opportunities to meet people this time, I'll try my best to work in the studio next time (laughs). Ishibashi: (laughs) Speaking of disappointments... Personally, I wish I could have seen more of Kurita-san's keyframes. Like in the first episode, the scene where Decim pulls out the thread. Or in part C of episode three, when Chiyuki does that flourish at the end. Every time I thought, "Who did this!?", it turned out to be mostly Kurita-san (laughs). Kurita-san always talks as if he hasn't done anything, but I thought that was unfair. Murakami: He did mention he wanted to do keyframes. Ishibashi: When someone is that skilled, of course they would want to do keyframes. As an animation supervisor, you're in a supportive role, helping with the difficult parts and making sure the characters are on-model, so the keyframes are more exciting. Kojima: But as a Chief Animation Supervisor, Mr. Kurita, was able to make corrections in a way that preserved the good points of the person in charge of the original drawings, and I think this is one of the reasons why I enjoyed working on this project.

— Murakami-san, is there any particular scene that left an impression on you?

Murakami: Working on the figure skating scenes was really fun, but bowling was also really enjoyable. My previous project [Ace of Diamond] also had sports-related elements. Sports movements are different from everyday actions; they're very straightforward. For example, if you're "throwing a ball," you're solely focused on the act of throwing. That aspect makes your work very focused and exciting. During the bowling scenes, I consciously tried to convey the weight of the ball. However, the fun part is from drawing to the rough animation. When you’re in it, you think, "This might work," but when it comes together as a finished visual, you end up reflecting, "It's not as good as I hoped," right? Ishibashi, isn't that how all animators feel? [Ishibashi laughs]. The linetest is probably the most intense emotionally (laughs). There's no color or anything decided, so your imagination can run wild.

— It seems like the animators had quite a bit of freedom in their drawings, from what I've heard.

Ishibashi: When we were asked to "do this part," there were many areas where we had a lot of freedom. It might have been a bit challenging, but it allowed animators to expand their creativity. Kojima: It was easy for me too. I really enjoyed the work. Azuma: Especially with guest characters, since they only appear in that particular episode, I think they were given a lot of freedom to draw. Mayu in episode six, for example, was a character where we were told we could go all out with the comedic, exaggerated expressions, so there was a lot of freedom. Ishibashi: Mayu's face when she's hit with wind from below was really something (laughs). Murakami: Yes, there were many cuts where we could do whatever we wanted with the acting. Ishibashi: When we were asked to "do this part," there were many areas where we had a lot of freedom. It might have been a bit challenging, but it allowed animators to expand their creativity. Kojima: It was easy for me too. I really enjoyed the work. Azuma: Especially with guest characters, since they only appear in that particular episode, I think they were given a lot of freedom to draw. Mayu in episode six, for example, was a character where we were told we could go all out with the comedic, exaggerated expressions, so there was a lot of freedom. Ishibashi: Mayu's face when she's hit with wind from below was really something (laughs). Murakami: Yes, there were many cuts where we could do whatever we wanted with the acting.

—  Looking back on the series, were there any episodes that left a deep impression on you?

Kojima: I like episodes eight and nine. They're a bit gut-wrenching, but there's something about the feeling of hopelessness that I appreciate. You don't see stories like that often. Ishibashi: I'm quite sensitive, so watching sad stories makes me sad too. I prefer more gentle endings, like in episode three. Also, the farewell between Chiyuki and Decim in episode twelve, that scene made me cry a lot (laughs). Murakami: When I saw episode twelve, I thought, "I was doing a ‘good story’ anime" (laughs). This series had different vibes for each episode, which was interesting, but episode six had a really good balance... The story was wild, and so was the animation. It was a lot of fun to watch. However, just before it aired, I started worrying, "Did we go too far?" "Is it going to be okay?" Even Shishido-san, who storyboarded it, was worried. Azuma: Is that so? I thought episode six was interesting from the moment I started working on it (laughs). So, I wasn't worried at all. I was like, "It's definitely going to be fun! Watch it!" Ishibashi: Actually, what made me wonder if it would be okay was the opening. When I first saw the storyboard, I thought, "Huh? Is this really for Death Parade?" (laughs). Azuma: Yes, that's right. When I heard the song, I was so excited that I thought, "Oh! (laughs). [Murakami laughs] Overall, this project was challenging, but it was also enjoyable.

━┅━┅━┅━┅━┅━┅━┅━┅━┅━

NOTE: I am not fluent in Japanese! I translated this with the help of a language partner. However, as neither of us are fluent in one another's native tongue, there may be errors in the translation. I typically don't share things I translate in my free time, but since no one has tackled these interviews in nearly 10 years, I figured it was nice to put these out there for folks who may be interested.

[popgeek]

After much waiting, you can finally get the Attack on Titan season 4 part 3 review here. Attack on Titan Season 4 Part 3 is an action and supernatural show set to end the long conflict as Eren and his allies take on Mikasa and the Survey Cops. One of the biggest anime series of 2023, Attack on Titan season 4, part 3, is directed by Yuichiro Hayashi, with Jun Shishido serving as the chief director of the show, replacing Tetsuro Asaki and Masashi Koizuka, respectively. Once again, studio MAPPA took the hat to animate the Japanese manga. The production studio has been behind various successful anime, including the Future Devil Chainsaw Man and Jujutsu Kaisen. So, now without waiting any further, let’s quickly see what Eren Yeager is up to now. You can click here to get reviews of all seasons of Attack on Titan here. 

[byneddiedingo]

Joe Shishido in A Colt Is My Passport (Takashi Nomura, 1967) Cast: Joe Shishido, Jerry Fujio, Chitose Kobayashi, Ryotaro Suji, Kanjuro Arashi, Shoki Fukae, Eimei Esumi, Jun Hongo, Akio Miyabe, Toyoko Takechi, Takamaru Sasaki, Asao Uchida, Zeko Nakamura, Kojiro Kusanagi, Zenji Yamada. Screenplay: Hideichi Nagahara, Nobuo Yamada, based on a novel by Shenji Fujiwara. Cinematography: Shigeyoshi Mine. Production design: Toshiyuki Matsui. Film editing: Akira Suzuki. Music: Harumi Ibe. I didn't see any Colts in A Colt Is My Passport, but there are several rifles, pistols, and shotguns, some dynamite, and the protagonist carries a Beretta, so I suspect the title is a bit of poetic license designed to make the Japanese gangster into the equivalent of the gunfighter of the American Wild West. Harumi Ibe's music score, with its guitar, harmonica, and whistler evoking Ennio Morricone's scores for Sergio Leone's spaghetti Westerns, seems designed for the same effect. But why court comparisons? The Japanese gangster movie is its own well-defined genre, and Joe Shishido is its superstar. In A Colt Is My Passport he's Shuji, a hit man hired to off a crooked businessman, which he does with cool efficiency. Unfortunately, the guys who hired him immediately turn against Shuji, so he's soon on the run, along with his sidekick, Shun, played by the Anglo-Japanese actor and singer Jerry Fujio. (Fujio even gets to croon a ballad at one point in the movie, slowing down the otherwise non-stop action.) The movie is filled with James Bond-like gadgets and car chases: At one point, Shuji and Sun find themselves kidnapped and thrown into the back seat of a car that they have had rigged with an extra braking system, apparently just in case they find themselves in such a predicament. Engaging the brake causes the car to skid, throwing the bad guys into the windshield and knocking them out. And so it goes until Shun is captured and beaten to a pulp, whereupon Shuji bargains with the bad guys, giving himself up to them so Shun and the pretty motel waitress Mina (Chitose Kobayashi), who has helped them, can escape. Apparently the bad guys trust Shuji enough that he has time to work on a way of defeating them: He rigs up some booby traps for the showdown they have arranged on a landfill, and the movie ends with Shuji staggering away from the carnage. It's all great fun in that peculiarly heartless and mindless way that such thrillers have.

[snknews]

Shingeki no Kyojin Season 4: Premiere Countdown Illustrations

7 Days | Gabi, Falco, Udo, & Zofia, by Akita Manabu 6 Days | Connie & Sasha by Yabuta Shuuhei 5 Days | Gabi, Falco, Udo, & Zofia by Suenaga Junko 4 Days | Titan by Shishido Jun 3 Days | Gabi by Tannawa Yusuke 2 Days | Zeke by Niinuma Daisuke 1 Day | Reiner by Kishi Tomohiro Broadcast Day | Soldiers by Hayashi Yuuichirou

See Also: SnK Season 1 End Cards || SnK Season 2 Post-Episode Illustrations || SnK Season 3 Post-Episode Illustrations

Related News: Collections || MAPPA || Photos: Official Art || Season 4 || Staff

[moodscreencaps]

banana fish episode 9 “save me the waltz” (2018) dir. jun shishido

[valkaryah]

The Princess and the Pilot (とある飛空士への追憶)

[stuff-diary]

Attack On Titan (Final Season, Part 3.1)

TV Shows/Dramas watched in 2023

Attack on Titan (Final Season, Part 3.1, 2023, Japan)

Directors: Yuichiro Hayashi, Ryota Aikei & Tokio Igarashi

Writer: Hiroshi Seko

Mini-review:

Let me start this review by saying they really should not have split the final episode in two. It just feels like the build up keeps coming and coming, and then it cuts off right in the middle, leaving the viewer deflated. It would have made so much more sense to make the final part of the story as a two hour movie.

Anyway, it's been almost 10 years (💀) since I first started this show and I'm actually pretty excited to find out how it ends, even though that won't happen until this fall. I know this show has been crazy controversial for a long a time, but it keeps delivering its clearly anti-war message in a way that I find incredibly powerful. I must admit I got a bit lost during some of the more expository scenes (I guess I'll have to rewatch the whole show before the final final episode airs), but there were also some showstopping sequences that left me almost speechless. Let's hope the last episode lives up to all the hype.

[otakutale]

Attack on Titan: The Final Season Part 3 2nd Cour Slated for Fall/Autumn 2023

https://wp.me/p4jiOt-dfs

Following the broadcast of the first part of the final season of the anime adaptation of Hajime Isayama’s Attack on Titan (Shingeki…

#shingeki #AttackOnTitan #ShingekiNoKyojin #進撃の巨人

[rikeijo]

Today’s translation #749

Febri vol. 40, Hiramatsu Tadashi's interview

Part 12.

-- Do you think that for Director Yamamoto it was a matter of 'it will be a victory or defeat'?

Hiramatsu: I think it was. I heard her saying 'I want to make Yuri!!! into an anime that nobody has ever seen before' from the start. And I think it was very important for the project that MAPPA's Otsuka Manabu understood the Director's intentions. When we were working on episode 2. and 3. to show them during pre-screening event, I thought that 'if the whole production will be like that, it's going to be a terrible one'.

-- What do you mean by 'terrible'?

Hiramatsu: That we wouldn't be physically able to produce the show. We had several months to work on episode 1, but after that more and more was required from us, so when we were working on episode 3., I was afraid that everything would simply physically collapse, to tell the truth. What's more, in episode 5. the number of characters increased, and then continued to increase after that, right? I was worried if everything would really be alright. But in such a dire situation, Otsuka-san, and Shishido Jun-san, and office staff member, Kogawa Takahiro-kun showed enormous determination, so the staff at the studio also didn't waver. 'If you decided to do this, then we also won't give up' - that's how we felt.

[soodimilani]

Attack on Titan (2013 - present)

- Kenny Ackerman: Everyone I’ve met was all the same. Drinking, women, worshiping God, even family, The King, dreams, children, power… Everyone had to be drunk on something to keep pushing on. Everyone was a slave to something.

[choidasa]

bytachikiritai at tenipuri festa 2016 “konomi-sensei chose the members for this unit and made up the name and the song title for them. so bytachikiritai’s koi no geki dasa ecstasy exists exactly because it’s the four of us.”  —kusuda toshiyuki