The Next Big Shōnen Anime: Gachiakuta Creator Kei Urana, Graffiti Designer Hideyoshi Andō, Producer Naoki Amano

and festivalit feels like we are on the cliff of big things. Its unique style distinguishes it from other teenage anime, and the hot attitude it exudes now resonates with the audience. It was a new series that allowed us to pass festivalRudo.

https://www.youtube.com/watch?v=eb5mjmp94co

You can describe festivalMessy, tough, painful – All of these styles are suitable for the world in a garbage dump. The weight of the lines matches the freestyle style of the doodle. With the debut of the anime adaptation, we can experience the world and sounds in this world.

Me and In Uranathe creator and main artist of the Comics series, as well as hideyoshiandō, whose graffiti art and visual accents have intensified festivalUnique talent. The heavy line weight of Urana-san illustrations and the trembling feeling of the world with Andō-San’s graffiti style works well and creates a feast for the eyes.

Joining the conversation is Naoki Amano Japanese animation studio bones. Adapting to such visually different works seems to be a feat festival animation, so I can’t wait to ask him about the process.

First touch on the impact of Urana-San on the world festival I myself ask what works outside the anime and manga world or what the artist has shaped her unique artistic style. “I feel like I’m influenced by the music,” Urana-san said. She chose not to share any particular music artist, but you can make some educated guesses based on the overall style of the comic. “Whenever I draw a comic, I’m using music that matches the atmosphere of the scene.”

Urana-San said she learned a lot of courses that worked closely with Bones’ team to do anime adaptation. “My character designs tend to be complex and decorative, but now that I’m working with the anime team, I’m thinking about ways to make cool character designs, even if they’re even simpler so that the anime team can use them right away.”

Our conversations turn to the question of art medium and analog and digital. Now, with all the digitalization of so many works, does Urana-san have a strong feeling about maintaining traditional simulation methods such as pen and paper?

“I think both have advantages,” she told us. “For example, in simulation, the lines have their own thoughts and souls, so this is [the reader] You can feel it just by looking at art. “It’s the right thing to do with art festival,At least. Line art is full of certain clear energy.

Even though she said she favored analog mediums in other interviews, she made it clear that she appreciated the digital approach and hired both methods at work. “There are many ways to use it,” she explained. “Also, I wish I could do something in the simulated medium, but in the numbers, it’s easy to try it out.” She continued to share her philosophy that artists use whatever tools they use for them.

Andō-San is credited to festival As a graffiti designer, but that’s just part of what he does. He also does calligraphy, tattoo designs, and usually adds visual prosperity to expand and complement Urana-San’s character art. His contribution is crucial to building the style of the series.

He cited Mike Giant and the tribal crew (the famous family of tribal streetwear artists) as direct inspiration for his work. “Honestly, I have a lot of artists I like, but it’s more like I respect them so much that I can’t limit it to a short list of people.”

Now, in many areas, graffiti artists are allowed to mark in an approved manner, and even commissioned to perform large-scale murals on walls and buildings. How does Andō-San’s feeling of graffiti art and general labels be accepted and recognized more widely by its value as art?

“It’s like my personal opinion of art, but I think art itself is just art, it doesn’t have to belong to a type,” he said. “So it seems like [graffiti art] Already back to art. ”

this festival The comic combines two unique styles to produce beautiful and eye-catching results. What does it feel like to have the heavy line weight, graffiti art and intentionally shaking?

“The uniqueness of art is a challenge when working in this series. But it’s also charm,” Amano-San told us. They used quite a bit of CG to match thick lines and faded styles to keep the style consistent. “Fortunately, Andō-sensei offers the graffiti [assets] And provides direction for how to use it in detail. “He was confident they reappeared festival In a very precise and detailed way.

He expanded the various considerations of adaptation festivalspecial style. “We decide the production style of the series by discussing things like the garbage beast that should be animated in CG or hand, how to draw the lines of the character and the style handling in post-processing.” Using several techniques seems challenging, but makes sense. “It’s always exciting and fun to see how each point of view and idea forms.”

Amano-san still respects the old ways of doing things – the tried and tested pen and paper method. “Even digitization didn’t change that for me, so I’ve been trying to find ways to copy simulated lines.” They tested various ways to copy the comics’ feeling and decided to use hand-drawn animations as well as post-processing effects. “By the way, we have a lot of people, mainly veteran animators who use simulations (pencils and paper) to do the key animations for the series.”

The Q&A panel and premiere of the next day is no surprise Animation Expo It was good to attend the conference and fans were looking forward to buzzing.

In these events, I learned some interesting things about creators, such as what Urana-san initially tried to do Shojo comics. “It’s a little weird and awkward,” she told the audience. After a friend turned her to the comic, it just clicked. This is a good thing!

We also learned that Andō-San sometimes walks around and writes down signs of the business to get new ideas, and that his favorite font is influence.

Urana-san said she didn’t believe it could be an anime adaptation at the beginning, but her concerns disappeared after meeting with Bones’ production staff. “When I ask [the director] A trick question like “How do you think of this part?” He was like, “Oh, because that part I would do, and then this one.” He already had the answer. ”

Bones’ Amano-san says festivalA pair of creators are hardworking collaborators. Despite their busy schedule, they followed the promise to check everything, including scripts, storyboards, and character design. He said dedication is essential to adapting festivalA unique element of faithfulness. “I’m grateful for this.”

This is a big feat festival From the comic pages to the full animation glory screen, the results speak for themselves.