#shingo natsume
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“I began thinking that this might be the final destination of my long journey.”
Sonny Boy | サニーボーイ, 2021
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One Punch Man Season 1 Storyboard Collection
It's been a minute since I've shared about my art book escapades on here, but this set is just way too cool to not talk about. Only produced for a limited edition run of S1 DVDs, these art books are a pain to find, but I finally got my set and wanted to show them off a little bit.
What bigger name is there for direction on One Punch Man than Shingo Natsume? Having boarded the first two as well as the final episode of the season, there's way too much for me to want to share here.
The issue being that the art books are painfully small, and as you can tell it's two pages of storyboards to a single page in the art book. Makes it incredibly difficult to get good pictures of, but I've got a few here from the first volume.
Upon first opening this first art book, I was really surprised to see how Shingo Natsume boarded the series. His work as a director and animator is incredibly refined and accurate, so seeing so much detail and information missing in these boards surprised me.
Still, for what's lost in detail, Natsume makes up for in feel. The first image I shared of the boards really illustrates that. Even though the details aren't incredible, the feeling and flow expressed with the boards is incredibly strong, and is a massive piece of why season 1 did so well.
Also included in these storyboard collections is a handpicked group of keyframes from the relevant episodes.
What I really really love about these is that they provide a cut number as well as the animator behind the cut. You can't really see it well in the second image, but in the first you can see that Oda Gousei is credited with the specific cut shown.
Anyways, it's really really incredible seeing the insane work of Season 1 in this much detail and background. Makes me wish these art books were easier to find and were a larger trim.
Really such a pain to try and photograph, and even still there's a lot of issues with these images. In spite of that though, you can 100% tell how amazing this work is, and this is only for the first two episodes.
Volume 6 is definitely my favorite volume thanks to Yutaka Nakamura's keyframes being featured in it, but I need to figure out how to get better images so that I can properly share those keyframes.
But that's about all I have to share with the collection. It's a lot of storyboards and a little bit of keyframes, but I think regardless of interest it's a super easy recommendation for people to pick up, if they can find it (the first vol is typically reasonable, second vol not so much, and good luck with the rest sadly).
#one punch man#one-punch man#opm#studio madhouse#madhouse#shingo natsume#yoshiaki kawajiri#yutaka nakamura#yusuke murata#anime art#anime art book#anime and manga#anime#art book haul
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#acca 13#ACCA: 13-Territory Inspection Dept#Shingo Natsume#natsume ono#10s anime#need a cigarette to go with this rain
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#anime#animation#sakuga#tatami galaxy#tatami time machine blues#masaaki yuasa#shingo natsume#science saru#night is short walk on girl#tomohiko morimi
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the Island at the Far End of Summer
#sonny boy#サニーボーイ#shingo natsume#madhouse#anime#anime aesthetic#screencaps#anime stills#summer nostalgia#this scene with the ging nang boyz track first ep was just-#breathtaking#go watch it.
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The Necessity of Shingo Natsume
“My style is to have no fixed style. Other people would accuse me of having a style, though. It may be that I understand myself the least.” – Shingo Natsume
I’ll admit, I got off on the wrong foot with Shingo Natsume. My formal introduction to his work was One Punch Man, a show that seemed to me an embodiment of anime’s increasing artlessness and lack of narrative ambition, the growing divide…
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just watched the entirety of sonny boy in one sitting 💀 emotionally devastated, brain chemistry altered, etc. expect fanart in the near future if i can figure out how to do the anime justice
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A beautiful new illustration to celebrate the 40th anniversary of "Magical Angel Creamy Mami" by the character designer of the series, Akemi Takada.
#Creamy Mami#Mahou no Tenshi Creamy Mami#Magical Angel Creamy Mami#Akemi Takada#Yuu Morisawa#Megumi Ayase#Shingo Tachibana#Toshio Otomo#Midori Kisaragi#Hayato Kidokoro#Tetsuo Morisawa#Natsume Morisawa#Nega#Posi#LETS GOOOOOOOOOOO#TODAY IS SO GOOD
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Yuuki Kamiya, Jujutsu Kaisen, and The Tragedy of Ao No Sumika x Specialz
Now, this isn't to say that Specialz is a terrible opening by any means, just that compared to the electric nature of OP3, it ends up feeling incredibly lackluster from a manga reader's perspective. Because of that, a major blow is dealt to the incredibly ambitious creative effort Kamiya, the director and storyboarder for both OPs, had put into each to personify his visual style. So, let me walk you all along the path explaining the pain in this failed conversion on the success of Ao No Sumika.
⚠️Warning: Manga spoilers for Shibuya will be discussed⚠️
I think it can be no clearer than the two images I've chosen to represent each opening what it was that Kamiya was going for here.
Gojo and Geto, the pair that once formed the strongest are now being pitted against one another. The two halves that constituted a whole now separated.
But let's rewind a little bit to take in the incredible nature of OP3 here. I didn't really speak on it during the arc, but the more I replay it, the more I discover more and more to truly appreciate within it. What makes OP3 so good? Well, I think a great example is Chainsaw Man ending 8.
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What does it do? How does it do it? Despite appearances, this ending (as well as both of Kamiya's JJK openings) share very strong design principles with one another, and maybe even just a bit of Shingo Natsume inspiration. Anyways, the things that tie these openings together. Walk cycles, particularly ED8 here and Specialz, they share Kamiya's passion for slow motion walking animations. Character and group isolations also remain important to his creative vision. Singling out characters or groups to convey a feeling or an overall sense of purpose appears frequently, but once more is felt more strongly in Specialz than Ao No Sumika.
... I think most can read into where I'm going with this point. Specialz is closer to Chainsaw Man ED8 than it is to Ao No Sumika's opening. While the former opening still conveys Kamiya's visual style, it's a far greater breakout in terms of framing than Specialz is. We've seen Specialz before with First Death on Chainsaw Man. Not that it's not good, but it's something that leans on what Kamiya has already established.
Ao No Sumika on the other hand? It's light hearted, it's energetic. It's free. The very first scene we get in the opening is of an isolated Gojo using the fade in/out transitions that Kamiya enjoys, so we're very much aware of his style. But you follow it, and what do you happen upon?
Not an orchestrated and slow walking cycle, no. Rather, it's an energetic and full chase as we follow our Jujutsu High students to the train station. Immediately we break free of Kamiya's typical foundation to provide something outside of the box.
And you can find many examples of that within. Kamiya tends to lean towards a more methodic and "heavy" style before the action breakdown happens in an opening. Which, much like his penchant for walk cycles isn't a bad thing, it doesn't make the opening bad. It simply makes it a one-note affair that can prove to be disinteresting, especially when it can feel incredibly similar to JJK OP2 (Vivid Vice).
And that's not a baseless accusation, let me break it down. The walk cycles that appear from Natsume's OP2 in season one, featuring it's slow-motion and whatnot, also appear in OP4. The idea of groupings and the display of them appear in both as well. So on and so forth, you can find a lot of extraneous pieces that bear similarity to one another.
Once more, I believe you can see where I'm going. Whether or not intentional, it is a rather clear fact that Vivid Vice and Specialz share a lot of creative similarities. And, just to keep driving the point home, it's not a bad thing by any means. It's just not something great.
What I do think may be a little bad though is Kamiya's reliance on moments that will appear in the anime.
⚠️Once more, spoiler warning for Shibuya past this point⚠️
So, the front bits of Specialz certainly isn't bad, and a few pieces in between are solid, and the hand sign ending is arguably the best possible sequence to appear in this opening. But there's a lot of muddy bits in the middle that are just manga panels brought to the opening.
From about 44 seconds into the opening, it relies nearly entirely on manga panels for its visuals. There's a few exceptions like the Itadori-Sukuna changeover, but past that it's strictly manga panels.
Frankly speaking, I'm not fan. It's incredibly hype worthy, but it's not what I want to see in an opening. Considering how I've talked about Natsume here I'll use Vivid Vice as an example.
Dance around the story, feature your own take on it, your own inspired vision on how you would approach it. Play it with, shape it to your liking and allude to things that are much farther into the future than the literal present. Ao No Sumika understands this incredibly well, but it seems to elude Specialz.
I've kinda lost the plot, haven't I? The tragedy that befell this pair of openings is what I'm here to discuss, so let me tie a bow on it.
Ao No Sumika and Specialz are meant to be ying and yang. The happy and inspiring OP that tells the story of the nigh-unstoppable duo as they enjoy their blue youth, versus the dark and crimson life that awaits our sorcerers on Halloween.
Yuuki Kamiya loves blue and red highlights in their openings and endings, and they tend to contain both. But neither Ao No Sumika nor Specialz are complete in that regard. His visual style has been fractured to represent the two stories as they become one to show how intricately tied together Gojo's Past and Shibuya are.
And it's a shame. The electric opening that is Ao No Sumika ends up falling flat on its follow up with Specialz. Arguably the greatest potential in openings in a very long time hasn't quite been squandered, but it very unfortunately missed the mark.
#jujutsu kaisen#呪術廻戦#jjk#sorcery fight#gojo satoru#geto suguru#anime review#anime and manga#anime#yuji itadori#yuji#fushiguro megumi#megumi fushiguro#nobara kugisaki#nanami kento#kento nanami#maki zenin#toji fushiguro#yuuki kamiya#shingo natsume#Youtube
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