"Mad Poihat is quite bold in the use of production funds, which may be inseparable from the 'connivance' of investors.

Similar to the last 3 minutes of the sixth episode of "Black Rock Shooter", if you roughly estimate the cost of its use, it can be said that these 3 minutes cost enough money to produce a standard 24-minute TV anime...... The difference is that the 24-minute production time will never match the quality we see so far.

Sometimes it's very simple in production, and you can see how much effect you can see with the amount of money invested.

Critical shots take up more resources, which is nothing new, and all animation companies do that, but ...... The so-called "more" also has a limit.

At least to ensure that the proportion of funds for each episode of an animation is relatively balanced, TV animation is not an animated movie after all.

The expressiveness of an animation will definitely go up and down, but this fluctuation must have a "degree", and "Black Rock Shooter" obviously exceeds this degree.

What distinguishes Mad Poihat from 'traditional' or other animation companies in the production process is that sometimes they spend 400,000 yen a minute, sometimes they spend 8 million yen a minute, sometimes they only use 10 million yen per episode, sometimes they use 40 million per episode...... It's just a rough and slightly exaggerated statement, and I don't have a list of the Black Rock Shooters' use of funds.

There is no doubt that this extreme imbalance makes it difficult for this work to use a measure such as "average production budget". As you can imagine, it is becoming more and more difficult to control the budget of this anime...... Luckily, the Black Rock Shooter only has six words.

So in the end, it's a matter of production thinking: instead of getting a "good" review after the whole anime was played, Mad Poihat chose to use a super-high level clip that surprised the audience so much that they couldn't keep their mouths shut.

The latter impresses the audience more, and in terms of results, they do just that.

However, this kind of animation production is undoubtedly a 'heresy'. Compared to polishing the story, Mad Poihat puts too much emphasis on picture production; Rather than ensuring the stability of the overall picture quality, they chose to make the kind of "glimpse" shots:

If you can't do a surface breakthrough, then do a linear breakthrough, and if a linear breakthrough can't be done, then do a breakthrough...... In terms of the survival of small companies, this approach seems to be understandable.

The audience remembered such a unique work as the Black Rock Shooter, and the industry also paid attention to Mad Poihat, a company from Kyoto, but ...... This doesn't seem to have a good impact on the industry climate.

Could it be that because of Mad Poihat's precedent, other companies started to use the practice of weakening other footage and ensuring key shots to make animations? This can not only save money, but also the audience will be satisfied because they have seen a good clip and will not have an antipathy emotion?

I am seriously concerned about this. It is conceivable that even if animation companies are not interested in this practice, what will happen to the investors behind them?

OTC investment always pursues low investment and high return, and they will not let go of any way to save money...... Mad Poihat is clearly off to a bad start.

…………

Speaking of the Black Rock Shooter anime, apart from the discussion of technical analysis and production techniques, I personally like the plot handling at the end, Mad Poihat obviously understands to return to the story, or to the characters themselves.

When the battle was over, everything was calm. With bandaged marks, Black Rock arrives at a tall building, and her messy double ponytails fall apart, which seems to indicate that the figure is in a relatively relaxed state.

Then she sat down on the edge of the rooftop and hummed softly, and with the faint sound of singing, the two dangling feet shook slightly.

Staring at her feet, it was like an abyss, but she was calm.

She then took out a paper bag and opened it to reveal its contents...... That's a packet of sour plums.

She held the paper bag to her chest with one hand and put a sour plum in her mouth with the other.

'Good sour ......'

A tear overflowed from the corner of his eye, and the corner of his mouth also skimmed...... In addition to the cold face that looked at the whole play, Hei Yan finally had another expression.

She was indeed soured

'The expression of eating sour plums' (note) makes Kuroiwa, who is a warrior, return to his original identity...... She's an ordinary thirteen-year-old girl, that's all.

The small details make the distance between the characters and the audience be pulled back in an instant. Like a girl everywhere, her personality has become everyday, three-dimensional, and full of reality.

The Last Judgment is down

No one can escape

The blood of original sin that flows through it

The melody of the waves, the dark clouds gather towards the sky

The rain shouted loudly and the wind was blowing

In the words full of mystery, the witches smiled slightly

The twisted dinner party of the night is repeated over and over again

……’

Personally, I like the second ED of the anime very much.

From the perspective of the project itself, it is foreseeable that the anime of Kuroiwa Shooter should come to an end, but the journey of the character of Kuroiwa continues in the invisible place. ”

…………

In the case of animated works, the audience is more concerned about the characters and the plot. But this is not the case with the views of the industry or the more professional.

The comments of critics like Kondo are already very soft, and real animators or animation critics are much more critical, because Mad Poihat's approach to production is really unconventional, and there is no way to see it as problematic.

It's as if they're saying that Mad Poihat has pushed hard again on the road of the "industry pill".

The production budget of 120 million is enough to produce an ordinary season, why do you want to make such a short animation?

Nonsense, because it is impossible to achieve such quality if you make Ji Fan, and it is impossible to cause such a heat.

As for the question of what industry pills are not pills...... To be honest, Miyadai didn't care at all. Even if the island country animation industry pill has a relationship with him?

The animators themselves could not control the project, and the fact that Mad Poihat produced an animation did not affect the main position of the investor in the slightest.

Even Miyadai doesn't even have the idea of 'working hard to slow down this process', if it's destined to be finished, why save it?

Prosperity and decline is an inevitable process, and what he has to consider is not to let the ship sink more slowly, but to choose which point in time before the sinking of the ship to carry out the "battlefield transfer" - Gong Daizu is Chinese, and he will definitely return to China in the future.

Population capacity determines market potential, and this is true everywhere. The domestic animation market is growing, and the number of consumer groups and enthusiasts is also expanding, and copyright awareness and regulation are ...... On the whole, it is still developing in a good direction, and the slogan of "revitalizing Chinese animation" has always been there.

Whether it is Miyazaki Jun or Takahata Xun, there is a period of great admiration for "beauty", although it is almost impossible to return to that era, due to the "cultural invasion" and aesthetic cultivation, the domestic audience group accepts mostly island style, especially in terms of character design, many people have seen big exaggerated eyes since childhood, and traditional characters are not used to it.

In the so-called "revitalization", most of the "Chinese animation" that appears should actually be described as "Japanese-style animation made by Chinese".

But even so, in terms of Mr. Lu's "take-it-or-leave-ism", it is worth working hard to use Japanese animation to fight Japanese animation.

Concentrate:

This description is based on the original painting drawn by the young original artist "Ema Yasuhara" born in 1993 in the anime "Third Flying Girls" produced by Musashino Animation, and the "expression of eating sour plums" by the heroine "Spring, Summer, Autumn and Winter" of the three-no lineage.

Piece wing の bird - when the sea cat cries op,Zhifang あきこ