Idle Master

Adapting the manga for ' Chainsaw Man' comes with its own set of challenges. For me, the make-or-break has always been maintaining the insane pacing of the manga. This frenzied pace comes from its plot progression, mainly in how quick shit can hit the fan sometimes. But perhaps another one of Fujimoto's trade marks is in his page turners. The page of Denji being cleaved from eight different directions is impactful specifically because of how Fujimoto loves to structure his panels. You turn a single page and face a sudden rush of brutality, one that tears down any hope you have of Denji being saved. All that violence is also compacted into a single frame of action, emphasizing both the speed and mercilessness to which Denji is rended. Turn the page again, and the succinct imagery of gruesomeness would once again shock and leave you utterly speechless. This is one of the paneling techniques Fujimoto loves; A page-turning snapshot that loves to punch you in the face with cond

Why does Odd Taxi's dialogue sound "natural"? This question seemed dubiously simple to me when I first considered it. I attributed it to be a similar situation as Your Name, whereby many of the voice actors including our main leads, are amateurish and have little experience in creating that 'anime voice'. However, that is not the case for Odd Taxi at all. With big names like Hanae Natsuki and Kimura Ryouhei, the element of professional experience may not be enough to explain why Odd taxi's dialogue sound natural. Perhaps then, we can consider the intentionality to act out a certain rawness; While Iida Riho can voice the highly-stylized Rin in Love Live, she too can tap into her own daily experiences to bring out a natural-sounding voice for Shirakawa. The tone, the pronunciation, the way someone breathes, the way someone tells a joke; These are all elements we can consider when trying to decipher how a professional voice actor can sound "natural". An

One of the most difficult skills in story-telling is the technique of presenting information. Say I want to set up a plot point about a villain. This villain is a powerful influencer who has been undergoing some shady deals under the public eye. How should we present this information to the audience? One easy way is to have our characters discuss it, such as a group of police giving out mission reports. Another way is to allow the audience to just see the villain engage in his devious acts. But perhaps if we take a page out of the 'Lycoris Recoil' playbook, we may first establish him via a news programme praising his societal contributions, metonymize him with a owl pin and then transition to us seeing the "hero" engage in his treachery.  There is no perfect answer to the debate of how to present information. While the first method of simply having our characters info-dump may be a bog-standard one, it is still effective in ensuring that the audience understands what

  I think everyone is familiar with the term 'breaking the fourth wall'. In a theatrical play, we peep into the life of a character by seeing past the fourth wall, which is the wall that connects both the house, the character and the audience. However, a house should logically have four concrete walls. In a sense, even though the fourth wall is invisible for theatrical purposes, the characters still have to treat it as a concrete entity, ala exiting through a door. It is when the characters step forward and phase through the fourth wall does the audience's immersion break. It is by breaking its concreteness are the audience reminded that they are watching a bunch of actors acting on a stage. In anime and manga, this technique is mostly used for comedic purposes. Shows like 'Gintama' and manga like '100 girlfriends' utilizes these fourth wall breaks to subvert expectations and remind their audience not to take its content seriously. However, 'Goodbye Eri&