【MAD】100 METERS - Beginning of a New Era

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Nearly all of the established soty students have started doing AD work as well. Having Liu/Saito/Kashiwaguma all elevating chunks of their respective episodes is massive. OP generally lacked stylized ace ADs for a while, but we're definitely on the right track here.

A really solid Hisashi Punch from Kawamitsu was another welcome surprise. Been amazed since 1144 by how ridiculously dense their drawings can get. Such a fun presence to have on the team.

Hideaki Yoshio's part stood out to me, especially the bit around :27. Love our flashy youngsters, but the fundamentals here are so strong. Good to see such skilled veterans participating from time to time. Atsushi Yamagata soloing the current ED felt just as random but welcome.

This January

Honestly glad that OP will go on break for winter, that season has way too much going on already. It'll give me time for the MAD as well.. Really looking forward to this week's episode in any case. 1151 already elevated the content quite a bit and there's loads of potential here.

I'm feeling great about S3 after these episodes. I certainly wouldn't call them perfect, but I do think they're never once uninteresting, and that's a big deal for a shonen adaptation these days. I find myself eager to see how The Vision™ will continue to evolve.

I'm always down for a good old-fashioned sakugafest. That can come from almost anywhere, though. Execution renewed my confidence in Gosso's commitment to always delivering sakuga in an interesting or unexpected manner, which adds another dimension to the whole affair.

In that same vein, it's promising that the staff lists are (relatively) small here and don't include all of the team's aces just for the sake of excess. Signs of measured management and staff distribution make it feel just a bit safer to get excited for the rest of the season

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AD work is solid so far. It's not quite as polished/consistent as I might have expected, though, which I hope is an intentional choice to forgo perfectionism in favor of not destroying the schedule buffer early on. That must be a priority after S2. Still plenty of great drawings.

He finds the right balance in some instances (Yuji grabbing the knife), but I find myself lost in others (when Yuji/Yuta start running and Choso fires piercing blood). He also intentionally leaves out pieces of inferable information that could confuse some people. I'm for it tho.

I wouldn't say every single editing choice landed for me on the first watch, but such is experimentation. Gosso historically has a thing for cutting quickly between close-ups during action to depict brief exchanges. These can sometimes be pretty hard to parse in the moment.

Expected or genuinely surprising visual ideas are nonstop, whether it's alarmingly quick cuts on a key spoken word, an arm swinging particularly close to the camera as characters walk, or constant pans with parallax during conversation. Color palettes change completely on a dime.

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Unconventional editing choices add to the characterization/intrigue of these moments. As Yuji descends a staircase, Gosso cuts between identically framed shots of increasingly lower sections of the stairs such that he can never quite reach the bottom of the frame until the end.

Dialogue sequences are anything but neglected. The scene is set by the unstable, hostile light of a hanging lamp or a warm campfire in the darkness. Exaggerated framing and body language created palpable tension in the Zen'in meeting, for example, which was extremely fun.

Choso's leans further into more traditional sakuga but is especially charismatic in how it depicts Naoya's notably difficult-to-depict ability. Quality sound design also makes the high-octane moments a bit easier to process, though Keiichiro Watanabe's part was still beyond me.

The primary fights are more straightforward but still quite impressive. Mitani seems to have nearly solo'd Yuji's, and as a fan of his effects/linework and charmingly awkward character animation, I had a great time with it. He works perfectly with Gosso's action boards imho.

Basically, you're probably not going to try 3D-modelling an entire city for a handful of ridiculous shots unless you've got the benefit of the pre-air buffer. That being said, I have no doubt that some comparably insane things may be planned for later episodes. They can't resist.

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Some of the hybrid 3D/2D shots are complex enough to execute that they could really only happen at the start of the season. Planning for such an unusual pipeline takes time, but also the right mind to conceive of the result, which Tokumaru most definitely has.

The episodes are dense with set pieces, but each is made distinct based on color and stylization. Masahiro Tokumaru's exceptionally purple action was a perfect fit for a Gosso anime as a fellow 3D pipeline enjoyer. In fact, he pushed 3D integration even further than usual here.

As ever, he has an excellent eye for turning any sequence into a memorable set piece. He did the same for the mansion exploration in the S2 premiere and does so many times in Execution. Setting is key. Scale ranges from enormous to claustrophobic depending on the context.