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Naruto Shippuden Episode 30


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One of the most memorable sequences in the classic anime "Naruto" is an early fight in episode 30 between Sasuke, Naruto's rival, and the villainous snake-man Orochimaru. Dramatic camera angles heighten the action, but keep the detailed hand-to-hand combat legible. Sasuke's body springs off-model as he throws kunai and breathes fire with his whole strength. Orochimaru runs so quickly that he outpaces his own dust-cloud, stretching serpent-like across three-dimensional space. Yet Sasuke, by using the all-seeing Sharingan eyes passed through his family lineage, is able to trace Orochimaru's movements. It's an incredible scene that could only have been done in animation, and arguably exceeds "Naruto" creator Masashi Kishimoto's original work.


Just like episode 30 of "Naruto," episode 167 of "Shippuden" was directed and storyboarded by Atsushi Wakabayashi. Wakabayashi made his name on "Yu Yu Hakusho," known to western viewers as a beloved member of Cartoon Network's Toonami airing block. The sequences he supervised, often in collaboration with idiosyncratic director Akiyuki Shinbo, were some of the most stunning and ambitious of the 1990s. After bouncing from project to project, he landed on "Naruto," where he would personally handle three of the best-loved episodes in the series. The first was the aforementioned episode 30. The second was episode 71, which aired on February 18 2004, depicting Orochimaru's fight with the powerful Third Hokage. The third was episode 133, which aired on May 4 2005, capturing Naruto's climactic struggle to prevent his rival and friend Sasuke from joining Orochimaru's side.


Just as important to these three episodes as Wakabayashi was the animator Norio Matsumoto. Matsumoto is one of the most influential action animators there is, a master of conveying impactful movement through extreme stretches and smears. In Matsumoto, Wakabayashi had an ally who was talented, fast, and willing to push the boundaries of television action animation as far as they could go. In Wakabayashi, Matsumoto had a collaborator able to play directly to his strengths in storyboards, while giving him the creative freedom he needed to excel. Matsumoto created all the key animation for the first half of episode 30, including the fight between Sasuke and Orochimaru, by himself. It was Norio Matsumoto's animation specifically, in its speed, character and sheer thoroughness, that inspired Shingo Yamashita to become an animator.


It was inevitable that, sooner or later, the rough and tumble style practiced by webgen animators would make their way to a blockbuster anime like "Naruto Shippuden." Matsumoto had many young webgen animators among his contacts. His friend Wakabayashi wanted to continue pushing the boundaries of action animation as far as he could. Episode 167 of "Naruto Shippuden," the first episode in the sequel series to be handled by Wakabayashi, presented an opportunity to introduce a wide audience to techniques pioneered in series like "Noein" and "Birdy the Mighty Decode." The episode was handled by just four key animators, including Matsumoto, Wakabayashi, Yamashita and the talented Kenichi Ketsuna. Their back-up included second key animators like Shingo Natsume and Kenichi Fujisawa, who would go on to become big names in their own right.


Of course, that very uniqueness is why the episode is so divisive. Many anime fans see on-model drawings as a requirement for good animation. To them, characters drawn off model herald low budgets and lazy animators. An episode like 167, which breaks the show's style at a climactic moment, is an easy mark for criticism. But episode 167 was also blasted for deviating from the manga's story as well as its art. The episode expands upon the fight depicted in the comic by featuring a sequence in which Pain floods Naruto's village with water from deep under the earth. It's a great opportunity for Yamashita to draw rushing water and steam, heightening the sense of speed. Yet fans fixated




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