It seems that the production mode of animation has developed to this day, and it is inseparable from teamwork, and almost all the excellent works we know are produced by companies with a clear division of labor.
Even directors with strong personal styles, such as Hosoda Mori or Masaaki Yuasa, could not have done without the help of studio maps and science monkeys behind them.
However, there are always those who are outliers in animation people in various countries, and they seem to be uncomfortable as soon as they go to work, and they have to do animation by themselves.
The "Voice of the Stars" produced by Makoto Shinkai in that year belongs to such independent animation, and there are also such cattle people in the mainland, Liu Jian's "Sting Me" and Li Yang's "The Adventures of Li Xianji" are extremely outstanding works.
In 2009, the animation was a huge hit as soon as it came out, and it won the praise of countless audiences; ten years later, the sequel to this animation was finally made by the director alone, it was-
《Chiko 2》
The plot of "Qianzi 1" has been introduced by Ah Zheng, in short, it is the story of a young boy and a girl carrying a monster to fight, and the plot of the second part takes place after the male protagonist "Yu Gong Che" and the male second "set" war.
Ji defects from the Japan Institute of Specific Zoology, an organization responsible for managing and containing monsters, and this organization sends two pursuers to capture Ji, named "To" and "Gotoda Gaku".
With the increase of characters, the audience can also see the different skills of the monsters, and the world view of the entire animation is expanded step by step, such as the monsters of Yugong Che can be ever-changing, the monsters of the want can be anti-aircraft guns, and the monsters of the set can be invisible;
Since the monster of the set has stealth skills, it cannot be caught, and there has been a big battle between Yumiya and Ji before, so the two pursuers decide to find Yumiya Che first.
They find Yu Gong Che, and seeing that Ji still does not appear, they simply want to catch his monster "Chiko" first.
Since Chiko's control has been inadvertently taken away by the heroine Yuki, Yuki is not very good at controlling Chiko, making it a long-range weapon, resulting in a whole slingshot, causing Chiko to become a rookie dog, this battle is like a kindergarten child and a soldier fighting, the two are subdued in a few clicks.
The episode lurking on the side suddenly appears, robbing Che and Yuki, the previous episode in order to snatch away Chiko and Che war, this time he plans to join forces with Che to defeat the pursuers, he wants the male protagonist to fight first to attract attention, and sneak up on the monster that snatches the other party.
On the other hand, the two pursuers found Yuki, revealed their identities from the regular research institute, gave Yuki the opportunity to recruit an, and let the heroine cooperate with them to catch the betrayer, and after the matter was completed, the package was assigned and compiled by the institute, and the institute no longer pursued Chiko's affairs.
Yuki finds Yumiya toru and proposes that the pursuers are ready to cooperate with him, and Yunomiya wants to regain control of Chiko, so he pretends to cooperate, but in fact wants to take this opportunity to regain the connection.
At the appointed time of the evening, Yunomiya directly said that he did not want to cooperate, and the soft-hearted Yuki did not want to sit by and watch Yumiya to be beaten unilaterally, so he let Chiko turn into a monster that tripped the other party with a rope.
In the final episode, the sneak attack is successful, and she directly unplugs the hair (the controller of the monster) and takes away her control of the monster.
It seems that the director kisses the son, and the male protagonist has the same full name as Gotoda Gaku, but a batch of dishes, without the ability to summon monsters, was knocked down for a moment.
Yumiya is preparing to tell the heroine about his agreement with the set, but suddenly finds that he is barely manipulating the second monster to defeat the set and regain his monster.
Ji Time uses the stealth skill to dodge, he keeps his promise, and pulls out the hair he wants, but he doesn't know that Yuki has a special physique, and people with this physique can inadvertently take away other people's monsters.
Yuki directly snatches the monster he wants, and when Ji sees that the monster he has worked so hard to capture has been robbed, he comes to rob Yumiya Che's Chiko.
Yumiya was initially beaten like a dead dog, and then the director Kain put up BGM, and Yumiya quickly understood the spirit, saying that no one can beat me under BGM.
He regained control of Qianzi, who transformed into the strongest stapler in history, and nailed the monster of the set directly to the ground and directly bombarded to death.
Chiko transforms into a baseball bat again, and just like the famous scene of the first part, she opens the scoop for the set. In the end, to avoid being entangled in the set, Cher simply tied up che and handed it over to two pursuers to go with Gotoda.
Gotoda wants to wait for them to settle down in this big war, so he pulls Yuki to join the organization, after all, her ability is very special.
Although Yuki was betrayed by Yuki, he seems to be a shaker, saying that he must also take Yunomiya Toru with him before he is willing to join the organization.
The director said that you are not in a hurry to add or not organize, draw here first, and see you in ten years.
In fact, in addition to Atsuya Ugi, the director of Senko 2, there were also a number of independent animation directors in Japan who were funded by an organization called Animation Revolution Tokyo.
At the time, the agency gave the agency a contract that required directors to produce a pilot episode over a year and then recruit other staff.
However, by 2008, the agency had stopped planning because the business model was unsustainable. Atsuya Uki was fortunate enough to make a second film because he asked Emperorx to invest money in it.
Although this animation is very ill-fated, it seems that the director has not been much affected, and still maintains a high standard in the second part, and there should be a lower part to watch the plot.
From this anime, it can be seen that Atsuya Uki is a bull fork that belongs to the all-round.
In the script, as early as the first part, the audience learned the director's ability to tell the story, he can complete the start and end of the animation in 27 minutes, and there are wonderful fight scenes.
This is mainly because of the director's meticulous control of the details of the animation, he set the monster to eat the same kind of monsters to survive, so that the protagonists have sufficient combat necessity.
By the second part, the director continued this excellent plot control, introducing a more detailed background of the entire animation in 47 minutes, such as the mechanism that controlled the monsters, and expanding the monster abilities that appeared in the first part.
Although the characters in this anime have some routines, such as the proud lady type and the loyal dog male servant Gotoda Gaku. But the wonderful setting of the whole animation and the smooth drawing are enough to make up for this flaw.
And the director is not only well-written, his research on audiovisual language is also quite profound. For example, the average newcomer director will make a mistake - abusing close-ups.
This is like playing cards, you just grabbed a good hand of cards, just a reckless batch, directly beat the king out, if you abuse the close-up, it will make the close-up lose the role of emphasizing the plot.
Taking the last battle of Chewaji as an example, the director only drew two close-ups, one when Che recaptured the connection to control Senko, and when he killed the monster of the set.
In addition to the use of close-up shots, the director is also very good at using the transition technique of matching editing, which is also often used by Imatoshi to quickly connect dreams and reality.
In "Thousand Sons 2", the director is to make the narrative more efficient and faster to complete the scene switching in a short period of time, which is much smoother than directly cutting to the next scene.
Probably because of the excellence of the all-round, the director has exchanged the trust of two golden fathers, and such an outstanding independent animator has also made the somewhat decadent Japanese animation market more abundant.