"Dragon Ball Super" Animation Staff Discussion

[Ajay]

Of all the totally ridiculous things that have popped up in Super, the dragon auras were definitely my biggest "what the actual fuck am I watching?!" moment. Hated them.

[FortuneSSJ]

Of all the totally ridiculous things that have popped up in Super, the dragon auras were definitely my biggest "what the actual fuck am I watching?!" moment. Hated them.

What was your reaction to the two bubbles SSJ Goku and Freeza do, while staring each other for some minutes, right before Freeza attacks Namek's core?
The dragons aura at least was a cool and original way for them to power up. That bubbles didn't do nothing.

[Sodhi]

Lets not get off topic any more than we already have.

[Ajay]

What was your reaction to the two bubbles SSJ Goku and Freeza do, before Freeza attacks Namek's core?
The dragons aura at least was a cool and original way for them to power up. That bubbles didn't do nothing.

These?

Spoiler:

Totally fine with them. Seemed like a perfectly reasonable representation of power. Ridiculous, terribly animated dragons were not.

It wasn't like movie 13, either, where the dragon was at least somewhat stomachable due to the association with a move. These were just totally aimless time wasting garbage to split up an episode of aimless screaming.

Not particularly interested in arguing about them. Not too bothered if someone else thought they were cool.

[Doctor.]

The dragon thing would have been cool if Beerus' was a cat/tiger. So that the aura would represent each character differently.

[The Doc]

Of all the totally ridiculous things that have popped up in Super, the dragon auras were definitely my biggest "what the actual fuck am I watching?!" moment. Hated them.

Super Saiyan Videl takes my top spot for that kind of moment in DBS. That's way higher up there than the dragon auras.

[Doctor.]

Of all the totally ridiculous things that have popped up in Super, the dragon auras were definitely my biggest "what the actual fuck am I watching?!" moment. Hated them.

Super Saiyan Videl takes my top spot for that kind of moment in DBS. That's way higher up there than the dragon auras.

She wasn't a Super Saiyan, though.

[Wezenheim]

This is an odd question but on the staff, who is the one typically responsible for planning specific fight sequences or at least making outlines of them? Would that be the lead episode writer, the animation supervisor, or a combination? Perhaps the animation staff just sort of makes up the specific details of a fight after receiving a rough draft of the story for the episode?

[JulieYBM]

This is an odd question but on the staff, who is the one typically responsible for planning specific fight sequences or at least making outlines of them? Would that be the lead episode writer, the animation supervisor, or a combination? Perhaps the animation staff just sort of makes up the specific details of a fight after receiving a rough draft of the story for the episode?

The series director and series composer decide on the story. The story is then adapted into scripts, which are then adapted into storyboards, which are then adapted into layouts, then finished key animation drawings. Additions to the battle can happen at pretty much any stage. Chances are is that something is mentioned in dialogue it was probably added at the scripting stage or the storyboard stage, though.

[The Doc]

Of all the totally ridiculous things that have popped up in Super, the dragon auras were definitely my biggest "what the actual fuck am I watching?!" moment. Hated them.

Super Saiyan Videl takes my top spot for that kind of moment in DBS. That's way higher up there than the dragon auras.

She wasn't a Super Saiyan, though.

I guess you could argue that, but I don't know what in the hell else you would use to describe whatever happened to Videl in that moment. "Super Saiyan Videl" hits it right on the head, from a visual standpoint.

[Wezenheim]

This is an odd question but on the staff, who is the one typically responsible for planning specific fight sequences or at least making outlines of them? Would that be the lead episode writer, the animation supervisor, or a combination? Perhaps the animation staff just sort of makes up the specific details of a fight after receiving a rough draft of the story for the episode?

The series director and series composer decide on the story. The story is then adapted into scripts, which are then adapted into storyboards, which are then adapted into layouts, then finished key animation drawings. Additions to the battle can happen at pretty much any stage. Chances are is that something is mentioned in dialogue it was probably added at the scripting stage or the storyboard stage, though.

Thanks again for the insight!

[JulieYBM]

As of Episode #33 Hatano Morio, episode director of Episodes #6 and #14, shares the series director credit with Chioka Kimitoshi. At Toei Animation this typically means the main series director, Chioka in this case, is busy with another project...like a movie...or he needs help managing the mess this series has become.

[Wezenheim]

Hopefully he can help things out a little!

[Sodhi]

Hopefully he can help things out a little!

Now we have two Series directors, but it looks like hatano is taking over. He is a very good director and a SB artist. Its hard to say Toei does not care.

[Wezenheim]

Hopefully he can help things out a little!

Now we have two Series directors, but it looks like hatano is taking over. He is a very good director and a SB artist. Its hard to say Toei does not care.

I have no doubt that there are a lot of people at Toei who care, which is why this sucks. It seems like Shuiesha is more to blame.

[Sodhi]

I have no doubt that there are a lot of people at Toei who care, which is why this sucks. It seems like Shuiesha is more to blame.

You are right, it's not like they ever had any choice to begin with

[DragonBalllKaiHD]

At this point right now, I feel like we have been pointlessly beating the dead horse. It's incredibly sad to see how the production side of things has turned out. Bandai Namco and Shueisha didn't want to wait too much longer and pulled the trigger to air the series too early, and now we are stuck with it. No matter how hard Toei is trying to recover from the scheduling issues, the matter of fact is, we are going to constantly have this negative discussion and it won't help us. I just think it's best that we focus on the script and story.

[Hujio]

I have no doubt that there are a lot of people at Toei who care, which is why this sucks. It seems like Shuiesha is more to blame.

Might I ask what would give you that impression?

Bandai Namco and Shueisha didn't want to wait too much longer and pulled the trigger to air the series too early, and now we are stuck with it.

Again, where is this coming from?

Are these just assumptions people have come to, or is there something I've missed? I can assure you, these are not the companies at fault for the current state of the series' production. For one, Bandai Namco has no involvement with the series' production, at all. Secondly, Shueisha also has no real significant involvement, other than coordinating the Dragon Ball Super manga with Toei. The main companies that have any actual decision making power with the production of the series are Toei (Animation), Fuji TV, and Yomiko Advertising.

[JulieYBM]

I have no doubt that there are a lot of people at Toei who care, which is why this sucks. It seems like Shuiesha is more to blame.

Might I ask what would give you that impression?

I assume it's more from the perspective of them being the owners of the franchise. You'd think they'd understand the industry a little better.

[KidGoku>3]

So Bandai is to blame for the horrible animation ? If Bandai wanted to take a bit more time to make sure DBS got the best quality possible they could've ? Toei would do accordingly ?
Weird...I mean why wouldn't you do the best you can even if it means waiting a bit longer as long as the percentage and range of people becoming more invested into it = more money as opposed to rushing it and having mixed reviews. It's 2+2. When something is ok it might bring in a lot of money. But when something is exceptional it might go beyond your expectation and reach much much bigger heights.