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05. The characters are drawn decently and the food looks realistic enough. But most importantly, the actual animation of the football? Really? For the people complaining about the work of the CG in another popular series that aired the same season that I just so happen to adore–You should be up in arms here with knives and pitchforks screaming “Sic ‘em!”; it’s hideous. But the biggest and most heinous animation problem are the still frames filled with exposition that completely ruin the flow of each play. Matches are shown in these constant close ups of the characters slowly gliding across your screen as you hear the play happening in their head. But the play itself is never actually explicitly shown. It's reminiscent of those imovie projects you had to do for middle school where you couldn’t quite figure out how to get the images to stop moving with the ken burns effect as you try your best to match your squeaky dialogue with the 4 second image overlay. It’s an embarrassing production. Football is dynamic and exciting at heart, especially in attacking play. But this static imagery completely ruins the momentum of each play and makes it really hard to sit through some of these moments that I would like to imagine were exciting on paper. If you don’t get the animation right for a sports anime, it’s really hard to build from there.

If you were ever curious to see where the “galactic” magic happens, now’s your chance to see his thread count. Showrunner André Nemec (best known for other action-packed and quasi-sci endeavors such as the 2014 Teenage Mutant Ninja Turtles, Alias and Mission: Impossible—Ghost Protocol) helms the transition from anime to live-action for the series. You can read more about his approach to livening up the dystopian space romp on Polygon. Christopher Yost serves as executive producer and writer. With superhero credits under his name such as Thor: Ragnarok and The Mandalorian, the latter also being about an anti-hero bounty hunter with a complex past, Yost has certainly got this. Shinichirō Watanabe, the original anime director and creator, returns to the live-action as a creative consultant for the series. IGN sat down with Watanabe at Melbourne’s Madman Anime Festival in 2017 to talk about his inspiration behind the series, its popularity 20 years later and some unearthed sketches of his. Since the series’ end in 1998, Watanabe has gone on to create more popular genre-bending musical anime series like the hip-hop-fueled samurai tale Samurai Champloo and Carole & Tuesday, about two friends on Mars who start a band (also available on Netflix). In 2019, Watanabe joined director Motonobu Hori at MCM London Comic-Con to talk about Carole & Tuesday, musical influences on Cowboy Bebop and more. There’s no Bebop without legendary composer Yoko Kanno, and she returns for the Netflix live-action to serve up a new score. The music of Cowboy Bebop lives large over 20 years later, not just for its jazz-driven space-noir uniqueness but also for how it helps to further convey the emotions of characters in a particular scene.

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Funimation. January 17, 2017. Archived from the original on January 18, 2017. Retrieved January 17, 2017. ^ "Blickpunkt:Film | News | Kinocharts Deutschland Trend: Kleine Anime-Sensation". January 14, 2018. Archived from the original on April 12, 2018. Retrieved April 12, 2018. ^ "Kentaro Yabuki Says Darling in the Franxx Manga Will Have 'Major Divergences' From the Anime - Interest - Anime News Network". Anime News Network. January 14, 2019. Retrieved June 6, 2022. ^ "オーバーロード (17)" (in Japanese). Kadokawa Shoten. Archived from the original on April 15, 2023. Retrieved May 28, 2022. ^ "Overlord, Vol.