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Takaaki Suzuki, who had earlier acted as a military history advisor for Strike Witches and Upotte!!, was involved in the production of the anime. The TV series initially aired in Japan between October and December 2012, with two additional episodes that aired in March 2013 and an original video
animation released in July 2014. [4][5] Nine manga series and a light novel adaptation have been published by Media Factory. An animated film was released in Japanese theaters on November 21, 2015. [6][7] A six-part theatrical anime series premiered in 2017. [8] Story[edit] See also: List of
Girls und Panzer characters Setting[edit] The story takes place in a world where historical World War II–era tanks are maintained for sport-style warfare competitions and large carrier ships, known as Academy Ships, support mobile sea communities. Of the many activities high school students can participate in, one of the most popular is "sensha-dō" (戦車道, lit. "the way of the tank"),[FN 1] the art of operating tanks, which is considered a traditional martial art for females. Plot[edit] Miho Nishizumi, a girl from a prestigious family of sensha-dō practitioners who became traumatized by a past event, transfers to Ōarai Girls High
School to get away from sensha-dō, as she presumed the school was no longer practicing the sport. However, shortly after Miho begins her new school life and makes some new friends, the student council announces the revival of sensha-dō at Ōarai and coerces Miho, the only student with prior experience, to join. While reluctant to join at first, having
practically been forced, Miho soon warms up to sensha-dō and they enter a national championship, facing off against various other schools, in a competition that becomes a serious matter after Miho and the others learn that their school will be closed should they not win.
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Often the original draft was too long and needed to be refined to finalize the desired "tempo" and "flow". The writer remarked on their preference for reading the previous "two or four" chapters carefully to ensure consistency in the story. [6] The typical weekly production schedule consisted of five
days of creating and thinking and one day using a pencil to insert dialogue into rough drafts; after this point, the writer faxed any initial drafts to the editor. The illustrator's weekly production schedule involved one day
with the thumbnails, layout, and pencils and one day with additional penciling and inking. Obata's assistants usually worked for four days and Obata spent one day to finish the artwork. Obata said that when he took a few extra days to color the pages, this "messed with the schedule".
