Oscar D.S

A special TV report on the late Osamu Dezaki will air this Saturday in Japan on NHK (as part of the "I Want to Meet That Person" program). web.nhk/tv/an/anohito/…

祝！TVアニメ『電脳冒険記ウェブダイバー』放送開始記念日（2001年4月6日） 石川裕人原案、田島豊企画協力、ネギシヒロシ総監督、関島眞頼シリーズ構成、高橋成世キャラデザ、林有三音楽、R.A.M. 主題歌、小林由美子 主演（声）、RADIX、NAS制作

アニメ「ガンバレ！中村くん！！」1話ありがとうございました！ OPのLO素材です。原作を愛しているのでとても楽しくて幸せでした、、、2原拾っていただいた方ありがとうございました…！ #ガンバレ中村くん

【アニメーション制作】 ずっと真夜中でいいのに。『ultra魂』 beesがMVを担当いたしました！ ▽Movie 監督・撮影・美術: G子 (bees inc.) 作画監督・原画: 絹谷ゆたか (bees inc.) CG: JDGE (bees inc.) 原画: humuu (bees inc.)、simDdang、ういう (bees inc.)、くろすみ、とんソース 、のをか (bees inc.)、もふじろ～。、山 第二原画: humuu (bees inc.)、もふじろ～。 仕上げ: ネコウヤ (bees inc.)、Rudolly、鈴ki、東洋トーヨー (bees inc.) 制作進行: 東洋トーヨー (bees inc.)、ふな (bees inc.) クリエイティブプロデューサー: 飯寄雄麻（CAMBSR） クリエイティブアシスタント: 尾之内麻里（CAMBR） アニメーションプロデューサー: YAMAAD (bees inc.) クリエイティブプロダクション: bees inc. クリエイティブエージェンシー: CAMBR

明日発売です！ 「矢口高雄の世界　ART WORK 1969-2020」 カラー原稿を出来るだけ大きいサイズでたくさん収録しました！ 「釣りキチ三平」単行本未収録の６ページのタイアップカラー短編収録!!

When we look at people around the world who dream of building a manga industry, their goal is often Weekly Shōnen Jump. As someone who is part of Shōnen Jump, I am very grateful for that. However, if your goal is Shōnen Jump itself, you cannot build a strong and vibrant manga industry. That is because Shōnen Jump is not the cause of a manga industry—it is the result of one. The true strength of manga does not lie in a few massive hit titles, but in its diversity and richness. Only by understanding this can a country build a manga industry and a true ecosystem—and use it to powerfully develop its cultural sector. The comics industry, including manga, can produce about 2,000 serialized titles per $100 million in advanced markets. In developing countries, it can produce up to 5,000 serialized titles per $100 million. If a market reaches $1 billion, it can generate around 50,000 new IPs every year—an astonishing number. But for this to be truly meaningful, MANGA(漫画) must be diverse. If all the works being produced resemble those from Shōnen Jump—in art style, characters, themes, storytelling, or ideas—then what is the value of producing 10,000 or even 50,000 such works every year? That would be nothing less than a disaster. Well, Films can afford to be somewhat similar to each other. This is because fewer films are produced, their budgets are high, and the risks are significant. In fact, films tend to be more similar to each other than manga. Unlike manga, films do not have characters ranging from two-head-tall figures to fifteen-head-tall figures, right? From a mangaka’s perspective, films often appear quite similar—the outlines of subjects are alike, and the frames are standardized, such as 16:9 or 2.35:1. When I talk about the manga industry with others, there is one manga I always show and mention. It is a manga work I deeply love—a manga about raising cows. The mangaka is someone who actually raises and loves cows. More than any manga I have drawn, this work is a living example of the true power and potential of manga. Manga allows for endless possibilities: a story about cows, created by someone who raises them; a simple yet refined rural food story, told by someone who has lived in the countryside; the story of a poor robot living alone in human society; narratives about great philosophers, religious figures, or social activists; and even works drawn from personal experiences with illness, such as kidney stones. That is why mangakas serve as IP creators. A rural food manga was later adapted into a remarkably well-crafted and emotionally rich film. Such a challenge is only possible because there exists a powerful original manga that resonates with many people. And it is precisely this diversity—in style, subject matter, thought, and life experience— along with the countless acts of pure human creativity, that ultimately give rise to Shōnen Jump and its hit titles. Shōnen Jump is the result. If you truly want manga to exist in your country, don’t aim for Shōnen Jump—aim for diversity in manga.

やはり、ムーミンとイルカの友情ですよ

Zero to hero before and after animation

RIP Yoshiharu Tsuge ;___; (1937-2026) news.web.nhk/newsweb/na/na-…

Japanese animation studio Ponoc (Ghibli alums) is working on "Mfinda", an African-American-Japanese feature film produced by N LITE.

アニメーション監督・演出家としてご活躍された芝山努さんが 3月6日 ご逝去されました。 映画「ルパン三世 ルパンVS複製人間」では、レイアウトをご担当いただきました。心よりご冥福をお祈りいたします。ありがとうございました。

Rest in Peace Tsutomu Shibayama one of my favorite Showa era animators of all time

I’m EXTREMELY EXCITED to share this Zuko I did for the Legend of Aang promotional material!!!

Taro the Dragon Boy (1979) #animationclips #sakuga #animation #2danimation