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Blade Runner Black Out 2022

Blade Runner Black Out 2022

Blade Runner Black Out 2022

Director Shinichiro Watanabe (Cowboy Bebop, Samurai Champloo) is directing an animated short tie-in to the Blade Runner 2049 film, which opens in Japan on October 27. The short is titled "Blade Runner Black Out 2022."

Sony Pictures Japan began streaming a preview showcasing some designs and animation tests for the short.

The anime will take place in the year 2022, between the original Blade Runner film, which takes place in 2019, and its sequel Blade Runner 2049. The story will involve a large power outage on the west coast of the United States.

Watanabe is writing the script in addition to directing. Cygames Pictures, the anime studio subsidiary smartphone game publisher Cygames established last year, is producing the animation. Shukou Murase (Halo Legends, Mobile Suit Gundam Wing) is serving as character designer and animation director, and Flying Lotus is composing the music.

The cast includes Kenichirou Matsuda as Iggy, Ichigo Aoba as Trixie, and Makoto Furukawa as Ren.


Episode @ Youtube (Japan restricted)

Also available at Crunchyroll
Sakuga credit
Blade Runner Black Out 2022


Okiura, Ohira, Tatsuyuki Tanaka, Iso, Arai Kouichi, Shinji Hashimoto, Bahi, dll

Gila bgt credit nya wkwkwk
Diubah oleh kyuudere
Diubah oleh edx

Cause why not ? Setau gw ga dilarang juga. Ga semua org mau post disana juga kali. Animatrix biar part promosi dari the matrix juga sah2 aja dianggep anime.

Dan bodo amat dgn short2 sebelumnya lol
Diubah oleh kyuudere
Mau nonton di crunchyroll kok kena restricted area ya

lmyan mski bagusny dbikin full

Kayaknya ga available di region Asia emoticon-Ngacir

Walaupun anehnya tetep dipromosiin di halaman depan emoticon-Hammer


Eh, ini debutnya Cygames sebagai studio anime ya?
Diubah oleh danillo55

Dari youtubenya Warner Bros, enggak restricted emoticon-Ngacir
Sudah dub inggris

Telat bangetemoticon-Big Grin
Sdh tau dari sebln yg lalu

Cuma share sih, berhubung tak liat yg dipost kyuu cuma yg restricted dari sony emoticon-Hammer



Q: Jumping forward quite a bit, you most recently worked on the Watanabe Shinichiro-directed “Blade Runner Black Out 2022” anime short. Can you tell us a little bit about your work on that?

Bahi: Being both a fan of “Blade Runner” and Watanabe Shinichiro’s works, I was definitely excited to work on the short. We had an entire meeting at Cygames Pictures where Shinichiro Watanabe showed me the storyboard, and we discussed which scene I’d like to work on. I animated the scene where both Trixie and Iggy are fighting the guards. The scene was split into two parts; the first part was animated by the legendary Hiroyuki Okiura, and the second part was my own work.

It was a great pleasure to work with Shinichiro Watanabe and his team. The character designer Shukou Murase is one of my absolute favorite character-designers. The soundtrack by Flying Lotus was also really great, he captured the atmosphere of “Blade Runner” meticulously, all while adding his own touch to it.

Interviewer: In your work on the animated project, there’s a mix of fluid motions and dramatic reaction. Can you describe how you went about planning this scene?

Bahi: Shinichiro Watanabe had a rough storyboard for my action scene, though since it was a rough storyboard, I had a lot of room for new ideas. He allowed me to change up both the action and choreography, as long as it followed the continuity of the other cuts and worked well. You’re always able to try new things during layout and show it to the director for approval.

The choreography was a real challenge for me, I hadn’t animated any scenes where a single character is pitted against a lot of others before this. I ended up researching a whole bunch of martial arts videos as preparation for the choreography.

When characters are fighting, you try not to make your choreography look “choreographed.” Making it look natural, that’s always the main challenge. I wanted the audience to be able to follow the action without issue — when there’s a lot of characters on screen it can become hard to follow during fight scenes. I started very roughly with the drawings, almost like a storyboard while planning the action.

Regarding the question about fluid motion and dramatic reaction, to give an example; when Trixie jumps for a kick, I slow down the action to allow time for the motion of the leg to build up energy — in animation, we call this “anticipation.” This way when it snaps super fast, you have the reaction. You can tweak these actions by experimenting with both the “timing” and “spacing” of slow and fast motion.

When working on the “Blade Runner” project, you had some big-name individuals working alongside you. Was there anyone in particular who really impressed you with their talent during the creation of the short?

I was honestly impressed by everyone’s work on the short film. Especially the cuts by Hiroyuki Okiura, Shinji Hashimoto, Shinya Ohira, Tatsuyuki Tanaka, and Mitsuo Iso.

Every time Hiroyuki Okiura finished a cut, I would ask the producer to let me take a look at it. I’d sit there for an entire hour just staring at each and every frame — his work is absolutely brilliant, and extremely educative. His sense for realism is incredible, and it’s totally his own imagination and skills. He doesn’t use any reference, so when you look at it, you can truly learn the technical work of a master.

It was also nice to have Tatsuyuki Tanaka on the project. More recently, Tatsuyuki Tanaka’s mostly been active as a director, illustrator, and character designer. As a fan of his work, I was definitely excited to see his key-animation again. He’s a very strong animator, and also worked on “Akira” when he was only 22 or 23.

Interviewer: In a previous interview you conducted, you mentioned you consider Shinya Ohira to be one of the greatest animators. What do you think of his work on “Blade Runner,” and did you get the chance to talk to him?

Bahi: Shinya Ohira is someone with the ability to be both stylistic and realistic at the same time. He has extremely high technical skills, and a great artistic vision. On top of that, he manages to balance those two traits well. His work is emotional, expressive, and dynamic. His scene in “Blade Runner” is a flashback to the past, where I felt he captured the feeling of that “memory” very well with the rough artstyle and animation.

I met him one time at Comiket at an animator booth with Yoshimichi Kameda and others. At Comiket, there’s a lot of different animator booths, and you can find sketchbooks, art books, and flipbooks by a number of great animators such as Mitsuo Iso, Shinya Ohira, and Yutaka Nakamura. I recommend checking out the animator booths if you ever go to Comiket, the art books are great.



Ya, ntah bagaimana dgn Granblue nanti, apakah mereka siap untuk shift sepenuhnya ke tv series production atau belum. Belum cr2 tau lg sih emoticon-linux2


memang GBF S2 nanti sdh bukan A-1 lgemoticon-Bingung (S)

Masih belum jelas karena sekarang Cygames udah punya studio animasi sendiri
Mungkin aja dibikin sendiri, atau tetep dikontrakin ke A-1

Toshifumi Akai yg awalnya waktu Granblue season 1 di umumin jd Sakkan bahkan hengkang sebelum proyek mulai, cuma jd Chara Design doang, kemudian Granblue diundur, jumlah animator bejibun sampai harus kontrak Kazuhiro Miwa yg waktu itu seharusnya join dgn proyek nya Boku No Hero Academia S2, tapi setelah Granblue selesai dan HeroAca S2 mendekati selesai broadcast
(Dan mulai produksi season 3), Miwa balik lg buat illustration HeroAca utk anime magazine, karena itu ada spekulasi kalau Miwa bakal balik ke proyek HeroAca S3, which could be overlapping with Granblue S2.

Dari situ aja udah banyak indikasi kalau org2 spertinya menghindar dari Granblue. Akai sendiri lebih milih join proyek nya Yuichi Fukushima (Producer di A-1) semisal Shelter, dan kemudian Darling in the Frankxx. Fukushima ini produser dgn koneksi paling kuat di A-1, yg bisa ngumpulin staff2 berbakat seperti dan buat proyek yg ambisius. Contoh idolmaster CG, imas movie, KimiUso, Occultic Nine, Shelter, imas side M, dan sekarang Darling in the Frankxx.

Animator2 non kontrak dr A-1 semisal Megumi Kouno, Akai, ex imas CG staff, dan Keisuke Kobayashi misal, lebih suka join dgn proyek2 nya Fukushima. Dan Granblue sendiri bukan proyek yg ditangani Fukushima, lebih tepatnya itu proyek pesenan Cygames.

Dgn sekarang Cygames udah bisa produksi anime sendiri, walau masih cuma short duration, dan masih menganut sistem A-1 umum nya (kontrak staff freelance dr luar, ->shinichiro watanabe), bukan nggak mungkin kalau mereka bakal considering produksi tv series sendiri dgn cara kontrak freelance dr luar. Apalagi mengingat proyek pesenan mereka sendiri kurang ditangani dgn baik oleh A-1.

Kemudian bukti lain, mereka cukup ambisius ditambah uang nya banyak, Blade Runner sendiri udah seperti miracle bisa ngumpulin Veteran seperti Watanabe dan animator2 top seperti Ohira, Okiura, Tanaka, TNK, Bahi, Arai, dll. Normalnya mereka udah beda 'world' dgn studio yg baru aja berdiri kayak cygames, veteran lebih suka berafiliasi dgn studio dan proyek2 besar dr 'big names in anime industry' misal Movie project. Blade Runner ini walau pendek saya yakin ngeluarin duit yg cukup gede buat ngegaet talent2 sebesar mereka.

Contoh lain. Kimi no Na Wa. Sebetulnya nothing special kalau Shinkai hanya diberi staff dr clockwork studio nya dia aja, tapi dengan BIG FUND dr Toho dan back up producer Genki Kawamura, mereka dapat nama2 besar kayak Masayoshi Tanaka, dan Masashi Andou, yg otomatis juga menggaet para ace dan veteran yg lain mulai dr Pierrot, Ex Ghibli animator, telecom, dll.

So, kalau dr pengamatan saya Cygames cukup serius ketika mereka bilang mau mulai bermain di Industri Anime, dan Blade Runner ini adalah bukti dr keseriusan dan ambisi mereka.
Diubah oleh kyuudere
Crunchyroll and Adult Swim announced on Thursday that they are partnering with Alcon Entertainment to produce an anime series based on Blade Runner 2049, the sequel to the 1982 Blade Runner film. The series, titled Blade Runner — Black Lotus, will have 13 episodes.

Shinji Aramaki (Ultraman, Appleseed) and Kenji Kamiyama (Ultraman, Ghost in the Shell: Stand Alone Complex) are directing all the episodes at Sola Digital Arts. Shinichiro Watanabe (Cowboy Bebop, Samurai Champloo) is a creative producer on the series.

The series' story will take place in 2032, between the two films, and will include some familiar characters.

Adult Swim will have worldwide distribution rights to an English-dubbed version outside of Asia, and will air it in the United States on its Toonami block. Crunchyroll will stream the anime worldwide.

EHM emoticon-Smilie

Kemarin siapa yg bilang ga perlu blade runner anime thread emoticon-Ngacir

Though the biggest letdown is it will not be the same without 2D team behind 2022.
Diubah oleh kyuudere

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