S(p)am
@Spammuele
Followers
2,381
Following
4,975
Media
1,493
Statuses
24,709
A lot of anime spam, occasionally other stuff | Confused mumblings about animation | ITA/ENG | Scrivo sproloqui sugli anime anche in un blog
Italia
Joined March 2015
Don't wanna be here?
Send us removal request.
Explore trending content on Musk Viewer
Colombia
• 389306 Tweets
Panamá
• 149818 Tweets
Seleção
• 100106 Tweets
FURIA ES GH
• 79829 Tweets
新紙幣発行
• 65513 Tweets
#loveislandusa
• 62764 Tweets
Vinicius
• 54442 Tweets
Raphinha
• 46205 Tweets
CATA TIENE AGUANTE
• 44922 Tweets
Yepes
• 42051 Tweets
Borré
• 41846 Tweets
Muñoz
• 41346 Tweets
渋沢栄一
• 38510 Tweets
El VAR
• 36940 Tweets
Dorival
• 33284 Tweets
#CopaAmérica2024
• 33100 Tweets
Davinson
• 28375 Tweets
Lorenzo
• 23144 Tweets
Andreas
• 22114 Tweets
Kordell
• 21955 Tweets
James Rodriguez
• 21697 Tweets
Uruguai
• 20894 Tweets
Endrick
• 20435 Tweets
Alisson
• 18198 Tweets
Didi
• 17973 Tweets
Rodrygo
• 15445 Tweets
Lucho
• 12751 Tweets
Vini Jr
• 12094 Tweets
Danilo
• 10057 Tweets
Stunning scene of highly controlled character acting by Myoun in Frieren
#15
. Particularly impressed at how he conveyed the tension of the fabric as the clothes respond to the characters' movements, w/ insanely balanced/tight spacing & skillful posing to imply the weight shifts-
20
2K
10K
Dungeon Meshi
#08
is another fantastic ep! Casually shifting from a character-driven A part w/ plenty of thorough/lively acting that resonates with the sensibilities of its guest storyboarder (Yuki Yonemori), to B's unapologetically bombastic Kanno-Oi-Ikarashi relay... peak
6
878
7K
Really liking how different storyboarders approach the space of the settings in Dungeon Meshi,
#17
(Yoshiyuki Kaneko SB) has a nice emphasis on depth, with focal length manipulation & expert construction of the three-dimensional parallax, working-
4
391
6K
Such is the mind & creative soul of Megumi Ishitani: chameleonic, shifting, overflowing & excessive, like the rainbow-hued textures of the infinite array of images she composes... One Piece opening
#26
is a masterpiece.
Anyways, a direction/style thread (1/way too many posts)
8
544
4K
Shouta Goshozono's Ousama Ranking
#21
is a masterpiece, a precious case of great artists working together & influencing/contamining each other with their own different sensibilities to create something bold and new. Gosso's unique & transformative approach and use of tools like-
9
1K
4K
Controlling multiple action vectors with intersecting trajectories while keeping them in a consistent spatial relationship with each other, the camera & the shifting background animation + effects layers, holy **** Yutapon
23
430
4K
Mob Psycho 100 III
#06
, Yuuta Kiso's directorial debut, is magnificent. A triumph in everything that makes Mob special: dazzling spectacle grounded in thoughtful character work & guided by blazing artistic drive, every animator embracing with fierce delight the creative-
4
390
3K
If the new PV is any indication, it feels like Gosso & JJK's team are fully embracing the chaotic and unfiltered energy of the boundary-breaking, roughly-edged, soulful sakugais and boldly inconsistent action animation that defined some of the most spectacular highlights of the-
5
218
3K
We've seen Dungeon Meshi often highlighting both tangible & cartoonish interactions between its characters & world/creatures, but no ep so far has done it as organically & creatively as
#03
: Ichigo Kanno's awaited SB debut! Layouts denser w/ cel elements & tighter compositions -
3
413
3K
Can't wait for the next entry in the Soty x China cinematic universe
3
367
2K
26 episodes in & Frieren manage to pull off even more distinctively rendered & striking depictions of magic! Courtesy of Vercreek/Saucelot/Masaaki Endo among others, as well as ED Hirotaka Mori & the comp team for the colorful & tasteful processing. But what's also insanely -
4
269
2K
With his space-bending, scale-aggrandizing, format-warping style Itsuki "Miso" Tsuchigami completely reinvents the look, feel & visual texture of JJK, both in action animation & staging, filling them w/ incredible depth & richness by rooting that style in the mobility/virtuosity-
6
236
2K
Wildly imaginative presentation & direction in the Arai & Sunakohara-designed JJK
#37
. By neatly crafting the anticipation & beat-by-beat architecture of the action flow, the interplay between the board/involved camerawork, compositions/angles, insidious sound design & release -
2
234
2K
Frieren
#09
is the SB/ED debut of Kouki Fujimoto, who demonstrates to be able to stage action with stunning confidence & meticulous ingenuity. Fujimoto finds innumerable fresh ways to execute & intertwine the 2 big fights: Restless/sweeping camerawork, carefully mapped out space-
6
318
2K
Big fan of how Frieren's flashbacks are smuggled in the narrative to inform on characters/themes.
The Stark bros relationship really hit, in no small part thanks to Takasemaru's corrections bringing the right sense of tactile intimacy & warmth to their interactions
9
260
2K
JJK
#29
is a glorious Gosso-boarded ep, but it's Takuya Niinuma's corrections/AD that really stole the show. There’s an uncanny yet casually idiosyncratic honesty to Niinuma's art, the effortless charisma of a great & characterful animator-sakkan: his command of volume/shading -
4
184
2K
Unforgettable action setpiece from Tooru Iwazawa's (SB/ED) Frieren
#06
(his enshutsu debut!), one of the year’s best, most nimble & ecstatic sequences. Despite the easy kinesis of its animation (holy stacked), the fast-moving boarding & staggering scale, readability of action is-
6
325
2K
Having seen it a couple times, can't help but be grateful for what team Matsushita managed to accomplish w/ Haikyuu! Final. Mitsunaka's ambition, pure camera prowess & devotion to character manage to craft a cohesive whole of powerful effect, finding countless new ways to direct-
4
155
2K
Absolutely bewitched by Sankaku's Chainsaw Man ED- after all CSM is set in the 90s, so it only makes sense to have an ED with a gloriously neon-filled & glossy VHS aesthetic, nostalgic pixel art & character illustrations worthy of a bawdy magazine of that period
3
237
1K
Even in a more limited context, i love that Gosso's direction for Chainsaw Man
#08
was still boundless and unorthodox, his space-bending style made of wide layouts, distorting angles, unconventional camera pans etc, twisted and weaponized to turn the episode into an unsettling-
2
152
1K
Gosso's JJK S2 premiere is immediately striking for how confident it is w/ his bold approach to direction & camerawork, his are the rare eps where lens tricks/3D camera flex truly feel like an asset, he understands such tools as a natural deepening of the 3-dimensional parallax -
2
184
1K
After his great directorial debut in Super Crooks, another incredible ep by Naoto Uchida with Mob Psycho III
#04
, his dense board & compositions + his strong layout sense really turned the episode into a powerful immersive experience. Loved how often he put characters in the-
8
197
1K
With Look Back, Oshiyama looks to have found a powerful synthesis between his own idiosyncrasies/storytelling urgencies and Fujimoto's deliberate roughness: the latter built his design & art sensibilities around a gritty aesthetic referencing contemporary urban anxieties & the -
4
109
1K
Some interesting tidbits in the Soty-Ishitani interview from what i can grasp, but also just immensely satisfying to see them specifically name Baron Omatsuri/Takaaki Yamashita-era OP as an influence on the look of opening 26. Flat aesthetic supremacy!
8
195
1K
Overflowing with lush visuals, dazzling the viewer with color & movement, the Frieren (XL) premiere is the surest sign (& once again proof) that a Keiichiro Saito-led anime is an unmissable event, but maybe its greatest triumph is that feeling of several talents snapping into-
7
204
1K
Soty's KA/AD work & execution of Yuji Tokuno's board in One Piece
#1045
left me speechless.
Perospero's meticulous bow anim. establishing the perspective + POV shot framing the action, a gorgeous close-up, idiosyncratic running animation in the foregroung layer introducing a new-
6
179
1K
Shinnosuke Tanaka is becoming a very interesting hybrid animator and his scene in One Piece
#1104
is pretty nuts: it's worth to delve in many of its intricacies, so here's a thread (1/13)
2
112
1K
Bocchi The Rock!
#05
is incredible. Yusuke Kawakami took full advantage of BTR's already established visual diversity (layered compositions, mixed media implementation, etc) & organically connected it with the voluminous dimensionality of his direction, evidently fueled by his-
6
184
1K
Chainsaw Man's new ED is a solo effort from Hitomi Kariya, who handled everything from SB/dir. to color design & backgrounds, and it’s incredible! Very reminiscent of her illustration work, with the soft palette & focus on quiet moments, her intuitive design sensibilities-
4
215
1K
Nara did it again, Bocchi The Rock!
#11
is astonishing!
A barrage of obsessively detailed animated sequences/obsessively elaborate skits, playful cg/la inserts & hysterical compositions - its visual eclecticism matched only by the attentiveness of its language
2
125
1K
Akiko Watanabe working again on Pokétoon after Yume no Tsubomi, as chara designer and animation director (along with Natsuki Yamada), i adore the softness & malleability they bring to the designs, what wonderful expressiveness!
2
144
977
Gosso's way of processing animation/visual ideas has become so unique that even when the approach is relatively simple, he manages to deliver something very charming: photography/real-life footage-themed OP/EDs are nothing new (not even to JJK, and Ryohei Takeshita's works are-
2
166
956
Weilin Zhang's (SB/ED/AD/Comp & even some KA/douga) Tengoku Daimakyou OP is the stuff of dreams. It striked me how deftly he played with the minimal & selective use of outlines (very ShingoYama-esque), every cut & image as if sculpted into color, movement & light, pure boundless-
1
166
951
Kimi no Iro looks amazing! Yamada's gaze seems as focused & intimate as ever: framing people in a delicate dance of wistful close-ups & warm/specific light & color reflections, asserting subjectivity (the synesthesia element of the premise making the personal aspect of the -
4
165
964
Still in awe at how Shishido managed to forge a multifaceted yet organized identity for OP
#1100
: tense & sublime while also still wonderfully ridiculous & exhilarating, somehow crafting a cohesive whole out of its relentless sakuga spectacles & sprawling setpieces. Anyways, a🧵
4
82
945
Rie Matsumoto directing a Pokèmon MV with Yuki Hayashi as Character Designer and AD, we're so blessed, i don't know what to say and i'm just gonna watch this until the day i die
5
318
894
Mob Psycho 100 III
#08
is Hakuyu Go's love letter to the series. It hooks you with the bold but thoughtful boarding populated by spacious layouts & dense character animation setting the atmosphere, it inspires you with Go's rousing animation philosophy while he's adapting it in -
6
199
861
Loved how Shun Enokido's direction in Chainsaw Man
#06
played with different levels of depth, very attentive use of transversal compositions and focal length, often working with parallel planes of staged elements in relation to each other, it definitely helped-
1
103
854
just as well with character interactions as in the action setpiece.
Also, more Sushio goodness! Hectic sequence of *monster* acting that never loses sense of volume, weight or consistency even with such a complex and articulated design, damn uncanny
1
39
885
Arifumi Imai's JJK
#28
is fantastic: an episode defined by its tempo & structure, this dialectic of motion & stasis, sweeping camerawork/intricate boarding & careful staging/direction, furiously paced action w/ animation bursting into the frame & deliberate, lingering stillness -
2
118
870
Lots to love about Tokuno's JJK
#44
but my favourite sequence was the one dedicated to Miwa & Mechamaru's goodbye. Ligton KA + Shun sakkan, where the former also handled the color script/design for the scene. The heightened intricacy in the drawings, tasteful irotore, gestural-
3
93
867
In love with Haruka Iida's new MHA ED, rare to see this kind of nuanced & delicate approach to imagery and visual motifs in this franchise, and the film grain adds that bittersweet mood that's perfect for this arc. You can tell Iida really brought out her own sensibilities-
3
139
843
Bocchi The Rock
#07
(Ishii SB & Shinohara ED) is just exhilarating: from stop-motion animation to Ikarashi's 4:3 extravaganza, they're regularly summoning entire formats/mediums' worth of gold material for a silly skit, only to deconstruct it utterly with savage glee by joke's -
4
154
841
More Kouki Fujimoto greatness in Frieren
#25
! The multilayered/FX heavy animation is stunning & gives a cool sense of width to the setpiece (especially in the Fern cut where foreground/background elements convey momentum & depth) but I like how it's designed to be symmetrical-
2
115
859
Interesting to see what an outside team like Enishiya's (+guests) brings to the table (pun intended) in Dungeon Meshi
#06
, directed by Keita Nagahara & co-sakkan'd by Toya Oshima (for part B). Voluminous/layered layouts, sharper supervision strategically contrasted with a loose-
3
103
843
Tengoku Daimakyou
#10
The sharp edge of Ikarashi's sensibilities have not been dulled even in an adaptation, constantly trying new stuff: fly on the wall-camera style to push layout composition to its limits w/ those tight close ups & skewed perspectives, playing w/ muted color-
5
135
812
Mob Psycho 100 III
#05
was pretty intense, part B especially. Loved the creepy paranoid tone of Shigehara's direction, all built around his claustrophobic board/compositions, & a few fiercely exuberant animation outbursts (Miyo Sato's work deserves special mention as always)
3
100
791
Kawakami's direction is as sonorous as Kessoku's band exhibition, but quintessentially character driven, everything designed around the spatial relationship between Bocchi & her fellow bandmates, impressive not only in delivering an ambitious sequence with complex staging but -
3
111
790
Princess Connect! Re: Dive Season 2
#04
SB/ED: Takahito Sakazume (坂詰嵩仁)
AD: Yosuke Fukumoto (福元陽介), Tokiemon Futsuzawa (普津澤時ヱ門),
Takahito Sakazume (坂詰嵩仁)
Mind boggling episode
1
262
787
Now knowing the full extent of Nakaya Onsen's contributions to JJK
#40
(from redrawing the board to stage modeling,editing & general shift to directorial duties) it's even cooler to look deeper into the structure & sense of progression/cohesion to the action in some of his work🧵
4
101
777
MHA S5 action has been very consistent so far, lots of good ideas in showing how different characters move and interact in/with this new environment, which make for some pretty cool sequences when accompanied to the excellent output of animators like Suzuki, Kozaka, Iida & co
6
156
694
*clears throat, wipes eyes* so, uh, my name is Spam, you see, the episode begins with... ends with... ahhh...
My heart is bursting with love for Mob Psycho 100.
3
76
719
Very few boarders/directors are able to do what Haruka Fujita does with just negative space & contemplative storytelling, her board for Tengoku Daimakyou
#08
is fantastic, bringing unprecedented emotional depth to the show. Kyoani-school director + Ushio score never disappoints
4
127
704
Frieren's magical action choreography is pretty straightforward but that's what makes it the ideal framework for FX-based showmanship: between Iwazawa resourcefulness & welcomed guests like Tatsuzou Nishita,
#21
(Kouta Mori ED + action board) continues the trend of cool, -
4
81
687
The Tam Lu-directed Castlevania Nocturne ep was very cool! Watching its most striking moment, how it's designed (running scene w foreground elements rapidly passing by) & knowing how much of an influence he's been, my mind couldn’t help but immediately go to some of ShingoYama's-
3
114
670
Highly stylized & textured imagery, intricate character art, dashing color design & compositing, interesting use of paneling/AR variations, evocative visual language that plays on subtext & motifs... yup, the Cyberpunk Edgerunners ED is another certified Mai Yoneyama masterpiece
2
104
642
Very similarly to his Da Wang Rao Ming OP, Hiromatsu Shuu's Chainsaw Man ED is a kaleidoscopic fever dream made of overly dense, multilayered compositions & hypnotic boarding/color design - burning the vivid imagery into your eyes
2
117
649
Vinland Saga S2
#09
unfolds like a dream, an episode of stark grays & gleaming reds, where every measured pan, track-back & composition draws you in Thorfinn's nightmare, Kobayashi (SB) once again harnessing the depth & richness of Yukimura's material like no one else could
2
114
625
Miso's such a skilled/precise enshutsu that every time i listen to Thunderclap (Terui banger) my brain instantly recalls the corresponding cuts, images/sounds from JJK
#16
.
From Sukuna's diegetic laugh echoing through Shibuya with the panorama shots as the track starts -
4
62
628
Promising sb/ed debut for Naoki Miyajima on JJK
#27
, really liked the definite compositions, playful use of fade-in transitions/occasional zenkage, and the overall snappy direction, contributing to the joyful & bubbly feel of part A & then building up the rythm for the-
3
76
611
Always cool when content + staff allocation allow for some truly intense animation supervision like in MHA
#140
but as usual with Umakoshi it's the sheer range of his art that makes you wanna yell DRAWING POWER at the screen
4
70
611
The Undead Unluck premiere is a fun showcase of everything we've come to love from Yuki Yase, w/ all his diorama-esque compositions & multi-tiered framing, but the real show-stealer is Taiki Konno's boarded & directed gimmick sequence. With basically full control over it, -
4
95
598
Style dictates mood in JJK
#47
! I feel like one of the more distinctively *personal* traits of Gosso's direction & how he processes boards is his charmingly weird approach to tempo, lingering pans & abrupt cutaways often highlighting a deep understanding of other/fundamental -
1
71
547
Froom moody to whacky to spooky, Hirotaka Mori's Tengoku Daimakyou premiere was incredible, its dizzying ambition clear in every facet: the very involved direction w/ smart lense play/use of rack focus, the insanely dense character acting &, notably, Yuji Kaneko's art direction-
2
87
518
I personally think Mob as a whole still represents the most seamless marriage between artistic and commercial impulses in TV anime, and Miyo Sato blessing us with another iconic paint on glass ED just feels magical. Shapeless & intangible, Sato's animation is rendered
5
107
506
Madly in love with Kutsuna's Magical Destroyers OP, especially how it shifts from his usual style of carefully structured, paced visuals & soft aesthetic cohesiveness, turning into an aggressive rush of imagery, noisy sensory overload & mixed-media spectacle
1
80
496
Spellbinding avan in JJK
#38
, notably bolstered by the contributions of Takuya Niinuma, who designed the whole sequence by boarding it & supervising the LOs (also strong corrections from Shouichi & Toto too). Especially when deployed in isolation like this, the uncanny qualities-
3
57
467
More Burn the Witch means more Kawano/Team Yamahitsuji goodness! Once again impressed by their ability to conjure up a fully realized world bustling with life & bubbly expressivity through sheer visual cohesiveness. Perks of having such well connected & attuned staff, from the-
3
66
456
Taiki Konno's pure draftsmanship is always a marvel to witness, and his Magical Destroyers ED is a repository of some of the best imagery Konno usually brings to bear in his works, every visual rendered in sweetly decadent artistry & erotic tactile intimacy
3
68
441
Ishitani has achieved a dexterity with her technical & creative direction that's positively overwhelming. Her One Piece op rockets you through blasts of imagery & animation efficiently deployed through boarding & compositions, transversely structured around the circular motif & -
1
57
437
How Ken Yamamoto orchestrates the rhythm of an action scene playing around with timing and the viewers expectations of when the next blow is gonna hit, is nothing short of amazing (and incredibly fitting since that it's probably how it feels to face Maki's unpredictability)
5
100
423
Invasive transitions and visual inserts, spirited imagery & composite visual form, Bocchi The Rock! continues to be structured & boarded/directed like Bocchi's emotional/thought process and is all the better for it,
#06
(Yoshiyuki Fujiwara SB/ED) is another gem
2
67
423
Vinland Saga S2
#04
is the first Kobayashi-boarded ep of the season & it's already the best one yet - the most confident in weaponizing its imagery & the weight of backstory, with measured directing tempo and good processing by enshutsu Yoji Sato
1
64
417
Very much excited about the Saito-FukushiP reunion/wonder combo for Frieren. Between the clean, cohesive & eye-popping aesthetic, Saito’s refreshing direction and the guaranteed animation talent... looking forward to Fall!
1
100
424
A year after his sakkan debut on Sonny Boy, Bocchi The Rock!
#04
is Nobuhide Kariya's first boarded & directed episode, & it is wonderfully coherent with the rest of the show, changing stylistic register on a dime just for the sake of a joke, building its absurd imagery around-
2
82
404
Meshi has a crazy strong AD rotation, having many of Trigger's young talents having sakkan debuts (2 this time, Yoshitaka Mano and Takashi Chida), just like with the SB artists, i'm loving how each brings their own flavour, be it with voluminous shading or sense of tactility etc.
2
8
412
The way Yuki Hayashi connects poses in his animation with close timing and strong spacing is always incredibly satisfying to watch, animating Mirko on 2s with the occasional bit on 1s to create momentum, so gooooood
2
60
401
Hoped to see an Amecchi board for his buddy Miyajima, but I'm not complaining if we get more of his snappy sabunga, incredibly satisfying sense of anticipation in his cuts
1
11
407
last 6/7 years of action TV anime.
It's an incredibly ambitious approach, especially considering the format/schedule and scale they're operating with, surely to result in some truly *interesting* and memorable episodes. Anyways, i will be there, no matter what
2
15
401
From intimate character moments to gore-bathed devil fights & silly movie refs, Shingo Yamashita's OP encapsulates everything Chainsaw Man is about & more. With his lush compositing, velvety color design & fluid boarding Yama is recreating the way CSM plays with tone & genre as-
1
45
385
Bright & multicolored, eccentric but tactful, Bocchi The Rock!
#10
is another great ep! Kawakami's love for negative space & glamorous light/colors always brings this inherent warmth & tenderness to his direction & compositions, creating a bubble of isolation but also of
3
61
385
Most of the sequence is homogeneously animated on 2s (w/o offset timing between the 2 characters), shifting to 3s only for the dip, as the weight is gently shared between them: there's just an immensely satisfying thoroughness to the movements, -
3
54
390
Megumi Ishitani’s works are always amazingly dense and layered, her boards, direction & compositions are so rich and textured that’s all frankly overwhelming: One Piece
#1015
especially, since this time she even got to work with Masami Mori (AD for part A) and some of the most-
2
82
368
Appropriately to a more convoluted setting, Frieren
#23
ramps up the intricacy of the action! Kouki Fujimoto (notoriously well attuned w action AD Iwazawa, as a fellow Yoshihara-influenced animator) delivers the highlight of an already fantastic ep, complete w cuts of full-cel -
1
49
383
In pure Ryota Nakamura fashion, One Piece
#1061
is bursting with vibrant & fun visual ideas, from cinemascope to colorful compositions & transitions (all processed w/ his glamorous color/comp sense), & the big action setpiece is just brimming with spirited animation
1
45
371
Lots to love about Bocchi The Rock's premiere (the spacious layouts & tricky perspectives, the acting that range from subtle to wonderfully exaggerated, etc) but it's incredible how Keiichiro Saito's board & direction connects everything together, dictating the timing & rhythm
2
75
372
The climax of One Piece
#1049
is simply arresting: Ishizuka's multiplanar action board & staging offering a template for Akihiro Ota to flex his prowess as an animator. Under Zukapon, Ota's animation becomes an even more powerful asset, an integral reshaping of the action. -
4
68
367
Finally got around to watch Blue Giant! Good movie, & Hiromatsu Shuu's (boarded/directed) live sections just floored me: pure audiovisual synesthesia, a fiercely creative blending & intermixing of sound and animation, one of the best things i've seen all year
4
36
363
8 months later, & my EOTY is still Ishitani's One Piece
#1015
.
Conjuring up a microcosm of the whole story as one prodigious multifaceted episode & weaponizing the way OP/Oda tackles themes of legacy & hope through the sheer transformative power of Ishitani's direction (& Soty's-
8
63
360
Tengoku Daimakyou
#12
Toshimasa Ishii (SB) took all of TD's structural gambits & weaponized them, building the ep's dense visual language around its evocative fragmentary storytelling: imagery becomes visual motifs, each motif informs & enriches the narrative allowing the ep-
1
70
350
I'm definitely more fond of Tanaka's draftsmanship rather than his sensibilities as director, but CSM
#03
was great! His corrections paired with the somber direction delivered a really strong mood piece of an episode, my favorite part is probably the flashback cross-cutting -
1
42
346