#Bleach: Thousand-Year Blood War - The Separation

[the-chikyuu-times]

[tuliharja]

BLEACH: Thousand-Year Blood War - The Separation episode 3 review

Lol! Urahara trolling Mayuri by panicking all 'don't cut the line! I'm about to reveal how awesome I'm!' while in reality, he was just messing with Mayuri. Pretty classic Urahara to mess with someone and especially doing so to Mayuri who already hates Urahara for being a bit better than him. (Which Urahara likes to bring out, much to Mayuri's annoyance.) Luckily Mayuri still agreed over the fact they could use his lab...talk about desperate times, because in any other scenario? I bet Mayuri would have flatly refused Urahara. (Which he probably knew very well.)

Those bugs they used...reminded Mayuri's caterpillar/baby Zanpakuto...I suppose it made sense those would, but even so...ugh. ^^'

Omg! Mayuri's sunflower outfit was pulsing like a pretty rainbow. (I swear if I won't see some lgbt+ gifs or pictures of the Mayuri motif in that outfit, I think it'll be a small crime. The opportunity is just too delicious to pass by.)

I loved how Mayuri and Urahara were talking with each other about how Quincies basically fear Hollows and the fact Mayuri was all but measuring down Urahara. While Urahara was his usual, laidback self. Despite that, he appeared all serious, which I bet Mayuri saw. Even so...it was an interesting scene. Very informative and two geniuses measuring each other down (or at least Mayuri was. Hard to write about Urahara.)

The tables really turned in this episode in Shinigamis' favor, thanks to Urahara and Mayuri! And the rest of the 12th Division members' help.

Despite the fact Soi Fon's Bankai is a bit clunky and big, the animation of firing it and its bullet hitting BG9 was very cool. And once again it showed despite the fact Soi Fon's and Omaeda's relationship is a bit difficult, they work very well as captain and lieutenant. It's kind of unfortunate, though, Soi Fon's Bankai didn't seemingly change when it got briefly hollowfied...unlike Hitsugaya's.

I think Toshiro's hollowfied Bankai looked very cool! Not to mention, talk about rude, Cang Du! For not believing Zanpakuto could be a spirit of its own mind...then again, I suppose it makes sense he wouldn't believe in such thing as Quincies don't have Zanpakuto spirits or generally their own, special weapons. They just have unique powers, thanks to Yhwach... when considering that, it's a bit ironic getting 'superpowers' from mighty Quincy King makes sense and is alright, but when it's about Zanpakuto spirits, it's about faith? Oh well, I suppose it's about what one is used to. Let everybody believe in what they want to...though Toshiro truly showed the mightiness of Hyorinmaru! Not to mention, it made me snicker a bit when Toshiro apologized he couldn't make a pentagram out of Cang Du...

Yes, yes, yes!! I knew it was teased we would see Shinji's Bankai and now we finally saw it! (In manga it wasn't shown.) And man, what a treat it was! Thought it was a short clip, it was still very awesome to see Shinji's Bankai in the anime. So happy we got to see it because I always found it a bit unfortunate we didn't see certain captains' Bankais in the manga...

Not to mention, the music that hit each time Shinji was on screen? *Chef's kiss.* Classic Shinji which made the viewer feel all smoooth,

When Yhwach granted his Sternritters their Quincy Voll Stern Dich (or more like allowed them to use those once again), those looked actually very pretty. Each Sternritters' color seemed to be different, making them all stand out and be just...pretty. Yeah, deadly, but pretty.

It was nice this episode had a bit more colorful spots here and there, giving more life to the episode. While the color palette, red and light blue hues are all nice and show the viewer nicely both sides...those spots of color? It was welcomed, at least from my side.

And once again at the very end, we saw Ichigo struggling his way to that torii gate. That glimpse of Soul King...I wonder if Ichigo will find out the 'truth' about Soul King and if yes...how will that change him?

Also! Finally, in the next episode, Komamura will get his chance to shine!

[anime-of-the-day]

Anime of the day: Bleach: Thousand-Year Blood War - The Separation

Alt title: Bleach: Sennen Kessen-hen - Ketsubetsu-tan

Released: 2023

The residents of the Soul Society heal their wounds and grieve their losses following a horrific surprise attack by the armies of Quincy King Yhwach. Many of the surviving Soul Reaper commanders train without their Bankai in preparation for conflict.

Ichigo narrowly escaped Yhwach's ferocious anger in the previous assault. However, in order to vanquish his opponent and save his allies, Ichigo must now go through rigorous training that will push him to his physical, emotional, and mental limitations.

[animemakeblog]

“Bleach: Sennen Kessen-hen Third Part” The Announced for 2024

The third installment of the anime series, dubbed Soukoku-tan, is scheduled to debut in 2024 on TV Tokyo, according to the 13th and last episode of the television anime Bleach: Sennen Kessen-hen - Ketsubetsu-tan (Bleach: Thousand-Year Blood War - The Separation). A teaser image and announcement promo were also made available on the official website.

[otakutale]

Bleach: Thousand-Year Blood War Part 2 Slated for July - PV Revealed

https://wp.me/p4jiOt-dea

Following the broadcast of the 12th and 13th episodes in the 2022 anime adaptation of Tite Kubo’s Bleach, the official…

[float-me-now]

Holy shit Bleach's TYWB animation is just - ✨ perfection ✨

[heyheyray]

Uryu Ishida

[natesune]

I could fix her.

[animenga2023]

Bleach Thousand Year Blood War The Separation Episode 11 Too Early To Win Too Late To Know

[xenojiva69]

Yumichika mad for being called fugly...

[beneaththetangles]

First Impression: Bleach: Thousand-Year Blood War Part 2: The Separation

Part two of the “Thousand-Year Blood War” arc opens with a baby—revealed to be Yhwach—being lifted up in the air and worshipped by thousands of reaching arms. As the episode proper begins, Yhwach in the current time looks out at the Quincy and announces that it’s time to destroy the Soul Society—and one more thing as well. As he brings Uryu Ishida out onto his platform, Yhwach announces that Uryu will be his successor, a surprise move that angers most of the Sternritters. But Yhwach believes strongly that Uryu, the only survivor of Auswalhen, is the right one to succeed him, and gives him a drink that will awaken his powers. Meanwhile, those opposing Yhwach are preparing for his second invasion: Chad and Orhime continue to train, as do Rukia and Renji; Byakuya has recovered and will enter the next stage of his training; and Hiyori agrees to assist after receiving a package from Shinji and Mayuri. Even Ichigo’s friends are made aware when Shunsui visits them especially to deliver tickets to take them to Soul Society should they no longer be able to see Ichigo in their world. And why would that be? Because, as Shunsui explains, Ichigo may become so powerful that he can no longer exist in the human realm without destroying it. But Ichigo must first hurry to complete his training to become something stronger than a Soul Reaper if he’s to meet the Quincies as they enter the Soul Society once again to fulfill the Kaisen Gesang, whose last, hidden prophecy is that the world will end in nine days.

(Read More)

[the-chikyuu-times]

[tuliharja]

BLEACH: Thousand-Year Blood War - The Separation episode 9 review

And after a week's break, the anime is back~. And we're continuing right where we left off.

Good thing Ichigo and the company bounced back to the action after Uryuu joined Yhwach and Jugram. It was a quick and shift moment, but I get a feeling it was mostly thanks to Chad's reassurance. Of course, Orihime too helped, but I feel like Chad got that small spotlight to be Ichigo's main support this time around which felt just nice.

It was also interesting to see shinigami picking themselves after that blast Yhwach and company left because in the manga there wasn't such a scene.

I must admit I was genuinely surprised we saw Iba and Komamura. That was just a nice addition the anime team made, along with Byakuya surrounded by the Quincies and Renji protecting Rukia from that blast. Little additions like those really add to things in the long run as those explain what happened to other characters when something was going on. Sure, it's nice to see the main gang in action and follow them, but it just gives this feeling of many characters and stories, when there are little bits like these in anime (and manga).

Lol! Renji talking smack about Bazz-B. xD Just for Bazz-B to compliment Renji. That was an adorable moment, even though Renji ended up pissing off Bazz-B with his chicken comment...like yes. It's nice chickens lay eggs and all, but I'm not sure if a guy would like such a compliment. Poor Bazz-B. His Burner Finger Four was very cool. Reminded me again just how good the animation is in Bleach: Thousand-Year Blood War ~.

Oh, so they really went for that scene with Yumichika revealing Giselle isn't biologically a girl, huh? It really wasn't that clever way of Yumichika wanting to make more accurate points of Giselle. (And before anyone asks, yes, in the original TV-broadcast Yumichika uses the lines he uses in the manga. [Making that scene just tacky -at least from my mind.] In the international version they've censored that line and also Giselle's one line as far as I'm aware.) But I suppose they just wanted that scene to be added, because...I'm not sure. I don't think anyone would have minded if that scene had been fully scrapped, because what would have mattered in the end if we wouldn't have been sure of Giselle's biological gender? Giselle identifies herself as a girl, so it should have been fine. But I suppose for some reason or another, they just wanted to push that little niche fact about Giselle. At least they tried their best with that scene. That's all that I'll write about it.

Now moving on~. To be honest, I was dreading this part of the anime because zombies are a big nope to me. Luckily the zombies in this didn't look as bad as those could, otherwise, I would have had to skip quite a lot of content from this episode, as it centered around quite heavily around zombies.

I'm kind of glad Yoruichi was introduced in such a neutral manner, unlike in the manga. Now the focus was on the task of 'how to get Ichigo, Orihime, and Chad to Soul King's palace?' Kisuke's explanation was interesting and I'm glad we learned what Yoruichi was up to, since up until now we hadn't seen her! Not to mention what exactly was Hiyori's, Lisa's, and Hachigen's task at the World of the Living. This all actually made me question if Kisuke (and Mayuri) did foresee Yhwach going to the Royal Palace and if they allowed such a thing to happen on purpose. Because now remember, Kyoraku all but hinted Ichibe allowed on purpose such a thing to occur...is there a secret scheme going on or what? Because that all seemed like such a big mishap, I wouldn't say all was just 'pure coincidence'.

Seeing Yumichika and Ikkaku fighting against zombie Bambietta was very nice. They really work very well together and I believe before this we hadn't really seen them fighting together. At least I can't recall such an event as usually, they would work separately I recall Ikkaku insisted on fighting alone against his own opponent and Yumichika felt shamed for his kido skills. But this time around, it seemed like they had managed to solve such issues and worked together quite well. Too bad their fight against Bambietta was a short one. But it was nice to see sunflower!Mayuri enters the stage~.

Mayuri going against Bambietta and Giselle looked visually very cool. Though when Giselle brought her Gotei Thirteen zombies, I almost snorted when Mayuri explained he wouldn't be able to go against them because of the 'goodness of his heart'. Yeah, like he hadn't previously in his life killed many of his subordinates. Not at all! ...but in all seriousness, I think he just wanted to flaunt his own zombies to Giselle. (And yes, just moments later when Mayuri told off both Ikkaku and Yumichika, proved he is still the same old Mayuri. Now with more facts under his belt that he can use against other people to do what he wants, though.) A good way to bring out already dead characters.

I must admit, zombified Toshiro wearing a Wandenreich outfit suited somehow extremely well to him. I still feel sorry for him, though. The fact he turned into a zombie and now has to go against his allies...not good at all. But we all will see more about that in next week's episode as the whole zombie thing is still far from over! (Again, I'm happy the zombies don't look like typical ones.)

[newsintheshell]

🍿 Iniziato ufficialmente il simulcast su Disney+ della seconda parte di BLEACH: THOUSAND-YEAR BLOOD WAR!

Online trovate il primo dei 13 nuovi episodi previsti per la serie, che andranno a raccontare il The Separation Arc. Dopo questa, saranno realizzate altre due stagioni, che porteranno finalmente la storia alla conclusione.

[reikorun]

BLEACH TYBW Anime Cour 2 Booklet: Behind the Scenes [Translation - Part 1]

Translated by @reikorun

Director's Note × Author's Eye

We pick out several points from all 13 episodes (#14 ~ #26) of the second cour. For each point, pay attention to the explanations by Director Tomohisa Taguchi and the perspective of the original creator and general supervisor, Tite Kubo!

Section 1

Start with Yhwach again

1. A baby being held. As that being, raised up by countless hands, grows and opens its eyes, cour 2 "The Separation" begins. (ep. #14)

D: Tomohisa Taguchi

"Let's place the focus on the Sternritter for the second cour", from the early stages, this is what was decided among the staff. On top of that, in order to make a link with the first cour which began with Yhwach reciting the Kaiser Gesang, we thought "let's begin the sequence of events in cour 2 with him as well." In that case, that scene depicting his origin would be appropriate. In the original work, it was drawn in a manner which took a comprehensive view reminiscent of folklore, but I struggled with how to go about creating a similar impression in the anime. As a result, the visual expression became closer to an art film represented through images alone, without the use of any narration or dialogue at all.

A: Tite Kubo

From the moment I laid my eyes on the storyboard for the first time, I had a feeling that it was going to turn out really good. Regarding this scene, there were actually various changes made until we arrived at the final cut, and even the versions we didn't use were very interesting. During the dubbing session, the process of overlapping the collective "Yū, Ha, Vē, Ha" was also enjoyable to listen to.

2. In addition, there was a memorable scene where Yhwach's 'power' was portrayed through a visual representation. This is the scene where a 'shadow' extends from the throne as Yhwach falls asleep, leading to the appearance of Haschwalth. (ep. #18)

D: Tomohisa Taguchi

The portrayal of that shadow was an idea I received from Kubo-sensei. In the original work, we were able to gain an insight into the power of Yhwach as well as the connection between Yhwach and Haschwalth through Haschwalth's words to Uryū, but since there was no concrete depiction in itself for the transfer of power, it lead to discussions where we considered that It would also become an element linking to the subsequent cour, so we thought “let's do that in the anime!”

A: Tite Kubo

At first, the manner in which the shadow emerged looked as if it were surging up from below, but viewing it from a choreography standpoint, I suggested that the shadow itself should appear in a sort of sliding manner, giving the impression that it had some mass to it. The transfer of power occurred while Yhwach was sleeping, so in order to preserve the nuance that the transfer to Haschwalth happened while he was in that state, I also had Haschwalth depicted standing with his eyes slightly lowered.

Section 2

Storytelling 

3. In the second cour of 'BLEACH: Thousand-Year Blood War Arc', the war situation changes moment by moment due to the Sternritter invasion, and the outward appearance of the Soul Society also undergoes transformation. As a free-for-all breaks out in various places where enemies and allies intermingle in a state of chaos, the anime adds a scene where the newly appointed Captain-Commander, Kyōraku Shunsui, issues orders to each soldier. (ep. #14, #18)

D: Tomohisa Taguchi

One component of that is our desire to include explanatory scenes and scenes where the narrative is refreshed so that the audience are not confused by the ever-changing situation of the war. Another component was our desire to depict the organization that is the 'Gotei 13', which includes Kyōraku who became the Captain-Commander, in a renewed light, and these components overlapped seamlessly.

As a result, I think we were able to depict his status as Captain-Commander inherited from Yamaji, as well as his work ethic. In combination with the scene depicted in the original work that evokes the essence of Kyoraku, i.e. the handing over of Soul Tickets to Tatsuki and the others in the Human World, I'm happy if we were able to successfully delve deeper into the characters. 

A: Tite Kubo

It was a really nice scene with both the essence of Shunsui and the essence of a Captain-Commander coming through.

4. In addition to Kyōraku, the appearance of the other troops were added, including Vice-Captains. (ep. #16)

D: Tomohisa Taguchi

While the scenario building sessions were moving forward, I realized that I also wanted to depict the Shinigami's point of view as they strive to fight back against the invasion and try to fulfill their duty to the Gotei. Rather than simply portraying the scene, we added a series of shots with the intention of showing the state of the Shinigami who remain unyielding even as the war situation worsens and they are gradually forced into a disadvantageous position.

A: Tite Kubo

Even in a fan service sense, I think the audience enjoyed being able to see a variety of characters in the anime. 

5. With regard to the main character, Ichigo, extra scenes have been added, such as the manner in which he received training under Hyôsube Ichibei. (ep. #14 and others)

D: Tomohisa Taguchi

As mentioned earlier, the foundational principle for the second cour is to place the main focus on the Sternritter, while that's true, 'BLEACH' is still the story of Kurosaki Ichigo, isn't it? There were some concerns that the number of episodes in which Ichigo does not appear in the anime may end up feeling longer than it was in the original work, so we came up with the idea of showing what Ichigo is doing at the present time. The knowledge that Ichigo was training at the Soul King Palace is also depicted in the manga, so I speculate that even though Kubo-sensei undoubtedly had a concept and an image in his head, perhaps he deliberately chose not to draw the specifics. We had the privilege of making suggestions and consulting with Kubo-sensei about how we would go about incorporating the event into the story; those scenes were the result. In a sense, it's to be expected, but we were able to receive a tremendous amount of material from Kubo-sensei, far more than what we expected…. It made us think, "Ichigo, that's what you were doing in such a place!?'' As a fan of the original work, I was delighted, and I also maintained the feeling that I needed to put all my effort into portraying it.

A: Tite Kubo

About the Irazu Sandō part, I didn't include it because if I tried to draw it in the manga, the scene depicting the agonizing ordeal would span across multiple pages and end up too long. I'm glad that it could be expressed in the anime~!

6. The stage upon which Ichigo undergoes his training, Irazu Sandō. A mysterious and beautiful sight, yet it is also a peculiar place where a solemn air, a stillness and a sense of awe all coexist. (ep. #14 and others)

D: Tomohisa Taguchi

There's torii gates, a cobblestone pavement, shide (*zigzag-shaped paper streamers) adorning both sides…. If we hadn't received materials from Kubo-sensei, I don't think we would have been able to find our way to this point. Whilst enduring something which tries to push him away from the approach path, the more he walked, and the more he advanced, the heavier the wooden sword in Ichigo's right hand became. When he walks, he walks by moving his legs forward without letting his feet leave the ground. A lot of detailed images and ideas were provided, such as scenes of rain falling outside the path. This was then projected into anime visuals, and the Irazu Sandō came to a state of completion. I think this is a training ground packed with every element that is typical of BLEACH, down to the smallest detail, and that cannot be found in any other work. We've also incorporated an abundance of elements that will be connected to the third cour and onwards such as what happened to Ichigo during his training and the scenes he witnessed, so I would be happy if you could take another look.

A: Tite Kubo

Originally, the mental image I had was 'a sacred place, but at the same time, there is a sense that one is being cursed.' However, I thought that if I communicated this to the production team, the eeriness might end up being too pronounced, so I deliberately didn't mention it. The impression I had was that it was like an abandoned path. As a result, I think the team were able to capture that balance in the sense that it is a sacred yet potentially frightening place, and thus they were able to express it well. 

Section 3

Design & Color Concepts 

7. After the invasion by the Sternritter, the sky of the Seireitei was dyed red, and the squad barracks were transformed into unfamiliar, inorganic blue-white buildings. Director Taguchi's production plan is markedly reflected in those colors as well. (ep. #14)

D: Tomohisa Taguchi

The main goal was to dramatically shift the setting away from Seireitei in a time of peace. Additionally, the upper part of the frame is red and the bottom is blue, which serve as completely opposite elements in terms of hue, so the aim of the production was to consider how the image could be made into something vivid. After the invasion, the Seireitei became perpetually uniform to that coloring, so there were some concerns about whether it would be acceptable as there are very few anime that employ a color scheme which breaks away from the norm to such a degree. However, we wanted to convey the might of Yhwach's power and also the sense that his power had indeed transformed the world. Furthermore, since blue is also the color of 'Quincy Reishi', I considered that perhaps this extreme staging effect in which the space itself ends up dyed in the colors of the Quincy side would make it easier for viewers to perceive the phenomenon where visually, it no longer feels like the Seireitei = the world of the Shinigami.

A: Tite Kubo

When I first received this proposal for the color scheme, I thought the expression might be too extreme, but the way Taguchi-san uses backgrounds is masterful, so I decided that I would try to leave it with him. I harbored some concern that colors of the characters may become difficult to distinguish, but that aspect was also rendered in a well balanced manner. At various points during meetings and dubbing sessions, I often get the feeling that Taguchi-san is someone who can clearly see the final visual outcome. 

8. From the standpoint of color, the attire and laboratory, which Kurotsuchi Mayuri contrived as a countermeasure against the Sternritter lurking in the shadows, are also very interesting. (ep. #15 and others)

D: Tomohisa Taguchi

Initially, the glowing Mayuri was only supposed to shine yellow. However, this time, Mayuri's lab itself also shines brightly, so it meant that when we tried to station him there, he ended up blending into the scenery quite a bit. While searching for a way to make Mayuri shine, an idea came from the color scheme designer Gōda-san: "How about a lighting method which shifts into a variety of colors like a gaming PC?" We adopted the idea thinking "it'll probably look great on screen!" We proposed the idea to Kubo-sensei, who readily approved, and it started to take form in the visuals. The colors continuously shifting midway through the plot is an interpretation that can only be represented in the anime, so I believe we were able to exhibit Mayuri's natural presence by using a different approach from the original work.

A: Tite Kubo

This was indeed an interesting portrayal that could only be done in the anime. It's also interesting that it was intentionally made to look like a moiré pattern. After all, this cannot be pulled off by any character other than Mayuri.

9. Mayuri's laboratory is designed to completely eliminate any shadow as a countermeasure against the Sternritter invasion. Evidently, it took a great deal of trouble to express this. 

D: Tomohisa Taguchi

It took a lot of trial and error to figure out how to express 'no shadows' in the anime. The most significant factor in creating a three-dimensional effect in an illustration is the contrast of the shadows, isn't it? Given that it was necessary to reject that, we said "there is likely no other way to do this but to test an array of other patterns!" The art staff and I went through the process of trial and error a many number of times. As a result of taking into consideration various opinions that came up along the way, we translated them into the concept of 'creating gradation within the light', ultimately representing three-dimensionality.

A: Tite Kubo

When drawing it in the manga, the way I used to express the idea of 'glowing without shadows' is by erasing around the circumference of what I had drawn. I'm glad that I was able to have it portrayed in such a satisfying manner in the anime too.

10. Hirako Shinji's Bankai, "Sakashima Yokoshima Happōfusagari". A Bankai, which did not appear in the original work (※first appeared in the novelization), is made to enter the stage in the anime, therefore a great deal of enthusiasm has also been poured into its rendition. (ep. #16)

D: Tomohisa Taguchi

The bud of Hirako's Bankai pedestal is formed by the petals narrowing inward when open, retaining their form to become the bud, however I thought that if we produced it with cel animation, the petals would inevitably lose their shape, rather, there's a high possibility that it wouldn't look like a rigid object. So, in order to show the precise movement of a rigid object, we deliberately used CG. At first, what I imagined for the texture was a brass-like luster, similar to the lotus flowers used in Buddhist altar fittings. We struggled while attempting to express the feeling of that material and searched for ways to depict it using CG surface reference / textures and such.

11. Many characters have made their Bankai debut in the original series. Ōtoribashi Rōjūrō's "Kinshara Butōdan", and Humanized Komamura Sajin's "Kokujō Tengen Myō'ō: Dangai Jōe" were also portrayed by utilizing 3DCG technology. (ep. #18, #17)

D: Tomohisa Taguchi

I think 'Kinshara Butōdan' managed to incorporate a finely tuned quality that doesn't look like it was made with cels, having said that, nor does it overly emphasize CG elements, rather it strikes a delicate balance between the two. Similarly, "Kokujō Tengen Myō'ō: Dangai Jōe" was also developed in 3D, I think we were able to well execute the way the gigantic body moves freely and abundantly as opposed to the challenges of producing it with cel animation, which is susceptible to making the movement appear choppy. In the story, there are various Bankai, but in terms of compatibility with 3DCG, rather than the type where it's just the sword changing, it's my opinion that Bankai transformations where the appearance changes completely or another entity emerges, is the kind that fits better from a direction perspective. As mentioned earlier, expressing it in 3D has the effect of altering the feel, so you can stress the distinctness and change in atmosphere brought about by performing Bankai. In a certain way, I suppose it's possible to convey a stronger sense of harnessing something that is not of this world. Therefore, from now on, I intend to continue requesting (to those in the field), that one doesn't adopt a cel animation look completely. 

A: Tite Kubo

Both were really good. As Taguchi-san also mentioned, I wanted to avoid having the CG elements coming to the forefront in an odd manner. I think CG shines particularly during Bankai transformations that feature inorganic matter. The CG was skillfully utilized, especially in critical moments where traditional animation eventually tends to falter, like when Myō'ō comes in with a slashing attack, for instance, making it quite impressive to watch.

12. 3DCG is not the only technique utilized for showcasing Bankai. The skills of various staff members have also been brought together.

D: Tomohisa Taguchi

Even though I understood the principle behind it, figuring out how to visually represent Muguruma Kensei's Bankai "Tekken Tachikaze" in the anime, among other things, was challenging because how we'd go about expressing that is a different story. While the blades remain in contact with the target, it continues to explode infinitely. It creates the illusion that the punches being thrown are repeatedly landing tens of thousands of times without the arm ever being pulled back from the point of impact, doesn't it? We worked strenuously to express how immense the power of Kensei's Bankai is by doing things like deliberately adding cel style motion blur to make it look as though the opponent was being hit, aiming for a visual effect that makes it seem like he's trembling after being struck multiple times, and using an approach where we incorporated sound effects reminiscent of a drill used in road construction. In terms of his character and Bankai visualization, Rōjūrō is likened to an Opera, implementing theatrical staging such as the rapidly changing movement of his conductor's baton and the lighting. The music attached to the scene also became particularly important, director of audiography Nagasaki-san and re-recording mixer Hoshino-san fine-tuned it masterfully. 

[fallinblossoms]

Ichigo & Uryu

BLEACH: Thousand-Year Blood War - The Separation - opening 1