Karada and Tetsu meet again: rough, layout, genzu
Source: TV
Layers: 1
Sketches: 3
Cel Number: A1, C1
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Added 5/30/2015
Updated 6/1/2015
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Episode 10: Real Name [本当の名前 Hontou no namae], cut 11. Exhausted by his unsuccessful search for Karada-chan in their home town and in the nearby city, Tetsu is taken to a seaside bed and breakfast by his friend Kotomi. By coincidence (but in this world...) we see in the closing cuts of Ep. 9 that it’s the place where the grown-up Karada has finally found a job. We see her face briefly in the final cut, so we know what is to come. The opening of the next episode repeats these scenes, then quickly moves on: Tetsu removes his shoes, then turns suddenly, and the star-crossed lovers are face-to-face.
This is the first of several cuts that show both of them totally astonished, and we see the others react to their shock; then the opening credits run.
I’ve featured the very fine rough on light-salmon paper here, which I think (from the too-narrow eyes and use of orange pencil) is the work of Ryoichi Oki, who did similar sketches for Eps. 1 and 8. The thumbs add the layout and an interesting genzu on pink paper, in the characteristic style of episode director Daisuke Takashima. (You will see a number of similar “box-eyed” sketches in this gallery.) This works out the dramatic way in which the two layers sloooooowly track in opposite directions.
SENSEI CHECK!
Karada’s shock is understandable, as she has spent the last episodes running and hiding from her past, which has now caught up to her. And Tetsu could reasonably be surprised to find “Sato-san” to be the same odd adult that he spent much of Ep. 6 with back at his home town. But it is revealing that his reaction is just as intense as hers, a point underlined when even the sly stage-manager Kotomi seems taken aback by the intensity of his emotion.
We’ll see this ambiguity play itself out in this episode and the next two: how much does Tetsu really know and understand about “Sato-san’s” real identity? And exactly when does he wise up? (Which of course is never the same as when he allows himself to admit to himself what he now knows in his gut.)
Caution! Fussy Notes
No fewer than six artists were credited with animation direction for this single episode. The senior AD was Shinya Hasegawa, and the shuusei roughs, all on light-green paper, are similar to those for Ep. 8, so they must be Hasegawa’s work. But episode animation direction was shared by Sumie Kinoshita (also for Ep. 5), Ryoichi Oki (also for eps. 1, 3, 8, and 12), Hiroyuki Kaidou (also for Ep. 6), Mitsuharu Kajitani (also for ep. 12), and Souichirou Sako (this artist’s sole effort).
I assume that this meant that for some reason the cuts were parceled out among them. So roughs like the fine effort featured above could be by any one of these five. Kinoshita and Oki appear to have been the senior animators among this group, with the other three having had much less experience, before and after. Perhaps the two senior artists handled the more important cuts, while the others handled the less demanding moments showing the characters from a distance. Until I have a wider base of sketches with which to work, I can only make tentative identifications.
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