Attack on Titan fans accept been concerned ever since studio Wit passed the franchise off to MAPPA. Though MAPPA was the only studio able to take on the project, many fans worried over how much the serial would change and if MAPPA would be able to produce a satisfactory product with the tight schedule information technology has.

At present that Season 4 has begun, information technology's remarkable just how well MAPPA has been able to retain the style and feel of Attack on Titan despite and then many staff changes. All the same, there are some noticeable differences between MAPPA and Wit'south product thus far, notably its CG usage, graphic symbol designs and animation.

Flavor iv'due south CGI & Character Designs

The near noticeable modify between MAPPA's version of Attack on Titan and Wit'southward is in its utilize of CG. Now, it's a petty disingenuous to compare MAPPA and Wit's CG since technically neither is really their's. The CGI at MAPPA is done past 5-sign, which has worked on past MAPPA series like Inuyashiki and a few episodes of Dorohedoro. Meanwhile, the CGI in Wit is produced past MADBOX which has worked on series likeOverlord. Shuhei Yabuta has returned every bit 3DCGI producer for MAPPA but has mentioned that he will be focused more than on directing his own serial. So, the squad on the final flavour ofAssault on Titan is entirely new. Despite this, they accept created the best looking CGI Titans the serial has seen.

Animating giant moving beings is an backbreaking job, so it was to be expected that CGI models would somewhen be created to help lessen the strain. The commencement fourth dimension we glimpsed a CGI model for the Titans was in Flavor 2, and information technology was jarring. The Colossal Titan'south bad-mannered proportions as information technology attacked with its ultra-sparse artillery were comical and the way it was composited into the show made it feel equally if information technology barely belonged in its environment.

By comparison, V-sign has made the models move far more smoothly and the proportions feel accurate to the manga in Season four. Information technology'southward difficult to tell from a screenshot if a Titan is meant to be CGI, as the company combines it with the setting seamlessly. V-sign has likewise made CGI models for use of the ODM gear, which makes sense to practise as the designs are far more detailed than before. So far, the only negative for these CGI models is that from afar, they tend to look compressed and out of place, but overall they are a massive step-up from the CGI used in previous seasons.

Aside from CGI, the other major change inAttack on Titan Flavour four under MAPPA is the character designs. Fifty-fifty if the series were to stay at Wit, the designs would change significantly thanks to the time skip. There are some details some may miss from Wit'southward adaptation, though, namely character designer Kyoji Asano's signature thick character line fine art and Satoshi Kadowaki's corrections. However, Tomohiro Kishi has done a solid job adapting the new designs even if information technology seems he was dragged onto this projection by force.

There is some business concern over the designs being too detailed, which would require a high number of animation directors to go along them from going off-model, but so far nosotros accept nevertheless to see whatsoever major mishaps. The designs take also kept many elements from Wit's adaptation, too, such equally the shading on faces, which fans should be pleased with.

Flavour 4's Animation

Anime Attack On Titan Season 4 My War Opening Debris

Set on on Titan is nearly known for its exhilarating fight scenes. Nether Wit, a few animators became stand-out champs, similar Arifumi Imai and Takuma Ebisu who handled some of the almost iconic moments in the series. The Levi cut by Imai near the start of Flavor 3 is a perfect blend of 3D background elements and 2D character animation that make Levi'south movements popular off the screen.

Meanwhile, Takuma Ebisu made the soldier's blades look abrupt and stylish. Another aspect of the animation missing from the season is the make-up animation headed by Chie Yamazaki. She brought her crew on from Kabaneri and helped enhance the artwork in many scenes, giving an extra layer of shading otherwise absent from the standard character art. Information technology was possible but unlikely that these powerhouses would render for the electric current flavor, but that doesn't mean in that location aren't other bang-up animators effectually who tin add together their own spice to the show.

For example, Episode 2 of Attack on Titan's final flavor gave us a taste of something unexpected: rotoscope animation. The Attack on Titan series has e'er had outstanding blitheness during fight scenes, only typically, moments bated from those would be shot-reverse-shot scenes. This method adjusted the manga panels well simply lacked meaning grapheme animation during its downtime. And so arrives Daisuke Tokudo, an episode director on the first season who has returned with something quite ambitious this fourth dimension effectually.

The entirety of Episode two of Season 4 is just talking but Tokudo makes these scenes engaging with the rotoscope animation used throughout the episode. Though Udo'southward movements are a little awkward and could use some polish, information technology'southward impressive and surprising the series would go down this route for an episode so low-cardinal. Gabi'south scene around the dinner table executes this rotoscope animation the best, with her excited movements translating smoothly.

Another aspect the new season is excelling at is furnishings animation. Satoshi Sakai and Taichi Furumata's work on animative and supervising the explosions is already superb. Both are highly talented creators, too, Sakai having worked previously on the Attack on Titan series and Furumata having primal animated on Ghibli'due south From up on Poppy Colina. Its plumbing fixtures effects animation would be what this flavor is astonishing at, considering just how 'explosive' the OP is.

Why the 'Doom and Gloom' Attitude May Still Persist In Set on on Titan Fandom

attack on titan reiner

Despite the efforts of MAPPA staff to produce a well-made product, negative attitudes over the last season ofAttack on Titan still persist. There is business organization over the number of serial MAPPA has been taking on lately, with some worried MAPPA may become down the same road studio Madhouse did ever since Masao Maruyama left to form studio M2.

Attack on Titan also has a history of being a difficult prove to create. Sakugablog'south coverage of Season two details the absurd number of animation directors, key animators, and clean-up artists needed to keep but a regular episode of the serial from falling apart. Meanwhile, in an interview translated by ANN, Attack on Titan'southward producers mention how the tight schedule for the series was a major factor in picking MAPPA. Other studios wanted to have the project on just couldn't because of the deadline. Without MAPPA taking Set on on Titan, information technology's possible a Flavor four may non take happened this soon.

MAPPA has some large shoes to make full. Wit spent years crafting the await and feel of Attack on Titan, and information technology's understandable why some would be concerned well-nigh whether or not the studio could live upwards to what Wit created. Fortunately, Season iv delivers. In fact, it even excels in some aspects compared to Wit'due south adaptation.Attack on Titanfans should balance piece of cake knowing for sure now that the finale is in safe hands.

Go on READING: Attack on Titan Just Blew the Lid Off the Existent History of Its World