12 Days of Aniblogging 2024, Day 7Chronic illness begets a certain amount of magical thinking. Having to deal with your own body attacking itself at random intervals leads many down the path of desperation and conspiracy. That’s is why it’s important to instead channel that energy into little rituals that don’t provide any physical aid but do help establish a sense of control. In my own struggles with sickness, I’ve gained exactly one such ritual related to anime. For whatever reason, my consolation prize for particularly bad health days is shotgunning an entire season of Teekyuu.This may sound like a huge endeavor, but these are two-minute episodes we’re dealing with, and that’s counting the opening. Teekyuu is a moe gag anime about girls in a tennis club who only rarely actually play tennis. Everything plays out at a staggeringly fast speed, like it’s cramming four minutes of jokes into half that time. This works heavily in its favor! Even if only half of the jokes ever hit at best, the whole thing plays out so fast that the failures don’t really stick around in your psyche, but the hits can really add up. Fuck it, I’ll just post an episode, it’ll fit within Tumblr’s file size limit.So, what did you think? Actually, don’t answer that, just imagine twelve of those back-to-back. That’s the kind of shit that I’m on during the days where my gut has decided in advance to kill me. It is absolutely the kind of show that boils your brain, but sometimes you need your mind simmered for sanity’s sake. And for that, it is my ideal show. If watching Lucky Star is like basking in CGDCT moe, then Teekyuu is like getting slapped with it, repeatedly. I could honestly end the writeup here, but Teekyuu actually has a surprisingly serious production history surrounding it, which I would be remiss to leave out. Also, I really like the idea of making you spend so much time with this essay learning arcane industry drama that you could have just watched a good chunk of a Teekyuu season. Now then….MAPPA is a big studio! They took on adapting Chainsaw Man and Jujutsu Kaisen and the later parts of Attack on Titan and a million other high-profile anime, and are renowned for their fights and animation quality. Of course, they’re also notorious for paying terribly, taking on way too many projects, and absolutely grinding their workers into dust. They’re a company of extremes, but in a way that makes them extremely emblematic of where the anime industry is at right now. It wasn’t always this way, though. MAPPA started out in the early 2010s with some lower-profile but mostly well-received projects, such as Kids on the Slope, Ushio & Tora, and an original titled Punch Line which one of my friends from high school insists is peak. And during this early period, they were also churning out season after season of Teekyuu. Shin Itagaki is something of a D-tier auteur when it comes to Teekyuu, acting as the director, character designer, key animator, in-betweener, and sound director for almost every episode. Itagaki’s actually got a pretty cool resume – he helped out on Princess Mononoke’s animation, contributed to a few Gainax shows, and wore quite a lot of hats on the underrated stupid comedy brawling anime Ben-To. But Teekyuu is his real brainchild, and it seems to have garnered enough of a following to justify continued releases (of course, the production costs must have also been pretty low).Anyways, in 2015 Itagaki quits MAPPA and founds his own studio called Millepensee, with him as chief director and his wife handling the business operations. With this newfound and total creative control, he goes on to make…four more seasons of Teekyuu, as well as two spinoffs. The dude knows what he wants. But that’s his pet project. His wife has greater ambitions, and is steadily growing the studio in order to try and take on a larger project. They manage to get Berserk.It still baffles me that someone looked at Itagaki’s resume and saw his seven nearly-consecutive seasons of high school girls getting up to rapid-fire antics and decided that he was the one for this job. I guess he had enough cred from his past projects like Hajime no Ippo and Ghibli contracting that they decided he could take a turn at adapting probably the greatest fantasy manga of all time.It wasn’t just going to be his studio, thankfully. This was organized to be a co-production with the 3DCG studio GEMBA, who up until then had only contributed background VFX to various shows, and had never handled an adaptation on their own. So Itagaki’s job as director and key animator in pre-production was to handle storyboards and guide the artstyle of the adaptation, making sure it mapped well to the 3D models and animation techniques the studio was using.When Berserk 2016 was announced, a lot of people were worried that Itagaki’s recent near-exclusive work on moe anime would pose a problem with the Berserk artstyle, but it turned out to be the other way around. He wanted to stay extremely faithful to the original artwork with techniques that the 3D software of the era simply couldn’t render in real time, such as cross-hatching that Berserk is known for. Instead Millepensee had to add 2D textures and effects over the completed renders, taking on the laborious and messy task of fixing it in post. That’s why the texturing looks so janky and inconsistently applied in the final project, a lot of it had to be done by hand against a strict deadline! The information in this section is mostly taken from a very good ANN writeup.In between seasons of this Berserk adaptation, and right afterwards, Itagaki released Teekyuu 8 and 9. I guess this was his way of letting off steam. You’d think that this experience would deter them from CG productions, but in 2020 Millepensee purchased a 3D animation studio, and most of their productions are now in a hybrid 2D+3D animation style with Itagaki directing. Granted, they’re all low-rent isekai adaptations, but at least they’re still getting work after Berserk.The saddest part about this failed Berserk adaptation is that it could have gone way better had they just tried a few years later! Hybrid 2D + 3D pipelines started getting really good in the late 2010s, with Studio Orange and his old bosses at MAPPA both mastering the craft on shows like Dorohedoro and Land of the Lustrous. Nowadays it’s absolutely everywhere, and you hardly see anyone complaining, especially when it’s used for a striking artstyle or to adapt something that would be near-impossible to do right with traditional animation. It’s probably the only way you could animate the later parts of Berserk sanely, but nobody wants to try again after the 2016 attempt went so poorly (and also Miura’s fucking dead). Also sad is how MAPPA really came into prominence just as Itagaki was leaving, with hits like Yuri on Ice and Kakegurui and Zombieland Saga coming out year after year. Though I don’t know if he would have been assigned to any of those had he stayed, and he probably gets a much bigger paycheck now even though he’s working on stuff ten percent as popular.We have drifted far, far, away from Teekyuu, so I’ll just loop back by saying that Teekyuu changes a person. It is kind of evil on some fundamental level. And yet, it is occasionally load-bearing on my psyche, like pushing a reset button somewhere in my synapses. I’ve still got a few late seasons stashed away for when I need them. With the last one coming out in 2017, I think it’s safe to say that there’s no more Teekyuu on the horizon, but what we’ve got is plenty. Its total runtime is almost as long as a standard 12-episode season, even! Someone should just bite the bullet and make a hell-on-earth video upload or torrent that stitches them all together. It might have to be me.
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Berserk, Dorohedoro, Land of the Lustrous, Mononoke, Teekyuu
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