Social Adventure: Episode 45 Art, Reference Book Updates, Figures, Printable Playmat, & Konaka Tamers Blog Updates & Behind the Scenes

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A batch of stuff for the weekend!

socialart_episode45_april24_2021.jpg


After Digimon Adventure: episode 45 aired, Digimon Web put up social art of MetalGarurumon, who made his Adventure: premiere in the episode. The attached message:

Thanks for watching episode 45 Activate, MetalGarurumon!
Finally the ultimate evolution, MetalGarurumon.
I want to watch the evolution animation as many times as I can😊

The new Digimon from the Pendulum Z, Machmon, makes his 1st appearance in the anime!
Look forward to next time, episode 46 The Holy Sword of Hope🗡



Nothing from Kenji Watanabe this weekend, it appears there is a doll event. On occasion he's gone back to episodes he missed when he is less busy.



But we have a few toy related images...
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shodo3photo2_april24_2021.jpg

With wave 3 of the Shodo figures out, Digimon Web put up a couple images...

The left image shows the standard packaging for wave 3 (and what is inside the fancier box for the special set.)

The right image shows the figures outside of the room where Digimon Adventure: is recorded.

They note that with the wave 3 Shodos, you can have all 8 partner Digimon in their most powerful forms from Digimon Adventure, a longstanding product goal.



Plus a new printable playmat...



This time the playmat features the artwork of V-mon and Guilmon from the new starter decks: ST-7 Dukemon and St-8 ULForceV-dramon

You get the playmat by doing a questionnaire about getting the game. We've gone ahead and extracted the image from the PDF and put it in the gallery under promo items for the new card game. The image embed above is a smaller version, but clicking it links to the full size ones so you can use and print it.




This week we've gotten a few reference book updates!

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greatkingsukamon_april22_2021.png

Shroudmon
Great King Sukamon




And last up..

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Konaka has done a number of Digimon Tamer blog entries since last week!

The recent entries being covered are:
Episode 4 Part 1
Episode 4 Part 2
Episode 5 Part 1
Episode 5 Part 2
Episode 6 Part 1
Episode 6 Part 2
Episode 7 Part 1
Episode 7 Part 2
Episode 8 Part 1
Episode 8 Part 2
Episode 9 Part 1
Episode 9 Part 2

Prior Konaka Tamers' Blog Details:
Tamers OP, ED, Insert & Character Songs, Story Retrospective Intro, & Episode 1
Episodes 2 & 3

Like last time...
A few random things gleamed from them... A small list of bits from these (overall), as he goes over a lot, hopefully there is time for us to do a full translation later. Some of these details are things we knew, but perhaps further clarified... (these are quickly translations, but hopefully mostly accurate)



Episode 4

From here, the story gradually begins to move to develop the relationships, basically as shown in the end animation of 'My Tomorrow'.

At this point, writing the Deva Arc and the Digital World Arc, he hadn't decided how they would develop the final confrontation in the real world. He felt it would be a bad idea to decide everything at the beginning, when various elements that setup those final elements weren't yet clear.

It was a serial animation that would be made over the course of a year. The creation would be that of multiple writers, directors, actors. He felt as he saw finalized episodes it would sharpen the senses of what might happen and it would feed into future elements. He refers to this as deductive construction. Unless it's a 'puzzle' type mystery, he doesn't like 'induction' type playwriting.

He discusses how it worked in Ultraman Gaia, where in the end they knew the two characters would reconcile and fight alongside each-other to win, but everything before that was original, and elements that weren't originally in the concept would build up, and how picking up and using those elements, the depiction would deepen, and it would create a swell in the story. This can make putting together the final elements painful, but it makes it fit together beautifully.

Devilman Lady and Texhnolyze were made with this approach.

he mentions various people expressed opinions, and requests, and those things entered into the plot.

Except for him, the writers were the main writers from throughout Adventure and 02, and he was the newcomer. He had written the Dagomon episode in 02, but that was as a special guest writer, so he had only ever talked to Mr. Kakudou and the producer.

The writers were generally of the same generation of him, and he had concern they would dislike his suggested narrative, which was different from Adventure. They were all amused and actively proposed ideas with no hesitation.

Yoshio Urasawa, a Digimon veteran, was someone he was a huge fan of, [Urasawa has a long history in the industry, writing an insane number of things, being the series composer, etc. He wrote for Digimon of course, he was in charge of the story for Bobobo, he wrote for Lupin, he was behind how the anime version of Ranma worked, and the list is basically endless.] Konaka was intiailly afraid to ask him to write a story based on the rules he had written (believing them to be complex, despite his attempt to simplify them.)

After work was done on the 02 story, Hiro Masaki was able to join them immediately and wrote this episode.

Veteran anime director Takenori Kawada directed this episode. [Kawada was in the rotation for storyboards and directing for the original run of the anime.]

Tamers doesn't have the Digimon return to child level when the battle is over. Digimon appearing in the real world creates more problems if you think about it realistically, and this was meant to make the viewer realize the pros and cons that come with even becoming stronger.

How can the Digimon return though? He asked the other writers for their thoughts. For the time being... stand upside down and be patient. This was Masaki's idea.

The main way to get Digimon cards at the time were Carddass card vending machines in various stores. When he was a kid there was a cheap item called 'Monster Photograph' at toy stores. You'd buy a bunch of blind items and pull them out of a bag later. He thinks it was 5 yen a sheet at the time. Mostly they were photos of Tsuburaya Productions monsters. Around this time Kamen Rider snack cards appeared, creating the ground for children to really start collecting cards.

It's revealed that the first encounter Jenrya had with Terriermon was a Digimon game. It looks to be PC software, but the graphic style appeared to be based on the Wonderswan. PC games of the era had evolved to have graphics like American McGee's Alice [a decently well known action PC game action of the era.] The visuals were made to be familiar, but does that mean Jenrya was using a Wonderswam emulator? No, but the package seems to be a Western game...

When their father returned Jaarin & Shiuchon are happy to get souvenirs. It isn't shown, but there is another family, making 4 Lee siblings. The names are (probably) taken from Hong Kong filmmakers (staff and actors) at the time, although he doesn't quite remember them all...

A Digimon game released in advance in North America was given to Jenrya by his father and he installed it immediately. When Terriermon is struggling in the game Jenrya slashes cards quickly to support him. At the time the scanner used a 25-pin parallel connection.

Jenrya thought he could help Terriermon slashing cards. Then the card reader transformed into a D-Ark. And when he held it it lit up.

He mentions that he previously forgot to mention that the D-Ark is a product name, and in the show they just refer to it as 'Digivice', the same as in Adventure. He's referring to it as the D-Ark in the blog.

Terriermon emerges from the CRT monitor (which he muses that young people might not be familiar with.)

In the show it isn't clear why Terriermon suddenly calls Jenrya 'Jen'. Emotionally it's because they are connected. But maybe, he suspects it's the name Jenrya used when he registered in the game.

Jenrya's card slash action is the most flashy of the three. This is a clue for the writers to pull up his personality later, but was the intention of Yukio Kaizawa's production of it?

Moumentai!



Episode 5

Culumon was originally going to be 'Cululumon' but this was changed due to copyright. This is why he sometimes (often) says Cululu~

Incidentally, Renamon was originally going to be called Lunamon.


Masaki was in charge of two episodes in a row. There was almost no specific guidelines and it was an episode that featured Culumon, but for some reason it was a ghost story at a school (similar to the second episode.)

Culumon walks while saying tick, tick, tick. He doesn't think this was in the script, but it fits perfectly in the moment.

The 'no guard strategy' in the boxing scene is from Ashita no Joe. He sees the style as being faithful to the original that inspired it.

Culumon lost due to the difference in reach.

Searching for that no guard now brings up shogi tactics. He wonders if viewers of the time even knew Ashita no Joe. He doesn't think Tomoko Kaneda (the voice of Culumon), was familiar with it.

He doesn't remember hearing much about director Ryutaro Nakamura's work with Osamu Dezaki and Akio Sugno before his death, but he was an animator for Madhouse. Both directors have now passed. Ryutaro's direction was highly original, but there were times he felt the influence of Dezaki (such as the three short pans in a row.)

Shiuchon is named Susie in the English version and is quite loved, probably because of Reiko Yoshida's script [Yoshida wrote a decent amount for Digimon in the early years, including the first 4 movies, various episodes, and has a long career of well loved shows that she was in charge of the writing for.] Jenrya was also Henry. In short, a Bruce Lee-like English name would probably have been familiar with North American viewers.

Culumon laments over the number of locks at the school, as he can't break into it by himself.

When Guilmon shoots a fireball, for the first time a 'skill call' was yelled. He thought this would be strange in dialogue, while the character was shooting a fireball. This is standard for Digimon, and Toei Animation, and also robot animation in general. Even though it seemed odd, it was something 'promised' in this type of thing, so he accepted it. It made it feel interesting to him, because it felt like it needed it.

There are many cartoon like expressions in the battle towards the end of the episode.

It's a light episode, but the dialogue between Ruki and Takato at the end mentions something important when you pay attention. Are Digimon living beings? What is the value of life? Anime Digimon are certainly alive. In modern times there are certainly more scenes where a virtual being wonders if it's a living being.

There is no easy answer here, this will advance throughout the series. For example, see 'Grani'...

He discusses the styling of modern ghost stories of the era that began to come up in the 90s and how it connects to this episode. He also notes that this episode having a horror flavor was not him. He is innocent of this. Hiro Masaki likes horror, so the episode was put together that way.



Episode 6

The girl's partner Digimon is difficult to sell in terms of products. The idea of having the Digimon have a strong image (Renamon) was based on how they wanted Ruki to appear.

From the beginning in Takato's dream, the story has conflict. When the story began, he wasn't sure why he wanted the Digimon to be strong. He didn't want them defined at the beginning so it wouldn't be a case of just 'moving them around the setting'. Tamers only has a few writers, so they all put together the characters eventually, but they all seem to fit.

There was a request to show the first encounter between Ruki and Renamon. Genki Yoshimura came up with a plot that surprised even him.

The early episode gives us a general overview of the Makino family. Yuka Imai not only plays Renamon, but also Ruki's mother and grandmother.

The rule they set was that if you slash a card of a Digimon itself, you can borrow a special move. That's why the Digimon appears symbolically.

The first appearance of Impmon was here. Genki Yoshimura decided the tone of Impmon's dialogue.

He blames himself that it isn't up to Ruki's expectation. In 2021 this relationship seems absurd and doesn't come across properly. It was done to structure the story and how Digimon and humans became partners. He doesn't recall having an in-depth discussion about this with writers and producers. It's different than how Adventure and 02 handled it, but Genki Yoshimura (one of the series composers for 02), wrote it normally in his first episode.

The host of the event Ruki won was Volcano Ota. Although in the show there was a completely different build, face, and voice. Ota really did this kind of thing when he worked for Bandai.

In 2018 he was surprised/pleased to see that Mr. Ota now has a healthy and slim figure.

Ruki first met Renamon almost as if she were a yokai in the Heian period.

For whatever reason, evolution is hampered in the digital world. But there is a certain route to evolution. It is to get a human tamer.

This is the first time Atsutoshi Umezawa directed for Tamers, but he will eventually be the director who led Tamers to the finish line. [on top of other episodes, Umezawa directed the final 2 episodes.]

The lyrics in EVO fit the evolution to Kyubimon, and Tamers in general. Evolution isn't just based on the Digimon getting stronger. It's based on the human partners growing.

This episode doesn't fully establish the relationship Ruki and Renamon will have, but it does build the basic relationship of trust.

He states his innocence once again, as he never asked for the horror-like scenes involving Renamon in the episode. He also asks you to remember that it was Genki Yoshimura who wrote the Pinocchimon episode [of Adventure].



Episode 7

At last, Hiroyuki Kakudou directs! It was good fortune to work with him again. He joined shortly us shortly after finishing 02.

As a series composer, there are only so many times you can write freely. He had to take charge of important events and episodes to move things forward.

These seven episodes were very important to me in that sense. The pattern of catharsis defeating enemy Digimon was something that had to be done in the Deva Arc. At this stage, he wanted to depict an 'adventure' in a familiar place without battles, so this episode was sought out.

Jenrya doesn't believe he can stay with Terriermon forever. The existence of the Digital World reiterates the fact that it is unusual for Digimon to be in the real world.

Auditors show up unannounced in Hypnos. He doesn't know how Yamaki got the budget for Hypnos (if it were the US he would say it's the 'black budget' [a budget that goes towards classified/secret operations]), but apparently Yamaki is not completely free, which isn't surprising.

He discusses Edward Snowden, and secret programs before then, and how in 2021, people are almost managed just by using Google devices, operating systems, apps (the same for iOS.)

Yamaki mentions how similar systems are used in each country. (This scene is where Konaka's old Twitter icon is from.)

In the scene going to Ruki's home, it originally had a line where Takato was practicing what to say [not an uncommon anime scene.] Mr. Kakudou turned it into a dynamic scene featuring Guilmon's nose.

Ruki doesn't have friends visit her. When Takato asks what she would do if Renamon turned back to data, she responds that Digimon are data, and then turns to see Renamon. Renamon is mute. You can suggest a lot by a glance. Takato wants to talk to her properly, since he keeps running into her. Konaka isn't sure what to make of this, but he's sure it's a good thing.

Seiko Hata (Ruki's grandmother) is 49! He's sorry to call her grandmother...

Yamaki's favorite device is a modified Palm Pilot. It had an explosive increase in users after the HP200LX was discontinued. Konaka talks about this model a decent bit, as he also had it, and it connected to MacOS easily. Shortly after this, to began to be integrated into mobile phones.

He discusses Yuggoth, Lovecraft, and how now Pluto isn't considered a planet anymore.

The digital field was crystal and shown in a semi-material state. He was worried how this would appear, but Kakudou accurately made it in 3d.

The characters fall into the crystal field. Konaka later realized the cut looked like the beginning of the opening of Digimon Adventure. A directorial stamp from Mr. Kakudou perhaps.

At the time writing this episode, Konaka was wondering how to show the digital world of the third series. Hr thinks of it as similar to the 'real world of the internal', but if you stick to reality, you can't show it in an interesting way. If it's too free, it feels out of control. These 7 episodes are about as outrageous as they got. The only way to move was to imitate swimming. Ruki complains it is uncool.

It isn't clear what this zone is and who sent it, even after all this time. Perhaps an entity that wants to take in Digimon, who have come to the real world as data creates an analogy.

Guimon says goodnight to Takato. Takato realizes they can't be together forever, eventually...

No matter how big and crazy the series becomes, and what kind of human and Digimon drama is woven into it, the final outcome of the story in episode 7 is that friends won't be around forever. This episode led to the final ending of the story.

For him, episode 7 is cute, fun, and sad at the same time.



Episode 8

The other 02 series composer, Atsushi Maekawa, joined the team from this episode (he was at meetings earlier on of course.) He would later be the main writer for Impmon, but at this time they didn't divide the work in that way.

This episode is the first time we see the stock evolution animation for Guilmon. He was surprised that the first time it was shown it was edited to cut back to the drama scene.

For the first evolution Guilmon is silent.

Konaka seems amused at the details given to the nose of Growmon in the evolution scene.

Many fans have made a 'pilgrimage to the sacred place', which is a monument in front of the Tokyo Metropolitan Government Building.

Culumon finds Digimon evolution to be scary.

When Growmon first appears, Nozawa acts as a complete monster.

During the recording, he was surprised that Nozawa would play Growmon without any pitch adjustment, but almost nothing was tweaked. He thought Nozawa would be able to play the role of an adult hero, just like she does in Dragon Ball, but he was surprised she was able to play such a monster.

It ends with a roar resonating with the buildings. (Here the audio was combined with an effect.)

He was very impressed by Makoto Tsumura during the recording. In the episode Takato shows joy, anger, sorrow, sadness, in a way that is more intense than prior episodes, not to mention sounding heroic when Growmon evolves. When Tsumura's voice lowers it sounds like a normal and realistic boys voice, but when it strains, it sounds like a truly heroic voice. He's glad that Tsumura was Takato. He notes he's written about being happy about Tsumura being cast a number of times, but he can't find it on his old Digimon Tamers Resource at his old site. He's written sporadically about the casting of the main cast in character sections.

He muses that maybe he should write about it in this blog (noting that for those who know these things, it might come across as a bit repetitive.)

He was surprised when he saw it on air, wondering if the appearance would be seen in TV animation. He thinks when they recorded nothing was colored in. But he could see how it would move from the original pictures. [It appears he's referring to the storyboards.]

He notes that he's forgotten a lot of things, and he's searched for technique and Digimon names. A Pixiv encyclopedia has been helpful (although he's noticed mistakes there.) He's thankful for the timeline vertification by Digital New Gate.



Episode 9

Written by Yoshio Urasawa, a good chunk of this is Konaka very happy and gushing over the work of someone he really enjoys. He refers to him as a genius, and he never thought he'd get to work in the same field as him. That he was able to work on the same series with him, by chance, was one of the great blessings of Tamers.

He then talks about the scene of Growmon on Takato's veranda. It's the type of thing you dream of as a child. As an adult, he can't imagine such a scene, the yoke of realism pulls too hard, such as whether Growmon's weight could be held by the veranda on the house. Culumon was irresponsible and left immediately.

The tunnel that had the digital field in episode 7 is a perfect place to hide Growmon now that the field is gone. Impmon comes and disturbs his sleep. Despite the ferociousness of Growmon the prior night, the character here is completely Guilmon.

Urasawa hand-writes his stories in the traditional style, which can make them difficult to read. The unique style makes you feel like you are getting something more out of them.

Most of the time, if there is a clear mistake, it's corrected at the storyboard stage, so Konaka doesn't believe he asked for many drafts.

When they are trying to find where Growmon went, Terriermon goes off on his own. Konaka refers to 'Now here comes Terriermon Theater' when the scene shifts to him.

He looks around the park, he hides in shrubs where the color helps hide him, his ears get caught trying to exit the shrub, then he looks around and finds him! And kids are playing on him as if he were playground equipment. If you pay attention in this scene, there is clearly a teacher with them. Terriermon goes running off into the school (in a choppy fashion) to get the others so they can fix this situation. Takato and Jenrya zip out of the school at four times the speed.

Paint Growmon for camouflage! When Terriermon paints his feet, Growmon gets ticklish and then... it ends up like this with brown paint on Terriermon. Could this have been predictive of Lopmon later...

Right as they finish Ruki appears and pours water on their plan by pointing out even if Growmon is invisible to the human eye, Digimon will detect him immediately.

It begins to rain. The paint is running down. Growmon has a crying voice. Takato is stunned by Growmon in such a pathetic state.

Until he rewatched it on niconico in 2018 (they did streams to celebrate the upcoming Blu-rays) he was surprised Takato cried so much in the first episode. He cries almost every time. The crying here was longer and more intense. Then a stream of light appears. Terriermon looks up and the rain has already passed. The character song '3 Primary Colors' plays. Takato, Jenrya, and Ruki ask eachother "What do you think?" He only edited Takato's part of the song. The lyrics are very appropriate for the situation.

As they look up Growmon's body begins to shine. Is it the magic of the rainbow? "Huh?" and he realizes he is back to Guilmon.

Takato is still looking up at the rainbow. As he write this, he still think it's strange and mysterious direction.

Perhaps in Urasawa's story, he was just happy to have Guilmon back (He doesn't have the recording scripts for Tamers and such at hand anymore.) [He's explaining that since he isn't sure what the shot is meant to convey, he can't just look to see if the script explains it.]

He thinks 3 Primary Colors represents Guilmon=Red, Renamon=Yellow, Terriermon=Green. Although Rapidmon in the 02 movie was gold, but in Tamers it will be a metallic green.

The editing is skillful and the ending is almost right after the Takato part of the song. With the afterglow of the movie the episode ends on a static shot of everyone, including Guilmon, looking up at the rainbow.

It was a rhapsody-like episode, but he thinks Takato's serious crying and the mysterious ending meant it was Mr. Sasaki's Tamers. And it was an impressive episode, not just a gag episode. [Noriyo Sasaki is a well regarded staff member who worked on the original Dragon Quest Dai, Sailor Moon, Cutey Honey Flash, and Pretty Cure, among others. For Digimon he directed/storyboarded 3 episodes for 02, 6 episodes for Savers, and has returned to the franchise for a number of episodes of Adventure:. For Digimon Tamers he worked on episode 2 and 9, meaning this was the last episode he directed. For 02, Tamers, and Savers, he storyboarded the episodes he directed, for Adventure: he's done the same, but also directed and storyboarded separate episodes.]




An interesting batch this weekend, with Konaka also significantly upping how much he wrote about Tamers.
 

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Eitaroutarouman

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Seeing a writer acknowledge a character's dub name feels weird to me. Not sure why.
 

Kon

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I though the primary colors for Tamers are red, blue and green. The D-Ark colors.

Red, blue and green are the primary colors of Light. The Primary Color song (a Tamer song) even mentioned the light.
 

Unknown Neo

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Yay Mega. Shroudmon sure is something. I'm thinking TTGL. All he needed was a drill. And hey, new Digimon in the anime again. Always great.
 

BlankShell

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I should finish my Tamers rewatch before Konaka gets to where I am lol. Or maybe wait for him to catch up...? All interesting stuff. Also Rika's grandmother is 49?? That would make her and Rika's mom both in their mid-late teens when they had their respective children, yikes. I mean, it makes sense with both characters, but still...
 

Muur

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I should finish my Tamers rewatch before Konaka gets to where I am lol. Or maybe wait for him to catch up...? All interesting stuff. Also Rika's grandmother is 49?? That would make her and Rika's mom both in their mid-late teens when they had their respective children, yikes. I mean, it makes sense with both characters, but still...

She would be 20 when she gave birth to Rika's mum, whilst Rika's mum would be 18 when she gave birth to Rika (and dub ages, 15, unless Rika's mum is 31 in the dub rather than 28). So ignoring the dub part I think 18/20 is fine really
 

Exodd

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I like the Digi-Beetle in the background of V-mon's card art.
 

Yamato-san

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Pretty ballsy of Konaka to bring up Wonderswan emulators. XD

Until he rewatched it on niconico in 2018 (they did streams to celebrate the upcoming Blu-rays) he was surprised Takato cried so much in the first episode. He cries almost every time. The crying here was longer and more intense.
I think you mean first cour.

One thing I didn't see mentioned here was Evilmon being analyzed as a Child in episode 5. Konaka acknowledges that it's supposed to be an Adult and the script-reading was done in error (so I guess Evilmon didn't momentarily pull a Whamon). The mistake's actually pretty understandable, since 成長期 Seichouki (Child) and 成熟期 Seijukuki (Adult) are so similar.
 
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