Mechinations Podcastさんのイラストまとめ
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Welcome #mecha fans! Today we’ll discuss how #CLAMP and Sunrise collaborated on #CodeGeass.
When #CodeGeass premiered #CLAMP had two weekly series going, publishing approximately 120-130 pages a week. By 2007 they had sold nearly 100 million volumes of manga, an extraordinary achievement. They have solidified themselves as a global cultural institution.
#CLAMP has a trademark visual style that’s uniquely ornamental. Their characters often wear exceptionally beautiful and filigreed clothing. Their proportions also stand out; they often draw tall, lean characters, with sharp angles and “noodley” arms.
Arguably, CLAMP’s most successful properties are X/1999 (1992-2003), #MagicKnightRayearth (1993-1995), #CardCaptorSakura (1996-200), and #Chobits (2001-2002). But they certainly have other hits.
Get ready for a #CLAMP deep dive in Day 3 of our #CodeGeass coverage!
No doubt this caught the eye of Sunrise, who brought Ōkouchi on as a writer on #TurnAGundam (1999-2000), Yoshiyuki Tomino’s much-anticipated return to #Gundam. He’s worked on many #mecha projects, including #RahXephen (2002), #EurekaSeven (2005-06), and #Valvrave (2013).
Welcome to Day 2 of our look into the production of #CodeGeass: Lelouch of the Rebellion! We're still in the "getting the team together" stage.
Taniguchi eventually pitched Sunrise executives Infinite Ryvius, his sci-fi/hip-hop directorial debut, which aired from October 1999 until March 2000. It was well received. He followed it up with s-CRY-ed (2001), #Planetes (2003), and Gun X Sword (2005).
Given that #BackArrow, Taniguchi’s latest show, just premiered in Japan, and the fact that we’re nearing our return to #CodeGeass, a recap’s in order. Today we’ll discuss Gorō Taniguchi, his start in the industry, and the origins of CG.
