How to raise a random guy's wife

The more curious the audience is about the truth, the more empty they feel when the truth comes to light.

It was the desolation of colorful bubbles being popped one by one, leaving only damp traces on the ground.

Eriri understood, "This is easy to solve."

"Huh?" Kasumigaoka Utaha tilted her head. "Are you serious?"

"Otherwise what?" Eriri said irritably, "First, let the rakugo performer reveal one ending, then let the skeleton reveal another, and finally let the medicine seller hint that neither of these endings is necessarily the real ending. The rest can be left to the audience to guess."

Compared to the ending provided by the author, many viewers prefer the endings they have analyzed themselves.

“An open ending.” Kobayashi Sora tapped her forehead, searching her memory. “At first, it left a lasting impression, but as it appeared more and more often, it became a sign that the creator had run out of ideas when they couldn’t wrap things up.”

Kasumigaoka Utaha looked disgusted. "It's precisely because there are so many creators like this that open endings are viewed this way..."

“I think this idea is very good and meets the requirements for going to sea.” Mayu Sagara started from the perspective of character design: “The Medicine Seller needs to know the truth of form to pull out the demon-slaying sword and then kill the monster instantly. The last episode is designed so that the Medicine Seller does not fully understand the truth and forcibly pulls out the demon-slaying sword. The power is not fully released, so he cannot kill the monster instantly like before.”

Bo Island was pleasantly surprised when he went out to sea. "This way, we can add a long and exciting fight scene, which will feel completely different from before."

"Action scenes..." Kobayashi Sora considered for a moment, "They don't have much impact on the overall story structure, and they can still make the audience enjoy watching them, which is really good."

Kasumigaoka Utaha looked at Eriri with surprise, "You're actually quite useful."

Eriri bristled, "Kasumigaoka Utaha!"

Kobayashi Megumi looked at Eriri with pity, "But that would require a lot more original drawings..."

"Ah..." Eriri's expression froze instantly.

The fight scenes in the style of Ukiyo-e... this is deadly!

Boshima gets excited as he goes out to sea, “The medicine seller transforms into an exorcist, slicing through the skeleton with a single stroke. Because the ‘reason’ didn’t see through it, the skeleton doesn’t die, but instead transforms into pages that attack the medicine seller. This could be done with Itano Circus! The effect would be amazing!”

"Ita... Ita Circus?!" Eriri almost fainted.

Itano circus refers to an animation technique that uses afterimages, trajectories, and other methods to depict a large number of high-speed moving objects, such as missiles, on screen and track them.

Created by animation master Ichiro Itano, it was named "Itano Circus" because its splendid style was almost like a circus act.

A classic scene is a barrage of missiles chasing a giant robot at high speed, with the robot dodging and weaving among the missiles, creating a very tense visual effect.

Itano Circus fully liberated the camera and aircraft in the footage, and the extensive use of moving shots created a strong sense of presence.

Because the flight trajectory is not fixed, the missile trajectories intersect, resulting in longitudinal spatial extension, which has a stronger sense of space than parallel trajectories.

This concept of aerial combat has been sought after by animators throughout history, with countless followers.

This has led to different definitions.

A less common but easy-to-understand concept is that if something is flying and the camera is following it, then it's a circus.

In a more general sense, a common circus involves something flying around, with the camera following it, and the flying objects engaging in chases and evasion.

In a narrow sense, a circus is defined as a circus where there are two or more participants in a chase.

The narrowest definition is the simplest: only what Ichiro Itano approves of counts as a circus.

But regardless of the definition of circus, they all share a significant and distinct common characteristic—they are incredibly difficult to paint.

Eriri is excited just thinking about the ukiyo-e style combined with the itamoto circus.

But I have to start drawing...

Eriri wants to die.

Chapter 798 Bearing a Heavy Responsibility

When making "Your Name", Eriri was stumped by two scenes.

One detail is the scene where the female lead falls and rolls down a hillside. Details such as the movement of her hair and clothes, and the reaction when her body hits the ground need to be polished repeatedly.

Eriri watched a lot of videos of unlucky people online because of this.

If she hadn't finally achieved a satisfactory result, she would have liked to roll down the hillside herself to try it out.

Another is observing the flying fragments from various angles when a meteor falls.

Brilliant colors, flowing arcs, and dazzling meteors streaking across the sky before plummeting to the ground.

Eriri watched many documentaries to gain a general understanding of the trajectory of meteors, but that wasn't enough; she also needed to manipulate the camera angles.

If it were a real movie shoot, you could just change the camera angle.

Animation, on the other hand, requires the animator to grasp the spatial structure and movement trajectory themselves.

To some extent, this is a relatively simple form of Itano Circus.

Because their trajectories are similar, they are not as complex as those of tracking missiles.

It still took Eriri a long time to finish.

Now, if you want the effect of a book page chasing an exorcist when you set sail from Po Island... the trajectory of the movement is several times more complex than that of a meteor, and it's still in the style of Ukiyo-e.

"Don't even think about it!" Eriri declared righteously. "Painting Itano Circus in the style of ukiyo-e would be a death sentence!"

Bo Island shrank back slightly before heading out to sea, but then mustered her courage and said, "I...I'll help too!"

"It's not a matter of whether I'll help or not, it's just that the difficulty and the amount of drawing required are too high." Eriri felt overwhelmed just thinking about it. She valued her life and stayed away from the circus. "Itano Circus isn't that simple. Whether it's the posture of the person being chased or the trajectory of the object being chased, it all has to be logical and aesthetically pleasing, otherwise it'll easily turn into a few points of light drawing circles in the sky. Right now, even if you brought Ichiro Itano here, he still couldn't draw it!"

Kobayashi Sora raised an eyebrow. "It can't be that bad, can't even Itano Ichiro himself come?"

“Style, style!” Eriri pointed out, “Itano-sensei can draw circus art, but he can’t draw circus art in the style of ukiyo-e. The style of ‘Mononoke’ is special and it takes time to master. Otherwise, there would be no need to go to so much trouble to find Fukaya-sensei to be the art director. Fukaya-sensei is so old. Are you suggesting that he start learning to draw circus art now?”

Kobayashi Megumi looked at Eriri, "You can draw in the ukiyo-e style now, right?"

Eriri instinctively sensed something was wrong. "Hmm?"

A smile appeared on Kobayashi Sora's face. "If we could get Itano Ichiro to come and give us some guidance, would we be able to complete this?"

Eriri sighed, "You actually managed to get one..."

“The animation director for the previous anime, Endo, was Itano-sensei’s junior, and the two had a good relationship.” Kobayashi Sora looked at Kasumigaoka Utaha. “You should remember him, right?”

"Hmm." Kasumigaoka Utaha recalled the special effects animator who had some conflicts with the 3D director. "Is Itano-san available?"

Kobayashi Sora tapped her forehead lightly. "There should be some recently, but I still need to confirm."

Kasumigaoka Utaha smiled at Eriri and said, "Congratulations."

Eriri looked distressed; painting the circus was definitely torture, but...

The circus scene was absolutely amazing, a true display of skill, and it was even animated under the direction of Ichiro Itano.

As an illustrator, Eriri absolutely didn't want to miss such an opportunity.

Mayu Sagara was somewhat worried, "But the construction period..."

“I’ll take charge of the second key animation!” Izumi Hashima announced. “That will save us a lot of time.”

The second key animator is someone who, based on the first key animator's draft, performs tasks such as refining the draft and ultimately completes the key animator.

This way, the first keyframe doesn't need to focus too much on details, greatly improving drawing efficiency.

The problem is that the second key animator is somewhat like an assistant. If the drawing skills are not good enough, they cannot do the job. If the person who is capable can be the first key animator, why should they be the second key animator for someone else?

"The chief animation director is in charge of Nihara..." Kasumigaoka Utaha sighed. It seems that Hashima Izumi has really gotten over her previous awkward feelings and no longer sees Eriri as a competitor, but as a partner to work with.

"Alright, alright, I'll draw it." Eriri sighed. "What about the ending?"

"Ah..." Bo Island lowered her head again as she went out to sea.

A new round of discussions has begun.

“I prefer the idea that my master can’t write anymore, and I’m disappointed in him,” Mayu Sagara said, offering her own thoughts. “The person I once worked hard for has grown old, and the person I admire has become a pitiful existence, so I end their life with my own hands.”

Kobayashi Sora stated frankly, "If this kind of plot resonates with you, it's thought-provoking; if it doesn't, it makes you feel like my apprentice has something wrong with his head."

“However, this idea can be kept as a subplot, hinted at and left for the audience to figure out.” Kobayashi Megumi changed to a gentler approach, “That way, only those who are on the same wavelength can understand this point, and those who are not will not think of it.”

In this way, those who guess the plot will like it, while those who don't will not know the plot.

Sagara Mayu stared blankly at Kobayashi Sora and Kobayashi Megumi, "You guys... you're amazing!"

She was still pondering how to address the question raised by Kobayashi Sora, while Kobayashi Megumi had already provided a solution.

It's a really good one.

“It’s the storyline about going to sea that’s so well written.” Kobayashi Megumi brought the topic back. “According to the previous design, we need a clear main plot and a few hidden subplots. Let’s discuss them together.”

"As for the White Bone Sect, revealing their disciple's thoughts is only natural, but it feels like..." Eriri carefully chose her words, "...a bit too simplistic?"

“That’s a bit too straightforward.” Kasumigaoka Utaha shook her head. “In comparison, asking the disciple if he is satisfied with the last story better reflects the pursuit of a rakugo performer.”

Following her train of thought, Kobayashi Sora asked, "Then how should this disciple answer?"

Eriri casually gave an answer, "Good or bad."

"Is it out of guilt, feeling it's not good to answer, or out of the insistence of a rakugo performer, feeling it's not good to answer," Kasumigaoka Utaha succinctly listed, "or is it to excuse herself, feeling it's not good to answer?"

Eriri looked bewildered. "Why is everything so messy!"

Kobayashi Megumi tilted her head. "Going to sea, what are your thoughts?"

"Hmm..." Boshima Izumi opened his mouth, "Silence can also be considered an answer, right?"

"Beautiful!" Kobayashi Sora clapped her hands. "Another route has been added."

Chapter 799 Deeply Entangled

Eriri immediately and unceremoniously slumped onto the table.

Just thinking about the amount of drawing she would have to do was already overwhelming, and these guys were torturing her with such a complicated storyline.

It's no use... it's about to break...

It refers to the brain.

“Following this line of thought,” Kasumigaoka Utaha analyzed the characters’ psychology, “the apprentice’s attitude toward the master’s work should also be described as neither good nor bad.”

"Is this even possible...?" Mayu Sagara also felt a little overwhelmed.

“If that’s the case,” Izumi Hashima thought for a moment, “then the disciple might kill his master because he felt that he was too dependent on the stories created by his master, which is why he was being surpassed by other rakugo performers, so he wanted to kill his master to get rid of this dependence.”

“That’s good too,” Kobayashi Megumi suggested. “Finally, we could add a story about another rakugo performer who also became famous because of a story created by his own master.”