Dragon Ball Super Broly Animation Review

god I don't even know where to start this video it was so much easier to sit down and calmly write my thoughts on the story because I had like a proper nuanced opinion of that aspect of this film but visually this thing is king incredible we've spent so long analyzing and researching and looking into every single part of this film's production up until release we knew it was gonna be incredible I did not expect it to be quite this good Dragon Ball has never ever looked this good part of me kind of considered this kind of thing to be a bit of a dream and I hope in a couple of years I can look back on this and go wow you were impressed by that look at where we are now I don't think that's gonna happen because this really is something quite special let's talk about some of the basic staff here shintani is of course the new character designer let's talk about that aesthetic because it really does just ooze over so much of this film I know a lot of people were looking at his designs and worrying is this gonna make Dragonball look way too cartoony or young or or is it gonna take away some of that intense edge that I really enjoy from the fighting and that's not the case at all I think some people who were maybe worried about his inability to get feature placement right with his quite high noses nothing to worry about there that is not in this film at all in fact everything that appears to be touched by him looks fantastic in fact the vast majority of the early sections are embodying his work perfectly and they look so so good and we'll talk about that with some specifics later what I found really interesting seeing the credits at the end of the film is that actually shin Tony was not the only character designer on this film we have a sub character designer who is someone I loved and I almost screamed when I saw his name it Isamu Takara who was a very big animator on one piece he was one of my favorite supervisors but he disappeared for like a year and I think everyone thought he was dead or left the industry or something but no he is on this film as the sub character designer and if my eyes aren't deceiving me I think he is also the third highest credited animator on this film so while I have to admit I don't think I really spotted anything that looks like him because I don't really know his style that well I just really like how his character art looks in one piece you know he is a big presence on this film I really cannot wait to dissect this properly as far as the story book goes there's actually three different storyboard artists you've got Kazuya Kurosawa who was someone on Dragon Ball super who typically did more reserved episodes he usually worked with Yoshitaka yashima who mostly did just solo stuff it was usually very dialog heavy he did some action stuff towards the end of the tournament I think one of the big examples of that is God form topo up top and although that's not really what he does here he mainly does dialog stuff he does an incredible job and again we'll talk about that in the middle is Massa term itsuka who is arguably supers best regular director he did some of the most incredible episodes you know I think about episodes like 94 I think about episode you know 118 and 129 you know the the debut of ultra instinct which although you know had a lot of Bank animation the new staff was getting fantastic and then of course the final storyboard artist the director of this film such cienaga Mina who I believe handled the final fight and will of course have looked over and corrected and advised on basically the entire thing so let's talk about to start this film there are a lot of supervisors but I'll talk about them as we get there this first section is supervised by Miyako suji who was a chief animation supervisor on super a lot of people were kind of iffy about her style and it's not that different on this film I have to say she's definitely softened things up and the shading has largely gone away but you know there are some scenes here and there that are pretty much ripped directly from her work on super so if you didn't like her style you may be a little bit taken aback by some of this early stuff if you were really looking for a very distinct change to dragonballs aesthetic the film as far as direction goes pretty much smacks you in the face from the get-go it begins with just the most intense lighting and like the craziest dramatic angles there are so many you know like when Frieza Lance arisumi there are so many distorted faces and manic expressions and there's so much use of fish which i think is really effective especially when combined with those manic expressions as far as animation goes in this section you know there's not masses of animation it's very dialogue driven but I have to say some of the small motions are very bouncy and exaggerated which is more than we are probably used to from Dragonball so I definitely sat there thinking wow this feels a lot more alive than I'm used to it's not totally motionless though there is a big highlight at the beginning of freezer blowing up snipers it's meant like he swings around his tail just like smears everywhere and he's like doing like the cool guy who doesn't stare at explosions thing where he like shoots someone behind him you know there's there's loads of really cool stuff like that and it's executed to perfection I've really really enjoyed it it was a great way to sort of say you know okay this bit of the film is quite limited but look at what we can do this is a very very different Dragon Ball film my favorite part of the opening though is the title sequence you know the past films it was either some sort of head chiller thing coming in for like two seconds with a big cheesy 3d logo that's not what happens here at all actually it becomes really calm and you get this weird sort of montage of colours and space imagery and it's littered with all these really cool effects and it's such a stark contrast to the breakneck speed of the openings it lets you sort of relax a bit and take in everything it's really really cool and especially with sumeet underscore which is just amazing and that's got nothing to do with animation but I really really really loved it after the opening you end up on planet vamp oh it shares largely nighttime when you get there and is very very atmospheric it definitely fits in nicely with that very calm atmospheric look from the opening I love that a lot there isn't too much here again it's very sort of subtle character acting stuff in this part very very dialogue driven but when you move into the - section and that culminates with Bardock taking on freezer you get I guess the first instance of wow that's that's modern and that's when Bardock launches his final attack at freezer and he kind of as he's getting engulfed by the big blaster you know ultimately kills him he turns into like this super ink very comedy esque brushstroke which was really really impressive and I loved how sort of massive like a massive gaping mouth as he's dying so you know it's it's one of those moments where you're like wow okay well you know we're really we're really going with expression here the film definitely kicks into gear I think animation wise and hits that production value that I think a lot of us were expecting once you move down to earth and hit the present because you get this bit with Goku and Vegeta training over the top of the water and it kind of embodies everything that I think I wanted this film to be and what it definitely is so it looks a lot like the model sheets it's very round it's very bouncy you know there's tons of fun camerawork and lots of really really cool water effects it's the kind of thing that if super came back and they wanted to do a lot of laid-back action this is the kind of thing I'd be really really happy with and even if they wanted to do it seriously a small little adaptation of this with some more angles would be perfect like I said it looks a lot like the model sheets and so it's definitely a clear contrast between this sort of down-to-earth no drama happy action and the more intense stuff later on I think it really demonstrates the versatility of SH in Tunney's designs I mean I guess Schilling so hard for months now it's really really cool and I think what I love so much is that it's spliced in with loads of character acting and I think character acting is really the biggest selling point of this section like everyone is so bouncy there are so there are so many big wild expressions and lots of really fun and round looking artwork I think round really is the key word here like nothing stops moving in this point shintani said he was gonna put a lot of focus onto the slice of life stuff and if this is his handiwork then that is definitely him I think this is supposed to be where Takeo --day takes over supervising but I didn't really spot him unlike CG and tart a and some of the other supervisors on this film who are very very obvious I don't know if --day maybe struggled or maybe I'm just blind and not used to him in this style maybe it'll be really clear on blu-ray but I have to say you know from one cinema viewing it didn't really seem like he was there which was kind of strange as for our stuff from trailers go that you will recognize I don't know how to say his name Medi how old shall we one of the French studio yuppie Co animators he mentioned that he did this freezer shots from I think it was trailer one but seeing it in the film it's actually just like a little flashback of freezer in the middle of a conversation of him like spinning around in his golden form and it looks absolutely fantastic it's definitely one of the coolest moments from this earlier section in the film I do wonder if this section is all from Studio yeah Pico animators just because it is so alive compared to everything else it's definitely one of the best sections as far as this sort of first-half pre-battle stuff goes later on the film cuts to the present on Planet Van poetess we're probably and Perrigo send-up and there's a bit where Paris comes out of his cave that like really caught me off guard because he's got like this big sort of bulging distorted eyes and he has like so much character as he's trying to like struggle to stand up and run towards the ship like it says so much about like his state physically and mentally without actually saying anything about him at all which I thought was really really cool and that kind of thing you see a lot so the characterization through movement for example once Chile and lemo take Bradley and peregrin onto the ship there's a really cool scene with Chile and Brody sort of interacting for the first time do you have this sort of very bouncy emotive cute character Chile trying to sort of get along with this very sort of Tarzan naive almost babyish character in the form of this new bro Lee who is so like he's so nervous and curious and it's animated to perfection like I said you know you don't you don't need a script here it's just visually told to you and I thought that was really really cool some of the drama does come in a little bit later on in this section there's a bit where Broglie starts crushing a freezer grunts who's trying to like cause trouble with chili and Lemmo the expressions they're so brutal like they are they do such a great job of selling how terrifying and uncomfortable that scene is like it's it's showered in all of these cool like electricity effects for lack of a better term it's very very powerful stuff I really really enjoyed it we move down to earth again for where the actual fighting begins this is where takahashi section begins and you know I made a video saying is he gonna be causing issues with how different he looks in this well I can out answer that for certain and so the answer is kind of but nowhere near to the extent that I think I thought it was gonna be which is definitely made me really really happy so he's definitely looks really really different in terms of shapes so like even though these early sections don't have much shading at all and it clearly making an attempt to honor the character sheets they still look like buuck designs if you know what I mean like there's no none of the round shapes from like the entire movie before this I hear anymore it's all boo argh but the shading has kept minimal and so like I said it feels like an attempt to stay within the spirit of those designs and as the fighting sort of builds up to actually beginning the shading starts to build up with it and so it's not distracting at all it's actually really gradual and I thought it was done really really subtly and so I have no real issue with that section as far as the visual consistency goes so as the fighting does kick off I think this must be where master Tom it's the COS storyboard happens because like there is such a big emphasis on like long takes zooms in and out manic rotations and it's some of the most visceral stuff in this movie and it's the kind of thing you could see he really tried to do in super but obviously couldn't because one the schedule and two limitations of a weekly TV show when the action begins it has a very very distinct look to it it's definitely not as fluid as the earlier stuff and the rest of this film because I think when you have art this detailed it's it definitely limits you and that's why you know I'll always push for a certain type of design for the sake of animation so it is very posed to pose in the way it animates but the sturdiness of it at the hand-to-hand combat there's so much solidity to the action that it's just incredible all the same it's such a great way to kick off the battle there's a bit where Vegeta turns super saiyan we just kind of boarded after the way he transformed into blue and resurrection F except there's actually been animated really well and they've done it interesting this time like aside from the effects that kind of jump all around him and circle him and look just so so good the rotation itself of the camera isn't linear like it was in resurrection F it's sort of really smooth but it has the I guess ramped timing going on like it doesn't just smoothly rotate around him it's like focus on this bitch spin focus on this bit spin focus on it this bit it definitely grabs you by the throat and says pay attention in a really really powerful way I have to say takahashi as a supervisor is really really overwhelming in the sense that his Corrections are basically total read rolls you've got people like futoshi Higashi day in here at sushi Nikaido possibly even gin and other since he's corrected but you'd have a hard time telling who the hell did what because they've been totally redrawn Kurosawa yuuichi Kurosawa you know you also know him from super it's also in this section but he's one of the few people who you can actually tell who's seen it is because he is only been touched maybe a little bit his scene is pretty lengthy and I would say it's probably the snappiest of everyone's work on this film there's a section that I think probably wasn't in between quite enough it almost looked a bit awkward but you know it's it's not bad it just feels a little unfinished and I think if that's the only complaint I have about the animation in this film which really it is then I think that says so much about the quality of this film the transformation where vegeta turns Super Saiyan God is just ridiculous unbelievable like he erupts in fire and his body rotates around it like mass speed like a ping spinning table it's just phenomenal and the bit after that I think might possibly be Higa XI day just because it's like the the most smooth part of this section and has always been one of the biggest tells for him on super again like I said everything's being redrawn so I actually don't know for certain it'd be one of those things right either have to frame by frame it on blu-ray or maybe ask an animator but it's it's really really awesome it kind of culminates with Vegeta getting a one-up on Broly and launching a beam at him and we kind of saw the end of this in the trailer way those like sketchy effects happened as the camera came towards his face that whole scene is huge in terms of scale like the water that he dives into the effects look amazing but it kind of shoots up around him and spins and just ah it's nuts and follows we've probably kind of emerging from the water all raging and then he attacks Vegeta but I don't know who did that section but because again you know it's so corrected that marks the end of Vegeta's fight but it's definitely not the end of takahashi section we'll talk about that in a little bit but what comes in now is one of the greatest parts of this film and to me the best seen by an absolute landslide it is several minutes of pure animation and I think it is probably the most my mind has ever been blown by animation in a cinema this is Rio on a she's section and it's just I left me speechless Chang you and Liat left me speechless it is his best work wholeheartedly his best work it starts with the original teaser that we saw all of those months ago but it's extended in little places here in there before launching into the real deal God the things this man does is just ridiculous like there's a bit where Broly throws a kick from like across the landscape and the camera just follows that kick right into the impact which sends Goku like flying and bouncing and boinging all across this landscape and he goes seamlessly into a Kamehameha like so much of this is in one long take it's mental like nobody else on this film embraces these designs as much as honestly it's astonishing everyone feels so alive like even the cuts away to the spectators people like Ballmer and we sand freezer and paradise reacting they're so animated they're so bouncy and they feel alive like it's the kind of it sounds so ridiculous to say but it's the kind of thing that almost moves me to tears with how good it is like Goku seamlessly bounces from a Super Saiyan into his God form and it's the nuttiest thing ever like the whole movement changes goku kind of falls back on evading and using techniques rather than like the brutal strength you see at the start it finishes with just this insane body slam into Broly and man I just I could I could talk like 30 minutes about this scene it is the greatest thing in this movie by a landslide it is such an unbelievable career achievement for him and I'm so so happy that he got to work on this film I'm sure a lot of people are gonna be talking all about takahashi section all about she does section and I think that's such a shame because honesty really deserves all of the praise on this film sadly the thing that follows up here is not so good and it really confirmed some of my fears about Takahashi supervision it jumps from Super Saiyan God on a she to Takahashi Super Saiyan God and it's so so weird I was so I was almost relieved that his section of the film early on although feeling pretty much like its own OVA in the middle of the film was transitioning between sections really really well like I said that was a slow build-up at the start and they're moving on to honor she it was a different fight and it moved very very convincingly but here it just jumps almost immediately from flat bouncy boy it's a big angular shading person and you know the animation he was pretty great I think it is asesina kaido's work but it's so jarring thankfully it is the only part of the film that is like this but it does kind of suck that it exists all the same Nakota seems to do that same thing he did an episode 100 of super but just like that Hulk smeary thing from the Avengers that Kael did though this time it's Broly doing it I will say that animation doesn't really blend too well with these Corrections so there is a bit of a degree of stiffness that probably wouldn't exist there's not a massive deal I think this whole section much like the rest of the film still looks absolutely outstanding so although I found it a bit jarring and I'm a little concerned about how the corrections effected things it's still it's absolutely outstanding and it is not a serious complaint in any way whatsoever after this I think you end up with Goku turning blue which was just astonishing to see in a theater like it it is covered in the most intense lime work-like effects are just flying everywhere the expressions Goku has in his face are absolutely nutty I think the final reveal you know when all is said and done that you know pans up to his face that isn't massively well animated I'm 99.9% sure it is Hiroyuki tai you know we got to see this a while ago and I think everyone and the mother just went yeah that's definite him but it also follows up with a 3/4 shot that is also just so etai that I would be blown away if I was wrong at all he seems to animate a sort of ute upon esque impact frame which seemed really unusual for him but that kind of thing is in this film quite a lot so maybe that's something from shintani I don't know but it moves into the first lengthy CG section a lot of people were really worried about the CG in this film myself included but actually there's been in particular was really really nice the models look great the animation is done with modulated timing like 2d work which means that you know for a fast movement you would use fewer frames and for a slow movement use more frames rather than just you know doing it pose to pose and letting the PC interplay between those frames and then bringing the frame rate down which always just looks not good at all it's got 2d effects in there that do a great job of selling the effect there's also certain close-ups that have had sort of 2d work I guess composited on top of it which really helps with blending it into the world I think the only place where it does fall apart and we did see this in the trailers is that there are these really strange bizarre instances of realistic CG it's almost like someone spliced in I guess real-life footage or like CG that belongs with real-life footage because it just it feels so odd with the CG that's there already but it also feels that odds with the movie style as a whole like this thing is all about 2d animation why would you then throw in realistic looking stuff definitely kind of strange but at least it's not a major factor whatsoever now catotti comes in next and I think this is where Nagamani starts boarding he did say a lot of animators ignored his storyboard and just did what they wanted and he was blown away with the results so it's not like we have a real conclusive answer of what he actually contributed yet but I don't know it all looks great to me I think Tarte A's artwork here is easily some of the best he's ever produced for this series he works so well under these design sheets and in fact he's the only person who draws Vegeta on model outside of his coat I don't think it's necessarily gonna win over anyone who hated tarty full-stop because it's still very him he is still now ki tart a the sort of crazy bouncy weird expressions animator but I think it will at least shot up people who go on about how he like can't draw or that he sacrifices art animation which is just total total nonsense this section of the film is all about drama and comedy and his Corrections and animation are literally so perfectly suited for this that I can't imagine anyone else handling it what surprised me was that topic doesn't actually do that much action there is the hand-to-hand stuff that we saw in the trailer that's a bit longer in the full film and there is an amazing bit with Broly and freezer that has just like the nuttiest impact and amazing smears but his biggest contribution is definitely in his character acting you know whether that be his own animation or his Corrections he definitely brings the absurdity of what's happening to life in such a great great way we've always highlight does come in though you have real ownership popping back up once again to handle parolees Super Saiyan transformation which is just nuts honestly is the top credited animator on this film he really does so so much and I love it I think if you know honor she's work and you think about his character acting imagine that attached to someone having a rage-filled breakdown and I think you know what you're in for here picture that but with like ridiculous effects raining from the sky because that is basically what this scene is and it's so so cool it leads into the second stretch of CG which we also saw a little bit of in the trailer and it was definitely the weakest part for me from the trailers and it's definitely the weakest CG for me in this film I don't know if it's just because the colors feel really really bright and the glowing effects look very videogame II but it definitely doesn't have that same feeling of CG wanting to look hand ruined by some of the other stuff does it's pretty short at least but it does feel a little bit funky this section ends with Goku and Vegeta teleporting your way to piccolo and this is where Tartus highlight occurs and it's by far one of my favorite parts of the film it honestly had me crying with laughter this whole scene is all about comedy it's about Goku convincing Vegeta's a fuse like they mock each other they like mimic the fusion poses and like push each other around and stuff and it's got all the tartars crazy expressions and you he does like those hilariously exaggerated movements and poses and it just it fits seamlessly it is one of the greatest bits of comedy in this film and it would not have been the same without his contribution I'd say it's probably like a minute to a minute and a half long enough just pure character acting I love that that is what he got to deal in this film I think that says so much about either what he likes to do or how well the director knows how best to use his animators because it really does just fit so perfectly it's all interspersed with bits of freezer getting this speech of him I was really surprised to see such modern effects in this section like the impact frames are extreme and super super inky like I said that's such a running theme there is all kinds of cubic debris around here and amazing amazing impact frames like I said I saw that Hiroki more emunah is in the credits and he's one of the coolest animators at Olli and this definitely has his MO I don't want to say this as him for sure because it's really hard to tell in a theatre but you can't pause and look at things closely but I would definitely not be surprised if this was his work as all of this stuff goes on you've got Goku and Vegeta desperately trying to fuse and continually King it up the art in this section is really really distinctive it reminds me so so much of Shuichi sacking supervision from episode 16 of super like you've got those wild pointy noses and crazy big expressive eyes I don't think I saw a Seki in the credits but I know she eats hiraman are bears on the film i 100% saw his name and this section i mean it could possibly be him it has that kind of look that he would not be out of place doing but I wouldn't be able to say for sure either way it is seriously interesting and I really can't wait to find out who it is when they finally get to the end of messing up this fusion and they pull it off and go cheetah is born holy the effects are knots like the way he's formed is in this weird sort of whirlwind of color and it sort of bursts into flames and it kind of looks like a fiery serpent that sort of engulfs their entire body it looks phenomenal I don't think it's the coolest transformation in the film but it definitely fits the sort of tone that this action is going for so if you were looking for like a crazy big holy crap Vegeta is born it's movie 12 all over again you're not gonna get that but you do get is totally appropriate and still looks amazing following that they do teleport back into the action and you get a little bit more tart a or tart a supervision as we study the way from broli and of course that does mean he draws Gogeta so I was really happy to see a little tart a Gogeta for like half a second but this is where the big boys come in this is where now Toshi she that kicks off the battle and oh my god it's so long though please don't clip that out of context but yes the scene is really really long like I swear to god this man did like three plus minutes of just straight action I think what's amazing to me is that he really did stick to the character sheets in terms of the shapes of the characters like this is Shin Tunney through and through but he still included his shading which means that even though he's clearly on model you can still tell that this is Tschida there's no compromise here which i think is amazing the actual animation is definitely shaded to a tee it's got that crazy camerawork the sort of sneaking beams that the camera follows you got all those crazy wild exaggerated poses the big shaking crazy heads and it all runs at like five hundred mile an hour that you'd expect from Tschida it is pretty awesome I will not knock it at all it is so technically proficient but I have to say if you're expecting Tschida to do anything adventurous you might be a little bit let down you know someone who has seen every single thing from Tschida for the past like 20 plus years he doesn't blow me away like he used to I have seen this formula at countless times but I'd be lying if I said it didn't still bring such a massive smile to my face he is so good at what he does and it works wonders in situations like this you know he is mr. climax animator you know if it's not broken then why try and fix it despite its length his section is split up by a little bit of CG it concludes with this like mental Kamehameha clash that like breaks time and space and they end up in this weird CG filled trippy dimension the CG here is solid enough I think you know there is inky stuff in here there is hand-drawn effects and has all the same pose to pose animation I spoke about before but this is also where parolee hits his maximum form and Gogeta goes blue for that to debut in CG was a little bit lame even though the CG itself was fine enough I probably would have liked to have seen that hand drawn by an animator but that's just my own little prejudice I think toward CG in hand-drawn films coming out of this though you do jump straight back to Tschida and this is great it's very different to his first part which was all about manic full force camerawork but this is a little bit more carefully considered there's more focus on movement and effects rather than just assaulting your senses so I think it's kind of nice that he was able to sort of take things down a notch and ramp down the action and all of this madness a little bit because the tone of the fight does change at this point Shenlong gets summoned and so the entire world goes totally black and it really brings about a very different atmosphere to that film you get that thing from the trailer you saw which is the homage of Brody from movie eight powering up and this thanks to a private DM I can now say for sure is chakashi quarter and it was so happy because that is who I guest in the breakdown the other day he is the character designer for one punch man his scene is so good as you would expect it's got that same sort of robust solidity to the action the Takahashi's part had except this whole thing moves like butter the final punch from him in this section is amazing I know Kubota is not actually a web gen animator but the crazy smooth lightning and smoke has all of the characteristics of that kind of thing and it kind of just blew my mind again there are so many things in this film that you just don't see from Dragon Ball and I'm so used to seeing in high-end amazing action shows and other anime sitting that dragon bull just weirds me out and I love it I love that feeling and I hope that stays if we get an eventual series or at least another movie next up though is the big boy Yuki Hayashi his scene really is the most interesting part of this finale for me it is so crazy the expressions in this scene are absurd you saw some of them from the trailers already but god they are really pushing the limits of what Dragonball can look like I would argue possibly even pushing it too far with how much it does look like my hero academia in places I will say I didn't really give it a second thought in the theater just because of how crazy his performance is on this film like every single blow is littered with effects and hits with the force of a king galaxy slice jackhammer I actually learned he almost didn't work on this film and had that been the case God we would have missed out and so much like genuinely the scene is amazing following him is the man I accidentally thought hey uh she scene was from originally Yoshihiko uma Kashi he is here he happened to come right afterwards he is of course the character designer for my hero academia and he delivers the big kamehameha to wrap up this fight it's not those outrageous scene ever it's not packed with mental movements but it has all of the cool little quirks you'd expect from human Kashi like the crazy wild eyes that like the blast itself just has so much force like Hayashi he is also really pushing the limits of what Dragonball can look like here I'm very very curious to see if fans react negatively to it because really we've never ever seen trackable look like this it's really really different with that though that is the end of the major fight the final scenes have lots of cool atmosphere the Sun setting effects raining from the sky and such every single character acting in the finale but that is pretty much it for the film that's not the end of the animation though the credits actually have little animated snippets of characters from different animators on the film and all kinds of different styles there's lots of awesome stuff in there like some stuff looks like she and tani some stuff looks like takahashi some stuff I think suji I recognized it a goji to shut it really varies and I think it's a really cool celebration of everyone who worked on this film what's weird to me is that there are two supervisors here who are really distinctive and that's Kota watanabe a Yukiko nuggets honey they achieve very distinctive very talented animators at TOI and they are the two people credited with supervising the final section of the film I don't see their presence I'm not sure I see their animation Watanabe is usually really easy to spot and I just didn't see him at all maybe I'm blind or maybe they didn't do that much you know like I've said many times throughout this it can be very difficult to spot people in real-time in a theater you know you kind of have to be able to frame-by-frame through this stuff and I won't have the opportunity to do that for at least a little while maybe when the blu-ray comes out or if I get lucky with like an early review copy or something there's also a lot of other animators in the credits people like cannot suka and Hirotaka me and a lot of other people who I have to say I couldn't read yet I'm gonna try and sneak a little picture of the credits at some point this week hopefully I don't get arrested but yeah there's just so much going on in this film that it's kind of hard to really do this sort of breakdown in real time that's why I'm calling this a first impressions nothing I say in this video is 100% accurate aside from the stuff I said is confirmed so definitely wait for my proper breakdown once the blu-ray is out for real information on this I just hope I've really been able to convey verbally just how phenomenal the visuals in this film are like it genuinely did blow me away it is astonishing work and I really just want to give a round of applause to the staff honestly it must have taken an astounding amount of effort and work to pull this off I'm so so happy that Dragon Ball has hit a point where it has managed to get a film like this you know I've said for years we need new blood we need to shed the old who have been holding us back for years bring in the new the people who talented animators are attracted to because that stuff works you know we spoke so much about how when all these new designs came out all these big animators were praising them you know nugge me Nate on board that opens up a lot of doors but I think this film really is just proof it is conclusive proof that staff matter so so much I cannot wait to see this film again in fact you know what I'm just gonna stop the recording now and go and find when the next Showtime is cuz I just want to absorb this all again it is just an insane visual drug I think everyone is going to be so so happy with the visuals and any concerns that anyone had bar the little niggles here and there that I spoke about earlier you're gonna be more than satisfied obviously if you've heard my review you know that the actual story is a little bit mixed and if you want to hear my full thoughts on that then of course be sure to click the link on the screen but otherwise if you enjoyed this be sure to hit that like button leave a comment down below letting me know whether this excited you for the film or if you have any thoughts at all about anything I've said any sort of clarification you would like I also have my first ever tee shirt out there which is based around one of my favorite plot points in the film it was done by the lovely Olympia she has been such a joy to work with I absolutely love this final result so if you'd love to support this channel or just pick up a really cool t-shirt for Christmas then please go ahead and buy that there is a link down in the description as well thank you so much for listening this has been such a joy to just sit here and ramble about I cannot wait until January when everyone gets to see this film and we can talk about it together again thank you so much for listening and I will see you next time [Music]