Anime SHIROBAKO | White Box

Aoi will never forget how she felt the day her high school animation club’s labor of love was shown at the cultural festival. The sense of awe and the feeling of accomplishment that came with completing their very first project are exactly what encouraged Aoi and her club mates to enter the animation industry in the first place. But two years later Aoi has graduated, and now that she works as a production assistant for a big-name animation studio, the daunting reality of her job has somewhat diminished her enthusiasm. Despite the long hours and the punishing schedule, Aoi still hopes to fulfill the promise she and her club friends Ema, Shizuka, Misa, and Midori made: to one day reunite and make a real animated feature of their own as professionals!

Type: TV (24 Episodes x 24 minutes)
Studio: P.A. Works
Aired: Oct 9, 2014 to ongoing
Watch Online: Crunchyroll

Anime White Box Shirobako

White Box Shirobako Episode Synopsis

Episode 1: Exodus To Tomorrow!

In high school, animation club members and good friends Aoi Miyamori, Ema Yasuhara, Shizuka Sakaki, Misa Tōdō, and Midori Imai promise to each other that they will make an animated feature together one day. Two and a half years later, Aoi is working as a production assistant at Musashino Animation, an animation studio that is currently working on an upcoming anime for the fall season, called Exodus!. She visits Misato Segawa, the animation supervisor for the anime’s fourth episode, to retrieve the checked animation. Then, she drives to the studio, where she attends a meeting as the entire crew (including Ema, who is a key animator) watches the premiere of Exodus!. When the anime premieres, it is met with a lukewarm public response, to everyone’s relief. Later on, while previewing the third episode, the crew finds that Tarō Takanashi, another production assistant, was unable to finish the key frames in time, thus leaving the quality of the episode’s animation erratic. Since there are no other key animators available to finish the frames, the crew turns to Segawa, who reluctantly decides to take the extra job at the request of the third episode’s animation supervisor Ryōsuke Endō, who is her rival. Once the frames are finished, Aoi retrieves them before taking the animation director, Hironori Madoka, to a dubbing session. She then stops by Segawa’s house and finds her lying on the floor unconscious.

Episode 2: Arupin is Here!

After tending to Segawa, who had collapsed due to severe dizziness from a fever, Aoi manages to get Ryōsuke to handle the key frames for episode four. As the production process continues, Ema calls Shizuka, who is now a restaurant employee and also a beginning voice actress, and the two make plans for the group’s monthly get-together event. Ema then notes to Shizuka that she and Aoi are interacting less at work, and Aoi seems to have an overwhelming workload, being responsible for the production of two episodes. Later on, during the sound design process of a later episode of Exodus!, the director, Seiichi Kinoshita, becomes dissatisfied with the design of one of the characters. He then suggests making changes to the character’s design based on his vision of her, which involves completely new ideas that were not incorporated during production. As a result, this is met with resistance from Hironori as it would require the staff to redo the key-frame animation for the scene entirely. It is then revealed that a previous anime directed by Seiichi, Jiggly Jiggly Heaven, had become the subject of widespread ridicule because of these same actions. Unsure of which side to take, Aoi suggests that they hold a meeting with the rest of the staff to properly determine the personalities and back-stories of the main characters. After some discussion and debate, the group eventually comes to a consensus and agrees to make the changes.

Episode 3: No More Recap Episodes

General animation supervisory assistant Yumi Iguchi is impressed by the new iteration of the fourth episode and decides to begin work on the retakes. Later on, Aoi is faced with a heavy workload regarding the fourth and ninth episodes. After checking the finished cuts, she delivers the key frames she has for the ninth episode to director Masashi Yamada for checking, and he instructs her to wake him up early so he could check the key frames that have not been delivered yet. Doing so, Aoi is then instructed to give the key frames to the general animation supervisor, Rinko Ogasawara. After Rinko checks the key frames, Aoi sends them to in-between inspector Chiemi Dōmoto, then realizes she mistakenly sent one of the cuts to the camera department and retrieves it. Later on, she finds that one of the key frames she requested has not been delivered to her and calls lazy freelance key animator Mitsuhide Kisa to finish the cuts. Although he begins work, the process is delayed due to his laziness. As he finishes, the missing key frame is delivered late due to the truck being held back in roadworks. On the day before episode four is due to air, a problem with the studio’s FTP server results in the delivery of an external studio’s color shots getting delayed. Aoi panics, but she is comforted by fellow production assistant Erika Yano. Eventually, the staff manages to pull together and get episode four delivered on time, with the retakes being well-received.

Episode 4: I Totally Messed Up

As Shizuka goes in for her first audition at Prussia Studio, she becomes nervous about going up against popular voice actress Rina Sōma. When she is the next one to audition, her nervousness gets the better of her, although the director is impressed. Meanwhile, Aoi receives a call from her mother, who congratulates her on her work on Exodus! despite her confusion about the story, and informs her that her father was also impressed. The scene then flashes back to the time Aoi, Ema, Shizuka, Misa, and Midori presented their club’s anime back in high school; although the students were unimpressed by it, the five of them still found pride in their work. The next day, Aoi, Ema, and Shizuka meet up with Misa, now a 3D computer graphics operator, and Midori, a college student who is aspiring to be a scriptwriter. Together, they watch a movie, visit the park, go shopping, and get some drinks. While at Shizuka’s workplace, Aoi, Ema, and Misa tell each other about the hardships they are experiencing at work, while Shizuka laments that she hasn’t done anything significant in her work and that she didn’t do too well on her audition. Later on, Aoi receives a call from Tarō, who asks for her help, but when he goes off-topic, she hangs up on him. When the get-together ends and Aoi and Ema ride the train home, the former remarks that she doesn’t have a concrete anime-related goal in mind. While walking home, Aoi receives a call from Tarō, who again tries asking for help, but she hangs up on him. The next day, things become hectic at the office with Seiichi being behind on storyboards and Ryōsuke deciding to drop out of directing the eighth episode following an argument with Tarō.

Episode 5: Those Who Blame Others Should Just Quit!

Tarō tries to reason with Ryōsuke and his decision, but he refuses to listen. Tarō then vents his anger to Aoi and blames her for the situation, explaining that the argument was the reason behind the phone calls. With the storyboards for the final episode way behind schedule, being a month late, chief production assistant Yutaka Honda, desperate for progress, goes to extreme lengths and locks Seiichi inside a cage in the storage room in order to get him to finish them, despite his protests. Tarō explains to Aoi that he got caught up as the middle man between Ryōsuke, who wanted to do the key frames for an explosion scene, and the 3D director Yūichirō Shimoyanagi, who had already prepared a CGI explosion, the result of which led Ryōsuke to believe people were favoring 3D over 2D and drop out of directing the eighth episode. An unsatisfied Aoi accuses Tarō of not handling the situation better and tries to tell Honda about it, but he talks her out of it. Caving under the pressure of his new work environment, Seiichi recounts how his once successful career as an anime director took a downfall after the release of Jiggly Jiggly Heaven, and it is revealed Exodus! is his first official anime in six years. Whilst having a drink with his coworker Hotta Hikari, Ryōsuke learns from animator Saburou Kitano about how he is teaching 3D animators himself, stating that it is not about whether 3D is better or not, but rather how it can be used to improve the quality of anime. Aoi and Ema meet up and eat at the latter’s house, where they talk about how 3D is continuing to influence the production of anime, which is what led Misa to choosing her career path. The next day, while showing Ryōsuke the 3D-rendered scene of the explosion, Aoi learns that the beginning of episode nine, which follows on from the explosion in the eighth episode, had been finished using key animation.

Episode 6: Idepon Miyamori: On the Move

Despite seeing the 3D-rendered explosion scene, Ryōsuke refuses to return to work, citing that things had already gone far enough. Becoming agitated by Tarō’s attitude, Aoi finally informs Honda of his failure to handle the situation between Ryōsuke and Yūichirō. Honda decides to tell Seiichi about the situation as well, but discovers that he had somehow managed to escape his confinement so he could sneak off to the after-recording session. Meanwhile, production assistant Tatsuya Ochiai is given an offer by his friend, line producer Houjou Hiroaki, to work at Studio Canaan, another anime studio, but Tatsuya turns down the offer. Later, Aoi and Erika discuss the possibility of hand-drawn animation being phased out by 3D animation completely. Aoi then hears from Misa about how, even as a 3D creator, she needed to study up a lot of hand-drawn animation to get an artistic sense. Meanwhile, Shizuka is visited by her old mentor, Mari Tateo, who invites her to a play recital, where she teaches her to make use of the time between auditions. Afterwards, Shizuka calls Aoi, who tells her about the difficulties she is experiencing at work, and she comforts her. Seiichi decides to return and finish his work. Hearing from Segawa about how Ryōsuke was inspired by an Idepon anime to become an animator, Aoi invites him to an exhibit on the show. There, they run into Tarō and Yūichirō. The exhibition helps Ryōsuke and Yūichirō get over their feud and encourages Ryōsuke to return to work and get the cuts done. Afterwards, Ryōsuke praises Yūichirō on his CG explosion and asks to dabble in 3D himself, while Yūichirō asks Ryōsuke to take a look at some of his 3D motions and give a key animator’s opinion. Aoi celebrates the finishing of the cuts, and Tarō, Erika, and Tatsuya credit the success to her and her ability to effectively handle situations.

Episode 7: Retake with the Cat

While preparing to leave for Musashino Animation, Aoi learns from her sister, Kaori, that she is coming over to stay, and she subsequently entrusts her house key to Midori. During the Musashino Animation morning assembly, Tatsuya announces that he is leaving at the end of the week, citing personal reasons, which shocks Aoi and Tarō. After the assembly, Honda reassigns Erika to continue Tatsuya’s work on the eleventh episode, which leaves Tarō to continue her work on the twelfth episode. As a result, Aoi is put in charge of work on the final episode, which Tatsuya recommends as a good advancement for her experience. Aoi later learns from Masashi Yamada, the animation director for the fourth episode, that Tatsuya had eventually accepted the offer to join Studio Canaan and work on their latest anime. He then advises her to be on Seiichi’s case, since the storyboards for the final episode are not done. Meanwhile, Ema is troubled by a series of cuts involving a cat, being worried about balancing speed and quality. As a result, she chooses to work late instead of joining up with Aoi, Kaori, and Midori. At Aoi’s house, during a conversation about Ema’s work, Kaori warns Aoi and Midori that there are advantages and disadvantages at being diligent. The next day, Aoi learns that the four cuts Ema handed in the previous day need to be redone as they were too rushed. The news comes as a shock to Ema, who feels that doing them with her usual carefulness would take too long and starts espousing that she will never become a great animator. Aoi tries to cheer her up, but when Ema asks her what she herself wants to do in her future, she replies that she doesn’t know. In response, Ema leaves and resumes work, heartbroken.

Episode 8: I’m Not Blaming You

Following her conversation with Aoi, Ema had encountered fellow key animator Yumi Iguchi while returning to work; Yumi noticed something wrong with Ema and advised her, “Ask, and be a fool for a minute. Ask not, and be a fool for life.” In the present day, Midori and Kaori go on a tour across Tokyo. Midori notices Kaori’s quick fascination with the city and learns about her dull office life back in the country. Meanwhile, Ema continues to struggle with her cuts, and Sugie continues to try and motivate her, although she doesn’t feel capable of following his suggestions. Elsewhere, the entire production desk discusses what their goals are for the future. While driving over to Kisa’s house, Aoi laments about how she seems to be the only one without a dream in mind, then imagines a conversation between her dolls Mimuji and Roro, who have opposing views of the situation. While delivering Kisa’s cuts to Segawa, Aoi talks with her about Tatsuya’s transfer to Studio Canaan, before Segawa expresses her concerns about Ema’s work. When Ema begins to stress out over her cuts, Yumi decides to take her on a walk. While eating at a café, Midori tells Kaori about her ambition to write a story. Elsewhere, Yumi brings Ema to a secret spot in the local park to clear her head, and reveals that Sugie and Rinko also use the location for similar purposes. There, Yumi encourages Ema to learn from copying previous works in order to eventually develop her own style, while a cat they encounter gives Ema some better ideas of how to animate cat movement. With Ema once again motivated with her work, Aoi rejoins Midori, Shizuka, and Kaori for a drink at Shizuka’s workplace, where Midori reminds Aoi of the promise all five girls made together to collaborate on an anime some day. The next day, Kaori returns home, determined to do her best too.

Episode 9: What Do You Think I Was Trying to Say?

With production of the other episodes running on schedule, Aoi is put under pressure as Seiichi has yet to finish the storyboards for the final episode. In addition to this problem, there is only one month for the episode’s material to be delivered, even if Seiichi finishes early. Also, Musashino Animation president Masato Marukawa, line producer Shun Watanabe, and record producer Gōtarō Katsuragi decide to have the company work on an anime adaptation of a popular book called The Third Aerial Girls Squad. Meanwhile, Misa becomes slightly downhearted at the fact that all she gets to do at her company, Super Media Creations, is model CG wheels. Shizuka manages to land a walla role in a popular anime, but ends up having to hold back her enthusiasm during the recording, much to her dissatisfaction. While having dinner with Misa and Midori, Misa tells them about her own dissatisfaction with work. Watanabe and Katsuragi convince editor-in-chief Tatsuya Hantou to approve of their adaptation, but he adds that he must consult with his superiors. The next day, Misa asks her company’s president, Kouichi Tateishi, about if she will be able to work on something other than cars in the future, telling him about her promise to her friends. He advises her to imagine herself in the future first, so she will have an idea on how to reach that goal. Meanwhile, Seiichi feels that he wants to change the ending, so he and Honda meet up with the writer, Shimeji Maitake, who helps Seiichi to reignite his imagination and come up with a new ending that he is satisfied with. However, news of the changed ending puts additional pressure on Aoi, who has to put Seiichi’s extravagant ideas into motion.

Episode 10: Just One More

With a short time-frame for the final episode to be completed and delivered, Aoi gets some research from Midori, who tells her about Misa’s situation at work. She then gets roped in with helping to create some sound effects while delivering an instrument to the sound engineers. Later, as the girls get together and Misa contemplates quitting her job, Aoi gives her some advice based on her experiences, asking her to figure out where she wants to go before worrying about how to get there. The next day, Misa hands in her letter of resignation, wanting to pursue the kind of story-based animation that got her into CG production. Meanwhile, as Seiichi manages to finish the storyboards for the final episode, Aoi asks Yūichirō about any other CG companies Misa could work for, while Honda announces his intention to quit to become a pâtissier. Work soon begins on the final episode, although Aoi grows concerned when Seiichi goes a little overboard with alcohol following the after-recording.

Episode 11: The Little Key Frames Girl

Aoi starts assigning scenes for the final episode to the key animators, but struggles to find willing animators from outside the company to work on the remaining cuts. Her search briefly takes her to The Born, an animation company she had previously applied for, but was rejected as she didn’t have a clear idea of what she wanted to do. The next day, Aoi finds herself on the other side of the table as both she and Tarō are brought on to interview candidates applying to Musashino Animation. Meanwhile, Erika learns that her father is in hospital and ends up overworking herself to try and take her mind off it, leading Tarō to have to drive her back home. Pushed further to find animators with Erika out of action, Aoi approaches line producer Shun Watanabe, who was playing mahjong with other industry members, one of which jokingly suggests a high profile animator, Mitsuaki Kanno, only for Aoi to seriously go off in search of him.

Episode 12: Exodus Christmas

Aoi meets up with Kanno, who points out the ridiculous nature of animating horses for the final scene, but mentions there is one person at Musashino Animation that can do it. Later, as the staff consider changing the storyboards to remove the horses for something simpler, Aoi relays Kanno’s message that Sugie, who everyone assumed was not suited for the series, is more than capable to animating the scenes. With the others’ approval, Aoi gets into touch with Sugie, who gladly takes on the job, working out a method that will get the cuts done quickly with help from the younger animators. With the key animation almost complete, Sugie gives his thanks to Aoi for allowing him to still have something to do, deciding to put on workshops for the other animators. The delivery day soon arrives, with everyone working up to the last minute to get the episode delivered in time, with everyone giving a collective sigh of relief.

Episode 13: What Kind of Cloud Do You Like?

At the start of the new year, it is announced that Musashino Animation’s next project will be an adaptation of the manga series The Third Aerial Girls Squad. With Honda having just left Musashino and Erika still checking on her hospitalized father, Watanabe assigns Aoi to production desk and Tarō to chief production assistant. Faced with numerous responsibilities and a tough schedule ahead of her, Aoi first starts making sure Seiichi has a clear idea of what he wants to do with the project without making any last-minute changes as he did in Exodus!. When the two ask Rinko to be the series’ character designer, she declines the offer as she wants to improve her basic animating skills following her experiences animating the cuts of Exodus! ’​s final episode. She then recommends Yumi to take her place, and after some reluctance, Yumi agrees to take the job. Next, Aoi and Seiichi talk with art director Yuuji Atsumi, who goes into a serious conversation about what kind of clouds should go into the backgrounds in order to fit the scenes. Later, while trying to research on fighter jets for inspiration, Aoi meets up with Midori, who offers to do the research for her and write up an overview of the information. Meanwhile, Shizuka learns that she will be auditioning for The Third Girls Aerial Squad anime, while Yumi and Ema learn some advice from Rinko about the ethics of character design. Elsewhere, Seiichi, Watanabe, Katsuragi, and Shimeji meet with the publisher, but their meeting is finished very quickly when the editor Shinsuke Chazawa approves everything without the author present. Later, as Aoi, Seiichi, and Shimeji do some research, they ask Aoi to have Midori commit to her research on fighter jets while discussing how to go about the ending.

Episode 14: The Ruthless Audition Meeting

Shizuka shows up for the auditions for The Third Aerial Girls Squad. After reading for one part, she is asked to read for the role of another character. Meanwhile, Aoi and Seiichi once again meet up with Yuuji, who agrees to help out with the project after deliberating a question Aoi gave him during their last meeting. Later, a new production assistant, Daisuke Hiraoka, joins the production team. Seiichi participates in a meeting deciding on the cast, with a few members arguing over aspects outside of voice acting and trying to push their own personal choices regarding who should voice the main character. Eventually, the matter is settled by sound producer Yoshikazu Inanami, while Chazawa arrives late and quickly approves of the most popular vote. When it comes to deciding the final character, the one that Shizuka was asked to audition for, Shizuka is considered as a possibility by Seiichi, but in the end, the staff decides to select someone with more experience. The next day, the team is impressed by Midori’s research, and Marukawa and Watanabe ask her to join the staff as a setting instructor, which she gladly accepts. It is also revealed that Misa is helping out with the CG animation for the series through the company she now works at. Upon hearing the news, Shizuka is left feeling ostracized when she learns everyone else in the group is working on the same project. Later, Aoi is sent to negotiate with a secondary animation studio, Studio Taitanic, to help out with the project, with some help from Daisuke and Honda.

Episode 15: Will These Drawings Work?

A welcoming party is held for two new production assistants, Tsubaki Andou and Sara Satou, while Marukawa announces that Musashino Animation’s reputation depends on the execution of The Third Aerial Girls Squad. Afterwards, Tsubaki and Sara join the rest of the staff as they engage in a meeting discussing the ending of The Third Aerial Girls Squad, then a location hunting trip. Later, Seiichi finishes the storyboards for the first episode, albeit with some dubious drawing quality. Production begins on the episode, with shy key animator Ai Kunogi participating in her first production meeting, where she is assigned by Seiichi to animate a scene. Meanwhile, Tsubaki and Satou go with Tarō to pick up some key frames from Kisa and Segawa before attending more meetings pertaining to certain topics, including supervising animation with Yumi, art board with Yuuji, color with color setter Nao Shinkawa, CG with Yūichirō, and filming with director of photography Yoshiki Sakura. Aoi and Yūichirō visit Studio Kanabun, Misa’s new workplace, where the latter convinces the president, Nobuaki Nakagaki, to take some of the CG cuts. Later, Aoi assigns Tsubaki and Sara with the production on episodes four and three, respectively, and advises them on how to effectively manage their time. Just as production seems to be going well, Watanabe informs Aoi that they need to stop production when the author of The Third Aerial Girls Squad has demanded retakes for the character designs, meaning they must start everything from scratch.

Episode 16: Table Flip

Aoi informs everyone to stop production on the characters, despite there being only three months until the first episode airs. Yumi begins revising the character designs based on the author’s feedback emails. However, she struggles after the author voices his disapproval of the redesigns and gives out vague feedback. With an actual meeting with the author impossible, Watanabe advises they should start from the beginning again without anything to go on. After Aoi speaks with Yumi at her secret spot in the local park, she and Seiichi focus on the unaffected material outside of the characters, such as the 3D and backgrounds. Seiichi stresses to Yūichirō and Yuuji the importance of emotions over realism, later telling Aoi his advice was inspired by his experiences after the release of Jiggly Jiggly Heaven. As Yumi continues to struggle with the character design revisions, Rinko tells Seiichi and Watanabe that they aren’t giving her enough support before taking Yumi, Aoi, and Ema to a batting center to let out their stress. She then tells them about her own struggles at getting a character design approved, her current “goth-loli” persona being the result of trying to understand her character. With Rinko’s help, Yumi dons her own “armor” and comes out with an improved character design. Meanwhile, Watanabe and Katsuragi manage to track down Chazawa and force him to get the author’s approval, allowing production to resume.

Episode 17: Where Am I…

The anime adaptation for The Third Girls Aerial Squad is announced to the public, but it is met with skepticism from the otaku community. Honda decides to pay a visit to the studio to share some cakes and catch up with everyone, surprising the staff with his drastic weight loss. Later on, Aoi and Seiichi hold an art meeting with Yuuji and decide to hire another art director named Masahiro Ookura to handle the background scenes. Meanwhile, the studio is suddenly pushed by Chazawa to create a promotional video in two weeks for a Manga Festival event, meaning certain cuts need to be fully animated quickly. Tsubaki and Sara handle their workloads with varied results, while Sugie notes to Ema her close relationship with Ai. While Misa finds out her specialty in creating CG wheels, Shizuka fills in at a children’s stage play when the costume actor goes missing, managing to handle both movement and voice acting at the same time. Later on, Aoi, Ema, Shizuka, Misa, and Midori meet up at Midori’s place, where Shizuka and Misa share their experiences and what they learned from them. As production on the promotional video continues, Aoi scolds Hiraoka for his frequent tardiness, especially during the morning assemblies. Then, she is forced to aid Tsubaki and Sara after both get lost on their way back from collecting key frames. After guiding them back to Musashino, Aoi comforts them by sharing her own experiences as a new production assistant. By the end of the week, the studio manages to get the promotional video finished on time and screen it at a party.

Episode 18: You Set Me Up!

Aoi, Seiichi, and Katsuragi join Inanami as they meet up with the voice cast of The Third Girls Aerial Squad for a recording. During the recording session, the staff notices the protagonist’s voice actress, newcomer Kyouko Suzuki, is struggling with maintaining the quality of her voice as they expected her to do. They later help her give a more natural performance. Afterwards, Aoi meets up with Ookura at a bar to ask for his help with a particular background; exhausted and drunk, he hastily agrees to do it. Aoi then contacts Studio Taitanic about the layouts of the fifth episode, only to learn they are halfway done despite having not been sent over to Musashino. Later on, when Aoi and Yuuji visit Ookura the next day, he initially turns down the offer, having forgotten about his meeting with Aoi and being disillusioned with the use of 3D animation over 2D animation. He only changes his mind when Aoi relays a message to him from Marukawa, about his pleasure of working with him. Later on, Musashino receives the layouts for the fifth episode, but the staff is forced to have an urgent meeting with Studio Taitanic’s Zaruyoshi Yakushiji, the episode director, over several errors on the layouts that he let slip by. He begrudgingly agrees to do, but insults Seiichi while leaving. Aoi later learns that Yakushiji suddenly quit the job. Needing to find a replacement director, she begins to stress out until Erika makes a surprise return to the studio.

Episode 19: Did You Catch Any?

On the rooftop of Musashino Animation’s studio, Aoi pleads with Erika to take her job as production desk and then blames herself for the problems happening lately. Erika then advises Aoi to go home for the night and get some rest so she can get rid of her stress by the next morning. The next day, as Aoi, Watanabe, and the entire production desk discuss how to handle the issues with Studio Taitanic, Erika goes with Hiraoka, who is actually a former acquaintance of hers, over to Taitanic’s office so they could help out with the fifth episode. Eventually, she selects Hiroshi Iketani as Yakushiji’s replacement. Meanwhile, Marukawa takes Aoi to the offices of the bankrupt Musashino Pictures studio, which produced Aoi’s favorite anime Andes Chucky, much to her own surprise. As Marukawa explains to her how anime used to be made, Aoi asks if people are actually able to make interesting anime today. Then, Marukawa recounts how both he and Ookura worked on Andes Chucky alongside Sugie and shows her that even animation production back then was stressful, but also rewarding and fun. In a flashback, a younger Marukawa and Ookura introduce their own background for a blizzard scene, which is nearly rejected by Musashino Pictures’ higher staff since they are still rookies, but eventually accepted. Aoi then watches a leftover scene from Andes Chucky, which inspires her to keep having fun while she makes an even better anime. Later, as Musashino gets Iketani up to speed with the episode production, Aoi pays a visit to Ookura and becomes amazed by his finished background.

Episode 20: I’ll Do My Best, Mustang!

As the head staff tries to discuss what to do for the plot of the thirteenth episode, they start to liken the protagonist’s reason for flying to their own reasons for getting into the anime industry. They become interested by their motives for making anime and ask the rest of the staff for their own opinions, receiving various responses. Meanwhile, Midori, who has been given writing assignments by Maitake to improve her writing skills in lieu of directly teaching her, feels downhearted when an increasingly irritable Hiraoka implies that she can get her way just because she is a girl. She talks about it with Maitake, who assures her that his reasons for giving her the assignments were work-related. Later, after the production staff comes up with a scenario for Maitake to work on, Hiraoka gets into a heated argument with episode director Hironori Madoka, who feels the key animators provided by Hiraoka from Studio Taitanic have been of poor quality. After talking with Marukawa and calming down, Hiraoka apologizes for his actions to Madoka, who also apologizes. Afterwards, Hiraoka secretly expresses his dissatisfaction with current anime such as The Third Aerial Girls Squad, citing that no one would truly notice it as long as there are characters to observe and that the quality of key animation is no longer important. Ai overhears him and, feeling different from his perspective, pays a visit to a sick Ema, who advises her to remain confident in herself. The next day, Aoi assigns both Hiraoka and Tarō to oversee production on the twelfth episode. Meanwhile, Seiichi and Maitake use the previous day’s fight as inspiration for how to improve a scenario for the thirteenth episode, asking Midori to write natural-sounding dialogue for a fight between two of the characters. While printing out a draft for the scenario, Midori confronts Hiraoka about his previous words to her.

Episode 21: Don’t Hold the Quality Hostage

During a delivery by the president of A.C Tsuchinoko, Isokawa Hisamitsu, he reunites with Hiraoka and Erika, who were his classmates in technical school. Meanwhile, Misa gets the chance to do some character CG animation for a certain scene in The Third Aerial Girls Squad, inviting Ema and Shizuka to an amusement park to observe their reactions on a rollercoaster for inspiration. Following the successful premiere of The Third Aerial Girls Squad ’​s first episode, which is met with widespread public acclaim, Aoi receives complaints from Segawa, who requests that Hiraoka be taken off the episodes she is working on due to the lack of quality in both his key animators and his attitude. When Aoi relays this to Hiraoka, he becomes angry, stating that fussing over quality just makes his job harder. While trying to understand Hiraoka, Aoi hears from Erika about how his love and dedication for the anime industry caused him more pain when faced with the realities of the job, leading to his current attitude. Afterwards, Aoi speaks with Isokawa, who states that an important factor in balancing quality and schedules is for the production team to communicate with the creators about the best way to proceed. Hearing this, Aoi decides to have Hiraoka continue working on the twelfth episode on the condition that he communicates more clearly with the other animators. Later that night, Aoi is invited by Watanabe to meet Masahiko Inami and Keiji Takekura, the president and chief production assistant of The Born, respectively, who had conducted Aoi’s failed interview there. They both note that she has changed a lot since then, leading her to realize her own goal to do her best and make great anime. With the thirteenth episode’s storyboards finished by Seiichi in record timing, Aoi assigns herself, Tsubaki, and Sara as the episode’s production team.

Episode 22: Noa’s in Her Underwear

After being assigned as the animation supervisor for the thirteenth episode, Yumi, pressed by her large workload, nominates Ema to join Rinko as an assistant general animation supervisor to help her handle some of the cuts, having been impressed by the progress she displayed since Exodus!. However, when Aoi asks her about it, Ema responds that she lacks confidence in herself to take up the job and has to think it over. As a backup plan, Aoi approaches Segawa with the request. Though she declines, Segawa becomes impressed be her sincerity and regains some of the motivation she lost following her incident with Hiraoka, returning to work on the twelfth episode. Meanwhile, Ema checks on Midori and finds that she is enjoying her job in script ordering. Later that evening, as Nao Shinkawa drinks over her troubles alongside in-between animation inspector Chiemi Dōmoto, Hiraoka shares with Tarō about how his horrible experiences during previous jobs left him with a cold attitude towards the anime industry. Meanwhile, Misa comes over to the studio to get some advice from Ema on how to improve her CG animation. She eventually manages to improve it greatly by incorporating 2D animation techniques into the mix. The next day, Ema receives encouragement from Sugie and decides to take up the assistant supervisor position. Afterwards, she relays her confidence to her mother, which in turn gives Ai the confidence to attend a meeting by herself. Meanwhile, just as recording wraps up on the final episode, Katsuragi is shocked to learn that Nogame has rejected all of the last episode’s storyboards.

Episode 23: Table Flip Continued

After Watanabe and Katsuragi fail to convince Chazawa and his boss to let them contact Nogame and negotiate with him, the Musashino staff is left with no choice but to follow his wishes and keep the episode’s plot accurate to the story’s original timeline, which would end the anime on an unhappy note with the death of one of the main characters. However, Seiichi is unsatisfied with the prospect, feeling that the ending needed to be positive. Hiraoka reveals that he worked on an adaptation of another of Nogame’s works, which ignored the original story and sparked significant backlash from the fanbase. Encouraged by Marukawa and Honda, Seiichi finds Nogame’s email address and manages to arrange a meeting with him in person. After getting past the editorial department with the help of Watanabe and Katsuragi, Seiichi hears directly from Nogame about how he sees the characters, and together, they use this information to come up with a compromise for the anime’s ending that would respect the original work, but also end it on a hopeful note. As the meeting is concluded, it is revealed that Chazawa kept Nogame in the dark about Musashino’s attempts to meet him, having hoped to lighten Nogame’s workload. As a result, Chazawa is fired for his irresponsibility. As Musashino Animation begins working on the revisions, which includes the addition of a younger sister character, Seiichi, impressed by her earlier auditions, calls in Shizuka to provide her voice. While hearing Shizuka and Kyōko’s recording, Aoi is brought to tears of joy as she realizes all five members of the Kaminoyama High School animation club have finally fulfilled their promise to work on a single anime production together.

Episode 24: The Delivery That Was Too Far Off

With three weeks left until the delivery of the final episode, the entire Musashino staff reinforces their efforts to get the episode done with the time they have left. The work is particularly focused on the scene featuring Shizuka’s character, which is assigned to Ema at her own request after she was touched by Shizuka’s performance. Meanwhile, Shizuka finds enjoyment in being able to land minor voicing roles, while Misa stays up the entire night at her workplace creating a CG model for a fighter jet. On the day of the delivery, after the episode is finally completed, the production staff is tasked with delivering the final tapes to the various TV stations across the country in time for the airing by any means necessary. As the others reach their assigned destinations in time, Aoi is held up by several transport delays and is forced to complete the remainder of her trip by running to her destination on foot. While reaching the TV station, she reflects on everything she learned from her friends in the past few years, which strengthens her resolve to keep making anime. At the celebratory party for the final episode’s airing, Aoi is praised for the support she provided to the rest of the Musashino staff and is brought onstage to give a toast to everyone involved in the anime’s production. She delivers a speech praising everyone’s pooled efforts for making The Third Aerial Girls Squad and reminding them to continue this teamwork and bring further inspiration to anime viewers worldwide. Afterwards, Watanabe and Katsuragi decide to have Musashino Animation work on two anime simultaneously as their next projects. Aoi, Ema, Shizuka, Misa, and Midori meet up at a balcony and reaffirm their resolve to one day remake the anime they made back in high school, also promising each other to continue making great anime along the way.

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