Las primeras imágenes generadas por computadora, o CGI, eran a menudo obvias y fáciles de distinguir. Con frecuencia parecía rígido y antinatural, rompiendo la inmersión en películas y juegos. Sin embargo, el CGI actual es una experiencia completamente diferente.
Las imágenes generadas por computadora (CGI) se han vuelto esenciales para la forma en que se cuentan visualmente las historias. Permite secuencias de acción fluidas, expresiones sutiles de los personajes y ángulos de cámara creativos que eran difíciles de lograr con técnicas más antiguas. Con el tiempo, los estudios han mejorado mucho en el uso de CGI y han adquirido más confianza en su capacidad para impulsar narrativas. Como resultado, algunas de las series de anime más aclamadas de la década de 2020 dependen del CGI para dar vida a sus visiones.
Beastars convirtió el pelaje de Legoshi en el personaje más expresivo del programa
Antes del anime Beastars, la mayoría de los animadores pensaban que CGI era más adecuado para cosas como robots y paisajes. Sin embargo, Orange demostró que estaban equivocados con dos tecnologías clave: Hair Farm, que creó pieles increíblemente detalladas, y Tyflow, un programa que simulaba el movimiento de miles de hebras de piel individuales a la vez. Esto les permitió crear un personaje, Legoshi, cuyo lenguaje corporal (que muestra sentimientos como ansiedad, hambre y autocontrol) era visible incluso antes de hablar.
El director Shinichi Matsumi tomó una decisión crucial para mejorar la producción de Beastars: hizo que los actores de doblaje grabaran sus líneas antes de que comenzara la animación y les pidió que interpretaran físicamente las escenas como si estuvieran actuando en el escenario. Esto ayudó a los animadores a crear movimientos más realistas. Mientras tanto, el diseñador de personajes Nao Ootsu estudió el pelaje de su propio perro para representar con precisión el de Legoshi y consideró cuidadosamente cómo los diferentes grosores del pelaje afectarían las sombras de cada personaje. Esta atención al detalle es una razón clave por la que la tensión entre carnívoros y herbívoros parece tan creíble en la serie.
Land of the Lustrous es un anime Seinen que no funcionaría sin CGI
El director Takahiko Kyogoku explicó que es imposible animar de manera realista personajes de piedras preciosas utilizando métodos tradicionales dibujados a mano. Mostrar cómo pasa la luz a través de las gemas se basa en imágenes complejas que no se pueden lograr solo con el color. En Land of the Lustrous, el uso de CGI no es solo una elección visual: es esencial para que la historia funcione, ya que representa con precisión la luz interactuando con superficies cristalinas.
In 2018, Land of the Lustrous received both the Crunchyroll Anime Award for Best CGI and the VFX-Japan Award. However, these awards were more significant for what they represented: they demonstrated Orange’s capabilities and earned them the confidence of TOHO, a major production company. This trust was crucial, paving the way for future successes like Beastars and Trigun Stampede. At the heart of Orange’s approach is director Kyogoku’s belief that CGI should be the foundation of a project, rather than simply trying to replicate traditional 2D animation – a philosophy that continues to shape all of their work.
Trigun Stampede is a Sci-Fi Epic That Took Five Years to Build
Orange started working on Trigun Stampede back in 2017. Creating the 3D models took a year and a half, and director Kenji Muto then spent two more years perfecting the facial animation technology needed to make the characters look realistic. This was a long and expensive project, and nothing about its production was rushed.
Concept artist Koji Tajima redesigned Vash the Stampede after carefully reviewing the original manga with its creator, Yasuhiro Nightow. This new design, featuring sharper angles and elongated proportions, translates better to 3D animation, resulting in more realistic movement compared to the previous, more rounded appearance.
Nao Ootsu, known for their work on Beastars, developed a unique process for Trigun Stampede: they first designed character expressions in 2D before converting them into 3D animation, preserving the show’s lively, cartoonish feel. This allowed Orange to create fully CG human characters for the first time. The action sequences in Trigun Stampede powerfully demonstrate the potential of CGI in high-quality anime, even with the series being a reboot of Trigun.
Dorohedoro Proved That CGI Grime Fits Perfectly in Dark Fantasy
Director Yuichiro Hayashi made a key choice for the anime Dorohedoro that many people didn’t notice: he personally created the storyboards for all twelve episodes. This guaranteed that the unique visual style of Q Hayashida’s original work was faithfully recreated using CGI, instead of becoming standard, unremarkable animation.
Art director Shinji Kimura designed the Hole as a complex, layered environment, blending gritty, rundown buildings with the style of Renaissance architecture. The detailed computer-generated grime isn’t just for looks – it actually reveals how the Hole’s society works. For Season 2 of Dorohedoro, Hayashi returned, bringing with him 3DCG director Fuminori Nomoto and composer R.O.N. from the group (K)NoW_NAME.
The imposing size of Caiman and the cramped setting of the Hole still stand out in Season 2 of Dorohedoro, just as they did in 2020. This proves that the show’s impressive visuals weren’t a one-time success. Director Hayashi’s work on Attack on Titan: The Final Season demonstrates that he doesn’t see CGI as a limitation, but rather as his go-to method for creating detailed, action-packed worlds with a strong sense of physicality.
Girls Band Cry Made Toei Animation Prove Its CGI Commitment Had Actual Depth
Toei Animation has previously created CGI films like Dragon Ball Super: Super Hero and The First Slam Dunk. But their 2024 film, Girls Band Cry, presented a new challenge: it needed to convincingly portray characters’ emotions through detailed 3D animation and body language, as much as through spoken words. The film required a higher level of animation to capture subtle, ongoing performances.
Director Kazuo Sakai and producer Tadashi Hirayama intentionally filmed the series at 24 frames per second. This gives Togenashi Togeari a more distinct look compared to most CGI anime, which often use smoother, but less defined, framerates. The series also pays close attention to detail in the live performance scenes, accurately showing the characters’ finger positions on their instruments. This allows the audience to naturally see Nina Iseri’s progress as a guitarist without the need for lengthy explanations.
Directors Mari Kondo and Jae Hoon Jung made the performance scenes in Girls Band Cry feel like real concert footage, not just animation. This sets it apart from similar shows like K-On! and Bocchi the Rock! Because the animation isn’t perfectly smooth, viewers notice small pauses and shifts in the band members’ body language, making their interactions feel more realistic and impactful.
Ultraman Used Netflix Production Scale to Argue Tokusatsu Belongs in Three Dimensions
The Netflix series Ultraman was created by Production I.G. and Sola Digital Arts with a key idea in mind: the classic Ultraman suits were always limited by what a physical costume could do. They could only roughly suggest the movements and changes needed for the character. The new suit for Shinjiro Hayata is designed to move and reshape with precise, mechanical detail that wouldn’t be possible with traditional effects, all while keeping the iconic, somewhat blocky look of the original Ultraman.
Watching Ultraman, I’ve noticed the special effects don’t try to overhaul the show’s look, but rather enhance what’s already there. The way the fight scenes are done – especially between Shinjiro and Dan Moroboshi – feels really strategic because the 3D backgrounds make it easy to follow where everyone is in space. It’s not just flashy; it’s clear and well-planned.
Both fighters carefully manage the space around them, anticipate their opponent’s moves, and use their surroundings to their advantage. The Netflix series Ultraman demonstrates that certain visual styles truly come to life when presented with three-dimensional depth, realizing a potential that was always present.
Oshi no Ko Deploys CGI Exactly When Idol Culture Needs to Feel Industrial
Oshi no Ko primarily uses computer-generated imagery (CGI) for performance scenes, and this deliberate choice is significant. The show’s switch from detailed, hand-drawn characters to CGI for concert crowds and lighting effectively highlights how artificial and large-scale the world of the idol industry is around the main character, Ai.
The technology behind creating and showcasing AI-generated content works with visuals that are different from how humans perceive them. Later concert scenes in the series mirror this effect, but in reverse. The animation studio, Doga Kobo, deliberately uses limited CGI, which makes each instance of it feel more meaningful than if the show relied on 3D animation more heavily.
Ghost in the Shell SAC 2045 Season 2 Finally Delivered the Vision CGI Promised
When Ghost in the Shell: SAC_2045 debuted in 2020, many noticed the characters moved awkwardly, a departure from the fluid style the series was known for. Despite having a strong studio, Production I.G., and ample resources, the action scenes prioritized flashy visuals over the realistic, impactful movements that defined the Major’s fighting style in Stand Alone Complex, which had previously conveyed a sense of what it means to be post-human.
Season 2 of Ghost in the Shell: SAC_2045 was a significant improvement, and the resulting film version showed the creators listened to feedback and put real effort into refining their work. The story makes it clear that CGI can be used simply for convenience, or as a thoughtful artistic decision. While the franchise has now found its stride, the first season serves as a recent example of how having powerful CGI tools doesn’t guarantee a visually compelling result if the artistic vision isn’t fully developed.
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2026-05-10 23:49