
English: 
So, it’s been a year and it looks like the
Youtube shouty men were right.
Pokemon Sun and Moon looks bad.
Is just a dumb school comedy anime.
And it's nowhere near as intense as Pokemon XY was.
Nah, I’m kidding. Hello and welcome to The
Canipa Effect. This is an animator spotlight
on Pokemon the Series: Sun and Moon.

Chinese: 
於是一年就這樣過去了，
而看來YouTube上很大聲的那群人並沒有錯
看起來挺糟的
不過是部愚蠢的校園喜劇動畫
遠不及當初緊湊
沒啦，我開玩笑的
哈囉並歡迎來到卡尼帕效應，
本集焦點動畫師單元將鎖定動畫：
太陽與月亮

Chinese: 
這其實是我為所做的
第二支影片
在2016年九月，我曾針對角色設計提出
帶有爭議性的看法
認為簡化設計內容具有優點
同時以整個系列的角度而言，
新的視覺方程式利大於弊
借由更易於動畫繪製的設計，
整部作品可以增添許多移動物件，
進而允許更多元的視覺敘事類型
舉例來說，我最喜愛的早期集數之一便幾乎沒有對話
當中的三位僅僅以大量的擠壓以及延展
來透過動畫展現自己
很快便進入狀況
雖然這可能要先確定每個人對「進入狀況」的定義
拜全新的角色設計之賜，
寶可夢動畫能夠更有效率地利用
新型態視覺幽默元素來完成喜劇回
過去20年來，
某種潛規則讓每一集動畫內都至少要與
火箭隊對決或至少產生衝突

English: 
This is actually my second piece on Pokemon:
Sun and Moon. In September 2016, I addressed
the controversy regarding the character designs,
describing the advantages of simplifying the
designs and how the series as a whole would
benefit from new changes to the visual formula.
By making designs that are easier to animate,
the show can have more moving parts, allowing
for more types of visual stories to be told.
For example, one of my favourite early episodes
was one with hardly any dialogue as the three
starters express themselves through animation
with lots of squashing and stretching.
Pokemon Sun and Moon doesn’t take long to
reach its stride, although that depends on
where you believe its stride actually is.
With the new character designs, Pokemon is
able to more effectively carry comedic episodes
by adding new elements of visual humour. There’s
been this trend for the past 20 years that
every episode needs some kind of battle or

English: 
at least a tussle with Team Rocket, but Sun
and Moon has felt much more comfortable with
having episodes that involve a few shenanigans
and silly moments. What was commonly referred
to as “filler episodes that you should just
skip” in previous seasons are now a part
of the core appeal, which is great, because
the insistence that you should skip anything
without an important battle in Pokemon always
annoyed me to begin with.
One of my favourite examples of this was in
everyone’s favourite baseball episode, Episode
28. Simple designs can be a blank canvas.
Once you’ve broken down a character into
a few distinctive characteristics, you can
go all out with switching up the style as
long as those characteristics are retained.
So this awesome “Sparking Gigabolt Swing”
can have the freedom to have all this extra
line work without looking off putting. With
simple loose character designs, much more
becomes possible when trying to create fun
scenes like this.

Chinese: 
但的某些集數卻能因為
幾齣小玩笑或犯蠢橋段而顯得更令人放鬆
一般在前幾季可能被認為是「可有可無過場回」的內容
如今成為主要賣點之一
這樣其實很棒，
因為「看精靈寶可夢時沒戰鬥就可以直接跳過」的堅持
一直都讓我十分惱怒
我最愛的範例莫過於大家最愛的第28話棒球回了
簡化的設計就像一張空白畫布，
一旦你將角色們分解成少數幾個方便辨認的特徵
無論風格再怎麼去改變，
只要這些特徵獲得保留就沒問題
於是這幕精彩的「終極伏特狂雷閃揮棒」
就能擁有額外的佈線而不會顯得太過走樣
只要角色線條保持簡單而隨性，
要創造這類輕鬆場景時便能取得更多可能

English: 
The impressive shot with Kiawe pitching was
animated by a guy called Masaaki Iwane. If
there’s one name to remember when it comes
to Pokemon, it’s him. Long running anime
series can be a pain. It needs to be a tight,
reliable schedule with episodes being released
endlessly for years and enough animator manpower
to have several episodes in production at
any given time. Or, just one guy. Masaaki
Iwane has been famous for animating entire
episodes by himself for years now, but his
Sun and Moon episodes have consistently been
some of the most impressive, even when he’s
the only one providing key animation for them.
Episodes with just one animator are a rarity
to begin with, but episodes at this level
of polish and frequency is something incredible.
Iwane’s best moments in XY were his battles,
but thanks to the new redesign and animation
philosophies within Sun and Moon, we’ve

Chinese: 
這個卡奇投球的鏡頭是由岩根雅明所繪製
他是談起時絕對不可或缺的一個名字
長集數電視動畫有時十分折磨人
當中講求的是緊湊而可靠的製程
一集集的成品數年來馬不停蹄播出
也需要足夠動畫師隨時維持多線同步製作
或者，其實一個人也夠
岩根雅明由於多年來始終一人繪製整集動畫而廣富盛名
但他在中負責的集數
卻始終依舊是最亮眼的幾集
就算他是關鍵原畫唯一的提供者
一人原畫的集數本身就已經夠罕見，
而能達到這種品質與產量更是不可思議
岩根在時期最出色的作品是戰鬥畫面
但多虧了中全新的設計與作畫理念，

Chinese: 
我們也終於見識到他在人物作畫以及詼諧橋段上的本事
事實上，在第一集就可以瞧見，
結尾工作人員字幕的部分就是由他所繪
他也一併負責火箭隊的華麗出場
並在發現謎擬Q的第三話中擔任唯一原畫
單一原畫師對敘事層面所能造成的影響很容易被輕忽
然而此處火箭隊所呈現的方式，
確實以先前季別前所未見的視覺方式
放大了他們那種無腦酸的無力感
岩根另外也替第9、15、21、27、33、39、44
以及第50話全權負責關鍵原畫
而與前幾季不同的是，
這些集數未必都包含戰鬥成份
事實上，當中多數都只包含一些與火箭隊的普通對戰

English: 
seen what he can do with character animation
and lighter moments. In fact, we saw it in
the first episode, as he was the one that
animated the Ending credits.
He was also responsible for the proper introduction
of Team Rocket, as the solo key animator of
Episode 3 in which they discover Mimikyu.
It’s easy to dismiss the effect individual
animators have over the narrative, but the
way Team Rocket is portrayed visually
emphasises their shitlord desperation in a
way that previous series haven’t quite achieved
in the same way.
Iwane was also responsible for key animating
Episodes 9, 15, 21, 27, 33, 39,44 and 50 all
by himself. And unlike in previous seasons,
these episodes don’t necessarily feature
battles. In fact, most of them feature little
more than the regular conflict with Team Rocket

Chinese: 
重點則是放在表情豐富的角色作畫上
就算在某集與究極異獸戰鬥，
卻是這個繩索跳躍鏡頭一次展現了最為獨特的動作
連岩根都不得不推展自己的極限
但就算納入再多以人物為主軸的集數以及
外放有活力的作畫，
完全沒有要
背棄戰鬥元素的意思
或許戰鬥的頻率降低了，
但每當發生時，絕對都會好好打上一架
小岡與卡奇之間的戰鬥發生在返回關都的半途中
當中有幾處整個系列裡最酷的時刻
機甲繪師大橋藍人繪製了多個鏡頭
他曾在我最愛的動畫中
負責好幾個動作畫面
這場戰鬥的分鏡與構圖令人驚艷

English: 
and the focus of these episodes is often on
expressive character animation. Even in an
episode that involves a battle with an ultra
beast, it’s this extended jump rope cut
that features the most unique movement on
screen at once, so much so that even Iwane
pushed himself beyond his limits.
But even with more character-centric episodes
with expressive and energetic animation, Pokemon
Sun and Moon hasn’t abandoned battles at
all. They may be less frequent, but when they
battle, it’s always a good one.
The battle between Brock and Kiawe during
the trip back to Kanto represents one of the
coolest moments within the series. With many
shots being animated by mecha animator, Aito
Ohashi, who has been responsible for many
action-packed moments in my favourite show,
Gundam Build Fighters, the framing and structure
of this particular battle is stunning and

Chinese: 
成功展示出大鋼蛇的戰鬥能駭人到什麼程度
在同一集當中，
原畫師難波功讓小智與小霞之間的戰鬥十分突出
皮卡丘與超級爆鯉龍捉對廝殺
僅僅是透過呈現戰鬥的作畫，
我們就能窺知小岡與小霞從上一次出場之後成長了多少
這也提供絕佳機會讓我們看見活生生的超級進化寶可夢
畢竟選擇了繼續承接Z招式的設定
然而雖然多年來歷經這些改變，
有一項作畫原則依舊維持不變
那就是鏡頭拉移
大致上可以歸納為：
先是角色臉部的特寫，接著再快速拉遠，
同時角色繼續營造景深感
有時感覺就像攝影機在從揮舞的手腳之間驚險閃過一樣
這並非寶可夢特有的風格，
然而寶可夢卻實極頻繁地運用

English: 
successfully shows how terrifying battling
a Steelix really can be.
In the same episode, animator Isao Nanba created
standout scenes within the battle between
Ash and Misty, where Pikachu takes on a Mega
Gyarados. Purely through the animation in these battles,
we can see how both Brock and Misty
have grown since their last appearances. It
also gives us a great excuse to see mega Pokemon
in action again after Sun and Moon’s continued
reliance on Z Moves instead.
Yet, with all the changes over the years,
one animation philosophy remains consistent
and that’s camera zooms. The idea that a
great shot starts with a character’s face
and then pulls out dramatically as the character
continues to play with that sense of depth.
Sometimes, it even looks like the camera is
just narrowly avoiding being hit as they wave
their arms. This isn’t something unique
to Pokemon, but it’s something that Pokemon

Chinese: 
而岩根雅明在戰鬥中企圖創造空間深度感的專注
則更使之聞名
就算在由Wit Studio、 Production IG
以及Signal MD共同製作的 裡，
有個由Signal MD製作的鏡頭卻也是
由監督富安大貴繪製分鏡
即便有著令人印象深刻的水準，
要宣稱不怎麼改變也太自負
事實上，他正經歷一段搖擺的不確定期
無論是整個系列作品或者主角的外貌都沒有一個定論
就算中角色設計進行了改變，
劇場版卻採用與以及都不相同的畫風
再次創造出一個新的風格
在2018我們又將迎來一部由OLM
以及Wit Studio共同製作的劇場版
並帶有由金子志津枝負責的萌系設計
近似於她在以及
中的風格

English: 
never doesn’t do and is made famous by Masaaki
Iwane’s attentiveness towards creating a
sense of depth in his battles.
Even in Pokemon Generations, which is created
by Wit Studio, Production IG and Signal MD,
there is a shot like this in an episode produced
at Signal MD but storyboarded by Pokemon Sun
and Moon’s director, Daiki Tomiyasu.
Although even with these recognisable qualities,
it would be ignorant to say that Pokemon hasn’t
really changed that much. In fact, it’s
currently in a huge state of flux with there
being no singular idea of what the Pokemon
anime or its protagonist should look like.
Even when the character designs were changed
in the Sun and Moon series, the film took
an entirely different approach from both XY
and Sun and Moon, creating a brand new aesthetic.
And the upcoming film in 2018, created by
both OLM and Wit Studio features moe designs
by Shizue Kaneko, known for If Her Flag
Breaks and Pan de Peace. She even drew this

Chinese: 
她甚至還為了慶祝宣佈而畫出這張小智
小智的設計在2018年電視動畫中八成又將改變
2019的劇場版也是
首先由開始，
OLM公司將部分負責電視動畫，
而OLM小組中的加藤也接手劇場版的工作
然而，就算現在是由同樣的作畫製作負責，
電視動畫與劇場版之間無論是風格或者故事之間的差異都更甚以往
的優勢在於
它可以在緊湊的電視動畫步調下依舊產出許多
亮眼刺激的作畫
而劇場版則有辦法呈現更多細節，
並採用更適合在大銀幕上播映的3D背景
兩者都各自受惠於小組負責人加藤寬之對
現代化動畫製作的無比用心

English: 
picture of Ash to celebrate the announcement.
In 2018, Ash’s TV design will probably change
again, as will his film design again in 2019.
Starting with Pokemon: I Choose You!, the
part of Studio OLM that handles the TV anime,
OLM Team Kato has taken over the films as
well. But even though it’s now being handled
by the same animation producer, the aesthetics
and even the stories between the TV and film
versions have diverged more than they ever
have before.
Pokemon Sun and Moon has an advantage in that
it can feature a lot more exciting animation
even within a tight TV production schedule,
whilst the films can feature more detail and
use 3D environments that would be better appreciated
on the big screen. Each of them uses team
leader Hiroyuki Kato’s dedication towards
modernising animation production in their
own unique way.

English: 
Thanks for watching The Canipa Effect. I couldn’t
figure out how to include this fact in the
video, but they created a 3D model of the
Pokemon school in Sun and Moon as a reference
for the backgrounds there, so it always feels
consistently real. Anyways, if you want to support
the channel, please consider checking out
The Canipa Effect Patreon.
For $1, you get to read my monthly updates
where I reflect on everything that’s come
out and everything that I’m working on.
For $3, you get to read all of the interview
translations that have been funded. There’s
currently a load of interviews about the backgrounds
of Your Name on there. For $5, you get access
to commentary videos, including a commentary
video on this video where I’ll talk more
about Pokemon animation. And for $10, $15
and $25, you get different special rewards and
you get a special thank you. But for now,
I’d like to give a huge thank you to all
these incredible people for supporting the
channel. In particular, I'd like to thank:
The active Austin Hardwicke, the impossible
Isaac Woo, the fantastic Frog-kun, literally

Chinese: 
感謝收看卡尼帕效應
有個我怎麼樣都想不出要放在影片哪裡的事實
但他們為了讓背景做為參考，做了寶可夢學校的3D建模
這就是場璟之所以總是這麼逼真的原因
假如你想要贊助本頻道，
請考慮卡尼帕效應在Patreon網站的頁面
只要一美元，就可以閱讀我的每月進度更新
內容包含所有想法以及正在進行中的計畫
每個月三美元，就能閱讀所有訪談的譯文
目前有許多篇有關背景美術
的文章剛張貼在上面
只要五美元，就能觀賞評論影片
包括現在這支影片的評論
我會多談談有關寶可夢動畫作畫的細節
另外每月贊助10、15以及25美元都有特別獎勵
包括特別感謝
但現在，我想要先大大感謝這些贊助本頻道的人們：

Chinese: 
2017就到此為止了，祝各位聖誕快樂以及新年快樂
臺灣繁體翻譯：CactusFlower仙人掌花

English: 
my own mother, the humane Hamad, the appreciated
Albireo, the meaningful Mike Tamburelli and
the jewelled Jakob Gahde.
That's all for 2017. I hope you all have a very Merry Christmas and a Happy New Year!
