The film contains the closing contributions of a handful of the studio’s most renowned animators, as well as the fingerprints of newcomers whose careers were cut tragically short equally impactful at a studio built on the premise of constantly rearing new talent. ![]() One final chance to see mechanical work by Hiroyuki Takahashi, an artist so detail-oriented that his coworkers would sometimes notice him using a magnifying glass to draw the smallest intricacies of the mechanical drawings he specialized in. ![]() The last uninterrupted brushes by Mikiko Watanabe, who at 35 years old already competed with anime’s all-time greatest when it came to evoking convincing reality with unashamedly painterly work. In contrast to that, its other unintended reality is much more tragic: having been essentially completed the day before the Kyoto Animation arson attack, it’s the final taste of an era of the studio that was brought to a cruel end. First conceived as two extra episodes for the TV series in OVA form, this side story only ended up becoming a feature-length film because the staff heading the work were so invested in its world that they went overboard with it. ![]() Violet Evergarden Side Story: Eternity and the Auto Memory Doll is a landmark work that never wished to be one. Violet Evergarden‘s side story film is a tragic remnant of the skill of many Kyoto Animation artists whose lives were cut far too short, but also a bright look towards the future by a new generation of creators who now more than ever are meant to become leading voices at the studio.
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