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Stocking Anarchy

V.I.P. Member
Time to salvage more scans. This time, for the Visaka. The Visaka is a virtual lifeform which unlike the Ashtanga or the Nanda, wasn't a robot lying in wait for enemies, but was born, created by the Anti-Spiral who is said to control all death and birth.
"It wasn't hidden, it was born," says LordGenome head. "The Anti-Spiral is the universe itself. It controls all death and birth. The isolated universe must have said that."
(From the Gurren Lagann novelization, volume 4, page 225)

Like the Ashtanga, the Visaka can control probability.
The enemies attack was a hit even though it should have been completely defended by the Super Spiral Field.
"What do you mean?" Asked Yoko.
"I don't know. The Spiral Field is alive and well on the instrument."
Tetsukan checked the monitor and said.
However, the attack does not stop.
"But it's hitting."
Gimmy said while balancing the swaying aircraft.
"It's a probability negating bullet. The enemy is negating the odds that we defend."
(From the Gurren Lagann novelization, volume 4, page 224)

Stocking Anarchy

V.I.P. Member
Laios has a feat in the Delicious in Dungeon anime that's not present in the manga. In episode 3, when Laios is fighting the living armour, it sends Laios flying into the wall with enough force to send bricks flying, and Laios uses his own sword to slice the stone ground (in the manga, chapters 6 and 7, he simply falls back on his behind).

Stocking Anarchy

V.I.P. Member
Good news! I bought the Gridman Universe Super Complete Works, and it's time to have a look at it! Let's have a look at a couple of pages to start...

As suspected, Mad Origin increasing the chaos was not only messing with space, but also with time; this chaos altered the timeline, causing people who were dead to return, and other strange phenomena.
(Relevant text)
The world has begun to distort
As a result of Mad Origin accelerating chaos in the Gridman Universe, the timeline began to warp, and people who were supposed to be dead started appearing. Strange phenomena occurred, such as "The Monster Eugenicists, who once fought and lost against the Dynazenon Tall Monster Daikosai Junbi Kaijuei, film a monster movie in preparation for the Daikosai Festival," Hime and Gauma, who were supposed to be dead, play the role of ghosts at the Horror Cafe," Kano, the deceased sister of Yume, prepares for the Daikosai Festival with her former lover Daikosai Junbikoro," and "The volleyball members who were killed by Akane are revived."
Mad Origin fuses various worlds together in order to obtain energy and increase chaos.
(Relevant text)
Mad Origin, who uses the Gridman Universe, fuses various worlds within the Gridman Universe to obtain energy. Furthermore, in order to accelerate the chaos, he places Gridman's consciousness in the world of Tsutsujidai and sends him into the world of the Confused.
All the worlds in the Gridman Universe form Gridman's consciousness.
(Relevant text)
The Access Flash sent Yuta into Gridman's consciousness.

Stocking Anarchy

V.I.P. Member
More about the Cyberpunk Edgerunners Miision Kit has been announced! It will feature 9 new characters and a new story, set after the events of Edgerunners (which ties into how Falco gives the jacket to V, from the looks of it). Maven is the Tech of the group, and Hardpoint is the Solo, and Bluescreen is the Netrunner.

In The Jacket, you and your friends will take control of any number of seven newly created characters, pregenerated for the mission. You’ll have the option to play as, for example, Maven here who is the Tech of the crew. You’ll also meet Hardpoint, the Solo of the group, Bluescreen the Netrunner, and many more.

Now so it’s said, you do not play as any characters from the Cyberpunk: Edgerunners anime themselves. This whole adventure takes place after the ending of Cyberpunk: Edgerunners (you already know what that means if you’ve seen it) and before the events of Cyberpunk 2077. I want to be sure to let you all know this, you’ll be getting to know some new faces here…we did promise some old ones though now didn’t we?

The Jacket begins with, as most jobs do, a call for a gig in the outskirts of Night City. You may recognize the fixer setting you up for this one…know a Dakota Smith? Well, she’ll be sending you and your crew to a self-storage joint to meet the client himself, a certain getaway driver. He goes by the name of Falco.

Maven the Tech.


Hardpoint the Solo.


Bluescreen the Netrunner.


As for the rest of the character designs...we have the Nomad.


The Fixer.


The Rocker.


Release date will be mid-to-late June. As another note, IIRC, this was written by Mike Pondsmith himself, so no one can deny that Edgerunners is 100% canon.

Stocking Anarchy

V.I.P. Member
A new interview with Hiromo Wakabayashi and Shigeto Koyama! There's a few interesting notes here, in both the creative process and the secondary worlds themselves. In Promare, technology is noted to drastically increase as the story progresses.

Q: Regarding the mechanical design of PROMARE, it seems to start off with a more Japanese feel, and then it moves to a more western sci-fi feel. Was that what you were going for?​

(SK): I’m not sure how the audience interpreted it, but it was my intention to go with a Japanese feel. Also, the technology the characters use in PROMARE takes a drastic leap throughout the movie, so maybe in the beginning, the technology is more relatable to our world, but as the runtime continues, it goes to a more sci-fi approach.
In terms of there being any new Cyberpunk anime by Studio Trigger, it's a possibility, but the story of Edgerunners is all wrapped up. Concluding a work definitively is something that Imaishi does with almost all of his work (with the obvious exception of PAnty & Stocking with Gartebelt, and possibly Space Patrol Luluco).

Q: Going back to Cyberpunk for a second, do you feel like there is more for TRIGGER to explore in that world or are you “finished” with the Cyberpunk universe for now?​

(HW): The Cyberpunk 2077 game has a whole lot of expandability; I’m assuming the same would apply for the anime adaptation as well.

Q: Would you like to do more Cyberpunk anime?​

(HW): So, this is my personal interpretation of what the director believes, but I believe the director, once he has a solid plan of execution, he likes to strictly abide by it. For example, when we released Gurren Lagann, it was positively received by the fans. The fans wanted a continuation, but the plan for the director was that he was going to finish it in 24 episodes, and the end result was indeed 24 episodes. I believe that’s the plan for all his work. For Cyberpunk: Edgerunners, or 2077 in general, I feel the setting is very expansive, even if it’s not us, there is room for anyone in the world to pick it up and further explore and expand the Cyberpunk universe. Perhaps someone will pick up the series, possibly not so much “on the edge” as ours. (laughs). Perhaps in a truck, in the middle of the road, or somewhere more safe… sidewalk? Side walkers? (more laughs). The possibilities are limitless.
They also note that while they wish to mostly make original titles (and this was their original intended goal), they have to balance this out with adaptions (When Supernatural Battles Become Commonplace, Delicious in Dungeon) and animes set in pre-existing universes (Cyberpunk Edgerunners, Delicious in Dungeon).

Q: I believe that Cyberpunk: Edgerunners was one of the first adaptations from TRIGGER. Are you going to adapt more works or go back to focusing on original works?​

(HW): One of our earlier works was actually an adaptation that our President (Masahiko Otsuka) did called: “When Supernatural Battles Became Commonplace” (InoBato). So that is our first adaptation, which came right after KILL la KILL. So initially TRIGGER was made to create original titles, but after creating KILL la KILL we realized it was above our capacity to continuously create original titles, so we need to balance where we allocate our resources.

We do want to note that there is original IP for titles such as Cyberpunk: Edgerunners and Gridman, the stories and the characters are entirely original, so the caliber of how costly it is for us to make those shows is almost the same as an original title. I wouldn’t call it an adaptation per se. We have made strict adaptations before like Inobato and our current title Delicious in Dungeon. I wouldn’t say that Cyberpunk: Edgerunners was a strict adaptation. It’s very costly for us to produce an original title,so we try to balance it out, we would do an original, then schedule an adaptation or pseudo-adaptation while working on our next original work.
With collaborations (Star Wars: Visions), there has to be passion for the original idea behind it. For example, Wakabayashi and Otsuka are big Star Wars fans, and Yoshihiro Miyahima (the director of Delicious in Dungeon) is very invested in that project, which is why he's the one directing it.

Q: What about collaborations?​

(HW): I wouldn’t say collaborations. For example, in Star Wars: Visions, our President and I are big fans of Star Wars, and we actively pitched to Lucasfilm and Disney our story. That doesn’t apply just to Star Wars, and I believe that in any anime that we produce, there needs to be a certain level of passion behind the project, a level that our staff is invested in. For example, Delicious in Dungeon, one of our younger directors, Yoshihiro Miyajima, is very invested in the project, so that’s why he’s the one directing that series.
Wakabayashi says that he would love for there to be a collaboration between Trigger and Fortnite in terms of in-game skins (not for the first time either).

Q: Is there going to be a collaboration with Fortnite?​

(HW): We do want those collaborative skins to happen at some point.
With Star Wars Visions (which in terms of the main Disney Star Wars universe is quasi-canon), Disney gave Trigger lots of freedom, so long as they didn't use any characters from the original movies. Shigeto Koyoma also notes that Karre & Am can don't need helmets or protection in space because they're technically not human.

Q: When you pitched your story for Star Wars: Visions, how much freedom did you have to tell your story? Did you have to abide by any rules or guidelines within the Star Wars universe?​

(HW): The only rules we had to abide by were not to use any of the original movies’ characters, such as Darth Vader or Luke Skywalker. We also thought that since we were working with Lucasfilm and Disney, there would be stricter guidelines, but we were quite surprised at how lenient they were.

(SK): My impression was that since we delivered a pitch deck, it felt like we had a lot of positive feedback from Lucasfilm and Disney, and we didn’t feel any resistance from their team. We were fortunate, I guess; they understood our ideas very well. I’m not sure if you noticed this detail but in the last scene in “The Twins”, the main characters both don’t have helmets on outside in space. This is possible because they’re technically not human. Also, there is a robot that has an oxygen mask around his head. It’s those little details that I thought they would criticize, but they were pretty open to it.
When making Kill La Kill, they sought to make something that wouldn't disappoint fans of Gurren Lagann and something that both themselves and audiences could enjoy.

Q: Back when TRIGGER first started, KILL la KILL was your first main series title. When you look back at that time did you feel any pressure to make it “good”, or “sellable”?​

(HW): I’m not sure if this directly answers your questions, but we were fortunate that Gurren Lagann was very popular and highly well-received with our audience. I did feel a kind of pressure that we had to exceed Gurren Lagann with KILL la KILL. As you mentioned, from a business standpoint, KILL la KILL was going to be our flagship title, so from that standpoint, we needed to make it a success. However, the biggest pressure was to make sure we didn’t let our fans down, specifically the ones from GURREN LAGANN. With hindsight after this many years, I believe that KILL la KILL represents the core of our beliefs, where if we can’t enjoy the creative process ourselves then the audience will not be able to enjoy it as well.
In terms of PSG S2, more news will be announced in the future, but it's further confirmed that Trigger now own the rights to PSG.

Q: Panty and Stocking Season 2 has been talked about forever, when are we actually going to get it?​

(HW): I guess the best way for any updates on that is to follow our social media, obviously, we cannot disclose any updates. What I can say is that season 2 is the “wrong way” of discussing our project. At recent American conventions, we announced that TRIGGER finally acquired the rights to Panty and Stocking, we hope to further update the situation at future panels.

Stocking Anarchy

V.I.P. Member
Nakashima implies that he and Imaishi may team up for another project at some point in the future.
中島 いや、意外とツーカーではいけないですね。やっぱり、次に一緒にやろうとしたら、自分たちが楽しいと思えるものじゃないとダメで。じゃあ、自分たちが今、楽しいと思えるものって何だろう?っていうのを淡々と探す感じで。
--After `Kill la Kill,'' the two of you teamed up again for `Promare.'' Having worked together several times, do you think there are parts where you can go on a tour?
Nakajima : No, surprisingly you can't go on a tour car. After all, the next time we want to do something together, it has to be something that we both think will be fun. So, what do we find enjoyable now? It's like looking for something like that.

Stocking Anarchy

V.I.P. Member
The Edgerunners missionkit will not only have a brief timeline of the history of the Cyberpunk world, but it will also have the official backgrounds of David and the rest of the Edgerunners crew, written by Bartosz Sztybor.
Now if I go into detail about what’s inside, it’d spoil it all, so instead of just listing everything off, I’ll give you a good rundown. Sound good? Alright, so first off yes this is going to have all the lore you need to run the Cyberpunk: Edgerunners Mission Kit gig, The Jacket.

And yes, that means what happens before. You’ll get yourself a brief rundown of everything that has happened up to the point of where you are in the setting thanks to the lore within, which does contain a brief timeline covering history from 1990 all the way up to 2076. Yes, you’ll get your timeline for all the goodies in between then and now.

You’ll also get a very solid rundown of tech, including the step that took the chrome of the Time of the Red over to what it is now in the 2070s era. If it needs to be filled in, it is, in the Mission Kit. This includes Night City and its districts from Northside to Dogtown and anyone living within that you may need to know a little bit about. And yes, this is where you’ll be able to read the official backgrounds of the Edgerunners Crew from David Martinez to Dorio Gunnarsdóttir from Writer Bartosz Sztybor!
Also, it's the 5 year anniversary of my all time favourite anime movie, Promare! Thank you Trigger for making such a masterpiece.

Stocking Anarchy

V.I.P. Member
A very interesting interview...Hiroyuki Imaishi and Wes Ball (director of Kingdom of the Planet of the Apes). First of all, Wes Ball says that he's a huge fan of Gurren Lagann.

Director Wes Ball : Nice to meet you! I'm a big fan of "Tengen Toppa Gurren Lagann"! It's an honor to meet you! Actually, there was a time when I couldn't become an animator. It wasn't hand-drawn animation, but I gave up on 3D animation...

Director Hiroyuki Imaishi : And then you became a film director, that's amazing! I've also watched Wes's "Maze Runner" series. The director is extremely good at making the characters emotional and entertaining, even in stories with complex sci-fi settings. "Kingdom of the Planet of the Apes" also had a complex setting, and the "ape" character was difficult to portray, but I was able to empathize with him. It was even more polished than the previous works in the series, so I was really drawn in.
Ball was inspired by Gurren Lagann as he feels both Simon and Noah (the main protagonist of Kingdom of the Planet of the Apes) are both pure & innocent characters who grow big as they learn about the world (as well as how the robot grows bigger and bigger). Imaishi is also a fan of Kingdom of the Planet of the Apes.
── ウェス監督は、アニメ「天元突破グレンラガン」の大ファンなのだそうです。「グレンラガン」のどんなところがお好きで、どんなインスピレーションを受けましたか?



── Wes, you are apparently a big fan of the anime "Tengen Toppa Gurren Lagann." What do you like about "Gurren Lagann" and how did it inspire you?

: The characters! I love them. I think Simon, the main character of "Gurren Lagann," is similar to Noah, the main character of this film! Both Simon and Noah are pure and innocent characters who grow big as they learn about the world. I think the director and I are interested in creating characters who realize their own potential and see how much they can shape it. Also, the scale of how Lagann (the robot's name) grows bigger and bigger was amazing. "Gurren Lagann" is a story that literally begins underground! I really love it.

So I think there are similarities between Gurren Lagann and Kingdom of the Planet of the Apes. Noah reminds me a little bit of Simon. It's a universal story.

Imaishi : In "Kingdom for the Planet of the Apes," I like how the first village scene progresses at a good pace. I like how the main character sets off on a journey and we get to see plenty of what happens next.
Studio Trigger does not use AI, and there is a sense of opposition to it among the staff. Though they say that they might use it in the future, they will use it to support artists rather than replace them.








Ball : That's interesting. What about AI? Has it had an impact on the anime industry? Or are you using it as a tool?

Imaishi : We don't use AI. There is a sense of opposition even among the staff.

BALL : I understand. There's still a lot of resistance.

Imaishi : Maybe some studios are experimenting with this.

Ball : That's very interesting. The wave of AI is sure to come in the future. How should we, as creators, face it?

Imaishi : I think that once legal regulations and guidelines are in place, people will be able to find ways to use it, but it will probably take some time.

Ball : That's right. I want it to be a tool that supports artists, not a replacement for them.

Imaishi : It would be great if it could learn only your own drawings and output them by itself, but it seems that's not possible.

Ball : I think so too. If you can use it to help you, there's no problem. It doesn't impair the human touch, and you can use it only as an assistant. It's the same with CG animation. You only create key frames, and the inbetween (the work of connecting between the original drawings to make the pictures look like they're moving) is done by the computer.
When creating a series, Imiashi always intends for it to be one season (with a handful of exceptions), as he doesn't want to hold back so he gives it his all (as he's not sure if he'll be given a chance to make another season either).



Ball : My goal is to make it a trilogy! When you're creating an anime series, do you ever think about future seasons?

Imaishi : I only make things that last for one season (laughs). When I'm making something with a story, I give it my all.

BALL : That's interesting. Do you ever decide to keep them?

Imaishi : I don't want to hold back, so I'll draw everything. I don't know if I'll get an offer next time, so I'll just do it all (laughs).
The two jokingly refer to the possibility of a Planet of the Apes anime (if this will ever actually come to fruition is unknown).


-- How about you two make a completely new animated series of "Planet of the Apes" together? (laughs)

BALL : (pointing to the sky) Yes! That sounds interesting. Let's ask Disney! That could be great!

Imaishi : There aren't many films in Japan that feature monkeys as the main characters. If I were to make one for the Japanese market, I'd like to make it "Monkey School.
Finally, Imaishi says that he's working on a comedy anime right now, and can't reveal its name, but (like virtually all Trigger anime) it will be released outside Japan when it's finally released.

BALL : I'm looking forward to your next project. What are you working on now?

Imaishi : I'm currently working on a comedy for the first time in a while. I can't officially reveal the title yet, but it should be available overseas.
Imaishi could mean PSG by this, as that's a comedy series. However, PSG has already been unveiled to the world, with Imaishi himself talking about it at conventions and special events, and posting and reposting about it on social media. So whatever this is, it's another yet-to-be-announced Imaishi series...

Stocking Anarchy

V.I.P. Member
Gainax, the studio which gave us all time masterpieces such as Gurren Lagann, Panty & Stocking with Garterbelt, FLCL, Nadia: The Secret of Blue Water and Gunbuster!, has filed for bankruptcy. All of the creators who made Gainax so good have moved on either to Khara or Trigger, but it's sad to see the once-great giant who created so many masterworks go. Studio Khara will oversee the transferal of the rights their various works to suitable owners (the rights for Gurren Lagann and Panty & Stocking with Garterbelt have been with Trigger for a few years, but if they aquire more rights to old series remains to be seen; though hopefully Anno can reaquire Gunbuster! and Nadia).


最後に、40年弱の歴史を持つアニメーションスタジオがこのような最後を迎えてしまい、残念でなりません。 なおガイナックス(GAINAX)の商標、称号に関しては、ガイナックス社からのリリースにもある通り、弊社にて取得管理しております。
加えて「ガイナックス社」とは、「株式会社ガイナ(スタジオガイナ)」および「福島ガイナ」(以上いずれも、旧「福島ガイナックス」)、「ガイナックスインターナショナル(GAINAX International)」「GAINAX京都」「米子ガイナックス」「株式会社ガイナックス新潟」「GAINAX WEST」などの、類似社とは別の法人であり、弊社と上記類似会社との間での商標使用許諾契約は行われておりません。

Regarding the announcement from Gainax Co., Ltd.​

Following the announcement regarding the bankruptcy proceedings on the Gainax official website , we would like to provide some additional information from our company's perspective, and after taking into consideration our relationship with Gainax and its current management structure, we are posting this comment on the official website.
Gainax was the former company of Anno Hideaki, the representative director of our company Khara. However, Anno founded Khara in 2006 and left Gainax the following year in 2007. He has since become a shareholder of Gainax.
Our company had been aware of Gainax's poor management and debt for some time, and Anno expressed his concerns to management and made proposals for improving the company's management, but these were not accepted for a long time. Even in such a situation, we accepted the proposals of the management at the time and even provided supportive loans as color. However, Gainax's situation did not change, and the situation continued to worsen, culminating in the arrest of the then-presidential director in 2019 on a criminal offense unrelated to the company's operations.
Following the arrest of the former CEO of Gainax, our company's CEO, Hideaki Anno, asked for cooperation from KADOKAWA, King Records Co., Ltd., and Trigger Inc. in order to prevent reputational damage to the Evangelion series and other related works. He revamped the management team by having representatives from each company serve as directors, and has been working with each of our partner companies to understand the inner workings of Gainax, at the very least resolve unpaid payments to studios, writers, and creators within the animation industry, and prevent the loss of intellectual property and documents.
However, as stated in the Gainax release, by the time we understood the situation, we had already found ourselves in an unmanageable state of debt, and Gainax had come to the conclusion that it would be difficult to continue operations.
In light of this situation, in order to ensure that creators, original authors, and writers can continue to produce and manage their works in the future, we have worked with each production committee to confirm and organize the rights and transfer the rights to the companies and individuals we deem most suitable.
In order to alleviate some of the debts owed to the many people in the industry, we considered seeking support from our company, but this would have resulted in the unreasonable situation of having to guarantee the debts of the former management team and the former representative director, making it impossible to make sufficient repayments.
We would like to express our sincere gratitude to the new directors and the companies they represent for their cooperation in the reorganization and transfer of intellectual property and its future management, with the authors and creators as the first priority. We would also like to express our gratitude to the production committee companies for their efforts.
Finally, we are very sad that an animation studio with a history of nearly 40 years has come to an end like this. As for the GAINAX trademark and title, as stated in the release from GAINAX, we have acquired and are managing it ourselves.
In addition, "Gainax" is a separate legal entity from similar companies such as "Gaina Co., Ltd. (Studio Gaina)" and "Fukushima Gaina" (both of which were formerly known as "Fukushima Gainax"), "Gainax International", "GAINAX Kyoto", "Yonago Gainax", "Gainax Niigata Co., Ltd." and "GAINAX WEST", and there are no trademark license agreements between our company and the above similar companies. Please also refer to Diamond Online's past coverage
of this matter .


Gainax, the studio which gave us all time masterpieces such as Gurren Lagann, Panty & Stocking with Garterbelt, FLCL, Nadia: The Secret of Blue Water and Gunbuster!, has filed for bankruptcy. All of the creators who made Gainax so good have moved on either to Khara or Trigger, but it's sad to see the once-great giant who created so many masterworks go. Studio Khara will oversee the transferal of the rights their various works to suitable owners (the rights for Gurren Lagann and Panty & Stocking with Garterbelt have been with Trigger for a few years, but if they aquire more rights to old series remains to be seen; though hopefully Anno can reaquire Gunbuster! and Nadia).

Maybe Evangelion will go to Tatsunoko, since it's a co-production between them.