- Obviously Powerhouse is, you know, known
for high action fight choreography
and this cowboy anime aesthetic.
We have, you know, a fairly specific style, some might say,
but we are capable of literally anything.
- It's definitely gonna be a Lara Croft in an anime style.
Really excited for that to come out
and see how people react to it.
- As far as the fights themselves,
I really think it's just a lot of fun seeing all
of these powers be used in all of these different ways.
- The Greek gods are basically the world's first superheroes
and so having that in our arsenal to play
with is such an advantage.
We can do so many different things with it. It's
- It's not just about the depth of the storytelling,
it's also about the depth of the characters as well.
You'll find that there's a lot of familiar aspects to it
and then also a lot of new things
and we hope you enjoy the adventure.
Alright, where would you like to start?
- Castlevania Nocturne's style has evolved a little bit
from the previous seasons.
First of all, hawing color were a lot more muted
and the shadows were a lot darker.
But this season, because we're in France and it's pastel
and it's colorful
and the shadows are a lot more saturated,
it's a lot more bright, it's a bit more anime,
the backgrounds are more painterly.
This time. As far as character design specifically,
we have tried to make it a
little bit more delicate this time.
For instance, on Alucard, he had shadows on either side
of his nose pretty much at all times.
That was from an Ayami Kojima designed language
that she would do a lot in her paintings,
but it came out kind of dark in the first seasons.
This season we've removed that
and kind of put it on either side of a face, depending on
where the lighting is coming from.
Line mileage is how many lines you draw a character with.
Depending on how close to the camera is,
we have a lot more detail going on.
In previous seasons, if a character is getting closer
to the camera, they would still have, for instance,
the same number of eyelashes, the same number
of little hair strandies.
But this time for closeups, we really wanted
to make the closeups all star moments.
We really said like, let's make every closeup a really
beautiful illustration with hair flyaways,
we even actually have an eyelash style guide for
how many eyelashes characters have at specific distances,
extra eyelashes, extra eye shines
and we wanted to make the line art very delicate
so there's a lot of breakage in the line.
So instead of drawing a line, you know,
you just draw one full line, we'll draw like a line
and then we'll stop and then we'll continue
and then stop and then continue.
You know, Rococo and Baroque etchings and illustrations
and of course Ayami Kojima's ink work is beautiful
and there's a lot of patchiness in there instead
of just like really harsh, harsh, dark shadows.
One element that we brought from the games
that I'm pretty excited about was the Thorn Whip
that Richter uses.
It's not exactly the Thorn whip,
but Sam, our director,
he had ice forms all the way down the whip
and it forms in a thorny pattern
and I thought that was very cool.
Things that I would love to bring into the show
that will always be rejected are there's an item in
Symphony of the Night called the Sunglasses and the description is
"cool looking sunglasses."
Alucard wears these and it can raise his defense
by one point and I think it lowers his intelligence
because they're so garish looking.
I think that would be pretty funny people please draw that
because I can't, Castlevania's full of a lot of
of very goofy things.
It's a little bit difficult to adapt a character
who has already existed in the show
before, especially with Alucard.
He's a fan favorite, everybody loves him.
He is already gorgeous. So what are we gonna do?
Because a lot of people were drawing season four Alucard
where he's very elongated,
but in the new season he's a little, you know,
he's a little squished and so I gave the animators
and layout artists and I showed a drawing
of season four a la car
and then like a thumb squishing him down
and we actually give that to people a lot.
We're like, oh, can you please get this a little bit more?
And it's just this awful goofy drawing.
We're very particular about Alucard.
I don't think a single drawing
of Alucard card goes untouched by a lot of people.
We are seeing what works from season one
and really emphasizing it on season two.
One part of that is having what's called the layout team,
where internally we will do really beautiful drawings over
top of the storyboards to send to our outsource partners.
We're doing a lot of stuff ourselves, we're doing a lot
of animation in-House,
like looked out fully by the entire team.
I think it'll just be fun to see
how Alucard's interactions play out with the other cast
because Alucard has been around for a long time now.
He's not a 19 year old anymore.
Our cast is younger
and so it's gonna be like, get off my lawn.
You know, I, I'm excited to see how he interacts with them
or if he sees them making choices that he's already made.
For instance, someone's been around
for longer, they make mistakes.
They're like, don't do that. I made that mistake.
And then younger person is
like, I'm gonna make that mistake.
- Right? - What could possibly go wrong?
- As a character design supervisor, I helped
design the style of the show most of the main characters,
but I also manage a team of character artists
who help bring all the character assets that we need
for the show, which is like massive library inspirations
for the style of the show will definitely be from some
of my experience working at Powerhouse,
I think I'm like most excited for on working
for Team Raider is that I helped design Lara Croft
and that was an honor to be able to work on.
One of the things that we really wanted to make sure
to bring out for this iteration of Lara is to make sure
that we bridge the Lara Croft from the newer survivor games.
Growing into the classic Lara
that we know from the classic games,
having the existing video games gives us like a a vast
library to work with
and so we can always reference like older outfits
that she's had from different climates and conditions
and that's been really helpful.
We definitely have to like kind of pick
and choose what to keep in there
and make sure that it is efficient.
For animation games have tons and tons of texture.
You can build all sorts of detailed,
intricate tattoos and stuff like that.
So for us we have to really simplify so
that the animation is particularly efficient.
There's gonna be a lot of little sprinkles of Easter eggs,
of different outfits, props that you'll see reflected.
She travels to a lot of areas.
She's also gonna be exploring a lot of new
and unexplored places.
- Since I was three, I've been a fan
of Masters of the Universe.
It's been a part of my life forever.
I've been collecting toys since I was little.
I still collect toys to this day.
The day I turned 18, I went to the tattoo parlor
and I got a He-Man & The Masters of Universe tattoo sleeve.
It is the first tattoo I ever got.
There's Skeletor, there's He-Man, Teela, they're old.
These are like 22 years old. Evil-Lyn goes all the way up.
The sorcereress is right there.
Castle Gray skulls up here for Masters
of the Universe Revolution.
At the beginning I come in
and help build schedules, I make budgets,
I work with our clients to get those approved
and basically build the blueprint for what is going
to be our entire production.
One of our directors, Adam Conarroe, he is a master of color
and the directors really wanted to level up
how bright, how saturated.
When you think of Saturday morning cartoons,
you know you think about the sun coming up in the morning,
you make a bowl of very bright cereal, you sit down
and you eat it and you just watch smorgasbord
of entertainment for you as a kid.
That's what we were trying to create for adults.
Now MOTU Revelation, it's center theme is really about
technology versus magic.
This season we really do focus on the
what makes Eternia special.
Is it magic? Is it technology? Is it both?
If you troll one versus the other,
do you have an upper hand?
The main thing that I want people
to know about this season is you want He-Man,
this has got He-Man in it.
He is kicking butt. There's a lot of fun adventure.
There's a lot of fun action.
If you are a MOTU fan, pure, you know through
and through you are gonna need
to have the pause button ready 'cause there are Easter
eggs all over this thing.
What we're doing on MOTU Revolution this season is just
second to none.
It's incredible. It looks gorgeous.
He's not a mortal, he's my son.
- I am most excited for the fans about the epicness
of season two and I think the fans are gonna be really
excited about what's to come.
The biggest change I think was
simplifying some of the characters.
They were really challenging to draw
and so one of the reasons we brought in Jay was to help
simplify that, streamline that process.
- My name is Jay Kim.
I'm the supervising director for
a show called Blood of Zeus. The
- Best thing about Jay is his experience.
He comes from so many different backgrounds of animation.
He's worked with Brad Bird
and some of the best on Iron Giant.
We actually go back to Futurama.
We shared a credit on that unbeknownst
until we started working together.
- It was really exciting coming back to the animations
and expand the world from the the season one.
So we have like a very unique places.
- One of the things we try to do is stay true to
certain things, whether it's a prop or something like that.
We have a water clock in episode 202
and we did the research on what is a water clock,
what is a proper Greek water clock?
What does it look like? How do these function
and try to bring as much truth
to things like that as possible.
We saw the underworld, I think for one shot in season one
and now we get to open that up
and explore that. So it's really exciting.
- From season two, we try to introduce a new character,
which happens to be Hades.
- Hades is a God.
He's been demonized by the world, he's still got emotions,
he's still got his feelings.
- It's a deep story about all this, like love and betrayal.
- I think there's gonna be a good surprise in terms
of how we treat Hades.
- I don't wanna reveal that, the whole, the details
and I want the people to enjoy
to watch the the show to find out.
- Season one was great. I think season two is bigger.
It's gonna be better. I think you're gonna love it
and I can't wait for y'all to see it.
Hey, Geeked Week, my name is Michael Hughes.
I'm one of the executive producers for Blood of Zeus.
We are excited to share this exclusive Geeked Week
sneak peek with you guys.
We hope you enjoy and we're excited for season two.
Join me, brother.
We can have our vengeance and end the reign of the gods.
They're more flawed than we are. They've ruined our lives.
Our mother is dead
because of them, don't you?
- He got what he deserved.
- Maybe
- He killed your mother.
- The fates were calling
- Heron.
- Seraphim might've been a monster,
but he was right about one thing.
The Gods are more flawed than we are.
- Why should we listen to them?
These four shows are incredible. I'm really excited for
them to come out.
Powerhouse has had some really lucky breaks over the years,
but we've also put in a lot of blood, sweat,
and tears to get ourselves where we are today.
- We really, really, really appreciate our fans.
- Fans will be satisfied.
- I think you're gonna love it and
I can't wait for y'all to see it.