"Little Sister > Big Brother" video is now available!

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lukethefanboy

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kito Se

Thank you very much again for the inciteful comment~! It makes me happy every time I read it. I've tried my best to animate it and be as faithful to the source material as possible since it is also one of my all-time favorite size doujins and I'm actually planning on animating it for a long time now because I was inspired by its greatness but haven't got the time before.

RemKT

There’s a sense of euphoria drawn by the nostalgic elements present from the source, with your interpretation and style serving to collaborate with the old; building upon what made it so enjoyable and creating an entirely new feeling. One that serves as a reminder as to why I fell in love with the original (og.) in the first place. The recreation of such pieces creates a sort of sequential sentimentality that reminds and extends one’s joy in a work; a bridge, well-built, that delivers more than just the means to travel to the past. Though lest I get all sappy… let’s address the particulars of where the divergence really shined between yours and the OG. I thoroughly enjoyed the comedic interpretation of the Occult Clubs’ Manager’s (O.C.M) hasty retreat by way of static cuts as it reinforced the awkwardness and embarrassment of the act, accentuated by the sound clips that accompanied each subsequent shot. It’s precisely this that captures a light-hearted feeling that disarms the audience. You’d be forgiven in waving away the nonsensicalness as nothing more than the ramblings of a mad women. Though of course we know better having seen the consequences of said action ourselves. More so on the comedy, the dings into dead silence; followed by blank expression, made those moments of realization hit all the harder. My goodness, that scream! You had our laughter in the bag; probably a preferably fill, some might argue… Whereas the sound used for these instances of humor was what broke the seal, of our laughter. The additional context provided by angle; flushing and text, not present in the original, gave extra sincerity to the fluster felt on the part of the brother. As one would rightly expect given his proximity to certain… masses… It acted as a great setup as we naturally gravitated to the inevitable interaction, as is often the case with objects of scale. This conclusion, a close zoom; micro in-between, for the boob smother had to be my favorite part of the animation. The slow-down in the momentum effectively illustrating the softness of the form while the lag added pull; evidently, she did as well! I’m a sucker for the little details and the way the breast pushed up was one such moment, interesting how the offset adds an extra level of depth in expressing their volume. It’s these in-betweens that overall make a huge difference to the perception of the act, I’d love nothing more than the continued insertions of such moments in future. Keeping the camera level with the focal point of the view made scene shifts less jarring, such as when she went in for the head rest. The frontal flip maintaining the elevation kept things flowing nicely as it continued the trend of mimicking his line of vision. I like the inclination towards pivoting the view around the characters height, the perspective tracking along the movement of their sight makes the motion feel much more natural. The zooms on their faces did an excellent job of emphasizing the emotion being portrayed, giving a much more powerful impression of the significance of the feeling as the subject dominates the screen. Nothing quite emphasizes the importance as the amount of space given. An area which I felt was particularly well-handled was the way in which you tied scenes together, smoothing the transitions and shortening the mental leaps between cuts. One such scene was the additional step of her walking over him, it felt as though it was always there. Details such as these showed your understanding of the source material with how perfectly the act fit her personality. Not to mention the affect the scene itself had, continuing the trend of subtle domination unto her blissful ignorance. A scenario most beloved by me. Then the encroachment from down under had a far more potent push as it brought the issue to the front… uh… back, adding a further factor of emotion to the mix; as it’s no longer a fixed presence but a dynamic action. A moving object is much more distracting after all! Now if only I had a camera as to snap up that memory for all eternity… There was also the reinforcement of certain ideas through visual representation, complimenting the vocal vision, a show and tell manner of increasing the effective delivery of the point. Flashes of the juice and juicier details, along with the urgency expressed in the gap close, provided the correlation and clued us in to the direction of this current; in other words, it had legs; so, we saw. It’s a fantastic way of storytelling in a quick, direct manner. Speaking more on this, as I’ve expanded on previously; the quick cuts. They seem great at speeding up certain scenes, creating a sense of haste. Which in the above was perfect given the hurry and lack of time to react. The handle of pacing was excellent. A few conscious changes I really liked was the switch from her bottom bombardment to the full-frontal flattening. The result comes off as a lot more realistic, much to the dismay of the anime-estique trope. Though admittingly I do bias towards two pressing matters… It was also great to see the shrinking happen onscreen as opposed to the off screen cut. One thing that was absent from the doujin was the more liberal use of first-person, a triumph of its transcription to 3D! It does wonders to add an additional layer to the comparison, especially in how we often begin face forward followed upward; with the drawn-out nature of the approach appreciating the difference in what wouldn’t be possible in a single frame. You won’t see me complaining about the increase in panty shots, or… bust blockers! I much preferred the framing used in the animation compared to the doujin. At times hugging the point-of-view to the body, letting the contours of feminine form do the talking. While other subtilties such as the change in distance using similar angles, like long shots or over the shoulder, give more background (often literally!) to the scene and keep lengthier interactions fresh. Your use of timing during certain actions also helped to match the situation better. This was most evident during the lesson he had to foot the bill for. The lines reflected the circumstance more clearly and had the effect of giving more weight to their meaning, such as how the action of punishment was already being carried out as she spoke of the need for it. I think part of why I adored this story as much was the continuous interaction at each stage of size change, notably the types of exchanges that occurred, with the intensity of the play getting more extreme the longer things went on and the greater the disparity became; seeing just how the relationship was affected by the size. Followed by the characters themselves, such as the sisters’ obliviousness to the trials and tribulations of her brother while continuing in a manner that is carefree. It makes for a thrilling situation as the actions become unpredictable, thanks to her characteristics, with their familiarity allowing for situations you’d otherwise never find happening; such a kinship you displayed brilliantly. While there certainly was a lot to say since not only does this series hold a special place for me but so too does your own artistic flair and production. I’m incredibly happy that you had taken your creative liberties; adding additional lines of dialogue; movements; perspective; connecting and expanding where you saw fit. The work remained faithful and even within this set framework you still made it your own and that’s what propelled this to the next level. For me, you managed to surpass what was an already high bar and did so in a way that deepens my adoration for the original work. If the remaining renditions are anything like this, then we’re in for something special (ㅅ´ ˘ `)

Darren van der Valk

No growth unfortunately, only shrinking.

RemKT

wait, so this is based off of a doujin? is there growth in the other parts?

Markopolo13056

I'm a fan of Hachimitsu's work too. Looking forward to seeing how this turns out.

Christoper Cross