This was a classic, everyday state of affairs for Japanese creators.
Their horizons were confined to the local two-dimensional circle, and they had little understanding of the film-and-television industrial assembly line across the ocean.
"You can pay attention to ER and NYPD Blue," Nakayama Takuya said, naming two titles. "These two shows are ratings overlords in the United States. Their biggest features are extremely high narrative density, multiple plotlines running in parallel, and frequent camera cuts. When the audience watches, they don't even have time to go to the bathroom, afraid that if they miss a single line, they won't be able to follow the story. Now that you need to compress the content of a dozen-plus episodes, this kind of fast-paced narrative technique has a lot of reference value."
Seeing that the two of them still looked somewhat at sea, Nakayama Takuya added another line.
"If you can't find resources, that's fine. I'll call the Sega North America Branch later and have them record several sets of original videotapes and airfreight them over. You can make time to study the footage."
"Can Gundam's audience accept fast-paced narration?" Takamatsu Shinji raised a question. "Mecha battles plus complex political games already make for a large amount of information. If we speed it up further, won't the audience feel too exhausted?"
"That is precisely the effect we want to achieve." Nakayama Takuya tapped the tabletop with his knuckles, laying out his commercial logic.
"A tight narrative will keep the audience highly focused in front of the television. They'll try to catch every detail. Once they miss certain foreshadowing because of the fast pace, or fail to see a brilliant mecha battle clearly, that creates regret. Regret is the driving force of consumption."
He looked at the two animation veterans before him and