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media:professor_yuko_and_the_book_of_agibas [2019/04/03 11:22] – ↷ Links adapted because of a move operation wesmedia:professor_yuko_and_the_book_of_agibas [2019/05/05 17:30] – ↷ Links adapted because of a move operation wes
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 ===== Plot ===== ===== Plot =====
 +==== Prologue ====
 The movie opens with a panning shot of farmlands. Suddenly, a convoy of jeeps moves into shot, moving towards a mountain in the distance. One of the trucks hold a young businessman, Howard Costello(Tokuwi), ordering his men to make haste. The convoy stops at the side of the mountain, and Costello exits his jeep. Multiple henchmen exit as well. Unbeknownst to him, a young Yuko(Kayo) watches the convoy from hidden behind rocks. Costello looks at an old, sun-damaged map, and orders his henchmen to start digging into the mountain. After a time, a cave appears, and Costello walks in, grinning. The cave appears to be the location of an ancient burial site. As he and his henchman walk in, Yuko sneaks in behind them, trying to get a look of the tomb.  The movie opens with a panning shot of farmlands. Suddenly, a convoy of jeeps moves into shot, moving towards a mountain in the distance. One of the trucks hold a young businessman, Howard Costello(Tokuwi), ordering his men to make haste. The convoy stops at the side of the mountain, and Costello exits his jeep. Multiple henchmen exit as well. Unbeknownst to him, a young Yuko(Kayo) watches the convoy from hidden behind rocks. Costello looks at an old, sun-damaged map, and orders his henchmen to start digging into the mountain. After a time, a cave appears, and Costello walks in, grinning. The cave appears to be the location of an ancient burial site. As he and his henchman walk in, Yuko sneaks in behind them, trying to get a look of the tomb. 
  
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 When he comes home, he calls his dad. As Ashage Mio(Makron) walks in, he is seen reading some old texts, and pays little attention to him. As he notices the crown, he mumbles and nods, but quickly returns to his study room. This leaves Yuko to ponder what he has done, as he does not know how to bring the artefact to the museum. The next day, the sheriff comes by, asking Mio for a missing artefacts that was stolen, and Yuko is forced to give back the crown to Costello, but not before saying that it is not the end. Nevertheless, he salutes Yuko on his bravery. When he comes home, he calls his dad. As Ashage Mio(Makron) walks in, he is seen reading some old texts, and pays little attention to him. As he notices the crown, he mumbles and nods, but quickly returns to his study room. This leaves Yuko to ponder what he has done, as he does not know how to bring the artefact to the museum. The next day, the sheriff comes by, asking Mio for a missing artefacts that was stolen, and Yuko is forced to give back the crown to Costello, but not before saying that it is not the end. Nevertheless, he salutes Yuko on his bravery.
  
 +==== Act 1 ====
 Several years later, grown-up Yuko(Koki) leads an expedition to discover Ratakon's Tomb, where Conton shoots Gennai, and the ghost of Ratakon gives Yuko and Rieko(Mioko) his secret tablets. This gets the attention of Costello, who has been watching Yuko and his adventures, but the scrolls are hidden away before he can get his hands on it. Costello, however, does attend the funeral of Ando from a distance, given that he much admired the old professor's work. There, he vows revenge against Yuko hiding the tablets. Several years later, grown-up Yuko(Koki) leads an expedition to discover Ratakon's Tomb, where Conton shoots Gennai, and the ghost of Ratakon gives Yuko and Rieko(Mioko) his secret tablets. This gets the attention of Costello, who has been watching Yuko and his adventures, but the scrolls are hidden away before he can get his hands on it. Costello, however, does attend the funeral of Ando from a distance, given that he much admired the old professor's work. There, he vows revenge against Yuko hiding the tablets.
  
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 The truck busting in startles Costello's crew, and amidst all the commotion, Yuko and Mio sneak out. They beat up a bunch of the henchmen, but they are followed, and have to avoid being shot at, as the bunker's courtyard becomes a shootout. Mio asks Yuko mockinly: "Are you always getting shot at when doing this?" Adigo manages to get out of the bunker with the Ashages. A chase ensues, and the group has to dodge the guards as they exit the courtyard through the same gate. Costello orders his crew to follow them, and they get chased down the forest. At one point, they reach a river, and they get chased alongside it. Yuko has to fight of several henchmen of their truck, until he is himself thrown into one. He fights of another goon before falling back into the other truck by Rieko bumbing into his. The pursuers decide to end the chase after one of their trucks falls into the river, and Yuko gets to much of a distance. The truck busting in startles Costello's crew, and amidst all the commotion, Yuko and Mio sneak out. They beat up a bunch of the henchmen, but they are followed, and have to avoid being shot at, as the bunker's courtyard becomes a shootout. Mio asks Yuko mockinly: "Are you always getting shot at when doing this?" Adigo manages to get out of the bunker with the Ashages. A chase ensues, and the group has to dodge the guards as they exit the courtyard through the same gate. Costello orders his crew to follow them, and they get chased down the forest. At one point, they reach a river, and they get chased alongside it. Yuko has to fight of several henchmen of their truck, until he is himself thrown into one. He fights of another goon before falling back into the other truck by Rieko bumbing into his. The pursuers decide to end the chase after one of their trucks falls into the river, and Yuko gets to much of a distance.
  
 +==== Act 2 ====
 Agido guides the Ashages and Rieko back to Alabaster, where Yuko tells his father about their mission to get the Book of Agibas. Mio, surprised by his son's enthusiasm, tells him of his search, and that he is close to locating it. They need to find an old hermit that has knowledge about the book. He appears to live on an island far from society. They leave Alabaster and Agido behind, and board a cargo air-plane, seeking to hide from Costello, however some of Costello's men see the group leave and tell their boss. The plane is flown by Tom Gaston(Astar), an old acquaintance of Agido. Tom Gaston is a flamboyant fly-boy, and uses his charms to impress Rieko, much to Yuko's displeasure. Mio reassures his son, saying that a woman like Rieko would never fall for such easy tricks, just like Yuko's mother. Yuko isn't sure how to react to that. Agido guides the Ashages and Rieko back to Alabaster, where Yuko tells his father about their mission to get the Book of Agibas. Mio, surprised by his son's enthusiasm, tells him of his search, and that he is close to locating it. They need to find an old hermit that has knowledge about the book. He appears to live on an island far from society. They leave Alabaster and Agido behind, and board a cargo air-plane, seeking to hide from Costello, however some of Costello's men see the group leave and tell their boss. The plane is flown by Tom Gaston(Astar), an old acquaintance of Agido. Tom Gaston is a flamboyant fly-boy, and uses his charms to impress Rieko, much to Yuko's displeasure. Mio reassures his son, saying that a woman like Rieko would never fall for such easy tricks, just like Yuko's mother. Yuko isn't sure how to react to that.
  
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 The strange man leads them to a small island, and offers them shelter in his hut. When the man asks what happened to their plane, Yuko tells they were attacked, while looking for a hermit that had knowledge about the Book of Agibas. The man laughs, and reveals to be the Hermit that Yuko and Mio were searching for, and Mio proceeds in telling everything he knew, and asking the hermit for information. As Mio rambles up in the other room, Yuko and Rieko bond. As Yuko tells his relation with his father, Mio's obsession with Agibas, and how he first met Costello. They hold hands, and get in for a kiss, but are interrupted by an excited Mio and the Hermit, saying that they now know where to find the book. The strange man leads them to a small island, and offers them shelter in his hut. When the man asks what happened to their plane, Yuko tells they were attacked, while looking for a hermit that had knowledge about the Book of Agibas. The man laughs, and reveals to be the Hermit that Yuko and Mio were searching for, and Mio proceeds in telling everything he knew, and asking the hermit for information. As Mio rambles up in the other room, Yuko and Rieko bond. As Yuko tells his relation with his father, Mio's obsession with Agibas, and how he first met Costello. They hold hands, and get in for a kiss, but are interrupted by an excited Mio and the Hermit, saying that they now know where to find the book.
  
 +==== Act 3 ====
 The Hermit lead them to an ancient cave, and Yuko hopes that this is where the book is. However, to his disbelief, the Hermit tells of an ancient underwater temple, guarded by a reinforced gate only reachable by water. He tells that only one person may enter at this time, and this leaves Yuko the sole person to dive into the black lake. The Hermit ensures him however, that the lake will light up at the sight of one with a pure-heart. Yuko is, however, not satisfied. When he jumps in, the water is dark, and he sees little. But then, crystals begin lighting up, and an old tunnel appears. Yuko follows it, and the tunnel ends in a dead end. An underwater cave appears, and Yuko sees an collapsed staircase next to the wall. Yuko is confused, but then, crystals light up around the wall, and ancient texts and pictures appear. Yuko can make little sense of the texts, but one picture depicts a men upon a throne, with a bright light above it. He can decipher one maxim: "At was once good, might be corrupted. What was once evil, might be redeemed". At that time, Yuko swims back to the surface, but is surprised by the sudden appearance of Costello's crew, having taken prisoner Mio and Rieko, and killed the hermit. Wallis tells that they followed them to the island from the plane. The Hermit lead them to an ancient cave, and Yuko hopes that this is where the book is. However, to his disbelief, the Hermit tells of an ancient underwater temple, guarded by a reinforced gate only reachable by water. He tells that only one person may enter at this time, and this leaves Yuko the sole person to dive into the black lake. The Hermit ensures him however, that the lake will light up at the sight of one with a pure-heart. Yuko is, however, not satisfied. When he jumps in, the water is dark, and he sees little. But then, crystals begin lighting up, and an old tunnel appears. Yuko follows it, and the tunnel ends in a dead end. An underwater cave appears, and Yuko sees an collapsed staircase next to the wall. Yuko is confused, but then, crystals light up around the wall, and ancient texts and pictures appear. Yuko can make little sense of the texts, but one picture depicts a men upon a throne, with a bright light above it. He can decipher one maxim: "At was once good, might be corrupted. What was once evil, might be redeemed". At that time, Yuko swims back to the surface, but is surprised by the sudden appearance of Costello's crew, having taken prisoner Mio and Rieko, and killed the hermit. Wallis tells that they followed them to the island from the plane.
  
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 At the end of the bridge, Yuko crawls into another tunnel, after which he finds himself in a large chamber, surrounded with books. At a table, a singular figure is seen seated in a chair. As he turns around, he sees Yuko, and tries to knock him down with an axe. However, his strength fails him, and he falls down. As Yuko helps him back up, the man speaks: "So it is you, who would best me in battle." As Yuko asks the men who he is, the men answers that he is the last king of an ancient empire, and that he is known simply as Agibas. Yuko, startled that he has found Agibas alive, asks how he has survived this long. Agibas tells him that the secret to long life is within his library, but that it only works within his kingdom. He also says that is how his guards are still alive with him. At the end of the bridge, Yuko crawls into another tunnel, after which he finds himself in a large chamber, surrounded with books. At a table, a singular figure is seen seated in a chair. As he turns around, he sees Yuko, and tries to knock him down with an axe. However, his strength fails him, and he falls down. As Yuko helps him back up, the man speaks: "So it is you, who would best me in battle." As Yuko asks the men who he is, the men answers that he is the last king of an ancient empire, and that he is known simply as Agibas. Yuko, startled that he has found Agibas alive, asks how he has survived this long. Agibas tells him that the secret to long life is within his library, but that it only works within his kingdom. He also says that is how his guards are still alive with him.
  
 +==== Act 4 ====
 Unbeknownst to them both, Wallis and Mari have followed Yuko into the temple, seeking the book for themselves. As they enter, Agibas frowns, and says that he is not alone. A number of guards appear, but Wallis simply says that he has no fear of them. Yuko tells Agibas that battle is not a solution, and Agibas looks at Yuko and nods in agreement, sending the guards away. Wallis sees the library and asks Agibas what it holds, and Agibas tells him that his book is amongst them, but while his book prolongs life, another will take it. As Mari looks around, she chooses a book filled with embellishments and a richly decorated cover. As Wallis opens it, he sees pictures of people reinvigorating the dead, and prolonging the kings' lives. As he reads the texts that are written next to it, a light emerges from the book, and Wallis starts to laugh as he speaks the incantations. Yuko watches in fear, but Agibas remains unflexed. As he finishes his reading, he laughs and smiles, believing to have received immortality. Unbeknownst to them both, Wallis and Mari have followed Yuko into the temple, seeking the book for themselves. As they enter, Agibas frowns, and says that he is not alone. A number of guards appear, but Wallis simply says that he has no fear of them. Yuko tells Agibas that battle is not a solution, and Agibas looks at Yuko and nods in agreement, sending the guards away. Wallis sees the library and asks Agibas what it holds, and Agibas tells him that his book is amongst them, but while his book prolongs life, another will take it. As Mari looks around, she chooses a book filled with embellishments and a richly decorated cover. As Wallis opens it, he sees pictures of people reinvigorating the dead, and prolonging the kings' lives. As he reads the texts that are written next to it, a light emerges from the book, and Wallis starts to laugh as he speaks the incantations. Yuko watches in fear, but Agibas remains unflexed. As he finishes his reading, he laughs and smiles, believing to have received immortality.
  
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 Costello cuts the reunion short, when he orders Yuko to give him the book. Despite Yuko telling him that the texts will only work inside the temple, Costello ignores it, and forcefully takes the book from Yuko. When he passes the gate, the cave begins crumbling, and rocks fall from the ceiling. Suddenly, Costello falls when the ground collapses beneath him, however Yuko catches him. As Yuko tries to get Costello to give him the book, Costello refuses. He slowly slips, and eventually falls as he slips out of Yuko's fingers, leaving the book on a rock within the fissure. Yuko tries to get the book, but falls himself in. He gets caught by his father, who tells him to let go of the book. Yuko tries to get the book still, but when Mio says 'My son', Yuko accepts. Mio lifts his son up, and the temple is still collapsing. Rieko yells at them, but the staircase collapses, with Mari on it, forcing them to dive into the lake to get out. They eventually make it back to the hermit's hut, as the trio rest and recuperate.  Costello cuts the reunion short, when he orders Yuko to give him the book. Despite Yuko telling him that the texts will only work inside the temple, Costello ignores it, and forcefully takes the book from Yuko. When he passes the gate, the cave begins crumbling, and rocks fall from the ceiling. Suddenly, Costello falls when the ground collapses beneath him, however Yuko catches him. As Yuko tries to get Costello to give him the book, Costello refuses. He slowly slips, and eventually falls as he slips out of Yuko's fingers, leaving the book on a rock within the fissure. Yuko tries to get the book, but falls himself in. He gets caught by his father, who tells him to let go of the book. Yuko tries to get the book still, but when Mio says 'My son', Yuko accepts. Mio lifts his son up, and the temple is still collapsing. Rieko yells at them, but the staircase collapses, with Mari on it, forcing them to dive into the lake to get out. They eventually make it back to the hermit's hut, as the trio rest and recuperate. 
  
 +==== Epilogue ====
 The last scene sees the three sitting outside the hut, as Yuko and Rieko embrace. Mio is at first surprised by this, but eventually caves in, welcoming Rieko to the family. The closing scene sees the trio watching the sunset. A [[wp>Post-credits_scene]] shows Mari having survived the temple's collapse, emerging from the cave and leaving the island. The last scene sees the three sitting outside the hut, as Yuko and Rieko embrace. Mio is at first surprised by this, but eventually caves in, welcoming Rieko to the family. The closing scene sees the trio watching the sunset. A [[wp>Post-credits_scene]] shows Mari having survived the temple's collapse, emerging from the cave and leaving the island.
  
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 Marcus Elester, executive producer and spiritual creator of the source work for Professor Yuko, was very pleased with the success of the original [[wip:media:professor_yuko_and_the_secret_of_the_tomb]]. With that, he began work on another set of stories for his personal series "Adventures of Doctor Jackal". Also, several ideas of his original stories, such as the penultimate air-plane chase, were implemented in the film's script to keep the original content alive. Karathi Migotha and Ronald Frankton, writers of the previous film, worked closely with Marcus, and also renowned film-writer Luke Mirage made contributions to the final screenplay.  Marcus Elester, executive producer and spiritual creator of the source work for Professor Yuko, was very pleased with the success of the original [[wip:media:professor_yuko_and_the_secret_of_the_tomb]]. With that, he began work on another set of stories for his personal series "Adventures of Doctor Jackal". Also, several ideas of his original stories, such as the penultimate air-plane chase, were implemented in the film's script to keep the original content alive. Karathi Migotha and Ronald Frankton, writers of the previous film, worked closely with Marcus, and also renowned film-writer Luke Mirage made contributions to the final screenplay. 
  
-Several characters were derived directly from Marcus' source work, but some characters, such as the character of Fallerton, were created solely for the movie. This differed slightly from the previous movie, where nearly all characters were those created by Marcus'. To accommodate this, several new actors were hired, but Yuko and Rieko, along with some other supporting staff, would return to star in the film. In [[timeline:ye_39]], it was revealed that multi-[[faction:yamatai:golden_lotus]] winner Ronald Makron would also feature in a supporting role, and two months later it was revealed he would play Yuko's father Mio. He was eventually elevated to a starring role in the credits.+Several characters were derived directly from Marcus' source work, but some characters, such as the character of Fallerton, were created solely for the movie. This differed slightly from the previous movie, where nearly all characters were those created by Marcus'. To accommodate this, several new actors were hired, but Yuko and Rieko, along with some other supporting staff, would return to star in the film. In [[timeline:ye_39]], it was revealed that multi-[[wip:faction:yamatai:golden_lotus]] winner Ronald Makron would also feature in a supporting role, and two months later it was revealed he would play Yuko's father Mio. He was eventually elevated to a starring role in the credits.
  
 Also, producer Higaro Mate left shortly after the first film's completion to focus upon production of two other films. With that, Vibrant Cloud Filmworks, an independent production house from [[system:anisa]], who had provided construction crew for the previous instalment, placed a stake on the film's production to compete with Firefly. Nevertheless, Firefly remained in possession of the official film rights, and producer Inaba Kin replaced Mate's place in Firefly. Firefly remained the main provider of most of the Film's production and crew, but Vibrant Cloud Filmworks had a large part for providing the location on [[system:anisa]] and co-producing the film. Also, producer Higaro Mate left shortly after the first film's completion to focus upon production of two other films. With that, Vibrant Cloud Filmworks, an independent production house from [[system:anisa]], who had provided construction crew for the previous instalment, placed a stake on the film's production to compete with Firefly. Nevertheless, Firefly remained in possession of the official film rights, and producer Inaba Kin replaced Mate's place in Firefly. Firefly remained the main provider of most of the Film's production and crew, but Vibrant Cloud Filmworks had a large part for providing the location on [[system:anisa]] and co-producing the film.
  
-Thanks to camera operators Högmann and Haupt, who both worked on the previous film, shooting time could be cut to a minimum. Also, Production designer Yukate Maro and Costume designer Rafid Cagnasteriff returned to provide services, all aided by a new employee in their field. Make-up designer Gerald Mulhausen quit shortly after the completion of the first film, but luckily was replaced by multi-[[faction:yamatai:golden_lotus|Golden Lotus]] winner Lushi Kantore. Donald Gleeston returned as cinematographer. Johann Wilhelmus returned to write and conduct the score, and Lunarflix provided the visual effects and sound, with multi-[[faction:yamatai:golden_lotus|Golden Lotus]] winner Tikati Mo as sound mixer and editor. Henry Murrel, Visual supervisor for the previous film, was replaced by Jigato Mar, the Animator for the original films. Actor Ronald Agherton, antagonist of the previous film, would return for operating duties, as the backup camera operator for Haupt's second unit, and dialogue coach. Yoshi Makora, original writer of the previous film, would return as "Creative Consultant" due to his knowledge of Marcus' material, and Yoshi Makote, another star of the previous film, would become associate producer along with new cast member Fallerton.+Thanks to camera operators Högmann and Haupt, who both worked on the previous film, shooting time could be cut to a minimum. Also, Production designer Yukate Maro and Costume designer Rafid Cagnasteriff returned to provide services, all aided by a new employee in their field. Make-up designer Gerald Mulhausen quit shortly after the completion of the first film, but luckily was replaced by multi-[[wip:faction:yamatai:golden_lotus|Golden Lotus]] winner Lushi Kantore. Donald Gleeston returned as cinematographer. Johann Wilhelmus returned to write and conduct the score, and Lunarflix provided the visual effects and sound, with multi-[[wip:faction:yamatai:golden_lotus|Golden Lotus]] winner Tikati Mo as sound mixer and editor. Henry Murrel, Visual supervisor for the previous film, was replaced by Jigato Mar, the Animator for the original films. Actor Ronald Agherton, antagonist of the previous film, would return for operating duties, as the backup camera operator for Haupt's second unit, and dialogue coach. Yoshi Makora, original writer of the previous film, would return as "Creative Consultant" due to his knowledge of Marcus' material, and Yoshi Makote, another star of the previous film, would become associate producer along with new cast member Fallerton.
  
 ==== Principal Photography ==== ==== Principal Photography ====
-[[wp>Principal photography]] began nearly instant after the completion of post-production for [[wip:media:professor_yuko_and_the_secret_of_the_tomb]], in late May of [[timeline:ye_37]]. The first shots were filmed in [[location:kyoto]], for the University scenes, as well as Yuko's parental house, which was filmed in the northern outskirts. Some filming was done inside the [[location:hoshiutsu_studios#moonfield_complex|Hoshiutsu Studios]], which was different from the previous film, where most filming was done on location. Most of the scenes in the studio revolved around the air-plane chase, which was the centrepiece of the filming there. Afterwards, the cast & crew were moved to [[system:albini]], to shoot the scenes involving the plane and the island. The hermit's hut was an old abandoned abode from ancient priests that since left the island, and the cave was a natural occurrence. Special underwater camera's were developed to film in [[system:albini]]'s oceans.+[[wp>Principal photography]] began nearly instant after the completion of post-production for [[media:professor_yuko_and_the_secret_of_the_tomb]], in late May of [[timeline:ye_37]]. The first shots were filmed in [[location:kyoto]], for the University scenes, as well as Yuko's parental house, which was filmed in the northern outskirts. Some filming was done inside the [[location:hoshiutsu_studios#moonfield_complex|Hoshiutsu Studios]], which was different from the previous film, where most filming was done on location. Most of the scenes in the studio revolved around the air-plane chase, which was the centrepiece of the filming there. Afterwards, the cast & crew were moved to [[system:albini]], to shoot the scenes involving the plane and the island. The hermit's hut was an old abandoned abode from ancient priests that since left the island, and the cave was a natural occurrence. Special underwater camera's were developed to film in [[system:albini]]'s oceans.
  
 Several other scenes, including the opening, were filmed on [[system:anisa]], on Vibrant Cloudworks' grounds. The opening scene included the use of a large [[wp>steam train]], as well as a large abandoned part of rail track. The scenes in Alabaster were filmed in one of Anisa's mayor cities. The kingdom of Agibas was a large soundproof set that was constructed on the site of [[location:hoshiutsu_studios#crossroads_complex|Hoshiutsu Studios]] back in [[location:kyoto]], in [[corp:yukosfilm]]'s studios.  Several other scenes, including the opening, were filmed on [[system:anisa]], on Vibrant Cloudworks' grounds. The opening scene included the use of a large [[wp>steam train]], as well as a large abandoned part of rail track. The scenes in Alabaster were filmed in one of Anisa's mayor cities. The kingdom of Agibas was a large soundproof set that was constructed on the site of [[location:hoshiutsu_studios#crossroads_complex|Hoshiutsu Studios]] back in [[location:kyoto]], in [[corp:yukosfilm]]'s studios. 
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 Principal photography was concluded in September of [[timeline:ye_38]] on [[system:anisa]], almost two months behind schedule, due to a reported accident that destroyed two of Haubt's cameras. Photography was done out of chronology, a departure of the previous instalment, but this was due to the amount of locations where it was shot. Also, an extra week of shooting for the second unit had to be done on [[system:anisa]], due to the poor weather earlier in the shooting. Principal photography was concluded in September of [[timeline:ye_38]] on [[system:anisa]], almost two months behind schedule, due to a reported accident that destroyed two of Haubt's cameras. Photography was done out of chronology, a departure of the previous instalment, but this was due to the amount of locations where it was shot. Also, an extra week of shooting for the second unit had to be done on [[system:anisa]], due to the poor weather earlier in the shooting.
  
-Some of the shots were filmed using the 70mm Super HydroScope, one of [[corp:yukosfilm]]'s own creations and a widely used camera system. This was a difference from [[wip:media:professor_yuko_and_the_secret_of_the_tomb]], which only used 35mm HydroScope cameras. This was done to achieve a higher resolution, and also allow for wider shots to be used, but most footage was shot with 35mm HydroScope cameras. It was reported by [[corp:yukosfilm|Yukosfilm]], that a total of thirteen different [[wp>dolly]] rigs were used, the most up to that point. Also, the film saw limited use of [[wp>Motion capture]] inside Yukosfilm's [[location:hoshiutsu_studios|studios]], which was used to create King Agibas and his guards.+Some of the shots were filmed using the 70mm Super HydroScope, one of [[corp:yukosfilm]]'s own creations and a widely used camera system. This was a difference from [[media:professor_yuko_and_the_secret_of_the_tomb]], which only used 35mm HydroScope cameras. This was done to achieve a higher resolution, and also allow for wider shots to be used, but most footage was shot with 35mm HydroScope cameras. It was reported by [[corp:yukosfilm|Yukosfilm]], that a total of thirteen different [[wp>dolly]] rigs were used, the most up to that point. Also, the film saw limited use of [[wp>Motion capture]] inside Yukosfilm's [[location:hoshiutsu_studios|studios]], which was used to create King Agibas and his guards.
  
 ==== Post-production ==== ==== Post-production ====
-Somewhat different to the previous film, the film's soundtrack score was in development during the shooting. Johannes Wilhelmus was given a raw outlining of the final shots, and devised the music for those scenes. The finalised product will be edited to fit in with Wilhelmus' score. Several themes, such as the main theme, "Professor March", and Rieko's theme, will return to the soundtrack, both by original and new recordings. In an interview, Wilhelmus revealed that two new mayor movements would be introduced, one which was done in cooperation with Elester. This new theme was revealed in another interview with Wilhelmus, and showed a deeper sound, utilising chello's and baritones to provide a powerful three-four note melody from Elester's writings. He revealed that the soundtrack would feature more darker pieces to increase the danger of the antagonists.+Somewhat different to the previous film, the film's soundtrack score was in development during the shooting. Johannes Wilhelmus was given a raw outlining of the final shots, and devised the music for those scenes. The finalised product was edited to fit in with Wilhelmus' score. Several themes, such as the main theme, "Professor March", and Rieko's theme, returned to the soundtrack, both by original and new recordings. In an interview, Wilhelmus revealed that two new mayor movements would be introduced, one which was done in cooperation with Elester. This new theme was revealed in another interview with Wilhelmus, and showed a deeper sound, utilising chello's and baritones to provide a powerful three-four note melody from Elester's writings. He revealed that the soundtrack would feature more darker pieces to increase the danger of the antagonists.
    
 Special effects on set were also given an extensive upgrade, as the higher scale of the plot required more effects than the last film. Pyrotechnics and mechanical effects received extensive upgrades from the last film. Several sound designs from Bartolomeus, the senior sound designer, were created live on set, using a variety of props for the creation of gun and train sounds. A total of 50 plane sounds and 100 car sounds where used to improve the action, and actual train sounds was used to create the opening. The sound editing of Tikita Ma received a significant upgrade from the previous film. Particularly, Agibas' voice was deepened to increase the apparent age of the character, and 'mocking' dialogue was used to create the crowd scenes. Special effects on set were also given an extensive upgrade, as the higher scale of the plot required more effects than the last film. Pyrotechnics and mechanical effects received extensive upgrades from the last film. Several sound designs from Bartolomeus, the senior sound designer, were created live on set, using a variety of props for the creation of gun and train sounds. A total of 50 plane sounds and 100 car sounds where used to improve the action, and actual train sounds was used to create the opening. The sound editing of Tikita Ma received a significant upgrade from the previous film. Particularly, Agibas' voice was deepened to increase the apparent age of the character, and 'mocking' dialogue was used to create the crowd scenes.
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 Critics have been mostly positive, most notably for the decisions to retain the original cast and director. During a preview from //Kyoto Times//, the film received positive reception, for its "Returning members", with Johannes Wilhelmus being voted the best returning member. During a preview voting on //Film Entertainment Online//, a number of 135 voters voted an unanimous 'top', with most critics valuing both the original cast and the newcomers, and also the decision to retain original crew, and the hiring of two 'Golden Lotus Winners'. Kayo also received praise from renownded  Critics have been mostly positive, most notably for the decisions to retain the original cast and director. During a preview from //Kyoto Times//, the film received positive reception, for its "Returning members", with Johannes Wilhelmus being voted the best returning member. During a preview voting on //Film Entertainment Online//, a number of 135 voters voted an unanimous 'top', with most critics valuing both the original cast and the newcomers, and also the decision to retain original crew, and the hiring of two 'Golden Lotus Winners'. Kayo also received praise from renownded 
  
-The reception was not without sceptics, and //[[system:anisa]] News// voted, out of 34 reviews, negative on the film's previews, fearing that the film would fail to overcome [[wip:media:professor_yuko_and_the_secret_of_the_tomb]]'s success and become "Another failed sequel". Renowned critic Hashotin Kuri gave the preview a negative estimation, fearing "It would lean to much on previous Professor Yuko success" and "Show less new, and more of the same". Also, the rebranding during the latter part of the marketing was confusing to several fans, however it was quickly dealt with.+The reception was not without sceptics, and //[[system:anisa]] News// voted, out of 34 reviews, negative on the film's previews, fearing that the film would fail to overcome [[media:professor_yuko_and_the_secret_of_the_tomb]]'s success and become "Another failed sequel". Renowned critic Hashotin Kuri gave the preview a negative estimation, fearing "It would lean to much on previous Professor Yuko success" and "Show less new, and more of the same". Also, the rebranding during the latter part of the marketing was confusing to several fans, however it was quickly dealt with.
  
 ==== Box Office ==== ==== Box Office ====
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 ==== Accolades ==== ==== Accolades ====
-The movie was nominated for 6 [[faction:yamatai:golden_lotus]] in [[timeline:ye_39]], and received 5 of them, for //Best Sound Design//, //Best Sound Mixing//, //Best Original Score//, //Best Visual Effects//, and //Best Production Design//. Its other nomination was for //Best Costume Design//. This was one more award than the previous instalment, but the categories were very similar to then.+The movie was nominated for 6 [[wip:faction:yamatai:golden_lotus]] in [[timeline:ye_39]], and received 5 of them, for //Best Sound Design//, //Best Sound Mixing//, //Best Original Score//, //Best Visual Effects//, and //Best Production Design//. Its other nomination was for //Best Costume Design//. This was one more award than the previous instalment, but the categories were very similar to then.
  
-Along 5 [[faction:yamatai:golden_lotus]], the movie was named #1 Adventure movie by //Kyoto Times//, thwarting //The Train Robber//, that had held that position since [[timeline:ye_19]], and #3 Best Adventure film of all time by the [[faction:yamatai:film_institute]]. The train opening was voted #1 Most fun opening sequence by //Kyoto Times// as well.+Along 5 [[wip:faction:yamatai:golden_lotus]], the movie was named #1 Adventure movie by //Kyoto Times//, thwarting //The Train Robber//, that had held that position since [[timeline:ye_19]], and #3 Best Adventure film of all time by the [[faction:yamatai:film_institute]]. The train opening was voted #1 Most fun opening sequence by //Kyoto Times// as well.
  
 ===== OOC Notes ===== ===== OOC Notes =====
 [[user:yoerik]] created this article on 2017/05/20 06:12. The plot was revealed on 17/12/17. This article is inspired by Indiana Jones and the Last Crusade, so all credits go to Spielberg and Lucasfilm. [[user:yoerik]] created this article on 2017/05/20 06:12. The plot was revealed on 17/12/17. This article is inspired by Indiana Jones and the Last Crusade, so all credits go to Spielberg and Lucasfilm.

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