Hello, good friends, and welcome back for this whopper of a comparison! On this fine late summer afternoon (in my time zone) we’re going to take an in-depth look at Vento Aureo #18, “Head to Venezia”! Due to the many completely redrawn sequences, this will be a very video-rich comparison - you might have some trouble browsing it from your smartphone, but I’m afraid there’s not much I can do for that… Unfortunately this one’s going to be a PC-only comparison for many people, sorry!

Well then, without further ago… Shall we?

• Let’s begin with a sample of what’s going to happen a lot in this episode: completely redrawn sequences! Take a look at this additional shot of sexy man Risotto talking to his unnamed Passione co-gangster:

• Here, most things have a better lighting, there are more blood particles and the blood is a tiny bit blurrier:

• This sequence of Giorno talking has also been completely changed:

• Baby Face has a couple of additional shades, here:

• This scene has been changed, and instead of a shot of Melone we actually see what he’s looking at…:

• … and this recycled shot (actually a composite from two different recycled shots) from Episode #17 has been changed to a newly drawn one:

• Gold Experience now has a nice golden aura here:

• While here he no longer has one!:

• This shot has a darker vignette and a different distortion around the edges; the background is also much blurrier, resulting in a better contrast with the foreground:

• Here, the dividing line goes out of frame a little later:

• This scene is more zoomed-in…:

• Giorno’s aura is looking different here, and Gold Experience no longer has one (I guess to signify that he used his attack…? I’m not sure):

• Baby face is looking MUCH BETTER here! He’s been redrawn and reshaded in several places, and the gasoline now also animates! The zoom is also different and the background has been changed too. Check it out:

• This scene is now actually animated, instead of being one still frame! Take a look:

• And here, Baby Face’s death has been redrawn and it animates in a more satisfying way:

• Here, Giorno’s aura is less neon-bright:

• The lighting in this scene is a little different, Buccellati’s suit pattern has been tweaked and Trish’s breathing has been animated as well:

• Melone’s face is less ugly here! Some of these frames are really golden:

• ONE (1) of the frames of the viper biting Melone on his ugly pervert face has a better contract. This is for you, vore fans:

• Here, the camera has been moved a little bit and the general lighting and shading are different too. The background outside the window has also been changed:

• Here, this scene of Ghiaccio is also completely different:

• And just… everything is better here! Check it:

• AND ANOTHER COMPLETELY DIFFERENT FRAME! I love this episode! Take a look at these precious babies:

• Narancia and Abbacchio’s faces have been redrawn here THANK GOD:

• The m in “Moody Blues” is now uppercase, and “Abbacchio” has been spaced a little differently… (It might be hard to spot in the first frame):

• This scene has a whole new animation between the boss’s orders and Abbacchio activating his Moody Blues:

• Abbacchio’s aura is slightly different here…:

• And here, Pericolo’s face is no longer a featureless slab of pink goo:

• And it’s received a fresh coat of shading here:

• Here, the bottom of the frame has a darker vignette and the Moody Blues counter is no longer glitching out in some frames:

• The shadow on Mama Buccellati’s beautiful face has been tweaked as well, here:

• While here, all three faces have been retouched, the bottom is lighter and the shading on Trish has been changed slightly as well:

• And in this classic Jojo-style shot-over-a-shot bit here, the background is much darker and bluer and Buccellati’s eye area has been retouched. Narancia’s right eye is also looking a little better:

• Here, the picture frame is now more regular and the Moody Blues numbers have been resized as well. The white near his right eye corner has also been retouched…:

• … and when he turns, a few more lines have been tweaked, the lighter flame is brighter and his mouth is now stuck open:

• Here, the Moody Blues counter on Pericolo’s forehead now reads 14:04:42:87 instead of 14:04:52:87:

• Phew! Alright, the Baby Face half of the episode is done! Brace yourselves, because the fun starts here! In this shot, Venezia is glowing and the Venetian lagoon’s waters are now looking less flat:

• And here, both pillar and OA-Disc have been retouched (most notably, the number on the disc):

• Here, the water is looking better once again, and the Libertà Bridge is darker towards the bottom of the frame…:

• … and the car now has its headlights on! Good Giorno:

• A lot of things are different here, ok? A lot. Check it out for yourselves:

• This whole scene is completely different! Take a look:

• And here there’s a completely new animation of Mista smacking his good boy face on the window:

• Aaaand this sequence has also been completely redrawn:

• This part has been pretty much completely overhauled too, and Mista moves his hand at the end as well! Check it out:

• This light pole has been… moved a little bit for some obscure reason:

• And this scene is, once again, completely different:

• The colours outside the windows are also a tiiiiiny bit different:

• Here, the wind effects are MUCH stronger:

• And here, everything is less blue and a little sharper, Mista has been moved back a little bit, the ice is more visible on the left part of his face and there are different motion effects on the sides of the frame:

• The transition of Ghiaccio’s crazed Italian eyes fading in is also a little different:

• Here, the camera has been moved a little to the right, the hand in the foreground is much less blurry and the lest is looking a tiiny bit less sharp:

• And the whole sequence in general is a little different. Let’s take a look:

• Let’s dive in! In this middle bit, Mista’s pinky injury is more explicit, there are more blood spurts and no motion lines around the edges:

• And here, the hand has been moved and has a different blue effect overlay; in addition, Mista’s face has been recoloured and retouched too. The sweat drops look worse in my opinion, but it’s an extremely minor gripe:

• This small sequence has been substituted for a new Mista shot:

• And here, the frame has been completely recoloured and retouched, and the camera has been moved as well:

• Let’s look at it in motion too, because the animation itself has also been retouched (most notably, Giorno no longer moves the steering wheel while shaking):

• Things are looking very different for Mista too, in the backseat! Most notably, his swanky pantaloons are now white (like they are in all other scenes with a similar palette):

• And the scene also animates! Well… A little bit:

• The heavy redraws extend to this close-up:

• And this scene is completely different, again! Instead of taking a close look at the car wheel, we can instead focus on beautiful blue-haired Giorno:

• In this shot of Ghiaccio being a dumb elephant boy, the ice mist effect is MUCH more prominent:

• And here, there is a slightly different distortion along the edges, and the wind effects are a little different as well:

• Here, this scene right after the previous difference has been completely redrawn too:

• Here, the wind effects are stronger and the bullets are looking a little shinier too…:

• Similar to an earlier difference, the background is darker and bluer here:

• Have another different shot, friends:

• Basically everything is looking massively different here:

• And the camera pans a little differently too:

• Here, have another completely redrawn bit here:

• All these completely redrawn animations make me longer for simpler times! You know, when we had just brighter and sharper animations… Like this one…:

• Here, our boys’ car zooms away much faster:

• Let’s take a break from all these emotions with a tamer difference! The lagoon waters are a liiiittle less sparkly here:

• And here, Ghiaccio’s aura is looking better, and he’s now casting a shadow on the ground:

• And later on, the missing aura was drawn in, and the dividing line is now looking jaggier and more interesting:

• And here, the speed lines have been moved to better frame Ghiaccio:

• Have another couple of redrawn animations, brothers and sisters:

• Here, the ice effects are looking better:

• More completely re-animated parts! More!!:

• Phew! In the last different animation, the foreground Mista has been slightly moved and retouched too:

• MORE ANIMATION!!! MORE!!!!!!!!:

• Let’s take a break with some STILL IMAGES! Here, the lighting and shading on most things is different:

• Another smattering of different animations, just for you:

• Oh, boy! Moving on… Here, the background and most lights in the shot are a little hazier and the car is a little blurrier:

• And here, there is a different distortion around the edges, the car’s headlights are brighter, the poles in the background and the car are blurrier and the car’s chassis is also darker:

• Let’s have one last completely different animation, for the road:

• And this bit has been completely redrawn and animated:

• Pheeew! Let’s move on to a couple of credits differences, shall we? Here, for some reason, the scriptwriter has been changed! It’s no longer 小林靖子 (Kobayashi Yasuko), but instead 猪爪慎一 (Inotsume Shin’ichi). Weird! Check it out:

• And here, like in the previous episode, 銀 (“Gin”)’s name has been added on the right:

And thaaaaat’s all for this episode, folks! Whew! What did I tell you? The sheer quantity and quality of differences in this episode is staggering. And, being most of them complete redraws, it was also a rather easy post for me to write! Excellent job, David Production. Excellent job! Next time we’re gonna take a look at Vento Aureo #19, “White Album”!

See you then, friends!