![]() ![]() The first was an interesting and important figure, but didn’t go far beyond episode direction and storyboarding, and as unique as his style was, it doesn’t seem to have had much influence. But there are many differences between Ochi and Imaishi. I have already asked those questions, although less directly, in my previous artist spotlight on Kazuhiro Ochi. The question would then be to interrogate if there exists a Kanada style of direction, or how can direction make room and open possibilities for a certain kind of animation – here, Kanada-style animation. ![]() Having already partly covered Imaishi’s work as an animator, it is precisely this last aspect that I’d like to study here: what Imaishi directed. Finally, Imaishi is also a famous director, one of the major artistic figures of the last two decades. As one of the major figures of studio Gainax and then studio Trigger, he has also managed to create an environment with a peculiar and recognizable aesthetic, that could hopefully foster new generations of Kanada school artists. Hiroyuki Imaishi is no doubt the most important artist to rise out of the Kanada school in the last 25 years: the renewal he contributed to trigger with the Neo-Kanada style completely renovated what Kanada-inspired animation would look like in the 21st century. This article is part of the History of the Kanada school series Cover image: a key frame from Kill la Kill by Mai Yoneyama ![]()
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