![]() I will show that each one explores very different aesthetical options: one that is turned towards the past, and the reproduction of analogical production and effects and one towards the future and the adoption of digital workflows and visuals. For this, I will mostly focus on two of Imaishi’s works, among his most recent: the 2013 TV series Kill la Kill, and the 2019 movie Promare. The other problem at hand will therefore be to try and understand how it is now Imaishi’s direction that brings out new potentials of Kanada-style animation. The most important distinction between the two men, however, is context: Ochi was in Kanada’s closest circles, and contributed to the original expansion of the Kanada style in the early 80’s, whereas Imaishi and Trigger develop an aesthetic of their own, very different from that of the anime world at large, which has largely evolved beyond the Kanada style. On the other hand, Imaishi thoroughly cultivates his image as auteur not just as series and movie director, but also as studio leader. 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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