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. 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. Finally, Imaishi is also a famous director, one of the major artistic figures of the last two decades. 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.
1998 was one of the most important years in the history of the Kanada school. On the one hand, it was when Yoshinori Kanada himself left Japan—and, with it, the anime industry proper—for Hawaii and games development. In the context of the general decline, if not total disappearance, of the creativity of Kanada-style animation in most productions, it felt like the ground had been given up to newer generations. But another thing happened in 1998: the broadcast of a TV series produced by studio Gainax, His and Her Circumstances. Just as Kanada-style animation was withering all over, KareKano became a formidable space for experimentation, bringing to the fore a new generation of animators from Gainax. These would go on to be called the “Neo-Kanada” school. Its foremost members form the trio now strongly associated with studio Trigger: Yô Yoshinari, Hiroyuki Imaishi, and Sushio.