In today’s landscape, this evolution and, possibly, a new development in action animation seems to be represented by two rising figures: Hiroto Nagata and Ryûki Hashimoto. At first sight, this pairing might seem strange, since both men come from opposite ends of the industry and have never worked together. Despite their distance, they share a close proximity in terms of style and, possibly, philosophy. The goal of this article will be to understand the nature of this proximity: I will first focus on each animator on his own, and then consider more generally what are their common points, and how they may open new ways for animation.
Although the Kanada style has certainly known a rebirth in the 2000s, it seems that, in the 2010’s, it has gone through a new phase of decline. It’s not that it has totally disappeared: it is still thriving around specific studios (like Trigger) or artists (the most important among them being Yoshimichi Kameda). However, outside of those circles, the presence of the Kanada style is mostly visible through citations (Kanada dragons, very angular effects) and a generally snappier approach to timing. Overall, there is little formal innovation. But this doesn’t mean that the Kanada style is dead or dying; it has just acquired a new, more secondary, place in the field of anime aesthetics. This situation is what I call the “post-Kanada” era; not just because it has been long now since the golden age of the 80’s, but also because most Kanada-school animators emerging today have done so after the death of Yoshinori Kanada himself. They have therefore never directly experienced his work, and their influences might be more diverse than that of previous artists. The goal of this article will be to understand this new context, and to highlight some promising artists in the Kanada lineage.
Yoshimichi Kameda is undoubtedly one of the most important animators of the last 15 years. He is also one of the last really major animators today whose style can directly be traced to Kanada, and not one who just cites him as a great artist he looks up to. Finally, he is emblematic of what I call the “post-Kanada” generation, that is the animators that emerged during the late 2000’s until now, just before or after Kanada’s death and who never came in direct contact with him or with his works as they came out. I will explore this idea further in the next piece of this series, but Kameda seems to be very representative of what the Kanada style has become outside of the Trigger bastion: something with much more varied influences and techniques, that doesn’t always look much like Kanada at first glance, but retains the same core principles and expressive motion.