Oshima has extensive involvement in most episodes, but he was a key in networking the talent for most episodes. Episode 1 has the unconventional position of being a 46 monster. It’s full to the brim with Taizan’s wonderful character designs brought to life, and through Iino’s direction it’s able to capture the different perspectives of abused, abuser, and an alien that can’t comprehend these emotions.

This episode doesn’t hold back in regards to the to the explicit moments of the , and animator Danny Cho was heavily involved in those scenes, the storyboards in those moments are striking but does not subtract from the impending dread of those moments SPOILERS. Oshima lends his hand to one of many classroom scenes which have impeccable prop drawings.

We get to Moaang’s Episode 2. Primarily animated by relatively new animator Ori.

This easily contains some of Moaang’s most abstract boards and he doesn’t shy away from the crazy contrasting moments of the manga
His corrections of course are excellent

Eri Irei’s Episode 3 is probably the most tepid in terms of animation, with them unfortunately getting the highest workload of any director in the show (due to heavy time constraints). That being said there are still some clear moments of cinematic variation and one stunning background shot by Shouya Sakaguchi shows the undeniably high standards of the crew

Then Oshima is given the opportunity to deliver on his debut directorial opus, Episode 4. Assisted by the diverse Hayate Nakamura on AD anime watchers get what is probably one of the best tv episodes of the 2020s, at least for a character study episode such as this. This episode like 3 is primarily centered on catching up with Naoki, and follows the aftermath and potential consequences of his decisions. I’ve covered this episode extensively in my Nakamura spotlight, and I will leave it here too. Oshima’s first outing as a storyboard artist is insane, so please check out the show and episode when you can.

For Episode 5 and 6 Oshima was credited as General Effects Artist, where essentially any eye catching effects had his touch ups. This is very noticeable in one of the climactic scenes of the episode where Keiichiro Saito’s light flares contain his touches. Awoi Otani’s scene likely has Oshima animating a majority of Takopi’s spaceship.

On the finale, Oshima serves as primary AD, and he probably has the most unique understanding of Nagahara’s designs. His brush ups include the wispy drawings and cross flares, a feature of Oshima but an extension of the manga.



Mappa animator Shinya Kaneko has a fairly standout scene near the midway point on the episode. I get the impression Oshima isn’t one to correct the young animators on this episode too much. Ye Po-Hsuan a newcomer animates a scene with somewhat off model designs.

After Takopii’s departure scene (animated by Hiroaki Nakamichi and Yuiichiro Iida), Shizuka and Marina make up and 10+10 alongside other animators draw the closing cuts which are stunning interpretations of the manga

For a majority of the show 10+10 did all of Takopi’s composite cuts covered in digital brushwork. It’s a quick and compassionate finale, with the Enishiya crew delivering a masterclass in modern anime. Not many studios get a chance to start with a bang, but thanks to the power of Enishiya’s connections, in-house talent, and a sturdy schedule its only up from here.

That is Toya Oshima so far. I think in terms of modern day industry talent sponges like Enokido/Sakazume, Yamashita, Yoshihara, Ikarashi, and Goshozono I think Oshima is worthy of their ranks. One of the most enticing and talented experts in the industry, Oshima was lucky to be around behemoths starting out and morphed into one himself. With Enishiya, and company he will do great and numerous things to save anime.

think im due for an eva rewatch

but i never did get around to the rebuild movies

kill la kill sub or dub?

dub if you don’t understand japanese

am i right @orangejuice2

i watch subs all the time and dont understand japanese

actually i know some phrases

same here

sugoi! Just keep watching sub

yea but sometimes i dont mind watching dub if it's good.
online is sayin that klk has one of the best dubs

Well perhaps check out an ep or two in dub then and see will keep shunning you tho

Dub was good imo

Beyblade went this long?

this like seeing you in a sundown town

Still on watchlist

I'm only ever in for the write ups

either is ok

i didnt watch the dub so i cant say whether its bad or not

if you're concerned about dub quality then sub is safer

unless the dub is like one of those early 2000s abysmal quality dubs i dont think it actually matters most of the time

you're also losing so much nuance from the subs as well generally

never met an actual japanese speaking sub supremacist

anyone on mal?