Idk, I followed the twitch stream from the AoT thread halfway through

F***

Gotta wait it out then

Finally gonna start Violet Evergarden

Time to cry

i genuinely teared up every episode

🥺❤️

Yes

Lol it feels like the last four chapters of MHA has ended the exact same way:

"SURPRISE! More people have arrived..."

Bruh it's so funny to me how the One Piece and Naruto fandoms have constant beef with eachother

Bruh.. episode 10. Is all Imma say.

Both the Violet evergarden movies

Watching the anti work episode in Kobayashi, I'm afraid to say Elma is based? and the rest are bootlickers. interesting

the anime 2Pac and Biggie

She always been the best

yeah Elma and Tohru are my favs

dandadan the thought of them using okaruns nut to do warp speed is jokes

they’re fighting over nothing

Animator Spotlight: Yoshimichi Kameda

All Gifs In Order
Soul Eater (2008)
Fullmetal Alchemist: Brotherhood (2009)
Fullmetal Alchemist: The Sacred Star of Milos (2011)
Bleach (2011)
Un-Go (2011)
Asura’s Wrath (2012)
Evangelion 3.0 You Can (Not) Redo (2012)
Space Dandy (2014)
One-Punch Man (2015)
Mob Psycho 100 (2016)
Flip Flappers (2016)
Pokemon Sun and Moon (2017)
My Hero Academia: Heroes Rising (2019)
Mushoku Tensei Jobless Reincarnation (2021)
Ranking of Kings (2021)
Inu-Oh (2022)

Happy Birthday to Yoshimichi Kameda one of the best animators to come out of Studio Bones and one of the last staples in the second wave of the “Neo-Kanada” movement.

Yoshimichi Kameda was born in 1984 during the height of creativity from his future influence Yoshinori Kanada. Growing up Kameda was exposed to many great anime of the 90s with Evangelion and KareKano both leaving a strong impression on him. Kameda would start reading animation magazines and would take notice of Kanada’s name in a Hiroyuki Imaishi interview in Animage. Kameda would begin studying Kanada’s work along with Imaishi.

Kameda would start animating at a local art university in Onomichi where he would make some funny animations. Particularly his Onodaiger commercial hilariously interspersed with real life footage

Kameda would try to apply to the studio every aspiring Kanada-school animator would apply to Gainax, but he would get rejected multiple times. AIC would be the first stop on Kameda’s journey, which did subcontracting for Gainax and so Kameda would get his wish sort of becoming an in-betweener on Gurren Lagann. Kameda was scrupulous in acquiring any Imaishi autograph. This time would also be very important as he would become peers with future successful key animators at AIC such as Shingo Fuji and Shurichi Kurita. On Seto no Hayanome Kameda would meet with animation director Kazuaki Morita. Morita would influence Kameda to draw with a sumi ink brush pen in his animations. It’s a highly unconventional way of drawing, but will come back later. Kanada had done some key animation for Soul Eater in 2008 where you can first see his Imaishi like influence with some nice background animation to back it up. After being overly corrected director Seji Kishi on the Seto OVA, Kameda got to move on over to Bones and work one of the landmarks of his career Fullmetal Alchemist Brotherhood.

Being essentially a faithful retelling of mangaka Hiromu Arakawa’s seminal work, Brotherhood would be a 64 episode show detailing the story of the Elric Brothers and would become a creative supernova for Kameda. The first bit of Kameda’s animation you ever see is in OP1.
Kameda around 0:54-57

Though this was just the start more incredible things would come around the corner. Mae Hughes death would be the first significant scene Kameda would work on, and though it’s not mind blowing character acting its great Bones and series director Yasuhiro Irie would entrust a very young animator to handle a part like this. Episode 19 would be the first real treat of full on Kameda in the amazing sequence that is Lust’s death.

I mean what is there to say? The constantly moving smoke animation, the highly detailed fire effects, the impact frames, and the sheer ferocity in the character acting. But of course one of the most standout details is Kameda’s insane use of the aforementioned sumi ink brush pen. Having Lust in some shots being completely smeared out in cycling ink brush frames is a bold move by Kameda as this was not common at all in traditional animation. Some of the stills from this effect with the brush lines shaping the silhouettes are honestly terrifying.




It is an insane scene to properly debut on and really distinguished Kameda from his Imaishi and Kanada-School roots, not just being a carbon copy of those two. Even though there is something very Kanada in the fire animation I’d argue Kameda pushed the “Neo-Kanada” school of animation a little further thanks to his time at AIC diversifying his tastes and developing something of his own, pushing the genre to new limits.

Kameda would go on to shape some of the most important sakuga pieces on Brotherhood. Kameda along with the infinity anime credited Hironori Tanaka would be two of the best star animators on the show. Kameda would continue a lot of his hallmarks in future episodes. Though he wouldn’t work on very lengthy scenes for a while it would be Episode 45 where he would get to display his prowess again.
Kameda around 0:48 to 1;14

This scene has an insane sense of rhythm even weaving in some more “realistic” movement in some bits to add variety to the spacing in the cuts. The fish eye lens-esque shot of Greed hopping over Bradley is very creative on Kameda’s part and then he proceeds to move into a cycling cut of multiples where Bradley is trying to stab Greed.

Other scenes would again demonstrate the more grounded approach he takes to Kanada style animation, while flashy has a more serious demeanor. In the Scar vs Bradley fight, Kameda had the intention of rivaling Bones God Tier animator Yutaka Nakamura.
Kameda appears at 2:58-3:29

Though it doesn’t have the same smoothness a Nakamura fight would, Kameda is pretty adept and I’d suspect Kameda’s use of impact frames all throughout Brotherhood would inspire Nakamura to start using them as they are way less common Nakamura’s work before Star Driver where they would become more common place. In OP2 which Nakamura did four cuts his trademark impact frames aren’t even around yet.

Kameda impact stills sure are something.

2010 would mark the end for Brotherhood and Kameda had established himself as an essential figure in sakuga. He would later do a short sparring cut on Naruto Shippuden Ending 15 that year

Kameda from 1:11 to 1:28
2011 would be a very busy year for Kameda. Kameda would contribute a ton of cuts to Fullmetal Alchemist: The Sacred Star of Milos a rather s*** movie with amazing sakuga. Though the more rounded art style of the film is result of former Ghibli animator Kenichi Konishi many of the Kameda scenes still retain a lot of his features.
sakugabooru.com/post/show/185735
sakugabooru.com/post/show/185746
sakugabooru.com/post/show/185912
The last fight linked is one of Kameda’s best sakuga scenes, displaying an insane array of impact, motion, and debris detail. The close up shots of Herschel at the end are very interesting, moving a lot of Kameda’s ink brush lines in a more pronounced motion. Later that year Kameda would work on a pretty nice piece of animation in Bleach Episode 341.
sakugabooru.com/post/show/154360