The next year came one of Hashimoto’s most essential pieces of animation in the form of Space Battleship Yamato 2199

A remake of the original 1970s series, 2199 brings out the best of Hashimoto in so many ways. While it continues the trend of what he’s best known for this time he innovates and was assigned by Chief AD Meiju Maeda to handle planetary wide destruction and extermination of entire civilizations. If you ever feel underwhelmed that this guy is just an explosion animator, he is much more here. A God of wonderment in fiery annihilation, and toppling down any storyboard that he’s given to do.





Though Hashimoto is usually allotted about 20 seconds or less to these scenes, you can see the years of experience he’s accumulated, and just how big he can go even in the tv format. Hashimoto also elected veteran mecha animators such as Futoshi Oonami and Mitsuru Ishihara and both channel Hashimoto’s sensational energy sakugabooru.com/post/show/104381 sakugabooru.com/post/show/104495\.

The next year on Aldnoah Zero Hashimoto was credited as prime effects animator as many of the mecha fights were 3D animated, so the decision to keep 2D effects was a welcome one.

Hashimoto did an extensive number of cuts all over the show, even working with another effects counterpart (albeit from a different generation) Satoshi Sakai, an incredible sakuga legend who much like Hashimoto has an insane output of work. Some highlights sakugabooru.com/post/show/217842, sakugabooru.com/post/show/82275
sakugabooru.com/post/show/82355, sakugabooru.com/post/show/82277

On the Shinichiro Watanabe directed Terror in Resonance Takashi Hashimoto showcases gripping and realistic animation of a building crumbling to the ground sakugabooru.com/post/show/28373 its a thrilling sequence in the show, and is made only worse by the long distance cuts as it appears similarly to onlookers from blocks or miles away witnessing the destruction. The cut is dripping with reference footage.

After various works over the course of two years on shows like KanColle, Punch Line, Girls Und Panzer, and Kekkai Sensen* Hashimoto was brought on to handle the effects work on Makoto Shinaki’s now regarded classic Your Name

With a stacked lineup, designs from Masashi Ando and Masayoshi Tanaka, and AD by the ever mysterious maven of the biggest films in anime Ei Inoue (and company including Ando and Kazuchika Kise**) no one would have expected this movie to be as big as a hit as it was. The competing FX crew credited some heavy hitters including Hideki Hamasu, but Hashimoto was the lone effects corespondent in the scenes he’s on. Which are among some of his best. The threat of the film, the meteor is made such a big deal of throughout and you can see just how much it is emphasized in this early dream scene.

The pan up to show the mystical meteor slowly crashing down, is a mesmerizingly detailed, and (blink and you’ll miss it) is completely moving in frame. And its actual arrival is met by prime Hashimoto legacy decimation.

For the next 5 years Hashimoto took on a lot of work, he worked on a KanColle movie, Monster Strike, Mary and the Witch Flower, Eureka Seven: Hi Evolution (alongside Yasushi Muraki) Blade Runner: Black out 2022, Bungou Stray Dogs: Dead Apple, Legend of the Galactic Heroes, Revue Starlight, Madoka Magica, One Piece, Made in Abyss and many many more. Hashimoto was doing career lengths of work during this period and in 2021 started doing some more notable work.

First the Hollow Technique: Purple scene on the first season of JJK was a pretty minimal yet fierce display of effects for Hashimoto

Hashimoto 0:53-1:23

Then we get back to the good s*** on the final, and long awaited film of the rebuild series Evangelion 3.0+1.01 Thrice Upon a Time

Mostly all of the effects guys are here, Ito and Muraki and a few others. With the sudden passing of Shoichi Masuo in 2016 it was up to all of the explosion guys to honor him. It is important to highlight the opening fight scene in Paris, with Mari taking on the NERV Evas. Just incredible work



The second half is great too, and while it doesn’t have the 2D highs of the last film as it is very 3D dominated, every 3D asset feels in service of the 2D effects so nearly nothing is lost here.

Misato’s triumphant explosion near the end is the final scene Hashimoto animated on the the Evangelion series spanning 24 years of dedication.

A few months later Hashimoto was assigned effects animation supervisor to the second Agateram film Paladin

Directed by webgen effect wunderkind Kazuto Arai, the film displayed a fairly high yield of impressive effects animation throughout. Whether that be the impressively impressionable scenes by Takumi Sunakohara in the early half sakugabooru.com/post/show/175075, or the great and plentiful battles near the end (Itsuki Tsuchigami’s three minute fight comes to mind sakugabooru.com/post/show/175090) every scene is dripping with effects. And while Hashimoto’s supervision usually isn’t overly wrought in corrections, his hand on making sure the staff is doing the most the can does lend to his overall priorities in action, blowing things the f*** up sakugabooru.com/post/show/175061 sakugabooru.com/post/show/175062 sakugabooru.com/post/show/194775.

In another anime movie coincidentally involving the Eiffel Tower that same year, Hashimoto was brought on to Revue Starlight: The Movie

Directed by Tomohiro Furukawa, Hashimoto was placed on to some of the most ambitious and stark storyboards of his entire career. The roller coaster sequence is done well using minimal effects to illustrate speed sakugabooru.com/post/show/174885, you got a nice long destruction scene of the Eiffel Tower plummeting down and leaving some of Hashimoto’s most detailed smoke sakugabooru.com/post/show/174889, then we got giraffes

and of course TOMATO

The next few years Hashimoto has kept his usual insane schedule up to date being an effects supervisor on a Detective Conan film, the primary effects director for One Piece Film Red, Is It Wrong to Try to Pick up Girls in a Dungeon?, High Card, Dead Mount Dead Play, and Bleach: Thousand Year Blood War.

No one does it like Takashi Hashimoto. Sure there are people that specialize in explosions, Ito, Matsuda, the other Matsuda, Hamasu, Muraki, and Sakai but comparatively they have also delved into character acting and fighting other facets of animation that Hashimoto shares no interest in. He is dead set on giving you the bang for your back, what is the most ephemeral thing in anime and reality. It comes and goes, is loud and boisterous and leaves nothing but the end of something else, the explosion. The worst man made phenomena that curses humanity to this day, and what does Hashimoto think?….haha flashy lights go boom.

Hashimoto in the flesh, a mad man

Follow him on twitter, he will never not post a picture of his parrot

fun fact Satoshi Sakai's birthday is tomorrow and I didn't plan on doing a spotlight on him but he's the closest thing we got to another tier of Hashimoto's capability of explosiveness

This sounds and looks dope asf

Spoiler warning please

I didn't like the thing with Ryuk because the whole point of Death Note is that Light has a God complex. In this movie he's just stupid and gets played.

Didn't like Chizuru this episode either. Just a character that doesn't develop or grow and stays fake

It's over I'm afraid

This is going to f*** smaller studios

youre telling me my dream of the anime crashing and burning instead of trying to force out 60 shows each season is going to come true? don't tempt me with a good time

in reality the industry will still try to force out 60 shows each season despite losing 20% of the work force and it will just result in more overworked staff and more productions getting delayed or looking like s***, but whats new at this point

The goat is back once again

LETS RUCKING GOOOOO

Who/what is this

Togashi, creator of Hunter x Hunter is going back to drawing more chapters