After doing direction on a Star Wars: Visions episode, Hiroyuki Imaishi spearheaded Trigger’s first adaptation in collaboration with CD Projekt Red and Netflix on Cyberpunk Edgerunners

One of the most exciting and break through anime’s of 2022, this is a perfect example of original developers and writers accepting the anime workflow, and why not meddling in production can lead to exceptional results. The genesis of the series was first thought up by game developer Rafal Jaki going to multiple studios around 2016, he then brought forward an animatic for the pilot the next year which convinced the studio to fund a show. The choice came down to either Production IG or Studio Trigger, and Jaki and co made an exceptional choice with Trigger. It was the right choice then to respect that the script changes needed to be made to fit the animation workflow and aesthetics, to which the CDPR granted. Making the concerns that Otsuka had it feeling too much like a Hollywood script, even allowing the creation of Rebecca one of the most popular characters from the show. Another blessing by CDPR was they greenlit the show in 2017 allowing Trigger 2 and a half years of preproduction so when the time came to make it they were ready with access to background materials, demo versions, and notes on lore. Then the developers backed off, not making any changes as production began.

The show is probably one of Imaishi’s most gorgeous that pays respect to the source material in its anime format. First we have the character designs that were handled by Yoh Yoshinari, his first effort outside of his own directed series. David, Lucy, Maine, Rebecca, have this raw edge that Yoshinari isn’t really known for but he totally nails it.

(no official character sheets have been released except for this and a few promo stills, why???)
Yoshinari was also the Chief AD making a mark with his effects and animation.

Once again the art and color design in any still frame shot of the show is phenomenal. There is hypnotizing background art done by Toshiki Amata, and color design by Yukiko Kakita with DP done by Tetsuya Kawada to bring it altogether




There is also some fantastic use of two tone neon shading to represent visual motifs




I’m really not hard pressed to say the show gets carried by its compositing, but the animation is still perfect Trigger per usual.

On the animation we have a mostly in house Trigger this time around with a fair bit of new blood taking up the mantle. Once again Kanno, Kaneko, and Kai are present with Kai’s AD and boards on Episode 6 being one of the top episodes of the entire show sakugabooru.com/post/show/203994 sakugabooru.com/post/show/204000 sakugabooru.com/post/show/204002\. The new animator that really stands out is Akihiro Sato who covered about 8 episodes, his involvement helped excel some of the most pivotal action scenes sakugabooru.com/post/show/203924 sakugabooru.com/post/show/204018.

Interviews with Otsuka, Yoshinari, Imaishi, and producer Satoru Honma

Trigger recently released Gridman Universe an adaptation of the SSSS Dynaezenon and SSSS Gridman tv series that I will talk about later, with them recently announcing Panty and Stocking Season 2 possibly with Atsushi Nishigori returning on character direction, and Imaishi direction

And their adaptation of Ryuko Koi’s Delicious in Dungeon with Yoshihiro Miyajima directing. He’d been an assistant director for years on LWA and the SSSS series now getting his first anime.

It is no shock to say that Hiroyuki Imaishi is probably one of the reasons some people got into anime. From his KA days, on FLCL to Gunbuster to his direction on Gurren Lagann, Kill La Kill, and even Edgerunners he is not only a patron of the Kanada style, but revived it and made it fresh and new inspiring a new generation of Yoshimichi Kamedas and Kai Ikarashis to emerge. Him along with Yoshinari, and Sushio’s knowledge have formed a brother’s in arms, fostering a new generation of Trigger talent while pumping out bold and unique original series. While Imaishi’s way of writing and style can be a little off putting for some people, his ambitious and fun approach shows he loves to pour his entire soul into anime. Through transmogrifying Kanada distortions, characters overcoming fascism, and erogenous fan service that keep the Gainax spirit alive, Imaishi is the natural successor to Yoshinori Kanada, and is one of the most important voices in anime currently living

Hiroyuki Imaishi Artwork