dogshit musician has dogshit anime taste

what a surprise

Missing anime :(

She's simply ranking a list given to her, you goofball

my hero #1 automatically an L

I aint gon hold u, I agree putting that over HxH is criminal

blue box anime announced

anilist.co/anime/170942/Ao-no-Hako

Tohru's mom is the Shanks of Fruits Basket

Oh you're gonna love Oshi no Ko

which should i knock off my ptw list next

Kare Kano

although i think Tranq gave Yuru Camp a 5/5 I think so maybe that

eizouken is so damn mid

tbh thats the only thing id watch from that list

great show

yuru camp is peak cozy

Animator Spotlight: Sushio

All gifs in order
FLCL (2001)
Dead Leaves (2004)
Gunbuster 2 (2004)
Gurren Lagann Episode 26 (2007)
Gurren Lagann The Lights in the Sky are Stars (2009)
Evangelion 2.0 You Can (Not) Advance (2009)
Redline (2009)
Gurren Lagann Parallel Works (2010)
Panty and Stocking with Garterbelt (2010)
Evangelion 3.0 You Can (Not) Redo (2012)
Kill La Kill (2014)
Little Witch Academia (2017)
Darling in the Franxx (2018)
SSSS Gridman (2018)
Brand New Animal (2020)
Evangelion 3.0 + 1.01 Thrice Upon A Time (2021)

Happy Belated Birthday to Toshio Ishizaki AKA Sushio born November 5th. The wildcard of Gainax and later on Studio Trigger. Joining the “Neo-Kanada” era of Gainax, in 1998 on Kare Kano along with Hiroyuki Imaishi. Sushio, Imaishi, and Yoh Yoshinari collectively made up a new big three animators of Gainax and have continued to carry that mantle. Sushio is the youngest of the group and is definitely the hardest to pin down. As a character animator Sushio closely resembles traits of Imaishi, but in effects and action has qualities of both Imaishi and Yoshinari making him a bit of a meld between the two. What makes him stand out is Sushio is one of the few realist adjacent animators from that era, working in three dimensional explosions not marred in the jerky timing of his two head contemporaries. This quality has gotten him hired on movies like Steamboy and the Rebuild of Evangelion franchise of which he was one of the few former Gainax staff that remained on all four movies. Despite never directing a series, Sushio has made several attempts at character designs debuting on a One Piece film with Chikashi Kubota, and getting his first solo designs on Kiss Dum Planet Engage. His most famous come from Kill La Kill where Imaishi influenced him to draw bishoujo. Sushio is an interesting and extremely friendly character within Trigger’s current ecosystem, still bringing a peppy and rowdy energy that encapsulates the company’s ethos and animation style. So with out further ado “WHATS UP YOO IM SUSHIOOOOO!!!!”

From a young age Sushio was always interested in animation, a film that had a lasting impact on him was Akira, he had watched the movie so many times that his mother had to ban him from viewing it. Sushio got his start on Evangelion, being an in-betweener the same time as Imaishi. He was 19-20 years at the time, while Imaishi was 24-25 during the production. Sushio was involved during the most hectic time of the production, working on a portion of the final episodes from 21-24. At the time both Sushio and Imaishi were looking up to Takeshi Honda the chief AD and Tadashi Hiramatsu, as well as other animators on the series including Masayuki, Shinya Hasegawa, Nobutoshi Ogura, Hidenori Matsubara, Shoichi Masuo, but most importantly Yoh Yoshinari who the two idolized due to the insane scenes he was pumping out.

After making his debut on Berserk, Sushio effectively came into his own on Kare Kano or His and Her Circumstances

This was effectively Sushio’s breakthrough and his first time doing full-fledged KA on an anime series. Him and Imaishi started making waves here, proving their autonomy through lively and sparse Yoshinori Kanada inspired animation. After the realist movement from Akira to Evangelion, Imaishi and Sushio both effectively put the stop on that and ushered in a new Neo-Kanada era. Not just in Gainax, but abroad too.
Sushio worked on 10 episodes of the show, making him the top animator of the series. Despite that achievement, Sushio has only had one credited scene in his name. You can see Sushio’s Kanada timing be more jolted, but also contain brief elements of flow animation too.

After Kare Kano Sushio had free reigns to work on other shows. Gainax employees weren’t technically under oath to always work there, so until new material was announced animators could serve as freelancers on other projects. For about a year, and a half Sushio worked abroad under some of the most interesting creatives. He’d work on Generator Gawl alongside Yoshinari and others, Magical Doremi was his first acquaintance with then Toei animator Yoshihiko Umakoshi, and on Akiyuki Shibo’s Tenomanya Voyagers he got to learn some of the weirdest animation techniques and principles, I believe this is his scene

FLCL would be the next big series Sushio joined with not just Gainax but Production IG as well

I broke down last month how much Imaishi was involved in the episodes here due to his frantic action being a serious highlight. Tetsuya Nishio was the other MVP of the series opting for more realism, but also exaggerated action given his days back on Yu Yu Hakusho, and former Ghibli animator Shinji Otsuka was able to adapt to both studios respective styles. There were a lot of stand out animators on this show, but where did Sushio fall into. Sushio on this series was able to separate himself from the main cast of Gainax animators and become a wildcard character.

Sushio 1:06-1:27
After Yusuke Yoshigaki put an impressively Imaishi pilled part, Sushio then delivers this one take cut of physics defying character acting. It is a scene that has me belly laughing every time I watch it. Very funny storyboards by director Kazuya Tsurumaki

Sushio for the remaining episodes is able to then diversify his palette, more comedy on Episode 2, but also bursts of stoic action posing. Then we get to Episode 4 which has a spring loaded explosion leading to city wide destruction. This is the moment where Sushio isn’t recognized as just a one trick Gainaxer but a very impressive effects animator. The scene is rife with reference footage of nuclear test footage, with the wind from the explosion moving back the opposite direction illustrated by the trees, and also nice debris animation. Effects wise, after in-betweening on Jin-Roh with Hiroyuki Okiura and Toshiyuki Inoue Sushio was easily able to replicate Inoue and Okiura’s Mitsuo Iso inspired smoke, where there heavy focus on the volume of the clouds give a since of three dimensionality not normally scene in most anime smoke.

Then of course we get Episode 5, Imaishi’s episode, where his Kanada prone senses take over everything, from character models to compositing, shapes, and effects. Sushio being the other pea in a pod to Imaishi was able to snuggly fit in to the episode. While he’s on a short portion his cuts are downright hilarious, his cuts with Canti have the hilarious limited compositing approach Imaishi loves, where Canti floats like a png contrasted with some expressive character acting , simply too good. Later Sushio embraces, the classic Gainax pose heavy framing, with more stupidly laughable cuts at the end. We also get to see some of Sushio’s dirty hatching lines, a quality that would return in a pivotal moment later in his career.

Sushio for the early 2000s, was on a good chunk of shows oscillating on Gainax shows, and occasionally going over to Toei to work on Digimon, Magical Doremi and One Piece. His work on Clockwork Island is particularly standout with Sushio doing a lot of high contrast shots at tricky angles with neat and a mix of flow heavy yet jank Gainax timing he’s known for (Sushio does a few Sanji scenes in his time there). Tamers was his first time working with Chikashi Kubota, who’d then join him on Mahoromatic a collaborative effort between Gainax and Shaft.

On Abenobashi Sushio brought back more comedy routine to the Gainax ethos around this era. Sushio seemed comfortable animating 30-1 minute long scenes of unfiltered comedy, doing a lot of what makes the studio great, but also incorporating some Yoshinari’s effects which were becoming more realized around this time. He was doing a lot of shows during this time, and its mind blowing to see how much he was doing with all the scheduling nightmares that happen nowadays. Long bits of animation on Petite Princess Yucie, beauteous animation on Ashita no Nadja, and gory action on Peacemaker.

2003 had Sushio working on normal anime per usual, but this was one of his only times doing an American commissioned scene on Quentin Tarantino’s Kill Bill. Joined with Production IG and featuring the additional like of Shinya Ohira, Takeshi Koike, Mitsuo Iso, and Takaaki Yamashita, he was the only non IG affiliated staffer next to Koike, making his more straightforward Gainax pose style standout more

2004 would be a very busy year for Gainax as they debuted two new OVAs Re: Cutey Honey and Gunbuster, however, the most Gainax pilled anime of that year wouldn’t be produced at Gainax at all, instead Production IG on Hiroyuki Imaishi’s debut film Dead Leaves

A raucous fanfare, bringing to life the highest quality of Imaishi visuals possibly ever. On this film Sushio is joined by an array of freelance staffers and many Gainaxers too. Some standouts include Takeshi Koike from Madhouse who relayed Imaishi after working on Trava, and also Yasunori Miyazawa a new standout IG animator who’s expressive and warped animation rivals that of Shinya Ohira. Sushio, Yoshinari, and Kubota all handled longer scenes, Kubota in particular having 2-3 minutes of animation. Sushio himself managed one single scene taking on a blend of raunchy Imaishi abashed-ness and jaring stumbling action. Sushio’s smoke by this point resembles Yoshinari’s more but less uncertain within the interior shading’s symmetry. His long foreshortening poses really standout here, and also him doing sketchy line work on the outlines of certain drawings.