CARMEN

6mo

Yoshida back again went on to do more commissioned work, on Hirotsugu Kawasaki’s and Studio 4C’s seminal action banger Spriggan

Early studio 4C put all their display of animation in to work, on projects like Memories and here is no exception. 4C along with assisted help from Ghibli and other sub-studios. Masaaki Endo, and Yoshida were two of the Ghibli animators placed on this project, notably in the more effects heavy sequences. Yoshida once again was smartly placed on a vehicle scene, having Volumetric control over the mechanical sheets. Just phenomenal stuff

CARMEN

6mo

Post Ghibli, Yoshida went freelance on a number the first couple of years, most notably Yoshiyuki Tomino’s Turn a Gundam, showing up on a few episodes towards the back end.

Tomino like Miyazaki, was another giga sized titan within the animation industry, who refused to push the boundaries of his own storytelling. Gundam being such a recognized franchise had gone through a slew of different character designers, and the introduction of character designer Akira Yasuda had pushed the usual Gundam esque heroic designs into a more diverse palette of people, with a lot of different skin colors and traits.


He was a bit of an odd choice considering his background stemmed more prominently in Capcom games. Why do I bring this up? I feel some minor characteristics of Yasuda’s designs feel like they had a heavy influence on Yoshida, and would determine some of his traits for moving on to future Tomino projects and beyond. Yoshida’s KA was more of a formality, as there wasn’t too many standout cuts he committed to, but some showed out

CARMEN

6mo

After assisting on the Turn a Gundam movie, Yoshida went to help Tomino’s next big project Overman King Gainer released in 2002

Yoshida 0:49-0:58 in this lively OP
A new original series, not based around Gundam, Tomino roughly based the stories around the concept of French writer Georges-Jean Arnaud’s book La Compagnie des glances. A pretty light looking series, with a lot more political intrigue than one might think. After consideration based around Yoshida’s skill at Ghibli and the time on Turn a Gundam Tomino hired Yoshida to be the show’s chief animation director, his first time in that position. Yoshida also took up the mantle of character designer, along with Yoshihiro Nakamura, and Kinu Nishimura. Nishimura like Yasuda from the last series, was a Capcom designer. Kimitoshi Yamane was on mechanical designs, giving some of the strangest human-like mecha designs of this era. We now enter the era of Yoshida-isms.

One thing I really love about Yoshida’s aesthetics in this series is how rounded and soft his characters feel, but also fleshy and comfortable. There is a certain level of detail that I’m sure many animators had to acquiesce to, but also made for tricky movement. Many of the character talk with their full mouths and teeth some of the time, making Yoshida’s role on corrections more heavier than ever, but thanks to support from episode ADs like Yuriko Chiba, Eiji Nakada, and Atsushi Shigeta they fully understood how to adapt to this new character style that everyone was figuring out

There quite a few highlight episodes, the first one has appearances from Masashi Ando, who Yoshida can freely call upon at this point. 3 has some decent action, and later on with Episode 11 Yoshida animates an impressive vehicular chase sequence with some nice crowd animation to back it up. Although those are great the episode everyone talks about is 14 which is really the sakuga packed bonanza fans of it make out to be.

AD’d by Yoshida himself, he brought on an arsenal of the top animators he knew at the time. Akira Yamaguchi, Kaichiro Terada, Ghibli’s Ikuo Kuwana, Shuichi Kaneko, Toru Yoshida, Yoshiyuki Ito, and Sushio were among the list of animators a full bricked group of Gainax, Bones, and Ghibli crossovers. The most notable of this bunch would be of course Yutaka Nakamura, who in this scene for the first time ever debuted the famous Yutapon Cubes, a shattered cube like debris heavily inspired by flow animation grandpa Satoru Utsunomiya. Yoshida was very impressed with the inventiveness of Nakamura’s layouts, even letting Nakamura animate the insane bio-mechanical energy weapons that were originally pudding and changing it into jello in the draft sheets.

dblvsn

6mo

a good anime shows u how to be a real nigga

Deprived

6mo

Nah Puella Magi Madoka Magica fire wtf. Got 2 eps left cant wait to see how this ends

hayabusa

6mo

700 for the coat

Katsuragi

6mo

Dont forget the movie

Katsuragi

6mo

Dont forget the movie

Katsuragi

6mo

Rentarou family

Tranquility

6mo

My beloved