The second My Hero Academia film, Heroes Rising was Hayashi’s turn to take on CAD, and assist with character and sub character designs.

With Hayashi at the helm of animation director, every single element of the last movie is turned up to ten. The fights are more bombastic, with Yutapon, Suzuki, and Kameda pulling no punches in their scenes. Though those guys are all great the younger generation does just as well too. Trigger/Bones affiliate Kenta Yokoya does an amazing with sensational effects animation, and crystalline dragons that have been mistaken for cgi. Takafumi Mitani is also able to keep up pace, doing a diligent amount of destruction along with Hayate Nakamura. A foursome of animators take on the epic finishing kick to close things out near the backend, with Mitani, Shuu Sugita, Osamu Murata, and Washio all pouring their souls into this scene. Sugita is easily the most interesting, with the overwhelming amount of shading and speed lines in his cut.

Hayashi came during the first encounter with Midoriya and Bakugo fighting Nine.

All Hayashi
Is it safe to say Hayashi is a legend? Hayashi continues to take framing traits from his companions like Suzuki and Nakamura. We get a nice Nakamura camera slide cut with Nine out of frame and Bakugo into frame with a powerful yet worthless explosion. After struggling to take down Nine with a kick, I really enjoy the mid air catch of Midoriya and Bakugo, with Bakugo doing a mid air readjustment with his flames to then toss Midoriya right into him at comet speed. Very superhero

After being away from the Precure franchise for six years, Hayashi returns to an OP to do a wonderful dual layered cut on Healin Good Precure

Hayashi 0:50-1:00
A ten second cut of a one shot of the Cures fighting, and the girls in their regular forms the cut screams Hayashi in several ways. Doing some mangling with the compositing, the foreground shots of the girls have several layers of colored linework to add even more to the rainbow panel decorations around the frame. A total Hayashi move, just to make everything pop way more than it probably needs to.

Several months after Healin Good, Matsumoto, Hayashi, Akimoto, and Ikegami were back at it again on Gotcha! with Bump of Chicken’s song “Acacia” a Pokemon MV

Hayashi AD, 0:18—0:50, 1:20-1:32, 1:49-2:24, end credits animation
Even more insane than Baby I Love You Daze, Hayashi is able to get on this vintage VHS look oversaturate everything, and bombard the viewer with a four course meal of animation excellence. Bringing on a cavalcade of animators, with many My Hero Academia staff members hopping on board like Sugita, Murata, Sugiura, Saki Hasegawa, Yuki Sato, and Nakamura who probably has an incalculable cut going at one thousand miles per hour. Two loyalists to Hayashi, Haruka Iida and Yasuyuki Kai also return. Hayashi starts implementing subtle comic book influences into the compositing adding Ben Day dots on to some of the characters and background. Such a sun kissed, and explosive MV.

Darken by ZUTAMAYO, would become an animated music video directed by Hayashi’s friend Koudai Watanabe

Hayashi 1:53-2:14
A cinematic MV Watanabe is a lot more video game esque in his compositing, erasing linework. Some cuts even look like cgi

While not working on CAD like last time, Hayashi was on yet another MHA film with World Heroes Mission

Hayashi comes in during the middle of the movie with Deku fighting Flect Turn. So Hayashi even goes the extra mile with the boards, more spatial boards embracing scale, and nice consistent overpowering impacts.

After working on One Piece: Film Red and a few MHA OVAs it was time for Hayashi to have a fairly big role on My Hero Academia Season 6

This is Hayashi’s most heavily involved in MHA so far, supporting the visual look of the series, more so in the OPs and EDs. Hayashi’s hand is most felt there, where all of his collaging colors from his previous music videos show up here. Starting with OP 1 and ED 1

Hayashi 0:28-0:50

While Op1 doesn’t keep the comic look for the second half of it, the ED does have a nice nostalgic and stark look going back to Baby I Love You Daze making for a more consistent look.

During this time Umakoshi also assigned Hayashi to AD on several episodes doing a majority of corrections.

Hayashi got one fight scene in the season with Mirko

Hayashi start to 0:28

For the second half of the season during the Dark Hero Arc, Hayashi upped the edgy factor of the OPs having Yutapon and Yuuta Kiso dominate the look of the OP

Hayashi start to 0:32
Yutapon’s rotational shots and strong animation made this OP, even Hayashi messed around with the compositing to super small widescreen. Crazy stuff

Hayashi illustrations and AD
ED 2 is very simple in execution, but works well

While MHA Season 6 was airing, during the fall 2022 season Hayashi was doing more sizable key animation on Mob Psycho 100 Season 3

The three year return of Mob Psycho 100 where the entire series was finished before airing, having one of the most clearest and breezy schedules outside of Kyoto Animation, and closing out one of the best adaptations.

Hayashi first appears on the fight with Golden Dimple and Psycho Helmet

Hayashi 1:01-1:50
Even in a seemingly relatively straight forward action scene with that force and weight Hayashi is known for, towards the end he is able sneak in those bouncy expressions and rainbow colored effects in the backend. Such a good fight, with Kiso, Murata, Tanaka, and Yutapon closing it out.

On Hakuyu Go’s Episode 8, Hayashi was able to push through with an abundance of crowd shots, and even creature animation

Hayashi 0:52-1:15, 1:36-1:50
It feels like Hayashi’s visual touch ends up making it into anything with the crazy stadium scene having all of his hallmarks. The creature chase scene with young animator Ajin has Hayashi playing along with deformations harkening back to his early days which is really nice. Solid background animation, and I can tell Go wanted him to play it loose.

The last scene of the season, is the inspirational run from Reigen with his last ditch effort to save Mob from himself

Hayashi 0:31-1:02
Reigen to the rescue. Brazen with debris effects, and pure gait in Reigen’s strut, it is a classic closing moment to the series, and will be remembered solely off of the original OP from six years prior playing.

Hayashi’s most recent work was on Suzume working again with Shinkai

Hayashi only had one scene, nothing too crazy, other than some uncharacteristic morphing effects

So that is the legend of Yuki Hayashi. One of the most charismatic action animators in the industry, and is physically incapable of doing something that's not fun. Though the gears placed by the webgen animation era did not accurately set up Hayashi for what he would become (meaning not looking traditionally webgen), he still locked in did damage where he could. Hayashi's kaleidoscopic visage was pronounced loud and in charge for the most part. Precure and Rie Matsumoto gave him such a good stepping stone for making a conscious effort to make visually stimulating animation. And this just did not apply to his animation, but collaboration in compositing, and photography. That level of involvement is to be respected, and the result from the plethora of shows and MVs he worked on was definitely worth it. Cannot wait to see what he does next

Yuki Hayashi (continued next page) @ragedsycokiller

Late this time!

They are doing a lot of advertisement for the Kizu compilation, the Madoka movie should also be close to being finished

I'm watching you studio Shaft

I'm reading Vagabond rn and I'm in a state of constant amazement

Now watching:

Kimi ni Todoke coming back? Hasn’t it been 14 years?

Whoa, I guess they'll show their relationship?

my condolences

lmfao

This looks dope, heavy Trigger vibes. Hope it turns into a full length show.

i've just started my dragon ball journey and one of my favorite things so far has been the way toriyama draws vehicles. look at this mf

Good movie

How the f*** has he time for this while making One Punch Man

U gonna love Dr Slump