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Akiyuki Shinbo

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Akiyuki Shinbo
新房 昭之
Born (1961-09-27) September 27, 1961 (age 62)
Koori, Fukushima Prefecture, Japan
Other namesJūhachi Minamizawa (南澤十八)
Futoshi Shiiya (椎谷太志)[a]
Sōji Homura (帆村壮二)[b]
EducationTokyo Designer Gakuin College [ja]
Occupation(s)Animator, director, storyboard artist, writer
Years active1981–present
Employer(s)Bebow (1981~?)[2]
Kaname Production (?~?)[2]
Studio Tome (?~?)
Studio Oz (?~1984)[2]
Studio One Pattern (1984~?)[2]
Shaft (2004–present)
Awards2011 Newtype Anime Awards—Director Prize
11th Tokyo Anime Award for Best Director

Akiyuki Shinbo[c] (Japanese: 新房 昭之, Hepburn: Shinbō Akiyuki, born September 27, 1961) is a Japanese animator, director, writer, and storyboard artist. Best known for his works with Shaft, he has attained international recognition with the studio for his unique visual style and storytelling methods.

Born in Koori, Fukushima Prefecture, Shinbo began his career in 1980s as an animator, and became known while at Studio One Pattern in the mid-to-late 1980s, which worked extensively as a subcontractor for Pierrot and Madhouse. In the early 1990s, Shinbo became a freelance creator and worked across multiple series at both studios as an episode director. He debuted as a series director with the J.C.Staff television series Metal Fighter Miku (1994), and over the next several years, Shinbo would develop his artistic directorial style and work with various industry creators as a freelance director and storyboard artist; his works from this time include The SoulTaker (2001), Le Portrait de Petit Cossette (2004), and Magical Girl Lyrical Nanoha (2004).

In 2004, Shinbo was invited by newly appointed Shaft president Mitsutoshi Kubota to join the animation studio as a director. Since his debut with Tsukuyomi: Moon Phase (2004), he has mentored various directors and won numerous awards for his productions with the studio. His notable directorial works with Shaft include the Monogatari series (2009–2018), Puella Magi Madoka Magica (2011), and March Comes In like a Lion (2016–2018).

Early life

Shinbo was born on September 27, 1961, in Koori, Fukushima Prefecture, Japan, to Akio Shinbo.[4] The town was small and didn't have many bookstores, and his parents didn't buy him much manga, so his only source for reading manga came from the Weekly Bokura Magazine, which ran from 1969 to 1971.[5] He was a fan of the publication's Tiger Mask prior to its move to Weekly Shōnen Magazine, but noted that he was broadly influenced by the magazine in general.[5] Go Nagai's manga at the time would use shifting red and blue-colored panels, which Shinbo stated is likely the reason that he uses similar colored frames.[5] He found himself becoming attracted more towards anime, especially with the release of Space Battleship Yamato in October 1974 during his first year of junior high school and Galaxy Express 999 a few years later.[6]

After high school, he attended Tokyo Designer Gakuin College [ja] in Tokyo,[7] which he said he moved to in-part to study anime, but also to simply move away from the countryside he grew up in.[6] He wanted to become a manga artist for some time, but after moving to Tokyo said that there were much better artists than him.[6] He said that one of his earliest friends from when he moved to Tokyo, Kazuki Takahashi, who was later the author and artist of Yu-Gi-Oh!, exemplified what kind of a person would be a professional.[6] During his studies, Shinbo couldn't watch much anime, but he was a fan of the works that involved Osamu Dezaki, Akio Sugino, and Yoshinori Kanada, so he asked his brother to record episodes for him to watch when he could.[6]

During his second year, the students of the college would tour studios and join them for jobs, and Shinbo thought it might be interesting to direct 'strange' works, but to become a director at the time usually meant becoming a production assistant (制作進行) (sometimes called "production advancement"), which was a job he had no interest in, so he thought that becoming a director was impossible.[6]

Career

Early career

After graduating from college, Shinbo entered the industry as an animator in the early 1980s with Bebow, the studio founded by Tomonori Kogawa, and shared a room with colleague Hirotoshi Sano.[2] Afterwards, he joined Kaname Production for a brief period of time, but quickly left soon afterwards to join Masahito Yamashita's animation collective Studio Oz.[2] He joined the group sometime during their rebranding to Studio Tome, and in 1984 they reorganized again into Studio One Pattern.[2][8] For about three years, he and Shinsaku Kozuma shared a room as members of Studio One Pattern.[9] Although not much is known about Shinbo's time as an animator, Kozuma has stated that he was good at drawing.[10] In 1990, he debuted as an episode director on Pierrot's Musashi, the Samurai Lord television series after Studio One Pattern colleague (and mentor) Masahito Yamashita had heard that Pierrot was looking for directors on the series and had recommended Shinbo.[8] Around that time, he began to work primarily with Pierrot, and two years later joined the studio's production team for Yu Yu Hakusho (1992–1994). Shinbo directed 19 episodes of the series and storyboarded 13 (some of which he did both for) under the series direction of Noriyuki Abe, who had served as an episode director on Musashi, the Samurai Lord. In particular, Shinbo's involvement with the series is noted for his work on the Dark Tournament arc, which is sometimes regarded as the first appearance of his unique visual directorial style.[11] Speaking of his motivations in producing the series, Shinbo spoke highly of animation director Atsushi Wakabayashi, whom he said was the driving force behind his work, and storyboard artist Motosuke Takahashi, whom Shinbo called a "mentor" figure who had taught him much about directing.[8] Shinbo's involvement with Yu Yu Hakusho lessened over time. In 1994, in the middle of the series' production, he was hired to direct J.C.Staff's anime-original television series Metal Fighter Miku. He was chosen after an executive producer watched the 74th episode of Yu Yu Hakusho, which Shinbo had storyboarded and directed, and after the original Metal Fighter Miku director had left the project during pre-production.[8][12]

In 1995, Shinbo directed the sixth and final episode of Madhouse's Devil Hunter Yohko, which he later cited as a major point in his development as a director.[8] The episode received a mixed critical reception.[13] From 1996 to 1999, he directed original video animations (OVAs) at several studios. The first of these OVAs, Starship Girl Yamamoto Yohko I (1996), spawned its own animated franchise consisting of a sequel OVA series in 1997 and a 26-episode television series in 1999, all of which received mixed to positive critical reception.[14][15][16][17] Also in 1996 he directed Debutante Detective Corps at Daume, initiating his first of two projects with the company; as an initial project with Daume, however, the OVA was panned by reviewers.[18] In 1997, he directed his first project with Tatsunoko Production: a reboot of the 1974 superhero series Hurricane Polymar titled New Hurricane Polymar; Shinbo later noted the series as where he learned the composition techniques of "smacking" and "dabbing".[8] He then returned to J.C.Staff to produce Galaxy Fräulein Yuna Returns (1996), a sequel series to the 1995 OVA directed by Yorifusa Yamaguchi,[19] where Shinbo had served as storyboard artist.[20]

Shinbo again worked with Madhouse on an OVA adaptation of Saki Okuse's Twilight of the Dark Master manga in 1997,[21] and again with J.C.Staff and T-Up to produce a 3-episode OVA adaptation of Hitoshi Okuda's Detatoko Princess manga series.[22] During production of Detatoko Princess, he decided that he wanted to direct with a "simple and frivolous" philosophy and said he "hate[d] making ordinary stuff."[8] He worked for the final time with Pierrot in 1999 with the 4-episode original series Tenamonya Voyagers.[23]

Early 2000s

In 2001, Shinbo returned to Tatsunoko Production (aided by Tatsunoko VCR, Tatsunoko's digital subdivision) with the OVA series The SoulTaker. Shinbo admitted that while working on the series, he focused more on making unique shot compositions and imagery than creating a story, and instead left all organization of the narrative to scriptwriter Mayori Sekijima, who had worked with Shinbo on three separate series prior to The SoulTaker. The series also marked his second collaboration with character designer Akio Watanabe.[8] The SoulTaker received both praise and criticism for his direction and the series' art design by reviewers;[24][25] despite the criticisms, Mike Toole of ANN said that the series was important for being "the start of Akiyuki Shinbo's long transformation" as a director.[26]

With The SoulTaker complete, Shinbo took a brief hiatus from the mainstream anime industry; in 2001, he directed a short music video spin-off of the Triangle Hearts series, which started his relationship with Seven Arcs.[8] For the next 3 years, he mainly focused on producing adult hentai series under the pseudonym Jūhachi Minamizawa (南澤 十八, Minamizawa Jūhachi) with AT-2 (the adult video brand of studio Arcturus, at the time a subsidiary of Seven Arcs).[27][28] Shinbo's hentai OVAs during this time have also been lauded for their visual aesthetics, with one blogger referring to them as "unhinged and downright batshit crazy",[29] and one series, Nurse Me!, was particularly important for being the first time Shin Oonuma worked as an episode director under Shinbo,[30] a relationship that continued through Shaft.

Along with the various hentai series produced by Arcturus, Shinbo was hired to direct the Seven Arcs series Triangle Heart: Sweet Songs Forever (2003), which Masaki Tsuzuki had created.[8] The series served as a starting point for the creation of Magical Girl Lyrical Nanoha the following year, which featured the return of Seven Arcs, Shinbo, and Masaki Tsuzuki.[31][8] Nanoha received praise for its atmosphere, themes, and uniqueness from reviewers. Tim Jones from T.H.E.M. Anime Reviews noted that the series tended to focus more on physical fighting, rather than the usual magical girl trope of fighting with long-range magic attacks, despite having many of the genre's usual tropes.[32] While Carl Kimlinger of Anime News Network criticized the series for having a more mature tone than its characters ages should have represented,[33] online magazine ICv2, conversely, stated that the series had become immensely popular in the United States among "hardcore" fans due to the characters' adversaries containing more realistic social issues not found in other series of the same genre.[34] Despite his criticisms of the series, Kimlinger praised the series' usage of multiple art-styles, which he found gave the series an "undeniably appealing" look.[33] The success of the series spawned a franchise that consists of four television series and four theatrical films, albeit all other entries in the franchise did not involve Shinbo.[35][36]

Around the same time, SME Visual Works producer Masaotoshi Fujimoto and Shinbo had concepted Le Portrait de Petit Cossette (2004), which once again incorporated Shinbo's direction with writer Mayori Sekijima, character designer Akio Watanabe, animation studio Daume, and art director Junichi Higashi (the latter of whom Shinbo had worked with on Tenamonya Voyagers).[37] The series also marked the first time Shinbo worked with composer Yuki Kajiura.[38] Fujimoto discovered Shinbo while he was looking for "unusual" directors, and had found out about Shinbo while watching various series; Cossette was intended to be a project that "showcased Shinbo as an auteur", according to Fujimoto, and it was the first time Shinbo himself had directed and storyboarded every episode.[7] Animestyle magazine editor-in-chief Yūichirō Oguro, in his interview with Shinbo, likened the series to The SoulTaker, calling the atmosphere of the two series "exactly the same."[8] Viewers praised the series' style,[39] with admiration emphasized on the color design and "inventive imagery and camera tricks."[40][41]

Shaft

Team Shinbo (2004–2010)

In 1995, then-Shaft company director and producer Mitsutoshi Kubota asked Shinbo to direct the studio's first original work Juuni Senshi Bakuretsu Eto Ranger, but due to conflicts with his schedule was unable to.[42] Although unable to participate in Eto Ranger, Shaft was later gross outsourced to for an episode of Shinbo's The SoulTaker;[43] reminiscing on the series, Shinbo commented that he was impressed with their work on the episode.[44] Later, after Shaft's founder, Hiroshi Wakao, retired as representative director of the company, Kubota succeeded him as president, and having seen Shinbo's work on Le Portrait de Petit Cossette and The SoulTaker, became interested in working with Shinbo full-time.[11] Kubota intended to transform Shaft into a studio with recognizable characteristics and visual flairs distinct from others in the industry, and Shinbo was a director he believed could work towards that goal.[45]

Shinbo's first project as series director with Shaft was Tsukuyomi: Moon Phase (assisted by Toshimasa Suzuki), an adaptation of Keitarō Arima's manga.[46] Shinbo believed he shouldn't add much of his signature style to the series due to the change in genre from his previous works The SoulTaker and Le Portrait de Petit Cossette, and that he should instead focus on "making things properly", but was asked by the series' sponsors to add some of his aesthetics anyway.[8] The series, which Shinbo said had the theme of "moe", was challenging for him due to the fact that he didn't understand "moe" at the time, so he took great care in receiving help from staff members more experienced with the aesthetics of moe.[47] In creating the series itself, Kubota knew that Shinbo had worked several times with scriptwriter Mayori Sekijima, and so they asked him to write the series composition for the series as well;[48] afterwards, Shinbo decided that the visual aspect of the series would need more solidification, so Nobuyuki Takeuchi (who worked with Shaft often) was asked to take on the role of "visual director."[48] Most of the core directing staff for Shaft's projects for the next several years also worked on the project to some degree: the core Team Shinbo (Shin Oonuma and Tatsuya Oishi) and Ryouki Kamitsubo served as episode directors, among other roles;[49][50] and Naoyuki Tatsuwa participated as a key animator.[51] Oonuma was directly contacted by Shinbo to join him at Shaft due to the former's knowledge on utilizing digital technology;[44] and since Oonuma seemed to be particularly fond of "gal games" and "moe" anime, his contributions with those aesthetics helped Shinbo in directing Tsukuyomi.[47] Oishi had previously worked with Shaft as an animator several times in the past, as well as with Shinbo as a key animator on an episode of Yu Yu Hakusho, so his connections with both made sense for his working on Tsukuyomi;[44] however, Shinbo asked Oishi to direct the sixth episode of Tsukuyomi, which was a new experience for Oishi.[44] Shinbo attributes Tsukuyomi as being the foundation for his experimentalism with Shaft, saying that without the work's out-of-the-ordinary approach, it would not have been possible to collaborate with other like-minded people;[52] and it was because of that approach that they gained recognition, thus allowing for creators such as Oishi, Tatsuwa, and Oonuma to come together.[52]

Shaft's logo since 2017.

In 2005, Shinbo and Oonuma worked together as series co-directors for the first time with Pani Poni Dash!.[53] In animating Pani Poni Dash, Shinbo wanted to expand on the visual cross-cutting (in which buildings are spliced on the camera as if it was a stage production) techniques Nobuyuki Takeuchi used in Tsukuyomi, while also expanding on other experimentalist ideas from the series.[54] He wanted to expand on the idea of staff members showcasing their own abilities and keeping a consistent direction, which he compared to Time Bokan (1975).[54] Although eyecatches were not new to either Shaft or Shinbo, the idea of using them consistently arose when the planners from King Records asked the staff to include the character Behoimi in every episode, but because she did not show up often early on in the story, it was decided that they would instead put her in the eyecatches.[54] Shinbo attributed part of Pani Poni Dash!'s success to King Records' producer on the project (Atsushi Moriyama) and the head of TV Tokyo on the project, who he said would fight for Shaft's ability to use certain references and parodies, thus giving the team a certain degree of freedom in using them.[55]

Between 2006 and 2009, Shinbo directed several more television series and OVAs with various in-house and freelance directors. In 2006: Negima!? with Oonuma;[56] in 2007: Hidamari Sketch with Ryouki Kamitsubo,[57] Sayonara, Zetsubou-Sensei by himself (assisted by Naoyuki Tatsuwa),[58] as well as serving as a supervisor on Oonuma's own series Ef: A Tale of Memories and its sequel Ef: A Tale of Melodies; in 2008: (Zoku) Sayonara, Zetsubou-Sensei and its sequel (Zan) Sayonara, Zetsubou-Sensei with Yukihiro Miyamoto (again assisted by Tatsuwa),[59][60] and Hidamari Sketch x 365 by himself (assisted by "production director" Tatsuya Oishi);[61] and in 2009: Maria Holic with Miyamoto;[62] as well as Natsu no Arashi! with Oonuma, and its sequel Natsu no Arashi! Akinai-chū with Oonuma and Kenichi Ishikura.[63][64] Between 2008 and 2010, the studio also produced a series of Negima! Magister Negi Magi OVAs with several guest directors working under Shinbo including Miyamoto, Tomoyuki Itamura, Hiroaki Tomita, Kōbun Shizuno, Tomokazu Tokoro, and Tatsufumi Itō,[65][66] and a series of Sayonara, Zetsubou-Sensei OVAs directed by Shinbo and Miyamoto (assisted by Tatsuwa as well).[59][67]

Although the two had never worked together before, manga author Jin Kobayashi attended Shinbo's drinking and book reading sessions, where they would read other works.[68] Eventually, it was decided that Shaft, Shinbo, and Oonuma would make an adaptation of Kobayashi's Natsu no Arashi! work. Shinbo felt that one of the most particular aspects of the series was its portrayal of summer (thus, "natsu" in the title), so he asked Oonuma to come up with a way of emphasizing the summer heat.[69] After he discussed with the art team, Oonuma decided that the shading and lit areas by the sun would have substantially different contrasts in order to bring out a feeling of harsh heat from the sunlight.[69] Shinbo himself contributed to the look of the lighting itself, in which it often taking the form of linear, geometric shapes, a style Shinbo said was influenced from the work of art director Yuuji Ikeda on Marude Dameo (1991), a series which Shinbo worked on as an episode director.[70] Although he had used such a style in previous works, Natsu no Arashi! was his first time implementing it across an entire series.[70]

In producing Maria Holic, Shinbo and the staff (such as chief unit director Yukihiro Miyamoto and assistant director Naoyuki Tatsuwa) made the conscious decision of directing the series using some of the tecniques headed by Dezaki, such as Dezaki's "three pan" (三回パン) shots, which show the subject three times for dramatic effect.[71] Maria Holic, which was produced with much of the same staff as Zetsubou-sensei, also utilized stylistic influences from Dezaki's works;[72] in particular, Shinbo wanted to take from the aesthetics of shōjo manga like Aim for the Ace! and The Rose of Versailles.[72]

In April 2008, an anime adaptation of Nisio Isin's novel Bakemonogatari was announced.[73] Shinbo was originally on the project as its only director, but requested that Tatsuya Oishi work with him as series director due Oishi's stylistic affinity for interesting colors and his ability to use cool lettering and Kanji in the animated medium,[74] which Shinbo thought would be beneficial in adapting a novel.[74] He believed that keeping the dialogue more-or-less the same, despite the amount of dialogue in the work, would be interesting as an anime;[74] though, this philosophy in making the work proved to be somewhat problematic, as Shinbo thought of producing the series as a 12-episode work, and although there was enough content to add another episode in the Suruga Monkey arc, that would end up adding an extra episode (nevertheless, 3 extra episodes were produced months later serving as the finale to Bakemonogatari and, more specifically, the Tsubasa Cat arc).[75] Akio Watanabe, with whom Shinbo had worked with on Starship Girl Yamamoto Yohko and Le Portrait de Petit Cossette, was brought onto the project as character designer and chief animation director.[76] Bakemonogatari received cult fame and was widely praised for its aesthetics upon its initial release, and is regarded by some critics as the series that pushed Shaft "into fame", with writers from Funimation describing it as a "hit."[27][77] Whereas most of the studio's works prior to Bakemonogatatari have been described as being light-hearted comedies (such as the Hidamari Sketch franchise, Pani Poni Dash, and Tsukuyomi: Moon Phase), the series was described as being more "episodic" and darker in nature.[78] Stylistically, Bakemonogatari was praised and is considered to be a "visually striking" production by various critics,[79][80] and in 2017, the Tokyo Anime Award Festival selected Bakemonogatari as the best anime of 2009.[81] The series was also an immediate financial success, as indicated by the 6th BD release breaking records for the number of copies sold on its first day.[82]

Madoka Magica era (2010–2013)

Around the time when Bakemonogatari was announced, Shinbo had expressed his desire to produce a magical girl series to Aniplex producer Atsuhiro Iwakami, which spawned the initial development of Puella Magi Madoka Magica. During the early planning stage, Iwakami decided on an original project to give Shinbo more freedom with his direction,[83] and to develop an anime that could appeal to a wider audience than the usual demographic that the magical girl genre was aimed towards; in other words, Shinbo and Iwakami intended for the series to be accessible to "the general anime fan."[84] Gen Urobuchi and Ume Aoki were contacted to work on the project as the scriptwriter and original character designer, respectively, and the four – Shinbo, Urobuchi, Aoki, and Shaft– became collectively known as the "Magica Quartet."[83][85] The team agreed that the work would have a copious amount of blood and a "heavy" storyline that was unique in comparison to other magical girl series.[86][84] Yukihiro Miyamoto, who had been serving as a director with Shaft since 2008, primarily on the Sayonara, Zetsubou-Sensei series, was put on the project as series director alongside Shinbo,[87] and animation troupe Gekidan Inu Curry, who had also been working on Sayonara, Zetsubou-Sensei, were brought on to design the "Alternate Space" world.[88]

Released in 2011 to critical acclaim,[89] Madoka Magica has been cited by several critics as one of the greatest anime series of the 2010s,[90][91][92][93][94][95] and one of the greatest anime series of all time.[96][97][98] Shinbo won the best director awards at the 11th Tokyo Anime Award,[99] and the 2011 Newtype Anime Award for his work on Madoka Magica.[100] In 2017, Shinbo was also chosen by Japanese critics as one of the greatest anime directors of all time for his work on Madoka Magica.[101][102] The series was also a financial success and broke the record for the number of BD volumes sold on the first day (a record previously held by Shinbo's Bakemonogatari) with its 1st BD release,[82] which the series broke again with the following release,[103] and ultimately garnered over ¥40 billion ($400 million) from the sales of related goods by 2013.[104]

Shinbo attributed his success with the series to the culmination of projects that he had been involved with up until that point, especially with Shaft.[105] One series he noted in particular was the Ef series which –although not involved with as a director, but rather as a supervisor– he described as exemplifying that beautiful or cutely drawn characters can mix with a story of heavy themes.[105]

While producing the Madoka Magica franchise, Shinbo and Shaft continued production on a number of other series concurrently. In 2010: Hidamari Sketch x Hoshimittsu with Ishikura,[106] Dance in the Vampire Bund with Masahiro Sonoda,[107] Arakawa Under the Bridge and its sequel Arakawa Under the Bridge x Bridge with Miyamoto,[108] Katte ni Kaizō with Naoyuki Tatsuwa,[109] and And Yet the Town Moves by himself (albeit assisted by Tatsuwa). In 2011, he co-directed Ground Control to Psychoelectric Girl with Miyamoto,[110] the sequel to Maria Holic, Maria Holic Alive, with Tomokazu Tokoro,[111] and he directed Hidamari Sketch x SP and Mahou Sensei Negima! Anime Finale by himself (the latter was assisted by Kenichi Ishikura).[112][113] In 2012, he directed Hidamari Sketch x Honeycomb with Yuki Yase,[114] and this year marked the continuation of the Monogatari series with Nisemonogatari and Nekomonogatari: Black, with director Tomoyuki Itamura replacing Tatsuya Oishi as Shinbo's co-director.[115][116] In 2013, Itamura returned for Monogatari Series Second Season, with Yase and Tatsuwa being featured as series directors for the Kabukimonogatari and Onimonogatari arcs;[117] Yase also co-directed the final OVA series in the Hidamari Sketch anime franchise,[118] and Shinbo solo-directed (with assistance from Tatsuwa) Sasami-san@Ganbaranai as well.[119]

Shinbo interpreted the source material for And Yet the Town Moves as being inspired by and written like an older manga series.[120] For that reason, he wanted to direct the series as if it was an older series, using less-common techniques in the modern era of the time like people reflected in objects and fish-eye lenses.[120]

In making Ground Control to Psychoelectric Girl, Shinbo noted that both himself and the novel's original author, Hitoma Iruma, were male, so he thought the series would've been more interesting if it was instead composed (organized, referring to the series composition writer) from the perspective of a woman.[121] Eventually, Yuniko Ayana was hired to be the series composition writer by request of Shinbo.[121]

Mid-to-late 2010s (2014–2018)

In 2014, Shinbo directed Nisekoi with Tatsuwa,[122] Mekakucity Actors with Yase,[123] and the final arc to Monogatari Series Second Season, Hanamonogatari, with Itamura.[124] Five months later, at the end of 2014, Tsukimonogatari, the first arc in Monogatari Series Final Season, was released.[125] Throughout the next several years, Shinbo continued to direct series with Shaft's other directors, including Gourmet Girl Graffiti (2015) with Tatsuwa,[126] Nisekoi: (2015) with Miyamoto,[127] The Beheading Cycle: The Blue Savant and the Nonsense Bearer (2016–17) with Yase,[128] March Comes In like a Lion (2016–18) with Kenjirou Okada,[129] the film Fireworks (2017) with Nobuyuki Takeuchi, and Fate/Extra: Last Encore (2018) with Miyamoto.[130]

Manga author Chika Umino was a fan of Shinbo's works with Shaft and stated that she did not want an adaptation of March Comes In like a Lion unless it was a Shaft-Shinbo production.[131] Her editor from Hakusensha, Ryou Tomoda, asked about getting an adaptation from the director and studio, but was told it would be impossible.[132] However, the son of shogi player Torahiko Tanaka, Makoto Tanaka, who worked at Tohokushinsha Film, was a fan of Umino's manga as well, and approached Tomoda in adapting the anime.[133] From there, Tomoda met with Aniplex CEO Atsuhiro Iwakami about the prospects of a Shaft-Shinbo adaptation, and Iwakami met with Kubota and Shinbo about the possibility, which they agreed to.[133] Umino had originally wanted the series to have a similar aesthetic to Bakemonogatari, which she stated she was a big fan of, but Shinbo said that it wasn't a good idea;[134] instead of the Bakemonogatari-esque background art Umino had in mind, the series was made with a watercolor-style.[134]

The second arc to Monogatari Series Final Season, Owarimonogatari I,[135] was released in 2015, adapting the first two of three volumes of the original Owarimonogatari novel. Every year thereafter, new series in the franchise were produced, with Koyomimonogatari being released in 2016,[136] and Owarimonogatari II being released in 2017,[137] all of which were co-directed with Itamura. At the same time, however, Tatsuya Oishi had been busy working on the Kizumonogatari trilogy, which had started 4 to 6 years prior, and also involved Shinbo as chief director.[138][139][140] The same year as Kizumonogatari III and Owarimonogatari II's release, however, Itamura left the studio, and Oishi seemingly disappeared from the anime industry. Both director's absence as co-directors led to Shinbo directing Zoku Owarimonogatari, the final novel in Final Season, by himself.[141] The series, initially released as a film in 2018, is the only arc in the Monogatari series directed solely by Shinbo, solely by one director, and the first time he had directed a project without assistants or co-directors since 2011 and 2004 (Hidamari Sketch x SP, and both Magical Girl Lyrical Nanoha and Le Portrait de Petit Cossette). In 2019, he stated that the Monogatari series was his life's work, and that he intended to continue adapting the series and Nisio Isin's other novels.[142]

Hiatus and return (2019–present)

Shinbo and studio Shaft took a hiatus from major animation works in 2019. The only major product from the team that year was the televised release of Zoku Owarimonogatari.[143] The following year, they returned for the adaptation of the spin-off Madoka Magica series Magia Record: Puella Magi Madoka Magica Side Story. Despite the return of Shaft, the series was not directed by Shinbo; instead, Doroinu (one of the two members of Gekidan Inu Curry), who was partially responsible for the original Madoka Magica's alternate space design, served as chief director, and Shinbo served as animation supervisor.[144] Shaft directors Yukihiro Miyamoto (who directed the original series and film trilogy with Shinbo), Kenjirou Okada, and Midori Yoshizawa all served as directors under Doroinu.

Shaft's next work, Assault Lily Bouquet, however, did not feature any involvement from Shinbo whatsoever, the first time since 2007 (Kino's Journey: Country of Illness -For You-) that he was not involved with one of the studio's large projects. In 2021, he returned to the director's chair with an adaptation of Nisio Isin's Pretty Boy Detective Club, which he co-directed with Hajime Ootani.[145] In April of the same year, it was announced that Puella Magi Madoka Magica: Rebellion (2013), the final film in the Madoka Magica trilogy remake, would receive a sequel with Shinbo returning as chief director,[146] and the second and third seasons to Magia Record was announced to be airing in July, again with Doroinu chief directing and Shinbo acting as animation supervisor.[147]

Works

Main article: Akiyuki Shinbo filmography

Style

Shinbo listed Hiroshi Motomiya, Ikki Kajiwara, Go Nagai, and Shotaro Ishinomori among the manga authors that he liked, and stated that their works, such as Kajiwara's Tomorrow's Joe, were big influences on him.[8] Their usage of brightly colored backgrounds and compositions influenced the way he in which he, prior to directing, thought he could make a work visually interesting;[8] the overarching narrative of The SoulTaker protagonist Kyosuke Date looking for his sister was inspired by Motomiya's manga Ore no Sora;[8] and the set designs for Tsukuyomi: Moon Phase were inspired by the television series Kitaro Tareuchi Family and It's Time.[8] Mystery elements found in The SoulTaker and Le Portrait de Petit Cossette were also broadly influenced by the written works of Edogawa Ranpo, whom Shinbo had started reading from while in elementary school.[8] Shinbo attributed Nagai's usage of color in some of his older manga, such as ostentatious red-and-blue paneling, as influencing his own colored panelling later on.[5]

One of Shinbo's earliest influences from the anime industry itself was director Osamu Dezaki whom he, and fellow director Kunihiko Ikuhara, have been described as being direct descendants of Dezaki's particular affinity for exaggerated and grandiose compositional staging.[148] This ties in with Shinbo's emphasis on visual representation, style, and "good pictures" in his works, rather than a focus on traditional storytelling or strong narratives, to which he has said that he "hates making ordinary stuff."[8] As a director, he's stated that his style is not entirely the product of his own innovation, but rather a mix of his own experimentations, as well as techniques and ideas from those he has worked with throughout his career, for example:[8] on Yu Yu Hakusho, Shinbo worked with Motosuke Takahashi (who was a storyboard artist on the series) and attributes Takahashi as being a "mentor" to his development as a director; the realistic qualities in his characters have been attributed to influence by Yoshimitsu Ōhashi, whom Shinbo worked with during production of the sixth episode of Devil Hunter Yohko;[8] and, later on in his career, Shinbo's employment of "dabbing" and "smacking", visual techniques that place an object in front of the subject for composition, which became a recognizable part of his style, was a technique he learned from Mamoru Sasaki while working on New Hurricane Polymar.[8] Artistic motifs unique to Shinbo include chess-like designed columns and colored backgrounds but uncolored or desaturated foreground characters;[149] also unique to Shinbo is the use of stained glass, which he uses for effect in both serious, psychological sequences, as well as more comedy-orientated scenes.[150]

Many of the techniques Shinbo began employing at Shaft weren't just his own, however, as much of his own style comes from animators, producers, and other directors. Shinbo's own style is largely the basis for Shaft's signature style, but Shinbo's style itself is not the sole foundation for the studio's productions, as it's more of a "collaboration between Shaft and SIMBO [sic]".[45] This style has been described as including pictures taken from real life cut into scenes, art shifts, beat panels (despite working in the animation medium), kabuki sound effects, textures that remain stationary when the textured object moves, showing symbols or defining parts of a character (ahoge, hair decorations, foreheads, or other symbols) in place of character shots during dialogue, written text in place, precise use of fan service, and head-turning cinematography (head-tilting).[11] Shinbo stated that he felt it to be unnecessary to add "mob" characters (characters in the backgrounds that don't interact with the cast) and tends to avoid adding them at all in his series.[151] However, he said that he sometimes went against this; for example, in Sayonara, Zetsubou-Sensei, he included faceless background characters,[151] and added Kanji text, floral patterns, and other stylizations that he attributed to colleague Tatsuya Oishi (which was inspired by Shinbo's "faceless" characters).[151] Shinbo has also sometimes made the conscious decision of directing using tecniques headed by Dezaki, such as Dezaki's "three pan" (三回パン) shots.[71]

Shaft was very open to Shinbo's experimentation, to which he stated that they "put up with my requests wonderfully", which gave him and the staff newfound creative control and availability for artistic expression over their projects. Prior to working at Shaft, Shinbo already had a philosophy of "mix[ing] participating staffer’s feelings, not only mine", so the studio's work ethic matched well with his ideas,[8] and has also stated that it's the opinions of the staff and the studio's atmosphere that contribute to the works he directs more than himself;[152] though, Masahiro Mukai, who worked under Shinbo on Puella Magi Madoka Magica and Arakawa Under the Bridge, noted that many of the decisions Shinbo made as a director were solely based on whether or not he thought certain ideas were cool, or whether or not he had grown tired of them.[153]

Other artists Shinbo likes or has taken inspiration from include Yukinobu Hoshino (in particular his black-and-white pattern style),[105][154] Hokusai,[105] Tadanori Yokoo,[105] Pablo Picasso,[105] Egon Schiele,[105] Gustav Klimt,[105] and Andrew Wyeth.[105]

Influence and legacy

Throughout his career, Shinbo has both mentored and influenced numerous creators throughout the industry both in and out of Shaft. In the 90s and early 2000s, he influenced the likes of Masashi Ishihama,[155] Yasuhiro Takemoto of Kyoto Animation,[156][148] and Shintarou Inokawa.

At Shaft, however, rather than influencing industry creators, Shinbo has directly mentored them. Toshimasa Suzuki, a former employee from Shaft who continues to freelance with the company as a director, referred to Shinbo as the catalyst for the studio's identity as a "directing company" (演出の会社).[157] Among the directors he has mentored and influenced at Shaft are: Toshimasa Suzuki, Keizō Kusakawa, Shin Oonuma,[158] Tatsuya Oishi,[158] Nobuyuki Takeuchi,[148][159] Koutarou Tamura,[160] Kenichi Ishikura, Takashi Kawabata, Ryouki Kamitsubo,[161][162] Shinichi Omata,[11] Masahiro Mukai,[153] Yuki Yase,[163] Naoyuki Tatsuwa,[164] Tomoyuki Itamura,[164] Yukihiro Miyamoto,[164] Hajime Ootani,[165] and Kenjirou Okada.[166]

Notes

General notes

  1. ^ Alternatively romanized as Hitoshi Shiiya, the name was originally used as a pseudonym by the staff of Shaft, but was used for Shinbo's storyboards on the Hidamari Sketch series.
  2. ^ Sōji Homura's storyboards were named as "Shinbo's" storyboards by Shaft.[1]
  3. ^ Although he asked ANN to romanize his name as Akiyuki Simbo,[3] his book of interviews (which he supervised the production of) stylizes the name as Akiyuki Shimbo.

Works cited

  • Shinbo, Akiyuki (2012). 新房語 [Shinbogatari] (in Japanese). Ichijinsha. ISBN 978-4758012591.
  • Rubin, Lucy Paige (2017). Between Comedy and Despair: The House Style of Studio Shaft (Bachelor of the Arts). Wesleyan University. Retrieved May 24, 2021.
  • Takahashi, Yumi, ed. (2019). Akiyuki Shimbo x Shaft Chronicle (in Japanese). Dotcom. ISBN 978-4835457017.
  • Maeda, Hisashi; Hiraiwa, Shinsuke (2007). アニメ新表現宣言！新房監督作品の奥にアニメ表現の最先端を見た！ [Declaration of a New Expression for Anime! I saw the Cutting Edge of Anime Expression in Director Shinbo's Work!] (in Japanese). Tamon Creative. Retrieved July 17, 2022.

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  162. ^ Ryouki Kamitsubo [@kamitsubonpu] (April 5, 2012). こう見ると、意外と新房さんの影響は少なそうに見えるが、そんなことは無く、実は画面に出ないアニメ作りのスタンスという面で多大な影響を受けている。ぶっちゃけ価値観変わったってレベルｗ　まぁ、真似出来るものでも無いので同じにはならないんですけどね（汗） [Looking at it this way, it may seem that Mr. Shinbo's influence is surprisingly small, but it is not. In fact, he has greatly influenced me in terms of his stance on making animation that does not appear on the screen. To be honest, he has changed my sense of values.] (Tweet) (in Japanese) – via Twitter.
  163. ^ Rubin 2017, p. 201-202.
  164. ^ a b c Rubin 2017, p. 21.
  165. ^ Akiyuki Shinbo (November 24, 2021). Pretty Boy Detective Club Blu-Ray Volume 5 (Interview) (in Japanese).
  166. ^ Rubin 2017, p. 239.

Further reading

  • "Negima!?" (November 2006). Newtype USA. p. 10.

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