Akiyuki Shinbo

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Akiyuki Shinbo
新房 昭之
Born (1961-09-27) September 27, 1961 (age 59)
Other namesJūhachi Minamizawa (南澤十八)
Taiji Shiiya (椎谷太志)[a]
Sōji Homura (帆村壮二)[b]
OccupationAnimator, director, storyboard artist, writer
Years active1985–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 1985 as a key animator at Studio One Pattern, 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[edit]

Shinbo was born on September 27, 1961, in Koori, Fukushima Prefecture, Japan.[3] After high school, he attended Tokyo Designer Gakuin College [ja].[4]

Career[edit]

Early career[edit]

Studio One Pattern and Pierrot (1985–1994)[edit]

After graduating from Tokyo Designer Gakuin College, Shinbo worked as a key animator for Studio One Pattern, a sub-contracting animation studio.[5] In 1990, he debuted as an episode director on Pierrot's Musashi, the Samurai Lord television series.[5] After several years of other minor animation credits, Shinbo joined the studio's production team for Yu Yu Hakusho (1992–1994) and served as a storyboard artist and episode director under Noriyuki Abe, who had served alongside Shinbo as an episode director on Musashi, the Samurai Lord. Shinbo was placed in charge of storyboarding and direction for various episodes, and the series' Dark Tournament arc is sometimes regarded as the first appearance of his unique visual directorial style.[6] Shinbo has credited animator and animation director Atsushi Wakabayashi as the driving force behind his work on the series. Shinbo has also described storyboard artist Motosuke Takahashi as a "mentor" figure, and has stated that it was Takahashi who taught him about directing while working on Yu Yu Hakusho.[5]

Developing as a director (1994–2000)[edit]

Shinbo's involvement with Yu Yu Hakusho lessened over time, and it was in 1994, in the middle of Yu Yu Hakushos production, that he was chosen to direct J.C.Staff's anime-original television series Metal Fighter Miku after the project's initial director dropped the project after pre-production. Shinbo said that he was chosen as the director out of "coincidence" when an executive producer had "accidentally" watched the 74th episode of Yu Yu Hakusho, which Shinbo had storyboarded and directed.[5][7] The series was given a mixed reaction from Jeremy Beard of T.H.E.M. Anime Reviews.[8]

Following Metal Fighter Miku, Shinbo directed the sixth and final episode of Madhouse's Devil Hunter Yohko, which garnered mixed reception for the series overall from T.H.E.M. Anime Reviews writer Carlos Ross,[9] and was cited by Shinbo as being a major point in his development as a director.[5]

In 1996, Shinbo began directing a myriad of original video animations (OVAs), starting with J.C.Staff and T-Up's Starship Girl Yamamoto Yohko. The series spawned a second OVA series in 1997, and a 26-episode television series in 1999, all of which received mixed to positive critical reception.[10][11][12][13] In the same year, Shinbo directed Debutante Detective Corps at Daume, initiating what would be his first of two projects with the company; as an initial project with Daume, however, the OVA was panned by reviewers.[14] He also directed his first of two projects in his career with Tatsunoko Production: a reboot of the 1974 superhero series Hurricane Polymar titled New Hurricane Polymar (1997), where he states he learned the composition techniques of "smacking" and "dabbing."[5] He would then end up working with J.C.Staff again to produce Galaxy Fräulein Yuna Returns, which is a sequel to the 1995 OVA directed by Yorifusa Yamaguchi,[15] who Shinbo had served under in the original series as the series' storyboard artist.[16][17]

Once more, Shinbo worked with Madhouse on an OVA adaptation of Saki Okuse's Twilight of the Dark Master manga in 1997,[18] and again with J.C.Staff and T-Up to produce a 3-episode OVA adaptation of Hitoshi Okuda's Detatoko Princess manga series.[19] During production of Detatoko Princess, he decided to begin directing in a "simple and frivolous" manner, as he "hate[d] making ordinary stuff."[5] He worked for the final time with studio Pierrot in 1999 with the 4-episode original series Tenamonya Voyagers.[20]

Rise to fame[edit]

The SoulTaker (2000–2001)[edit]

In 2001, Shinbo again partook in a Tatsunoko Production series (aided by Tatsunoko VCR, Tatsunoko's digital subdivision) with The SoulTaker. Shinbo himself admitted to focusing more on shot composition and imagery than anything else on the series, and instead leaving organization of the story to writer Mayori Sekijima. Including all three Starship Girl Yamamoto Yohko series, The SoulTaker marked Shinbo's fourth collaboration with Sekijima, and his second collaboration with character designer Akio Watanabe, who would later become a frequent collaborator at Shaft.[5] The SoulTaker was Shinbo's most artistic series at the time and received both praise and criticism for his direction and the series' art design by reviewers;[21][22] despite the criticisms, Mike Toole of Anime News Network noted that the series was important for being "the start of Akiyuki Shinbo's long transformation."[23]

Adult videos, Seven Arcs, and Le Portrait de Petit Cossette (2002–2004)[edit]

With The SoulTaker complete, Shinbo took a brief hiatus from the mainstream anime industry; despite some believing that he simply had no work in the industry during the two year time period between the end of The SoulTaker and the start of his nex series, it was later discovered that he had directed several hentai series under the pseudonym Jūhachi Minamizawa (南澤 十八, Minamizawa Jūhachi) with AT-2 Project, Arcturus' adult video brand.[24]

Arcturus was an animation studio subsidiary of Seven Arcs, and after working on the studio's hentai OVAs, was brought to Seven Arcs to direct the Triangle Heart: Sweet Songs Forever OVA series in 2003.[5] It was there that the foundations for the Lyrical Nanoha franchise were constructed. Seven Arcs, Shinbo, and writer Masaki Tsuzuki (who had written Triangle Hearts) created the television series Magical Girl Lyrical Nanoha in 2004.[25][5] 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.[26] Carl Kimlinger of Anime News Network criticized the series for having a more mature tone than its characters ages should have represented.[27] In contrast, online magazine ICv2 noted that the series had become popular in the United States among "hardcore" fans due to the characters' adversaries containing more "real" and "intense" social issues not found in other series of the same genre.[28] Despite the criticisms of the series, Kimlinger noted the series' usage of multiple animation directors and multiple art-styles, something he found to give the series an "undeniably appealing" look.[26] The success of the series spawned a franchise that consists of four television series and four theatrical films.[29][30]

A year later, producer Masaotoshi Fujimoto and Shinbo concepted a project together in what would become Le Portrait de Petit Cossette, which would once again incorporate Shinbo's direction with writer Mayori Sekijima, character designer Akio Watanabe, animation studio Daume, and art director Junichi Higashi (the latter of whom he had worked with on Tenamonya Voyagers).[31] The series also marked the first time Shinbo would be working with composer Yuki Kajiura.[32] Fujimoto and Shinbo met during the latter's time with J.C.Staff, and it was then that the two had begun concepting what would eventually be the Cossette OVA years later. Fujimoto stated that 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. It was the first series in which Shinbo himself had directed and storyboarded every episode, as well.[4] 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."[5] Viewers praised how "stylish" the series was,[33] with praise emphasized on the color design and "inventive imagery and camera tricks."[34][35]

Shaft[edit]

Establishing Shaft's style (2004–2009)[edit]

Shinbo's first involvement with Shaft was as an in-between animation inspector for Sakura Diaries and Arcade Gamer Fubuki. In 2004, Shaft underwent a change in ownership: Hiroshi Wakao, the company's founder, was retiring, and Mitsutoshi Kubota was replacing him as president. Having seen Shinbo's work on Le Portrait de Petit Cossette and The SoulTaker, Kubota became interested in working with him.[6] Kubota wanted to transform Shaft into a studio with recognizable characteristics and visual flairs in their works.[36]

At Shaft, Shinbo's work wasn't mainly focused on direction (of course, he was involved as a director on most series, but his level of involvement varied by series); rather, he mainly acted as a mentor to the studio's animators and directors and ensured that each series had what would later be categorized as "Shaft's style."[6]

Shaft's logo since 2017.

Shinbo brought to Shaft various other creators he had met throughout his career with the industry from the 90s and early 2000s. Shin Ōnuma and Tatsuya Oishi joined the studio with him, and the three created what was called "Team Shinbo."[6] Many other talents joined the studio's endeavors throughout the following years, such as directors Nobuyuki Takeuchi, Kenichi Ishikura, Ryouki Kamitsubo, Shinichi Omata, Gekidan Inu Curry, Yuki Yase, Naoyuki Tatsuwa, Tomoyuki Itamura, Yukihiro Miyamoto, Hajime Ōtani, Kenjirou Okada, and Shouji Saeki.

Shinbo's first project as a director with Shaft was Tsukuyomi: Moon Phase, an adaptation of Keitarō Arima's manga.[37] It was a series that he did not have much experience with, in terms of genre, due to the fact that it was considered a "moe" work, which was contrasted by his most well-known works at the time: The SoulTaker and Le Portrait de Petit Cossette, both of which had dark, gothic atmospheres and themes. For this reason, Shinbo believed he wouldn't add much of his signature style and would instead focus on "making things properly", but was asked by the series' sponsors to add some of his aesthetics.[5]

Breakthrough success (2009–2011)[edit]

In April 2008, it was announced that an anime adaptation of Nisio Isin's Bakemonogatari light novel would be produced.[38] Shinbo served as director, with Tatsuya Oishi making his directorial debut as series director, and aired 15 episodes from 2009 to 2010. 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.[39] 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."[24][40] Whereas most of the studio's works until that point have been described as lighter comedies (such as the Hidamari Sketch franchise, PaniPoni Dash, and Tsukuyomi: Moon Phase), Bakemonogatari has been described as more "episodic" and darker in nature.[41] Stylistically, Bakemonogatari was praised and is considered to be a "visually striking" production by various critics.[42][43] In 2017, the Tokyo Anime Award Festival selected Bakemonogatari as the best anime of 2009.[44]

Shinbo expressed to Aniplex producer Atsuhiro Iwakami his desire to create a new magical girl series in 2008 and 2009, thus spawning the initial development of Puella Magi Madoka Magica. During the early planning stage, Iwakami decided not to adapt an existing work in order to give Shinbo more freedom in his direction style.[45] Another goal of the project was to develop an anime that could appeal to a wider audience than the usual demographic for media within the magical girl genre. Shinbo and Iwakami intended for their series to be accessible to "the general anime fan."[46] Shinbo then contacted Gen Urobuchi and Ume Aoki to work on the project as the main writer and original character designer, respectively.[45][47] The four –Shinbo, Iwakami, Urobuchi, and Aoki– became collectively known as the "Magica Quartet." Madoka Magica was not a project solely directed by Shinbo, however, as Yukihiro Miyamoto, who had been serving as a director with Shinbo and Shaft since 2008, served as the series director.[48] This led to the hiring of Yōsuke Anai and Ayumi Shiraishi, the duo known as Gekidan Inu Curry, to design the "Alternate Space" world, as they were old colleagues of Miyamoto and had previously worked on Sayonara, Zetsubou-Sensei and Maria Holic (which Shinbo and Miyamoto had directed together).[49] Anai (known under the pseudonym Doroinu) would later serve as chief director for the spin-off series Magia Record: Puella Magi Madoka Magica Side Story, with Shinbo serving as animation supervisor. Released in 2011 to great critical acclaim,[50] Madoka Magica has been cited by several critics as one of the greatest anime title of all time.[51][52][53] Shinbo won the best director awards at the 11th Tokyo Anime Award,[54] and the 2011 Newtype Anime Award for his work on Madoka Magica.[55] In 2017, Shinbo was also chosen by Japanese critics as one of the greatest anime directors for his work on Madoka Magica.[56][57]

Inspirations, style, and influence[edit]

Shinbo has said that, among mangaka, Hiroshi Motomiya and Ikki Kajiwara were among his favorite, and that both of their series were inspiring. He's cited multiple novelists and television series for directly inspiring certain aspects of his series; for example, The SoulTaker was heavily influenced by the style of novelist Hiroshi Motohiro, and the set designs for Tsukuyomi: Moon Phase were inspired by the television series Kitaro Tareuchi Family and It's Time. The mystery elements in The SoulTaker and Le Portrait de Petit Cossette come from the works of Edogawa Ranpo, which Shinbo had been reading since elementary school.[5]

Shinbo focuses more on visual representation, style, and "good pictures" in his works rather than traditional storytelling or strong narratives, and has said that he "hates making ordinary stuff." As a director, his style isn't entirely the product of his own innovation, but rather a mix of his own experimentations as well as techniques and ideas from those he's worked with throughout his career. On Yu Yu Hakusho, Shinbo worked with Motosuke Takahashi (who was a storyboard artist on the series) and to whom Shinbo attributes as being a "mentor" to his directing. The realistic qualities in his characters have been attributed to influence by Yoshimitsu Ōhashi, whom Shinbo worked with during production of the 6th episode of Devil Hunter Yohko. 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, became known as a recognizable part of his style; he thought it was cool and learned this technique from Mamoru Sasaki while working on New Hurricane Polymar.[5]

Many of the techniques Shinbo began employing at Shaft weren't just his own, however, as many came from (and he began to use) animators, producers, and other directors. What he defined at Shaft, however, wasn't his own style (which was already established with earlier works), but rather the "Shaft style." One particular example of this is occurring is during production of Tsukuyomi: Moon Phase, in which an animator suggested a wash basin falling on a character's head, and Shinbo liked the idea enough that it became a recurring gag.[5] The "Shaft style" itself, however, has been defined as including pictures taken from real life cut into scenes, art shifts, beat panels (despite the fact that his work is animated), 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 more bizarre symbols) in place of characters during dialogue, written text in place (in opposition to dialogue), precise use of fan service, and head-turning cinematography (head-tilting).[6] Shaft was very open to Shinbo's experimentation (saying 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 Shinbo.[5]

Works[edit]

As Shinbo uses various pseudonyms, such as Sōji Homura and Taiji Shiiya,[a] the full scope of his storyboarding and episode/unit director duties are not known.

as Director[edit]

Shinbo and co-directors credited for all works as Director (監督, Kantoku) unless stated otherwise.

Television series[edit]

Year Title Co-director(s) Studio Eps. Storyboard art. Episode dir.[d] Series comp. Ref(s)
1994 Metal Fighter Miku N/A J.C.Staff 13 Yes (#13) Yes (#13) No [7]
1999 Starship Girl Yamamoto Yohko N/A J.C.Staff
T-Up
26 Yes (#1, 25) Un­known[e] No [58]
2001 The SoulTaker N/A Tatsunoko Production
Tatsunoko VCR
13 Yes (#1, 2, 5, 13)[f] No No [59]
2004 Magical Girl Lyrical Nanoha N/A Seven Arcs 13 Un­known[g] No No [25]
Tsukuyomi: Moon Phase[i] N/A Shaft 25 Un­known[i] No No [60]
2005 Paniponi Dash! Shin Ōnuma (series)[ii] Shaft 26 No No No [61]
2006–2007 Negima!? Shin Ōnuma (chief)[iii] Shaft 26 No No No [62]
2007 Sayonara Zetsubou Sensei N/A Shaft 12 No No No [63]
Hidamari Sketch[i] Ryouki Kamitsubo (chief)[iii]
Masayuki Iimura (S1)
Shaft 12 Yes (#4–5, 10, 12, S1)[j] No No [64]
2008 Zoku Sayonara Zetsubou Sensei Yukihiro Miyamoto (chief)[iv] Shaft 12 No No No [65]
Hidamari Sketch x 365 N/A Shaft 13 Yes (#12)[k] No No [66]
2009 Natsu no Arashi! Shin Ōnuma (series)[ii] Shaft 13 No No No [67]
Maria Holic Yukihiro Miyamoto (series)[ii] Shaft 12 No No No [68]
Zan Sayonara Zetsubou Sensei Yukihiro Miyamoto (chief)[iv] Shaft 13 No No Yes [69]
Natsu no Arashi! Akinai-chū Kenichi Ishikura (series)[ii] Shaft 13 No No No [70]
2009–2010 Bakemonogatari Tatsuya Oishi (series)[ii] Shaft 15 No No Yes [71]
2010 Hidamari Sketch × Hoshimittsu Kenichi Ishikura (series)[ii] Shaft 12 Un­known[l] No No [72]
Dance in the Vampire Bund Masahiro Sonoda (series)[ii] Shaft 12 No No No [73]
Arakawa Under the Bridge Yukihiro Miyamoto (series)[ii] Shaft 13 No No No [74]
Arakawa Under the Bridge x Bridge Yukihiro Miyamoto (series)[ii] Shaft 13 No Un­known[m] No [75]
And Yet the Town Moves N/A Shaft 12 Un­known[n] No No [76]
2011 Puella Magi Madoka Magica Yukihiro Miyamoto (series)[ii] Shaft 12 Un­known[o] No No [48]
Ground Control to Psychoelectric Girl[i] Yukihiro Miyamoto (series)[ii] Shaft 12 No No No [76]
Maria Holic Alive[i] Tomokazu Tokoro (series)[ii] Shaft 12 No No No [77]
Hidamari Sketch x SP N/A Shaft 2 Un­known[l] No No [78]
2012 Hidamari Sketch x Honeycomb[i] Yuki Yase Shaft 12 No No No [79]
Nisemonogatari Tomoyuki Itamura (series)[ii] Shaft 11 No No Yes [80]
Nekomonogatari: Black[i] Tomoyuki Itamura (series)[ii] Shaft 4 No No Yes [81]
2013 Sasami-san@Ganbaranai N/A Shaft 12 No No No [82]
Monogatari Series Second Season[i] Tomoyuki Itamura
Naoyuki Tatsuwa (#6–9, series)[ii]
Yuki Yase (#14–23, series)[ii]
Shaft 26 No No Yes [83][84]
2014 Nisekoi[i] Naoyuki Tatsuwa Shaft 20 Un­known[p] No Yes [85]
Mekakucity Actors[i] Yuki Yase Shaft 12 No No No [86]
Hanamonogatari[i] Tomoyuki Itamura Shaft 5 No No Yes [87]
Tsukimonogatari[i] Tomoyuki Itamura Shaft 4 No No Yes [88]
2015 Gourmet Girl Graffiti[i] Naoyuki Tatsuwa Shaft 12 No No No [89]
Nisekoi:[i] Yukihiro Miyamoto (chief)[iv] Shaft 12 No No Yes [90]
Owarimonogatari[i] Tomoyuki Itamura Shaft 13 No No Yes [91][92]
2016–2017 March Comes In like a Lion Kenjirou Okada (series)[ii] Shaft 22 No No Yes [93]
2017 Owarimonogatari II[i] Tomoyuki Itamura Shaft 7 No No Yes [91][94]
2017–2018 March Comes In like a Lion 2nd Season Kenjirō Okada (series)[ii] Shaft 22 No No Yes [95]
2018 Fate/Extra Last Encore[i] Yukihiro Miyamoto (series)[ii] Shaft 13 No No No [96]
2019 Zoku Owarimonogatari N/A Shaft 6[q] No No Yes [97][98]
2021 Pretty Boy Detective Club[i] TBA Shaft TBA TBA TBA TBA [99]

OVAs/ONAs[edit]

Year Title Co-director(s) Studio Eps. Storyboard art. Episode dir.[d] Series comp. Ref(s)
1995 Devil Hunter Yohko N/A Madhouse 1 (#6) Yes (#6) Un­known No [100]
1996 Starship Girl Yamamoto Yohko I N/A J.C.Staff
T-Up
3 Yes #3) No No [10]
Debutante Detective Corps N/A Daume 1 No No No [14]
1996–1997 New Hurricane Polymar N/A Tatsunoko Production 2 No No No [101]
Galaxy Fräulein Yuna Returns N/A J.C.Staff 3 Un­known[r] No No [15]
1997 Starship Girl Yamamoto Yohko II N/A J.C.Staff
T-Up
3 Yes (#1) Yes (#3) No
Twilight of the Dark Master N/A Madhouse 1 No No No [102]
1997–1998 Detatoko Princess N/A J.C.Staff
T-Up
3 No No No [19]
1999 Tenamonya Voyagers N/A Pierrot 4 Un­known[s] Un­known[s] No [20]
2002 Sibling Secret' N/A Arcturus 3 No No No
Blood Royal N/A Arcturus 2 No No No
2002–2003 Nurse Me N/A Arcturus 3 No No No
2003 Temptation N/A Arcturus 2 No No No
Triangle Heart ~Sweet Songs Forever~ N/A Seven Arcs 4 No No No [5]
2003–2004 Swallowtail Inn N/A Arcturus 3 No No No
2004 Le Portrait de Petit Cossette N/A Daume 3 Yes Yes No [4][103]
2006 Mahō Sensei Negima!: Spring (Haru) Shin Ōnuma (series)[ii] Shaft 1 Un­known[t] No No [104][105]
Mahō Sensei Negima!: Summer (Natsu) Shin Ōnuma (series)[ii] Shaft 1 No No No [106][105]
2008 Shina Dark N/A Shaft 4 Un­known Un­known No [107]
2008–2009 Mahou Sensei Negima! ~Shiroki Tsubasa Ala Alba~[i] Hiroaki Tomita (#1)
Yukihiro Miyamoto (#2)
Tomoyuki Itamura (#3)
Shaft
Studio Pastoral
3 Un­known[u] No No [108]
Goku Sayonara Zetsubou Sensei Yukihiro Miyamoto (chief)[iv] Shaft 3 No No Yes [65]
2009 Pani Poni Dash! Shin Ōnuma (series)[ii] Shaft 1 No No No
2009–2010 Zan Sayonara Zetsubou Sensei Bangaichi Yukihiro Miyamoto (chief)[iv] Shaft 2 No No Yes [109]
Mahou Sensei Negima! ~Mou Hitotsu no Sekai~[i] Kōbun Shizuno (#1–2)
Tomokazu Tokoro (#3–4)
Tatsufumi Itō (#5)
Shaft
Studio Pastoral
5 No No No [110][111]
2011 Katte ni Kaizō[i] Naoyuki Tatsuwa Shaft 6 No No No [112]
2012 Sayonara, Zetsubou-Sensei N/A Shaft 1 No No Yes
Ground Control to Psychoelectric Girl[i] Yukihiro Miyamoto Shaft 1 No No No
2013 Hidamari Sketch: Sae & Hiro's Graduation Arc[i] Yuki Yase Shaft 2 No Un­known[v] No [113]
2015 Puella Magi Madoka Magica: Concept Movie Yukihiro Miyamoto Shaft 1 Yes No No [114]
2016 Magical Pâtissier Kosaki-chan[i] Yukihiro Miyamoto (chief)[iv] Shaft 2 No No Yes [115]
Koyomimonogatari[i] Tomoyuki Itamura Shaft 12 No No Yes [116]
2016–2017 Kubikiri Cycle: The Beheading Cycle & The Blue Savant[i] Yuki Yase Shaft 8 Un­known[w] No Yes [117]

Films[edit]

Year Title Co-director(s) Studio Duration Storyboard art. Unit dir.[d] Series comp. Ref(s)
2011 Mahou Sensei Negima! Anime Finale N/A Shaft
Studio Pastoral
76 minutes No No Yes [118]
2012 Puella Magi Madoka Magica the Movie: Beginnings[i] Yukihiro Miyamoto Shaft 130 minutes No No Yes[x] [119][120]
Puella Magi Madoka Magica the Movie: Eternal[i] 110 minutes Un­known[o] No Yes[x] [119][120]
2013 Puella Magi Madoka Magica the Movie: Rebellion[i] 116 minutes No No No [119][121]
2016 Kizumonogatari Part 1: Tekketsu[i] Tatsuya Oishi Shaft 64 minutes No No Yes [122][123]
Kizumonogatari Part 2: Nekketsu[i] 69 minutes No No Yes [124][125]
2017 Kizumonogatari Part 3: Reiketsu[i] 83 minutes No No Yes [124][126]
Fireworks[i] Nobuyuki Takeuchi Shaft 90 minutes No No No [127]

Books[edit]

Year Title Publisher Release date ISBN Ref(s)
2019 Akiyuki Shimbo x Shaft Chronicle Dotcom November 23 978-4-83-545701-7 [128]

Notes[edit]

General[edit]

  1. ^ a b Alternatively Romanized as Futoshi Shiiya.
  2. ^ Sōji Homura's storyboards were named as "Shinbo's" storyboards by Shaft.[1]
  3. ^ Stylized by Shinbo himself as Akiyuki Simbo.[2]
  4. ^ a b c The terms "unit director" and "episode director" are snyonymous.
  5. ^ An unknown episode director, 御前崎海, is credited for the 7th and 16th episodes.
  6. ^ Episodes 2 and 5 credited to the pseudonym Sōji Homura.
  7. ^ An unknown episode director, 一分寸僚安, is credited for the first episode.
  8. ^ Occasionally translated as "Executive Director", "General Director", or "Supervising Director."
  9. ^ The ending credits to episode 1 do not list anyone for storyboard art.
  10. ^ Episodes 4–5, 10, 12 credited to the pseudonym Taiji Shiiya, and Special 1 credited to the pseudonym Sōji Homura.
  11. ^ Credited to the pseudonym Sōji Homura.
  12. ^ a b An unknown storyboard artist, 進藤里子, is credited for the 2nd episode of SP and the 1st episode of Hoshimittsu.
  13. ^ An unknown episode director, 志村千里, is credited for the 3rd and 10th episodes.
  14. ^ An unknown storyboard artist, 岡田明信, is credited for episodes 9 and 12.
  15. ^ a b An unknown storyboard artist, Noriko Nanashima (七嶋典子, Nanashima Noriko), is credited for the 9th episode of the Madoka Magica television series and the second Madoka Magica film (Eternal).
  16. ^ An unknown storyboard artist, 多田貴大, is credited for episode 12. Another unknown storyboard artist, 名村秀敏, is credited for episode 13 (however this could be a misspelling of Hidetoshi Nomura's name, whose name is written as 名村英敏).
  17. ^ Initially released as a 148 minute film on November 10, 2018.
  18. ^ The ending credits do not list anyone for storyboards for episode 2.
  19. ^ a b The ending credits to episodes 1, 2, and 4 do not list anyone for storyboard art or episode direction.
  20. ^ The ending credits do not list anyone for storyboard art.
  21. ^ An unknown storyboard artist, 藤山直人, is credited for episode 2.
  22. ^ The ending credits to episode 2 do not list anyone for episode direction.
  23. ^ The ending credits to episode 2 do not list anyone for storyboard art.
  24. ^ a b Credited as 劇場版構成 (Film Composition).

Director credits[edit]

  1. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af Credited as Chief Director (総監督, Sō Kantoku)[h].
  2. ^ a b c d e f g h i j k l m n o p q r s t u v Credited as Series Director (シリーズディレクター, Shirīzu Direkutā).
  3. ^ a b Credited as Chief Director (チーフディレクター, Chīfu Direkutā).
  4. ^ a b c d e f Credited as Chief Director (チーフ演出, Chīfu Enshutsu).

References[edit]

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Further reading[edit]

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

External links[edit]