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Toei has produced another little gem of highly stylized directing and visuals in their just-released OVA Kyoso Giga. The film is a fast-paced romp full of bright colors, highly deformed and active animation, and constantly surprising angles and layouts.
The directing is in the willful and flamboyant mold that characterizes all the great Toei directors of the last two decades, of which there is quite a long list, most notably Shigeyasu Yamauchi, Kenji Nakamura, Mamoru Hosoda, Takuya Igarashi and Kunihiko Ikuhara. They tell a story not by plopping characters in the middle of the screen and letting them talk, but cutting in an unpredictable rapid-fire between elliptical shots in a way that keeps you on the edge of your seat, and coming up with new approaches to visual presentation and stylization and pleasing new ways of combining the CGI and hand drawn elements. The director here pushes this style to such a breakneck extreme that I had a hard time following it and it left me dizzy and hoping it would stop soon, though I still enjoyed every moment. It feels very much of the Toei lineage, but it's directed by a director I've never heard of: Rie Matsumoto. Turns out she's a new face who has only come to prominence in the last few years. She apparently got interested in animation after being impressed by Mamoru Hosoda's Children's War Game, and decided to join Toei for that reason. She's been mostly active directing Toei's franchise for little girls Precure.
There isn't a moment that lets you rest in the 30-minute outing thanks to the constantly creative visual presentation, the beautiful background art with a nice stylized rendering of old Kyoto, and the edgy and high-energy animation. The designs of the characters and especially the monsters are fluid and full of unexpected angles. The monsters in particular are drawn in a loosely appealing way with flowing and jagged forms. The action scenes move something crazy thanks to a handful of powerful young animators working on the show, but even in the non-action scenes the director maintains interest through a mix of Hosoda-styled densely layered formalistic shots with different things happened on different layers, shifting unexpectedly between realistic images of the characters in the real world and highly stylized images of the characters walking through some kind of alternative universe of the imagination full of colorful decorations hanging from strings and eye-poppingly colorful geometrical patterns.
The animation director and character designer is Yuki Hayashi, who has made a name for himself in the last few years as an interesting animator with a sense for well-timed action that uses a minimum of means. Not coincidentally he also did most of his work on Precure. I like his youkai (monster) characters in particular. They're drawn with long, loose, flowing forms. But even the cute protagonists are cute in a way that isn't annoying for trying too hard to look cute. Their drawing style is clearly identifiable as recent Toei. Working under him are other talented animators like freelance ex-gif animator Shinichi Kurita, Toei regular and FX specialist Takashi Hashimoto and even Tate Naoki, the flamboyant animator from Toei's franchise for little boys One Piece. Hopefully Toei will rope in Hisashi Mori for some good work in a future episode. Tatsuzo Nishita would be nice too. Haven't seen him in a while.
The script by Miho Maruo is witty if a little frustrating in its deliberate ellipsis. You're obviously meant to not understand what the heck is going on in this episode - one of the characters even speaks for the audience: "I have no idea what the heck is going on." But it's well done, for what it is, juggling a lot of characters while keeping the story pulsing forward.