Gonzo, with its distinctive "gonzo" pronunciation, may be instantly memorable, but for anime fans, Gonzo stands for "Ao no Roku" and Yukikaze's graceful figure. For anime fans, Gonzo stands for "Ao no Roku", for Yukikaze's beautiful figure, and for the deteriorating production quality from the second episode onwards. .... Impressions and legends often make it hard to see the truth. What kind of company is Gonzo? And is the so-called "bad" quality of Gonzo really a characteristic of Gonzo?
King of the Grotto (October '04, Supervisor: Makuhiro Maeda): For Gonzo's 2004 anime, King of the Grotto is a must-see. Based on Alexandre Dumas' "The Count of Monte Cristo," the anime is an adaptation of the famous "The Count of Monte Cristo" and is of a very high caliber in terms of both storyline and graphics. For the first time, Gainax-born Mahiro Maeda took on the important task of planning and supervising the project, and changed the setting of "The Count of Monte Cristo," which he has loved since childhood, into a futuristic world, and the main character was also changed to a 15-year-old boy named Abel, which re-presented the world of the classic novel from a different perspective. In order to create a special atmosphere in the story, Gonzo combined hand-drawn characters with digitally-painted clothing texture maps to make the texture depiction of the originally cumbersome character screen unusually convenient, and the effect is quite gorgeous, as if to bring people into a dreamlike future Paris.
Seven Samurai (04, supervised by Toshifumi Ryuzawa): After acquiring the license for Akira Kurosawa's "Seven Samurai," a masterpiece of Japanese cinema, Gonzo was given the go-ahead to produce the first animated version of the Seven Samurai. The producers took a bold step in adapting the original film, setting it in a futuristic cosmic era and bringing in Toshifumi Ryuzawa and Ryosuke Takahashi, both of whom have extensive experience at another animation company, Sunrise, to serve as supervisors and assistants. The two animators, who are working with Gonzo for the first time, give Seven Samurai a touch of Sunrise's hard-edged steel
KILL CITY (04, Kazuno Itano): Gantz, which depicts brutal battles in the world after death, is adapted from the gorgeously drawn, and quite brilliant, original work of Yuuya Okuhiro, and its animation itself has been a great success. The anime version of "Gantz" is supervised by Kazuhiro Itano from "Hyperspace Fortress". In order to recreate the splendor of the manga, Gonzo also used a lot of digital technology to process the backgrounds and details, but unfortunately, the backgrounds and characters blend a little awkwardly
LAST EXILE (03, Chiaki Koichi): Like the "Battle Goblin Yukikaze," Gonzo's work on the TV anime "Last Exile" is a bit of a challenge, but it's not as easy as it sounds. The TV version of the anime "Last Exile" was also made with great care, not only to prove its strength but also to challenge the limits of TV anime production techniques. To do this, Gonzo assembled a team of "Seiroku" veterans such as Masahiro Maeda, Koichi Chiaki, and Lenel Murata, and the producer was one of Gonzo's own, Muramahama, as was the case with Yukikaze, so that the production staff was able to utilize their strengths to the best of their abilities. In the weekly TV version of the anime, the quality of the animation is close to that of the OVAs
The Battle Goblin Yukikaze (OVA, 02-05, Masahiko Okura): Just when we were about to think of Gonzo as being synonymous with bad anime, they once again come back with a high-quality OVA, which is good enough to win over viewers, despite the obscure and difficult plot. If "Ao no Roku" made Gonzo famous, then Yukikaze can be said to have inherited Gonzo's spirit and perseverance from the making of Ao no Roku
Bursting Angel (04, Otsukudou Koichi): After Ao no Roku, Yukikaze the Battle Goblin, and LAST EXILE, Gonzo has become a master of the 3D mechanical and real-time algorithmic graphics, and has become a leader in the field. Gonzo has considerable experience in 3D mechanics and real-time algorithmic graphics. Not only does "Bakuda Angel" feature flashy physical action, but it's also a huge cyborg battle that's a blast to watch, and it's backed by the musical support of Gonzo's new partner, Vector Entertainment.
Sand Child (04, Takayuki Inagaki): The anime adaptation of Sand Child is a rather cold and hard-edged take on the post-apocalyptic genre, and Gonzo's usual digital animation techniques for backgrounds and mechanics recreate the manga's great desert of selfishness and greed. Compared to other sci-fi anime, Gonzo's unique style in "Sand Children" is quite striking.
PeaceMaker Iron/Shinsengumi Anecdotes (03, Tomohiro Hirata): Gonzo's animation of "PeaceMaker Iron" not only features Kurono's beautiful characters, but the graphics are also quite commendable. Gonzo brings the speed and jumping sensation of LAST EXILE and Yukikaze to this costume drama, showing the fast and dynamic sword competition scenes, among which the battle of Ikutaya is the most gorgeous.
Koga Ninjutsu (05, Fumitsu Kizaki): Koga Ninjutsu tells the story of the feud between the legendary forces of ninjutsu, Koga and Iga, interspersed with a poignant love story. When Naruto was a big hit, the more orthodox Koga Ninjutsu still gained great popularity thanks to its excellent plot and graphics
Ao no Roku (1998-2000, OVA, Makuhiro Maeda): For Gonzo himself and the Japanese animation industry, 1998's Ao no Roku can be considered a landmark anime, a submarine that depicts a tragic war between terrestrial mankind and sea creatures. The submarine title, which depicted the tragic war between land humans and sea creatures, pioneered the use of all-digital production.
ProductionIG
From "Mobile Police" to "Attack on Titan" to "BLOOD," there's a name behind all of these top-notch animations: Production IG, and here's a look at some of the top-notch animation that has gone from first-class to top-notch - Japan's top animation production house. The Legend of ProductionIG
Mobile Police (1988 OVA odd volumes, 1989 Theater Edition, 1993 Theater Edition 2, Supervised by Mamoru Oshii): The Mobile Police series is a classic, both for ProductionIG and for the golden age of Japanese animation in the 1980s. At a time when everyone was used to giant robot war anime, Mobile Police, which focused more on the details of everyday life, was an unprecedented success, and it was with this anime that the first step in the perfect collaboration between ProductionIG and the animation genius, Mamoru Oshii, began. If the OVA version of Mobile Police was a bit of a light comedy, then the two theatrical versions directed by Mamoru Oshii were depictions of grave tragedies, with the second one being even better, showing the tender side of the strong woman, Shinobu Nagumo. At the same time, ProductionIG's excellent production and collaboration with Mamoru Oshii also laid the foundation for the success of "Attack on Titan" two years later
MiniPato (02, theatrical version, Kenji Kamiyama): Looking like a paper cutout, it is actually a CG animation that uses new technology, and the appearance of "MiniPato" is one of the reasons why ProductionIG has been so successful. "MiniPato" is a demonstration of ProductionIG's strength, and I guess only a style like Mobile Police and a powerhouse like ProductionIG can make this kind of Fans-oriented yet fun-filled and wonderful vignette, as well as a clever retrospective of the Mobile Police series
Movie Girl (1992. Mizuho Nishikubo): In addition to being involved in original anime in the early 90s, ProductionIG also produced some very good adaptations for the quality of the time. I'm sure it will come as a surprise to many Mobile Police fans and Attack on Titan fans that Movie Girl can be associated with ProductionIG, right? This OVA, released in the same year as Wind Continent, is indeed a far cry from ProductionIG's masterpieces, but you can still see the seriousness and rigor of their style as well as the tenderness and subtlety of their side of the story.
Attack on Titan (1995 Theater Edition, Mamoru Oshii): The significance of Attack on Titan needs no further explanation, and it can be called the masterpiece of Mamoru Oshii and Production IG, which adopts a large number of advanced production techniques to make the work not only commercially successful, but also qualified to enter the observation hall of animation schools.
Attack on Titan SAC (2002 TV version, Kenji Kamiyama), Attack on Titan SAC 2nd GIG (2004, Kenji Kamiyama): Directed by young supervisor Kenji Kamiyama, the TV version combines the obscure settings of the original with some popular new elements, and broadcast on pay-TV stations, backed by ample funding and production power, to create an extremely high-quality TV Anime
Attack on Titan Innocence (2004, Theatrical Version, Mamoru Oshii): The second Attack on Titan Theatrical Version of the ghostly Mamoru Oshii's film earned world-class honors for its near-perfect performance, which not only achieves a high level of realism, but also dazzles with surrealistic images.
ProductionIG's style is y imprinted in each of their theatrical releases, with gorgeous graphics, realistic styles, and a rigorous approach to production that has led to the birth of classics.
EVA Apostle Newborn (1997, theatrical version, Hideaki Umino), AIR / truly for you (1997, theatrical version, Hideaki Umino): New Evangelion's theatrical version of the lineup is unprecedented, combining the Gainax and Production IG's elite power, Production IG's president Ishikawa is personally as a producer, which the third time! Impact scene description is enough to shock every avid EVA enthusiast.
Man Wolf/JIN-ROH (2000, Theater Version, Shoulder No. Okiura): Mamoru Oshii's original "Legend of the Dog and Wolf" had a live-action movie, and the animated version of "JIN-ROH" inherited the realistic style. The animated version of "JIN-ROH" inherits the realistic style and depicts a brutal fairy tale of a turbulent time with heavy brushstrokes. Both the drawing style and the plot are extremely serious, and in a sense, it's more like a drawn live-action movie.
BLOOD THE LAST VAMPIRE (2000, Theater Edition, Hiroyuki Kitakubo): The short but high quality "Bloody the Last Vampire", like "Attack of the Show", has won international recognition for Production IG. BLOOD THE LAST VAMPIRE", like "ATTACK OF THE VAMPIRE", won international acclaim and became one of ProductionIG's masterpieces, with its bold American style and high quality animation that immediately captivated the viewer with its visual and audio effects.
Kaikomaru (2001, OVA, Hanji Wakabayashi), Ogakusa-chan (2004, TV version, Mizuho Nishikubo): Akiyu Tajima's style of drawing is quite personal, and in "Kaikomaru" ProductionIG reproduced his delicate lines, while at the same time, the style of drawing can also show the setting of the era characteristics, and the original '04 animation is a great example. In "Ogakusa-chan," the original anime from 2004, this style was carried over, and the plot spanned ancient times and the present, which was quite clever
IGPX (2005, Hongo mi tsu ru): "IGPX," which depicts the future of racing, uses a lot of Cinematography to create the "IGPX," which is an anime about the future of racing. IGPX (2005, Hongo mi tsu ru): depicting a futuristic racing sport, "IGPX" uses a lot of CG-drawn bodies, and is more like a Gonzo work in terms of style, but it's not a bad idea to try something new.
BLOOD+ (2005, TV version, Junichi Fujimi): In terms of quality of the animation itself, BLOOD+ is impeccable and echoes the previous theatrical releases, but the biggest problem lies in the positioning and scheduling, which is probably better suited for late night.
KILL BILL (03, Theatrical, Kazu Nakazawa): With the likes of ATTACK, BLOOD and MAN-WOLF garnering international attention, ProductionIG's name has become an international brand, with the "Matrix" directors the Vronsky brothers and the talented director of "Lowlife" Quentin Baldwin, the director of "The Matrix", and the director of "The Matrix", the director of "The Matrix. Quentin Tarantino, the talented director of "The Matrix" and "Vulgaria", are all IG fans. In the 2003 movie "Kill Bill", Quentin specially invited ProductionIG to use animation to show the bloody past of the murderess in the movie, and the animation, which is a combination of Japanese and American styles, is full of gory violence, and the lines are intentionally shaking to create a special feeling. This Japanese-American style animation is full of gore and violence, and the lines are intentionally shaken to create special effects that match the style of the movie. This animation is not only a demonstration of ProductionIG's strength and reputation, but also a proof of their international popularity.
Not only in the field of animation, ProductionIG's game animation is also well known. In addition to the "Sakura Wars" series, the "Legend" series' opening animation is also one of its signatures, with not only catchy songs, but also smooth and wonderful animation.
MADHOUSE
From [Beasts of the City] to [Tokyo Guru], from [Battle of Rhodes] to [Animatrix], from [Magical Card Girl Sakura] to [NANA]... For more than three decades, a steady stream of theatrical, OVA and TV anime masterpieces have been produced by MAD-HOUSE, a veteran company that also has a long history; and the international masters we all know so well, Yoshiaki Kawajiri, Toshi Izaki, Toshi Imamoto, Taro Hayashi, and Koji Morimoto, have come from the same elite team at MADHOUSE.
In the name of magnificence - the veteran production company MADHOUSE:
Theatrical version:
X (1996.8, Rintaro): For many first-time MADHOUSE viewers, X that magnificent picture is enough to let them for the admiration, full of cherry blossoms and hair behind the sky, is the stroke of a stroke of the vast amount of work for the support!
Vampire Hunter D (2001.4, Yoshiaki Kawajiri): MADHOUSE's Vampire Hunter D may be a bit clichéd in its plot, but it's definitely the most beautiful vampire anime ever made, whether it's in the art of the scenes, the character settings, or the action scenes, it's all wonderful and full of artwork and beauty, and so far, no vampire anime has ever surpassed it. The vampire anime can be surpassed.
Mobile Police: Waste 13 (2002.3, Takayama): Although the story is basically adapted from the original manga, but the animated version of the details of the treatment can still be seen where the heart is, Waste 13 is the only non-Production IG production of the Mobile Police Theatre Edition, and the style of the production staff with the Production IG is slightly different, the constant is
MILLENNIUM WOMAN (2002.9, Ima Min): A long dead crush, a dreamlike performance, and a journey of a lifetime, Ima Min's Millenium Woman is impeccable in terms of quality of production and plot, and inherits the realism of his work from "PERFECT BLUE" onwards. The realism of his work since "PERFECT BLUE" makes this a classic that MADHOUSE and Imabari can be proud of.
Eggplant: Summer of Andalusia (2003.7, Kitaro Takasaka): The 47-minute Eggplant is a very special MADHOUSE theatrical anime, not only because of its Latin flavor, but also because of Kitaro Takasaka's "Ghibli" touch. Maybe it's more of an Andalusian landscape movie.
Tokyo Godfather (2003.11, Imaaki): After the success of Millennium Actress, Imaaki once again depicts real human nature in a realistic way. In this theater version of the masterpiece, it shows the complicated state of mind of the homeless people, and there is true love and warmth in the lights of the city.
MADHOUSE's OVA anime, though not many, have become monumental classics, and like ProductionIG, MADHOUSE has won the world's recognition for their unique style, especially from American directors
OVA:
MAGIC CITY <Shinjuku> (1988. Yoshiaki Kawajiri): Though a rather crude OVA by today's standards, 1988's Magic City was the masterpiece of Yoshiaki Kawajiri and Hideyuki Kikuchi, and made a mark in overseas markets, which of course was inseparable from its elements of violence and gore plus pornography.
Labyrinth Story (1987, Rintaro, Yoshiaki Kawajiri, Katsuyo Otomo): MADHOUSE and Kadokawa in the 80's close cooperation created a non-commercial experimental animation "Labyrinth Story", three short films are the supervision of the top animation at the time, Rintaro, Yoshiaki Kawajiri, Katsuyo Otomo! Fully embodies the splendor of the golden age of Japanese animation
The Battle of Rhodes (1990-1991, Nagayaki Akanori): as one of the pyramid works of the golden age of OVA animation, the beautiful and gorgeous Battle of Rhodes OVA deserved, Nobuhide's beautiful character settings plus MADHOUSE's elaborate production, creating a so far unsurpassed classic of Japanese fantasy animation! The song "Yan and Forever" with the atmospheric OP animation is even more marvelous.
Tokyo Babylon (1992, 1994, Chiaki Koichi): Clamp's early manga was known for its complicated lines, and it was quite difficult to animate it. Tokyo Babylon's OVA is not as gorgeous as X's, but it also recreates the stories of Onryuu, Hoshi Yagami, and Kitsuki, who are the most important characters in Clamp's enigmatic story, in an aesthetically pleasing style.
ANIMATRIX (2003, Yoshiaki Kawajiri, etc.): When the Matrix wave swept the world, ANIMATRIX, as a carrier and supplement to the world view, was the key to the plot of all Matrix mysteries that could not be missed, and the virtual program, as well as the world record in this OVA was made by ANIMATRIX, with gorgeous graphics and a strong American style, creating a world-beating story. American style, to create a Japanese animation to the world and another wave of anger
Sheep's Song (2003 ~ 2004, Sugii *): gray dark and gloomy picture depicts the forbidden family love, objectively speaking, the quality of the sheep's song is not really good, the production level in can only be regarded as ordinary, but can not be ignored is that, with the original Toumei King's style of painting, can be done to the level of this level of the OVA has not been easy.
Theater version and OVA is often some serious works, for most of the older audience, but TV in the field of MADHOUSE has produced from the girls to young people to the various types of animation, showing MADHOUSE different styles
TV:
X (2001-2002, Kawajiri Yoshiaki): X's TV version is still a great animation. It's an excellent anime, with great characters, gorgeous graphics and catchy songs, needless to say. The bold adaptation of the original in the second half of the TV is quite successful, leaving the viewer with a hopeful ending, and Yoshiaki Kawajiri's version is much more gratifying than the original.
Gunslinger Girl (2003, Morio Asaka): From "Trigun" and "gungrave" to "Gunslinger Girl", MADHOUSE has made the most of this movie. From "Trigun" and "gungrave" to "Gunslinger Girl", MADHOUSE has produced a number of gun anime, but this one is very careful to show the side of the girl's life as well as depicting the gunfighting scenes, with a brutal contrast between the cold weaponry and the childish face.
Delusional Agent (2004, Imabari): After a stellar career in the theatrical field, Imabari entered the TV field in 2004 with an original drama anime, and while some of the alternative graphics are still excellent, it's the clever concept that's the biggest draw, and the adaptation gained international recognition, allowing it to be entered into the prestigious Montreal Film Festival in Canada.
The World in Heaven (2004, Toshifumi Kawase): Of course, MADHOUSE doesn't only produce good stuff, and the production quality of The World in Heaven is not as good as it could have been, but the characters and the music in the remake are still quite commendable, and the animation of the opening credits in particular is the best of the bunch, which is not only of high quality, but also of brilliant creativity
Monster/Monster (2004~~2005, Masayuki Kojima). 2005, Kojima Masayuki): As early as MASTER KEATON in 1998-1999, MADHOUSE had already produced an anime adaptation of Urasawa's work, and the adaptation of Urasawa's masterpiece MONSTER is even more impressive. "
Heaven's Kiss (2005, Osamu Kobayashi): Ai Yazawa is a manga artist with a very special style. Ai Yazawa is a manga artist with a rather unusual drawing style, and her masterpiece, Heaven's Kiss, was styled for the TV version. Despite the controversy, the graphics produced by MADHOUSE were overall very much in keeping with the flavor of the original, and the rhythmic coordination between the music and the graphics was excellent
Animation's Sinews - BONES:
Tenkoku (2005, Hajime Kobayashi).
The Gates of Heaven (Star Cowboys Theatrical Edition, 2001, Shinichiro Watanabe): This is Star Cowboys' most glamorous, and perhaps last, show, with the dashing Spike taking on the dirty-bomb-spreading terrorist Vent, and Bones, along with his original hosts Sunrise and Bandai Virsual, providing a lavishly visualized Hong Kong-action-plus-Hollywood-science-fiction film. The Butterfly is about a dusty past, and this time Spike is a rare outsider, but still leaves us with fond memories of that era.
The Legend of the Winged God (TV version, 2002, Yu Izabuchi): Do you still remember the voice from another time? In the long ago chanting, there is an unchanging love story. "Legend of the Winged God" is one of Bones' masterpieces, which not only has magnificent fantasy war scenes, but also has a delicate portrayal of human character, and is unique in its storytelling. With the high quality of Bones' graphics, "Legend of Tsubasa" fully expresses Akihiro Yamada's characterization. It's a level above Pierrot's "Tales of the Twelve Kingdoms."
Multiple Variations (Theatrical Version, 2003, Yu Izabuchi): Multiple Variations is one of the few theatrical versions that re-explores the setting and plot of the original work, and it gives us a glimpse into the pasts of Yoru and Ayame and into the thoughts of the people who have been cut off from the world by the relentlessness of time and space. Thoughts. Despite the passage of time and even the dislocation of time and space for the two, at the moment of the world's rebirth, they recover the most precious thing they had lost. As time passes, only the song "Tune the rainbow" keeps echoing in their hearts.
Wolf Rain (TV version, 2003.1-7, Okamura Tenshi): Along with the wild roar, the wolves leap through the raindrops. Four young wolves pass along in search of each other's paradise and the slight fragrance that had dissipated. Wolf's Rain is an original TV anime that Bones invested a considerable amount of effort into producing, and although it didn't manage to become a classic for a variety of reasons, the unique atmosphere and gorgeous styling still allow us to feel the persistence of the wolves that belonged to it in the midst of a sea of people.
The Abandoned Princess (TV version, 2003.4-10, Masui Jouichi): The hunted princess and the palace intrigue may seem like a simple fantasy drama, but the magnificent worldview that unfolds afterward is amazing, and there are warm and touching depictions of affection in the fight about the fate of the world, and it is the delicate picture of Bones that depicts a world like the "Matrix". It's Bones' detailed graphics that create a "Matrix"-like world, both in terms of characterization and in terms of the Dragon Riders' battles with the Guardians of Order, that are so gorgeous.
Steel Alchemist (TV version, 2003.10～2004.10, Seiji Mizushima): The anime version is credited with the winds of Steel Alchemy sweeping the world in 2003. A large number of newly added original settings and plots, the original not colorful, into a plot and connotation are quite a weight of the classic, and the ending of the most amazing. Bones high-quality graphics for the work to enhance a lot, a variety of gorgeous alchemy duel in the OVA-quality images.
Splendid Dance Festival (TV version, 2004.4-9, Hiroshi Mori): Many of Bones' original anime are characterized by the depiction of a "group of people" rather than simply a centralized storyline of a handful of individuals. "Splendid Dance Festival" is one of Bones' original SF anime that challenges the group style, and as the original project is the famous SCE (Sony Computer Entertainment Inc.), it can be said that it is an animation platform created for the game, so the production lineup of this movie is unprecedentedly strong. The production lineup for this movie was unprecedented. However, in China, where there is a lack of platforms to promote the game through piracy, the game has gone virtually unnoticed.
KURAU Mirage of Memory (TV version, 2004.6-12, Irie Chin-ho): Similar to Legend of the Winged God, KURAU is a story about the warmth and touching feelings between people in a special situation through a complex background setting. The subtle relationship between the heroine and her "counterpart", as well as the affection between her father and other family members, all seem to be glamorous and touching, and Bones' original anime depicts the dreamlike "RYNAX", where the crystalline light of the "RYNAX" is a beautiful, beautiful and beautiful place to live in. The theatrical version was released in 2005, and the plot is still closely related to the previous TV version, except that the main conflict has changed with the appearance of new characters and new locations. The movie is a beautifully crafted movie with richly drawn characters, especially in the scenes of 1920s Germany.
Symphonic Psalms (TV version, 2005.4-2006.4, Kyoda Kiyoshi): The 50-episode anime "Symphonic Psalms" is a confident attempt by BONES to fill the gap left by SEED D. The story has a huge worldview, and the worldview is very different from that of the original. The story has a huge worldview and combines the fashionable sport of skateboarding with robotic aerial combat. Instead of being a "simple story of a teenager growing up and falling in love for the first time," the story was not well received, but it struck a chord.
Sakura Ran (TV version, 2006.4, Joya Igarashi): If you follow girls' manga, you won't be unaware of Sakura Ran on LALA, and this Sakura Ran anime really doesn't disappoint fans. The anime does not disappoint fans with its beauty, laughs, exaggerated spoofs, and subtle touches. The anime retains almost all of the manga's strengths while enlivening the atmosphere of the entire story through the addition of sound and color. In fact, this is the first time BONES has produced an anime adaptation of a girl's manga.
Beast King Star (TV version, 2006.4-6, Hiroshi Nishikori): The original Beast King Star is quite old, but it was a much-anticipated April '06 newcomer, and judging from its pre-airing activities and the performance of the film itself, BONES has worked quite hard on all aspects of the quality of the picture and promotion. But for this fine production company, which has earned a good reputation for its artwork, perhaps the goal for the future is to work more on the "series composition" and "scripting" aspects.
Gainax
About Gainax, I believe that one [Evangelion] has made it almost the most well-known Japanese animation company in the country
:
King Rikyu (Theater Version, 1987, Hiroyuki Yamaga): In this exquisite film animation depicting the growth and pioneering of the newborn Gainax, the people of the company are filled with blood and fighting spirit, and the newborn Gainax has become the most famous Japanese animation company. people incorporate fervor and fighting spirit, as well as individuality. However, the box office failure of this movie also made Gainax realize the cruelty of reality.
Leap to the Top (1988, OVA, Hideaki Umino): After the fiasco of the "King's Cosmic Army", the newborn Gainax was burdened with a huge debt, and in order to pay it off, the Gainax had to give in to the "vulgarity" that they hated. In order to pay off their debts, the Gainax had to submit to the "vulgarity" they detested. There is a lot of audience-serving imagery: revealing battle dresses, bouncing boobs, and even pointless nudity. In addition, Umino has also added some difficult settings, and the combination of the two has had an unexpected effect. "Leap to the Top" not only turned the tide for Gainax, but also became the last classic of hot robot anime.
Sapphire Mystery (1990-1991, TV, Hideaki Umino): For domestic anime fans, "Sapphire Mystery" is believed to be the same good memories of everyone *** with the strange dubbing or disgusting localized name, are not detrimental to the charm of this work. The magnificent fantasy story and distinctive characters make this one of Gainax's masterpieces, and some of the settings influenced the creation of Umino's next work, but some of Gainax's bad taste was brought into this movie, making it controversial when it was broadcast on Japan's semiofficial TV station, NHK.
Otaku's Videotape (1991, OVA): A special anime for both anime fans and Otaku, as well as for Gainax, Otaku's Videotape is, as the title suggests, the story of a typical Otaku's life, with a screenplay written by Otaku researcher Dojio Okada, and utilizing a number of near-documentary style production techniques. documentary-style production techniques and intentionally creates some nostalgia.
New Century Evangelion will forever be remembered as a landmark classic in the history of Japanese animation, and Gainax has produced a number of films since then, each with their own distinctive characteristics, though in a different style.
The myth of the end of the century--New Century Evangelion
New Century Evangelion (Hidemichi Umino, 1995-1996 TV version, 1997, 1999 theatrical version): It can be said to be the accumulation of Hidemichi Umino's grievances for several years, and at the same time, combined with the consistent personality of Gainax to produce a! It was an unexpected whirlwind that is still going strong today. I'm not going to repeat myself, but I must clarify that the so-called "Dirty Money Program" is the work of KingRecords and other secondary developers, and is not subjectively related to Hideaki Umino's own intentions
.