Yō Yoshinari

**Yō Yoshinari** (吉成 曜 Yoshinari Yō), born May 6, 1971, is a Japanese key animator, storyboard artist and anime director. He is known for his exaggerated style of his effects animation, mainly for smoke and explosions. He is the concept creator for *Little Witch Academia* and has worked on other anime series such as *Kill la Kill*, *Gurren Lagann*, and *Neon Genesis Evangelion*. On the original short film *Little Witch Academia*, he served as director, character designer, animation director, and drew background roughs.

He was the director for the *Little Witch Academia* initial short film, the *Little Witch Academia: The Enchanted Parade* sequel film, and the *Little Witch Academia* animated TV series.

Up until Michiru Shimada's passing, Yoshinari revealed during AnimeExpo 2017's Studio TRIGGER panel and interviews that he had plans for sequel where it will focus more on other witches such as Amanda, Constanze, and Jasminka, or spin-off focusing on Chariot's backstory and *Night Fall*. During Shin Bungeiza X AnimeStyle Vol. 167 events which involves a talk show with Yoshinari and his fellow animators in addition of screenings of animes such as original short, *The Enchanted Parade*, and *Gridman Universe*, Yoshinari himself revealed his plan to make *Little Witch Academia* a long-running series as much as *Nintama Rantarō*.

## Personal life

Yō Yoshinari was born in Tokyo, Japan. He is the younger brother of Kō Yoshinari, who is also an key animator. Yoshinari graduated from Tokyo Designer Gakuin College and entered the anime industry through the influence of his older brother. In his time as Kō's assistant, the brothers learned many things such as how to draw douga. After graduating at high school, he went to work as a pro before entering professional school and subsequently joining a studio. It was during his time at professional school that Yoshinari noticed anime to be more polished.

He joined Madhouse in 1992, then left in the same year and joined Gainax, where he worked until 2011 when he joined Imaishi and other ex-Gainax employees to form Studio Trigger.

When looking back at the time he joined Madhouse, he admitted to have sent some applications to Gainax also but the latter responded very much late (3 months later) due to an implied misunderstanding among Gainax staff. Not wanting to explain, Yoshinari told Madhouse "being an animator is too hard for me, so I quit", and switched to Gainax. Prior to entering professional school and joining a studio, he worked as an uncredited pro helping his older brother in several early works, with his first being doing in-betweens and keys on the 1991 OVA *Bousou Sangokushi: Specter Tanjou* during high school.

When joining Gainax on the other hand, Yoshinari was dismayed to see not many people around his age have proper knowledge about animators, which didn't help by the decline of interest in anime industry, leading to "ice age of talents" as Hiroyuki Imaishi also put it. In fact, not many people with great talent in such industry being around their age unlike previous generations and the period for things like *Project A-ko* where general atmosphere being everything had to be done came to a close. Still, new animation styles in courtesy of the likes of Satoru Utsunomiya, Masaaki Yuasa, Shinya Ohira came out, and Yoshinari implied his reason of joining anime industry being influenced by *The Hakkenden* while 'wandering around' in it instead of ambition.

Throughout his career, Yoshinari found himself often, if not always, in charge of actions/effects of difficult scenes despite eager for other endeavors such as acting. He admitted doing so more out of fun instead of mastering action animation outright, but nevertheless put both the work and audience's enjoyment into consideration to make it enjoyable for everyone equally.

During the development of original short of *Little Witch Academia* as part of 2013 Anime Mirai, contrary to some people assumption of it being retelling of *Harry Potter* series as with other fantasy works with magic school settings, Yoshinari confirmed it to be original work as its plot being in line with Anime Mirai's purpose in raising young animators (he even mentioned the film's initial idea revolving a wizard's apprentice which unfortunately, won't likely work like they hoped to be). To further drive this point, the theme of the film was a young animator who joined anime industry looking up to a late-night magical girl anime only to be ridiculed by people around him — a hardship which paralleled not just Akko's own who inspired by Shiny Chariot who perceived as maverick in the eyes of older, proud traditionalistic magical families, but also how Hayao Miyazaki inspired by *Panda and the Magic Serpent*. In all cases, admiration is important. As the short film's director, he was in charge of supervising the whole story while creating the general imagery in addition of coaching the younger staff. Yoshinari admitted the endeavor took so much time because he's admittedly still a learner as much as them. Despite having clear aspirations for entertainment, Yoshinari required Hiroyuki Imaishi's guidance in ensuring his works executed properly.

Yoshinari was content in contributing on series he and his peers developed in any way he could in addition of drawing and animation, which perhaps attributed to reality of anime industry lacked many talented people, especially concerning Hiroyuki Imaishi's works which he admitted to be quite special. Having worked with the latter all the time just as Mahiro Maeda with Hideaki Anno, Yoshinari acknowledged Hiroyuki Imaishi to have exuberant imagination and make good use of others' ideas despite not many ended up realized yet at the same time often came up with rough drawings which challenging to transcribe. As such, throughout their collaboration, he felt more useful in making designs that simply doing animation on special cuts.

## Animation Style and influences

In Imaishi's admission, he found Yoshinari to be "sharp", often using a ruler while working on mecha animations hence their sharper and more rigid feel despite his peers at Gainax no longer using such approach, at least until the development of *Jin-Roh* where he started softer forms. Yoshinari attempted to pour everything he took notes from best animations he had seen in the one he worked on. The tough development of spectacular animation style Yoshinari currently best known at also attributed to his past preference to draw realistic, plaster figure-like shapes and accurate movement which contrasted to his mentor Kazuya Tsurumaki's typical anime-ish rhythm and energy. Although he had less and less time to draw key frames since his and Imaishi's collaboration in *Tengen Toppa Gurren Lagann*, it didn't prevent his drawings to be less dense, let alone unable to finish them in time. In fact, there were instances of him drawing more than what he needed, mostly key frames depicting very detailed explosion cuts. Overall, Yoshinari served as the 'trigger' for Hiroyuki Imaishi in deciding his would-be career in animation industry.

Yoshinari didn't deny of his works being described as a "bundle" (condensing every kind of coolness in one style) by Imaishi, though he admitted there's more than that. He believed in importance of being open-minded so as not to develop biased tastes, having taken notes on not just from Yoshinori Kanada and Yoshikazu Yasuhiko's styles, but also those of other various works to improve his own, animation from foreign countries included.

Yoshinari admitted not to have any inclination or particular preference to certain drawing style, understanding that each one has different approaches/aesthetics and at the same time open to others' suggestions in revising his designs should they fail to meet their expectations. Although he initially sticked to the style he get used it while working as his brother's assistant, Yoshinari eventually had to develop his own upon joining Gainax because their approaches contrasted one another.

Yoshinari is recognized for action cuts with dense movement and composition, which are termed "Yoshinari cuts", though it was developed from habit instead of ideal form as he wanted to try different things. Still, he hasn't experimented so much after *FLCL* from losing pursuing spirit and even stopped putting his key frames to see how they moved — a contrast to how he usually checked how his key animation worked when he was younger. Although, he admitted to be afraid of not checking on new kind of key frames he never made prior.. Additonally, he is also well known for his very detailed explosion cuts, along with the way he represents volume and perspective using spheres.

Yoshinari had disclosed various influences he drew inspirations from throughout his career, such as Ikuto Yamashita and Takeshi Honda for his use of forms; The manga *Nijitte Monogatari* as one of his most important influeces when it comes to drawing; Yoshinori Kanada and Shinya Ohira for movements; Satomi Kamie for manga, Egon Schiele for paintings and Mike Mignola for American comics. This also included Yasuomi Umetsu and Nobuteru Yuki, in which he acknowledged the endeavor of perfectly replicating the former's works demanded extensive preparations which included careful observation due to how difficult it was. The latter's style also similarly challenging that he was uncertain whether to be able to draw on his level. He remembered how most of past animators in 1980s ended up taking notes from Masahito Yamashita instead of Yoshinori Kanada whom they thought to be copied of, hence lacked the same sharpness as the latter. As Kanada's approach in animation changed, aforementioned animators followed Yamashita more due to the latter's more impactful style that focused on rhythm in addition of movement, which Yoshinari described as "ideal form". Yoshinari is also familiar with Hiroyuki Okiura whose style become more and more elaborate yet not underwent metamorphosis like Iso's for aiming to reach pinnacle by only elevating the pre-existing technique.

While working on his animations, Yoshinari is the one who made vague plans when inclined to do so instead of planning things meticulously. Nevertheless he ensured them to be at least less objectionable than the last.

## Other notable works

* *Boukyaku no Senritsu* (mechanical Design)
* *Bousou Sengokushi: Specter Tanjou* (uncredited)
* *Chou Kidou Densetsu DinaGiga* (key animation, opening)
* *Dead Leaves* (key animator)
* *Gunbuster 2: Diebuster (OAV)*  (Key Animation, episodes 1-5)
* *Gunbuster vs Diebuster Aim for the Top! The GATTAI!! Movie* (Key Animation)
* *Gurren Lagann Parallel Works* (director, animation director, storyboard artist, key animator, episode 8)
* *Mahoromatic - Automatic Maiden (TV)* (Key Animation, episodes 1, 4, 9, 11)
* *Mahoromatic: I'm Home! (special)* Guest Mecha Design, Key Animation (ep 2)
* *Mahoromatic: Something More Beautiful (TV)* Animation Cooperation (ep 11), Key Animation (OP; eps 1, 10, 13)
* *Mahoromatic: Summer* Special Key Animation
* *Medabots* (key animator)
* *Mobile Suit Victory Gundam* (key animation, episodes 35, 39, 44, 51)
* *Panty & Stocking with Garterbelt* (concept art, animation director, key animation, episode 12B)

## Trivia

* According to Yoshinari, if a second season or sequel to TV Series adaptation of *Little Witch Academia* eventually greenlit, he wanted to explore more about Jasminka's background, more slapstick of daily life-centered episodes, and expanding the lore about magic in the franchise.
* The following are things Yoshinari regretted not doing back during the development of anime TV Series:
	+ More screentime for Hannah, Barbara, Jasminka, and Avery.
	+ How Akko's parents reacted upon seeing her and Diana's final battle against Noir Rod-infested missile.
* Yoshinari's favorite manga is *Nijitte Monogatari*, which is remarked as one of the most important influences in his drawing style.
* Kazuo Koike's content is one of Yoshinari's influences for story.
* According to Yō Yoshinari, his top 3 animators as of 2013 are Hiroyuki Okiura, Shinya Ohira, and Mitsuo Iso.
* In an interview, Yoshinari admitted himself to be the one who can immediately appreciate anything instead of just drawing and content of correctly handling the works he get.

## Gallery

### Various artworks

Sleeping blonde with 1984 book and Ultrasone headphone by Yoshinari, featured in Headphone Girls: A Pictorial Book and Yoshinari You Gashuu - Illustration HenMy Life as a Teenage Robot tribute animation by Yoh YoshinariDittoDittoCast of "My Life as a Teenage Robot" drawn by Yoh YoshinariStudio Trigger's Promotional Illustration for Japanese release of RRR by Yoshinari
### Sketches

Astro Boy sketchesKill la Kill sketchesHannah and Barbara sketchesSketch of Ryuko Matoi wearing a Luna Nova hat by Yoh YoshinariSketch of Lucyna "Lucy" Kushinada wearing a Luna Nova hat by Yoh YoshinariRough sketch of Atsuko Kagari by Yoshinari to Franklin from 2018 Washington D.C. OtakonRough sketch of Shiny Chariot by Yoshinari to Katelyn from 2018 Washington D.C. OtakonAkko as drawn by Yoshinari during autograph session of 2015 Trigger ExpoSucy as drawn by Yoshinari during autograph session of 2015 Trigger ExpoAkko and Diana sketches by Yoh Yoshinari (notice a leaf goblin biting Akko's hat)A sketch of Constanze with Stanbot in gun configuration by Yoh YoshinariA sketch of Shiny Chariot on Little Witch Academia Artwork by Yoh YoshinariA sketch of Constanze by Yoh Yoshinari alongside Creator's sketchbookA sketch of Ancient Dragon by Yoh Yoshinari on contents page of Yoshinari You Gashuu - Illustration HenA sketch of Ursula Callistis by Yoh YoshinariA sketch of Ursula Callistis by Yoh Yoshinari 2.jpgA sketch of Akko by Yoh YoshinariA sketch of Akko by Yoh Yoshinari 2A sketch of Akko by Yoh Yoshinari 3A sketch of Sucy by Yoh YoshinariA sketch of Sucy by Yoh Yoshinari 2A sketch of Shiny Chariot by Yoh YoshinariDittoDittoDittoA sketch of Constanze with her Stanbot by Yoh YoshinariVarious sketches by Yoshinari and his fellow animators who attended Shin Bungeiza X AnimeStyle Vol. 167Sketches of Akko, Lotte, Sucy, Shiny Chariot, and Gridman by Yoshinari, Shuhei Handa, Akira Amemiya, and Masaru Sakamoto as featured during Shin Bungeiza X AnimeStyle Vol. 167A sketch of Constanze by Yoshinari during 2018 OtakonAkko sketch by Yoh Yoshinari from Comic Fiesta 2023DittoAkko and Mable Pines doodle by Yō Yoshinari
### Miscellaneous

Alex Hirsch and Dana Terrace in a meeting with Studio Trigger staff in 2016Yoshinari receiving Daruma d'or Award for *Cyberpunk: Edgerunners* during the 22nd edition of Japan ExpoDitto
### Videos

Animation Interview - Little Witch Academia creators Hiroyuki Imaishi and Yoh Yoshinari「TRIGGER」特番「"TRIGGER" your Excitement !!」【TOHO animation 10周年大感謝祭 アーカイブ配信】
## References

1. ↑ 1.00 1.01 1.02 1.03 1.04 1.05 1.06 1.07 1.08 1.09 1.10 1.11 YOH YOSHINARI INTERVIEW (ANIMESTYLE, 03/2013) PART 1/3
2. ↑ Trigger Panel in YouTube (time: 25:30)
3. ↑ http://www.inquisitr.com/4343044/little-witch-academia-season-2-release-date-on-netflix-episode-14-25-director-lwa-season-3-characters-akko-anime-news/
4. ↑ Little Witch Academia Director Wants to Do Another Season, Spinoff (Archive) | Japanese source (yaron-blog)
5. ↑ 『リトルウィッチアカデミア』　監督「やりたいことが多すぎて2クールじゃ全く足りない」「シャリオのスピンオフアニメも作りたい」 (archived)
6. ↑ https://twitter.com/Up\_LWA/status/1728287886859173889
7. ↑ https://twitter.com/manbavarang1/status/1729135450273784246
8. ↑ 8.0 8.1 8.2 YOH YOSHINARI INTERVIEW (ANIMESTYLE, 03/2013) PART 3/3
9. ↑ 9.0 9.1 9.2 9.3 YOH YOSHINARI INTERVIEW (ANIMESTYLE, 03/2013) PART 2/3
10. ↑ EPISODIC GURREN LAGANN INTERVIEWS WITH DIRECTOR HIROYUKI IMIASHI & CO. – EPISODE 1 (ANIME STYLE, JANUARY 2008)
11. ↑ https://www.animenewsnetwork.com/encyclopedia/people.php?id=3702
12. ↑ https://web.archive.org/web/20220108110331/https://twitter.com/poriyama\_san/status/888741616759865344
13. ↑ https://twitter.com/sana0827/status/895321475774783488

## External links

 *You Yoshinari*
 *Yō Yoshinari*
### Interviews

* Ani-Gamers
	+ Little Witch Academia Director Yoshinari Talks TV Production and the Challenges of Directing by Evan Minto August 3, 2017
* *Manga.Tokyo*
	+ TV Anime ‘Little Witch Academia’: Interview with Director Yoh Yoshinari by manga.tokyo January 21, 2017 (Archive link on March 19, 2021)
		- Japanese source (Anime!Anime!) - TVアニメ「リトルウィッチアカデミア」吉成曜監督インタビュー TRIGGERはこういうアニメもできるんだと見せたかった December 26, 2016
* *Otaku News*
	+ An Interview with Little Witch Academia Creators by Joe November 6, 2017
* Wave Motion Cannon
	+ YOH YOSHINARI INTERVIEW (ANIMESTYLE, 03/2013) PART 1/3 by NohAcro and Josh Dunham December 19, 2016
	+ YOH YOSHINARI INTERVIEW (ANIMESTYLE, 03/2013) PART 2/3 by NohAcro and Josh Dunham December 27, 2016
	+ YOH YOSHINARI INTERVIEW (ANIMESTYLE, 03/2013) PART 3/3 by NohAcro and Josh Dunham January 3, 2017
	+ LITTLE WITCH ACADEMIA: INTERVIEW WITH DIRECTOR YOH YOSHINARI by NohAcro and Josh Dunham February 15, 2017

### News

* Otaku Magazine USA
	+ Little Witch Academia Director Wants to Do Another Season, Spinoff by Matt Schley March 6, 2017
		- Japanese source (yaron-blog) - 『リトルウィッチアカデミア』　監督「やりたいことが多すぎて2クールじゃ全く足りない」「シャリオのスピンオフアニメも作りたい」 March 5, 2017
* Probably About Anime
	+ Yoh Yoshinari: A Living Legend of Animation by Michael Hendricks June 7, 2020