The Genius Behind Eizouken and Devilman Crybaby | Get In The Robot

– So, we’re all in agreement that Keep Your Hands
off Eizouken is gonna be the best anime of 2020, right? Right? Of course I’m right, just look at it! Just listen to that OP. So good, magnifique! One small glimpse at
these young otaku ladies, and best girl Kanamori, was all I needed to get me on board with Eizouken. And it’s a Masaaki Yuasa anime? I’m not just aboard the hype train, guys, I’m the conductor. Beep-beep. Masaaki Yuasa is truly
a standout director, and I’m gonna tell you why. (easy listening music) Above all else, Eizouken is
meant to be both a beautiful and bizarre love letter
to animation itself. Whether it’s through scenes
of Asakusa and Mizusaki gushing over their favorite anime or through incredibly
imaginative sequences of the ladies bringing
their 2D world to life, Yuasa and his team wanna send the message that anime is a medium to be celebrated! If Eizouken isn’t enough proof that Yuasa has a heartfelt
appreciation for animation, then maybe taking a look back at his body of work will help with that. Personally, I think that
Yuasa’s style outshines the rest because of how unique it is. Many would describe Yuasa’s
style as unorthodox, because, let’s be honest,
the way he animates is about as far from
traditional as you can get. Also, the overall mood of each new project feels deeply distinct from the last. Can you believe that the guy responsible for Devilman: Crybaby is also responsible for Ping Pong: The Animation? I can’t believe it. Actually, I can because
ping-pong is the devil’s sport. I think Glass Reflection
put it really nicely in his video about
Yuasa: watching his work could best be compared to
looking into somebody’s dream. All of the little images appear
to make little to no sense when taken out of context, but when you are living
in that very moment, everything actually makes
perfect sense to you. It may appear chaotic and
disjointed, but at the same time, it still feels real and human. Is it strange that the
staff room in Eizouken is in a massive swimming pool? Hell yeah. Does it work perfectly in context with the rest of the anime? Also, hell yeah. Yuasa has been in the animation game for about three decades
now, but surprisingly, his directorial debut, Mind Game, didn’t come out until 2004. That really isn’t too long
ago when you think about it. Before directing, Yuasa
worked as a key animator for a shojo series
called Chibi Maruko-Chan at the Tokyo animation studio Ajia-do. He scored this job almost immediately after
graduating from university. Although he earned a lot of
praise for his early work, Yuasa felt like nothing
he made in the studio was good enough because of all the tight
time constraints put on him. Because there’s nothing like deadlines and good ol’ imposter syndrome
to make you second-guess everything you put out
to the world, right? I need a minute. (screaming) Anyway, it didn’t take long for Yuasa to transition over to freelancing, where he got to try all of
the different moving parts of the animation process, like drawing backgrounds
and storyboarding. Yuasa once stated in a film discussion that those he collaborated
with while freelancing helped him figure out what worked for him and made him regain his enthusiasm towards his career choice. At one point, Yuasa worked with
Crayon Shin Chan’s director, Mitsuru Hongo. By doing storyboards for Crayon Shin-Chan, Yuasa discovered he really
liked storyboarding, and went on to create several
of his own little projects for both work and for fun! This newfound passion drove him to create his cult classic debut film, Mind Game. (sighing) Where do I begin with Mind Game? So, Mind Game. It’s about this guy and he’s got feelings for
this girl from his childhood. And it seems like a pretty standard anime rom-com plotline at first. But then, this dude
fails to protect the girl from a couple of yakuza, and the he ends up going on
this big psychedelic journey right after the yakuza shoots him right in the (spring bouncing) hole. I mean, I don’t blame you guys
if you’re not with me here. (laughing) I wouldn’t exactly call
Mind Game an anthology film because it’s all one story. However, it tends to
feel like one at times because of all the
varying animation styles used to tell the story. Most critics and reviewers
like to compare it to one of Yuasa’s and my
favorite films: Yellow Submarine. That’s another one that
doesn’t make too much sense story wise, probably
because of all the drugs the Beatles were on in 1968. Still, we can gather that
it’s an adventure film with trippy visuals where
the characters learn lessons about love and the joys of life after meeting a series
of wacky characters. Also, a side note, if Yellow
Submarine ever gets remade and it’s not directed by
Yuasa, then I’m picketing. “You know, if it weren’t for drugs, “The Beatles wouldn’t exist.” (laughing) “Right you are, John.” “Oh, thanks Paul.” Anyway, back to Mind Game. It was Yuasa’s first film, so it didn’t do super
well box-office-wise. Also, the small budget and offbeat visuals seemed to put a lot of
people off from seeing it. But that doesn’t mean that
the film was a total flop. In fact, Mind Game actually beat out Studio Ghibli’s Howl’s Moving
Castle during award season, winning animation prizes at
both the Mainichi Film Awards and Japan Media Arts Festival. It also gained a lot of
attention here in the States. When The Japan Times asked about
the film’s cult popularity, Yuasa stated, “I think that
Japanese Animation fans today “don’t necessarily demand
something that’s so polished. “You can throw different styles at them “and they can still usually enjoy it. “In the past, if you had different styles, “you would have pulled
away from the story.” You know, I gotta agree with him. Now that animation is a more established and somewhat respected medium than it was back in it’s early days, people are craving
something different and new. I can’t speak for all
hardcore animation fans, but I know that I would
rather spend my time watching something that’s unlike anything I’ve ever seen before over
something that looks polished, but doesn’t really bring
anything new to the table. After Mind Game, Yuasa
didn’t release another film for over 10 years. But within that time frame, he was in charge of several
short-form projects, mainly directing and writing TV anime. In 2006, he debuted his first series with studio Madhouse, Kemonozume. – [Adrian] What the heck? I’ve never heard this. – [Dorrie] Kemonozume. I don’t think a lotta
people watched Kemonozume. It was like a Romeo and Juliet
story, but with cannibals. – [Adrian] Wha-what? – It’s like a Romeo and Juliet
story, but with cannibals. Yeah. His next series was 2008’s Kaiba, another Madhouse-produced series. No, it’s not an anime
about that emo-looking dude from Yu-Gi-Oh; I know at least some of
you are thinking that, ’cause you’re nerds. It takes place in a futuristic
world where after death, all of your memories are
stored in this little chip. But surprise, the uber-rich
are using them for evil! All the while, a guy named
Kaiba loses his memories, wakes up in a strange room, and has to go on a big
adventure to get them back. Despite the Tezuka-inspired and more childish-looking
appearance of this anime, Kaiba also deals with
several more mature themes, such as loss, heartache, and
just a dash of existentialism. It does fall under the more abstract side, so you probably won’t wanna watch it when you just wanna let your brain melt. Don’t let that scare you
away altogether, though. Kaiba is still a really beautiful anime that Yuasa and his team put
a lot of hard work into. (gears spinning) (tape rewinding) Then, there was 2010’s The Tatami Galaxy. It’s difficult to describe this anime without getting too into it, but let’s just say it
involves parallel universes, romance, college clubs, and a slew of wonderfully
weird characters. Tatami Galaxy was what
truly made me realize how ingenious Yuasa’s
style of movement is. Since he goes for a
more limitless approach, everything is exaggerated,
but, at the same time, so accurate to the feeling
he’s trying to convey. When I say limitless, I mean sort of like whenever
a character drinks alcohol and their body expands like a balloon as the drink travels down from
their mouth to their stomach. Also, whenever a character
feels anxious or agitated, their outline and facial expressions turn all angular and stiff. Of course, this doesn’t actually happen to real-life flesh-and-bone human beings, but it’s still how we feel when we go through these
common experiences. What I’m trying to drive home here is that by breaking the rules and taking this more
limitless, wavy-gravy approach, Yuasa has made his
characters feel more human. We’re seeing how they feel on the inside as well as how they look on the outside. Kinda like how in Miyazaki movies a character’s hair raises up whenever they feel some type of way. Also, can I just say that as
somebody who is adult age, it is so refreshing to see a director make so many anime starring adults? Maybe that’s just me. I know a lotta high-schoolers
watch this channel. (laughing) But I’m an old lady now and I don’t know what’s
hip with the kids anymore. The final anime of the early 2010s that Yuasa graced the world with was Ping Pong: The Animation. Never in my life did I think that an anime about (bell ringing) table tennis would actually be
interesting, but here we are? Like most sports anime, it’s
less about the sport itself, and more about the characters
who play the sport. This is a Yuasa project
we’re talking about, though, so of course it’s going to
be exponentially different from all other sports anime. The show follows two young
boys, Smile and Peco, and their relationships
with the sport of Ping Pong. There’s so much depth and heart as they come face-to-face
with several challenges that could greatly affect their futures. Although the art and animation verge toward the more crude side than some of Yuasa’s other work, they are still just as bouncy
and high-energy as the rest. Also, I think it’s really cool
how each table tennis match contains its own story, and every time the ball hits the paddle, you can feel the emotional
weight of the player. So, at this point,
Yuasa has four TV anime, as well as a few collaborations, like a trippy episode of Adventure Time and animation sequences in
Samurai Champloo and Space Dandy. So, I gotta say, that’s
a damn good portfolio. Making TV anime was actually quite a transformative
experience for Yuasa too. In its own way, it helped
him better understand how to make a film. In a Japan Times interview, Yuasa stated, “I learned more about storytelling “and the production process
while I was making those, “but the thing that interested me the most “was how people were actually watching. “2D animation isn’t
like a novel or a manga. “I tried to imagine how
people watched things “and what kinds of expectations they had. “When I started to get a handle on that, “I felt ready to make another film.” And the film he ended up making was one that I just adore:
Night is Short, Walk on Girl. I actually had no idea that this movie was sort of a side story to Tatami Galaxy, since I saw the movie first. Please don’t roast me for that. You don’t really need to know
anything about the former to understand the film, but it does help to give
a little more context. Like Tatami Galaxy, Night is Short is more of a character-driven
story than a plot-driven one, so it’s kinda hard to describe properly. I will say though that if you
enjoy heartwarming stories with magical realism, guerilla theatre, and women that can drink
their weight in alcohol, then you’ll probably enjoy this one. I think I said this in a previous video, but Night is Short is like
watching a painting come to life, and every movement, frame, and
color are just so hypnotic. Kind of like… (trippy psychedelic music) Oh, but Yuasa didn’t just stop at one film in the latter end of the decade. Nah, he made two. Yuasa also directed the
more family-friendly Lu Over the Wall the following year. It’s about a lonely student
who befriends a lovely mermaid, even though the other people in his town have a grave fear of merfolk. This movie is a really
fun one for music lovers, with a fun dance sequence and
a really killer soundtrack. A lot of people like
to compare Lu to Ponyo, which I guess makes sense when you compare their character designs, but trust me, plot-wise, they
are very different films. Oh yeah, and how the
hell can I forget about 2018’s Devilman: Crybaby? Taking the Netflix anime world by storm, this is easily Yuasa’s most
(pausing) graphic series? I know most grimdark anime
usually wait until episode three to reveal their true colors,
but Yuasa was like, “Nah,” and wasted no time to show his audience that Devilman: Crybaby is
not an anime for crybabies. This anime actually introduced a new legion of fans to Yuasa’s work, since Go Nagai’s Devilman franchise was already insanely popular. Before Devilman: Crybaby,
Yuasa was hesitant to show things like blood
and violence in his projects, since he wanted more people
to enjoy watching his work without the worry of puking. Grotesque violence and sex scenes can certainly be alienating, but when you’re adapting a series where the main appeal comes
from those unsavory pleasures, you may as well go out and
make the sex and violence look as beautiful as possible. (exhaling) And now, we have Eizouken. Although we are still pretty
early on in the series, Yuasa has proved himself once
again to be a true visionary. Okay, so if I can gush for just a moment, most of my favorite
scenes are when the girls are conceptualizing their ideas, and they insert themselves
into their own drawings. Not only are they beautiful,
creative sequences to witness, but I find that in their own way, they’re reflections of
Yuasa’s own experiences as an animator. The way they manage to incorporate all of the moving parts
of the animation process reminds me of Yuasa’s early
days as a freelance animator, figuring out what his strengths were so he could regain the
passion for his craft that he had before working
as a salaried employee. When the girls have their aha moment and birth the idea of the
gas-mask girl fighting the tank, it’s like watching Yuasa and
his collaborators in a way. You see all these individual creatives encourage each other’s
ideas and put them together to create something
that’s just so much more than the sum of its parts. It’s beautiful. And as strange as it
sounds, it gives me hope for my own budding career
as a young creative. I can’t recommend Masaaki
Yuasa’s work enough to you all. His films and TV anime are
so refreshing to watch, from their limitless, dreamlike animation, to their uncannily realistic narratives about the human experience. Let me know in the comments
who you want us to cover next. I’m Dorrie. Thank you so much for
tuning in to another episode of Dorrie’s director highlights. Oh yeah, and thanks for
watching Get in the Robot: Your Anime Watchlist. Until next time… Stan best girl Kanamori. I’m out. (easy listening music) – All right, that was great.
– We did it, thank you!

, , , , , , , , , , , , , , , , , , , , , ,

Post navigation

100 thoughts on “The Genius Behind Eizouken and Devilman Crybaby | Get In The Robot

  1. What's your favorite show from Yuasa?

    Coming Soon to Get in the Robot🤖
    – Demon Slayer👺

    – Haikyuu 🏐
    – Naruto 🍥

  2. Crazy animation changing how you experience a film/show is what I adore and that's why am weeby
    I will be doing some insane artwork projects with my friends till am dead and even beyond death am still going at it

  3. I didn't know that davilman crybaby and eizouken was made by the same person, I really need to check out the other stuff

  4. Great video! Adding more things to my endless watchlist.

    Also, for real Dorrie, could you at least try to be a little bit less cute? It's distracting.

  5. 6:00

    That's how I feel about Violet Evergarden vs something like Kaiba.

    Both are somewhat moral tales about a traveler but as overly polished as Evergreen is, Kaiba's approach feels invasive, trippy, and more relatable.

  6. Well, guess I'll just have to watch, like, ten more movies and series now. Thanks for ruining (?) my free time, @Getintherobot! When will I ever get a break from anime?!

    And if Dorrie made make-up tutorials, I'd probably binge-watch that, too, in spite of not wearing any make-up (btw, your eyeliner is really perfect, today, Dorrie, please make make-up tutorials)

  7. Dorrie. Looking like an cute little one, but in she shows whats on the inside most people pull back. Love it.

    P.s. got Walk on girl on the shelf and watching IT feels like taking drugs.

  8. great vid, thanks for your work putting this one together, was already aware of many of yuasa's shows that i need to catch up on but now i'll have to add a couple more movies to the list.
    would very much like more videos like this one and hope you'll have a nice day dorrie 🙂

  9. Favorite Yuasa Anime?… Gotta say, the crew here looooves Kaiba. If you need to something trippy, yet full of feels, check out our Kaiba clips.

  10. Easy Breezy by Chelmico. My favorite OP of 2020. Best girl is Kanamori. Check out the animated music video

    Sidenote. How adorable can Dorrie be ❤

  11. Is it just me or is Dorrie just absolutely adorable? I need a girlfriend that’s Dorrie-like. Oh yeah, and I love Eizouken, such a great anime, makes me want to go learn how to animate, or even just draw more. It’s so good

  12. Ping Pong the Animation is one of the most underrated anime of all time. In so few episodes you see such touching characterization. It's so heartwarming and makes you appreciate something you may have never cared about.

  13. You could say the funny run animation is his staple since you've shown it both on Mind Game and Devilman Crybaby. One might call it the… Yuasa Run? You can get this one for free lol

  14. Would love to hear more about Masaaki's work! 
    I didn't know he did DMCB, and wouldn't have heard of Masaaki at all if it weren't for this video, because honestly I didn't love DMCB. I do admit, I enjoyed the animation in its moments, but otherwise the style felt a little flat to me and I had issues with the pacing. The story was quite interesting in retrospect however, and I enjoyed unpacking it after I had finished watching it through.

  15. Anime is pretty great, don't get me wrong ,but the pacing is a bit eh for a lot of the episodes. however, whenever they enter the imaginary world, the episodes always pick up the pace.

  16. Where can I get the lofi beats that are used in GITR videos? I need background music for all the hours I'm sitting at work.

Leave a Reply

Your email address will not be published. Required fields are marked *