>>280438057
Ninkoro was Miyamoto, which is one of the biggest names still at the studio. When it comes to Shafty style there are few people as consistent as Miyamoto, which is why Shinbou insists he directs the first eps of basically all the shows Shinbou's been involved in. It is true that Shaft teaches well (Kubota brought Shinbou on in 04 to achieve this in the first place) but the Shaft style has basically been codified at this point. I thought Ninkoro was a great show, but I don't think it exemplified the Shaft style as much as it just incorporated common Shaft elements constantly. I was hoping to see a little more innovation in the boarding and direction.
>>280437387
>>280438441
>>280438838
As far as Tatsuya Oishi is concerned I was at one point a full on apostle and am still convinced he was the most uniquely talented person at the studio (it's no wonder Itamura, Tatsuya, and their disciples have been taking cues from his book for years) however it's worth clearing up a lot of what he did in Monogatari that made him great. In the first place Oishi's biggest strength is storyboarding, and his idiosyncrasies made his particular boards easiest to spot in Shaft works before Bake's release (see: Negima!?) and Bake was no exception, his boards on Suruga's episodes are easily the best work in the season. When it comes to Kizu you can go so far as to say the style he'd been crafting in OPs like Negima and PaniPoni, as well as his entire work on Bake, was evolved into a directing ideology. Heavily influenced by French New Wave (watch Jean-Luc Godard and you will understand 5x more about Oishi than you did before) but with a focus on modern Japanese pop art and advertisement/consumerism. The influence of Japanese history is also pretty strong as well (take the inclusion of the National Stadium in Kizu Reiketsu-hen). However it's not as if he was the only talented person at the studio. It's not as if Takizawa wasn't the main Color Designer for most of the series, either
