>>281932498
Yeah, but that's not it at all. When people talk about Shaft and Shinbo, they usually fall into one of two extremes: either "Shinbo is Shaft, the whole style the studio is known for is his style," or "Actually, Shinbo doesn't really do anything, he's more like a mentor and supervisor." And somehow you've managed to combine both of those extremes, which is kinda impressive!
But in reality, both views are wrong. The truth is somewhere in the middle. Shinbo's influence is huge, but it's obvious to anyone who's seen his pre-Shaft work that the "Shaft style" isn't purely his style - his older stuff looks noticeably different. Plus, if you've seen what Shaft made before Shinbo joined(like these
>>281931556
>>281912660) , you can already see some of the studio's signature trends starting to form.
Early Shaft was also influenced by Ikuhara (especially through Takeuchi), who they worked with on Utena, Ryuutarou Nakamura, Shinichi Watanabe, and later Oonuma and Oishi, among many others. Long story short, Shaft is one of the few studios where it actually makes sense to talk about the studio as a whole, not just individual talents. Their studio style doesn't belong to any one person; it was created in this melting pot and was only possible because of that environment. It's like actor-network theory, where the surroundings have just as much influence as the people.
>His protege Itamura
Miyamoto is more suitable for this role, and, bΡ thΠ΅ wΠ°y, he is behind the "Shaft directing manual" so in a sense, it was he who made the system we now know out of elemental chaos.
>In the end, KyoAni won
It's funny, considering that your accusations actually suit them better, because their system with early training and low staff turnover leads to stable quality, but the downside is boring monotony and dogmatism.
