Mitsuo Iso is my favourite animator – that’s an unequivocal fact. Regrettably, it hasn’t been a good decade to be a fan of Iso. Since his work as director on the commercially unsuccessful Denno Coil, he has been an elusive, enigmatic figure, making only scant appearances uncredited here and there. Recently though, we’ve had good news from abroad: Mitsuo Iso has been found alive and well and a French company has dragged him into working on a new animated feature film of theirs, Les Pirates de la Réunion, le réveil des dodos! If you saw that news article pop up on your crunchyroll or ANN feed and didn’t know what all the fuss was about, then this post is for you.
To celebrate the return of the chosen one, I thought I’d gush all over my keyboard for a couple of hours so that the world can at least know the depths of my love for this man. Rather than a detailed break-down of his style and work, it’s more of an indulgent propaganda piece.
Iso is a testament to the fact that, contrary to the frothing gibberish that many western animation purists purport, more frames does not equal better animation. Anyone out there who flatly believes that the more fluid animation is, the better it is, or the more realistic it is, needs to stop and listen to the message Iso conveys through his work.
Throughout his long and industrious career Iso has delved deeper into understanding expressing movement than any other major animator I have seen, which has given him the ability to craft animation in a way no one else in the world can, and that’s no hyperbole. The way in which he shows movement that feels both realistic and organic yet intrinsically ‘animation’ is so perfect and so difficult to break down technically that it’s nothing short of magical. There’s no doubt he has a gift that can’t be learned. When his animation craft is woven into a climactic moment of the right anime, it has the ability to take your breath away.
In my early days of anime fandom, when I didn’t even know what an animation director was, one such scene floored me: Asuka fighting the mass production Evas in the End of Evangelion movie. I actually watched it again recently and that only confirmed its uncontested status as my favourite sequence of animation. I suggest everyone give it another watch (spoiler alert):
It’s not my favourite sequence because it’s the most technically impressive, because it has the best drawing quality or the most realistic movement – I could reel off plenty of examples that best it in any one category. It’s not one quality I can put my finger on but there’s something intangible and transcendent in there.
Perhaps it’s the sense of weight and gravity of the Evas colliding and swinging their joints, the visceral power of their lunges and the way they reel back from the sheer forces involved in the battle. Maybe it’s the way, even though Evangelion is a giant ‘mecha’ its every movement evokes the cathartic willpower of Asuka’s last few breaths – it’s a desperate, violent scramble for survival on a grander scale. Or maybe it’s the fact that every detail is accounted for – the speed at which debris fall, the way leaves ripped from trees are whisked around by momentum, the uniquely real spurting and splattering of blood or the trailing wisps of smoke from the clashing swords. It’s not one of these things, it’s all of them and more. It’s Mitsuo Iso. It doesn’t matter how much money or how many animators you could throw at a movie, we have one man to thank for the animation in this sequence and it could never be done without him. Never.
Every Frame is Key
With the “full-limited” style he developed and frequently used he shuns the traditional approach of having the key animator drawing the key poses in a cut and having in-betweeners draw the frames between. Instead, he exerts complete control over his cuts, doing every drawing himself. But there’s more to it than that, he doesn’t just do away with in-between animators, he does away with the whole concept of in-between frames – by treating every drawing as key. This means he is never drawing just to get from one pose to the next, but every frame takes the movement forward in a totally organic way. This avoids any semblance of the old animation problem of characters looking as though they are awkwardly snapping into poses and revolutionises our understanding of what it means for animation to be realistic.
An army of in-betweeners could make animation that moved at real-life speeds of 60 frames per second plus, but that wouldn’t make it any more realistic if the movement wasn’t happening in a realistic way. By the same token, if the characters are moving in a realistic manner, they don’t NEED to move at 60fps for it to feel entirely real and authentic. And even if a key animator had a prodigious grasp of anatomy and movement, if the movement is being planned out by only a portion of the frame total it will never feel truly real.
Mitsuo Iso’s animation is limited in the sense that he doesn’t draw 24 frames per second, but with a lot less drawings (limited animation) he is able to give the same impression as if it were full. He does this by having a masterful understanding of how things move at their very core. There is absolutely no redundant movement in his animation; each frame is a discrete evolution in the broader motion going on. As a result, things can constantly be accelerating, decelerating or changing course which gives his motion a sense of vitality, of being alive. That’s why his animation gives the impression of realism without moving with the same framerate.
Master of Motion
But it’s not enough to make things be constantly moving arbitrarily (as many other animators are guilty of); Mitsuo Iso also has a genius understanding of how things should move. His animation doesn’t come from repeated textbook learning but from some deeply innate knowledge of how to translate what he observes in real life into a sequence of drawings. This is where the magic of Iso comes into play.
When he animated that End of Evangelion scene, the Evas moved with weight the of giant robots and also the will of humans.
In the ghost in the shell sequence, the spider tanked crept around like an arachnid yet also moved with a robotic, mechanised purpose.
And don’t worry, he’s not just a mecha animator! His portrayal of every-day human movement is so natural it can be profound such as the crying scene in the Digimon movie, or the running in Umi ga Kikoeru.
To top it off, he is one of the best effects animators out there, portraying explosions, smoke and water with a kind of enigmatic authenticity that is hard to match. His climactic scene in FLCL or his explosion in Blood+ are good examples of this.
At the end of the day, Mitsuo Iso’s realism doesn’t mimic real life it recreates it. Instead of a dull straight-forward reproduction of real movement, he harnesses the power and potential of animation to create evocative sequences that merely use a grounding in reality to further enhance their impact and visceral beauty.
A True Creator
Like many other accomplished animators before him, Mitsuo Iso began to spread his wings to soar above the whole creative process, with a resounding effort at pretty much everything with the renowned Raxephon episode 15 where he handled production, writing, storyboard, 2D digital effects and key animation – an unheard of feat for TV anime. He bought along the same philosophy that informed his key animation career and wanted to show that you can make a high-quality product within the confines of limited budget and schedule by cutting out the challenge of trying to interpret and execute another person’s vision. This is taking his demolishing of in-between frames to a higher level. He proved his point with an a moody, cinematic and completely satisfying episode. He also proved that he was cut out for creating stories, not just telling other people’s stories with his animation.
This change in tack for his craft led him to being in charge of his very first major project: Denno Coil. Iso came up with this one from the ground up, as creator, director and screenwriter. A fascinating blend of neighborhood-roaming childhood coming-of-age and near-future augmented-reality science fiction, Denno Coil was unique, thoroughly entertaining and richly animated. Unfortunately it was not a resounding success, failing to make an impact or garner strong sales despite a generous TV time-slot. Although mostly hearsay it also indicated that Iso may not be suited to the director’s chair, his perfectionism and instinct-driven style poorly matched to entrusting animators under him. This may have caused a falling out with the previous brother-in-arms, Takeshi Honda, who was the chief animator for the series.
It is also probably the reason he vanished into a distant myth ever since. However, with the news that he is coming back with a feature film, all heads should be turned as no one can doubt the capacity of Iso to create something amazing.
- Watch all his animation at Sakugabooru: https://sakuga.yshi.org/post?page=1&tags=mitsuo_iso
- Read interviews and analysis from AniPages: http://www.pelleas.net/aniTOP/index.php/mitsuo_iso