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Also available on home video formats, both share a love of Big Dumb Anime Action. Mecha-riding heroes punch through frames at lightning speed while the world swivels and curly-wurlys to keep up. They also share a history and director: Hiroyuki Imaishi. This interviewed Imaishi and his colleagues last year, where he spoke of growing up on action animation; he was born in 1971, when the genre itself took flight. “I always liked action, robot animation; they’re not slow or atmospheric, ” he said. “Or kids fighting; I liked that sort of thing since I was a child.”

The anime of his childhood, Imaishi claimed, inspired his sense of humour, often with sex and toilet jokes. “That was my rebellious feeling towards everything. When I started out, all this naughty stuff was torn down, anime was quite gentrified. But I think the anime I used to watch when I was a child were more sexy. Actually, I didn’t make anything sex-related when I was making my own indie things; I started doing it once I was in [the industry] because everything was torn down and I just wanted to do something different.”

Tones down that side of Imaishi’s work greatly, though restraint is the last thing you think of when you’re watching the film. Perhaps that’s the deepest measure of how Imaishi has evolved – making a film that’s suitable for all ages,

Gurren Lagann:

, doing in-between animation. Soon he began making his own name in the industry for funny, fizzy, aggressively crazy animation work. A milestone for Imaishi, though not an “Imaishi” anime, was 2000’s

Director Imaishi. It starts with the amnesiac, delinquent heroes – a TV-headed man and a rainbow-eyed woman – joyriding through a city and blowing away armies of police. Then they’re sent to the moon and the rest of the film is a prison break punctuated by punch-ups, pooping, sex, more violence and monstrous developments arising from the sex.

Was by Gainax, though the series is now closely identified with Trigger. After the first plans (by different staff) fell apart, the studio approached a writer called Kazuki Nakashima. His respectable job was as a playwright, but he moonlighted in anime as well. In particular, Nakashima had given his services to Gainax on a 2004 video miniseries called

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Also involved on that series was Imaishi, who instantly found Nakashima’s writing appealing. When Imaishi heard Nakashima was on board Gainax’s new mecha show, he immediately offered to direct. Later Imaishi would hail Nakashima as a writer capable of applying adult skills to the illogical humour that a primary schooler would have; creating something ridiculous, but

Came armed with wind-blown capes, muscular pouty poses and hammered-home nob gags. In Nakashima’s story, two young men, Kamina and Simon, drill their way out of their underground home and find a planet teeming with enemies driving robot monsters. Luckily our heroes pick up some mecha themselves, plus a curvy lady called Yoko and a caravan of allies, rising up the levels to bigger and bigger baddies. Kamina is a vainglorious jock, Simon a shrinking wimp, bolted together in the “manly combining” of their robot steeds. But will Yoko break them up, Beatles-style? Actually no – the show had a bigger shock in store.

Into a robot. “From my standpoint, if someone asked me to pilot a mecha, I would, even if they said I wasn’t allowed to.”

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Often recalls the crazier, more fantastical robot shows which preceded it; what mecha fans call the “super robot” anime, shaped by creators like Go Nagai. Imaishi suggests this reflects the influence of Nakashima; the writer was a fan of 1970s anime like

Also reflected Imaishi’s own cartoon humour. Just in the opening minutes, for example, Kamina and Simon ride a snorting stampede of “pig-moles” which piles up impossibly into a huge porcine tower, lifting our heroes aloft. It’s a fair measure of just how loose

Was broadcast on Japanese TV when children might have been watching, before 9pm. This was unusual in 2007, when most TV anime were already relegated to late at night. You might think Gainax had learned lessons when

Tengen Toppa Gurren Lagann (anime)

Also shown in a mainstream time-slot, got into trouble with TV networks for having a (tasteful) bed scene between adults. Hardly – one of

’s first episodes was a lewd bathhouse farce, which had to be censored for broadcast at the last minute. (Don’t worry, that doesn’t apply to the version on All4.)

And characters that audiences rooted for and sometimes cried for. Imaishi and Nakashima weren’t scared of upsetting fans, but the fans didn’t resent them for it. Just check how high

Spoilers] Tengen Toppa Gurren Lagann Episode 6 Dc Rewatch Discussion Thread

The next Imaishi anime was the first made at a new studio. In October 2011, Imaishi co-founded Studio Trigger. Wakabayashi told me that Gainax had been liberal in terms of creative freedom. “Only Gainax would have done

What they wanted to do was different from what we wanted to do. So rather than being safe, making what would make everybody happy, we thought we might want to do what

Two years after its founding, Trigger released a new TV epic, with Imaishi once again directing and Nakashima as the main writer. Kill la Kill had all the lunacy of

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; it starts with a teacher, who looks roughly the size of a dinosaur, crashing into a classroom. It also had much of the crudity of

With its heroine Ryoko bound up in an eye-watering vampiric sailor super-suit to battle authority. This once interviewed Takeshi Honda, a master Japanese animator who drew Ryoko’s outrageous “transformation” scene, which looks like pole-dancing crossed with BDSM. Honda said it embarrassed even

Also had an energetic evolving story, fortified by strong twists, and with amusing satirical comments about the dangers of global clothes brands. (By Nakashima’s admission, this strand of the series was inspired by

Was Complaining That They Removed It From Netflix But Ago. Goddamn Does My Wife Kick Ass.

A 1976 British novel by Barrington J. Bayley.) Some fans discerned deeper themes about society and identity in the show, even as Nakashima says his main inspirations included vintage Japanese exploitation flicks, the so-called “Pinky Violence” series released by the Toei studio. For the average reader,

Imaishi had several director credits on smaller, gag-filled toons for Trigger. One of them, “Oval x Over” can be found on Anime Limited’s Pigtails collection. Meanwhile Trigger has produced an impressive range of other anime, some helped along by Imaishi, but mainly the work of younger directors. When I asked if Trigger had an underlying “style, ” Wakabayashi played down the idea. “We don’t really think of genre or style as such. We just want to do what the directors or staffers want to make, what they find funny or interesting or exciting. As a result, there might be ‘our’ style, but it’s not something we’re actually aware of.”

Without the extreme elements.” The result was family-friendly and hilarious; two original films were followed by a 25-part TV series, which can be found on Netflix. Imaishi himself storyboarded the eighth series episode, set in a zany dream world. Yoshinori is now directing the (at time of writing) upcoming Trigger series

Watch Gurren Lagann

, available from Anime Limited. Written by Mari Okada, it’s a winning drama about teenagers bound together by their pain; you can read more about it here. Meanwhile, other teens developed superpowers in Trigger’s series

Is full of crashing, exhausting battles between grinning, roaring men piloting robots the size of buildings. It’s a vehement statement of fannish self-celebration,  like the massing armies of costumed heroes in the finale of 

… The artists’ love of the material can’t be faked. The visuals emphasise basic shapes – squares, triangles, the smoothly curving tracks of an elevator which bring dynamism to the stock scene where the villain explains his plot. Together with a vibrantly stylised red-and-blue colour scheme,

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They were “blocked” for years over what story to tell. Then they went out for a hamburger meal and resolved to serve up a “standard delicious” work, in line with their usual style.

’s producer Hiromi Wakabayashi calls the new film “a compilation of all of Imaishi’s works up until now.” That explains a great deal; and with the sex and toilet jokes left out,

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