Sarca @sarcascさんのイラストまとめ

Rintarou and Masao Maruyama's "Phoenix" trilogy

The first short film, directed by Rintarou himself, is more-or-less similar to The Dagger of Kamui in its presentation; though, the absence of Tezuka's aesthetics aside from Akio Sakai's character designs is a bit unfortunate

Kussetsu #1 (directed by Keitarou Motonaga 元永慶太郎)
SB/ED: Yasuhito Kikuchi 菊地康仁
AD: Kazuhiro Oota 大田和寛
CD/CAD: Yoshitaka Kouno 河野悦隆 (may he rest in peace)
Some really interesting boards, occasionally strong drawings, and colors; neat for an h-anime

MadoMagi's production was obviously horrendous behind-the-scenes but looking at the remake/corrections is pretty cool. TV leans to minimalism per time constraints(?), BD adds in a lot of textures and designs, and the movies go straight for gothic art and overdetailing

It has Yoshinori Kanada's designs-- simplistic, but extremely nice to look at. I mean, they're *really* nice to look at; and other members/ex-members of Studio No.1 worked on it, including sakkan Takuo Noda, and Mamoru Kurosawa of Shaft/Fire Force fame, and Noriyasu Yamauchi

#13
SB/AD: Michio Fukuda (福田道生)
ED: (安藤健)
This episode is kind of weird since it's a bit unsatisfactory as a finale imo, but it's unlikely that Katou's manga will finish anyway, so I suppose in a way it's fitting, but it's definitely not bad
A fun finale, if nothing else

He's got all sorts of fun visually interesting tricks up his sleeve, from the monochromatic coloring to the shadows, to some much wacky coloring, and some genuinely cool compositions

#8
SB: Michio Fukuda (福田道生)
ED: Hideaki Uehara (上原秀明)
AD: Reiko Nozaki (野崎麗子)
Episode about girl who is lonely due to her appearance making friends, and also funny makeovers-- in other words, cute

#1
SB/ED: Michio Fukuda (福田道生)
AD: Tetsuya Ishikawa (石川てつや)
Fukuda establishes right away the interestingness of his boards and the comic style the series is going to take, and he also establishes his likening of dutch angles, wide angles, and up-close shots

The Revue Starlight movie felt like an ode to Tomohiro Furukawa's work on Ikuhara's Penguindrum at times, but even more I think it's interesting how the Dezaki line of directors continues to indirectly influence each other and how they come out with similar (but unique) results