Kizumonogatari Part 1: Key Animation Notes

Source: Shaft (Aug 31, 2016)


Hanekawa’s skirt billows furiously.

Tatsuya Oishi (Director): I wanted this to evoke a different mood than the opening scene of Bakemonogatari.

Ryo Imamura (Main Animator): This part was rather grounded in Bakemonogatari‘s prologue, so I decided to surprise the audience by using a flashy hurricane-sized gust to flip her skirt. I also made her breasts sway like crazy.

C0166 – “Teheheh.”

Hanekawa forces a smile as she bashfully looks away from Koyomi for a second.

Oishi: Everything from her awkwardly blushing to her hopping toward Koyomi with her hands behind her back was by Taiki Konno.


Hanekawa makes eye contact with Koyomi.

Oishi: I strove to give the Kizumonogatari version of Hanekawa the charm of a classic heroine.


A surprised Koyomi (left-facing).

Oishi: Mr. Yasuhiro Nakura drew this crisp, shiny Koyomi.

C0266 – “But personally, if there’s a vampire, I’d like to meet her.”

Hanekawa walks across the steps as if they were a tightrope.

Oishi: The one responsible for this scene of Hanekawa staggering along the stone curb was Mr. Koichi Sato.

C0271 – “Because in so many ways, where’s the reward otherwise?”

Hanekawa talks cheerfully, backlit by the setting sun.

Oishi: Retouched by our animation director, Mr. Hideyuki Morioka. Hanekawa’s expression here is exquisite.

C0325 – “I put my number and email address in there.”

Hanekawa turns around after crossing the street.

Oishi: The sequence of her bidding farewell to Koyomi was done by Mr. Shigeki Sunada.


Koyomi follows a blood trail down the stairs, occasionally stumbling over his own feet.

Oishi: Koyomi single-mindedly descends the stairs. Mr. Riki Matsuura was in charge of the following scene, and put the finishing touches on this simple yet intricate cut that I had only storyboarded halfway.

C0476 – “I am telling thee that it shall be thy privilege to aid me.”

A close-up of Kissshot.

Oishi: A lovely lady with no arms and no legs sprawled across a train platform isn’t something you see every day, but Yuya Geshi‘s animation sold the authenticity of this scene.

C0547 – “N-No waaay.”

Kissshot’s face crumbles as she bawls like a child.

Toshimasa Suzuki (Unit Director): Despite the addition of wrinkles when she screams, Kissshot’s face maintains its beauty. These expressions were drawn extremely well.

C0551 – “Waaaaaah!”

Kissshot writhes in agony, splattering blood all over the floor.

Oishi: It’s hard to depict pain in anime, but this cut thoroughly conveys it through the way her flesh spews out blood each time her severed arms hit the floor.

C0566 – “Aaahhhhhh!!”

Koyomi runs for his life.

Yuya Geshi (Main Animator): The cut of Koyomi’s figure getting coarser as he escapes. I drew it with gusto.


Kissshot is taken aback.

Oishi: This gorgeous Kissshot from Tekketsu‘s climactic bloodsucking scene was the handiwork of Mr. Yasuomi Umetsu.


Kissshot licks Koyomi’s neck in an upward arc.

Oishi: Mr. Umetsu handled this erotic cut of Kissshot giving Koyomi’s neck a good lick.

C0649 – “I said wake up!”

Half-asleep, Kissshot drools as she is rocked back and forth.

Oishi: This adorable scene of a sleepy Kissshot was taken care of by Genki Matsumoto.


The cold open; Koyomi wanders the elevator hall, glancing around.

Oishi: Hiroki Yamamura did the first 40 cuts of the cold open [until Koyomi opens the door to the roof].

Hiroki Yamamura (Animation Director): In this scene of Koyomi roaming the cram school, I used subtle motions to give off a sense of realism.

C0024 – “Huff… Huff… Huff… Huff…”

Koyomi drags his feet up the stairs.

Yamamura: Mr. Oishi and I took photos of each other to use as reference for the key frames. Koyomi’s movements were based on how Mr. Oishi had acted them out.


A crow lands on a tree branch.

Oishi: I asked to have the crows’ silhouettes drawn first, then filled in with a texture resembling pencil lead.

Genichiro Abe (Main Animator): I drew this with my signature special effect-like flair.


Flames erupt from Koyomi’s body as he crashes into the wire fence.

Oishi: Everything until Kissshot rescues the burning Koyomi was handled by Mr. Koh Yoshinari. He made this nail-biting scene look as though it had been animated digitally.

C0780 – “I was able to regenerate my limbs, at least in form. There’s no meat in them.”

Kissshot slowly lifts her shorts while sticking out her hips and raising her head.

Oishi: The cut of Kissshot rolling up her dress. Mr. Matsuura’s take on Kissshot is super cute.


A cartoony Kissshot bashes Koyomi over the head with a 100-ton hammer.

Oishi: Mr. Yoh Yoshinari was responsible for this goofy gag cut.


Mèmè stands perched atop a chimney before taking the plunge.

Oishi: Mèmè’s action scene embodies Imamura’s vision of a hero. This cut shows off his superhuman movements.


Mèmè’s windy free fall.

Imamura: Technique-wise, what I did was draw tiny key frames then enlarge them to make the lines rougher. The resulting footage is akin to a camera zoom.

C0959 – “Sigh.”

Mèmè gives Koyomi a once-over, then spits out his cigarette.

Oishi: Mr. Issei Arakaki‘s cut. Mèmè puffs his cheeks and ejects the cigarette between his lips.

C0979 – “Ah!”

Kissshot bursts into joy at the sound of the door opening.

Oishi: An exuberant Kissshot. Her cute expression is filled with Mr. Arakaki’s charm.


A caricature of Oshino.

Oishi: A Mèmè doodle courtesy of Mr. Hajime Ueda.


Oshino grabs a pack with one hand, and flicks out a cigarette with the other.

Oishi: The sleight-of-hand manner in which Mèmè pulls out the cigarette was improvised by Mr. Arakaki.

Issei Arakaki (Key Animator): I had no practical experience with these moves since I don’t smoke myself, so they were challenging to draw. Basically, he taps a cigarette loose, snatches it up, and twirls it into his mouth in one swift motion.

C1006 – “You said you would.”

Oshino peers down, unmoving.

Oishi: The animation director of the film’s second half was Hiroki Yamamura. He made Mèmè look quite menacing, didn’t he.

C1028 – “She’s the rare kind of vampire able to drain the energy from aberrations.”

Kissshot sits like a grown woman.

Oishi: A slightly more mature Kissshot.

C1043 – “Hmph.”

Kissshot suddenly turns away, looking displeased.

Oishi: Drawn by Mr. Yoshio Kozakai. Even her nonchalant behavior is cute.

C1063 – “B-But…”

Hesitantly, Koyomi shifts his gaze.

Oishi: Mr. Kozakai’s depiction of Koyomi has a certain aesthetic to it.

C1093 – “All right, deal. Ha hah! Thanks for your business.”

Oshino makes a carefree, offbeat remark.

Yoshio Kozakai (Main Animator): This extended scene of mine near the end was pretty static, so I did my utmost to animate all the fine details as meticulously as possible.

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