Kyoto Animation

Lucky Star (2007), a meta-cultural analysis of the internet, remains incomplete when not incessantly referencing other otaku culture.

The meditation on existential depression Clannad (2008) instead focuses on reminiscent familiarity: relatable yet boringly stagnant. Dissonant breaks (of it) occur in familiar otaku referencing.

K-On! (2009), Naoko Yamada’s first directorial debut, incorporates high visual quality (for its time) alongside an often fast-paced slice of life. Rather than paint adolescence as at times melancholic, Naoko creates unrealistic and overblown drama connecting its later half. Most of its strong visual design and weak narrative comes from its uninteresting manga adaptation.

K-On!! (2009) decides to slow down its pace and increase the rates of pathos. Subtlety, however, Naoko is painfully unaware of, which could have made any emotional elements feel further stimulating. Despite this, certain audio-visual elements do create a hypnotic experience on watch.

Nichijou (2011) employs elaborate schemes with mixed effects. Large spikes in animation quality create dissonance between the lesser thought out scenes and ones of unique originality. Nichijou’s incapability to slow down can sometimes be its own deficit.

The K-On! Movie (2011) is a “cinematic” continuation of the series. Once again it's overblown (only occasionally subtle delivery) makes emotional moments feel awkward and comedic moments overdone. The movie ends on a unique shot of the characters’ legs.

Chuunibyou (2012) continues the trend of otaku culture referencing but to a more realistic effect.

The otaku references cease on Hibike! Euphonium (2015) - similar to K-On! - inconsistently ‘pudgy’ while contradictorily melancholic and serious. Peaks of pathos are seen in its later episodes.

A Silent Voice (2016), often compared to Makoto Shinkai’s Your Name, delivers the same intense dramatic delivery (of Naoko’s previous works), but tones down its comedy. The effect is still overblown, but actually creates more coherent moments in the process. The visual quality is one of Naoko’s best (and has better plotlines due to a more quality manga adaptation). Each narrative arc flows seamlessly.

Despite the tasteless authenticity, Dragon Maid (2017) remains saved by Kyoto’s slice-of-life talents. Nerd culture and audio-visual presentation market an audience - one more polished than Lucky Star of the old. Nonetheless, many of the cultural references are approached from surface-level.