20 Anime That Are All Style and No Substance

Certain anime immediately stand out due to their beautiful artwork, polished character designs, and exciting action sequences. These shows are often created by leading animation studios and directors, and they frequently use innovative visual styles that leave a lasting impression.

As a film buff, I’ve always been fascinated by movies that are visually stunning. This collection focuses on those titles – the ones that first grabbed attention with their incredible look and feel. I’ve dug into the details of how each one was made – everything from the studio behind it and the specific film formats used, to the number of episodes (if it’s a series) and the talented music teams involved. It’s all about understanding *why* these projects look so special and how they achieved that impact, along with when and where they were originally released.

‘Guilty Crown’ (2011–2012)

Okay, so this show is a real gem from Production I.G – you know, the studio behind *Ghost in the Shell* and a ton of other amazing anime. It originally aired on Fuji TV and ran for a solid 22 episodes. What I loved was the setting – it’s near-future, with cool mecha designs and this whole plot revolving around bio-weapons. The music, done by Supercell’s ryo, was fantastic and really set the mood. Plus, the character designs by redjuice were instantly recognizable and gave the show a unique visual style. It all just came together so well!

The project featured a lot of digital effects and bright, sparkling visuals, especially during big action scenes. Later Blu-ray versions included slightly changed versions of some episodes, and related novels and comics further developed the story and world shown in the TV series.

‘K’ (2012)

GoHands created this 13-episode series, known for its vibrant, color-coded ‘Seven Kings’ theme and dynamic visual style – featuring lots of camera angles, lens flares, and color gradients. It started as a TV show and expanded into movies and additional seasons, all under the name ‘K Project’.

The visual style featured vibrant city scenes and sleek indoor spaces, with characters moving in fluid, sweeping shots. The franchise expanded beyond animation into live theater, comic books, and music, incorporating both electronic and rock music.

‘Kabaneri of the Iron Fortress’ (2016)

Wit Studio made this original anime series, which has 12 episodes, for Fuji TV’s noitaminA programming block. A movie version combining the episodes was also released. The show features striking visuals with a distinct art style, designs for weapons inspired by the steam-powered era, a powerful musical score by Hiroyuki Sawano, and mechanical designs from experienced industry professionals.

The show achieved a film-like texture by digitally painting over traditionally drawn animation. The story world was broadened through a mobile game, extra manga stories, and two sequel films, which also revealed new trains and fortresses originally hinted at in preview footage.

‘Aldnoah.Zero’ (2014–2015)

This 24-episode anime about giant robots was created through a collaboration between the studios A-1 Pictures and TROYCA, and aired in two parts. The music was composed by Sawano, and the series features impressive designs for both Martian and Earth machines, each with unique ways of transforming.

The show featured expansive scenes of space battles, enhanced with detailed visual effects and clear on-screen displays. When the show was released for home viewing, it included polished introductions and conclusions, and accompanying books offered detailed looks at the ships’ controls and weapons featured in important episodes.

‘Darling in the Franxx’ (2018)

I just finished watching this 24-episode mecha anime, and it’s a really solid production. Trigger and A-1 Pictures teamed up, and the character designs by Masayoshi Tanaka are fantastic. What’s even more impressive is how quickly it got released – it aired on TV in Japan and then hit streaming services and home video almost immediately. A great experience for fans!

The visual style of the designs, led by Shigeto Koyama, used striking color combinations and strong, clear shapes. The animation included frequent, detailed sequences for things like takeoffs and flight, and accompanying art books showcased the color choices and planning sketches behind the scenes.

‘takt op.Destiny’ (2021)

The anime series, a collaboration between Madhouse and MAPPA, consists of 12 episodes and is part of a larger project that includes a mobile game released in Japan. The music for the show, composed by Yoshihiro Ike, features orchestral themes that fit the series’ unique combat system based around music.

The presentation showcased concert venues, city scenes at night, and unique “Musicart” characters dressed in elaborate costumes and performing dramatic weapon movements. Skilled animators created refined fight sequences, and supporting documents provided in-depth looks at the costumes, props, and computer graphics used to create the effects for the instruments.

‘God Eater’ (2015–2016)

ufotable, known for its distinctive art style, turned Bandai Namco’s action game into an animated TV series. The animation featured the studio’s signature digital shading, resembling a watercolor painting. The series initially had 13 episodes, with more content added afterward. The game and anime were promoted together through special events and related products.

The show’s visuals combined computer-generated monsters with traditionally hand-drawn weapons and effects. The team developed a unique process to blend cartoon-style characters with fast-paced camera work, creating the show’s signature action style.

‘Children of the Whales’ (2017)

J.C.STAFF created this 12-episode series based on Abi Umeda’s manga, and it was released on Netflix in many countries. The show’s visuals included gentle, blended backgrounds and soft colors that fit the desert and ocean environment, as well as the unique, floating island designs.

The artists chose watercolor paints to create the colors for the sand, sky, and wood inside the buildings. The music featured choirs and drums to highlight important moments. The game’s official guides detailed the layout of the flying ships and explained the symbols seen throughout the story.

‘B: The Beginning’ (2018)

This original series from Production I.G first appeared as a streaming release and was later renewed for another season. The show combines a crime investigation storyline with exciting action sequences, all brought to life with a distinctive and bold graphic design style that’s visible in the logos, on-screen interfaces, and closing credits.

Visually, this series really went for a dynamic look, especially during the action sequences. Think lots of motion blur, dramatic angles, and stark lighting – it definitely tried to put you right in the middle of the chases. Beyond that, the creators clearly put a ton of work into building this world. I saw detailed character designs, every weapon imaginable, and extensive concept art showing off the kingdom where the story takes place. It felt incredibly well-thought-out.

‘Blame!’ (2017)

Polygon Pictures turned Tsutomu Nihei’s manga into a full-length computer-generated movie, which was released online and on DVD/Blu-ray. The filmmakers built huge, detailed industrial settings using computer modeling and kept the dialogue minimal, staying true to the original manga’s style.

The studio’s notes reveal they used realistic rendering techniques to create the look of metal and concrete. For some scenes, they captured actors’ movements and then refined those animations by hand, ensuring the characters maintained the sharp, distinct poses from the original manga.

‘Rakuen Tsuiho: Expelled from Paradise’ (2014)

This animated movie, a collaboration between Toei Animation and Graphinica, was written by Gen Urobuchi and features character designs by Masatsugu Saito. It uniquely combines fully computer-generated characters with facial animation designed to mimic the look of traditional 2D animation.

The materials revealed vehicles and robots designed for sweeping shots of deserts and space stations. Along with the release came music albums and art books detailing the visual style, including color palettes for characters’ skin and armor.

‘Appleseed’ (2004)

Shinji Aramaki directed this movie version of Masamune Shirow’s story, notably using a pioneering style of computer-generated characters with a cel-shaded look. The film features a futuristic city called Olympus, depicted as sleek and made of glass, and includes detailed robots and weapons used in long, exciting action sequences.

The team improved the model and lighting techniques after the initial release. Bonus features on the home video release showed how the unique cartoon-like visual style was developed, detailing how outlines were created and shiny surfaces like chrome and visors were achieved.

‘Redline’ (2009)

Madhouse spent a significant amount of time creating this action-packed racing film, directed by Takeshi Koike. It features traditionally hand-drawn animation of vehicles and characters, with a lot of detailed frames and dynamic camera work, all set on courses across different planets.

The film’s music featured fast-paced electronic songs that synced well with the racing scenes. Behind the scenes, detailed art books showcased storyboards and designs of the vehicles. Before its general release, the movie was screened at several festivals, and it was later re-released on disc in multiple remastered versions.

‘Karas’ (2005–2007)

This six-part animated series was created by Tatsunoko Production to celebrate the studio’s anniversary. It uniquely blends computer-generated imagery with traditional hand-drawn animation, featuring fast-paced action set in nighttime cityscapes. The visuals are characterized by characters transforming into armored suits, all enhanced by a dramatic orchestral soundtrack with choir elements.

As a fan, I was really blown away by how visually stunning each episode was! They created these incredible scenes by combining 3D camera movements with 2D effects, and the team even shared notes explaining exactly how they put it all together. Plus, the special releases were packed with extras – things like untouched opening sequences, artwork galleries, and interviews that walked us through the entire process of making the OVA. It was a total deep dive for fans like me!

‘Cencoroll’ (2009–2019)

Atsuya Uki created this independent film – which later evolved into ‘Cencoroll Connect’ – handling the writing, directing, and animation himself. The film showcases creatures that can change shape, drawn with simple lines and set against plain city backgrounds. It was shown in theaters and also released on a limited number of home video copies.

The production team used small, versatile groups of people, which helped maintain a consistent look for characters whether they were far away or close up. Marketing materials and interviews explained the thinking behind how creatures changed form and why they chose a limited color palette.

‘Beyond the Boundary’ (2013)

Kyoto Animation created a 12-episode anime series based on Nagomu Torii’s novels, later adding original video animations and a film. The animation featured impressive effects for fight scenes, particularly with liquids and glass, and the soundtrack prominently used string and piano melodies.

The character designs featured smooth color transitions and shiny eyes, which were prominently used in promotional artwork. Creating the show involved using digital tools to add effects like rain, fog, and glowing light, and detailed guides were made to keep track of props and settings.

‘Bayonetta: Bloody Fate’ (2013)

Gonzo turned the PlatinumGames game into an anime movie, focusing on flashy gunfights and distinctive flowing hair. The film kept the characters’ outfits and weapon designs from the game, but simplified the story to fit the length of a movie.

The promotion featured collaborative products and special soundtrack releases with the home video. Detailed art assets, including pose breakdowns for action scenes and camera timing charts for the ‘witch time’ sequences, were used to create the animation.

‘Fireworks’ (2017)

Shaft created this movie version of a 1993 TV special, with Akiyuki Shinbo as the main director. The film features the studio’s signature style—distinctive geometric designs and reflective lighting—and its theme song was a hit in Japan.

The show’s visual style featured beach town settings, recurring images, and extended shots. It was promoted through advertising and music videos, and the DVD release included several audio options and clearly presented closing credits.

‘The Garden of Sinners’ (2007–2013)

ufotable created a series of movies based on Kinoko Nasu’s novels, which were later adapted for television with added scenes. The series is famous for its stunning nighttime visuals, realistic city lights, and detailed animation of sword fights and magic, all enhanced by a beautiful musical score composed by Yuki Kajiura.

The team developed a process that blended pre-planned camera movements with traditionally animated action sequences. They also created detailed art books filled with costume designs, building layouts, and color guides for each section, ensuring a consistent look throughout the entire series.

‘Violet Evergarden’ (2018)

Kyoto Animation created this 13-part series, which was later expanded with an original video animation and a full-length movie. The show featured beautifully designed cities reminiscent of Europe, along with incredibly detailed military uniforms and vintage typewriters and postal tools – all central to its story about letter writing.

The production featured detailed backgrounds, complex lighting effects, and carefully animated props like typewriter keys and tape reels. Supporting materials included artwork, released music, and interviews detailing how the team maintained consistent color schemes throughout the series.

Share which titles you would add to the list in the comments.

2025-10-09 00:18