Guest directors, cross-studio animators, and bold creative choices turn the long-running anime’s return into a spectacle that redefines televised action.
Few people thought that the first episode of My Hero Academia Season 8 would be such a huge step forward in terms of goals. Even though it was just one movie in a long-running series, it broke the show’s usual rhythm by offering a stunning display of animation skill and emotional depth on par with the series’ feature films.
For a show that usually has to stick to weekly plans and the pace of its source material, this episode broke all the rules by combining cinematic direction with heartfelt storytelling. At first glance, the show seems normal—heroes fight, emotions get out of hand—but if you look more closely, you’ll see that it was a carefully planned production design experiment.
It’s not like any other MHA show. Behind its stunning scenes is a staff that has never been seen before: a mix of talented people from One Piece and other anime giants, united with one goal: to push the limits of shonen animation.
Creativity explodes when studios meet.
Nanami Michibata and Hironori Tanaka, two directors known for their work on One Piece Episode 1074, were in charge. When they worked together, they gave My Hero Academia a whole new graphic language. Together with co-director Mitsu Ita Bisashi, they gave the show a speed and scale that you don’t see very often on TV.
The production even had a bit of insider humor—animator Coha used a playful fake name, which led fans to wonder about his work while he happily confirmed it on Twitter. The list of animators is like a who’s who of action stars: Jason Yao, Shin Shiata, Muna Kano, and guest stars Vincent Chansard and Hiyoko all came back.
Even though there were tight deadlines—some scenes were said to be finished just in time—the effects are flawless. Every frame shows the work that went into it, from early May production notes to last-minute composite tweaks. The work is a mix of precision and raw creative energy. But it’s not just the animation that makes the show great; it’s also the way it’s put together.
Storyboards and editing are great examples of flow and putting things together visually. The action is still understandable, has a purpose, and makes you feel things even when it’s happening very quickly. Even though this is Hiro’s first time storyboarding, he already has a great sense of scale and grandeur, which makes me think of the famous cartoonist Yutaka Nakamura.
Action is not just moving; it’s feeling.
Using split screens, sharp eye flares, and visual cues that make a point without being confusing. Some of these artistic choices may have come from Ana Yamamauchi, who directed the series and is known for her love of dynamic framing. Hon’s action scenes prove that he is one of the best directors working today; his work on Chainsaw Man definitely influences Bakugo’s fiery choreography.
Every scene has a textured, bombastic feel thanks to the compositing and post-processing. There are big blasts and soft, slow-motion moments. But in a good way. It’s loud, rough, and not finished. There are a few shots where the art direction isn’t quite right, but the creativity outweighs any flaws. When the show hits this hard, even small background mistakes are easy to overlook.
A big part is also played by editing. The tempo breathes between bursts of chaos, going from fast-paced climaxes to quiet spots. Strong action editing is based on the “hold and release” principle, evident in shots like Bakugo’s charging scenes or Deku’s quiet resolve. It reminds me of the best scenes from Season 2 of Jujutsu Kaisen: exact, purposeful, and deeply cinematic.
Every frame is a character’s vibe.
Sound and cinematography work together to heighten the intensity. As Bakugo speeds up, the scene that shifts from black-and-white rain to bright explosions of color makes me think of fireworks going off in time with the music.
The CG work on All For One’s approach fits in perfectly, making the fight look fierce in three dimensions. It’s clear that the people who worked on My Hero Academia learned from their mistakes and were willing to try new things. The sound design is another thing. The episode is more than just pictures, thanks to composer Yuki Hayashi’s music and its razor-sharp sound effects.
The distorted sounds that screech, the timed silences, and the soaring instrumental peaks make every emotional beat stronger. It’s not just animation; it’s a movie theater. The slow-motion montage of characters’ faces in the middle of a fight feels personal, real, and deeply moving.
Raw art, finely honed passion.
The quality of the drawings remains high throughout, thanks to the work of four animation directors and two assistants. Umakoshi and Yamaguchi are seasoned veterans who make perfect changes while still letting the animators’ natural styles shine through. This is a rare freedom in weekly TV production. Toshi Ki Sato’s sharp designs, Shuhei Fukura’s smooth, Ufotable-like style, and Vincent’s 3D volumetric details all work very well together.
The second part of the episode turns into an animator’s dream reel. Jason Yao’s moving water scenes, Mia Nakano’s subtle character acting, and Ronma’s color-driven effects all come together to create a range of art. Every frame has its own unique energy, from small movements to blasts the size of planets. Bakugo’s close-ups with a red tint and the bright, multicolored impact frames show that the team isn’t afraid to take big visual chances.
As the story goes on, characters with names like Tento10en, Shu Chugita, and Suga Kami make it more exciting. Like Utapon’s famous motion style, each blow leaves behind leaf particles, molten marks, and kinetic smoke. Every part of the show is influenced by legendary anime, but it still feels like a My Hero Academia show—a mix of respect and new ideas.
A happy celebration of contemporary animation.
Vincent Chansard’s stunning zooms, Tam Lan’s bright fireworks, and Yusuke Oshida’s fast-paced hand-drawn scenes are more highlights. The smooth dancing, complex lighting, and sure timing all reach a fever pitch when Bakugo faces All For One. Even CG backgrounds blend seamlessly with hand-drawn cuts, keeping the illusion of depth without breaking immersion.
Another victory is Shu Fukura’s long-awaited return to MHA. His Utapon-inspired movement reminds me of the famous Deku vs. Todoroki scene, with its intense timing, dynamic impact frames, and stretched smears. The last touch by Takashi Borita brings the episode to a close with a mix of heart and spectacle that shows how far this production has come.
The first episode of My Hero Academia Season 8 isn’t just a comeback; it’s a revelation. The episode goes beyond its format by encouraging studios to work together, giving animators room to try new things, and putting feeling as well as motion first. It shows that TV anime can look and feel like a feature picture when the people who make routines do not limit it.
The TV just went plus ultra.
What started as a single episode is now a bold, creative, and incredibly alive statement piece for modern anime. If things keep going like this for the rest of the season, My Hero Academia may have reached its peak.
