Kakegurui and A Toast to Indulgence

Sayo Yamamoto has frequently toyed with typography in her OP/ED work and not just with the type itself, but also how the credits transition in and out. Michiko and Hatchin squashes graffiti-style fonts until they vanish and Arakawa Under the Bridge rushes uniform, round-ended strokes into the frame. While it’s common to see credits fade, there’s a specific manner in which Yuri!!! on Ice’s blurred history comes into focus or Fujiko Mine’s english lettering is etched away. In addition, the latter slides each section of the logo through a revolving door of sorts until wordplay becomes gunplay. Space Dandy maneuvers through characters of the alien alphabet like asteroids. Persona 5’s first and last characters swirl in opposite directions before colliding like lightning to spell out the entire name, only to dismantle itself again into a monochrome ransom note. Rage of Bahamut: Virgin Soul maximizes all this to its logical extreme, where type is blown up to absurd proportions, consuming half the frame, if not more. Her latest effort returns to the simplicity of Rozen Maiden: Traumend’s sparkling transitions and also reminds me of the jittery cast shadows in Psycho Pass. Foregoing unhinged experimentation for refinement, focusing on the indulgence of the characters, rather than the creator. Continue reading