As I mentioned in the previous article about Graviton, the OVA boom was very much carried by small structures and the overlapping nets of connections made by their members. It appears that the two most important places where all these people met and first exchanged their ideas were Urusei Yatsura, starting in 1981, and Macross, in 1982. Among the many people that contributed to these two epoch-making shows was Toshihiro (or Toshiki) Hirano, a central figure of 80’s animation. He was not just the director of some of the most iconic OVAs of the period and a key figure from the boom’s most important studio, AIC; it was also partly thanks to him that emerged what I call the “second-generation Kanada school”, the one that developed in the second half of the 80’s, influenced more by Masahito Yamashita than Kanada, but that also took in the contributions of Ichirô Itano and Takashi Nakamura. Its two most important figures are some of the most important animators since Kanada himself: Shin’ya Ohira and Masami Obari.
With this third artist spotlight dedicated to Shôichi Masuo, I’ll start analyzing the works of some animators who are not prominently affiliated with the Kanada school or style. Why do this? The main reasons are as follows: first, Masuo, just like all the other animators I’ll cover, has been in close contact with members of the Kanada school and his style can be understood in relationship with their own, whether in its continuity or contrast with it. Second, Masuo is one of the most important animators of the 80s and 90s, and a master of effects and mechanical animation. These are the fields Kanada and many of his followers specialized in during the same period, and it’s therefore worth understanding the more general context in which their own style developed. Finally, I believe Masuo is a forgotten figure in non-Japanese animation discourse, despite being one of the most important Japanese effects animators and one of the core staff members of Studio Gainax. The goal of this series is partly to highlight some less important figures, or underrated aspects of the work of more famous ones; I hope this article will help give Masuo some of the recognition he deserves.
Among all the artists influenced by Yoshinori Kanada, Ichirô Itano is probably one of the most important. And yet, he is never considered a Kanada-style animator, most likely because their styles look very different. One of the most important mechanical and effects animators of the 1980s, Itano revolutionized how SF anime would look, and his students, direct or indirect, scattered all over the industry. While it might seem to steer us a further away from Kanada, taking a look at what I call the “Itano school” is important, for two reasons. First, Itano himself was inspired by Kanada and many animators who followed him often took cues from the Kanada style. Second, taking a look at Itano’s students and their career is one of the best routes into the incredibly dense and rich field of the 80s: it’s easy to get lost among the many productions and studios birthed by the OVA boom.
This article is an annex to this piece 1979 was no doubt a busy year in the anime industry, and especially so in the careers of Yoshinori Kanada and Kazuhide Tomonaga. From 1978 to 1979, the two men delivered some of their greatest work: for Kanada, it was on Daitarn 3, Cyborg 009 and Galaxy … Continue reading Kanada and Tomonaga, 1978-1979
Today, especially in the Western side of the fandom, Yoshinori Kanada’s animation is associated with flashy, angular effects and very stylized and exaggerated motion, of the sort in which Hiroyuki Imaishi and his peers have become experts. However, if this is a valid description of the neo-Kanada style and of Kanada himself at one point, it misses a major aspect of the latter’s animation and why it was so important. Nobody would think of him as a realist, and yet… You need to look no further than the influence he had on such important members of the realist school as Shin’ya Ohira and Mitsuo Iso, or the realist shift of many of his direct students, like Masahito Yamashita, to see that there is something at play. In fact, the hypothesis of this entire article is that, from the late 70s to the early 80’s, Kanada was a major actor in the emergence of a realist kind of animation in anime.