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.