Birth is an infamous name in Yoshinori Kanada’s career: often considered to be one of the animator’s most personal projects, it is also criticized for its confusing plot and believed to have been both a critical and commercial failure. Kanada himself recognized these faults, and Birth’s failure no doubt represented a turning point in his career. However, there is something about Birth that most fans today fail to realize: that is Kanada’s actual level of involvement in the project. Indeed, Birth is not just a single, 80-minutes OVA that came out in 1984. Before that, it had been a picture book, a manga and a TV series project, as well as the source of multiple illustrations published across various media.
A common narrative of Japanese social history and anime history holds that, starting from the 1980’s, the Japanese population has gotten increasingly distant from politics. The rise of apolitical otaku circles and their own ironical, derivative aesthetic seems to confirm this tendency. But in the very same period, and at the exact moment when otaku communities as we know them were forming, a controversy shook the anime industry and revealed that political debate and action were very much on the agenda for some creators. It all happened around a single movie that came out in November 1982: Future War 198X. Not only did the film spark discussions within the anime industry and community proper, it also caused nation-wide movements from actors outside of the anime world, such as Parent-Teachers Associations of the Japanese Communist Party. The stakes were Japan’s domestic and foreign policies, but also the very purpose of the animated medium.