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.
Animétudes celebrates its first anniversary! It has been a relatively short time, but the blog has grown a lot and I’m very thankful for that. So, first of all, I thank all my readers and those who have followed me during this adventure. I have done a bit of reflection over the past and future of the blog here. This time, to celebrate, I’d like to come back over my own relationship with animation and sakuga by highlighting some of my favorite animated sequences.