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.
I would roughly say that, in English-translated works, there have been two general historical accounts of the phenomenon called “otaku” : the first, embraced by Toshio Okada, reads in otaku practices the expression of something specifically Japanese. For example, Okada roots otaku’s obsession with encyclopedic knowledge in 18th century Edo period art criticism and trade. … Continue reading Militarism and otaku identity : from Gundam to Macross