The origin and core of this piece is my personal interest in Daikuhara, but it will not be another biographical piece like my previous one. I will rather explore the area which I wrote the least about last time: Daikuhara’s pre-Tôei work. More generally, this will therefore be an exploration of Japanese animation production from the time of the Sino-Japanese War to Tôei’s first animated feature film, The White Serpent - that is, an exploration of roughly two decades of animation in Japan, from 1937 to 1958.
For Japanese animation fans and historians, the name of Akira Daikuhara (sometimes spelled Daikubara) should ring a bell as belonging to one of the major artists in postwar Japanese animation and to the core member of studio Tôei Animation’s team throughout the 1960’s alongside Yasuji Mori. However, despite this universally-acknowledged importance, Daikuhara seems like a forgotten figure: he has no Wikipedia page in any language, his personal page on the Japanese sakugawiki encyclopedia is blank, and until recently, he barely had any uploads to his name on sakugabooru. Although I will try later on to understand the reasons behind this state of affairs, the first goal of this article is to correct it by giving a detailed account of Daikuhara’s career, work and legacy.