What is it that makes Japanese animation unique? What is it that makes it stand out from other traditions of animation, such as animation as it is or was practiced and made in the United States, Western or Easter Europe, other great countries or regions with a long and rich animation history? Many answers have been offered to this complex question, but for me, one of the most appealing is the one arguing that commercial Japanese animation, or anime, has a specific “production model”. By that, I meant that anime is made, sold and distributed according to specific methods that differ from how animation is made, sold and distributed in other parts of the world. However, when one investigates anime history more deeply, this answer quickly seems overly simplistic: indeed, there is no singular “anime production model” which has existed since the 1950s and has stayed the same until today. Some elements have remained the same, but there are just as many variations. There is not one, but many production models which have coexisted through time.
The previous article on this blog, dedicated to Anne of Green Gables, contains a detailed discussion of Isao Takahata and Hayao Miyazaki’s respective artistic evolutions between 1976 and 1979. I originally planned to extend it with a digression on the wider differences between two men’s styles. But this would have gone slightly off-topic and made the article far too long (as if it weren’t already), so I decided to include it in a separate piece - this one. It contains some more remarks about Anne of Green Gables, but also about Takahata and Miyazaki’s work in Ghibli. It may be a bit messy, as I’ve taken the opportunity to write this in a more spontaneous way; I hope you don’t mind and still appreciate this piece.
Anne of Green Gables is one of the most popular works in the World Masterpiece Theater series, both in Japan and in the English-speaking sphere. According to many of those who have seen it, it may even qualify for the title of best anime of all time. It also represents a historical turning point: it is the first entry in the time slot that was now officially called “World Masterpiece Theater”, instead of “Calpis Children’s Theater” (1975-1977) or “Calpis Family Theater” (1978). And yet, it is perhaps the most imperfect among Isao Takahata’s three shows for Zuiyo Video/Nippon Animation, and by far one of the most difficult productions that the director, studio and all the artists involved had known. This latter, darker aspect of Anne appears to be at best underdiscussed, or at worst completely unknown, in English-speaking circles. While providing a detailed commentary and analysis of the show as well as its place in anime history and Isao Takahata’s career, this article also aims to raise awareness and shed light on those somber moments.
Patlabor 2 is widely considered to be one of the best anime films ever made. For all those involved, it was an incredibly ambitious and important production, far more than the first movie which had come out 4 years prior. Director Mamoru Oshii himself stated, somewhat provocatively, that, “as far as I’m concerned, the only Patlabor I’ve made is Patlabor 2. It’s the only thing that I can proudly call my own work”. As controversial as that statement may be, it is true that Patlabor 2 is a step-up in nearly every aspect compared to its predecessor, from its budget to production pipeline to Oshii-isms. Beyond this, Patlabor 2 is generally held to be one of the most important and influential works in Japanese animation and one of the defining movies of the 1990s - not so much for its extremely coherent aesthetic and deeply thought-out writing, but rather for the unique elements it introduced in the Japanese animation pipeline: a renovated layout system, new ways of using CGI and a still-unmatched ability to challenge live-action cinema techniques. Starting from the movie’s staff and production methods, this article will try to retrace how all of these elements coalesced to produce such a cohesive whole.
oxical reception and reputation. In Japan, it is just as well considered as Isao Takahata’s other two entries in the World Masterpiece Theater, with entire generations of animators (chief among them Takashi Nakamura, Satoru Utsunomiya and Toshiyuki Inoue) counting it as one of their sacred texts. In English-language discourse, while Marco is extremely well-considered among those who have seen it, their number is small, and Marco is far from being as popular as Heidi or Anne. This article will not aim to provide reasons for this state of affairs, but to give a thorough presentation and commentary on Marco and its importance in Isao Takahata’s career, the World Masterpiece Theater, and anime history at large.
Flanders is among the most well-known works in the World Masterpiece Theater canon, both in Japan and overseas; it is perhaps the most famous outside of the select list of Isao Takahata’s entries in the series. Such fame is not surprising when one considers Flanders’ tragic finale, and the fact that this ultimate episode reportedly reached the highest audience rating in the history of the World Masterpiece Theater - an impressive 30.1%. However, it is also questionable whether such fame is really deserved - indeed, Flanders is perhaps the most imperfect show among 1970’s World Masterpiece Theater entries. There is of course a sort of contradiction here - how is it that such a poorly made series became so popular? The aim of this article is precisely to answer this - to illustrate the elements that make Flanders a subpar work, and to understand how it could have been such a success nevertheless.
Heidi, Girl of the Alps needs no introduction. One of the most important and influential works in the history of Japanese animation, Isao Takahata’s first series for Zuiyo Video would set a gold standard for all subsequent World Masterpiece Theater entries. Much has already been said about Heidi, especially on its status as a so-called “pre-Ghibli” work or on how representative it is of Takahata’s style and philosophy. Considering the theme of this series, this article will instead put Heidi back in its historical context: that of the extended World Masterpiece canon, and of 1974 anime.
Yama Nezumi Rocky Chuck, known in the English-speaking world as Fables of the Green Forest, can be considered the first show to fit into the extended World Masterpiece Theater canon: it was the first production of studio Zuiyo Video, which would become Nippon Animation, to take place in the consecrated Sunday 19:30 time slot on Fuji TV.