suo Yoshida’s death from liver cancer on September 5, 1977, is generally understood as a turning point in the history of studio Tatsunoko. Although his sickness was known among the studio’s top brass, few, if any, were aware of its seriousness, and nobody expected that their leader would be gone so soon. Because of Yoshida’s stature within the company - that of a kind, paternalistic and appreciated boss, but also the face and name of Tatsunoko - this was no doubt a traumatic event for many. Aside from the mark Yoshida left as a person, however, there remains a question: did his death really change anything for the studio as a whole?
If one single work were to sum up Tatsunoko’s entire production, it would probably be Science Ninja Team Gatchaman. By far the studio’s most iconic series, it was already one of its most popular when it came out. It started airing in 1972, 10 years after the creation of the studio, and 5 years before the death of its creator and leader, Tatsuo Yoshida. Due to this special position, Gatchaman easily stands as an exceptional high point in Tatsunoko’s early history. Moreover, because of its length (105 episodes!) and the changes that occurred within Tatsunoko during its production, it symbolizes the end of an era for the studio: it is, in a sense, the last work from its “early years”. Indeed, it would be so hard to replicate Gatchaman’s success that most of Tatsunoko’s following works are more-or-less simple copies or parodies of it. It would not be until Yoshida’s death and the production of a new Gatchaman series, in 1978, that the studio would find again the creativity and originality of its first years.
hern stands out among studio Tatsunoko’s productions for its unusually dark worldbuilding and dramatic intensity. It was also perhaps one of the studio’s most difficult productions - a direct result of the difficult context it was made in. In earlier articles, I highlighted Tatsunoko’s position in regards to industry-wide aesthetical shifts, such as gekiga anime or mecha animation. This time, it’s time to focus on changes in business practices, staff policy, merchandising and politics - all things that were triggered by one of the most important crises faced by the anime industry throughout its history.
The “realist” aesthetic and approach of the show was possible thanks to its director, who in fact debuted as chief director: the second of the three Yoshida brothers, Ippei Kuri. Largely overshadowed by the other two rising anime directors of the time that were Isao Takahata (in Tôei) and Osamu Dezaki (in Mushi), Kuri was easily on par with them in terms of artistic vision; one may even argue that him and Tatsunoko’s artists and technicians largely laid the ground that would make Dezaki’s expressionist style possible. In that regard, Sanshirô can be read as a site for formal and technical experimentation, wherein “realism” was but one of the many aspects that were explored.
anese animation studios whose origins go back directly to the so-called “first anime boom” - that is, the development of TV animation. For that reason, Tatsunoko’s first years are chronologically distant and the stuff of some legend: after all, wasn’t the studio one of the pioneers? Didn’t they contribute to forever change the way animation would be made, first in Japan and then in the entire world?