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?
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.