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.
Many of Tôei’s promising artists, who had for the most part worked on Fujimaru, were determined to follow up on the possibilities the TV show had opened. This meant making a decisive move towards “adult” animation, that is complex storylines, visual experimentations, and a kind of animation that would go beyond the simplistic, round and friendly shapes of the characters of so-called “TV manga”. Just like young manga artists in the 60s had rejected Osamu Tezuka’s "story manga" style to create their own graphic novels called gekiga, artists in Tôei would slowly start making the move towards what would later be called gekiga anime.
However dominant it became in the 80s, the Kanada style was never the only aesthetic of anime. Besides the heavily stylized motion of the Kanada school and the round, cute characters that characterized the lolicon boom at the start of the decade, another very different kind of animation was starting to find its footing: realism.
In 1973, anime celebrated its first decade of existence. But the anime industry in 1973 was almost a world apart from what it was 10 years earlier : the production system had become almost set to what it mostly still is today, the manpower had immensely grown and the studio organization had evolved. Moreover, new people had started producing their own original works, people whose names would be among the most famous in anime history.