When asked what was the biggest anime event of the year 1988, most people would surely answer Akira. Ghibli fans may note Grave of the Fireflies or My Neighbour Totoro. Only few people would mention one of the most ambitious entries in the Gundam franchise: Char’s Counterattack. Yoshiyuki Tomino’s third feature film project, and the first non-recap one, put an end to a story that had been going on for almost 10 years, the so-called “early Universal Century”. It was a turning point, not just for the Gundam series, but for anime as a whole - though this is rarely known or framed as such, since the movie is mostly only accessible to already experienced Gundam watchers. The goal of this article is to correct this state of affairs.
Today, especially in the Western side of the fandom, Yoshinori Kanada’s animation is associated with flashy, angular effects and very stylized and exaggerated motion, of the sort in which Hiroyuki Imaishi and his peers have become experts. However, if this is a valid description of the neo-Kanada style and of Kanada himself at one point, it misses a major aspect of the latter’s animation and why it was so important. Nobody would think of him as a realist, and yet… You need to look no further than the influence he had on such important members of the realist school as Shin’ya Ohira and Mitsuo Iso, or the realist shift of many of his direct students, like Masahito Yamashita, to see that there is something at play. In fact, the hypothesis of this entire article is that, from the late 70s to the early 80’s, Kanada was a major actor in the emergence of a realist kind of animation in anime.