Following 1979’s Galaxy Express 999, Yoshinori Kanada had become one of the top animators in Japan and would go on to be an inspiring figure for many of the artists that emerged throughout the following decade. The early 80s especially witnessed what industry members at the time called a sudden “Pers-kun movement” - “Pers” being short for “Kanada Perspective”, and “Pers-kun” the (slightly derogatory) term to indicate young animators who wanted to imitate their idol Kanada. The large-scale effect of this “movement” was to make Kanada-style animation one of the defining traits of 80s anime. But if we look closer, it was anything but a given: Kanada himself had to establish a reputation and contacts, while old and new animators alike did not immediately adopt the new trend. The goal of this article will precisely be to retrace through what channels Kanada’s style exported itself outside of the animator’s immediate circle of students, and in particular in one studio: Ashi Production.
Unlike other great and influential studios with a distinct animation philosophy, like A Pro, Ghibli, Sunrise or Kyoto Animation, the Kanada school never had a single, durable place to call its home. This was probably largely due to the individualistic nature of Kanada himself and of many of his students: they preferred to go freelance or jump from one small structure to another than affiliate themselves with a single production company. However, in the course of the 80s, there was one studio which often united many members of the school, including Kanada himself: Kaname Production.
I decided to start this series on the development of the Kanada school with Urusei Yatsura, arguably the moment when its members really became prominent and their style began to spread. But that doesn’t mean it was the starting point where everything began. On the contrary, a complete history of the Kanada school would start before that, in 1977, when Kanada created his Studio Z2. The problem is, many shows that Z2 and then Z3 worked on at the time have become quite obscure and forgotten except for hardcore super robot fans, making them hard to find; there’re also many minor animators whose names haven’t really been remembered. To exemplify these, I’ll focus on the early career of just one figure from that early period: Kazuhiro Ochi.