This is just my personal opinion on the matter, but I don’t think many animators ever reached the same level of genius as Yoshinori Kanada in terms of originality and ability to ceaselessly renew their own style. In the course of the chronological period followed in this series, there is however one artist whose ability to do that rivals Kanada’s: that is Shin’ya Ohira. Ohira is widely considered to be one of the most talented animators ever for the highly idiosyncratic and complex style he developed in the 2000’s. But before reaching that stage, he had already pushed the possibilities of the animated medium further, not just once, but three times: first as a Kanada follower, then as a student of Takashi Nakamura, and finally as a highly unique and idiosyncratic animator. It is these first two periods I’d like to focus on in this article.
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.
Animétudes celebrates its first anniversary! It has been a relatively short time, but the blog has grown a lot and I’m very thankful for that. So, first of all, I thank all my readers and those who have followed me during this adventure. I have done a bit of reflection over the past and future of the blog here. This time, to celebrate, I’d like to come back over my own relationship with animation and sakuga by highlighting some of my favorite animated sequences.