Like its 1977 predecessor Rascal the Raccoon, 1978’s The Story of Perrine is among the least-known World Masterpiece Theater entries in the English-speaking sphere. Such does not seem to be the case in Japan, where a recent popularity poll placed it second, ahead of such popular entries as Anne of Green Gables or A Dog of Flanders. The easiest explanation for this is probably that, as we will see, Perrine is among the most melodramatic in the WMT’s 70s lineup. But, just like Rascal and Flanders, it is a very uneven production - although it may be the best non-Takahata work in the series in some aspects.
The World Masterpiece Theater entry for the year 1976, Marco, pushed studio Nippon Animation and the artists associated with it to their limits. As a result, the year 1977 was marked by disorganization, as most of Marco’s staff temporarily or definitively left the WMT, and the series for that year, Rascal the Raccoon, brought on new, possibly inexperienced, and simply less notable artists. This article will therefore not only focus on Rascal, but on two other works: the first is another Nippon show, Jacky the Bearcub, which counted among its staff most of Marco’s main artists: directors Isao Takahata and Seiji Okuda, and animators Toshiyasu Okada, Kôichi Murata, Reiko Okuyama and Yôichi Kotabe. The other is a completely different production, the first film by studio Shin-Ei, Tenguri, Boy of the Plains, which reunited Yasuo Otsuka and his students outside of Nippon Animation. Just a year before Future Boy Conan, 1977’s Rascal and Tenguri were the last works on which Hayao Miyazaki made significant contributions as a key animator. They therefore represent a turning point in his career, as well as that of all other artists who had been revolving around World Masterpiece Theater productions.