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?
As I mentioned in the previous article about Graviton, the OVA boom was very much carried by small structures and the overlapping nets of connections made by their members. It appears that the two most important places where all these people met and first exchanged their ideas were Urusei Yatsura, starting in 1981, and Macross, in 1982. Among the many people that contributed to these two epoch-making shows was Toshihiro (or Toshiki) Hirano, a central figure of 80’s animation. He was not just the director of some of the most iconic OVAs of the period and a key figure from the boom’s most important studio, AIC; it was also partly thanks to him that emerged what I call the “second-generation Kanada school”, the one that developed in the second half of the 80’s, influenced more by Masahito Yamashita than Kanada, but that also took in the contributions of Ichirô Itano and Takashi Nakamura. Its two most important figures are some of the most important animators since Kanada himself: Shin’ya Ohira and Masami Obari.
Among all the artists influenced by Yoshinori Kanada, Ichirô Itano is probably one of the most important. And yet, he is never considered a Kanada-style animator, most likely because their styles look very different. One of the most important mechanical and effects animators of the 1980s, Itano revolutionized how SF anime would look, and his students, direct or indirect, scattered all over the industry. While it might seem to steer us a further away from Kanada, taking a look at what I call the “Itano school” is important, for two reasons. First, Itano himself was inspired by Kanada and many animators who followed him often took cues from the Kanada style. Second, taking a look at Itano’s students and their career is one of the best routes into the incredibly dense and rich field of the 80s: it’s easy to get lost among the many productions and studios birthed by the OVA boom.