Studio Kaname Production is most famous for its OVA works, such as Birth and Genmu Senki Leda, which seem to embody the early years of the so-called “OVA boom”. However, by 1984, the studio was already famous among Japanese otaku audiences for at least one other thing: the time it had spent subcontracting animation on other studios’ productions. Like many other bigger studios, Kaname would keep doing this during its entire existence, as it was the best way to keep employees busy and money flowing in, something particularly important for a company that was on the brink of bankruptcy during all its existence. While Kaname’s subcontracting activity in the mid-80s is very much worthy of attention, I will only focus on the studio’s earliest works here, as I am mostly interested in the way Kaname built its own “style” and identity. This means covering 3 very different series, all of which started coming out in 1982: Sunrise’s Combat Mecha Xabungle, Kokusai Eigasha’s Makyô Densetsu Acrobunch, and Tsuchida Production’s Sasuga no Sarutobi.
How did Yoshinori Kanada go from being “merely” a very talented animator to one of the most influential members of the anime industry? That’s a fascinating question, and yet one I haven’t seen much precise discussion of. The world of anime was much smaller then, but it was nevertheless a relatively fast process: in just a few years, the budding Kanada school had already its leaders, its main animators, and a flagship named Urusei Yatsura. This is a fascinating show, as it was such an important moment in anime history and saw some of the industry’s most talented creators meet. It started airing in 1981, the very start of the decade for which it would set most of the stage.