Patlabor 2 is widely considered to be one of the best anime films ever made. For all those involved, it was an incredibly ambitious and important production, far more than the first movie which had come out 4 years prior. Director Mamoru Oshii himself stated, somewhat provocatively, that, “as far as I’m concerned, the only Patlabor I’ve made is Patlabor 2. It’s the only thing that I can proudly call my own work”. As controversial as that statement may be, it is true that Patlabor 2 is a step-up in nearly every aspect compared to its predecessor, from its budget to production pipeline to Oshii-isms. Beyond this, Patlabor 2 is generally held to be one of the most important and influential works in Japanese animation and one of the defining movies of the 1990s - not so much for its extremely coherent aesthetic and deeply thought-out writing, but rather for the unique elements it introduced in the Japanese animation pipeline: a renovated layout system, new ways of using CGI and a still-unmatched ability to challenge live-action cinema techniques. Starting from the movie’s staff and production methods, this article will try to retrace how all of these elements coalesced to produce such a cohesive whole.
More than the Kanada school, whose members appeared throughout the 80s, this new group of animators deserves the word “generation”. The six major animators I will focus on were all born in the second half of the 60s, and debuted as key animators within the same five years: Atsuko Ishida (1986), Masayuki Kobayashi (1988), Atsushi Wakabayashi and Norio Matsumoto (1989), Tetsuya Nishio (1990) and Hirofumi Suzuki (1991). Most of them have since risen to prominence as some of the most important animators alive, and left a deep mark on 90’s and 2000’s animation. This was made possible by the new style they all contributed to establish, one I would term “flow animation”.