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.
Tag: Tomonori Kogawa
The History of Tatsunoko – Conclusion: Tatsunoko diasporas
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?
The History of Tatsunoko – 6 – Repetitions
Without any aim to be comprehensive, this article will follow these developments and focus on two shows: 1974’s Hurricane Polymar and 1976’s Gowapper 5 Godam. Although very different, both works are good examples of Tatsunoko’s development in the middle of the 70s: in terms of staff, the studio increasingly opened itself to the rest of the industry, but in terms of inventivity, it was rather closing. This contributed to the formation of an instantly-recognizable Tatsunoko aesthetic and brand, but also entailed a diminishing creativity, further decreased by the series of exodus that went on in those years.
The History of Tatsunoko – 5 – Maturities
If one single work were to sum up Tatsunoko’s entire production, it would probably be Science Ninja Team Gatchaman. By far the studio’s most iconic series, it was already one of its most popular when it came out. It started airing in 1972, 10 years after the creation of the studio, and 5 years before the death of its creator and leader, Tatsuo Yoshida. Due to this special position, Gatchaman easily stands as an exceptional high point in Tatsunoko’s early history. Moreover, because of its length (105 episodes!) and the changes that occurred within Tatsunoko during its production, it symbolizes the end of an era for the studio: it is, in a sense, the last work from its “early years”. Indeed, it would be so hard to replicate Gatchaman’s success that most of Tatsunoko’s following works are more-or-less simple copies or parodies of it. It would not be until Yoshida’s death and the production of a new Gatchaman series, in 1978, that the studio would find again the creativity and originality of its first years.
The History of Tatsunoko – 3 – Mecha animations
mixture of expressionist motion and anatomical realism was born. It was also the moment when another one of anime’s key stylistic features developed: mechanical animation. Early TV anime had featured mechanical objects such as spaceships, planes, cars and robots, but it was only by the end of the 60s that “mecha animation” started being acknowledged as a distinct artistic process with its own specific techniques, modes of expression, and expertise different from both character and effects animation.
The animation of Char’s Counterattack
When asked what was the biggest anime event of the year 1988, most people would surely answer Akira. Ghibli fans may note Grave of the Fireflies or My Neighbour Totoro. Only few people would mention one of the most ambitious entries in the Gundam franchise: Char’s Counterattack. Yoshiyuki Tomino’s third feature film project, and the first non-recap one, put an end to a story that had been going on for almost 10 years, the so-called “early Universal Century”. It was a turning point, not just for the Gundam series, but for anime as a whole - though this is rarely known or framed as such, since the movie is mostly only accessible to already experienced Gundam watchers. The goal of this article is to correct this state of affairs.
Toshihiro Hirano and AIC studio
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.
Graviton, Gainax, and the Itano school
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.