Among all the members of the Kanada school, one of the most important and original ones is probably Masami Obari. Along with Masahito Yamashita and Hiroyuki Imaishi, he probably stands as one of the more influential animators that came out of Kanada’s lineage. Obari’s career started in the middle of the 1980’s, and he is in that regard the most famous representative of what I’d call the “second-generation Kanada school”. These were animators that emerged in the late 80’s that were more influenced by Yamashita than by Kanada directly, and that specialized in dense and complex mechanical and effects animation of the kind initiated by Ichirô Itano and Takashi Nakamura. All of these characteristics perfectly fit Obari’s profile, and he is no doubt the one who stood out the most during this period.
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.
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.