Like its 1977 predecessor Rascal the Raccoon, 1978’s The Story of Perrine is among the least-known World Masterpiece Theater entries in the English-speaking sphere. Such does not seem to be the case in Japan, where a recent popularity poll placed it second, ahead of such popular entries as Anne of Green Gables or A Dog of Flanders. The easiest explanation for this is probably that, as we will see, Perrine is among the most melodramatic in the WMT’s 70s lineup. But, just like Rascal and Flanders, it is a very uneven production - although it may be the best non-Takahata work in the series in some aspects.
is generally held that Yoshinori Kanada went through two major shifts in the 1990’s, shifts that determined what the two last decades of his life and work would be like. In terms of style, there was the transition to an apparently radically limited kind of animation, with very irregular timings and a profusion of straight, geometrical shapes. In terms of career, he progressively retired from the anime industry proper to work in video games as an employee of Square (now Square Enix).
It is tempting, as is always the case with great artists, to imagine Yoshinori Kanada as a solitary shooting star who appeared and revolutionized Japanese animation from nowhere, a pure genius whose inscription in a historical context is almost irrelevant to understanding his work. The very nature of this project goes against such a vision, as it aims for two things: 1) not just evoking Kanada, but all those he met and inspired, and their own careers, and 2) a history that takes into account not just the artists, but the evolution of their styles and their relationships with the general context of the animation industry at the time.