The World Masterpiece Theater entry for the year 1976, Marco, pushed studio Nippon Animation and the artists associated with it to their limits. As a result, the year 1977 was marked by disorganization, as most of Marco’s staff temporarily or definitively left the WMT, and the series for that year, Rascal the Raccoon, brought on new, possibly inexperienced, and simply less notable artists. This article will therefore not only focus on Rascal, but on two other works: the first is another Nippon show, Jacky the Bearcub, which counted among its staff most of Marco’s main artists: directors Isao Takahata and Seiji Okuda, and animators Toshiyasu Okada, Kôichi Murata, Reiko Okuyama and Yôichi Kotabe. The other is a completely different production, the first film by studio Shin-Ei, Tenguri, Boy of the Plains, which reunited Yasuo Otsuka and his students outside of Nippon Animation. Just a year before Future Boy Conan, 1977’s Rascal and Tenguri were the last works on which Hayao Miyazaki made significant contributions as a key animator. They therefore represent a turning point in his career, as well as that of all other artists who had been revolving around World Masterpiece Theater productions.
Tag: Yuzo Aoki
The history of TMS – Part 6 : Lupin the Third
In the 70’s, TMS and its subcontractors managed to create two aesthetics of their own, one centered around the A Pro comedies and the other the Madhouse dramas. Despite how innovative and influential these might have been, TMS was missing the tidal change known as the “SF boom” that started in 1974, with Space Battleship Yamato and risked, because of that, to fail to attract anime’s new audience, young men in highschool or older that would form the first generation of otaku. But the studio profoundly influenced early otaku culture with a series so enduring it’s still alive today : that was Lupin III.
The history of TMS – Part 5 : Becoming Tokyo Movie Shinsha
The second half of the 1970’s was no doubt a transitional period for Tokyo Movie. As a whole, the anime industry had set up a stable structure that would only be modified in the middle of the 80’s by the otaku boom and the new OVA format. But for Tokyo Movie and its subcontractors, this was a time of big change, marked by the separation between A Pro and Tokyo Movie in 1976. The consequences were unexpected : A Pro’s staff scattered and its most talented members would do the groundwork of Studio Ghibli. But before that, Tokyo Movie profited the most from this outpouring of talent.
The history of TMS – Part 4 : The golden age
Last time, I covered the changes in anime from the perspective of the industry : how studios evolved, how staff moved from one place to the other, and how anime’s production processes became closer to what we know today. Now, it’s time to look at it from the perspective of the shows themselves : how their style, staff and animation are unique to that specific time period - one so exceptional that it could rightfully be called Tokyo Movie’s golden age.