Tomomi Mochizuki’s seamless, all-encompassing approach to animated storytelling made him one of anime’s most brilliant directors in the 80s and 90s, setting him on a path he’s still walking through nowadays. Time for a primer on this terrific yet overlooked director!
Enjoy this deep dive into the unusual Winter 2021 anime season: let’s talk about its extraordinary concentration of brilliant creators and robust teams capable of supporting their ideas, but also the huge yet uneven impact of the pandemic, widening the already existing inequality rifts in the industry.
We’ve yet again gathered a team of fans from all over the world, as well as animators, directors, and indie creators to share their favorite works and creators in the world of animation according to various categories—2020 might have been a year to forget in many ways, but the least we can do is try to preserve some sweet memories. Enjoy the sakugabooru / Sakuga Blog Animation Awards 2020!
Ojamajo Doremi became a formative experience for a whole generation. An impossibly daring team with a perfect overlap of young and veteran talent at Toei accompanied kids across topics no other anime would tackle with such maturity. 20 years later, they still do.
Studio Ufotable recently hit their 20th anniversary, which they celebrated with their most successful title to date. Their history up till this point has been marked by consistent ideology, but they’ve still gone through very distinct eras—including some of the craziest experimentation seen in commercial Japanese animation. Theirs is a tale of wild but meticulous growth.
A few days ago, the stunning trailer for Hades served as an introduction to Studio Grackle. We had an opportunity to chat with the person who directed it: animator and now studio founder Spencer Wan. He opened up about their origins, production methods, and the creative and labor goals behind it all. They’re a team to keep an eye on, now and even more so in the future!
It’s no secret that Re:Zero‘s staff is facing more adversities than ever before, so how have they been managing to still knock all the big moments in the series out of the park? Let’s dig into the understanding of the material and resource management that have been making that somehow possible.
To bring closure to this special week of KyoAni posts, we’ve recapped how they’ve reacted since the arson attack one year ago: their firm decision to double down on all the positive aspects that had made them so special, the rebuilding moves they’ve already done, and what’s coming for the studio in the future.
KyoAni’s renowned quality is built upon a special culture and many years of cultivating talent in different creative departments. Today we’ll focus precisely on their animation, with a lengthy roundtable featuring their active character design and chief supervision crew up till the arson. Shouko and Kazumi Ikeda, Futoshi Nishiya, Miku Kadowaki, and Akiko Takase had an in-depth conversation about their experiences at the studio, the differences between the role of a chief animation director & a regular supervisor, their mentality…
While many fans of Kyoto Animation have heard about the KyoAni School, it’s very few who realize their initiative to train new generations of anime creators has been in place for longer than the studio has actually been creating their own titles. This is the story of a well-known but never fully appreciated aspect of KyoAni’s unique strategy—essential to their success in the past, and even more so in the future.