KyoAni’s most renowned director Naoko Yamada left the studio she had dedicated her entire career to and is now directing Heike Monogatari at Science Saru—a studio in the midst of labor and creative turmoil. So, what does that mean for all the involved parties?
The upcoming Stone Ocean adaptation marks the return of one of the most brilliant Jojo directors, so there has been no better time for a long retrospective of the show’s production, with a special emphasis on the directorial team that truly makes it a bizarre adventure.
The second episode of Miss Kobayashi’s Dragon Maid S happens to embody some ongoing changes to Kyoto Animation’s inner workings: forced to adapt to the circumstances after the tragedy exactly two years ago, while also protecting the young talent they want to continue training. More than ever before, the studio works as one now.
Mobile Suit Gundam Hathaway is shaping up to be an excellent film trilogy, a collective effort by creators who approach realism from their own angle coupled with stellar character acting—but how come such a high profile work by one of the remaining bastions of 2D mechanical animation went the 3D mecha route?
Maidragon is back. KyoAni is back—in more ways than one, having given free rein to the next generations of creators trained under the studio’s unstoppable mentorship system. All these efforts shared a rallying cry that the studio altogether has adopted after their tragedy: inspiration for the future.
Everyone knows what outsourcing means on a basic level, but at the same time, few get how it works in anime—so here’s a summary of this practice’s historical context, the logistics at play, and the impact on the creative process of the cause and cure of many anime industry problems.
Today we bring you this translated interview with SSSS.Gridman and SSSS.Dynazenon‘s director Akira Amemiya, talking about how each series came to be, the intent behind their unique direction, and how they ended up being studio Triggers’s best managed projects.
Studio Tonton’s excellent Naruto homage stands toe to toe with professional work, but don’t let its quality fool you: it was actually made by a group full of young artists and fans with no experience whatsoever in animation. We interviewed its producer Blou to find out how that’s even possible, and he explained their learning experience and struggles mastering the Japanese animation pipeline, shared resources for aspiring artists who need to grasp it, and talked about how this indie experience…
SSSS.Dynazenon is an already fascinating follow-up to 2018’s Gridman, an equally evocative love letter to tokusatsu and mecha titles that wears its Anno influences in its sleeves, while also being in conversation with its predecessor. Let’s see how the project came to be, the way they derived the show’s themes and focus from the creator’s passions of youth, and also its fortunate production.
It’s time to go over the many interesting offerings in the Spring 2021 anime season to talk about their creative teams, the themes they’re touching on, and their production circumstances—with a lengthy talk about the increasingly more polarized state of the anime industry.