Anime has a long tradition of cultivating plenty of its most brilliant talent, those individuals that fans point at to illustrate the possibilities of Japanese animation, in TV shows for kids. Let’s explore the factors that cause this and a bit of a curious exception through the fantastic latest episode of Precure.
It’s no exaggeration to say that outsourcing studios keep anime alive, and yet fans are still mostly unaware of their integral role in the production of their favorite shows. The disappearance of Studio Wanpack, the biggest company of this kind, serves as an opportunity to explain just how important they were, and also what’s been happening to the many animators who worked for them.
Grave of the Fireflies was released 30 years ago on April 16, 1988, alongside its equally renowned sibling movie My Neighbor Totoro. Most unfortunately, its visionary director Isao Takahata passed away at the age of 82 just a couple of weeks ago. Today we’re here to honor not just his most famous film, but a whole career filled with revolutionary, sometimes underappreciated work. This is how Takahata changed anime and his own self.
We often highlight interesting animators and directors who just irrupted into anime and are finding success at a young age, but some times we have to focus on the struggle of less fortunate individuals instead. At a time where anime needs the help of new creators more than ever, the working conditions for youngsters who want to join the industry have grown to be so poor that we’re stuck with very high attrition rates and miserable standards. It’s important that…
Today we’ll explore the many unique ways anime depicts itself: how fascinating directors like Kunihiko Ikuhara and Satoshi Kon have toyed with the subject matter, the iconic anime production series throughout the years like Shirobako and Animation Runner Kuromi, as well as more recent meta titles like Anime-Gataris. There’s a lot of effort put into details that usually go unnoticed, and conceptually it’s a very interesting theme as well. Enjoy this post filled with many flavors of love towards anime!
Severe production issues are never a comfortable topic, because the anime industry is filled with people who are genuinely struggling and that we shouldn’t make light of. But they’re also something we can’t gloss over either, so I’d like to use the latest news about a production disaster to clear up that particular situation and discuss the double edged sword of thorough character acting in TV anime. Whether you’ve been following Just Because! or not, you might want to pay…
Last month we published a post that contrasted the creative approaches of the original Card Captor Sakura with its new animated incarnation. Today we return with an even more special feature, going in-depth on one of the most spectacular long running shonen anime of all time; a look back at the special charm it holds, the circumstances of its production, and the talented creators that made it such an unforgettable experience. Happy 25th birthday, Yu Yu Hakusho.
Makoto Shinkai’s Your Name achieved unprecedented success, and that warrants an extended look at the film – what it represents for his own career, as well as the industry as a whole.
Ryochimo’s take on Yozakura Quartet has always been something of a polarising topic. Beginning with the release of the Hoshi no Umi OVAs, its leap onto TV with Hana no Uta served to jumpstart arguments in regards to its worth as an animation spectacle. It’s the same formulaic clash of mindsets you’ve probably witnessed occur over much more recent shows – although it happens on a larger scale now that more and more people are taking steps to interact with…
The time has come to talk about the animation within the latest entry of the Persona franchise: the role it plays within the game’s very distinct aesthetic, its shortcomings, and the artists who were in charge of it. For those worried about spoilers, the few pieces of footage beyond the initial stages are marked as such, and it contains no concrete references to the narrative events. Let’s go!