Sarazanmai coverage is back with an extensive analysis of Kunihiko Ikuhara’s storytelling practices, the contributions of other creators involved, the meaning hiding behind certain recurring imagery, the state of the production, and some speculation fueled by endlessly rewatching this fascinating cartoon.
Sarazanmai marks the return of Kunihiko Ikuhara, one of anime’s most brilliant and socially conscious directors. While it’s still too early to unravel his many playful mysteries, we had to take our time to detail his team’s unique directorial approach and address some deeply rooted misunderstandings about the production.
With the Spring 2019 anime season already underway, it’s time to ask the usual question: where are the most interesting creators hiding, and which are the productions to look out for? Let’s find out what this new wave of anime is all about, delving pretty deeply in some cases.
One of the keys to Kunihiko Ikuhara’s success is his ability to surround himself by creators who fit his aesthetic but also thematic needs, no matter the artistic field those people belong to. So while his upcoming TV series Sarazanmai is still a ways to go, there’s a lot we can infer already, and much to analyze about the way he operates.
The most dazzling show of the season and perhaps 2018 altogether has finally arrived! But where does all of Revue Starlight‘s theatrical goodness laced with a palpable Ikuhara touch come from, and exactly what’s so impressive about it? That’s what we’ll be here to address all season long!
Much has been speculated about the effect of new mainstream platforms storming this industry, with Netflix in particular being sold as a potential game-changer for anime productions. And yet, despite some obvious changes when it comes to content restrictions, the people who make anime have unequivocally explained that they appreciate no improvement in their poor situation. Let’s try to pay attention to them for once.