They definitely got better with time (we mentioned their incentives to improve maternity breaks when they announced those last year for example) and sustained success helps when you’re taking decisions like this. That said, one of the reasons I went back to that 1992 article about the studio was because the reporter already noted it was a workplace overflowing with kindness. Mid 00s Hatta also spoke against consistent overtime, especially if it wasn’t properly remunerated too – it’s always been a thing for them. Should always aim at improving though – there’s been some comments about tight deadlines as of Read more ». It’s always fascinating to learn more about the studio, just as it is painful to get reminded of the loss of Yukiko Horiguchi from animation. What a wonderful AD she was. I actually finished a rewatch of “Hyouka” last night and I noticed something that I don’t see as often in recent KyoAni works as I did in this series.
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This observation may be incorrect, if so please let me know. With the likes of Naoko Yamada, Haruka Fujita and Taichi Ogawa, I see a lot more focus on a ‘capturing through a lens’ approach. This was there for “Hyouka” Read more ». Your analysis is very on point in my opinion, though I would disagree in one detail – funnily enough, I don’t think it actually applies to Yamada herself. She’s by all means “at fault” for this because she’s the one influencing the studio as a whole, and without Horiguchi by her side there’s less of that appealing cartoon looseness.
Other creators look up to her and try to incorporate that camera lens-like approach to their work, but it’s never as refined in my opinion and can lack that inventiveness you get when combining the two registers. I really do think Read more ».
Indeed I agree with pretty much everything you have said here. I haven’t seen “Liz and the Blue Bird” and I have tried to stay far away from promotional materials, and so a lot of what you pointed out I wasn’t very aware of, however what you’ve said he makes me very excited to watch it! Ishidate has blown me away recently. I’m not a fan of his series productions at all, but his episodes are always among my favourites of a series. I would love for Takemoto to tackle bigger projects, but even the likes of “Maidragon” are really Read more ».
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It’s undeniable that the studio lost animation power after 2014. And how could they not, Horiguchi & Naitou are all-time great animators! The young replacements haven’t really made up for it – I don’t think Tsunoda’s very good as AD, Myouken has that special touch but I get the feeling we’re not really seeing her true skill, and Maruko is too safe. Takase is an interesting case because she shouldn’t even be an animation director? She got promoted faster than people like Horiguchi, and I get the feeling it wouldn’t have happened if it weren’t because she was in charge Read more ». Agreed “Sound Euphonium” episode 9 was wonderful. I think that’s why “Violet Evergarden” was such a let down.
I honestly thought we would get the quality of “Sound Euphonium” episode 9 for the entire series. I do admit to being rather foolish there. I wouldn’t be a very big fan of Chiyoko Ueno, outside of her amazing drawing range. Although I loved her AD work in “Miss Kobayashi”!
I would have to say for me at the moment Kazumi Ikeda is my favourite. Even though there is nothing truly standout, the episodes where she is AD in always standout for Read more ». I actually had to leave out some stuff (more on all the subcontracted work they did like raito-kun did years ago, how their focus on young creators affects the studio dynamics) and got to skip some parts I’d covered in posts like Yamada’s, but yeeeaah it turns out a whole studio’s history can be pretty dense. I should have learned my lesson from when I did something similar regarding SHAFT and split it in different posts, but KyoAni stuff already sets off enough angry spammers as it is. No regrets about how it turned out though, glad you liked it!
Hey Kevin, thanks for this amazing article! Just curious about KyoAni’s start, did Hatta Hideaki have any credits or did he work in anime in any capacity before KyoAni? From what I can gather from this (and a few other articles), it seems like Hatta Hideaki only got involved in anime after his wife Yoko started Kyoto Anime Studio and things grew bigger after that. It seemed strange to me that an anime artist would move to Kyoto if her husband was in anime as well, given that there didn’t seem to be much of an anime industry in Kyoto Read more ». I have to confess, when I saw the title of the article I had a reaction along the lines of “Oh, yet another examination of Kyoani and how they’re so special. I totally haven’t seen this a hundred times before.” Now keep in mind that I do know Kyoani is unique, but sometimes I feel like their uniqueness is over-covered.
My bias might play into that a bit also since I tend to find their works fairly unimpressive in terms of story despite my appreciation for their craft. Regardless though, I just wanted to say that this article pleasantly surprised Read more ».