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The manga Sukeban Deka about the yo-yo-wielding delinquent detective was adapted into a two-episode OVA in 1991 after having been adapted into live-action movies in the late 80s. The live-action stuff appears to have been done by Toei, but the OVAs seem to have been the product of a consortium that outsourced much of the work to different studios, among them chiefly Osaka's Anime R.
Anime R is a subcontracting studio founded in Osaka in the late 1970s by Moriyasu Taniguchi and Hiromi Muranaka. It was one of the first Japanese animation studios to be located outside of Tokyo. They are best remembered for their contribution to raising the quality of Ryosuke Takahashi's first two 'real robot' shows for Sunrise Dougram and Votoms. They had a unique style in the 1980s, with exciting and detailed animation like no other studio. They were one of the most relied-upon studios for mecha animation. That flavor receded in the 1990s, after many of the 1980s staff left, but they're still a prolific and relied-upon studio.
The credits don't mention Anime R. But it's obvious that they're involved if you read between the lines. There are a bunch of Anime R animators involved.
Anime R president Moriyasu Taniguchi is credited as an animator in Sukeban Deka alongside Anime R animators Hiroyuki Okiura, Toru Yoshida, Takahiro Komori, Takashi Fumiko, Masahide Yanagisawa, Hiroshi Osaka, Hiromi Muranaka, Masahiko Itojima, Takahiro Kimura and Kazuchika Kise. Masahiro Kase, another Anime R member at the time, is the sub-character designer and the main animation director (sakkan).
This OVA thus seems like a good place to get a sense of what kind of work Anime R was doing at this mid-period in their history, after their most famous period but before all of the cool animators had quite left. I've heard of Anime R forever and known who was involved there, but I couldn't put my thumb on their defining look.
Nobuteru Yuuki is the character designer of Sukeban Deka, but he's not the sakkan, so it doesn't have that patented Nobuteru Yuuki density of animation and highly worked drawings. Masahiro Kase was the sakkan of episode 1, assisted by Yuka Kudo and Hiroyuki Okuno. All three are credited as sakkans in episode 2.
The drawings in Sukeban Deka are actually all over the place, maybe not as much as Hakkenden, but still pretty uneven. That's actually one of the things I most liked about these two OVAs. The story is otherwise quite stupid and obviously not meant to be taken seriously. It's a kind of shoujo action mystery, and it's mildly entertaining, but nothing about the characters or story ever grips you. It's about a cute girl in a sailor fuku kicking ass, and hey, that's enough for me. It's a shoujo anime, but it feels more like a shounen anime. The action scenes are actually fairly nice, with an appealing looseness and rawness appropriate to the style of this period, so it's a pretty decent action show.
The main characters aren't drawn in a particularly interesting way, but the crowd drawings I really like. The faces have a surprisingly appealing, quasi-realistic style that kind of comes out of nowhere. They look nothing like the protagonists. They seem to have had more freedom with the sub-characters. The bystanders vaguely remind me of the bystanders by Koichi Arai in 3x3 Eyes from the same year. I like that they don't look like the sort of cliche'd anime/shoujo designs you'd expect in an adaptation of a shoujo manga. I don't know who would have been responsible for these. I thought maybe Masahiro Kase, since he's credited as the sub character designer in episode 2, but he's not credited with that in ep 1.
I know Masahiro Kase had started out at Nippon Animation in 1978 and worked on Pelline (1978), Anne (1979), Tom Sawyer (1980) and Lucy (1982) before leaving to join Anime R. While there, Kase was one of the main animators of Votoms alongside Anime R animator Mouri Kazuaki. Kase left Anime R around 1990 to form his own subcontracting 'studio' called Studio Curtain, from which he went on to continue to be involved in Nippon Animation's World Masterpiece Theater shows. He was character designer of Jeannie with the Light Brown Hair as well as Mahoujin Guruguru.
Tadashi Hiramatsu had joined animation subcontractor Nakamura Production sometime around 1986 and done his first key animation in 1987 in Mister Ajikko, where he met Masahiro Kase, who was the character designer and chief sakkan of the show. Hiramatsu joined Studio Curtain when it was founded in 1990 and from there worked on the WMT for a bit. I suppose that's the reason Hiramatsu is involved, because he never worked at Anime R. Normally, Kase was at Curtain by the time this was done, so presumably he got the work because of his Anime R connections. Strangely, Studio Curtain gets a small 'assistance' mention in the credits, but there's no mention whatsoever of Anime R.
Anyway, the only sequence that I felt right away I could pin down to an animator was the opening scene of episode 1, where the girl is chased through the market and into the alleyway by the group of thugs. I'm guessing this part was done by Hiroyuki Okiura. What makes me think so is first of all just the skill of the drawings, layouts and movements. It's not super-detailed like his more recent work, but every detail is just right - the folds of the clothes, the way the girl's shoulders arch up realistically when she's struggling. Little things like this just show the hand of someone who has an uncommon skill at accurately visualizing the body in motion and being able to execute it in a way that feels nice as animation.
Also, I get the feeling I sense a bit of a distant echo of both Akira and Peter Pan in the way the baddies are drawn - their mouth, their expression, the way they gesticulate - which Okiura had just participated in recently. There's even an overhead shot here that has a similar layout as a shot in the mob scene he did in Akira. The smirk of the baddies and the way of drawing the eyes reminds me of Peter Pan, while Akira comes through in the more detailed folds of the clothing, the Takashi Nakamura-esque faces and hands, and the more realistic poses. It actually doesn't feel much like the great action sequence he did in The Hakkenden OVA 1 around the same time, but it's the only sequence in the episode that stands out to me as having good enough animation that seems a fit for him.
I can't pin down any other sequences to any particular animator - except for one. It's the main reason I sought out this episode. Discovering the Anime R connection was actually a surprise and a bonus. The sequence in question sticks out something incredible. I've seen a lot of crazy animation from Japan in my day, but this one was up there with the craziest. And it's ironic because up until a while ago I'd never heard of the animator who did it.
It's the action sequence on the school grounds, which you can see here. It was animated by an animator named Masayuki Kobayashi, who did a lot of similarly styled action in Ranma 1/2 around the same time.
Just look at these drawings. You don't notice that they're this insanely deformed when the animation is in motion - all you notice is the incredibly awesome effect the drawings achieve. Like many good animators, Masayuki Kobayashi is a great action animator who knows how to effectively insert deformed images at the right moment to heighten the impact of the animation. People have criticized Norio Matsumoto's animation on Naruto by picking out a single drawing that seems deformed out of an amazing shot of animation, and criticizing him for not being able to draw. Not only is it not true - he can draw really well - it betrays astounding ignorance of how animation is made. The skilled use of deformation within a movement like this is something not many animators can pull off. All the more so when it comes to really extreme deformation of the kind Masayuki Kobayashi busts out here.
As soon as Masayuki Kobayashi's action scene starts, it's like a different show. Everything is suddenly extremely fast and fluid - and rubbery. I love the way the characters limbs seem to bend under the very momentum of their superhuman leaps and lunges. The characters leap and stretch something incredible. It's really exciting to watch, as an action sequence should be. It's full of verve, momentum, punch, and insanity. It's the kind of action that made me fall in love with anime in the first place. You don't find this kind of action animation anywhere else in the world.
And the particular style of Masayuki Kobayashi's animation seems like something that couldn't have emerged at any other period. It seems the product of the various tendencies floating around in the air at the time. You've got a bit of Akira-esque realism, leavened with Satoru Utsunomiya's elastic style, multiplied by the wackiness of mid-80s TV action animation from wild children like Masayuki and Hideki Tamura. I like that it's not just a mere copy of Yoshinori Kanada or Satoru Utsunomiya - he's cooked together all these various tendencies into his own crazy stew. We're seeing a resurgence of the influence of Yoshinori Kanada these days among young animators like Jun Arai, but what I don't like is that it feels like they're just imitating him outright instead of coming up with their own style like Masayuki Kobayashi did.
I don't know where he came from or where he went. This is all I've been able to find that he's done:
Ranma 1/2 Nettohen 2, 4, 6, 10, 14, 18, 21, 25, 28, 31, 39 (1990)
The Hakkenden 2, 3, 5 (1990-92)
Sukeban Deka 1 (1991)
Rojin Z (1991)
Run, Melos! (1992)
Nana Toshi Monogatari (1994)
Another scene I liked was the brawl in the arcade near the end of episode 1. The drawing style is really distinctive and totally unlike everything else in the episode, but I can't identify who did it.
It had some fast, fluid and excitingly animated action, without being wildly deformed like the Masayuki Kobayashi scene. It's a classic example of the sort of animation I most like in the productions of this early 90s period like Hakkenden. In fact, the movement seems suspiciously similar to the demon army scene animated by Hiroyuki Okiura in episode 1 of Hakkenden. It's got the same style of pared down drawings combined with really quick action with lots of movement constantly going on. I started wondering, maybe Okiura did this part?? But I notice the same kind of movement near the end of episode 2, and Okiura isn't credited in that episode, so I suspect both may have been done by the same animator.
This is another good example of the unique style of movement that so many animators were doing at this time. Realistic, but not Jin-Roh realistic - more fun and exciting and action-packed. Everyone seemed to be trying their hand at this style. One of the things I remember seeing pretty often in the early 1990s was this thing where the arms kind of hung down limply and wobbled around, as if they were asleep. I loved that. This whole style faded away pretty quickly moving into the mid-90s.
The reason I checked this out was to see Masayuki Kobayashi's work, because I'd heard he was involved. But when I checked the credits on the AD Vision release, I didn't find his name. I found only one "Masanori Kobayashi". I figured it had to be him and the translator just goofed a little. Then I noticed other names that seemed suspiciously familiar. Hironori Okuno? That couldn't be Hiroyuki Okuno, could it? Satoshi Hiramatsu? I only know one Hiramatsu, and that's Tadashi Hiramatsu. I was really curious to know what was going on, so I got my hands on the Japanese credits and did a comparison.
My jaw dropped at what I found. Now, Japanese names are a pain to translate. Often, if you don't have information directly from the person in question, you can't know for sure how a name is read. After all these years, there are still names I'm not sure of. And there are names that I thought I knew how to read for many years that turned out to be read differently. So in that sense, I don't really blame the translator. But on the other hand, there are some names whose readings are clear. The translator who did these credits didn't just goof, he f*ed up big time. In the case of 'Hironori Okuno', "Nori" isn't even a possible reading of that character. Worse than that, Tadashi Hiramatsu appears in both episodes, and is translated differently in each episode - Satoshi Hiramatsu in the first episode and Eiji Hiramatsu in the second episode.
Here are the credits, with corrections, to serve as an example of how important it is to properly translate credits, and how misleading and useless a bad translation can be. Who would have known that Koji Ayazaka was in fact Hiroshi Osaka? But hey, at least they translated the credits and didn't omit the key animators. That's already better than most releases I've seen.
Sukeban Deka Episode 1 animators
|Makoto Yoshida||Megumi Abe|
|Yukio Nishimura||Naoko Yamamoto|
|Kei Takeuchi||Masahiko Itojima|
|Masahide Yanagisawa||Yukio Iwata|
|Haruo Ogawara||Hidenori Matsubara|
Sukeban Deka Episode 2 animators
|Sumomo Okamoto||Hiroyuki Okuno|
|Hiroko Kazui||Keiichiro Katsura|
|Yuka Kudo||Takahiro Komori|
|Ken Sato||Takuya Saito|
|Moriyasu Taniguchi||Shinya Takahashi|
|Makoto Furuta||Miki Furukawa|
|Hiromi Muranaka||Masahide Yanagisawa|
I happen to have a Japanese DVD of Sukeban Deka OVA. Does AD Vision version have untranslated Japanese credit?
No, I think it just has the English. I found the Japanese credits online somewhere. It’s one of those releases where they try to hide every Japanese word they can. Or maybe the Japanese was included after the English credits, and I just missed it.
The funniest part of the credits saga is, I just looked at the credits for AD Vision’s release of Ellcia, and I noticed it was also laden with translation errors… and I started thinking, could it be the same guy?? Yes, it was. Except his name was spelled wrong. It’s Ichiro Araki in Ellcia, but Ichiro Arakaki in Sukeban. How can you trust a company’s translation if they can’t even spell the translator’s name right?
I have to admit I like that style you talk about disappearing in the mid-90s.
I’m so glad to hear somebody else picked up on the animation in that schoolyard fight scene. When I first saw that I played it back about three or four times because it impressed me so much. (I also went frame-by-frame as you did, and noticed that excellent distortion effect.) Thanks for naming the animator who was responsible for it!
There’s also a very brief scene that I really liked in the first episode. I don’t have the DVD on hand, so I can’t check exactly when it happens, but it’s a group of girls having a conversation outside a classroom. They sort of scurry back into the classroom (I think after the protagonist walks past or something), and I remember being very impressed by the sense of momentum as they run back into the room. One of the girls sort of lurches forward as she moves, which I really liked.
Anyway, I’m happy to see Sukeban Deka getting the appreciation it deserves!
If you get to re-watch the episode, is the scene you’re talking about the one where all the students rush to the window to see the girl walking onto the school grounds? I’d also noted the very nice feeling in the movement of that part, though the characters are drawn in a strangely blocky, rough way. It’s one of the bits I wish I could identify.
I’ve been poring over the episode and credits trying to see if I could parse who might be responsible for the segments I’d wondered about but been unable to attribute… One thing I realized is that it’s possible the credits are listed in order. This is not usually how credits are listed, but it does happen in some rare instances, and if it happened here it would help attribute people.
For example, Hiroyuki Okiura’s assault scene at the beginning comes right at the place you would expect based on his place in the credits, as does Masayuki Kobayashi’s midpoint school grounds fight. If this were the case, this might suggest Kazuaki Mouri did the great fight in the arcade at the end I was wondering about. I know he’s long been known as one of the great action animators of the era, but I wasn’t familiar enough with his style to be able to pinpoint it to him at the time of this post… But I think I have a better sense of his style now, and this scene looks like his style. It would make sense if it were Mouri because they wouldn’t have dared correct his animation, hence why it looks so different.
If the credits are listed in order, then perhaps Tadashi Hiramatsu animated that section with the students running to the window, although it’s not the style of drawing I would have associated with him at this period. Although I’m honestly not that familiar with his style at this period. Among the few bits by him that I know for sure from this period is the scene with King biting the spicy fish in Nadia. It doesn’t really look like this, so I’m a bit skeptical, but the animation after the handshake following the arrest in episode 2 seems to be drawn by the same animator, and the location after the midway point jibes with Hiramatsu’s spot in the credits again.
All of this is still just guesswork, so don’t take it as a solid answer. I could be totally wrong. But I’m studying Anime R’s animation intensively right now so I think I’ll eventually be able to say for sure.