Initially daily but now sporadic blog about anime and world animation with a specific focus on the artists behind the work. Written by Ben Ettinger.
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Saturday, January 7, 2006

10:44:30 am , 84 words, 1556 views     Categories: Animation

Akagi ending

Norimitsu Suzuki has been establishing a name for himself of late animating and directing TV series ending sequences entirely by himself. I don't know how many he's done so far - I know of at least 4 or 5 - but his latest comes with the second ending for Madhouse's Akagi, which is rather interesting, with a stylized look and unique feeling to the moment. It kind of reminded me of a sequence in Millennium Actress done with a similar look, with simple, thick lines and moving panels.

Saturday, January 7, 2006

10:35:42 am , 992 words, 961 views     Categories: Animation

Mononoke hime breakdown

Here's a list of who did what in Mononoke Hime, from what I could gather from the Ghibli diary. It looks like the first 600 or so shots aren't covered, but I've heard Miyazaki extensively corrected most of the early part of the film anyway. The storyboard has been released, so that could be used as a reference to locate shots.

95.7.10 - 134 shots of storyboard done. First animator meeting held. 14 key animators onboard.
95.7.15 - Mimi wo Sumaseba opens
95.9.18 - Shinji Otsuka goes to the Todai farm to study cows
95.10.2 - Kondo Yoshifumi joins team as animator after finishing his film
96.2.17 - Kondo finishes his part
96.3.1 - Futaki joins team, meeting for shots 730-745, 748, 754-771 (35)
96.3.2 - Moritomo finishes his part, meeting for shots 702-729
96.3.8 - Meeting for Kuwana - shots 778, 780-781, 783-784, 786-787, 789-791 (10) and Yamamori - shots 772-777, 779, 782, 785, 788, 792-793 (12)
96.3.9 - Meeting for Shimizu - 680A-791 (22), Konishi - 608-630 (30)
96.3.19 - Shinohara - 794-826 (33)
96.4.16 - Michio Mihara - 827-854, 857, 864, 866 (32)
96.4.23 - Takeshi Inamura - 858-863, 865, 867-872 (14)
96.4.30 - Atsuko Tanaka - 877-934 (58) (supposed to be at Ghibli from May 1 to October 1996 - 10 shots a month - but stayed longer)
96.5.13 - Shinji Otsuka - 589-607 (19)
96.5.25 - Minowa - 951-970 (20), Shimizu - 977-998 (22)
96.6.3 - Yamamori - 901-911, Yamada - 1013, 1024-1033
96.6.4 - Endo - 999-1023 (24), Sasaki - 942-950, 971-976 (15), Moritomo - 912-941 (29)
96.6.19 - Yoshida - 1034-1062 (30)
96.6.24 - Kurita - 1086-1119 (35), Ohtani - 1120-1140 (21)
96.6.27 - Shinohara - 1063-1085 (23)
96.7.19 - Kagawa - 1182-1225 (44)
96.8.29 - Tanaka - 1151-1181B (33)
96.9.5 - Otsuka - 1233-1268 (35)
96.9.10 - Minowa - 1224-1232 (9)
96.9.11 - Sasaki - 1269-1284 (16)
96.9.21 - Shimizu - 1318-1338 (21)
96.10.4 - Mihara - 1285-1301 (17)
96.10.8 - Inamura - 755-758, 760, 754 (6) - taken from Futaki because she was not going to be able to finish them
96.10.17 - Kuwana - 1421-1436 (16)
96.10.21 - Yoshio - 1302-1317, 1362-1363 (18)
96.10.22 - Yamamori - 1365-1379 (15), Konishi - 1380-1403 (23)
96.10.24 - Inamura - 1336-1351 (15)
96.11.07 - Shinohara finishes her part
96.11.8 - Shinohara - 1352-1361, 1364 (11) - meeting recorded on video by Uratani of TV Man Union
96.11.13 - Endo - 1404-1418 (15)
96.11.22 - Kondo Katsuya joins the team - 1466-1500 (34)
92.12.2 - Kondo Katsuya arrives at Ghibli for his animator meeting
96.12.10 - Tanaka finishes her part, gets more - 1501-1520A (20)
96.12.12 - Kenichi Yoshida's motorcycle accident - Kondo Yoshifumi takes up the 14 shots Yoshida had left
96.12.13 - Minowa - 1542-1555 (14)
96.12.16 - meeting for Kondo Yoshifumi's Yoshida part - 1041-1043, 1052-1062 (14)
96.12.21 - Otsuka - 1520A-1541 (23)
97.1.10 - 15 extra shots, they call around to "I", Kanada and "T"
97.1.15 - rush decision to bring in pinch hitter "A" for 1611-1619 (9)
97.1.16 - Inamura - 1651-1660 (10)
97.1.18 - Kanada comes to Ghibli - 1590-1601 (12)
97.1.27 - Ohtani - 1628-1638 (11)
97.2.11 - Tanaka goes back to Telecom
97.2.20 - Mihara takes 1630, 1632, 1637, E7, 8, 9 from Ohtani and "I"
97.2.20 - Inamura takes 1425, 1427, 1430-1432 from Kuwana
92.2.21 - Endo finishes his part, takes more - 1601-1610 (10)
97.2.24 - Otsuka finishes, decide to have him help correct completed genga
97.3.15 - Mihara finishes his part, leaves to ride his bicycle around Kyushu
97.3.16 - Kagawa and Ohtani finish their part, move to help inbetweening
97.3.18 - Yoshio finishes, Miya gives him 2 of K's part because he's too slow
97.3.20 - T finishes his part, was helping from outside
97.3.21 - Kurita finishes
97.3.24 - Futaki finishes

E7, 8, 9 - Michio Mihara
589-607 - Shinji Otsuka
608-630 - Kenichi Konishi
680A-691 - Hiroshi Shimizu
702-729 - Moritomo Noriko
730-745, 748 - Futaki Makiko
754-758 - Takeshi Inamura
759 - Makiko Futaki
760 - Takeshi Inamura
761-771 - Makiko Futaki
778, 780-781, 783-784, 786-787, 789-791 - Ikuo Kuwana
794-826 - Masako Shinohara
827-854, 857 - Michio Mihara
858-863 - Takeshi Inamura
864 - Michio Mihara
865 - Takeshi Inamura
866 - Michio Mihara
867-872 - Takeshi Inamura
877-934 - Atsuko Tanaka
912-941 - Noriko Moritomo
951-970 - Hiroko Minowa
977-998 - Hiroshi Shimizu
999-1023 - Masaaki Endo
1034-1040, 1044-1051 - Kenichi Yoshida
1063-1085 - Masako Shinohara
1120-1140 - Atsuko Ohtani
1151-1181B - Atsuko Tanaka
1182-1225 - Megumi Kagawa
1224-1232 - Hiroko Minowa
1233-1268 - Shinji Otsuka
1285-1301 - Michio Mihara
1302-1317 - Hideaki Yoshio
1318-1338 - Hiroshi Shimizu
1336-1351 - Takeshi Inamura
1362-1363 - Hideaki Yoshio
1380-1403 - Kenichi Konishi
1404-1418 - Masaaki Endo
1421-1424 - Ikuo Kuwana
1425 - Takeshi Inamura
1426 - Ikuo Kuwana
1427 - Takeshi Inamura
1428-1429 - Ikuo Kuwana
1430-1432 - Takeshi Inamura
1433-1436 - Ikuo Kuwana
1501-1520A - Atsuko Tanaka
1520A-1541 - Shinji Otuska
1542-1555 - Hiroko Minowa
1590-1601 - Yoshinori Kanada
1601-1610 - Masaaki Endo
1628-1629 - Atsuko Ohtani
1630 - Michio Mihara
1631 - Atsuko Ohtani
1632 - Michio Mihara
1633-1636 - Atsuko Ohtani
1637 - Michio Mihara
1638 - Atsuko Ohtani
1651-1660 - Takeshi Inamura

Shinji Otsuka - 589-607 (19), 1233-1268 (35), 1520A-1541 (23) [77]
Masako Shinohara - 794-826 (33), 1063-1085 (23) [56]
Noriko Moritomo - 702-729 (28), 912-941 (29) [57]
Megumi Kagawa - 1182-1225 [44]
Kenichi Konishi - 608-630 (30), 1380-1403 (23) [53]
Masaaki Endo - 999-1023 (24), 1404-1418 (15), 1601-1610 (10) [49]
Hiroshi Shimizu - 680A-791 (22), 977-998 (22), 1318-1338 (21) [65]
Hiroko Minowa - 951-970 (20), 1224-1232 (9), 1542-1555 (14) [43]
Michio Mihara - 827-854 (29), 857, 864, 866, 1285-1301 (17), 1630, 1632, 1637, E7, 8, 9 [55]
Atsuko Ohtani - 1120-1140 (21), 1628-1629, 1631, 1633-1636, 1638 (29)
Takeshi Inamura - 858-863 (6), 865, 867-872 (6), 755-758, 760, 754 (6), 1336-1351 (15), 1651-1660 (10), 1425, 1427, 1430-1432 [50]
Hideaki Yoshio - 1302-1317, 1362-1363 (18) [20]
Makiko Futaki - 730-745 (16), 748, 759, 761-771 (11) [29]
Ikuo Kuwana - 778, 780-781, 783-784, 786-787, 789-791, 1421-1424, 1426, 1428-1429, 1433-1436 [21]
(Kenichi Yoshida - 1034-1040, 1044-1051 [15])
Yoshinori Kanada - 1590-1601 [12]
Atsuko Tanaka - 877-934 (58), 1151-1181B (33), 1501-1520A (20) [111]

Here are also a few bits of interest from the Yamada-kun period.

98.11.14 - Hashimoto - Scene 14-4, 26 shots
98.12.5 - Ohira arrives from Nagoya on the Shinkansen. Meeting for Scene 9-2. Goes to eat dinner with Tanabe and never comes back. Apparently they were out drinking all night in Asagaya.
99.2.3 - Otsuka - Scene 3-2, shots 79-83

It will be particularly nice to be able to pinpoint Yoshinori Kanada's work in the film to see what kind of work he did in his last Ghibli film. While he never stopped beefing up his individualistic style full of crazy perspective, patented deformation and geometric animated effects over the years right up until the present day in other work, I gather he must have provided work of a more orthodox vein for this film, as he has in the past for the studio, ever since Nausicaa. It will also be nice to locate Shinji Otsuka's work, as his work is alway worth studying.

Wednesday, January 4, 2006

09:03:51 pm , 1058 words, 1900 views     Categories: Animation

Noein 12 thoughts

I'm back after a breather in the great white north. Happy new year to all. Hard to believe another year has passed.

One reason I've been eager to get back was to see ep 12 of Noein, which I did today. It was even better than I'd anticipated from the credits, in many ways, not least of all in terms of the animation. But from the foundation up it was in a league of its own. Not even the first episode quite mustered the incredible tension created here by Kazuhiro Furuhashi's storyboard. Add to that Norio Matsumoto and it's something of the return of Rurouni Kenshin 30, which was also a big climactic showdown like here, also involving Matsumoto.

Very few moments weren't of interest in terms of the animation. Norio Matsumoto was credited with animation director on an episode of Beck, but really that was only because he drew an entire half episode - he wasn't correcting anyone's drawings. The last I recall him being credited as AD was in his famous ep of Arjuna quite some years ago. If I remember correctly, there he really was correcting, though he seems to have drawn a lot himself. Here it felt like that rather than the situation in Naruto 133 where Matsumoto was just animating, so the parts not by him really stood out as completely different. Here most of the entire first half of the episode felt like his work, so I assume he must have drawn some scenes and corrected the others. It's true that as you're watching most of it (with some exceptions) feels like Matsumoto.

The exceptions are the fight scenes, for the most part. A long time ago I'd seen Ryochimo's home page while surfing the gif animator community, so it's interesting to see him making a big splash here. Another gif animator, Kenichi Kusuna, did a lot of gif animating for fun while studying, and recently went pro, doing a lot of work together with Satoru Utsunomiya, who's here as well. Osamu Kobayashi reportedly personally invited Ryochimo to work on Beck. There seems to be a trend recently of self-trained amateurs becoming so infatuated with the medium thanks to the work of great animators like Utsunomiya that they begin making gif animation, which brings them to the attention of those animators, and they wind up pro. Oftentimes they're doing work more intersting than most other people I've seen. Just when you thought people like that were extinct, it's kind of a heartening thing to see.

I'm not enough familiar with Ryochimo's work to pick out what he did, but if you were to hold a gun to my head I'd have to say that the absolutely incredible sketchy fight in the first half of the episode looks like it might have been of his hand. It's to Satelight's eternal credit that they could switch from one style of drawing to one so obviously and completely different from one shot to the next as they did there. That bit packed a punch like little I've ever seen, and that probably would have been very reduced if they'd cleaned up those drawings.

The rest of the first half of the episode was full of the brilliantly nuanced acting and flawlessly light and balanced drawing that I associate with Norio Matsumoto. A bit of the tail end of the fight in the first half felt a little Matsumoto, particularly the timing of the animation where the crane was shattered by a blast at the very end of the fight. Norio Matsumoto is as prolific as ever, and the quality has never dropped in anything I've seen from him, though the quantity understandably does when he draws a whole half ep himself. He knows how to spend his allowance to get the best results. I don't know of anyone else who can balance those two extremes the way he does.

A bash like this just wouldn't have been complete without Satoru Utsunomiya, and I could see his hand near the end of the fight in the second half. It's a relief that people in the industry see his genius and there's been a steady stream of his work lately, even though there's a trend lately of general fans being very touchy about idiosyncratic animation. It's like we're finally feeling the blowback from the heady days of the 80s when individual animators like Yoshinori Kanada were lionized for their personal vision. This episode, and really this entire series, seems to be this studio's and this director's challenge to that mindset.

Overall, an overwhelming episode. It feels like they put all of their eggs into one basket, and it paid off. This really represents what the series was all about. Throwing together a bunch of good animators with their own unique styles - some with a lot less experience than others but enthusiasm and talent to make up for it - and letting things fall where they might without smoothing over the edges. It's the episode that vindicated their approach. Hopefully they'll have at least one more episode like this, though it's already amazing that they managed this one.

I also got to see the previous episode, which had a great sequence in the second half with the elder brother. I don't know who did it, but I'd guess Kishida. A while back I rewatched Macross Zero and the last bit of ep 3 really stood out as wonderful. I realized it had to be Kishida's work. It's the first time I was able to pinpoint his animation with a fair level of assurance. Kishida and Matsumoto have been working together for a long time, and you get a feeling that there's been some mutual influencing going on. They seem to share a somewhat similar approach to timing and form.

Norio Matsumoto did some work in the animated sequences of the recent game Tales of the Abyss, specifically near the end of the opening. One shot in Matsumoto's section looks like it might have been done by Utsunomiya, but he's not credited. Interestingly this was also directed/storyboarded by Kazuhiro Furuhashi. Perhaps that's how Matsumoto got involved. Shinya Ohira also apparently did some of the "event" animation. Other people involved include Yasunori Miyazawa and Takashi Hashimoto.

Some Norstein links for inspiration.

The Moon Ain't Nothin But a Broken Dish
Washington Post article

Thursday, December 22, 2005

07:25:17 pm , 694 words, 3594 views     Categories: Animation, Director

Keiichi Hara

There's been lots of news about the new upcoming films from all of the major directors, but one piece of news that's probably slipped through the cracks over here is the news that Keiichi Hara is directing a new film. Keiichi Hara directed a handful of Shin-chan films between 1998 and 2002, breathing a new life into the series with his more serious, measured, cinematic approach to filmmaking. His films didn't focus on pumping out frenzied gags but on weaving convincing human drama with complex themes. There's no mistake that the films were well balanced and appealed to both children and adults, but his philosophy seemed to be that both adults and children should be able to enjoy a film; not just children. In the last two films in particular it was becoming obvious that he was outgrowing the confines of the series. His second to last film, 2001's The Adult Empire Strikes Back, treated the themes of nostalgia and fundamentalism in an amusing way, with a story about aging hippies - who not coincidentally resemble John and Yoko - out to bring the world back to the good old days of the post-war boom period, when life was full of simple pleasures and the world was less complicated. Hara sympathetically conveys the conflicting motivations of the characters, who probably struck a chord with the parents who brought their children to see the film. It was the biggest hit in the history of the series and instantly broadened the audience for the films. The soundtrack effectively used classic folk songs of the 60s that were extremely beautiful and heightened the nostalgia effect even to someone like me who'd never heard them before. His last film, which I haven't seen, was apparently a sprawling historical drama.

A manga artist who has always been close to my heart, Hinako Sugiura, passed away last year at the unfortunately early age of 46. Apparently she had a strong influence on Keiichi Hara. He relates that the scene in his last Shin-chan film where a princess hears the sound of a flower opening in the silence of the night was influenced by Sugiura's manga. Sparing in her use of frames and tending to focus on creating beautiful spaces using a minimum of elegant lines, Sugiura had a unique genius for portraying people of the past, young and old, in all different situations and walks of life, in a way that gave them a convincing semblance of life. Midway into her career she was forced to give up manga altogether upon being diagnosed with the illness that plagued her until her death, and from then on out she focused on promulgating knowledge about the Edo period in the various media, including making appearances on TV. Of all the manga I've read, hers had a sensibility that was unique. Her work was perhaps the best artistic depiction of the Edo period I've yet seen, effortlessly combining a style of drawing based on the art of the period with moving but always somehow light and whimsical vignettes that fleshed out the lives of the people of the age and brought alive the atmosphere the era.

It's nice to hear Hara cite Hinako Sugiura as an influence, and confirms his good taste, but it doesn't come as too much of a surprise. Both share a preoccupation with the bittersweet element of life; wabi-sabi in traditional terms. A perusal of his films makes it obvious enough that his influences are not those of the average anime director. I could picture his influences as being European cinema of the 60s and 70s and independent American filmmakers. In an interview he says he's more into slow films that paint vast landscapes like Lawrence of Arabia, which probably shows up in his last film. It's been three years since that, and I've been wondering what he's been up to. I think the new film is going to be an original creation, so with any luck it will be the first film in which we can see the true face of Hara, free of any constraints imposed by material not his own. Apparently the film will also be made at Shinei.

Tuesday, December 20, 2005

08:09:33 pm , 760 words, 1327 views     Categories: Animation

9th Media Arts Festival

One year ago Mind Game took the grand prize at the Bunkacho Japan Media Arts Festival (time flies!), and this year an independent short entitled Furo (Mirage?) by Sumito Sakakibara took the grand prize. A year and some before that Sakakibara, born in 1980, had a short shown at the end of year show at the Royal College of Art, where he did his studies after moving to the UK at the age of 15. The still is beautiful and makes you want to see it in motion. Koji Yamamura's The Old Crocodile and Kihachiro Kawamoto's Book of a Dead Person were among the winners of the Excellence Prize.

Junpei Fujita has been among the most talked about recent graduates since he appeared on DigiSta with his colorful, evocative piece full of wonderful morphing, Mind the Gap, which (now retitled Seasons) here won an Encouragement Prize. It won the Audience Prize and shared the Excellence Prize with Shin Hosokawa's puppet film Oni at the Laputa Festival presided over by Yuri Norstein one year ago. He's certainly one of the most talented indies I've seen emerge in a while, and hopefully we can expect to see him continue making interesting shorts in the years to come.

You can sense that Fujita has real 'animation instinct' - the feeling for what works as animation, what feels good as animation. Fujita collaborated with Masahiro Tomotake on another watercolor short entitled Color of Windows, which appeared on a DigiSta ep hosted by Satoshi Kon one year ago. I've been wanting to see more watercolor animation after having loved the results Reiko Yokosuka shows with the medium, so it's great to see a young new face taking it in new directions. I heard the Chinese have developed a program to accurately simulate the characteristics of traditional brush ink, but I suppose Fujita must be using the real thing. I'd be curious to hear how he makes his films - why he uses watercolor, how he comes up with the ideas.

Though I doubt that such was the case for the teenage girls who seemed to comprise approximately 95% of the audience for the film in Japan judging by video footage of the advance screening, I was completely lost watching the FMA movie. But you can really sense that they set out to make a quality film, so I have to compliment them on having that pride in their work. The part by Yutaka Nakamura was naturally the animation hilight (perhaps by way of a nod there was one shot by Nakamura from the TV series in the op), and it's probably the biggest piece of work he's done after the end of the Bebop movie. The bit at the beginning with the drills reminded me of Luffy punching the count in Hosoda's Secret Island movie, so perhaps that was Yoshihiko Umakoshi. I suppose Hideki Kakita might have done some of the smoke FX in Nakamura's sequence. I recall one or two other nice bits of smoke elsewhere. But watching the film the whole thing is overall so well polished and carefully crafted that it seems pointless to try to single out bits of animation that were well done when other people are doing great work too. But that's all I can do since that's what I'm interested in. So it goes. One spot I'm fairly certain I can identify is Ko Yoshinari's. What he does is unique enough and I've now seen enough of it that I can ID his work with a fair amount of certainty. The timing of the animation, the particular way the background is blurred, and the smoothness of the movement where the character slides under and is then punched by the big monster, rebounding on the water, simply scream Yoshinari elder. I think he did a similar shot involving water in the fourth FMA opening, where again it looks like he handled the processing as well as the animation. I wish I could figure out what part Koichi Arai did. It's annoying seeing his name everywhere and not being able to pinpoint his work. If I recall correctly he did the flower transforming in Secret Island, so maybe the transformation shot in Nakamura's sequence...? Pathetic.

Actually, after thinking about it, Arai did the part where the flower is shot by the arrow. I don't know why I mixed it up, because Arai's part comes right before Hisashi Mori's part. Koichi Hashimoto was also there, and he did part of the action in Nakamura's op 4, so perhaps he was also involved in Nakamura's part.

Friday, December 9, 2005

06:19:51 pm , 4552 words, 11407 views     Categories: Misc, Translation

Yoshiaki Yoshinaga on Nekojiru - pt. 2

I'M NOT AFRAID OF DEATH

Nekojiru had attempted to commit suicide in the past.

Like my wife Saki, Nekojiru was a proud woman with her own view of the world.

Saki was a left-hemisphere type: logical and thoughtful. Nekojiru was a right-hemisphere type: temperamental and turbulent. It was like she could see things other people couldn't. We may have gotten along because we were both right-hemisphere types with a schizophrenic streak.

Nekojiru's husband, Hajime Yamano, on the other hand, is level-headed, sensible, cool.

It comes as more of a surprise that someone like Yamano could have created the sort of deranged manga he has.

The creator of the more recent version of the manga, "Nekojiru y", is in fact none other than Yamano.

Yamano uses this name when he draws manga using Nekojiru's characters. Nekojiru y's manga may look like Nekojiru's manga on the surface, but underneath it's a world apart.

Nekojiru often got depressed and spent her time holed up in her room playing Final Fantasy.

I don't play video games, but I once played a fighting game with Nekojiru and she tore me to shreds. She laughed when she saw me getting irritated because I couldn't figure out the controls: "You're getting all mad!"

What caused Nekojiru to become closed in on herself?

I've given the question a lot of thought, and the best answer I can come up with is that it must have happened when she was living with her family. By the time I met her she was already completely shut off from the outside world.

Nekojiru was seeing a psychiatrist. She had been diagnosed as manic-depressive.

I remember her saying on several occasions, "I'm not afraid of death."

Near the end of the publishing bubble, between 1992 and 1994, sales were still pretty good. I had it easy, putting together books for fun, getting royalties on the sales, and then in turn using the royalties to have more fun.

Nekojiru was still free to work at her own pace, so there was a relaxed atmosphere about her work.

We got together more often to have fun than we did to discuss work. She never seemed depressed when she was with me, but she may have just been hiding it.

Things were going well and everybody was still alive, so it was a relatively happy time for us.

Listening to our favorite music, having a bit of fun with drugs every once in a while, chatting about everything and nothing... time flew by.

Around this time, dreams of making it big may even have taken root in Nekojiru.

Buoyed on the waves of the publishing bubble, Aoyama had his own small but intensely devoted following, and in a sense was the most successful of us all.

But there would come a time when Nekojiru would sell more books than even she could ever have imagined.

And that was the beginning of the end for Nekojiru.

NEKOJIRU FEVER

Suddenly in the mid-90s, Nekojiru's popularity took off.

The nation was swept by Nekojiru fever. The epithet abunakawaii was coined to describe the special appeal of her work: Cute + dangerous.

The simple forms of the characters must have been a big factor in the sudden popularity. I also believe that to a large extent her work was accepted only because of its naive, childish drawing style.

Abunakawaii. The perfect word to describe Nekojiru's manga.

It's particularly apt for the early works, with their innocent cruelty. Nekojiru herself even fit the bill, with her unfeigned innocence.

From one moment to the next, Nekojiru was a star. Gone were the days when we could spend all night chatting and listening to music.

Saki and I had married by that time, and Nekojiru and Yamano were so busy they didn't even have time to sleep.

With the sudden popularity came the need to produce her manga in large quantities, and that was something that was not in Nekojiru's character.

It now became a battle with deadline after deadline, and eventually she became overworked.

Work came no longer just from Garo but from Tokyo Electric Co. and everywhere inbetween. Asking someone to mass-produce what were essentially personal whimsies thrown off for fun was misguided and inherently impossible, but she managed to do it anyway. No doubt this was partly Nekojiru's attempt to ingratiate herself with the big magazines.

Neither Nekojiru nor Yamano could turn down work. They accepted everything that came. After years of scraping by, the logic of poverty had led them to the conclusion that it was wrong to turn down work. I remember thinking they should be a little more selective about the offers they accepted.

COLLABORATION

When we speak of the manga artist "Nekojiru", in fact we're referring to two people: Nekojiru herself, of course, but also her husband and collaborator, Hajime Yamano. You could summarize the situation by saying that the ideas of the right-brained Nekojiru were arranged in dramatic form by the left-brained Yamano.

For the most part, the stories are based on dreams or things actually seen by Nekojiru. When things seem a little too strange for reality, it's probably because they're based on one of her dreams.

The line between reality and dreams seemed blurred in Nekojiru's mind. This special way of seeing things is behind the unique version of the world in her stories.

The encounters with strange people in her stories were a mix of reality and fiction. Yamano surely helped to mold Nekojiru's ideas into concrete form, but the division of labor is not at all clear. Their collaboration consisted of the delicate tightrope act of translating the fragile madness of Nekojiru's ideas into a concrete form that anybody could understand. Like siamese twins, there's no way of saying where Nekojiru ends and Yamano begins. In every story by Nekojiru there's always more or less Yamano mixed in.

But some stories do seem more purely Nekojiru. I think it's fair to say that her unpaid early work for Garo or for me - the work collected in books like Nekojiru Udon and Jirujiru Nikki - is high proof Nekojiru. Here it's obvious she was coming up with the stories quite freely.

On the other hand, you can sense that Yamano must have done the great burden of the work in the stories that they started having to churn out in large quantities only a short time later. With new publishers came new restrictions, and the stories had to meet those restrictions. It gets particularly striking with serials like Neko no Kamisama, where it's clear how far they've had to go to accomodate the major publishers. The more they had to do so, the more effort Yamano had to make, so the more his style came to the fore.

Stories like Invisible, written by Yamano based on the dream notes left behind by Nekojiru after her suicide, are clearly more Yamano than Nekojiru. Though identical on the surface, Nekojiru and Nekojiru y are not the same. It's as if, shorn of his siamese twin after the death of Nekojiru, Yamano had continued to publish under the name of the half-entity Nekojiru y.

NATURAL ACID

Reading the collection of early works that is Nekojiru Udon could very easily become a traumatic experience for a delicate soul.

Two cat siblings go around randomly killing whatever rubs them the wrong way. Whatever they dislike, they kill. The cuteness of the cats lures us into accepting their casual cruelty. It's an outlook that seems to bespeak at the very least an ounce of self-hatred, if not outright hatred of the entire human race.

Whenever Nekojiru was talked about in the press, she was usually described in terms something like these: "A mangaka with a cult following for her manga featuring cute cat characters commiting casual acts of cruelty." Casual acts of cruelty. If you think about it, it begins to seem like a despaired expression of resignation in the face of death; as if she were saying to people, "We're all going to die anyway."

Suddenly the public goes crazy for Nekojiru's work because it's abunakawaii. Short of reducing her work to such a simplistic formula, how else could hundreds of thousands of people suddenly have wanted to associate themselves with a story with such a dangerous message? Rather than relating to Nekojiru's message of "We all die", clearly most people were simply reacting to the powerful aura emitted by her simply drawn characters. In the end that was the element that gained her a broad readership.

All of Nekojiru's early work has a the same uniquely "trippy" feeling. You could almost call it psychotic. I liked to refer to these early works as "Natural acid".

In a sense it feels like Nekojiru used her stories to play family. I don't know anything about her family, but she didn't give the impression of being a family person. It seems probable that the family in her stories wasn't based on her own family, but was a sort of ideal family that Nekojiru wished she could have had.

In all probability, the character Nyako was her, and the character Nyasuo was Yamano. Nekojiru did have a real younger brother, but it seems unlikely that Nyatta was based on him.

Nekojiru Kenbunroku (Nekojiru Travelogue), included in Nekojiru Shokudo (Nekojiru Diner), has Nekojiru travelling to various places and giving her impressions. In typical Nekojiru fashion, wherever she goes, she says it sucks. But the editors really do only send her to places that suck. It's like they're doing it deliberately to get her to say bad things.

Did they really think Nekojiru would enjoy going to a popular theme park?

Jirujiru Ryokoki - Indo Hen (Jirujiru Travelogue - India) more effectively channels Nekojiru's unique viewpoint onto a real situation, and is perhaps her most accessible book. It's a book I'm very fond of because it bursts with the romance of travel. She also drew an account of her experience of tasting banglassi (yogurt with cannabis) while in India.

The real Nekojiru comes through in her late book Jirujiru Nikki (Jirujiru Diary).

Many of the pages depict things supposedly seen by Nekojiru in her daily life, such as a woman shitting in the middle of the road. Sometimes you have to wonder if she really saw all of those things.

Perhaps they were things only Nekojiru could see.

THE LIQUID ROOM

On February 1, 1997, Nekojiru and I went to see Aphex Twin live in concert.

My memory of the event is as clear as if it had happened yesterday.

It was at the Liquid Room in Kabukicho, Shinjuku. The room was packed to the brim. There wasn't even room to move.

DJ Cylob was the opening band. I asked Nekojiru what she thought of the music.

"It sucks. Hurry up and get off the stage."

Unusually for the club, about a third of the audience was sitting on the ground. Nekojiru pushed and shoved her way to the front of the stage to be near the DJ booth. Little old Nekojiru was practically tackling these big guys, pushing them out of her way. Though small and frail, she could muster tremendous power when driven.

Finally Cylob left the DJ booth. Two songs from Mike (μ-sik) & Ritchie's album started playing on the speakers. Richard was on.

It's hard to say whether Aphex Twin's music is for dancing or for listening. The dance floor was split about evently between people dancing and sitting. There may even have been more sitting. Nekojiru was moving her body to the rhythm in the first row. Her eyes never left the DJ booth for a moment.

Richard, on the other hand, stood hunched over the turntable the whole time. His long hair fell down and covered his face during the entire performance. Fuck the audience, he seemed to be saying.

Two teddy bears were duking it out behind Richard throughout the show, a photo of Richard's face taped over their faces.

After about an hour Richard abruptly left the stage. Nekojiru immediately left her spot and walked over to where Yamano and I were sitting near the back of the room.

"I've had enough. Let's go."

The party was supposed to go all night, but Nekojiru wasn't interested in the other DJs.

"How was Richard?" I asked.

"I couldn't see his face the whole time, but it was nice. I liked the teddy bears."

Nekojiru was always like that - short sentences, to the point. She could sound curt if you didn't know her, but she was actually the emotional type. Coming from her, a comment like that meant something like, "OMG, it was so fucking amazing I almost wet myself!"

In other words, she had fun.

INFERNO

During the last few years of her life, Nekojiru's workload had increased to the point that she was really and truly overworked.

By this time it was no longer about drawing for fun; it was about making the deadline no matter what.

In books like Jirujiru Nikki and Neko Kamisama, Nekojiru often simply transcribed stories she'd heard from other people.

"I deleted a whole book's worth of data from my PC," I lamented to Nekojiru once. Later the story turned up, word for word, in Nekojiru's manga.

I once sent a part-timer to go on a company outing in my place because I was too busy, and as an omiyage he brought me a plastic pouch of dried seaweed - the regular kind you can find at corner stores everywhere, to sprinkle on breakfast, with five individually wrapped portions inside(!). That story also found its way into her manga, word for word.

Overworked, Nekojiru had run out of ideas. But she had deadlines to meet, and did the best she could manage. She had a strong sense of responsibility, and always found a way to come through in the end. More than once she found herself cornered by several deadlines and had to push herself to the brink of collapse to finish everything.

Once I was at my office late at night and I heard a knock on the door.

"Can I sleep here tonight?" an emaciated and exhausted-looking Yamano inquired.

"What happened?"

"Well..."

Yamano hesitated. Apparently Nekojiru had attacked him with a boxcutter in a fit of rage.

I had Yamano lie down on the couch and brought him a glass of water.

It was hard to break the awkward silence.

The phone rang. I picked it up. It was Nekojiru.

"I knew he'd be over there. Put Yasuo on the phone!" Yasuo was Yamano's real name.

"I can't. He's sleeping right now."

I tried to calm her down, but nothing worked. "Put Yasuo on the phone right now! He ran out on me, so go wake him up and put him on the phone!" She was furious. Her nerves were completely shot.

Things like this happened all the time when the work got overwhelming near deadlines. Two people working as closely as they did were bound to break under the tension sooner or later. Usually it started with Nekojiru having a fit of rage (or more accurately, physically attacking Yamano).

As I looked at Yamano splayed out on the couch, visions of Nekojiru "training" her cat, Nyansuke, danced before my eyes.

I refused to let Yamano go home out of fear for his safety.

Before long, dawn broke. The sparrows began singing and the newspaper delivery truck passed by outside.

Nekojiru must have calmed down by now.

Yamano finally went back home to Nekojiru. "Nekojiru needs me," he said as he left.

Looking back on it now, the root of all their problems was the poverty that convinced them that they had to accept every commission once their books began selling.

If they had been in a position to choose their work, Nekojiru might not have died so soon.

*

"You guys need to take a break."

One day in 1998, at a time when Nekojiru and Yamano were in the midst of their hardest periods, my wife Saki and I paid a visit to the Nekojiru residence.

It was about three weeks before Nekojiru's suicide.

We sat together relaxing, listening to music. Nekojiru had a pair of speakers especially made for techno music, in the shape of a dodecahedron with speakers on each face. The high-hat came through particularly clearly on these speakers.

Nekojiru said little and sat still, completely focused on the grating sound of the high-pitched techno. Yamano, exhausted from the long days and nights of work, seemed pained by the harsh sounds.

Concerned, I suggested, "Let's listen to this," and put on some ambient dub. Yamano seemed releived, but Nekojiru, who preferred faster, more aggressive music, seemed displeased by the more mellow music and sulked in her corner.

Already on edge from lack of sleep, the psychedelic trance only seemed to serve to put her more on edge.

Nekojiru seemed to be in an unusually bad mood that day.

Suddenly I became uneasy when I remembered how she was prone to saying, "I'm not afraid of death."

As we left that day, Yamano and Nekojiru watched us for a good while from the porch. I can still remember the pleading, spent expression on Yamano's face.

"Don't go! Stay a bit longer! Don't leave us alone!" his eyes seem to beg.

After we left, I suppose they went back to work.

But they were already at the end of the line.

PEACE IN DEATH

"Chiyomi is dead. She committed suicide. You were one of her few friends, so I wanted to tell you right away."

I learned of Nekojiru's death by a phone call from Yamano.

They discovered her late, and rigor mortis had already set in. I learned of her death only a few hours after she was discovered.

When we received the call, my wife and I were in Shinjuku and thinking of going to the Imax. Yamano's call was a shock.

Yamano did his best to remain calm.

In the back of our minds we all had the vague notion that this might happen one day, but we never imagined she would actually go through with it.

The movie was put on hold and we ran to Yamano.

At that moment I was more worried about Yamano than about Nekojiru. I couldn't imagine the shock of losing one's wife to death. At the time I thought the most important thing - more important than mourning Nekojiru's death - was taking care of the person left behind.

Nekojiru's expression was calm. There was no trace of suffering on her face. No trace of regrets, of clinging to life. She seemed completely at peace.

It made sense to me, but it was also slightly terrifying.

A CD and a video of Aphex Twin were placed in her casket.

Aphex Twin's Ambient Works II was played at her funeral.

Nekojiru had written to do so in her will.

Having attempted to commit suicide in the past, Nekojiru had written wills on a number of occasions. Her last extant will in fact dated from several years prior.

However, at Yamano's discretion, not everything was done according to her will.

Nekojiru didn't want a gravestone. Yamano thought her family would want a gravestone so that they could visit her grave, so he had one made. But as if in a last act of defiance, the gravestone remains nameless. A single Sanskrit character decorates Nekojiru's gravestone.

Yamano told me once what it meant, but I've forgotten.

One line in Nekojiru's will reads: "No discussion of possible motives."

Yamano has for the most part refused all interviews.

At the time, the sight of Yamano was so painful to me that I almost couldn't bear to look at him.

5 years later. To think that now I stand in his position...

THOSE WHO CHOOSE TO DIE AND THOSE WHO CHOOSE TO LIVE

Suicide hurts the people left behind.

Nothing can describe the pain, or erase it.

Yamano only managed to endure it.

As the "Nekojiru" unit became popular, they became increasingly busy, until they became as inseparable as siamese twins. Nothing could separate them. To separate them you would have had to rip them apart. To do so would be to discard them, and you don't just easily discard a human being.

For a couple in a relationship as close as Yamano and Nekojiru, the pain of losing that other half must have been unbearable.

After Nekojiru's death, the abandoned half of the unit continued to release work in the Nekojiru series under the pseudonym of "Nekojiru y". Nekojiru and Nekojiru y look identical on the surface, but deep down they're completely different. Not in the sense that the former was hand-drawn and analog where the latter is digitally drawn; but in philosophy. Nekojiru chose to die, and her work clearly reflects her longing for death.

Yamano chose to live. That difference is immense, and reflected in their work. Yamano's work is completely lacking in the dangerous, trancelike mood of Nekojiru's work.

Many readers may have discovered the world of Nekojiru through Yamano's work done following the death of his siamese twin, but those who read Nekojiru from the beginning may feel something is lacking in the new work. The longing for death is completely absent in the new work. It's what I suppose you would call "healthy".

Yamano has become healthy again. That's why he no longer draws the sort of vicious manga he used to draw. He's grown beyond negativity.

When my wife committed suicide six years later in the fall of 2003, I found a pillar of support in another person who had lost his wife to suicide: Yamano. He understood my feelings of instability at the time. As I was teetering on the edge of mental exhaustion, he pushed me in the right direction.

Yamano had managed to overcome. That was a great comfort.

KILL OR DIE

Nekojiru's suicide made big headlines.

Almost certainly in no small part because it came so soon after the death of hide of X-Japan, Nekojiru's suicide was also given superstar treatment.

On May 28, 1998, the Shukan Shincho weekly wrote:

"There has been idle speculation that her suicide might be a copycat of hide. However, as far as I know she wasn't a fan of hide. Besides, she wasn't the type to copy other people."

The person the manga magazine editor was referring to in this quote was the mangaka Nekojiru. His point: The only similarity was that both seemed to have a bright future ahead of them.

Nekojiru began drawing manga after marrying the mangaka Hajime Yamano. She quickly gained a reputation for her style of manga that succesfully breached the gap between cute kittens and cruelty. After handling a television ad for Tokyo Electric, she looked to be on her way up.

The editor continues, "As anyone will realize if just they read her manga, beneath the surface cuteness was a self-destructive, pessimistic attitude towards life and death. In recent work she dismissed the earth as bound for annihilation, and laughed about how she almost went out of her mind after eating a magic mushroom in Bali. She was clearly teetering on the brink."

If only we could all be as uninhibited as Nekojiru's cats...

What could have made Nekojiru want to die?

Overwork was certainly a factor. Dealing with the big publishers must also have been a source of stress. Then there's her predisposition for depression.

But it's impossible to disregard the obvious signs in her work: The recurring theme of death's inevitability; the obvious disregard for life.

Nekojiru was the purest person I knew. My wife called her "authentic". Pure, authentic, natural acid, psychotic, shamanic. Words that spring to mind when I think of Nekojiru. It must have been impossible for someone of her purity and innocence to live in this world.

In the eight short year that I knew her, Nekojiru didn't change the slightest bit in terms of appearance or behavior. Most women would grow from childhood into adulthood, but it was like Nekojiru refused to grow old.

They say sales of Nekojiru character goods exploded after her suicide. Dying made her a hit. Nekojiru probably wouldn't have cared one way or another.

In any case, the living can never know what motivated the dead to take their lives.

I'm surprised she even made it to the age of 31. If she lived as long as she did, it must have been because of Yamano.

In the end, she wanted to die, so she died. That's all we can say for sure.

No attachments to life: Endearing though this trait of Nekojiru's might have been in one sense, it was terrifying in another. I'm the kind of person who wants to live as long and as enjoyable a life as possible, so I've always been somewhat scared of people who aren't afraid of death. But Nekojiru had lived long enough. Apparently she no longer needed this world.

She wrung herself dry in a furious fit of work over the span of a few years, and went out in a puff of smoke. It's so elegant it's almost scary.

Perhaps she was trying to tell the world about herself in her books all this time.

Kill or die: Given only one choice, the answer was obvious.

MEMORIES OF A RAVE

I'll never forget this memory of Nekojiru.

At a rave once I collapsed due to a combination of exhaustion and drug overdose. I needed an ambulance.

Seeing that I could barely stand, Nekojiru called the ambulance, made sure I got on safely, and waited worriedly for me until I came back from the hospital.

Other friends who had accompanied me to the rave, including Masaki Aoyama and Osamu Tsurumi, had disappeared by then, presumably fearing possible arrest.

Nekojiru wasn't afraid of dying, but she was afraid of a friend dying. She was selfish but caring.

Together we left the rave and joined Yamano at an onsen.

As I returned to my senses lying on the floor of a private room in the onsen, I was thankful to be alive, but also incredibly lonely. Tears began rolling down my cheeks. It's embarrassing to admit, but I couldn't stop crying.

"Why are you crying?" Nekojiru came to my side and asked with a worried expression. She stayed by my side for a while.

Perhaps she thought I might commit suicide if she didn't stay by my side.

"Are you all right?"

I had my arms over my face so I couldn't answer.

How could you have done something like that to yourself when you could be so caring about others?

I ask Nekojiru and I ask my wife.

How could you leave behind the people you cared for?

Part of me doesn't want to accept the selfishness of their act.

Nekojiru suddenly found her books selling. She probably didn't want to, but she had to accept all of the commissions that came her way. She worked hard and probably made a lot of money. But she didn't care about the money. She cared just as little about life. She predicted I would die at 35. Perhaps that's why she liked me - because she sensed in me another soul on the verge of death.

But I just act crazy. I don't want to die.

Friday, December 9, 2005

12:38:49 pm , 82 words, 1575 views     Categories: Animation

Noein 12

There should be a nice post-boxing day present coming up in ep 12 of Noein. The rumors appear to have been true that Norio Matsumoto and Hiroshi Okubo (the guy who did the beginning of ep 1) were working together on an ep, and this is it. Supposedly Utsunomiya is involved, and hopefully Kishida will be involved too. Either way, this should be one of the richest eps in quite a long time animation-wise. Interesting to note that Atsushi Wakabayashi storyboarded the latest ep, 9.

Wednesday, December 7, 2005

10:35:53 am , 162 words, 872 views     Categories: Animation, Misc, Indie

Country Doctor

Koji Yamamura reports on his blog that he's started on his next film, an adaptation of Franz Kafka's The Country Doctor. He's finished the storyboard and is now working on the layout. The film is due for completion in early 2007. He apparently got the idea from a passing comment from Norstein suggesting he take a stab at Kafka. It's to be 20-30 minutes long. I'm already looking forward to it!

He also mentions the somewhat exciting news that Norstein will apparently be focusing on finishing the first part of The Overcoat over the next few months with the hopeful goal of completion by next year. After spending twenty years on the first part, it seems unlikely that he'll have enough time to finish the second part if it's going to take the same amount of time, but we can always hope.

Yutaka Nakamura did the surfing at the beginning of Eureka 7 33. His touch with smoke, water and other such effects is beautiful.

Tuesday, November 29, 2005

11:09:38 pm , 1685 words, 2675 views     Categories: Animation

Money Makes the World Go Round

Episode 8: Counterfeit Money Makes the World Go RoundToday my Goku no Daiboken DVD box arrived, and I've already watched the long-lost episode, which was essentially the only reason I purchased the thing. Aside from that, the surprise was the incredible richness of the liner notes, which go into great detail about the production system. I'd long wondered what exactly this "Art Fresh" studio that Gisaburo founded was exactly, and at least in the case of the time during which Goku was in production it consisted of one of the ten rooms of an abandoned kindergarten that was purchased by Mushi Pro to serve as Mushi Productions Studio No 5 where Goku was produced. It was re-abandoned afterwards. Next to the Art Fresh room was the room for "Onishi Productions", and next to it the room for "Fantasia Productions", a studio about which I'd heard that Hata had helped found but knew (and still know) absolutely nothing about. Studio No 5, then, was essentially a collection of various small studios brought together in one place for this series, which is very unusual. An entirely different production style was invented to produce an entirely different series. There were some comments from Hata about his legendary episodes, and he comes across as decidedly humble, practically dismissing them as mere juvenalia. That's what this show was: a conduit for youthful rebellion. The desire to smash the status quo. Gisaburo's primary influence at the time was the Nouvelle Vague, and it shows. Hata's work on the series embodies that rebel-with-a-cause energy.

In particular, I was delighted to see that the animation staff were listed. I don't think they were credited on the LD box, and I'd always wondered who did what. Well, now I know that Shigeru Yamamoto and Sadao Miyamoto did the animation in many of the episodes including Hata's, so we see where the team that went on to do so much work at Sanrio Films together got introduced. One surprise was to find that Renzo Kinoshita, most famous for his indie films like Pika Don and for founding the Hiroshima International Animation Festival, was involved as well. He seems to have been at Mushi Pro right from the beginning with Atom. Another surprise was to find that Sadao Tsukioka had been impressed by Gisaburo's intent and joined the show to help out. And how was he involved? How else: animating episodes singlehandedly. It was nice to disover that one of my favorite eps, 12, was animated entirely by him. Episode 21 was 100% Tsukioka: story created by him, directed by him, and animated by him. That's one thing that makes this show unique: early on Gisaburo threw most of the scripts he'd gotten from the scriptwriters in the trash, and had the animators come up with the stories themselves. When the direction of the show changed, that policy changed too, and Tezuka himself came in and supervised the scripts to make sure they made perfect sense, in the process sapping the show of its vitality.

One thing that attracted me so much to Dezaki's ep 4 in the show was the ferocious cynicism on display in the ep, for example the way he used a loop of animation to show the corpses of legions of minions being carted off into the distance after their usefulness to the boss had run its course. Human bodies are a limitless resource. A Vietnam reference in the episode is dropped as casually as the corpses pile up on the sidelines. Even the dead come back to life when they catch wind of a rumor of treasure in a faraway land called Japan. The ep is essentially an attack on the greed of nations, but what makes it effective satire is that it doesn't try to convince using logic. It leaps and cuts all over the place, breaking every rule it can get its hands on. This was apparently a style of filmmaking that ran counter to what Dezaki really wanted to do, and you can see what he really wanted to do, namely more traditional storytelling, in the other episodes, which simply don't fit into what this show was supposed to be about. It's a shame, because the Dezaki of ep 4 never really showed up again afterwards, and the ep hasn't lost any of its power after all these years, nor has anyone else tried to do this sort of thing since. The station triumphantly gloated when Golden Bat smashed the show over the head by cutting its amazing 30% first-season ratings in half, and things were smooth sailing on the airwaves from then on out. Gisaburo essentially stopped bothering after the first season.

What was supposed to be episode 8 got completely produced but was never shown on the air, which is fairly unusual if not unprecedented in anime. Usually things are halted at an earlier stage if something is deemed problematic. Thanks to the detective work of the producers of this box, we get to see that Dezaki had in fact gone the next step after ep 4, an ep that incidentally was very well recieved by fellow industry folks. This time he tried to take it to the next level with what he'd done in the earlier ep, and though I found the earlier ep more satisfying, this one is equally unhinged. Afterwards he gave up on this approach, so this ep provides an invaluable look into this facet of his early work. As before, what story there is is merely a coathanger for a series of cynical gags, like ambulances running over the killers on their way to save the other killers, but the death aspect is emphasized even more here. Various competing groups including the mafia, an african dictator and the Shinsengumi battle it out over counterfeit money. One character inexplicably blows himself up or is blown up repeatedly throughout the episode only to reapper a moment later in exactly the same guise, ad infinitum. What is meant by the character is totally open to interpretation, and like all great art the creator may not even know what he meant by it, but it takes on an interesting meaning seen today. After the counterfeiters are defeated, one quick shot near the end shows them starting all over again. The final shot has the ubiquitous man in the sunglasses grinning as he shoots himself in the head. The more things change...

There was some Muraki Circus in Eureka 7 32, this time with light beams. On looking over the show I noticed that Seiichi Hashimoto was involved heavily early on but did less and less and he hasn't appeared much lately. He was here, and I got the same vague impression of a slightly higher quality of touch with the characters that I got whenever he was in Planetes, particularly the scene in the hangar. The three shots where Renton runs towards Eureka were also interesting. The first shot was a short close-up with delicately observed leg movement in 1s, and in the next two Eureka walks in 3s while Renton runs in 2s on the same screen, which suits their respective speeds. I suppose the animator would have come up with the idea to do that. Seemed an unusually thought-out thing to do. Short sequence but nice effect. I also get the vague impression that more effort was put into the characters early on while lately there's been a lot more effort put into the mecha. Oh, and it's amusing to note the curiously high Hashimoto density rate in the show. Practically the only Hashimoto missing is my favorite, Shinji. Which I don't mind at all. This is definitely not his kind of material.

I got my Junkers DVD out of storage to watch Iso's scene again, which I haven't seen in a long time, and also just to enjoy the film, which has a lot of very nice work, even by Ohira, albeit less than one would have hoped considering how deeply he was involved in the initial stages of the project. Supposedly the ending animation was to have been a larger sequence than the two small bits that are currently there, but for whatever reason Ohira never got through with the sequence, despite having 6 months to do it, and those little pieces were all that wound up seeing the light of day. I'm curious whether it was because his enthusiasm for the whole thing had been dampened, but most of all I'd be curious to know/see how much of it he had completed. Ohira's style changed dramatically after he came back to anime several years after this, so it would offer the chance to see what would essentially be the culmination of the first half of his career.

Looking over the credits now I recognize most of the names except a handful, which jives with what I've heard about three other famous animators having used pen names in the film. Sakayori Takateru 逆寄隆輝 is definitely fake (Lain 6). Ditto for Shiono Kaji 塩野櫂 (Yawara 14). A little investigation suggests that the last one is probably Konoe Mamoru 近衛真守, which as far as I can tell may be the pen name of Habara Nobuyoshi 羽原信義. Episode 14 of Nadesico was directed/storyboarded by Habara; Konoe helped on structure and was AD; and animation was by two people: Kazuo Komatsubara and Habara. This would have been about a year after Junkers. Konoe/Habara animated the part in Junkers where Hiromi scares Junkers. This was supposed to have been done by Shinji Hashimoto, who did the surrounding scene, but he didn't have enough time to get around to it. One of the scenes I've always wondered about is the part where Hiromi is running in the snow. I wonder if this might not be one of the nickname parts. It kind of feels like Hideki Hamasu, or maybe Takeshi Honda.

It looks like the official announcement is not far off, so it's probably OK to mention now that the old rumours appear to have been true that a Yasutaka Tsutsui double-feature was in the works at Madhouse. The "other director", guess who, will apparently be doing Tsusui's hit juvenile story Toki wo Kakeru Shoujo, or The Girl who Could Control Time.

Saturday, November 26, 2005

03:22:43 pm , 83 words, 2492 views     Categories: Animation

Cajino trilogy

A note of the Yoshiyuki Momose Cajino trilogy staff:

Portable Airport
Shinji Otsuka, Shinya Ohira, Miwa Sasaki, Tsutomu Shibuya, Osamu Tanabe, Hideki Hamasu, Takeshi Honda, Toshihiko Masuda, Yasunori Miyazawa

Space Station No. 9
Minoru Oba, Shinya Ohira, Ken'ichi Konishi, Osamu Tanabe, Tetsuya Nishio, Shinji Hashimoto, Hideki Hamasu, Takeshi Honda, Toshihiko Masuda

Flying City Plan
Minoru Oba, Masashi Okumura, Masako Sato, Tsutomu Shibuya, Atsushi Tamura, Hideki Hamasu, Takeshi Honda, Atsushi Yamagata, Tadashi Yokota, Hideaki Yoshio

「ポータブル空港」
大塚伸治、大平晋也、佐々木美和、
  渋谷 勤、田辺 修、浜洲英喜、
  本田 雄、増田敏彦、宮沢康紀

「space station No.9」
大場 実、大平晋也、小西賢一、
  田辺 修、西尾鉄也、橋本晋治、
  浜洲英喜、本田 雄、増田敏彦

「空飛ぶ都市計画」
大場 実、奥村正志、佐藤雅子、
  渋谷 勤、田村 篤、浜洲英喜、
  本田 雄、山形厚史、横田匡史、
  芳尾英明

An amazing lineup in the first two.

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