Continued from part 1, here are the rest of the directors that managed to notch multiple credits on 10,000 plus per volume hits. 13 guys directed two non-sequel hits, which, adding in the 4 from before, gives a total of 17 people in the history of anime to make this particular list.
As before, note that while anidb and ann are being used, they are potentially incomplete sources. For example, Tsuda Naokatsu only receives Uta Kata production assistance credit on ann. I will generally give direction credit to anyone who is listed as a director on one of the two sites, and directed a plurality of the episodes. Series director vs. plain Director titles for shows that gave the two to different people were tricky to interpret – I opted to give the title to the staffer listed as just director.
An Important Note About The Classification: I only included non-sequel anime when looking for directors. This means nothing with some manifestation of a 2 in the title. Ditto for Gundam or Macross franchise entries after the original. My rationale is that it’s a lot harder to make a prime-time anime from scratch, even with popular source material, than it is to continue living in a house you or someone else built. I count A Certain Scientific Railgun and Mononoke as spinoffs rather than sequels, as the series they spun off of are considerably less well-established franchises.
Along with an understanding of the broader context of the subject, the most vital ingredient to good anime coverage is a reliable source. So when US journalists actually interview people on the production side in Japan, it’s generally worth noting unless the interview consists entirely of fluff. This is the third of what will hopefully be a couple more posts archiving articles from Newtype USA’s [inside] series of articles written by Amos Wong. This one features Gainax president Hiroyuki Yamaga on beating game companies in their own arena to stay afloat financially, seeing Eva mentioned in pop culture, and his opinion on the best way to target overseas fans.
Note: Pictures are scans of the article made on my crappy scanner, which cover the article text but not the entire page. Apologies for that. Scans after the jump, along with comments on the contents of the article.
If you know enough anime, it’s pretty easy to play Kevin Bacon and link things arbitrarily. Yugioh 5Ds may be notable only for the “Card Games on Motorcycles” meme, but it’s ridiculously easy to connect (via the creators) to the most notable anime of a different decade. If you’re that much of a geek, anyway.
I thought it’d be a fun little exercise to try and pull out as many mangaka names as I could without relying on references. This is that list, written on lockdown mode and complete with the reasons why I remember them.
This post represents the second of three entries our blog is submitting to the Manga Olympics for Bloggers. Voting begins on June 16th, so just enjoy the article for now. Or checkout ourillustrious competition.
Maybe it’s because I have fewer female anime/manga fan friends than male ones, but there’s no demographic of manga I see misconstrued more often than shojo. The idea that it’s synonymous with sparkly, tween-appeal school-life romance seems to show up at least once a week in conversations I have. Fortunately, there’s one very easy way to dispel this misconception; look at some of the shojo manga that actually exist.
How do you create the ultimate anime? Buy the best director and the best writer and give them infinite time and infinite money? Seems like that’d be obvious, right? Obvious, but wrong.
Leaving aside auxiliary questions like how one can actually judge who the best director and best writer are, there’s a much more fundamental problem with that idea. It’s an thought I often find expressed in critical circles, that the best successes come simply from good talents being able to do what they really want, free of any constraints. It’s the ideal of creative freedom unchained and free to race around the world with gumption and gusto.
The problem with this idea is that it’s too much yang and not enough yin, and it neglects the fact that a lot of the most creative ideas of our time have only come about because people didn’t have the materials or editorial approval to try their first choice and ended up doing something totally new. And how the choice that spends the most money isn’t always the choice that’s best for a particular show. Creative constraint is the polar opposite of creative freedom, but almost as vital in the production of powerful anime.