Via Anime Insider: Reader Mail (June 2003)

Not a huge fan of this section personally, but this one has two bits of info, albeit ones probably corroborated elsewhere. One, it specifies the type of paper mangaka generally use, and two, it verifies that Yoshiyuki Tomino was responsible for the exclusion of The Island of Kukuras Doan from Gundam’s original US run.

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Fun With Numbers: Directors With Blockbuster Chops (Part 1: 3 or More Shows)

Unless you’re Urobouchi Gen,* if your name headlines the trailer of a given series, odds are you’re its director. Director credits are the first non-voice actor bit of information given on staff pages of ann, anidb, and mal show pages. And that’s how it should be; as important as good writing can be, directors have the desk the buck stops at when it comes to power and responsibility to make decisions in show production, often holding full or partial authority to rewrite an episode script. Ano Hana was written as part slapstick/erotic comedy before director Tatsuyuki Nagai got his hands on the script. Beyond that, directors supervise the visual component of anime, making sure a series’ art says what it’s supposed to and flows from shot to shot.

A lot of complex factors go into an anime being either a success, hit, or failure, but it’s really hard for an untalented creator to accidentally produce a hit more than once. And while hit tv anime aren’t the only achievement that deserves recognition (JMAF grand prizes and Oscars would be two others), they are one of the bigger ones; excluding sequel seasons, less than 100 people have managed to notch this achievement in the 50+ years since Astro Boy first aired.

This is the very short list of directors who have headed at least 3 separate hit franchises, with some supplementary information. A similar post on those who have made 2 shows will be up sometime in the near future.

This list was compiled from something’s list of 10k+ shows, with supplementary resume data pulled from ann and anidb. While I am making heavy use of these databases, I don’t trust them to be 100% complete: Seiji Kishi’s pages show an 8-year gap between his first credits and his first series directed in which he does (supposedly) nothing. Not only that, but anidb and ann disagree on whether his first work was as an in-betweener on Ruin Explorers or on Eiga Nintama Rantarou (anidb lists the former, ann the latter). Tatsuyuki Nagai’s first credit is as an episode director, a position not typically awarded to newbies. More likely their full histories aren’t chronicled here, though that only applies to secondary roles played in production. It’s an important thing to be aware of.

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.

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Fun With Numbers: The Late-80s OVA Boom (and Why Late Night TV Replaced It)

The two most influential series in the history of anime are almost indisputably Neon Genesis Evangelion and Mobile Suit Gundam, a pair of robot shows which showcased the buying power of Japanese otaku and led to an explosion of new material being produced. I’ve written previously about the late-night boom fueled by Eva’s success, but to say Gundam deserves less credit is to ignore one of the bestdramatized underdog stories in anime history. Then-16-year-veteran Yoshiyuki Tomino straight-up flipped a series meant to sell toys to kids for a realistic science-fiction epic in an era where the main thing robots did on TV was wrestle with one another for the spectacle. The results of Gundam’s eventual success were many; it spawned one of anime’s longest-lived franchises and has accounted for tens of billions yen in model sales per year to this day. But it had another key effect on the industry – it got people thinking about how to harness the fans with a serious sci-fi bent that Gundam had shown to be there for the taking.

Towards the end of 1983, one year after the final installment of the Gundam movie trilogy was released, the recently-formed Studio Pierrot released the first episode of what is considered to be the first OVA series ever, Mamoru Oshii’s Dallos. The series enjoyed healthy success, and several other companies began commissioning OVA projects. What followed was a surge in the amount of new original and manga-spinoff adaptation projects marketed chiefly towards older audiences, both hentai* and not (per myanimelist, charted here). The yearly abundance of non-hentai OVAs is plotted below, along with the number of TV anime and ONAs (included mainly as a curiousity) in that same period.


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