The recent NHK special created quite some buzz about Yoshinori Kanada‘s succession and by which standard his ‘successors’ should be determined, i.e. if it’s sufficient to just copy Kanada‘s style or if they have to be ‘men of revolutionary talent’ themselves and expand Kanada‘s style to a whole new level. Many weren’t satisfied with NHK choosing Seiya Numata as an example of a young animator who inherited Kanada‘s blood, even some professional animators mentioned on twitter that Hiroyuki Imaishi would have been a more appropriate choice. However, while I’m an avid fan of Hiroyuki Imaishi, I can also understand why NHK chose Numata for this feature. He’s a bit younger, hasn’t directed any anime yet (as series/chief director) and thus is still more of an ‘animator’, so he’s closer to the image most people might have of Yoshinori Kanada (who never directed any anime). And of course, Numata is also a very talented animator with an unmistakeable aura on the screen and much presence in TV anime in recent years. Following some words on Seiya Numata and his work for those who want to find more about him.
Archive for August, 2010
Studio Ordet‘s long-awaited first project as main animation studio is finally here and it turned out pretty much as I’d expected. It’s a well produced OVA with nothing particularly new regarding content, but an enjoyable watch nevertheless. I was mildly impressed with Shinobu Yoshioka‘s directing skills, he did a pretty good job with setting the overall atmosphere. He depicted the characters rather low-key and not as forced as in your average bishoujo anime, which adds a lot to the believability and mood. I would like to see more bishoujo anime going into this direction, so more human-like characters without any disturbing, unbelievable traits. I can live with overly exaggerated characters in comedy series like ‘K-ON!!’ where they aim for a different kind of atmosphere, but in anime with a more serious tone they usually feel quite misplaced. It should go without saying that especially heartfelt and dramatic moments feel all the more stronger if the characters act in a way that the audience can relate to, and not just in the manner which the character category demands.