I hope the mods will forgive me this bit of swearing:
Holy fucking fuckballs, that's the biggest wall of text I've ever seen.
Seriously, never has "sasuga Xard" been so well-deserved. Good job. I knew you were working on this, obviously, from the skype chat, but I never figured it would turn out to be this long and detailed. I'm definitely going to read this, but I need to clear some time and prepare myself mentally.
How the hell did you have time to do this and study your philosophu, though?
Anime Industry Honor Roll: Awarded Works and Creators List
Moderators: Rebuild/OT Moderators, Board Staff
- Justacrazyguy
- DNA Donor
- Age: 27
- Posts: 2546
- Joined: Jul 06, 2012
- Location: Portugal, Kingdom of Al-Gharbh
- Gender: Male
Wow, I have no words.
Nearly all teenage boys are dumbfucks-Xard
É altura de se tornarem pessoas interessantes.- My Classic Culture Teacher
MYANIMELIST-http://myanimelist.net/profile/Justacrazyguy
É altura de se tornarem pessoas interessantes.- My Classic Culture Teacher
MYANIMELIST-http://myanimelist.net/profile/Justacrazyguy
- Noriko is my wife
- Lilith
- Posts: 119
- Joined: Oct 13, 2010
- Gender: Male
Dezaki only got three awards? I guess he never amounted to much.
I feel like being pedantic about some of the bio blurbs so here goes
Tsurumaki
Suzuki could have been the connection between Giants and Gainax for him but his teacher at Giants was Naohito Takahashi. Incidentally he joined Giants because he liked Masayuki's animation but Masayuki left around the same time.(Giants is also where Shoichi Masuo worked before setting up Studio Graviton with Anno.)
He was not an animator on Gunbuster. Nadia was the first thing he worked on for Gainax.
He didn't direct the omake episodes for either Gunbuster or Nadia. Tsurumaki did the omake episodes for episode 5-6 when Gunbuster was re-released in the 90s as the original episodes didn't have any. This has caused the misunderstanding that he did all the omake episodes and that he did them for Nadia would be typical wikipedia conjecture based on this.
Takahata
He did draw storyboards back in his TV directing phase.
Regarding Kondo's death and work pace
On Grave of the Fireflies Yoshiyuki Momose and Kondo worked together on the storyboard. Momose also oversaw the layouts. For the following films Momose did storyboards and checked the layouts up until Yamadas where he shared the work with Osamu Tanabe. Based on this I don't think Takahata's absence during the last decade can be explained by Kondo's death.
Also, New Wave?
Shinbo
I think Oishi not Onuma should be singled out as Shaft's OP director.
I have a hunch Naoko Yamada would beat some of these people in number of awards at least.I mean Dezaki only got three! Three!
I feel like being pedantic about some of the bio blurbs so here goes
Tsurumaki
Suzuki could have been the connection between Giants and Gainax for him but his teacher at Giants was Naohito Takahashi. Incidentally he joined Giants because he liked Masayuki's animation but Masayuki left around the same time.(Giants is also where Shoichi Masuo worked before setting up Studio Graviton with Anno.)
He was not an animator on Gunbuster. Nadia was the first thing he worked on for Gainax.
He didn't direct the omake episodes for either Gunbuster or Nadia. Tsurumaki did the omake episodes for episode 5-6 when Gunbuster was re-released in the 90s as the original episodes didn't have any. This has caused the misunderstanding that he did all the omake episodes and that he did them for Nadia would be typical wikipedia conjecture based on this.
Takahata
He did draw storyboards back in his TV directing phase.
Regarding Kondo's death and work pace
On Grave of the Fireflies Yoshiyuki Momose and Kondo worked together on the storyboard. Momose also oversaw the layouts. For the following films Momose did storyboards and checked the layouts up until Yamadas where he shared the work with Osamu Tanabe. Based on this I don't think Takahata's absence during the last decade can be explained by Kondo's death.
Also, New Wave?
Shinbo
I think Oishi not Onuma should be singled out as Shaft's OP director.
I have a hunch Naoko Yamada would beat some of these people in number of awards at least.I mean Dezaki only got three! Three!
Thanks a lot for positive feedback. As usual I bite more than I could chew and all in all this project took way more time than I expected it'd take. When I put all text together in Word with standard font I ended up geting whopping 96 pages without pictures. So yeah, I basically wrote a small book here. Not sure how to feel about that.
You're welcome though I must admit I was not aware it was picture taken by you. It was one of the first google hits.
Well, first of all anime industry has traditionally been very male dominated industry (as if you couldn't tell from all the pantsu). Secondly it generally takes long time to rise into director position - debuts like those of Kawamori and Yamaga are anomalous - and Japanese woman do still take this liking for quitting work and going full housewife after marriage. Just as example Hayao Miyazaki's wife was fellow Toei animator who retired from industry after the marriage to grow up kids while Miyazaki would go on pursuing his dreams true to his workaholic self.
Secondly there really is this odd lack of female anime directors. I don't know why, I can easily name woman composers, animators, screenwriters etc. but they seem very rarely to aim for director position. It's probably exasparated further because even if Hayao Miyazaki today may grumble how all their new recruits are women the youngest of major directors of today were born in early 60s-70s. Industry does have aging problem and this thread showcases it well as any with majority of big names of today being children of 60s.
There's three female directors that come to my mind immeaditly when asked "do you know any female anime directors" and they are:
Chiaki Kon
Sayo Yamamoto
Naoko Hamada
Forgive me if there are any of her fans present but Chiaki Kon never even entered my consideration. I've enjoyed some series directed by her but overall her track record is less than stellar. Sayo Yamamoto is more of a borderline case but I only have two works to go by with her to use and they both had lukewarm reception. Michiko to Hatchin sunk like stone and I too see numerous issues with it, most unfortunately stemming from direction and weak scripting than anything else. Last year's Fujiko Mine anime started with bang and is more positively received than Michiko and has several really good things about it but by the end of it there was another flop and another reason for 2ch to want Mari Okada's (writer) head on plate.
Naoko Hamada belongs in this topic. In fact she was one of the names I thought of adding instantly in the next row of additions, whenever that comes. As director of all K-ON's she has much more than deserved a place in here, despite the tepid reception of Tamako Market (personally I found it to be pleasant enough SoL series but nothing special). However I left KyoAni directors of this batch in general so I didn't make exception for Hamada. Nothing against KyoAni, it's just that eg. Tatsuya Ishihara only came to my mind when I was writing last director pieces and I really couldn't be arsed to start researching new entry from scratch.
In general those hoping for increased female presence should look at KyoAni in general. It is the most woman dominated studio in business as is and this summer another woman director here debuted with Free. I haven't yet seen Free but it was well received even outside core fujoshi fandom so there's another potential grower in here.
I almost performed comical anime faceplant in real life when I saw that. Seriously fuck that film, it's probably my all time most hated anime film - that or X/1999. Seriously fuck you, Rintaro :P
Still, when I thought about it it wasn't THAT surprising. As wonderful buried garbage article on this masterpiece wrote:
Cycle of study days, write nights, sleep days, write nights. Insane work and I'm bit behind my schedules (2 days or so) because of this but I'll manage.
I was mindboggled by that. I'm absolutely sure there are some I just didn't run into though I'd gather this goes for almost everyone. Problem is that pre-Animage only award I know of is Noburo Ofuji Award and Dezaki did not win that as far as I can tell - and a lot of Dezaki's most famous work is pre-Animage. Still, one would assume dude had at least more than one holyfuckthisguywasbeyondgodtierlegend career honor, y'know...
I dunno, "Scorcese not getting Oscar forever" case maybe.
No, these are exactly what I needed. I was dealing with considerable information overload as was and little mistakes are bound to appear here and there because I couldn't be arsed to recheck every statement I made. I have actual studies and uni work to deal with.
Okay, this is just carelesness on my part as source text clearly names Naohito Takahashi as Tsurumaki's teacher. I was aware of Masayuki connection but chose to not bring it up. Just how much I'd bring up biographical facts and into how much detail is something I never really settled on and as you can see there's fluctuation between entries in this respect too.
Fixed.
Ahhhhhh, that explains it! When I first saw english wiki claim Tsurumaki directed omake in Gunbuster I was perplexed as other sources I had used said nothing on it but then there was those ep 5 and 6 credits so... as for Nadia, I just accepted the wiki conjecture on that part after deciding Tsurumaki was involved with Gunbuster omake after all.
This makes sense and is new knowledge for me. I did cursory check on his Toei era and Ghibli era credits to see lack of storyboards to match what I'd heard and read about him and his general dependance on skilled animator collaborator because of it (like Miyazaki who still had crucial layout duties on Heidi in television series phase). Furthermore Lupin III A-production crew credits had no storyboard credits for Takahata though obviously whatever Miyazaki or Takahata there'd be it would be behind pseudonym.
I should've checked 70s more throughoughly, I guess.
You mean someone in that era, especially French literature major, wasn't influenced by New Wave?
In all seriousness I see this claim often enough to include it and as long as we're talking about Truffaut's 400 Blows brand of New Wave I can actually see it from his work. Godard or Renoir though...
As for work speed, I hope it was clear enough in the text this was just guessing/conjecture on my end based on what I'd read over the years instead of solid biographical facts. I don't pretend to know the truth on the matter but Takahata's "last" film coinciding almost one to one with Kondo's death certainly added plausibility to the idea.
Of course other option is that Takahata just got too obstinate about making his damn Ainu film while Suzuki and Miyazaki kept replying NG because such feature would be commercial suicide.
Fucking Team Shinbo, I swear... well, both of them have OP/ED credits on Shaft and while Oishi has more I had other reason for making the call in Oonuma's way. I misinterpreted rather broken English in this notorious korean-japanese shaftfag blog as DENYING he directed "real animation" like Shaft OPs and instead his work for those like in general was about typography etc.
When he actually ment OPs for some reason don't count as "real animation".
This formed the basis for my final call - that I'm reversing now because DERP.
I'll edit in your fixes tomorrow. Again, thanks a lot. :)
AR-99 wrote:Thanks BTW for choosing the pic of Yamaga I took at FanimeCon a few years back. The fuckers running it never told me that they used it in the program starting last year and have ignored that notice I have up on Wikimedia Commons asking for things like that.
You're welcome though I must admit I was not aware it was picture taken by you. It was one of the first google hits.
Well, first of all anime industry has traditionally been very male dominated industry (as if you couldn't tell from all the pantsu). Secondly it generally takes long time to rise into director position - debuts like those of Kawamori and Yamaga are anomalous - and Japanese woman do still take this liking for quitting work and going full housewife after marriage. Just as example Hayao Miyazaki's wife was fellow Toei animator who retired from industry after the marriage to grow up kids while Miyazaki would go on pursuing his dreams true to his workaholic self.
Secondly there really is this odd lack of female anime directors. I don't know why, I can easily name woman composers, animators, screenwriters etc. but they seem very rarely to aim for director position. It's probably exasparated further because even if Hayao Miyazaki today may grumble how all their new recruits are women the youngest of major directors of today were born in early 60s-70s. Industry does have aging problem and this thread showcases it well as any with majority of big names of today being children of 60s.
There's three female directors that come to my mind immeaditly when asked "do you know any female anime directors" and they are:
Chiaki Kon
Sayo Yamamoto
Naoko Hamada
Forgive me if there are any of her fans present but Chiaki Kon never even entered my consideration. I've enjoyed some series directed by her but overall her track record is less than stellar. Sayo Yamamoto is more of a borderline case but I only have two works to go by with her to use and they both had lukewarm reception. Michiko to Hatchin sunk like stone and I too see numerous issues with it, most unfortunately stemming from direction and weak scripting than anything else. Last year's Fujiko Mine anime started with bang and is more positively received than Michiko and has several really good things about it but by the end of it there was another flop and another reason for 2ch to want Mari Okada's (writer) head on plate.
Naoko Hamada belongs in this topic. In fact she was one of the names I thought of adding instantly in the next row of additions, whenever that comes. As director of all K-ON's she has much more than deserved a place in here, despite the tepid reception of Tamako Market (personally I found it to be pleasant enough SoL series but nothing special). However I left KyoAni directors of this batch in general so I didn't make exception for Hamada. Nothing against KyoAni, it's just that eg. Tatsuya Ishihara only came to my mind when I was writing last director pieces and I really couldn't be arsed to start researching new entry from scratch.
In general those hoping for increased female presence should look at KyoAni in general. It is the most woman dominated studio in business as is and this summer another woman director here debuted with Free. I haven't yet seen Free but it was well received even outside core fujoshi fandom so there's another potential grower in here.
I almost performed comical anime faceplant in real life when I saw that. Seriously fuck that film, it's probably my all time most hated anime film - that or X/1999. Seriously fuck you, Rintaro :P
Still, when I thought about it it wasn't THAT surprising. As wonderful buried garbage article on this masterpiece wrote:
As bad as it is, anime history owes a lot to Harmagedon. After all, it was the first anime project (and indeed, the first movie) to be produced by publishing company Kadokawa Shoten. The story goes that president Haruki Kadokawa was excited by the hit series of novels by Kazuma Hirai and manga by Shotaro Ishinomori that he had published, and wanted to create a film adaptation. (Being a sci-fi fantasy, animation was pretty much the only medium it could be produced in.) After the film's successful release, Kadokawa greenlit more anime features, including 1985's Dagger of Kamui, 1991's Silent Möbius and Heroic Legend of Arslan, and many others. In the late 90s Kadokawa bought the struggling Daiei studios, and Kadokawa Pictures was born.
There's no denying it was quite a blockbuster for its day. It spawned artbooks, action figures, several computer games, and a (very rare) Laserdisc arcade game that used footage of the movie. Even today, the Japanese public generally regards the film as a classic, though it seems like people don't watch it very often. I have a distinct memory from film school where my friend and classmate Kazuya was over at my place, and saw the DVD of Harmagedon on my shelf. (I was working for CPM at the time, and we had just finished the 20th Anniversary release.) He went, "Oh, I remember this! I saw this in theaters when I was a kid!"
"Did you attempt suicide before or after it ended?" I asked. He smiled and said he remembered it fondly. I insisted that he borrow it, and attempt to relive some of those cherished memories.
The next week in class he gave the disc back to me, and with a smile on his face, told me that his childhood was ruined.
Cycle of study days, write nights, sleep days, write nights. Insane work and I'm bit behind my schedules (2 days or so) because of this but I'll manage.
I was mindboggled by that. I'm absolutely sure there are some I just didn't run into though I'd gather this goes for almost everyone. Problem is that pre-Animage only award I know of is Noburo Ofuji Award and Dezaki did not win that as far as I can tell - and a lot of Dezaki's most famous work is pre-Animage. Still, one would assume dude had at least more than one holyfuckthisguywasbeyondgodtierlegend career honor, y'know...
I dunno, "Scorcese not getting Oscar forever" case maybe.
No, these are exactly what I needed. I was dealing with considerable information overload as was and little mistakes are bound to appear here and there because I couldn't be arsed to recheck every statement I made. I have actual studies and uni work to deal with.
Noriko is my wife wrote:Suzuki could have been the connection between Giants and Gainax for him but his teacher at Giants was Naohito Takahashi. [size=9]Incidentally he joined Giants because he liked Masayuki's animation but Masayuki left around the same time.(Giants is also where Shoichi Masuo worked before setting up Studio Graviton with Anno.)
Okay, this is just carelesness on my part as source text clearly names Naohito Takahashi as Tsurumaki's teacher. I was aware of Masayuki connection but chose to not bring it up. Just how much I'd bring up biographical facts and into how much detail is something I never really settled on and as you can see there's fluctuation between entries in this respect too.
Fixed.
Noriko is my wife wrote:He was not an animator on Gunbuster. Nadia was the first thing he worked on for Gainax.
He didn't direct the omake episodes for either Gunbuster or Nadia. Tsurumaki did the omake episodes for episode 5-6 when Gunbuster was re-released in the 90s as the original episodes didn't have any. This has caused the misunderstanding that he did all the omake episodes and that he did them for Nadia would be typical wikipedia conjecture based on this.
Ahhhhhh, that explains it! When I first saw english wiki claim Tsurumaki directed omake in Gunbuster I was perplexed as other sources I had used said nothing on it but then there was those ep 5 and 6 credits so... as for Nadia, I just accepted the wiki conjecture on that part after deciding Tsurumaki was involved with Gunbuster omake after all.
This makes sense and is new knowledge for me. I did cursory check on his Toei era and Ghibli era credits to see lack of storyboards to match what I'd heard and read about him and his general dependance on skilled animator collaborator because of it (like Miyazaki who still had crucial layout duties on Heidi in television series phase). Furthermore Lupin III A-production crew credits had no storyboard credits for Takahata though obviously whatever Miyazaki or Takahata there'd be it would be behind pseudonym.
I should've checked 70s more throughoughly, I guess.
Noriko is my wife wrote:Regarding Kondo's death and work pace
On Grave of the Fireflies Yoshiyuki Momose and Kondo worked together on the storyboard. Momose also oversaw the layouts. For the following films Momose did storyboards and checked the layouts up until Yamadas where he shared the work with Osamu Tanabe. Based on this I don't think Takahata's absence during the last decade can be explained by Kondo's death.
Also, New Wave?
You mean someone in that era, especially French literature major, wasn't influenced by New Wave?
In all seriousness I see this claim often enough to include it and as long as we're talking about Truffaut's 400 Blows brand of New Wave I can actually see it from his work. Godard or Renoir though...
As for work speed, I hope it was clear enough in the text this was just guessing/conjecture on my end based on what I'd read over the years instead of solid biographical facts. I don't pretend to know the truth on the matter but Takahata's "last" film coinciding almost one to one with Kondo's death certainly added plausibility to the idea.
Of course other option is that Takahata just got too obstinate about making his damn Ainu film while Suzuki and Miyazaki kept replying NG because such feature would be commercial suicide.
Fucking Team Shinbo, I swear... well, both of them have OP/ED credits on Shaft and while Oishi has more I had other reason for making the call in Oonuma's way. I misinterpreted rather broken English in this notorious korean-japanese shaftfag blog as DENYING he directed "real animation" like Shaft OPs and instead his work for those like in general was about typography etc.
In case of Oishi Tatsuya, I can say another reason. His animation is mostly, 'NOT' a real animation we are used to watch (Bakemonogatari Hitagi OP, Pani Poni Dash OP, Magnet OP, Soremachi 'subtitle' design, Negima OP and OVA directions....). He is expert in typography, cinematography and vector usage, which isn't something you can manipulate everytime in every series.
When he actually ment OPs for some reason don't count as "real animation".
This formed the basis for my final call - that I'm reversing now because DERP.
I'll edit in your fixes tomorrow. Again, thanks a lot. :)
Now that I've read the whole thing and learned to connect faces with a lot of familiar titles, what shocks me even more is Wings of Rean winning any awards at all. If the OVA category was moribund, why did they artificially keep it on life support for that to happen? It would seem fairly obvious that if an asteroid destroys America on December 31 and the only film to come out in 2014 is Asylum's Asteroid, the Academy should call it quits instead of awarding it jack shit.
- moonwolf2024
- Armisael
- Age: 39
- Posts: 917
- Joined: Dec 12, 2012
- Location: Deep Space, FL
- Gender: Female
My wiki and online anime lives are separate (I use different handles), no harm no foul.
Go with God, and Fight Like the Devil 1356
Curator of: Evangelion Virtual Museum • Cold Steel • MFC
Sanity is no option for a collector. - Tolwyn • I just love eva so much that I figured it's worth investing in. - Paranoid
Curator of: Evangelion Virtual Museum • Cold Steel • MFC
Sanity is no option for a collector. - Tolwyn • I just love eva so much that I figured it's worth investing in. - Paranoid
This is a cool project, Xard. It seems like it'd be of interest to people well beyond the EvaGeeks forums. Have you considered setting it up as a website (e.g. as a free blog at Wordpress or wherever)? That'd probably make it easier for non-EvaGeeks folks to come across it as well.
One bit of feedback, especially if you do a web version: The bare list of names can feel a little bit intimidating to people like me who don't recognize them all. (I recognized only 15 out of 30 director's names without clicking for more.) So it might also be nice if the landing page had a thumbnail photo of the director, with their name underneath, and with the title of their representative work(s) underneath that. (In Wordpress you can do this with a portfolio layout plug-in.) I realize that would change the "honor roll" feel of the list of names a bit, but I imagine it would make that part of the landing page feel more inviting and less unfamiliar/esoteric to people who don't know the names. Seeing the face and representative work(s) of an unknown director would tease visitors with the promise of more detailed info, and thus I suspect would make visitors more likely to click on an unknown name to find out more. Just an idea. I'm assuming that helping people discover new directors is one of your intents for the honor roll.
Kudos to you.
One bit of feedback, especially if you do a web version: The bare list of names can feel a little bit intimidating to people like me who don't recognize them all. (I recognized only 15 out of 30 director's names without clicking for more.) So it might also be nice if the landing page had a thumbnail photo of the director, with their name underneath, and with the title of their representative work(s) underneath that. (In Wordpress you can do this with a portfolio layout plug-in.) I realize that would change the "honor roll" feel of the list of names a bit, but I imagine it would make that part of the landing page feel more inviting and less unfamiliar/esoteric to people who don't know the names. Seeing the face and representative work(s) of an unknown director would tease visitors with the promise of more detailed info, and thus I suspect would make visitors more likely to click on an unknown name to find out more. Just an idea. I'm assuming that helping people discover new directors is one of your intents for the honor roll.
Kudos to you.
Who is online
Users browsing this forum: No registered users and 10 guests