There’s been a lot of discussion about sakuga and animation in the anime community at the moment, so in this episode I am deciding to tackle the topic. How has the medium evolved from a technical standpoint to get to where we are today? What exactly are ‘sakuga animations’? What pieces of anime stand out in the scene in terms of how they’re animated? These are all topics which will be dissected and analysed in this episode. On the side I talk about yet another borderline-H manga I’ve been reading (Koibana Onsen) and how I am trying my best to get my head around the Marley Arc of the Attack on Titan manga.
Anime / Manga Discussed: Urashima Tarou, Saru Kani Gassen, Tetsuwan Atom, Reconciliation, Ping Pong the Animation, Mob Psycho 100, Koibana Onsen, Attack on Titan.
THIS EPISODE & THE SHOW NOTES ARE SPOILER-FREE
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SOURCES REFERENCED IN THIS PRODUCTION:
Definition of the term ‘sakuga’ (JapanDict)
Global History of Anime (Right Stuf Anime)
Post-Occupation Japan (wa-pedia)
Yasunori Miyazawa (SakugaBooru)
Seitarou Kitayama (MyAnimeList)
Tetsuwan Atom (1963) (MyAnimeList)
Japan shattered stereotypes in the 60s (The Japan
Most of the links to the anime discussed in the episode can be found on my personal MAL page.
MUSIC IN THIS PRODUCTION:
The led light show by Alex McCulloch
Frozen in Time by Alex McCulloch
Difference by chasersgaming
8Bit Title Screen by Joth
Mandatory Overtime by Joth
by Eric Matyas
Note from Jamal:
Thanks for reading the show notes. First episode of 2020! I have a few goals and projects I want to get started on for the podcast this year; hopefully I can share those with everyone as the new year unfolds. We have also grown a considerable amount and I’m really thankful for what we’ve been able to achieve. Thank you and keep enjoying the show!
HISTORY: Japanese animation has its roots set in the latter part of the first World War; the pioneers of this early medium known as ‘anime’, animated using nitrocellulose by themselves. These would eventually become animation studios. Around forty years later, a wave of ‘counter-culture’ emerged in Japan, making this an optimum time for the medium to develop from a technical standpoint. This allowed shows like Tetsuwan Atom by Mushi Productions (with the well-known Osamu Tezuka) to emerge.
WHAT SAKUGA MEANS TO ME: I could do a large lecture on every show I enjoy and what is beautiful about it visually, however I think it is more appropriate to cut to the chase and say what I like about lookiNg closely at cinematography and sakuga animations within the medium. Sakuga is a really wonderful thing because it encourages me to look closely at the small things that go in to the production process. Each frame is thought out for the intention of impressing the audience and every sakuga animation contributes to this larger metagame of animation which is constantly evolving with every show that we see.