characteristics of japanese anime
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Characteristics of Japanese Anime. Lauren Malis David Jacobs. Topics. Characteristics of the Art, Animation Methods and Techniques Focus on Toei Animation. Start of Animation in Japan. Began around 1960 Osamu Tezuka Father of manga Astro Boy! Creates Mushi Pro Reason? - PowerPoint PPT PresentationTRANSCRIPT
Characteristics of Japanese Anime
Lauren Malis
David Jacobs
Topics
Characteristics of the Art, Animation Methods and Techniques
Focus on Toei Animation
Start of Animation in Japan
Began around 1960
Osamu Tezuka Father of manga Astro Boy!
Creates Mushi Pro Reason?
Turn manga stories into Animation
Astro Boy Sets the Stage for Anime
Tezuka’s art is highly influenced by Disney Well rounded character designs Large eyes Similar to Bambi and Mickey Mouse
Boys Manga
Became very popular in the 1950s Examples include Shukan shonen
sande and Shukan shonen magajin With these publications, manga
became more popular with children than ever before
Boys Manga cont’d
Some of the most popular boys manga revolve around sports heroes
Some of the most popular about include Ashita no Jo (Tomorrow’s Joe) which is an adolescent boxer and Kyojin no hoshi (Star of the Giants) is described the story of a baseball pitcher.
The typical themes included a character who, “trained very hard, displayed unyielding tenacity, and defeated even the toughest rivals,” (http://www.tjf.or.jp/).
Keep the Animation Simple!
As a manga, it already had a vast number of stories
Needed to adapt them quickly for T.V. Inexperienced staff and low budget =
Time and Money Saving
Cut the number of drawings or holding drawings for longer periods of time
Reuse pieces of animation Done also to place more focus on the
dramatic sense and appeal of the original story
More techniques later on
Scrolling or repeating backgrounds Still shots of characters in action poses
sliding across screen Dialogue where only the lips move In 1960, 60% of all anime were based
on character driven stories from manga
1970s Shift
Mostly Original Stories Studios began taking ideas from one
another Began Giant Robot stories More complicated stories
Youthful Emotion Philosophical Themes
Shift’s Influence on the Art
Deeper story plots = Need for deeper more believable characters Studios favor more realistic drawing style More Details But to keep budget, less animation If viewer is hooked by the story no problem
if only the character’s mouth is moving Characters stay rigid, no volumetric changes No need to invent, just follow character
model sheets
Stylized Character Emotion
Again less time less money Comedic anime = “face fault” Extremely exaggerated expression to
show Shock!
Stylized Character Emotion
Female characters pull out weapons like hammers out of nowhere to bludgeon a nearby friend in anger
Guy getting bloody nose around an attractive girl
Love and Comedy
Popular in the 1970s through 1980s “in the love-comedy manga stories, romance is
invariably set against the backdrop of often-slapstick events involving the protagonists and other characters, and priority is given to a balance between the elements of serious drama and comedy,” (http://www.tjf.or.jp/).
Some popular romance mangas include Urusei yatsura (Noisy People), Miyuki, Mezon Ikkoku (Maison Ikkoku), and Tatchi (Touch)
It’s the 1980s and Manga Returns!
Manga has branched out to different groups: girls, boys, teenagers, adults
Anime follows suit Manga released in weekly installments Form larger overarching stories Characters grow and develop
It’s the 1980s and Manga Returns!
Manga already has fan base Studios want to offer same
story/experience To achieve same level of emotion from
the still images….. More Effort put in backgrounds and
character drawings versus movement
Importance of Character
Unless viewers have been watching since beginning
All the nuances of the character might not be understood
But, creates more engaging stories to hook the audience and bring them back
Shinji Shimizu on Character
Producer of GeGeGe no Kitarou (Quote not on slides…)
Different Perspective
Mamoru Oshii Director of Ghost in the Shell ‘the visuals are the most important aspect,
then the story, and the characters come last
Current Trends
Stories and topics are much more teenager and adult themed
Many visibly show characters drinking and smoking such as in Naturo and One Piece
Violence, violence, violence
The content of popular animes today are filled with gratuitous violence
Today’s society is consumed with the “fight fight” mentality
Recent Ratings, Sept. 2008
1. Sazae-san 24-year old daughter
living with her family in Tokyo
Started as newspaper comics in 1946
Turned to animation in 1969, currently running and longest running animation in history
Recent Ratings, Sept. 2008
2. Chibi Maruko-chan Little girl named
Maruko and her family in suburban late-seventies Japan
Aimed at young girls
Recent Ratings, Sept. 2008
3. Crayon Shin-chan Young trouble making
boy 4. Doraemon Magical cat that pulls
items out of his pouch Helps friend, Nobita,
young school boy
Top Four Shows
Very similar art style Simplified and child-like drawings Comedic driven anime Source material = manga Number 5 also manga, but different
style….
Number Five
One Piece More serious (comedic
at times) adventure driven story
About Pirates Aimed at adolescent
boys Much more detailed
artwork Still stylized, yet much
more realistic characters
General Format of Anime
Theme song from commercial music artist (usually not written specifically for show)
First half of show One commercial break! Second half Ending Theme Scenes from Next Week’s episode
Focus on Toei Animation
Around 440 anime production companies in Japan
80% in Tokyo More than half in the
Suginami Ward of west central Tokyo
Rest in Nerima Ward
Focus on Toei Animation
One of the largest in Japan
Established in 1956 (before Mushi Pro)
Located in Tokyo’s Higashi Oizumi district
Production began in 1957
One year later released first feature length, White Snake
Toei Animation Today
Produces five to six 30 min. T.V. shows a week
One full length feature, every one to two years
Producer: Shinji Shimizu, started 1977
Projects: GeGeGe no Kitaro, Shoot!, The File of Young Kidaichi, Galaxy Express 999, Eternal Fantasy, among others
Others from Toei Animation Hayao Miyazaki
My Neighbor Totoro (1988)
Howl’s Moving Castle(2004), and more
Isao Takahata Grave of the Fireflies
(1988) My Neighbors the
Yamadas(1999), and more
Directors/Producers at Ghibli Studios
Started at Toei Animation
Production Process
One director takes responsibility for an episode from start to finish
Director will at times draw storyboards Overviews process from start to final
voice over and sound fx With weekly broadcasts, series will
have six to eight directors Take turns in shifts
Key Animation Change
Note: not necessarily true of Toei Productions run for long periods of time Studios work on multiple projects at once Sometimes key animators will change
during a production Key animators draw all poses needed for
any action to be understood by those who fill in or in-between the drawings
Key Animation Change
At times causes some anime episodes to have a fairly dramatic change in style
Yet, not always noticed by viewers Characters still move and speak
exactly the same way as previous and forthcoming episodes
Usually only lasts an episode or two
Key Animation Change
Causes New key animators
wanted to try out different style/just for fun
They didn’t pay enough attention to the character model sheets
Ex: Tweeny Witches and Naruto
Back to the Process
Company decides on project Scriptwriting Storyboards Animation divided into Keys and In-
betweens Those who in-between clean up
drawings so they are ready for scanning and digital compositing
Back to Process continued
One of the last steps: Voice Recording Actors all perform at the same time in
the same room
Outsourcing
South Korea and China Take care of process from usually from
in-between phase on Some will do all drawing, including
keys Storyboards are always done at home
studio, Unless joint project
Toei on outsourcing
Philippines Of more than 400 employees, 150 are
in Philippines or 38% Art direction and key animation done in
Japan Filipino animators work on coloring,
background, and camera works
Outsourcing and wages
According to 2005 study of animators in Japan
Average Work day: 10.2 hours Estimated: 250 hours per month 26.8% make less than 1million yen a
year (approx. $10,000) 38.2% make from 1million to 3 million
($10,000 to $30,000)
More Stats
80% of in-between animators are paid by quantity with each drawing averaging 186.9 yen, close to $2
Wages currently being offered after much outsourcing
Toei Developments
1996 Introduction of Celsys’ RETAS, a digital
ink and paint program All productions digitally inked and painted
Currently is in the process of eliminating all paper and pencils from the studio
In Contrast, Studio Ghibli
Hayao Miyazaki insists on using traditional hand drawn techniques
Exceptions: Princess Mononoke Some digital animation for the
movement of the creatures etc. For the first time some of the drawings
painted digitally to keep with release deadlines
Miyazaki
“It’s very important for me to retain the right ratio between working by hand and computer. I have learned that balance now, how to use both and still be able to call my films 2D.”
More on Miyazaki
Newest film Ponyo Cliff by the Sea, went back to all hand drawn, summer 2008
All of his work has been in house production