Forum - View topicInterview: Eisaku Inoue
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Romuska
 Subscriber Posts: 808 |
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Eisaku Inoue seems like a cool guy. As a fellow animator I definitely understand his love for his craft and his desire to create. Also comparing TATSUKI to Makoto Shinkai, Mamoru Hosoda, and Hayao Miyazaki is a bold statement. Now I might consider checking out Kemono Friends.
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Lemonchest
Posts: 1771 |
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God bless this man. |
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FackuIkari
 Posts: 411 Location: Argentina |
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Yeah I'll never be able to see Kemono Friends, it's too overhyped
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xyz
Posts: 243 |
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Well, Makoto Shinkai is really bad at story telling so that sounds fair.
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Zhou-BR
Posts: 1460 |
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I would have flooded him with Saint Seiya questions, including whether he's working on the Saintia Shô anime.
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Zeino
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Anyone else find his assertion that anime in the 1990s was less creative and risk taking to be rather ridiculous? If anything, it seem to diversify far more after the economic bubble burst than during it's height of mostly mecha series and ultra violent OVAs.
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Niello
Posts: 302 |
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Could be more of a reflection of the shows he worked on during that time period rather than of the industry as a whole. |
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rizuchan
 Posts: 980 Location: Kansas |
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I think the problem with 90s anime in general was how episodic it was. In general, instead of "taking risks" by doing OVAs or 1 cour shows of more unique titles, they would do adaptations of the most popular manga/LNs on the market and stretch them out for two years worth of anime.
That's not to say it was bad. In fact, the 90s produced some of the very best long running shows and some of the "filler" I mentioned above did such a good job expanding on the original stories that the manga versions feel rushed. But it could also get very repetitive and very "monster of the week". So I could see how one might argue that they didn't take risks or were uninspired. But hey, lots of good kids anime, which was probably a huge contribution to anime's popularity overseas. (And yes, this was especially true of Toei, although most of their stuff is for kids, so...) |
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Lord Geo
Posts: 2665 Location: North Brunswick, New Jersey |
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I took Inoue's talk about the 90s being less risk-taking as a comparison between the 80s OVA boom & the successive 90s OVA market. In the 80s, due to the economic boom, essentially anyone with an idea (which was a dime a dozen), money (which was more readily available, essentially), & access to an animation studio (admittedly not the easiest part) could create an OVA & release it to market. Nothing was off limits, which in turn resulted in a giant variety of content, which is why some (including myself) consider that time to be a "Golden Age of Anime"; it wasn't all good (obviously), but it was seemingly unrestrained & unpredictable.
After the bubble burst in ~1992, though, the OVA market rapidly shrunk. Instead of any idea becoming reality, the "only" stuff getting released as OVAs were relegated to either being part of an existing franchise (sequels to TV series, spin-offs, side stories, etc.) or at least had a notable name behind it to some extent so as to guarantee interest. It really wasn't until the late-90s when late-night anime started becoming a regular thing that variety started becoming a standard again, and with that came the end of the original OVA market boom. |
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MarshalBanana
 Posts: 5499 |
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Even the OVA market went through different stages. There is the early days where it was just taking off and new types of Anime were being made from it. Artsy stuff like Angel's Egg and California Crisis. Beginning of Hentai, Cream Lemon and Lolita Anime. The first few titles that would represent what it would eventually become; M.D Geist and Call Me Tonight. Then it went through sort of a golden age, with titles like Bubblegum Crisis, Gunbuster, Riding Bean, Project A-ko, Bastard! and whatever else I'm missing.
Then then it sort of fount an identity as the home of trashy dark dystopian futures, from around the end of the 90s to around 94ish(some of them being the worst rated on ANN animenewsnetwork.com/encyclopedia/ratings-anime.php?top50=worst_bayesian). Then there is twilight period, even though it never actually went away, where you can see where the industry would go(in TV form) in the mid and second half of the 90s; Hyper Dolls, Galaxy Fraulein Yuna, Wild Cardz etc. Tenchi Muyo seemed to contribute to AICs departure from OVAs. They also adopted that art style as there go to for the rest of the 90s. |
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ShugoYotsuba
Posts: 152 |
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Translation: I hate something because it's popular AKA the dumbest reason to hate anything |
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FackuIkari
Posts: 411 Location: Argentina |
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Did I said I hate it? How can I hate something without watching it? I really don't remember saying I hate it, I think the most thing I have said about it is that I didn't get it, I remember watching the first episode and said "yeah, I don't care" and that's it but now everybody treats it like it's the most masterpiece of all masterpieces of all time and I think that sounds kinda overhyped, I don't know, maybe in fanboy language this translates to "I hate it because it's popular" too so whatever. |
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Sunny milk
Posts: 695 |
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There's overhype, and there's workiing to deserve that hype. KF is the latter.
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MarshalBanana
Posts: 5499 |
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Chrono1000
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There is a lot of hype for Kemono Friends but that is because while it had a very modest budget it was one of the best anime shows of 2017. Granted comparing it to some of the biggest anime movies of the last decade was a bit much but Tatsuki is a great director.
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