Japanese Animation Theory discussion

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I've been posting long, rambling messages in response to fans looking for information about the theory and techniques involved in the production of Japanese animation. If the topic interests you, here's the thread at Anipages:


Peter Chung, Monday, 27 August 2007 05:49 (eleven years ago) Permalink

Sorry, that was the link for the end of the discussion. It begins at:


Peter Chung, Monday, 27 August 2007 05:51 (eleven years ago) Permalink

Thanks Peter, very interesting!

Matt Rebholz, Thursday, 30 August 2007 03:08 (eleven years ago) Permalink

speaking of japanese animation technique here is something that is quite tasty


also a great webpage to note is


its in french but it has hands down one of the most comprehensive director listings, with samples of of the directors works, which Peter is still listed on I believe

Voltero, Thursday, 30 August 2007 23:28 (eleven years ago) Permalink

Funny thing is I like Aeon Flux because of the originality of it. I think a lot of Japanese animation lacks that, although there are some tremendously talented Japanese artists out there, but by and large a lot of it seems to follow down the same old path. Characters all looking similiar, stories all the same...

Not that animation over here doesn't have it's own drenching by the gods of 'overdone'.

Barb e., Wednesday, 5 September 2007 04:21 (eleven years ago) Permalink

I'm glad you posted that discussion, since I really had no idea about the Japanese process, despite having watched a lot of anime. I remember seeing American cartoons that detailed the process (in particular, an episode of either Tiny Toons or Animaniacs) and other similar behind-the-scenes shows, but aside from the final episode of Golden Boy, I can't think of the same for the Japanese studios. Though some things like the top peg/bottom peg thing is a bit trickier for me to visualize since I've never seen them in reality, it's still interesting.

Nhex, Wednesday, 5 September 2007 16:14 (eleven years ago) Permalink

It was a great read, thanks Peter.

In semi-related news, I'm working on an assignment right now where I need to do research on an occupation for a short story, which I of course chose animator, and I came across this odd American's journey into and out of the anime industry.
The guy, now girl, it seems, obviously has mental problems, but what a fascinating life he/she has lived.


If you've got an hour to kill I would recommend going to that link, and clicking on "my life in anime."

J. F. Aldridge, Tuesday, 11 September 2007 03:50 (eleven years ago) Permalink

Wow, that story was crazy.

Nhex, Wednesday, 12 September 2007 21:10 (eleven years ago) Permalink

Yeah, it's pretty impressive isn't it.

J. F. Aldridge, Thursday, 13 September 2007 23:32 (eleven years ago) Permalink

I found some academic analysis of Japanese animation fandom, while clicking around. http://fandrogyny.livejournal.com

(look under the tag 'fanthropology')

polyncephalic, Saturday, 15 September 2007 02:28 (eleven years ago) Permalink

Hey, to anyone who might know. Do in-betweeners ever still use light boxes or is it all digital now.

J. F. Aldridge, Sunday, 16 September 2007 16:54 (eleven years ago) Permalink

A digital tablet is still a thousand times (literally) more expensive than a fluorescent light box.
Most inbetweeners currently use paper and pencil.

I had one key animator on Tomb Raider who draws on a tablet, but he still has to print out his drawings and peg them so they can be inbetweened traditionally.

Peter Chung, Monday, 17 September 2007 22:37 (eleven years ago) Permalink

Thanks, I appreciate the response. Whenever I'm uncertain if something is factual or not I completely freeze up mentally. It's an awful, awful flaw to have if I want to be a writer, but right now I just have to work around it.

J. F. Aldridge, Tuesday, 18 September 2007 01:38 (eleven years ago) Permalink

one month passes...

Thought I'd put this back up, as there is good information here.

Barb e., Saturday, 3 November 2007 06:18 (eleven years ago) Permalink

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