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Date: 17.12.2017

Goku no daiboken (1967)

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I suspect that only the Art Fresh episodes were farmed out wholesale, as those episodes 5, 8, 9, 16, 20 have Art Fresh directors, whereas the episodes with Jaggard 3, 11, 17, 18, 21 or Knack 10, 13, 22 animators have Hoso Doga Seisaku directors.

Many animators skipped around at various small studios during the s after leaving Mushi Pro or Toei Doga.

It was bit of a nomad life in those days. Pyuta is a reflection of this, with its mix of Mushi Pro and Toei Doga figures. After quitting their alma maters, they briefly worked at a studio whenever there was work to be had. Even studio-tied animators took work from other studios as part-time work to make ends meet. When work dried up at one studio, as it did after Pyuta ended, they moved elsewhere. That said, a few of these same figures went on to work on the classic Tokyo Movie gag shows of the early seventies, providing an element of continuity.

Otherwise, people like Koji Kurahashi, Makoto Nagasawa and Seiichi Hayashi soon left the world of commercial animation for more personal modes of expression. And Makoto Nagasawa is the main person responsible for assembling this rebellious crowd of artistically-inclined, independent-minded animators.

The credits of Pyuta are confusingly ambiguous. Essentially, Ken Saito was the producer, Hiroyoshi Mitsunobu was the director, and Tameo Kohanawa was the character designer, although these were hardly hard and fast roles, and episode directors had a great deal of control over their episodes. Nagasawa joined Toei Doga in and quit in Nagasawa was something of a creative leader at the studio. This influences comes through clearly in his Motoro the Mole short.

Although Toei Doga is best remembered for its features, it also had an advertising section housing animators with more artistic proclivities. Perhaps noting the fact that the hero fad was becoming stale, for their next production they opted to adapt the wildly popular daily life comedy manga Obake no Q-taro by the Fujiko Fujio duo.

It was also one of the last black and white anime. The Fujiko Fujio due were at a studio called Studio Zero at the time together with a few other manga artists, including Fujio Akatsuka, later of Tensai Bakabon fame.

It was witnessing the popularity of Obake no Q-taro that Osaka broadcaster MBS sent a producer in September , the month after Obake no Q-taro premiered in August, to Studio Zero to ask them for permission to air an animated version of their Osomatsu-kun by Fujio Akatsuka.

They wanted in on the game too. Studio Zero this time wanted to be the ones doing the animation, so they moved to a new, bigger building and hired staff, but when MBS came back to continue discussions, they had already found a studio they wanted to use: Rather than being a brand new studio per se, it was essentially the Omori branch of Toei Doga, which up until that point had been responsible for animator training, but from this point on was reformatted into an independent studio under the aegis of its branch manager, erstwhile Nichido studio head Sanae Yamamoto.

The studio only wound up lasting a few years before disbanding in , but it acted as a nexus bringing together many of the ex-Toei Doga figures over the next few years.

This leads back to Makoto Nagasawa. Other Toei Doga staff who quit in the ensuing months wound up joining him to do part-time work there, and the space organically developed into an ad-hoc studio called Hyakunin-cho Studio.

In the process, he wound up getting the animators working in his studio to help him produce the show, including animator Koji Kurahashi, director Hiroyoshi Mitsunobu and art director Takao Kodama, who would go on to join him as the main staff of Pyuta.

As other people quit Toei, he called on them to help him produce Osomatsu-kun. Thus, many of the people who went on to work on Pyuta began their association with the group through Makoto Nagasawa and Osomatsu-kun.

Latter-day manga artist and illustrator Seiichi Hayashi began working on Wolf Boy Ken under Sadao Tsukioka and then, after working on pre-production for Horus, accompanied Tsukioka in when he quit to form his own studio, Knack. Kinichiro Suzuki may have followed him to Knack at the same time. Hiroyoshi Mitsunobu took on the role of series director, and in the process he brought on some more talent that would go on to work on Pyuta, namely Daizo Takeuchi, who had similarly worked on Wolf Boy Ken and then Horus as a second under Yasuo Otsuka before quitting in , and Tameo Kohanawa, who had originally joined Toei Doga in before quitting to work at an advertising company for a few years and re-joining Toei Doga in He quit around to work on Osomatsu-kun and then was brought back by Mitsunobu to work on Pikkari B in and Pyuta the next year.

Hiroyoshi Misunobu himself had worked in the advertising section of Toei Doga before quitting. Thus, Hiroyoshi Mitsunobu was another element bringing in the more ad-centric talent into these productions that helps account for their more indie sensibility.

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Makoto Nagasawa meanwhile was not involved in Pikkari B but had in the interim formed yet another studio for the purpose of working on the movie Sesshoseki.

It was located in the Sakuradai neighborhood, whence the name Sakuradai Studio. Many of the same people joined him there to help, as well as new faces such as Norio Hikone, who would work on Pyuta.

It was here that he met writer Yoshitake Suzuki, which led to him being invited to be the script chief of Pyuta. This is also presumably what led to the invitation of Art Fresh to produce several episodes of Pyuta, which is the full extent of the involvement of Mushi Pro figures in the show. Overly gag-centric shows tended more often than not to get canceled in the s, which led to the ascendancy of the home dramedy format of the s as a more acceptable compromise.

Goku and Pyun Pyun Maru experienced a similar fate, although I suspect that this has more to do with the sponsors not wanting their products associated with unwholesome programming than with audience demands. After Pyuta, Makoto Nagasawa formed a joint studio with Norio Hikone from which he worked primarily on the long-running "Monoshiri" series produced by Studio Uni for Kirin. The show was a nightly 5-minute piece of animation highlighting an interesting subject.

An example can be seen here.

After a stint in New York in the early 80s, Makoto Nagasawa came to focus primarily on watercolor sketching. He was something of a pioneer of the sketchwalk, travelling around the world and documenting what he saw in watercolor sketches. He has published numerous books of his illustrations, most recently an introduction to sketchwalking.

Gag comedy anime died off somewhat after Pyuta until around when Tokyo Movie made Tensai Bakabon as a more straight-up gag show and Shin Obake no Q-taro as more of a home comedy. There were never any shows quite as unhinged as Goku or Pyuta made again, although certain directors did manage to experiment a little in certain episodes of shows like Gyators and Gamba, and Ganso Tensai Bakabon in set a new standard for nonsense gags.

But even the best of these episodes never had the satirical sting of the best episodes of Goku and Pyuta.