Ask John: Which Directors Should Make a Comeback?

Question:
Recent times have seen the return of quite a few exceptional anime directors, including Hamasaki Hiroshi (Steins;Gate), Satou Keiichi (Tiger & Bunny), Ikuhara Kunihiko (Mawaru Penguin Drum), Watanabe Shinichirou (Sakamichi no Apollon), Yamamoto Sayo (Lupin the Third: Mine Fujiko to Iu Onna), Okiura Hiroyuki (Momo e no Tegami), Shiotani Haoyoshi (Blood-C: The Last Dark), and Kizaki Fuminori (X-Men). Are there any other anime directors you feel should have a come-back?

Answer:
Honestly, I had to ponder this question for a time because we naturally recollect the directors who are active today but tend to somewhat forget those who are not. Furthermore, legitimately expecting particular directors to take charge of new productions partially requires a recognition of the director’s age and activity. Certain directors have retired or consciously removed themselves from primary creative roles to background, supporting roles. Initially Takahashi Ryosuke sprang to mind, but he’s directing the current Ozuma television series. On further consideration, I thought of four additional animators who have been frustratingly quiet of late.

Daisuke Nishio’s directorial style isn’t obvious or pretentious, but achieving the goal of all directors, Nishio’s productions are consistently enjoyable. Highlights from Nishio’s career include helming the Dragon Ball anime franchise, 3×3 Eyes, Air Master, and the first two seasons of Pretty Cure. His most recent work as a director was the highly amusing Dragon Ball-esque “Odd One Out” segment of 2010’s Halo Legends anthology. Whether directing children’s anime like Dr. Slump and Ge Ge Ge no Kitaro, mainstream adolescent anime like Kindaichi Shounen no Jikenbo, One Piece, Dragon Ball Z, and Pretty Cure, or darker, otaku-oriented anime like 3×3 Eyes and Crying Freeman, Nishio consistently produces anime that’s enjoyable to watch. His last work as a TV director was the widely ignored 2008 CG anime RoboDz.

Yoshiaki Kawajiri has kept active in anime production, recently working on shows including Chihayafuru, Blade, Iron Man, and the Tibet Inu Monogatari motion picture. He’s given fans unforgettable anime including Yoji Toshi, Jubei Ninpucho, and Vampire Hunter D (2000); however, Kawajiri hasn’t sat in the director’s chair since 2007’s Highlander anime film, a movie that’s much better in its Japanese “director’s cut” than in its shortened American producer’s cut. Kawajiri’s signature ominous, masculine visual design may seem out of place among the dominant contemporary whimsical tone of anime design, but it never feels old or unwelcome.

Fellow Madhouse allum Rintaro has likewise been active in contemporary anime production, having worked on last year’s Blade TV series and directed the 2009 feature Yona Yona Penguin. But I dearly miss the visionary, eclectic stylist that gave us creative, dynamic , kinetic anime including the “Labyrinth Labyrinths” segment of the 1986 Manie-Manie Meikyu Monogatari anthology, X Densha de Ikou (1987), and Download (1992). Recent directorial works including Metropolis, X, and Tenjho Tenge have been enjoyable but stylistically rather bland: not nearly as unique and expressive as his most creative work from the 1980s and early 90s. I’d like to see that particular Rintaro return.

Animator Mitsuo Iso seems to be in semi-retirement, having contributed animation to the 2010 Welcome to the Space Show motion picture but prior to that only animated in 2007 and 2003 after being prolific in the 1990s. Iso’s singular directorial credit is the universally acclaimed 2007 television series Denno Coil, which he conceptually created in addition to directing. Denno Coil was a masterwork that became a small reference point for popular culture. So a second work from this visionary director is long overdue.