10th Animation Division Critiques

[Critique by work category] Movie, TV, Original Video Animation

When I first glanced through all of the entries, I was surprised at the high level of graphic rendering. Of course, they have been carefully selected, but even so, the quality is very high in all the works.
Even among the films for TV series, which were probably produced under severe circumstances, many are competitive against long animations. Digitalization has almost come to completion. Due to the result of advanced infrastructure, or an improvement in staff ' s competence, the difference in quality, often seen in the past, has almost disappeared.
This is a remarkable result in the field of "trade and industry." On the other hand, how can I view this from the perspective of "culture"? Because of extremely specific stories and character settings, don't too many works fall into an entire focus on their story lines?
As for a visual-pursuit point of view, don't the artists neglect providing a direction that gives a framework to the entire work and conveys emotions to the audience? While animation has reached full maturity, I also feel a sense of stagnation.
The criteria set by the audience is getting higher every year. With all the positive conditions in front of us, we must nail down a goal and achieve it. Let's go for it!

Born in 1965 in Tokyo. Film and special effects director. Received a Japan Academy Film Prize for his effects work on the Heisei Gamera series. Directed Lorelei (2005), Sinking of Japan (2006), and The Floating Castle (2012).