Last updated on March 2015 (Tokyo Anime Awards).
Updated according to the changes explained here.
These charts aren’t meant to indicate who is the best director or which is the best studio. They simply inform the awards given to anime productions and directors through the years. The colors can be interpreted as the level of difficulty it is for an animation production to acquire them. Contemplate these charts as just another way to search for something to watch.
The truth is that the majority of people who watch anime hardly pay attention to director names and awards. The data posted on these charts probably ends up being seen by most as some kind of offbeat information.
Last updated March 2015 (Tokyo Anime Award).
Thanks to some discussion about the previous charts I made some big changes:
– On the previous version, I based the hierarchy by giving points to each award and then adding them up. On this version, the quantity of higher tier awards dictates the positioning. If there is a tie, I compared the number of their next tier awards. This way, newer studios/directors don’t benefit as much as before from the greater amount of awards that exist nowadays.
– Awards in the same tier are now arranged from oldest one received to newest.
– Mainichi Animation Grand Award and the Japan Academy Prize – Animation of the Year were downgraded because there needed to exist a contrast between competing against animations only and competing against movies in general.
– Animation Kobe Awards were downgraded to group all domestic anime festival awards in just one tier.
– All excellence awards have been removed. Just being nominated is not enough.
– The color boxes are now wider so that titles aren’t broken into two lines. It made it look like a director/studio has more awards than he/it really had.
– Other minor fixes.
Now the lowest tier is mainly for domestic animation festival awards. The second lowest tier is mainly for animation awards in national film festivals. The middle tier is for domestic best film awards (not animation only) and some international awards. The second highest tier is for the two top domestic animation awards and the four top ASIFA (Association Internationale du Film d’Animation) awards. The uppermost tier is for the international awards in important film festivals when competing against movies in general, not just animation.
Another Idolm@ster illustration featuring Haruka Amami. On the vespa, her producer.
It is quite amazing the quantity of fanart on the web of almost any subject. The oldest contact I had (besides my own sketches) back when I was a kid were probably the drawings people would send to videogame magazines like Electronic Gaming Monthly. Usually not very sophisticated, it was rare to see something published on the pages that could actually impress me. Nowadays you can find trillions of images on the internet. The ratio of good to bad illustrations on the web seems to have remained the same as back then on EGM, but now it is easier to find something that can actually astonish me.
Idolm@ster illustration based on a scene from the Kare Kano opening. The mischievous twins Ami and Mami Futami on the front and the cheerful Haruka Amami on the back.
I’m surprised I still remember the basic commands of Adobe Illustrator. It’s odd that whenever I draw, I keep thinking of what my friend Daniel would complain about. He always grumbled that halfway through my works, I would always get lazy and want to conclude things haphazardly.
I recently finished watching a show I really enjoyed as a kid: the 1987 Zillion. Odd to remember the impact it made back then because of the Light Phaser peripheral for the Sega Master System. Before watching it again, I only had vague memories of the series. Therefore comparing the experience of watching it as an adult to the hazy recollections from the past is impossible for me. I only recall liking it so much as a kid that I ended up writing a short story about it.