TABLE OF CONTENT

TABLE OF CONTENT.............................................................................................i
STORYLINE.............................................................................................................ii
INTRODUCTION.....................................................................................................1
FIRST EARLY AGE (1900s-1950s).........................................................................1
Pre-war animations............................................................................................1
War Era animations...........................................................................................3
SECOND EARLY AGE (1950s-1960s)...................................................................4
Toei Animation and Mushi Production.............................................................4
Beginning of Television Broadcast...................................................................5
CLASSIC AGE (1970s)............................................................................................5
Into the 70s........................................................................................................6
Sci-Fi, Space Opera, and Mecha.......................................................................6
FIRST GOLDEN AGE (the 1980s)..........................................................................8
Western Approach, Otaku, and OVA................................................................8
Early Usage of CGI...........................................................................................9
80s Success........................................................................................................9
SECOND GOLDEN AGE (1990s).........................................................................10
Super Robot Revival........................................................................................11
Evangelion and Princess Mononoke................................................................11
MODERN AGE (2000s-present)............................................................................12
Rising in the 2000s..........................................................................................12
Beyond the 2010s............................................................................................13
CLOSING STATEMENT.......................................................................................14
REFERENCES.........................................................................................................iii

i
STORYLINE

ii
INTRODUCTION
Anime ( ア ニ メ ) refers to animation media, either short
film, TV series, direct-to-video, or feature film that originated
from or associated with Japan. Outside Japan, Anime refers
explicitly to animation from Japan or animation that using the
style of the Japanese animation. Although people often say
cartoons and anime are different, both are technically the same
form of animation, using the same principles, and applies the
same work pipeline system, with only differences in styles and
themes. Furthermore, some cartoons or different animation series
and films that aired in Japan (ex: Spongebob Squarepants) also
considered as ‘anime’ there. The word anime is taken from the
word ‘animation’ (アニメーション Anime-shon), implying that
the word that can be generally categorized any kind of animation
media, either inside or outside Japan. Historically, Japanese
animation got the influence both from western animation and
traditional art form, such as ukiyo-e. For this essay, the writer
likes to tell about the evolution and development of Japanese
animation throughout history, from the earliest animation
production until today. With this essay, the writer hopes that
people don’t have any negative thoughts about Japanese
animation. The most common themes in Japanese animation
contains suggestive things and always associated with anti-social
and weaboo community by most of the media. Weaboo is a
person who obsessed with Japan-associated cultures in the
wrong way and has a little or even false knowledge about his/her
obsession.  
FIRST EARLY AGE (1900s-1950s) 

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 This part contains the development of animation in the earliest era, from
the time of pre-war until the post-war period. 
Pre-war animations
The very first animation produced in Japan, according to
Natsuki Matsumoto, was a 3second animation short called
Katsudou Shashin (Motion Picture), consists of 50 frames of a
celluloid strip and done at 16 frames per second. It depicts a
young boy who wrote the kanji of the title (活動写真), removes
his hat and bows to the audience. Its creator remains unknown,
and evidence suggests made it before 1912, so it may predate the
earliest displays of Western animated films in Japan, estimated
in sometime around 1907. Another example of the most initial
animation is Nakamura Gatana (Blunt Sword), which dates back
in 1917, and it founded in an antique shop in Osaka in March
2008. The 4-minute animation short tells a story about a samurai
that have a blunt sword, which is useless against even the
weakest opponents. 
Trying to figure out why his sword won’t cut anything,
desperately attack townspeople that turned out to fail since the
townspeople defend themselves and knock him out. Earliest
examples of animation works that were made that time lost as a
result of the earthquake in 1923. 
Animation production found some difficulties in the pre-
war era, such as a competition with Disney, which had already
made a profit overseas in the Japanese market. Thus, Japanese
animators had to work cheaply, in small companies with only a
handful of employees, which then made it difficult to compete in
terms of quality with different animations in colour, sounds, and
promoted by much bigger companies. Also, celluloid was
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expensive at that time, which makes the animators at that time
have to rely only on the cut-out animation technique, which
resulted in animation that looks derivative, flat, and less detailed.
Animators such as Kenzou Masaoka and Mitsuyo Seo did
attempt to bring Japanese animation up to the level of foreign
workers by introducing cel animation, sound, and technology
such as the multiplane camera. Seo was the first to use the
multiplane camera, in his work titled Arichan in 1941. 
Animations made in the time around the 1920s and 1930s
usually had anthropomorphic or cartoon characters, comedic
themes, or took the story from folklore. Some examples
are Kobu-tori (1929) the short that retold folklore
called Kobutori Jiisan (Lump-removing Old Man), a story about
an older man who got his lump on his cheek removed after
joining a party held by demons. Oira no Yakyuu (Our Baseball
Game, 1931), a short about a baseball game between teams of
rabbits and raccoons. And Ugokie Kori no Tatehiki (Moving
Picture Fight of Fox and Possum, 1933) that centres around a fox
spirit in disguise as a samurai that spends a night in a temple of
raccoon spirit. 
  Animators at that time concentrated mostly on making PR films for
companies, educational films for government, and eventually propaganda for
the military. The Ministry of Education (Monbusho) supported and encouraged
animation with educational value. Since then, animation had found a place in
political, industrial, and academic use. 
War Era animations 
In the war era, most of the animated films were
commissioned by the military, following the Japanese
government enforcement of cultural nationalism that leads to
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strict censorship and control of media. Usually, Japanese people
filled the context with propaganda. Perhaps the most-known
animation in this era is a short titled Omocha Bako Series
Episode 3: Picture Book 1936, or people referred it as “Evil
Mickey” after scenes that depict evil characters that resemble
Mickey Mouse (probably a depiction of US Army) attacking the
island inhabited by Japanese folktale and rip-off
anthropomorphic characters, and the battle between the two
sides. 
There were also other propaganda animations made with
the help of the Navy, such as Momotaro’s Sea
Eagles and Momotaro: Sacred Sailors. Both were directed by
Mitsuyo Seo, with Momotaro: Sacred Sailors marked as the first
Japanese full-length animated feature film.
Due to economic factors, Japan, which emerged long after
the war, would continue the animation industry with the most
readily available resources. One of the famous animators from
the post-war era was Osamu Tezuka, a person behind Astro
Boy and his animation studio, Mushi Productions. Names such as
Toei would also appear as a prominent animation studio in the
industry. Animations were no longer associated with propaganda
and had more variable themes, as the result of the end of the war.
SECOND EARLY AGE (1950s-1960s) 
As has been said in the previous part, since the end of the
war, animations in Japan have less or even no relation to
propaganda and instead more focused on various themes. The
prominent names in this era were Toei Animation and Osamu
Tezuka, as well as his studio, Mushi Production. 
Toei Animation and Mushi Production 
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 Toei Animation is an animation studio founded in 1948
as Nihon Douga Eiga (Japan Animated Films) and later bought
by Toei Company. After the success of Hakujaden (The Tale of
the White Serpent), the first colour anime feature film in 1958,
Toei annually released full length animated films. An emphasis
on each animator who brought up their ideas characterized the
studio’s style. The most extreme example was Horus: The
Prince of the Sun (1968) directed by Isao Takahata. The first
breakthrough of average anime at that time and the beginning of
the movement such as “auteurism” or “progressive animation”
that involved the most prominent figures in the anime industry,
such as Hayao Miyazaki and Mamoru Oshii. Toei also
contributed to the development of “money shot”, a method of
cost-cutting animation that allows emphasis on the crucial shots
by animating them in more detail, which resulted in limited
animation. 
Osamu Tezuka founded Mushi Production in 1961 after
his contract with Toei ended. The studio considered as TV
animation pioneer in Japan, and responsible for Tetsuwan
Atom (Mighty Atom, known as Astro Boy outside Japan), Jungle
Taitei (Jungle Emperor, also known as Kimba the White
Lion), Goku no Daibouken (Adventures of Monkey King),
and Princess Knight. 
Mushi Production also produced the first anime to be broadcast in the United
States, although Tezuka himself complained about restrictions of US
televisions, and the alterations occurred. 
Beginning of Television Broadcast 
As TV became a commercial need, and almost every
household had a TV, a desire to producing anime on TV also
5
emerged. The first anime film to be broadcast on TV was Mitsu
no Hanashi (Three Tales) in 1960, while Otogi Manga
Calendar (Instant Story) premiered in 1961 as the first anime
series ever broadcast in Japanese television. Despite that,
Instant Story didn’t entirely consist of animation, and as a
result, Astro Boy, which came two years later, always
miscredited as the first anime TV series. Astro Boy along with
another TV anime that aired at the same time, Tetsujin 28-go,
was highly influential at that time, followed by other series about
robots and space. As for Tetsujin 28-go, it’s still considered as
the grandfather of mecha anime until now, since it was the first
series to feature a humanoid robot controlled by a human
operator. 
In 1963, the first late-night anime ever made
introduced Sennin Buraku. At the same time, Toei Animation
also made its first animated television series, Wolf Boy Ken.
Mushi Production continued its success by producing Kimba the
White Lion in 1965. Sally the Witch, which broadcast in 1966,
noted to be the first Mahou Shoujo (Magical Girl) anime. An
automobile racing anime series titled Mach GoGoGo that based
on the manga of the same name began its broadcast in 1967 and
met its success to the West under the name Speed Racer. At the
same time, Princess Knight aired, making it one of very
few shoujo anime of the decade. The first anime adaptation of a
manga titled Cyborg 009 by Shotaro Ishinomori began produced
in 1968. Sazae-san, a slice of life comedy anime series adapted
from the manga of the same name, aired in 1969, and continues
until today, with approximately 6.500 total of episodes, making

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it the string that holds the Guinness World of Record as the
longest-running animated television series.
CLASSIC AGE (1970s)
During the 70s, the Japanese film market shrank due to
competition on television. As a result, Toei reduced its staff,
Mushi Production went bankrupt (yet revived four years later),
and many animators from said studios went to or founded other
studios. In the 70s, the industry finds more animation studios and
developed even more. The fame of the Sci-Fi genre also affected
the industry. In this era produced the most famous sci-fi anime.
Into the 70s
Following the bankruptcy of Mushi Production, many
former animators there decided to found another studio. Such a
name as Madhouse and Sunrise founded by former employees of
Mushi Production. Some animators from Toei Animation
decided to move to other studios, such as A Production and
Telecom Animation. The position of director brought young
animators and the injection of young talents allowed for full
experiments. One of the earliest successful TV series was Ashita
no Joe (Tomorrow’s Joe), which become an iconic boxing anime
in Japan. The first instalment of the anime adaptation of Lupin
the Third manga was air in 1971 in 23 episodes. The second
series that aired in 1977 gained more success, running for 155
events for three years.
Heidi, Girl of the Alps (1974), was the other example of
this experiment. It became a hard sell because it was a pure,
realistic drama targeted for children. Due to the popularity in
both Europe and Japan, it allowed the creator, Isao Takahata
with his partner, Hayao Miyazaki, to make a series entitled
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“World Masterpiece Theater”. Two of Miyazaki’s works that
met a critical success was Future Boy Conan (1978) and The
Castle of Cagliostro (1979), one of the well-known theatrical
release of Lupin the Third series. Shoujo anime also had earned
popularity in the 70s with Candy Candy (1976) and The Rose of
Versailles (1979).
Sci-Fi, Space Opera, and Mecha 
Sci-fi and space opera works were made in the 70s and
eventually became a big hit, even being a part of Japanese pop
culture influence. A genre called ‘mecha’ were appeared this
time, specifically for anime that heavily involved giant
robots. Kagaku Ninja-Tai Gatchaman (Science Ninja Team
Gatchaman) was one of the earlier works of sci-fi in the 70s,
created by Tatsunoko Production (the same studio that
made Mach GoGoGo) in 1972. It was so popular both in Japan
and western countries that it spawned sequels (Gatchaman II in
1978 and Gatchaman Fighter in 1979) and adapted into various
western adaptations, such as Battle of The Planets (1978), G-
Force (1986), and Eagle Riders (1996). Gatchaman preceded the
series that had the same concept of superhero team consist of 5
members, Super Sentai, despite being the live-action series. 
To this day, Space Battleship Yamato still considered the
best sci-fi space opera series ever made. Uchuu Senkan
Yamato (Space Battleship Yamato) is an anime series created by
Leiji Matsumoto in 1974. It is one of the influential series in
Japan due to its theme and story, and also influencing other sci-fi
works such as Mobile Suit Gundam and Super Dimensional
Fortress Macross, as well as video games such as Space
Invaders. Evangelion creator Hideaki Anno stated that this series
8
is one of his favourites, and credited it with sparking his interest
in anime.
The series spawned manga adaptation, sequels, spin-offs,
theatrical release, and remakes, with Space Battleship Yamato
2199 (as well as Space Battleship Yamato 2202) being the recent
incarnation of the series.
Go Nagai created the Mazinger Z manga series in 1972
and adapted into anime series a few months later. He created a
concept of a robot that could be controlled, with an aircraft act as
a cockpit that docking into the head of the Robot. It helped the
boom of mecha anime in the 70s, especially the “Super Robot”
theme, being the first to introduce a robot being control by the
user inside the cockpit. Such works as Pacific Rim (2013) was
said to be influenced by Mazinger Z. It also spawned remakes,
spin-offs, and sequels, with Mazinger Z Infinity being the latest
sequel. A breakthrough also occurred in the late 70s,
when Mobile Suit Gundam aired. The series created by
Yoshiyuki Tomino introduced the concept of “Real Robot”, a
contrast to Super Robot was unlike any mecha anime with super-
powered robots, robots in Real Robot were acting as a military
weapon, and have limited resources. Despite the low ratings, the
popularity of the series boosted since Bandai’s introduction
of Gunpla plastic models and theatrical re-
release. Gundam franchise series spawned after the success, and
the franchise continues today.
FIRST GOLDEN AGE (the 1980s)
The success of the theatrical release of Space Battleship
Yamato in 1977 and the revival of Mobile Suit Gundam as movie
trilogy in 1982 marked as the beginning of anime boom in the
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80s. Anime become a mainstream media and many of the series
reworked in the West. Genres such as sci-fi, space opera, and
cyberpunk gained more recognition in this era. A subculture was
born following the mainstream of anime, called “otaku”.
Western Approach, Otaku, and OVA
Many of anime works, such as Gatchaman mentioned
earlier, reworked in the West with altered names and stories in
the 80s. Space Battleship Yamato and Choujiku Yousai
Macross (Super Dimensional Fortress Macross) also edited in
the US under the title Star Blazers and Robotech. SDF Macross,
an anime series created by Shoji Kawamori in 1982, aside from
being a sci-fi anime that combines war, robots, music, and
romance, it also established one of the first idols in anime, Lynn
Minmay. It even the first entry in both Macross and Super
Dimension series.
A subculture whose members called themselves ‘otaku’
began to emerge and develop around animation magazines such
as Animage and Newtype, in response to overwhelming fandom
developed from series such as Space Battleship
Yamato and Gundam. The subculture became more pronounced
with Urusei Yatsura (1981), an anime adaptation from the
manga of the same name by Rumiko Takahashi. It also affected
some people who were entering the industry around this time.
Gainax being the first thing, came out when it comes
to otaku involvement in the anime industry since the members
are mostly otaku from the amateur production group called
“Daicon Films”. In the 80s, opening for sci-fi conventions
known Gainax for its animation in Japan, such as Daicon III
(1981) and Daicon IV (1983) which contains parodies of various
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sci-fi media, and widely known for mecha OVA anime
titled Top Wo Nerae! Gunbuster (Aim for the Top! Gunbuster),
which title is a combination from tennis anime Ace Wo
Nerae (Aim for the Ace) and Top Gun. 
Since the introduction to home video in the 1980s, many
anime were make in the form of direct-video media known as
OVA (Original Video Animation). Mamoru Oshii, who
previously known for his involvement in Horus: The Prince of
the Sun, created Dallas, the anime that not only considered as
the first OVA ever made but also the first animated media in the
world to be released in the form of direct-to-video. 
Many OVA made in this era usually had experimental
traits, more detailed visuals and smoother animations, such
as Megazone 23 (1985), California Crisis (1986), Bubblegum
Crisis (1987), and Metal Skin MADOX-01 (1987). 
Early Usage of CGI 
Much like American studios in the 80s, Japanese studios
also experimented with the new technology to be applied to the
works. Computer Generated Imagery (CGI) that usually used for
company logo also applied to the animation works. The anime
known as the first to incorporate CGI for sequences was Golgo
13 in 1983, only used for the intro and climax
sequence. Lensman (1984), which based on the novel of the
same name by E. E. Smith, also applied CGI for many properties
and scenes, such as spaceships and environment. CGI also used
for space colony model in Gundam: Char’s
Counterattack (1988) and for pattern indicator, paths of falling
objects, background effects and tweak the lighting
in Akira (1988). 
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80s Success
The 80s became the golden age of anime, with a large
amount of successful anime works produced and more influence
and new things developed from the works. 
Captain Tsubasa is one of the influential sports manga
series ever made and became the first worldwide successful
sports series that remains popular until now after it adapted into
anime series in 1983. Its theme and story were influenced later in
sports anime works such as Slam Dunk, Prince of Tennis, etc. It
also got a remake in 2018.
The amalgamation of anime and video games occurred in
the 80s, with Akai Koudan Zillion (Red Photon Zillion, 1987)
considered as SEGA’s marketing ploy to promote the Master
System game console. 
There are many high-budget and experimental films
produced up to the late 80s. Titles such as Night on the Galactic
Railroad (1985), Genji Monogatari (1987), and Grave of
Fireflies (1988) were successful films based on famous Japanese
literary works. Hayao Miyazaki gained success again in this time
with Nausicaa of the Valley of the Wind (1984) and his works
with his studio, Studio Ghibli, such as My Neighbor
Totoro (1988) and Kiki’s Delivery Service (1989).
Some sci-fi works such as Royal Space Force: The Wings
of Honneamise (1987), Gundam: Char’s
Counterattack and Akira (1988) were all successful high-budget
and experimental films. Although Akira experienced commercial
failure in Japan, it became a cult hit after shown overseas. The
international success of Akira, alongside with economic bubble

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burst and Osamu Tezuka’s death in 1988, brought a conclusion
of the 80s anime era.  
SECOND GOLDEN AGE (1990s)
Anime met another prosperous age in the 90s. The revival
of the Super Robot that contradicted with the decline of Real
Robot, the success of Evangelion, and so many things happened
that allowed anime entering another prosperous age once more.
Super Robot Revival
The 90s saw a brief yet successful attempt to revive Super
Robot, due to decreasing popularity since the success of Real
Robot theme in the 80s. A series called Yuusha Series (Brave
Series) was born as a result of a collaboration between Takara,
the original Transformers toyline owner and Sunrise, the studio
best known for mecha series such as Gundam. Starting
with Yuusha Exkaiser in 1990, the series proved successful to
bring back Super Robot on the surface. Yuusha-Oh
GaoGaiGar (The King of Braves GaoGaiGar, 1997) become the
most popular entry of the Yuusha series, as it was combining
homages from the 70s Super Robot anime with elements
in Yuusha series. Focused on the concept of “bravery” and
“courage”, GaoGaiGar obtained large fanbase after its airing
and spawned an OVA sequel titled Yuusha-Oh GaoGaiGar
FINAL in 2000. 
Yuusha series brought an impact where remakes, spin-offs
and sequels of the 60s and 70s Super Robot shows were made.
Titles such as Getter Robo Go and Tetsujin 28-go FX were
sequels from respective series, Getter Robo and Tetsujin 28-
go theme.

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 In contrast to Super Robot, Real Robot met its declining.
Although Gundam series continues, only a few series that could
be considered successful, some of the examples are Mobile
Fighter G Gundam (1994). The series that is the first set in an
alternate timeline and so far the first and the only Gundam series
to be categorized as Super Robot, and New Mobile Report
Gundam Wing (1995), which gained more popularity after it was
air overseas.
Evangelion and Princess Mononoke 
In 1995, Hideaki Anno wrote and directed Neon Genesis
Evangelion, which became popular in Japan and worldwide.
Anno describes that the series reflected his four-year depression
after the completion of Nadia: The Secret of Blue Water and
failure of The Wings of Honneamise sequel. Asides are known to
have religious references, Evangelion also is known to have
recommendations from Ultra Series, such as monsters that
resemble kaiju (monsters) from Ultraman, since Anno himself is
an otaku who loves tokusatsu, particularly Ultraman. 
Toei Animation also gained international success in the
90s with some notable works: Dragon Ball Z (1989), Sailor
Moon (1992), and Digimon (1999), each brought overseas
recognition of martial arts, magical girls, and action-adventure
genre. Another example of these is the anime adaptation of long-
running manga One Piece (1999) that continues today.
The 90s also embraced more CGI application to the
works, such as Hayao Miyazaki’s Princess Mononoke (1997),
Initial D (1998), and Zoids (1999). Princess Mononoke noted as
the most expensive and highest-grossing anime film at that time.
The technique used for the film were 3D rendering, digital
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composition and texture mapping. Zoids being one of the first
anime to using the 3D cel-shading method that combines 2D
touch and 3D model.
MODERN AGE (2000s-present)
Entering the 3rd millennium, the trend of “post-
Evangelion” or “organic” mecha shows continues with titles
such as RahXephon (2002) and Zegapain (2006). Classic series
revival, art movements influenced by anime, the emphasis
of otaku culture, and anime influence on nonJapanese works
occurred throughout the 2000s to 2010s.
Rising in the 2000s
Real Robot met its revival in the 2000s with the success
of Gundam SEED (2002), Eureka Seven (2005), Code Geass:
Lelouch of Rebellion (2006), Gundam 00 (2007),
and Macross Frontier, (2008). Super Robot also found another
success with Gurren Lagann (2007) and Shin Mazinger
Shougeki! Z-hen (True Mazinger Impact! Chapter Z, 2009), a
revival of Mazinger Z. 
An art movement called ‘Superflat’ started by Takashi
Murakami as a combination of postmodern art with Japanese pop
culture. Murakami stated that the change is an analysis of
Japanese culture through the otaku subculture. Superflat
influenced a handful of anime creators, especially those from
Studio 4ºC.
The most prominent characteristic of the 2000s is the
increase of moe art style and bishoujo/bishounen character
design, alongside with popularity rise of the genre such as
romance, harem, and a slice of life.

15
 The 2000s also marked emphasis on the otaku subculture.
One example of this was NHK ni Youkoso! (Welcome to the
NHK, 2006), adapted from manga and novel of the same name.
It features a hikikomori protagonist (person who isolated
themselves from society), as well as other various Japanese
subcultures.
There were also successful anime films made during this
time. Steamboy (2004), is one of the most expensive anime films
to be produced. Mamoru Hosoda began to gain popularity with
his movies, The Girl Who Leapt Through Time (2006)
and Summer Wars (2009).
Many anime-influenced western animated shows were air
during this era, either on TV or internet, such as Samurai
Jack (2001), Teen Titans (2003), Avatar: The Last
Airbender (2005) and its sequel, The Legend of
Korra (2012), Ben 10 (2006), and RWBY (2013) as one of the
recent anime-influenced series. 
Beyond the 2010s
Durarara!! (2010), Sword Art Online (2012), Attack on
Titan (2013) and Kill la Kill (2013) were the few examples of
anime that popular around the 2010s. Streaming websites for
anime such as Funimation and Daisuki.net began to emerge in
the community. Other online streaming services such as Netflix
and Amazon Prime also started to involve in anime media. The
industry became more developed as technology developed.
The easiness of internet access allowed net animations to
spread widely. One of the most known net animations in the
early 2010s was Inferno Cop (2012), easily recognized by its
minimal animation. Other net animations, including Ninja Slayer
16
From Animation (2015), Kaiju Girls (2016) and Getsuyoubi no
Tawawa (Tawawa on Monday, 2016). Sunrise joined with
its Gundam net series, such as Mobile Suit Gundam
Thunderbolt (2015) and Mobile Suit Gundam: Twilight
Axis (2017). The latest upcoming net animation series being
ULTRAMAN (2019) that will be air on Netflix, adapted from
the manga of the same name, which is a continuity
of tokusatsu series Ultraman (1966).
Examples of the latest popular manga adaptation anime
series in the 2010s were One Punch Man (2015) and Cells at
Work (2018), with One Punch Man was based on a webcomic.
Since The Ultraman (1979), as well as
other tokusatsu (special effect live-action), shows in the later
years, some series also adapted into anime in the 2010s, such
as GARO: The Animation series that adapted from GARO series
and SSSS. Gridman (2018) being the latest one, adapted from
1993 drama Denkou Choujin Gridman (Lightning Superhuman
Gridman).
CLOSING STATEMENT
There are so many good animation works in each era.
Many things also happened throughout Japanese animation
history. Rise and fall of studios and animators, innovations were
invented, some series still keep airing until this day, and new
technology never changes the principles of animations,
especially for anime. Changes have never been so fast and steady
throughout the years. At least that’s what happened in the anime
industry. New things appeared as a result of creative ideas and
assimilation between old and new cultures. If animators never
had a thought for a unique design and lookup forward, anime
17
would look boring and dull, and would likely fade away and die
quickly. Otaku that previously had a negative stigma on society
because of cases happened slowly accepted into society, and
many people started to reveals. They claimed themselves
as otaku regarding their obsessions. The journey of how
Japanese animation becomes part of pop culture in Japan went
throughout time and process. Anime would be likely long last up
to the later years, along with the development of new technology
and new creative idea from creators.
 

18
19
 REFERENCES
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