This shift towards space operas became more pronounced with the commercial success of Star Wars (1977).[citation needed] This allowed for the space opera Space Battleship Yamato (1974) to be revived as a theatrical film. Mobile Suit Gundam (1979), the first Real Robot anime, was also initially unsuccessful but was revived as a theatrical film in 1982. The success of the theatrical versions of Yamato and Gundam
are seen as the beginning of the anime boom of the 1980s, which many
consider the beginning of the "golden age of anime". This anime boom
also marked the beginning of "Japanese Cinema's Second Golden Age", which would last until around the beginning of the 2000s.[12]
While the Mecha genre shifted from superhero giant robots (the Super Robot genre of the 1970s) to elaborate space operas (the Real Robot genre of the 1980s), two other events happened at this time. A subculture in Japan, who later called themselves otaku, began to develop around animation magazines such as Animage or later Newtype. These magazines popped up in response to the overwhelming fandom that developed around shows such as Yamato and Gundam in the late 1970s and early 1980s.
Yamato animator Yoshinori Kanada allowed individual key animators working under him to put their own style of movement as a means to save money. In many more "auteuristic" anime this formed the basis of an individualist animation style unique to Japanese commercial animation. In addition, Kanada's animation was inspiration for Takashi Murakami and his Superflat art movement.
In the United States the already mentioned popularity of Star Wars had a similar, but much smaller, effect on the development of anime.[citation needed] Gatchaman was reworked and edited into Battle of the Planets in 1978 and again as G-Force in 1986. Space Battleship Yamato was reworked and edited into Star Blazers in 1979. The Macross series began with The Super Dimension Fortress Macross (1982), which was adapted into English as the first arc of Robotech (1985), which was created from three separate anime titles: The Super Dimension Fortress Macross, Super Dimension Cavalry Southern Cross and Genesis Climber Mospeada. The sequel to Mobile Suit Gundam, Mobile Suit Zeta Gundam (1985), became the most successful Real Robot space opera in Japan, where it managed an average television rating of 6.6% and a peak of 11.7%.[13]
The otaku culture became more pronounced with Mamoru Oshii's adaptation of Rumiko Takahashi's popular manga Urusei Yatsura (1981). Yatsura made Takahashi a household name and Oshii would break away from fan culture and take a more auteuristic approach with his 1984 film Urusei Yatsura 2: Beautiful Dreamer. This break with the otaku culture would allow Oshii to experiment further.
The otaku subculture had some effect on people who were entering the industry around this time. The most famous of these people were the amateur production group Daicon Films which would become Gainax. Gainax began by making films for the Daicon science fiction conventions and were so popular in the otaku community that they were given a chance to helm the biggest budgeted (to that point) anime film, Royal Space Force: The Wings of Honneamise (1987).
One of the most influential anime of all time, Nausicaä of the Valley of the Wind
(1984), was made during this time period. The film gave extra prestige
to anime allowing for many experimental and ambitious projects to be
funded shortly after its release. It also allowed director Hayao Miyazaki and his longtime colleague Isao Takahata to set up their own studio under the supervision of former Animage editor Toshio Suzuki. This studio would become known as Studio Ghibli and its first film was Laputa: Castle in the Sky (1986), one of Miyazaki's most ambitious films.
The success of Dragon Ball (1984) introduced the martial arts genre and became incredibly influential in the Japanese Animation industry. It influenced many more martial arts anime and manga series' including Yu Yu Hakusho (1990), One Piece (1997), and Naruto (1999).
The 1980s brought anime to the home video market in the form of Original Video Animation (OVA). The first OVA was Mamoru Oshii's Moon Base Dallos (1983–1984). Dallos was a flop, but 1985's Megazone 23 was a success. Shows such as Patlabor had their beginnings in this market and it proved to be a way to test less marketable animation against audiences. The OVA allowed for the release of pornographic anime such as Cream Lemon (1984). The first hentai OVA was actually the little-known Wonder Kids Lolita Anime, also released in 1984.
While the Mecha genre shifted from superhero giant robots (the Super Robot genre of the 1970s) to elaborate space operas (the Real Robot genre of the 1980s), two other events happened at this time. A subculture in Japan, who later called themselves otaku, began to develop around animation magazines such as Animage or later Newtype. These magazines popped up in response to the overwhelming fandom that developed around shows such as Yamato and Gundam in the late 1970s and early 1980s.
Yamato animator Yoshinori Kanada allowed individual key animators working under him to put their own style of movement as a means to save money. In many more "auteuristic" anime this formed the basis of an individualist animation style unique to Japanese commercial animation. In addition, Kanada's animation was inspiration for Takashi Murakami and his Superflat art movement.
In the United States the already mentioned popularity of Star Wars had a similar, but much smaller, effect on the development of anime.[citation needed] Gatchaman was reworked and edited into Battle of the Planets in 1978 and again as G-Force in 1986. Space Battleship Yamato was reworked and edited into Star Blazers in 1979. The Macross series began with The Super Dimension Fortress Macross (1982), which was adapted into English as the first arc of Robotech (1985), which was created from three separate anime titles: The Super Dimension Fortress Macross, Super Dimension Cavalry Southern Cross and Genesis Climber Mospeada. The sequel to Mobile Suit Gundam, Mobile Suit Zeta Gundam (1985), became the most successful Real Robot space opera in Japan, where it managed an average television rating of 6.6% and a peak of 11.7%.[13]
The otaku culture became more pronounced with Mamoru Oshii's adaptation of Rumiko Takahashi's popular manga Urusei Yatsura (1981). Yatsura made Takahashi a household name and Oshii would break away from fan culture and take a more auteuristic approach with his 1984 film Urusei Yatsura 2: Beautiful Dreamer. This break with the otaku culture would allow Oshii to experiment further.
The otaku subculture had some effect on people who were entering the industry around this time. The most famous of these people were the amateur production group Daicon Films which would become Gainax. Gainax began by making films for the Daicon science fiction conventions and were so popular in the otaku community that they were given a chance to helm the biggest budgeted (to that point) anime film, Royal Space Force: The Wings of Honneamise (1987).
The success of Dragon Ball (1984) introduced the martial arts genre and became incredibly influential in the Japanese Animation industry. It influenced many more martial arts anime and manga series' including Yu Yu Hakusho (1990), One Piece (1997), and Naruto (1999).
The 1980s brought anime to the home video market in the form of Original Video Animation (OVA). The first OVA was Mamoru Oshii's Moon Base Dallos (1983–1984). Dallos was a flop, but 1985's Megazone 23 was a success. Shows such as Patlabor had their beginnings in this market and it proved to be a way to test less marketable animation against audiences. The OVA allowed for the release of pornographic anime such as Cream Lemon (1984). The first hentai OVA was actually the little-known Wonder Kids Lolita Anime, also released in 1984.
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