History of anime

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The history of anime began at the start of the 20th century. The first generation of animators in the late
1910s included Ōten Shimokawa, Jun'ichi Kōuchi and Seitaro Kitayama, referred to as the "fathers" of
anime.[1] During World War II, propaganda filmssuch as Momotarō no Umiwashi (1943) and Momotarō:
Umi no Shinpei (1945) were made, the latter being the first anime feature film. During the 1970s, anime
developed further, separating itself from its Western roots, and developing distinct genres such
asmecha and its Super Robot subgenre. Typical shows from this period include Lupin III and Mazinger Z.
During this period several filmmakers became famous, especially Hayao Miyazaki and Mamoru Oshii.

In the 1980s, anime was accepted in the mainstream in Japan, and experienced a boom in production. The
rise of Gundam,Macross, Dragon Ball, and the Real Robot, space opera and cyberpunk genres set a boom
as well. The film Akira set records in 1988 for the production costs of an anime film and went on to
become a success worldwide. Later, in 2004, the same creators produced Steamboy, which took over as
the most expensive anime film. Space Battleship Yamato and The Super Dimension Fortress
Macross also achieved worldwide success after being adapted respectively as Star Blazers and Robotech.

The internet also led to the rise of fansub anime. Spirited Away shared the first prize at the 2002 Berlin
Film Festival and won the 2003 Academy Award for Best Animated Feature, while Innocence: Ghost in
the Shell was featured at the 2004 Cannes Film Festival.

1First generation

2Second generation

3During the second World War

4Toei Animation and Mushi Production

First generation

See also: List of anime by release date (pre-1939) and Kamishibai

Few complete animations made during the beginnings of Japanese animation have survived. The reasons
vary, but many are of commercial nature. After the clips had their run,reels (being property of the
cinemas) were sold to smaller cinemas in the country and then disassembled and sold as strips or single
frames.
A 3-second film loop tentatively titled Katsudō Shashin (活動写真, Moving Picture) was likely produced
between 1907 and 1911 and discovered in Kyoto in July 2005. It consists of fifty frames stencilled
directly onto a strip of celluloid[2] depicting a young boy in a sailor suit who writes the kanji "活動写
真", turns, removes his hat, and offers a salute. The creator's identity is unknown, and it was made for
private viewing rather than public release.

Ōten Shimokawa was a political caricaturist and cartoonist who worked for the magazine Tokyo Puck. He
was hired by Tenkatsu to do an animation for them. Due to medical reasons, he was only able to do five
movies, including Imokawa Mukuzo Genkanban no Maki (1917), before he returned to his previous work
as a cartoonist.

Another prominent animator in this period was Jun'ichi Kōuchi. He was a caricaturist and painter, who
also had studied watercolor painting. In 1912, he also entered the cartoonist sector and was hired for an
animation by Kobayashi Shokai later in 1916. He is viewed as the most technically advanced Japanese
animator of the 1910s. His works include around 15 movies.

Seitaro Kitayama was an early animator who made animations on his own, not hired by larger
corporations. He even founded his own animation studio, the Kitayama Eiga Seisakujo, which was later
closed due to lack of commercial success. He utilized the chalkboard technique, and later paper
animation, with and without pre-printed backgrounds.

The works of these two pioneers include Namakura Gatana (An Obtuse Sword, 1917) and a 1918
film Urashima Tarō which were discovered together at an antique market in 2007.[3]

Second generation

Yasuji Murata, Hakuzan Kimura, Sanae Yamamoto and Noburō Ōfuji were students of Kitayama Seitaro

and worked at his film studio. Kenzō Masaoka, another important animator, worked at a smaller
animation studio. In 1923, the Great Kantō earthquake destroyed most of the Kitayama studio and the
residing animators spread out and founded studios of their own.

Pre war animators faced several difficulties. First, they had a hard time competing with foreign producers
such as Disney, which were influential on both audiences and producers. Since foreign films had already
made a profit abroad, they could be sold for even less than the price domestic producers need to charge in
order to break even. Japanese animators thus had to work cheaply, in small companies with only a
handful of employees, but that could make matters worse: given costs, it was then hard to compete in
terms of quality with foreign product that was in color, with sound, and made by much bigger companies.
Japanese animation until the mid-1930s, for instance, generally used cutout animation instead of cel
animation because the celluloid was too expensive. This resulted in animation that could seem derivative,
flat (since motion forward and backward was difficult) and without detail. But just as postwar Japanese
animators were able to turn limited animation into a plus, so masters such as Yasuji Murata and Noburō
Ōfuji were able to do wonders in cutout animation.

Animators such as Kenzō Masaoka and Mitsuyo Seo, however, did attempt to bring Japanese animation
up to the level of foreign work by introducing cel animation, sound, and technology such as
the multiplane camera. Masaoka created the first talkie anime, Chikara to Onna no Yo no Naka, released
in 1933,[7][8] and the first anime made entirely using cel animation, The Dance of the Chagamas (1934).
[9] Seo was the first to use the multiplane camera in Ari-chan in 1941.

Such innovations, however, were hard to support purely commercially, so prewar animation depended
considerably on sponsorship, as animators often concentrated on making PR films for
companies, educational films for the government, and eventually works of propaganda for the military.
[10] During this time, censorship and school regulations discouraged film-viewing by children, so anime
that offered educational value were supported and encouraged by the Monbusho (the Ministry of
Education). This proved important for producers that had experienced a hard time releasing their work in
regular theaters. Animation had found a place in scholastic, political and industrial use.

During the second World War

In the 1930s the Japanese government began enforcing cultural nationalism. This also lead to a strict
censorship and control of published media. Many animators were urged to produce animations which
enforced the Japanese spirit and national affiliation. Some movies were shown in newsreel theaters,
especially after the Film Law of 1939 promoteddocumentary and other educational films. Such support
helped boost the industry, as bigger companies formed through mergers, and prompted major live-action
studios such asShochiku to begin producing animation. It was at Shochiku that such masterworks
as Kenzō Masaoka's Kumo to Chūrippu were produced. Wartime reorganization of the industry, however,
merged the feature film studios into just three big companies.

More animated films were commissioned by the military, showing the sly, quick Japanese people winning
against enemy forces. In 1943, Geijutsu Eigasha produced Mitsuyo Seo's Momotaro's Sea Eagles with
help from the Navy. Shochiku then made Japan's first real feature length animated film, Seo's Momotaro's
Divine Sea Warriors in 1945, again with the help of the Navy. In 1941 Princess Iron Fan had become the
first Asian animation of notable length ever made in China. Due to economic factors, it would be Japan
which later emerged long after the war with the most readily available resources to continue expanding
the industry.

Toei Animation and Mushi Production

In 1948, Toei Animation was founded and produced the first color anime feature film in
1958, Hakujaden (The Tale of the White Serpent, 1958). This film was more Disney in tone than modern
anime with musical numbers and animal sidekicks. However, it is widely considered to be the first
"anime" ever, in the modern sense. It was released in the US in 1961 as Panda and the Magic Serpent.
From 1958 to the mid-1960s, Toei continued to release these Disney-like films and eventually also
produced three of the most well known anime series, Dragon Ball in 1986, Sailor Moon in 1992 and One
Piece in 1999.

Toei's style was also characterized by an emphasis on each animator bringing his own ideas to the
production. The most extreme example of this is Isao Takahata's film Hols: Prince of the
Sun (1968). Hols is often seen as the first major break from the normal anime style and the beginning of a
later movement of "auteuristic" or "progressive anime" which would eventually involve directors such
as Hayao Miyazaki (creator of Spirited Away) and Mamoru Oshii.

A major contribution of Toei's style to modern anime was the development of the "money shot". This
cost-cutting method of animation allows for emphasis to be placed on important shots by animating them
with more detail than the rest of the work (which would often be limited animation). Toei animator Yasuo
Ōtsuka began to experiment with this style and developed it further as he went into television. In the
1980s Toei would later lend its talent to companies like Sunbow Productions, Marvel Productions, DiC
Entertainment, Murakami-Wolf-Swenson, Ruby Spears and Hanna Barbera with producing several
animated cartoons for America during this period. Other studios like TMS Entertainment, were also being
used in the 80's, which lead to Asian studios being used more often to animate foreign productions, but
the companies involved still produced anime for their native Japan.

Osamu Tezuka established Mushi Production in 1961, after Tezuka's contract with Toei Animation
expired. The studio pioneered TV animation in Japan, and was responsible for successful TV series such
as Astro Boy, Kimba the White Lion, Gokū no Daibōken and Princess Knight.

1970s

During the 1970s, the Japanese film market shrunk due to competition from television. This increased
competition from television reduced Toei animation's staff and many animators went to studios such as A
Pro and Telecom animation. Mushi Production went bankrupt (only to be revived 4 years later), its former
employees founding studios such as Madhouse and Sunrise. As a result, many young animators were
thrust into the position of director before they would have been promoted to it. This injection of young
talent allowed for a wide variety of experimentation. One of the earliest successful television productions
in the early 1970s was Tomorrow's Joe (1970), a boxing anime which has become iconic in Japan.

Another example of this experimentation is with Isao Takahata's 1974 television series Heidi, Girl of the
Alps. This show was originally a hard sell because it was a simple realistic drama aimed at children. Most
TV networks thought the TV show wouldn't be successful because children needed something more
fantastic to draw them in. Heidi wound up being an international success being picked up in many
European countries and becoming popular there. In Japan it was so successful that it allowed for Hayao
Miyazaki andTakahata to start up a series of literary based anime (World Masterpiece Theater). Miyazaki
and Takahata left Nippon Animation in the late 1970s. Two of Miyazaki's critically acclaimed
productions during the 1970s were Future Boy Conan (1978) and Lupin III: The Castle of
Cagliostro (1979).

Another genre known as Mecha came into being at this time. Some early works include Mazinger
Z (1972–74), Science Ninja Team Gatchaman (1972–74), Space Battleship Yamato (1974–75)
and Mobile Suit Gundam (1979–80). These titles showed a progression in the science fiction genre in
anime, as shows shifted from more superhero-oriented, fantastical plots found, as seen in the Super
Robot genre, to somewhat more realistic space operas with increasingly complex plots and fuzzier
definitions of right and wrong, as seen in the Real Robot genre.

Also during this period Japanese Animation reached Europe with productions aimed at European and
Japanese children, with the most pronounced examples being the aforementioned Heidi but
also Barbapapa and Vicky the Vikings. Also imports such as Grendizer and Mazinger Z reached a mass
demographic among an older teenage audience in Italy, Spain and France. This continued a tradition of
anime within private television programming within those countries. However Germany largely rejected
anime for children older than pre-schoolers, with Speed Racer and also the 1978 produced Captain
Future coming under large protests. The UK however has no history of anime on television.[13][14]

1980s

The release of Space Battleship Yamato is often cited as the beginning of anime space operas.

The 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 Robotanime, was also initially
unsuccessful but was revived as a theatrical film in 1982. The success of the theatrical versions
of Yamato andGundam are seen as the beginning of the anime boom of the 1980s. This anime boom also
marked the beginning of "Japanese Cinema's Second Golden Age".[15]

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.[16] 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%.[17] As well as adapted anime, many American
companies utilised Japanese animation studios to animated their television series, examples include
Takara's/Toei animation's The Transformersand Hasbro's G.I. Joe television series and Gaylord
Entertainment/Tokyo Movie Shinsha's The Adventures of the Galaxy Rangers. Popular American
entertainment franchises from the 1980s often originated from pre-existing Japanese franchises, such as
"Transformers" and "Robotech". Franchises such as "Transformers", which were adapted from the
unpopular Japanese "Diaclone" and "Microman" toy franchises by "Takara", also became popular in
Japan and even promted anime continuations of the American/Japanese animated series, such as
"Transformers: The Headmasters", "Transformers: Super God Masterforce", "Transformers: Victory",
and the OVA's "Transformers: The Movie" and "Transformers: Zone".

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 film Nausicaä of the Valley of the Wind helped jumpstart Studio Ghibli.

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 Animageeditor 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 (1986) 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 YuYu Hakusho (1990), One Piece (1999), and Naruto (2002).

As a contrast to the action oriented shows, shows for a female audience such as Candy Candy, Attack
No.1 and Rose of Versailles, earned high popularity on Japanese Television and in other parts of the
world.[14]
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). Dalloswas a flop, but later titles like Fire
Tripper, Leda: The Fantastic Adventure of Yohko, and Megazone 23 (all 1985) were
successful. Leda was in fact so successful, it was released theatrically at the end of the year. 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.

The 1980s also saw the amalgamation of anime with video games. The airing of Red Photon
Zillion (1987) and subsequent release of its companion game, is considered to have been a marketing ploy
by Sega to promote sales of their newly released Master System in Japan.

Sports anime as now known made its debut in 1983 with an anime adaptation Yoichi Takahashi's soccer
manga Captain Tsubasa, which became the first worldwide successful sports anime leading its way to
create themes and stories that would create the formula that would later be used in many sports series that
soon followed such as Slam Dunk,Prince of Tennis and Eyeshield 21.

The late 1980s, following the release of Nausicaä, saw an increasing number of high budget and/or
experimental films. In 1985 Toshio Suzuki helped put together funding for Oshii's experimental
film Angel's Egg (1985). The OVA market allowed for short experimental pieces such as Take the X
Train, Neo Tokyo, and Robot Carnival (all three 1987).

Theatrical releases became more ambitious, each film trying to outclass or outspend the other film, all
taking cues from Nausicaä's popular and critical success. Night on the Galactic Railroad (1985), Tale of
Genji (1986), and Grave of the Fireflies (1988) were all ambitious films based on important literary works
in Japan. Films such as Char's Counterattack (1988) and Arion (1986) were lavishly budgeted spectacles.
This period of lavish budgeting and experimentation would reach its zenith with two of the most
expensive anime film productions ever: Royal Space Force: The Wings of Honneamise (1987)
and Akira (1988).

Most of these films did not make back the costs to produce them. Neither Akira nor Royal Space Force:
The Wings of Honneamise were box office successes in Japan. As a result, large numbers of anime
studios closed down, and many experimental productions began to be favored less over "tried and true"
formulas. Only Studio Ghibli was able to survive a winner of the many ambitious productions of the late
1980s with its film Kiki's Delivery Service (1989) being the top grossing film for 1989 earning over $40
million at the box office.

Despite the failure of Akira in Japan, it brought with it a much larger international fan base for anime.
When shown overseas, the film became a cult hit and, eventually, a symbol of the medium for the West.
The domestic failure and international success of Akira, combined with the bursting of the bubble
economy and Osamu Tezuka's death in 1989, brought a close to the 1980s era of anime.

1990s

In 1995, Hideaki Anno wrote and directed the controversial anime, Neon Genesis Evangelion. This show
became popular in Japan among anime fans and became known to the general public through mainstream
media attention. It is believed that Anno originally wanted the show to be the ultimate otaku anime
designed to revive the declining anime industry, but midway through production he also made it into a
heavy critique of the culture eventually culminating in the still controversial, but quite successful
film The End of Evangelion (1997) which grossed over $10 million. Anno would eventually go on to
produce live action films. Many scenes in Evangelion were so controversial that it forced TV Tokyo to
clamp down with censorship of violence and sexuality in anime. As a result, when Cowboy Bebop (1998)
was first broadcast it was shown heavily edited and only half the episodes were aired; though it too
eventually managed to cement itself as a mainstream hit both in and outside of Japan. The censorship
crackdown has relaxed a bit, butEvangelion had a major effect on the anime television industry as a
whole.

In addition, Evangelion started up a series of so-called "post-Evangelion" or "organic" mecha shows.

Most of these were giant robot shows with some kind of religious or difficult plot. These
include RahXephon, Brain Powerd, and Gasaraki. Another series of these are late night experimental TV
shows. Starting with Serial Experiments Lain (1998) late night Japanese television became a forum for
experimental anime with other shows following it such as Boogiepop
Phantom (2000), Texhnolyze (2003) and Paranoia Agent(2004). Experimental anime films were also
released in the 1990s, most notably the cyberpunk thriller Ghost in the Shell (1995), which
alongside Megazone 23 (1985),[18] had a strong influence on The Matrix.[19][20][21] Ghost in the Shell,
alongside Evangelion and the neo-noir space western Cowboy Bebop, helped further entrench the
awareness of anime in the international consciousness born out of the success of Akira.[22]

The late 1990s also saw a brief revival of the Super Robot genre that was once popular in the 1960s and
1970s but had become rare due to the popularity of Real Robot shows such as
the Gundam and Macross series in the 1980s and psychological Mecha shows such as Neon Genesis
Evangelion in the 1990s. The revival of the Super Robot genre began with the Brave (Yuusha) Series,
starting with Brave Exkaiser in 1990, also there were many remakes and sequels of 70s super robot shows
such as Getter Robo Go andTetsujin-28 go FX in response to "post-Evangelion" trends, but there were
very few popular Super Robot shows produced after this, until Tengen Toppa Gurren Lagann in 2007.

Alongside its Super Robot counterpart, the Real Robot genre was also declining during the 1990s.
Though several Gundam shows were produced during this decade, very few of them were successful. The
only Gundam shows in the 1990s which managed an average television rating over 4% in Japan
were Mobile Fighter G Gundam (1994) and New Mobile Report Gundam Wing (1995). It wasn't
until Mobile Suit Gundam SEED in 2002 that the Real Robot genre regained its popularity.[17]

3D rendering was used in this scene of Princess Mononoke, the most expensive animated film at the time,
costing $20 million
The 1990s also saw the popular video game series, Pokémon, spawn an anime television show which is
still running, several anime movies, a trading card game, toys, and much more. Other 1990s anime series
which gained international success were Dragon Ball Z,Sailor Moon, and Digimon; the success of these
shows marked the beginning of the martial arts superhero genre, the magical girl genre, and the action
adventure genre respectively. In particular, Dragon Ball Z and Sailor Moon were dubbed into more than a
dozen languages worldwide. Another large success was the anime One Piece, based on the best-selling
manga of all time, which is still ongoing.

In 1997, Hayao Miyazaki's Princess Mononoke became the most expensive animated film up until that
time, costing $20 million to produce. Miyazaki personally checked each of the 144,000 cels in the film,
[23] and is estimated to have redrawn parts of 80,000 of them.[24]

In 1999, the seinen genre of anime was paid tribute to in the franchise The Matrix.

2000s

The "Evangelion-era" trend continued into the 2000s with Evangelion-inspired mecha anime such
as RahXephon (2002) and Zegapain (2006) - RahXephon was also intended to help revive 1970s-style
mecha designs.

The Real Robot genre (including the Gundam and Macross franchises), which had declined during the

1990s, was revived in 2002 with the success of shows such as Mobile Suit Gundam SEED (2002), Eureka
Seven (2005), Code Geass: Lelouch of the Rebellion (2006), Mobile Suit Gundam 00 (2007),
and Macross Frontier (2008). The resurgence of Real Robot anime can be seen in a top 20 anime poll
published in the April 2008 issue of Newtype magazine, where Japanese readers voted for Gundam 00 as
the #1 top anime, alongside Code Geass at #2 and Gundam SEED at #9.[25]

The 1970s-style Super Robot genre revival started by GaoGaiGar (1997), continued into the 2000s, with
several remakes of classic series such as Getter Robo and Dancougaras well as original properties created
in the Super Robot mold like Godannar and Gurren Lagann. In particular, Gurren Lagann combined the
genre with elements from 1980s Real Robot shows as well as 1990s "post-Evangelion" shows. Gurren
Lagann received both the "best television production" and "best character design" awards from the Tokyo
International Anime Fair in 2008.[26] This eventually culminated in the release of Shin Mazinger in
2009, a full-length revival of the first Super Robot series, Mazinger Z.

An art movement started by Takashi Murakami that combined Japanese pop-culture with postmodern

art called Superflat began around this time. Murakami asserts that the movement is an analysis of post-
war Japanese culture through the eyes of the otaku subculture. His desire is also to get rid of the
categories of 'high' and 'low' art making a flat continuum, hence the term 'superflat'. His art exhibitions
are very popular and have an influence on some anime creators particularly those from Studio 4 °C.
[citation needed]

The experimental late night anime trend popularized by Serial Experiments Lain also continued into the
2000s with experimental anime such as Boogiepop Phantom (2000),Texhnolyze (2003), Paranoia
Agent (2004) and Gantz (2004).
In addition to these experimental trends, the 2000s was also characterized by the increase of the moe-style
art and the bishōjo and bishōnen character design. The presence and popularity of genres such
as romance, harem and slice of life rose.

Anime based on eroge and visual novels increased in popularity in the 2000s, building on a trend started
in the late 90s by such works as Sentimental Journey (1998) and To Heart (1999). Examples of such
works include Green Green (2003), SHUFFLE! (2006), Kanon (2002 and 2006), Fate/Stay
Night (2006), Higurashi no Naku Koro ni (2006), Ef: A Tale of Memories (2007), True Tears (2008),
and Clannad (2008 and 2009).

Many shows are being adapted from manga and light novels as well including popular titles such
as Inuyasha (2000), Naruto (2002), Fullmetal Alchemist (2003), Monster (2004),Bleach (2004), Rozen
Maiden (2005), Aria the Animation (2005), Shakugan no Shana (2005), Pani Poni Dash! (2005), Death
Note (2006), Mushishi (2006), Sola (2007), The Melancholy of Haruhi Suzumiya (2006), Lucky
Star (2007), Toradora! (2008–09), K-On! (2009), Bakemonogatari (2009), and Fairy Tail (2009); these
shows typically last several years and achieve large fanbases. Nevertheless, original anime titles are still
being created which reach success.

The 2000s also mark a trend of emphasis of the otaku subculture. A notable critique of this otaku
subculture is found in the 2006 anime Welcome to the N.H.K., which features ahikikomori protagonist
and explores the effects and consequences of various Japanese sub-cultures, such as
otaku, lolicon, internet suicide, massively multiplayer online gamesand multi-level marketing.

In contrast to the above-mentioned phenomenon, there have been more productions of late night anime
for a non-otaku audience as well. The first concentrated effort came fromFuji TV's Noitamina block. The
30-minute late Thursday timeframe was created to showcase productions for young women of college
age, a demographic that watches very little anime. The first production Honey and Clover was a particular
success, peaking at a 5% TV rating in Kantou, very strong for late night anime. The block has been
running uninterrupted since April 2005 and has yielded many successful productions unique in the
modern anime market.

There have been revivals of American cartoons such as Transformers which spawned four new
series, Transformers: Car Robots in 2000, Transformers: Micron Legend in 2003,Transformers:
Superlink in 2004, and Transformers: Galaxy Force in 2005. In addition, an anime adaptation of the G.I
Joe series was produced titled 'G.I. Joe: Sigma 6'.

The 2000s also saw the revival of earlier anime series in the forms of Fist of the North Star: The Legends
of the True Savior (2006) and Dragon Ball Z Kai (2009). Later series also started receiving revivals in the
late 2000s and early 2010s, such as with Studio Khara's premier Rebuild of Evangelion tetralogy, (2007-),
and new adaptations of Masamune Shirow's manga Appleseed XIII (2011) and Ghost in the Shell:
Arise (2013-).

The decade also dawned a revival of high-budget feature-length anime films, such as Millennium
Actress (2001), Metropolis (2001), Appleseed (2001), Paprika (2006), and the most expensive of all
being Steamboy (2004) which cost $26 million to produce. Satoshi Kon established himself
alongside Otomo and Oshii as one of the premier directors of anime film, before his premature death at
the age of 46. Other younger film directors, such as Mamoru Hosoda, director of The Girl Who Leapt
Through Time (2006) andSummer Wars (2009), also began to reach prominence.

During this decade, anime feature films were nominated and won major international film awards for the
first time in the industry's history. In 2002, Spirited Away, a Studio Ghibliproduction directed by Hayao
Miyazaki, won the Golden Bear at the Berlin International Film Festival and in 2003 at the 75th Academy
Awards it won the Academy Award for Best Animated Feature. It was the first non-American film to win
the award and is one of only two to do so. It has also become the highest grossing anime film, with a
worldwide box office of US$274 million.

Following the launch of Toonami on Cartoon Network and later Adult Swim, anime saw a giant rise in
the North American market. Kid-friendly anime such as Pokemon, Yu-Gi-
Oh!, Digimon, Doraemon, Bakugan, Beyblade, and the 4Kids Entertainment adaptation of One
Piece have all received varying levels of success. This era also saw the rise of anime-influenced
animation, most notably Avatar: the Last Airbender and The Legend of Korra, Ben 10, Chaotic, Samurai
Jack, The Boondocks, and Teen Titans.

At the 2004 Cannes Film Festival, Ghost in the Shell 2: Innocence, directed by Mamoru Oshii, was in
competition for the Palme d'Or and in 2006, at the 78th Academy Awards,Howl's Moving Castle, another
Studio Ghibli-produced film directed by Hayao Miyazaki, was nominated for Best Animated Feature. 5
Centimeters Per Second, directed by Makoto Shinkai, won the inaugural Asia Pacific Screen Award for
Best Animated Feature Film in 2007, and so far, anime films have been nominated for the award every
year.