I’ll have to put a pin in this for later, but I want to highlight something from what little I’ve read that I thought was pretty interesting.
> While the rest of the world has shifted toward automation, industrialized pipelines, and efficiency, hand-drawn animation still operates on a production logic that was essentially completed in the mid-1900s. That may sound like exaggeration, but anyone who has sat in front of a layout, a timing sheet, or a stack of corrections knows it is not. The tools have changed—tablets, software, digital compositing—but the structure, the mental model, the way time moves inside a cut has not. Anime feels like an industry that never fully left the past, and yet continues to produce images and emotions that could only exist in the present.
I get asked a lot why I struggle to break out of the anime bubble into other country’s animation output, and part of it is because I’m just lazy, but I think another part of it is kind of what he brings up here. I mean I take it for granted, but 2D animation in the way you see out of Japan really is a rarity these days. I know the American industry has largely shifted to rigs and 3D work, which has its appeals, but there’s just something to that original style that just hits different. It’s hard to maintain, and he does highlight that paradoxical nature to it, but when it clicks it really is something truly magical.
Comprehensive_Dog6512026-01-24 02:21
Yep, much of the fundamentals from the heyday of Mushi Pro and the production of Kimba have not changed much
amd_hunt2026-01-24 04:42
> I get asked a lot why I struggle to break out of the anime bubble into other country’s animation output
Where do you talk where you get asked this a lot? lol. I think it's a pretty easy question for me, personally- Japan is simply the only country that produces 2D animation on a large scale. China kind of leapfrogged over 2D straight into 3D to try and compete with American movies, and it's worked out really well for them. They still make some 2D productions, but not on the level of Japan. The US has essentially abandoned 2D, and what remains of 2D animation on TV is just kind of... either not great animation-wise (hello, *Invincible*), and/or they have really dogshit looking artstyles. A majority of it is kids content, which is okay, but kind of tiring to watch too much of. Europe is great, but they release basically no TV and like two movies a year. South Korea is stuck animating for American productions instead of for themselves (hello again, *Invincible*)
And we can talk about 2D indie animation when they figure out how to make more than a single episode a year.
Theleux2026-01-23 22:07
Honestly so lucky to have this the past few years, each rendition feels like another elevation of the Sakugabowl (*with even more lines to scroll by!*)
Getting the opportunity to read such clear and knowledgeable perspectives from clearly invested individuals within or around the industry is always refreshing - particularly with how the social media landscape is now a days. The fandom cycle now really eliminates a lot of this kind of expression unless you go on a deep dive for it, so I appreciate being able to experience some normalcy for a change when looking back on the year as a whole.
Kudos to everyone who participated for this year's bowl (*I was far too busy and out of the binge to partake this time after last year*), going through this is a real treat and rekindles the fire to get back into binging some series.
Definitely take your time reading through these, savour it - you may just find a new potential favourite to check out!
atropicalpenguin2026-01-24 03:00
Sounds like Takopi is sort of good.
Time_Fracture2026-01-24 03:18
\*sees best OP/ED\*
Shoshimin S2 OP and Witch Watch OP. Nice to see Shoshimin getting recognition it needed! They seems to mention Anne Shirley OP and ED a lot too.
Also lots of them are recommending Apocalypse Hotel, Takopi, and City the Animation as their best anime.
happy-owls2026-01-24 08:43
Haven't completed reading all of this post yet (as I'm trying to really go into all of the thoughts shared even for shows I hadn't seen or those I didn't particularly love myself), but I'm really surprised and happy to see so much Ojamajo Doremi love in this article. Both a contemporary shoutout and a comparison to Apocalypse Hotel was unexpected but was a joy to read. I'm excited to finish the rest of this!
detarameReddit2026-01-24 14:21
Sakugablog is truly something special. The Sakugabowl is just awesome.
Commentaires
> While the rest of the world has shifted toward automation, industrialized pipelines, and efficiency, hand-drawn animation still operates on a production logic that was essentially completed in the mid-1900s. That may sound like exaggeration, but anyone who has sat in front of a layout, a timing sheet, or a stack of corrections knows it is not. The tools have changed—tablets, software, digital compositing—but the structure, the mental model, the way time moves inside a cut has not. Anime feels like an industry that never fully left the past, and yet continues to produce images and emotions that could only exist in the present.
I get asked a lot why I struggle to break out of the anime bubble into other country’s animation output, and part of it is because I’m just lazy, but I think another part of it is kind of what he brings up here. I mean I take it for granted, but 2D animation in the way you see out of Japan really is a rarity these days. I know the American industry has largely shifted to rigs and 3D work, which has its appeals, but there’s just something to that original style that just hits different. It’s hard to maintain, and he does highlight that paradoxical nature to it, but when it clicks it really is something truly magical.
Where do you talk where you get asked this a lot? lol. I think it's a pretty easy question for me, personally- Japan is simply the only country that produces 2D animation on a large scale. China kind of leapfrogged over 2D straight into 3D to try and compete with American movies, and it's worked out really well for them. They still make some 2D productions, but not on the level of Japan. The US has essentially abandoned 2D, and what remains of 2D animation on TV is just kind of... either not great animation-wise (hello, *Invincible*), and/or they have really dogshit looking artstyles. A majority of it is kids content, which is okay, but kind of tiring to watch too much of. Europe is great, but they release basically no TV and like two movies a year. South Korea is stuck animating for American productions instead of for themselves (hello again, *Invincible*)
And we can talk about 2D indie animation when they figure out how to make more than a single episode a year.
Getting the opportunity to read such clear and knowledgeable perspectives from clearly invested individuals within or around the industry is always refreshing - particularly with how the social media landscape is now a days. The fandom cycle now really eliminates a lot of this kind of expression unless you go on a deep dive for it, so I appreciate being able to experience some normalcy for a change when looking back on the year as a whole.
Kudos to everyone who participated for this year's bowl (*I was far too busy and out of the binge to partake this time after last year*), going through this is a real treat and rekindles the fire to get back into binging some series.
Definitely take your time reading through these, savour it - you may just find a new potential favourite to check out!
Shoshimin S2 OP and Witch Watch OP. Nice to see Shoshimin getting recognition it needed! They seems to mention Anne Shirley OP and ED a lot too.
Also lots of them are recommending Apocalypse Hotel, Takopi, and City the Animation as their best anime.