Renowned Japanese anime director Goro Taniguchi, celebrated for his work on the Code Geass: Lelouch of the Rebellion series, Planetes, One Piece Film: Red, and Paris ni Saku Étoile, recently offered his insights on the trajectory of anime and its anticipated developments over the next ten years.
During a university lecture, as reported by Bunshun Online, Taniguchi delved into anime’s evolution from the 1960s to the present, segmenting its history into eight distinct phases. He notably highlighted how recent transformations in Japanese society have reshaped anime’s creative expression and production methods.
According to Taniguchi, anime solidified as a legitimate “industry” during the Astro Boy era of the 1960s. Since then, it has undergone numerous evolutionary stages, culminating in what he terms the seventh (current) phase of anime history.
Reflecting on the advent of the internet and online forums like 2channel (Japan’s counterpart to 4chan), Taniguchi observed that “unprecedented levels of malice” began infiltrating production environments in this phase, intensifying pressure on creators. However, he posits that one of the industry’s most significant contemporary challenges is the emergence of what sociologist Toshio Okada refers to as a “white society” in Japan.
It’s important to note that this term carries no racial connotations; instead, it describes a highly transparent and “sanitized” society shaped by the proliferation of smartphones and social media. The theory suggests that as Japanese society becomes more tranquil and interconnected, behaviors perceived as aggressive, disruptive, or unconventional are increasingly discouraged, while superficial social harmony and cleanliness are emphasized.
“I view this ‘white society’ as a phenomenon where all Japanese people, in a sense, are becoming more akin to Kyoto residents,” Taniguchi explained, alluding to a common Japanese stereotype about Kyoto natives being exceptionally indirect in expressing negative sentiments, prioritizing propriety. “Let’s not engage in anything unusual, let’s be mindful of our surroundings, avoid direct conflict, and show respect to those sharing our space.” Curiously, the director points out that many protagonists in recent ‘narou-kei‘ (isekai-style) narratives align with this trend. Notably, major publishers such as Kadokawa have acknowledged their overreliance on this genre recently.
Taniguchi believes this “sanitization” of Japanese society has influenced not only anime’s themes and characters but also its production structure. The rise of one-cour anime series (12 to 13 episodes) aided the maturation of the industry’s production committee system, yet concurrently weakened the traditional apprentice animator model, hindering the cultivation of new talent. He also contends that the growing sway of original authors (the manga or light novel creators behind anime adaptations) and rights holders over anime has complicated the role of anime directors, making it harder for productions to establish a clear creative vision.
According to Taniguchi, producers increasingly prefer staff who are easy to manage and capable of replicating source material without introducing bold creative ideas. Consequently, more ambitious creators gradually receive fewer opportunities and may eventually exit the industry, he states.
Taniguchi characterizes the current phase of anime evolution as an era of “prioritizing profits over creative vision.”
Looking forward, he describes the eighth stage of the medium’s evolution as the next decade of anime. While Japanese animation has successfully globalized, with overseas audiences and creators increasingly appreciating classic Japanese animation, Taniguchi believes this could erode Japan’s competitive advantage. He draws a parallel to the extensive export of Japanese woodblock prints and other artwork to Europe during the mid-19th and 20th centuries.
He cautions that if the domestic anime market continues to prioritize short-term profits and rapidly consumable content targeting casual fans, Japan may struggle to keep pace with the production speed observed in China and South Korea.
Despite these concerns, Taniguchi concluded on an upbeat note, asserting that anime’s future remains secure due to humanity’s innate need for stories. “As long as people remain people, they will always require stories. Stories expand our comprehension of people and the world, enabling us to experience emotions and choices vicariously, find meaning in events, enjoy excitement and suspense, alleviate loneliness, foster connections, and transmit experiences and wisdom from the past. Anime is capable of encompassing all of these aspects.”