<?xml version="1.0" encoding="utf-8" standalone="yes"?><rss version="2.0" xmlns:atom="http://www.w3.org/2005/Atom" xmlns:content="http://purl.org/rss/1.0/modules/content/"><channel><title>Japanimation on Tsukioka Sadao's Blog</title><link>https://sadao-tsukioka.com/en/tags/japanimation/</link><description>Recent content in Japanimation on Tsukioka Sadao's Blog</description><generator>Hugo -- 0.155.3</generator><language>en-US</language><lastBuildDate>Tue, 04 Aug 2026 00:00:00 +0000</lastBuildDate><atom:link href="https://sadao-tsukioka.com/en/tags/japanimation/index.xml" rel="self" type="application/rss+xml"/><item><title>Japanimation</title><link>https://sadao-tsukioka.com/en/posts/japanimation/</link><pubDate>Tue, 04 Aug 2026 00:00:00 +0000</pubDate><guid>https://sadao-tsukioka.com/en/posts/japanimation/</guid><description>&lt;p&gt;At the end of my last piece on limited animation, I declared that next time I would write about &amp;ldquo;Japanimation.&amp;rdquo; The name Japanimation was a label bestowed in Europe, meaning: &lt;em&gt;that stuff is not animation&lt;/em&gt;.&lt;/p&gt;
&lt;p&gt;After &amp;ldquo;Astro Boy,&amp;rdquo; thirty-minute series came to be produced one after another, and by the 1990s series like &amp;ldquo;Candy Candy&amp;rdquo; and &amp;ldquo;Urusei Yatsura&amp;rdquo; were airing on French and Italian broadcasters. They created a boom among children, and at the same time criticism began — and the word born of that criticism was &amp;ldquo;Japanimation.&amp;rdquo;&lt;/p&gt;</description></item></channel></rss>