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Creator / Nakamura Productions

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Nakamura Production (中村プロダクション; often shortened to simply Nakamura Pro), established in 1974 by former Mushi Productions animator Kazuo Nakamura (now Takigawa) and his brother Akira, is an animation support studio and frequent collaborator for both TMS Entertainment and Sunrise (and shortly after establishment, Toei Animation). For a list of their Anime work, see the Anime News Network.

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See also Wang Film Productions, another Asian studio with a similarly long list of animated projects (albeit for mostly Western productions, rather than Japanese), as well as Bridge and Studio Hercules, companies established by former animators of the studio.


Among Nakamura Pro's credits:

    open/close all folders 
    Western Animation/Foreign productions 
Walt Disney Animation Japan (animation cooperation unless otherwise noted)

For TMS

Other shows

    Anime/video games 
Main

Support; movies

Support; shows/OVAs

Support; games

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Tropes Associated with the company:

  • Animated Adaptation: Kabuto and Dragon Slayer, as well as a hefty chunk of their subcontract credits.
  • Animation Bump: Their work for Sunrise and Disney.
  • Depending on the Artist: More like "Depending on the Animation Director", as the company's animation style during the 1990s differs depending on who was serving as its animation supervisor. With roughly three different eras of Signature Style on display:
    • From the 70s until the mid 1980s, the use of the Toei-styled black shading would be prevalent in many of their key animation efforts (most notably their work on mecha anime). With the drawings themselves looking very three-dimensional, overly detailed and like a typical western comic book in many instances, complete with a Thick-Line Animation look. This, minus the shading, would carry over to some of their cartoon work for TMS.
    • From the mid-80s until the late 1990s, the studio would see new animation directors step up, the most prominent being Hirokazu Hisayuki, who would lead the studio to animate in a far flatter style than before. This would also be adopted by Tetsuya Yanagisawa (who would be the first to use this), and later by Akira Nakamura himself.
    • From the early 1990s to present, Takuro Shinbo would become another animation director, and is currently the studio's lead in that department. While his style is as simple as Hisayuki's, he also incorporates shading to make the characters not look too flat. His style also renders most clothing winkles as simply additional bits of shading, something that has since become commonplace in most modern anime.
    • Ed normally goes noseless in the episodes of Cowboy Bebop they animated, which is prominent in side and front profile views.
  • Humongous Mecha: Aside from a fraction of their support work coming from this genre, a silhouetted one adorns the homepage of their website.
  • How the Mighty Have Fallen: A partial example. While still highly active in the industry (and even seeing a spike in credits after 2002). The prominence they had during the period between 1979 to the mid-late 2000s isn't as strong as it used to benote . Their foreign contracts have similarly slowed to a crawl.
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  • Mushroom Samba: Animated the episode that became the Trope Namer.
  • Off-Model: Being a studio with over 2,000 credits and projects that are often closely animated together, this can be rather unavoidable. Of note:
    • They do share some of the blame for The Return of Jafar, Pocahontas II: Journey to a New World and The Hunchback of Notre Dame II.
    • Not even they were immune to the horrible QC standards of the original Gundam series. While not responsible for most of the show's more... infamous errors. Their episodes still fell into the general trap of dodgy artwork, awkward looking fight scenes and tended to have the mecha and ships (and on occasion, characters) shaded with copious amounts of hatched shading. A trait carried over from their work with Toei at the time.
    • Their work on The Transformers was not much better. Due to the show's rushed production period, their episodes from Season 1 (done with Ashi Productions) could get to the point of AKOM-levels of bad. Especially since the two studios often alternated between scenes, or even shots within scenes. One way to tell which is by which studio is by the line art and the designs, as the scenes done by them often looks far rougher, rounded (particularly on Optimus Prime, Bumblebee and Wheeljack) and overly-detailed (Or alternatively, incredibly flat and mis-happen; Brawn, Megatron, Starscream, and once again Bumblebee, often being the most common examples) than in the ones by Ashi's in-house animators, who stuck more closer to the sheets despite their own quirks and generally featuring much cleaner linework by comparison. Much like Ashi, they would, for the most part, also improve for Season 2.
    • Their episodes of Sailor Moon are a lot flatter than the rest of the series. They would leave partway through the SuperS season thanks to the series' Art Evolution.
    • Brought up by animator Tsuguru Fukuda after Episode 18 of JoJo's Bizarre Adventure was released (of which he was an animator on), where he talked about the show's Limited Animation and stiff artwork.

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