Studio Gibbla is one of the most beloved animation study of all time, primary to grow the popularity of Anime in both Japan and internationally. Hayoo Miyazaki and Isao Takahata are responsible for some of Best anime movies ever madeNo matter what metrics you use to evaluate it.

But just as well as popular as their work with Gibbla, the work of Takaha and Miyazaki is just as important. The duo (but especially so far) have already established themselves as legends on their own, with movies and TV shows that disputed what was considered possible at the time. They inspired not only the work of Walt Disney, but also by French animation and the new Soviet landscape. They created something unique that continues to inspire animators (and live directors with action) everywhere. I have already written about some of Pre-ribs work on Miyazaki and how unique is that jobBut there is one particular show that - above all - put Miyazaki and the so -so -like way to the establishment of their respective styles within Gibbla.

That play is "Heidi, a girl in the Alps".

Producing Zuio Eiso (now known as Nippon's animation), "Heidi, Girl of the Alps" is based on "Yohann Spiri's years of wandering and learning" by Johanna Spiri since 1880. Creator "Gundam" Yoshiyuki Tomino (who worked on scripts and stories boards). The show followed Heidi's daily life, an orphan, sent to live in the Alps with her grandfather.

The series recently was the focus of the article by Animation obsessiveWho points out the uniqueness of the anime and how important it is for the future of the careers of Takahata and Miyazaki. Indeed, from the beginning, it was clear that this would be an anime series like no one else. Unlike the previous works of the Takaha and Miyazaki, there will be no fantasy, and even just over-the-top stories in Heidi. This will be a show that was focused on brutally adamant realism. Instead of blinking bright and very noise that was common at the time in TV animation (and is still in many countries), "Heidi, the Alps girl" called on the drama, telling the impressive stories with a focus on tangible realism.

As Miyazaki said in an interview posted on the Blu-ray set for "Heidi, a girl in the Alps", the goal was to create something that "accurately portrayed the foundations of everyday life". This, at the time, was close to unheard of. After all, the animation is fantastic, which this show is gone. According to the obsessive animation, the Takaha initially thought that adaptation was more adapted to live action. However, they pushed and used live techniques to create something new, a show that would force the viewer to pay attention. The wide shots were common, as well as the scenes deprived of dialogue, forcing the empty space and only the action of character.

The result was a monumental success. Not only did "Heidi, the girl in the Alps" a huge hit in Japan, but also internationally in countries like Spain (which had its adaptation of series comics) and the Middle East. Anime is credited with making Japanese tourism in the Swiss Alps popular (when I visited the house that inspired Johanna Spiri's original book near Zurich, it was full of anime goods). In Gibbla's documentary, "The Kingdom of Dreams and Madness", Miyazaki called this show "masterpiece of the Takaha".

Despite how successful and well -made, "Heidi, the Alps girl" also brought unbearable working conditions for her staff. Miyazaki allegedly drew 300 schedule per week, sketching characters, compositions, wallpapers, and even footage cameras. Miyazaki once described that working on the play as a state of emergency as your normal condition. Well, this was not uncommon at the time, but that meant that both Miyazaki and the so -like were growing disappointed with what would make these conditions.

With Heidi's success, the studio began to adapt more and more literary works through its series "World Master -Delo" - eventually adapting works like Les Misrables and Small Women. But that success and the pressure to repeat through other adaptations (such as "3,000 leagues in search of a mother") forced Miyazaki to realize that he longed for fantasies, while Takaha leaned on even more realistic, feeling that Heidi had moved away from that initial plan. The two men, partners for years, began to decompose creatively, as their personal flavors and styles developed with time.

This has led Miyazaki to escape realism with the directing of "Future Boy Conan", anime showing characters who felt tangible and realistic, but in the world of fantasy. However, the Takaha engaged to adapt the "Anna of Green Gales", which he still turned into his least idealized project, a work that advocated full objectivity in his realism.

This is to say, we see the way they both worked within Gibbla in what happened immediately after Heidi. The Love Coat of Takaha to realism and objectivity, as well as Miyazaki's Love, can be seen clearly in The bizarre double feature of the "Grave of the fireflies" and "My neighbor Totoro". This will become their style of signing, as the so -so -so -so -so -called stories (even if it directs the Racun Dog Dog dog using their testicles as parachutes) while Miyazaki went for more fantasy.