Yoshiyuki Kaneko=YOSHIKO

Yoshiyuki Kaneko=YOSHIKO

: Graduated from Tokyo Polytechnic Univ,
learning under the great Taku Furukawa, the Japanese Animation Guru
: Started working in WAO WORLD as production assistant and direction assistant,
working on numerous theater animation
: Expanded the area of directing to TV animations, thus creating his own animation
: Currently expands his production and creation to
Game Machine projects and key projects of the company
: The next new challenge for Yoshiko is coaching young producers,
and introducing digital drawing technology for the cell animation industry.
The starting of this original animation CHUYA-DEN will create and make a new step toward animations never seen before.
With vast experience in production and the passion to create totally new animation,
he is looking for people who would support his dream.


I am Yoshiyuki Kaneko (YOSHIKO), the founder, and the director of this “CHUYA-DEN”project
I am currently creating animation in Japan.
What you see now of Japanese animation is something made toward
a very narrow audience of animation and the majority turns out be “boring”. What I am aiming for is something that the Japanese creators themselves
want to create and to do so; we have to break down barriers.
The initial step of doing so is creating the original animation of “CHUYA-DEN”
This will be my first direction besides previous independent films,
and would like to create an ANIME which everybody would love to see
Needing to be famous to create something is a myth, and there is always a way.
If we cannot find a way, we can create our own way. Everybody is waiting for somebody to do it,
but it may be difficult to do it alone. What choice do we have?
I have decided, with the help of everyone, to break the barriers myself.
If one person acts, others will follow one by one. Since I started my campaign to create
“CHUYA-DEN”, many people have raised their hands to help me.
This is the only reason why I can continue what I am doing today.
And I am asking you to be a part of this.
When “CHUYADEN” is created, I believe the movement will create another movement,
and thus all will move toward a better future.
Part of the budget for “CHUYA-DEN” has been acquired and the creation has begun.
If we continue, it will be a great film. BUT we are still short on budget to finish this film.
The missing budget will be sourced through CROWD FUNDING. For cloud funding,
we need everybody’s support. With everybody’s support,
the project will come back to life and word will spread about this project.
I ask every one of you to cheer and support this project which I am introducing to you
in the following pages…

  • Column

  • Cartoon

  • 【Greetings , Introduction】
  • 1st
  • 2nd
  • 3rd
  • 4th
  • 5th
  • 6th
  • 7th
  • 8th

【Greetings , Introduction】

Finally, it is in the open!
Facebook page for Original Animation Project 【CHUYA-DEN】
I am the founder, creator and the director, Yoshiyuki Kaneko =YOSHIKO.
For our supporters, I will be releasing some info about the on-going project from the shallow to the deepest part, so keep watching!
As the opening column, here I explain the contents of the story and the project.
■The story
【CHUYA-DEN】~To regain the missing sun~
24min-30min X 4 episodes original Animation
■The first goal of the "CHUYA-DEN PROJECT"
Collecting fund to finalize Episode 1 of CHUYA-DEN
■Future goal for the CHUYA-DEN PROJECT
Complete all 4 episodes of CHUYA-DEN
Continue to create new future projects
→Making creator led animation projects come true!
→Creating animation projects which the fans want!
→Revitalizing the animation industry!
■Goal for the Facebook
Creating a lively forum for our supporters, boosters and fans
■Future goal for YOSHIKO
Creating original work and directing a long animation film.
Some other on-going work will be shared little by little on facebook.
I want to continue this project with everyone and make it a success.
Please give us your support to our original animation, CHUYA-DEN!


Collumn 1st

【YOSHIKO’s “What now?” 】1st

■My thoughts and the worries of making an Animation Project come true■
Hi. This is YOSHIKO
YOSHIKO’s “What now?” is full of stuff which you may hear from Yoshiko if you were to go out and drink with him.
It may be personal thoughts, images or just plain rubbish so it is not all official story info or legitimate release.
In the project note of the Original Animation CHUYA-DEN, there are some words in one of the pages.
"(reality is) There is such a limited opportunity for people to create an animation project which we want the world to see, and which is original to Japan.
This is a project to overcome such reality”
That is the “CHUYA-DEN” project
I am going to explain to you roughly what this is all about.
To create an animation project, I have always had some worries.
Naming a few.... In the current Japanese Anime industry, the common formula is...
“The demand to acquire money” = “Sell products to some of the Japanese fans”,
If you want to create an animation, it must fit into this formula.
Creating an animation requires a lot of money.
Which means, "to plan and make an animation", the basic rule is "it has to be something that will make money (with no excuse)"
Which results to...
Use either a hit novel or comic as the original script, and then it can become an animation project. ⇒ Project to Creation
(This process is the so-called “A work becoming Animated! ”)
This process of "project to creation" is the up-most concrete and logical flow for any Animation to be born.
“Original script being famous or a bestseller” guarantees that this animation is marked as "up to date and trendy", plus already having a number of core fans of the original script as supporters , it makes this a less risky project and no need to worry about acquiring new fans.
In other words, in the current industry, creating an original animation without a famous script means super hard to make it come to life.
This ends up with the potential original animation creators to think “Hey, we need to make the novel or the comic into a bestseller, and then we can make the animation”
(or win some kind of awards. That may not be enough, but that is another story and would be explained some other time)
There aren't many cases in which popular cartoonists/novelists become famous animation creators.
The only few which comes to mind are Kon Satoshi and Katsuhiro Otomo ......
Well, not very all.
This means "people who wants to create their own novels or comics" and "people who want to make animations"are
usually two different people
I had my love with animations more than comics, so I am totally the latter.
In the distant past, I actually was the former (laugh)
“I want to be like Hayao Miyazaki” sounds like something out of the blue , but for me, this direction is more similar to what I am aiming for. (←going strong here)
As many of you know, one way to collect money to create an animation work is the “production partnership”.
To plan, create and collect funds, the fastest way is to place yourself on the partnership side (the side which give the money out), but at the same time, this makes it really difficult for you to become one of the front line staff to create the animation. On the other hand, if I were to bring this project from the front line and organize a production partnership,
I would have to be a famous company and have vast power to reign over famous creators and great producers
Moreover, if I were to just declare that “I shall become an animation creator, join a production partnership, run my project through, become a director and create an original animation"(YEAH!) …
I probably wouldn't be a human, but a living legend.
Then.... what now?
Continue to the next episode!


Collumn 2nd

【YOSHIKO’s “What now?” 】2nd

■What passage I have gone through for my goal■
Hello, this is YOSHIKO
「My thoughts and the worries of making an Animation Project come true」 ?continued- How do people who wants to create their original animation make a project come to life?
Creating an original animation and receiving an award was not so easy when I looked into the “taste” of my work. So, instead of becoming an animation artist, I decided to join a company where they actually make their own original animation, work my way up making a new original project, and turning it into my own project.
That is how I joined the my current animation production company, WAO WORLD
Selecting this path had different reasons. I needed a job for a reason (This shall be explained some other time), and of course this job, so called “Animator” is mostly on incentive payment system, but I needed to stable my income to become free.
Another reason was, if I become the one who does the actual line work, I could not spare any time for planning the project.
So I decided to become the creative and directing assistant on TV, OVA, theater and game projects in-house, while continue to plan for the original animation.
Other than that, I did some prequel animation projects for the series and uploaded it on the web (still ongoing)
【Oni Majo Gassen】
Even so, planning for an original animation itself was quite difficult, and no matter how we cook a project, establish a funding route, as long as it does not give profit to the company, the internal staff was not willing to participate. (←I probably would think the same way )
So and so, 8 years have passed and now I am becoming 30. For now I have become a reliable asset to the company and job position is more on the management side. I believed it was time to go on with the original animation project.
The question came down to which project is going to be my starting point.
Now, there was an original animation movie which WAO WORLD made and released in summer of 2014.
YOKAI Spochan Battle
When the project of the movie was established, the original script of “SPOCHAN YOUMAJIN”existed ,but there was a chance to introduce my original plot as an original animation project. The story script born at the time became the base for the CHUYA-DEN
My project didn't come to life at that time, but when I looked at the plot once again, the scheme of “DAY =good” “Night = evil” was easy to visualize.
With “YOKAI” and “CHANBARA-sword fight” as a base, the dynamic story and the dramatic outcome was HOT!
Moreover, the plot itself was still in the flexible stage where much more change could be done based on the direction of the project.
All is decided! I want to make this into an animation!
Then.... what now?
Continue to the next episode!


Collumn 3rd

【YOSHIKO’s “What now?” 】3rd

■LCD tablet made creating animations so much easier■
Hello, this is Yoshiko
「What passage I have gone through for my goal」 ?continued-
Before selecting the CHUYA-DEN project, a tool which may come handy to create animation was updated to a level where it can actually used for work , was a big factor for me to start up the project.
The name of the tool : “WACOM’s LCD tablet” Around April of 2013, one of the in-house director started using this tool in his own work, and when I had a chance to touch it...
"Hey, wow, I can draw with this!"
…was what happened, and I went straight to Yodobashi electronic store to buy one. This tool enables one person to complete a drawn animation on the digital platform and truly simplify the process to actual creation.
“Oni-Majo Gassen ED type movie “ (fully digital created test animation)
“With this, it won’t take so long to make a short animation by myself”
..was my thought and made a promotion movie for CHUYA-DEN using digital drawing on my own.
That is how the draft movie of CHUYA-DEN which was released the other day was created. Apart from doing my regular work, the movie came to reality in about 2months and a half
Doing the storyboard, drawing, background, finishing, camera, editing and BGM selection all by myself was still so much time saving compared to before.
(Somehow the voice dubbing and etc took quite some time and had to wait half a year) So, something of a level in which I can actually show to other people (and not be embarrassed) was created.
Now this didn't mean the project had started, or had some budget or anything had advanced big time.
I had to gather some members to create the CHUYA-DEN project, and have the company permit me to start this whole project. What did I do? I created the “digital drawing team”
Many of you many think the animation you seen on TV is all made on a computer screen,but the reality is, majority of Animation pictures (drawings) are still done on pencil and paper.
This is due to the structure of the animation where tons of drawing is needed, minute sectionalism on each process exists , difference in each working environment, and how much money each company can afford….
These reasons pile up to make it hard for animation work to be difficult to transit into full digital.
Although, in the field of gaming,
…among those who can do drawing or direction of drawing animation, the need for digital work ability has risen pretty high
Even in my company around 2012, the transition attempt was done but since there was no one to lead the team…
…the plan itself died out without much progress
But now, maybe…maybe I can do something about it?
So, to go forward with the transition of digitizing, I had raised my hand to tell the company that I would lead the team
I started out with digitizing the animators.
Unfortunately animators were not familiar with computers itself, and were not able to draw at the same speed as on hand in the first place.
On the other hand, their money making regular work could not be sacrificed on the deadline or the quality
just because they had to try out this digital transition.
Again what I had in mind was…
“What if I use this CHUYA-DEN drawing as a practice material for this transition phase?”
This will make a legitimate reason for the company to have a formula of “Creation of original animation” x “Training of Digital drawings”, and would give some reasoning
Although drawings are only one part of creating animation.
There are much more process and work I have to ask not only internally, but also to external companies and people.
To do this, I needed some budget
Then.... what now?
Continue to the next episode!
The renewed parts of the character design from the final cut of the draft movie was made later on
as a sample, and I was in charge or story board, background and camera, while the drawing, motion picture and finishing
was done by my fellow team members.
This was all done with out paper from finished start in digital.
We had tested some cuts in wide pan frames which is very difficult to do on paper.


Collumn 4th

【YOSHIKO’s “What now?” 】4th

■It takes soooooo much money to make an animation ■
Hello, this is Yoshiko
「LCD tablet made creating animations so much easier」 ?continued-
Now, before the story about asking outside companies for help, I’m going to talk about how much it costs to make 1 episode of a 30 minute
CHUYA-DEN will cost.
It’s a story about money!
When making one in a normal process, the cost for the total of Pre-Production, Production and Post-Production will roughly total…
“20 million yen”
When I say this, it would depend on the person but from people not in this industry would say
“How in the world could it cost 20 million yen?”
But seriously, just imagine…
Animation is a motion picture connecting tons of drawings together.
How long does it take you to draw a nice and neat picture?
Even with different speed, taste and how much details you put in,
There is no way you can draw 10 pages per hour!
Let me see you do it! (Is what rookie directors are told by veteran animators.)
In 1 episode of a 30 minute TV animation, the drawing of only the character (the so-called “cell”) shows nearly 3000 to 4500 pages. Really.
Plus the draft drawing and the background and many many more!
It adds up way more than 10,000 pages! (yikes!)
As I have told you before, most animations use pencil and paper (seriously)
Even if I use PCs to draw this, computers are neither works as an accelerator nor a magic machine ( Waoooh)
Animations cannot be made in a wiz.
No matter how we do it, it needs people, time and money. (ha!)
And, have you ever heard the front-line staff are underpaid? (this, is no laughing matter)
To make animations, you need more than drawings
Planning, original story
Producer, lead director, Setting director, production assistant
Director, storyboard, direction
Story editor, script writer
Character designer, plot designer
Art Director, art setting coordinator, background
General Animation Director, Animation Director, animators, motion picture coordinator, motion picture inspectors
Color scheme coordinator, color setting, finishing, finishing inspection, visual effects,
Director of photography, photographers
Director of CG, CG creators
Editor, Video Editor
Director of audiography, audiography assistant, special effects, voice actors, managers
I hope that is all. The order and the category may not be so correct
Just looking at the job titles which have something to do with the base lists up like this.
Next time, please check out the staff roll of a TV animation.
I’m sure you will notice how much people are involved.
It all ends up to how much (or so much) people and money are needed to make an animation! Human costs! Human costs!
Without it, not only can we not create animation, but we cannot make a living!
Then..”what now?”
Continue to the next episode!


Collumn 5th

【YOSHIKO’s “What now?” 】5th

■What in the world is Crowd Funding?■
Hello, this is YOSHIKO
「It takes soooooo much money to make an animation」 ?continued-
I had talked to you about how making animation costs money, and of course the amount
would change depending on how much or how the work is created,
“This CHUYA-DEN will of course need some money, especially payment to outside companies”
No doubt, the biggest obstacle is getting the money…..and how to get it
Here, I remembered something.
The budget for“Little witch academia 2 (draft)” was to be sourced by the crowdfunding site, “Kick Starter!”
Reached the target of 15million yen in 6hours! “Crowd Funding” and “kickstarter”. Something which is becoming popular.
Oh my, oh my
And, what the heck is this?
“Crowd Funding”
For numerous projects, acquiring money and support mainly from the general public.. Usually via internet.
“Kick Starter”
Service site mainly for the Northern America population to introduce a way to acquire money through crowd funding.
Ok, ok. Let me check it out more.
Some of the middle sized films being created after acquiring budget through kickstarter are
Kick-Heart (production IG) by Masaaki Yuasa
Little Witch Academia 2 (draft) (Trigger) Sequel to the one created by AnimeMirai
Santa Company (Kenji Studio) Work by my beloved Kenji Itoso!/page_splash
Under the Dog: This was a project I found later, but one that collected 100million yen
…hmm…cannot find so many.
Examples of private projects or making an English version DVD can be found more
This may have some different reasons.
:Crowd Funding is not so popular in Japan yet
:There is no base of appealing overseas
:There is no method to appeal overseas
:General Asian population do not spend so much money on animation itself
:Very difficult to narrow down the target
:The method of listing on a crowd funding sounds difficult
:Language (English) problem.
:it just seems so hard
Based on help from others, applying for Kickstarter seems pretty difficult and it seems like applying from Japan needs a company in between to do the papers.
And all the paper work is in English..
Doing the crowd-funding needs a lot of manpower to run it, and the popularity of the original work and staff receives recognition and becomes a winning factor as well
Some useful way to use crowd-funding was.....
The level of demand, marketing before the creation on targeting
Low cost, low risk pre promotion strategy
Receiving core fans
The feeling of unification and development with the fans on executing the project
National and international promotion and approach
…are few things which came to mind
This means before the project starts or in the early stages, we have to do marketing research on the value of the project , do promotions, gather fund, and based on that, if we're able to find the value or meaning of developing this project, then this crowdfunding is surely a useful tool to approach
So it the labor work and the English barrier could be solved, crowd-funding was something of worth trying for CHUYA-DEN
To create the original animation, we had to try everything we can
Then...“What now?”
Continue to the next episode!


Collumn 6th

【YOSHIKO’s “What now?” 】6th

■Support CHUYA-DEN and get limited edition goods??■
Hello, this is Yoshiko
「What in the world is Crowd Funding? 」?continued-
I’m sure you have a slight idea that we are thinking of working with Kickstarter for international crowd funding,
But I also have few of the domestic crowd funding in mind as well.
Even though the popularity of crowd funding has risen in Japan , it hasn't become so big in size and popularity, making you still think the sure way to collect money here for a project is saving money by yourself.
So, even though my thought of using crowd funding is for international and domestic, I haven’t come to the conclusion on how to proceed with this crowd funding process in parallel with the ongoing CHUYA-DEN project.
The crowd funding I am going to do on CHUYA-DEN is called the “reward based funding”
For a support of 1,000yen, you get an illustration data with a common message
6,000yen support gets you a DVD & Blu-ray
30,000yen support gets you an art book with original spin off cartoon.
So, instead of a donation and not receiving anything, it is a method you get something in return based on the money you pitch in.
This means you get to reserve something you can only get on crowd funding, and once the fund reaches the target amount,
with the fund we can make the work come to life!
(This is called "support "in crowd funding terms)
For animations, the target is finishing the motion picture, and the =the prize, so creation of the work is mandatory.
This meaning, even if either the international or the domestic crowd funding reaches the target, if for some reason the work could not be finished, the return to the supporters will become very difficult…
How to come to terms on this issue is yet to be decided.
The answer for this issue may not easily come out, but we have to solve each step and hopefully I can come back to you on this later on.
It may take some time, but your patience is appreciated!
Now, just starting up a crowd funding project will not guarantee any money to start coming in.
We have to start by having as many people as possible to know about this project, and be interested and become supporters….
When each of these steps are not realized, a fresh start crowd funding does not lead to success.
There is also a restriction in crowd funding where the message toward asking for support is limited to a certain amount of time.
For example, a 30 day limit is set to ask for support right after the crowd funding starts.
With all these restrictions , the following may be an ideal schedule for our crowd funding.
Starting up! Reaching 35% of target money
Increasing gradually and spreading supporters and listening to their request. Reaching 50% of target
Getting ready for an event to boost the supporters. Gradually increasing. Reaching 60% of target
Holding an event and one last boost! 90% of target
Let’s see some Kamikaze. Reaching 100%
Once the amount exceeds the target, perhaps more contents may be added to the work? According to the predecessors,
“How much “heat” the project (popularity, level of interest, feeling of event, how “in” it is) has , and getting off on a good start seems to be important.
In the process of collecting the money for this original animation, the “HEAT”of the project is the key.
Then...“What now?”
Continue to the next episode!


Collumn 7th

【YOSHIKO’s “What now?” 】7th

■The closer the people , the more important they are■
Hello, this is YOSHIKO
「Support CHUYA-DEN and get limited edition goods??」?continued
In the process up until now, I have gotten a wonderful team to make CHUYA-DEN
Members of the digital drawings,
Managers of different divisions of the company who gives advice on the project
Members who have nothing to do with animation in daily life
Colleagues who give their spare time to this project
One thing I had told each member on making this animation
"There are people who create famous work, touching people’s heart, whatever the size of the work ,
  and succeed in creating great animation work.
I admire who they are, and what they have accomplished.
I came into this industry hoping to become like one of them.
In these great films, at the end appears the name of the people who were involved in the
creation as a staff role. It is an honor to them. It enhances their love and motivation for them.
I have heard there are people who became to hate the animation because of their involvement in it.
We don’t know who and how they were involved, and it may have been different if other members of the team could have notice the sign…
This gives me tears.
You hear these stories more than often when you are in this industry, and it is nothing special.
I myself found this familiar because I was in the middle of starting a new team.
With different people involved, these things happen not only to animation studios.
Whatever you create, only in an ideal world does everyone stay happy, proud and be confident with their work
Animation itself moves emotion, so people behind it may be pretty sensitive people as well
All this said, I still want people involved in my project to enjoy their involvement. It could even be after the project is finished when they think it was worth participating
If members near me or people I can see do not think that way, this project would be useless.
Money is what we need for all staff to make a living, and to achieve something.
I personally cannot raise and pass on that much money.
That is why I have to pass on something else to everyone.
If the aim is to make people enjoy, I want to start out by making people
around me enjoy
I want to create something with a team which everybody enjoys creating it."
That is what I tell them.
And since I have a team to make this possible , the project of original animation has progressed
to the stage of "heating it up"
Then...“What now?”
Continue to the next episode!


Collumn 8th

【YOSHIKO’s “What now?” 】8th

■Production assistant; a low ranked leader?■
Hello, this is YOSHIKO
「The closer the people , the more important they are」-continued-
How do we keep an original animation “hot”?
I tell this to my production subordinates.
Even if it is not a job you can do by yourself, if you ask someone and make it happen, you are considered to have done the work.
I have my own theory on the job called “production assistant”
“Production assistant” is a role a rookie would be in charge of, and the rank of this role is thought to be one of the lowest. But in the creation of animation, this “production assistant” looks over the whole process, balances the schedule, adjust the amount of work and make decisions and directions in each phase. So it takes care of the whole process and management.
This is normally the role of a leader.
Production assistant would usually have a senior or a superior, but they may not always be beside them. So this calls for fast and precise decision making.
Having this job done by a rookie is quite absurd if you look it in one way.
In the production of animation, the biggest target is “finishing the animation”.
“Schedule” and “quality” comes along with this target.
While in the process of reaching this target, many problems occur and those problems become the new targets to conquer.
To solve these targets, the important thing is to reach an answer within different conditions, at the right moment and ask people and have people do tasks.
Not “ Reaching targets on their own” but “Reaching targets by involving others”
So the main ability of the production assistant is how much they can “have others do tasks”.
How much power of others can be generated to become your power and enhancing it, is the key.
It may sound like something grandeur, but looking from the point of view of someone who has subordinates, most jobs are based on this.
This is the so-called “connection between people” and “connection being important” And for me…
I may not be categorized as someone who has communication disorder, but I myself am not very good in this area.
When I talk to someone I do not know so much, I cannot make a friendly conversation, and trying too much to do so
makes me more tired than necessary.(ugh)
But with all this, I have lived for 30years now and I understand how important it is to teach my subordinates on
how important connection with other people is.
That will link with the existence of the team and maintaining it.
When I was talking about this, one suggestion came out from a team member.
That was:
CHUYA-DEN project’s founder & creator, Yoshiyuki Kaneko's (YOSHIKO) supporters boosting project.
Explaining this easily :Having my acquaintances, friends and mentors to support me, and / or introduce me to people who will support my movement and to spread the words and make a connection chart.
Oh, I see. I should ask everyone to support me!
Then, the heat of this project may be recognized!
That is…
Pretty embarrassing...
Then...“What now?”
Continue to the next episode!


  • 1st -high school ver-
  • 2nd -high school ver-
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  • 4th -high school ver-
  • 5th -high school ver-
  • 6th -high school ver-
  • On the Next Episode -college ver-
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  • 18th -college ver-
  • On the Next Episode -working society ver-