Studio Colorido - Sarcasm Wiki

Contents

1. Overview
2. Etymology
3. Cultural Impact

Studio Colorido Co., Ltd.

Native name: 株式会社スタジオコロリド Romanized name: Kabushiki-gaisha Sutajio Kororido Company type: Kabushiki gaisha Industry: Animation studio Founded: August 22, 2011; 14 years ago (2011-08-22) Headquarters: Tokyo , Japan

Key people:

Kōji Yamamoto (CEO)
Hideo Uda (CEO)

Number of employees: 106 (As of April 2024) [1] Parent : Twin Engine Divisions :

Studio Colorido Kyoto
Studio Colorido Team Yamahitsuji Website: https://colorido.co.jp/

Studio Colorido Co., Ltd. (Japanese : 株式会社スタジオコロリド, Hepburn : Kabushiki-gaisha Sutajio Kororido) is a distinct Japanese animation studio operating as a subsidiary within the larger corporate framework of Twin Engine . It carves out its niche in an industry perpetually teetering between artistic ambition and commercial viability, attempting to navigate both with a certain, perhaps naive, idealism.

History

The genesis of Studio Colorido can be traced back to 2011, specifically August 22, when it was formally established by producer Hideo Uda. His vision, rather quaint by industry standards, was to cultivate “a place where people involved in anime can continue to work peacefully and to contribute to the further development of Japanese animation culture” [2] [3]. One might scoff at the notion of “peaceful work” in an industry notorious for its demanding schedules and often brutal conditions, but the sentiment, at least, was clear: a dedication to fostering a sustainable environment for creators. This principle suggests an attempt to counter the more exploitative aspects often found in the demanding world of Japanese animation production, aiming for longevity and quality over mere output.

The chosen moniker for the studio, “Colorido,” is derived from Portuguese and Spanish, translating quite literally to “rich in color” or “colorful” [4] [5]. This naming convention isn’t merely aesthetic; it subtly hints at the studio’s artistic aspirations, suggesting a commitment to vibrant visuals and diverse storytelling that transcends the monochrome of purely corporate ambitions. It implies a desire to bring a vivid palette to the often-formulaic landscape of modern anime.

As the years progressed, the fledgling studio, like many entities attempting to survive in a fiercely competitive market, recognized the strategic advantages of consolidation. It subsequently forged a business partnership with the company Twin Engine , eventually becoming a fully integrated subsidiary within its expansive network. This move saw Kōji Yamamoto, the CEO of Twin Engine , assuming the role of co-CEO at Studio Colorido [6]. Such partnerships are not uncommon, providing smaller, artist-driven studios with the crucial financial stability and distribution leverage necessary to compete on a larger stage, often at the cost of some autonomy. A Faustian bargain, perhaps, but a pragmatic one.

A significant milestone in the studio’s trajectory occurred in April 2022, when Studio Colorido secured a multi-year co-production deal with the global streaming giant, Netflix [7]. This agreement signaled a clear intent to expand its reach beyond traditional Japanese theatrical releases, tapping into the vast international audience that platforms like Netflix command. The first fruit of this collaboration, the film Drifting Home , was unveiled in September of the same year [7], showcasing the studio’s capabilities to a worldwide viewership. Following this, the second major production under the agreement, My Oni Girl , premiered in May 2024 [8], further solidifying Studio Colorido’s presence on the global streaming stage. These deals are less about artistic freedom and more about securing consistent funding and guaranteed distribution, a necessary evil in the modern media landscape.

Productions

Studio Colorido’s output showcases a blend of feature-length cinematic experiences, shorter experimental works, and digitally distributed original net animations, reflecting a versatile approach to storytelling within the medium. They seem to understand that variety, or at least a semblance of it, keeps the audience from getting too bored.

Feature films

The studio has carved out a respectable niche in feature-length anime films, demonstrating a commitment to narrative depth and visual spectacle. These films represent their most ambitious projects, often garnering significant attention.

Year	Title	Director(s)	Dur.	Note(s)	Refs.
2018	Penguin Highway	Hiroyasu Ishida	118m	This marked Studio Colorido’s inaugural foray into theatrical feature films. It was an adaptation of the acclaimed sci-fi novel of the same name penned by Tomihiko Morimi , a writer known for his quirky, often surreal narratives. The film itself presented a charming, if peculiar, coming-of-age story infused with fantastical elements, setting a distinctive tone for the studio’s cinematic endeavors.	[9]
2020	A Whisker Away	Junichi Sato , Tomotaka Shibayama	104m	An original work, this film offered a unique blend of romance and fantasy. It gained particular prominence due to its simultaneous release in Japanese theaters and its global debut on Netflix , a distribution strategy that was becoming increasingly common in a world grappling with shifting media consumption habits and, perhaps, a global pandemic.	[10]
2022	Drifting Home	Hiroyasu Ishida	120m	Another original creation, Drifting Home was the first of three films secured under the aforementioned deal with Netflix . It followed a similar distribution model to its predecessor, premiering concurrently in Japanese cinemas and as a worldwide exclusive on the streaming platform, ensuring maximum global reach.	[11]
2024	My Oni Girl	Tomotaka Shibayama	112m	This original film represented the second installment in the multi-picture agreement with Netflix . Like its predecessors, it adopted a dual release strategy, launching simultaneously in Japanese theaters and exclusively on Netflix globally, further cementing the studio’s commitment to international distribution.	[8]

Short films

Beyond their feature-length endeavors, Studio Colorido has also contributed to the landscape of Japanese animation with a series of shorter, often experimental, films. These allow for more focused artistic expression and a quicker turnaround, though one might argue the impact is proportionally diminished.

Year	Title	Director(s)	Dur.	Note(s)	Refs.
2013	Shashinkan	Takashi Nakamura	17m	One of the studio’s early short works, showcasing individual talent and the nascent style of the studio.	[12]
2013	Sonny Boy and Dewdrop Girl	Hiroyasu Ishida	18m	Another early short from 2013, contributing to the studio’s growing portfolio and establishing the visual flair that would become somewhat characteristic.	[12]
2013	Wonder Garden	Yôjirô Arai	4m	A brief piece, demonstrating the studio’s capacity for concise storytelling and visual experimentation even in its infancy.
2014	Paulette’s Chair	Hiroyasu Ishida	3m	An even shorter piece, likely serving as a creative exercise or a demonstration of specific animation techniques.
2015	Typhoon Noruda	Yōjirō Arai	27m	An original work that managed to secure licensing for home media distribution by Sentai Filmworks , indicating a certain level of commercial appeal and recognition beyond its initial release.	[5]
2015	Bubu & Bubulina	Takashi Nakamura	8m	This short was specifically produced for the Japan Animator Expo , a project designed to highlight emerging and established animation talent through brief, innovative works.
2023	Burn the Witch #0.8	Tatsuro Kawano	29m	Based on the popular manga Burn the Witch by Tite Kubo , this animated short was released on Crunchyroll , a platform synonymous with anime streaming, reaching a dedicated fanbase.

Original net animations

The studio has also embraced the format of original net animations (ONAs), specifically tailored for digital distribution platforms. This allows for direct engagement with online audiences, often leveraging established franchises for broader appeal. It’s a pragmatic approach to content delivery in the digital age.

Year	Title	Director(s)	Eps.	Note(s)	Refs.
2014–2019	Fastening Days	Hiroyasu Ishida	12	An original series that found its home on YouTube , a platform that has become an unexpected, yet undeniably effective, hub for serialized animated content, particularly for niche audiences.	[13]
2020	Pokémon: Twilight Wings	Shingo Yamashita	8	This ONA series was based on the globally recognized Pokémon franchise, initially conceived by Satoshi Tajiri . It drew specific inspiration from the 2019 video games Pokémon Sword and Shield , expanding upon their narrative and world. Studio Colorido was responsible for the animation of all episodes except for the second, titled “Training.” The series was released exclusively on YouTube , capitalizing on the immense popularity of the franchise.
2020	Burn the Witch	Tatsuro Kawano	—N/a	This project was presented as a 63-minute ONA film, directly adapting the manga of the same name by Tite Kubo . Its release on Crunchyroll ensured it reached a core demographic of manga and anime enthusiasts who were already familiar with Kubo’s work.	[14]
2021	Pokétoon	Shingo Yamashita, Cédric Hérole	8	Another contribution to the enduring Pokémon franchise, this ONA series saw Studio Colorido animate specific episodes. Shingo Yamashita directed Episode 3, “Blossom’s Dream,” while Cédric Hérole helmed Episode 4, “Wait For Me, Magikarp.” The series was made available on YouTube , continuing the studio’s engagement with the platform for popular intellectual properties.
2021	Star Wars: Visions	Taku Kimura	— • N/a	Studio Colorido contributed to the ambitious Star Wars: Visions anthology, an animated series that reimagined the iconic Star Wars universe, originally created by George Lucas , through the distinct lens of various Japanese animation studios. Specifically, they were responsible for Volume 1, Episode 2: “Tatooine Rhapsody.” This highly anticipated episode was released on Disney+ , showcasing the studio’s ability to interpret and contribute to a globally beloved Western franchise with a unique Japanese aesthetic.