# Science Saru (サイエンスSARU)
**Science Saru** (サイエンスSARU) is a Japanese animation studio in Musashino, Tokyo, founded on 4 February 2013 by director [Masaaki Yuasa](https://www.edgepedia.org/masaaki-yuasa) (湯浅政明) and producer Eunyoung Choi (チェ・ウニョン), known for a fluid, digitally driven animation style in works such as *Ping Pong the Animation*, *DEVILMAN crybaby*, and *DAN DA DAN*.[1](https://sciencesaru.com/about) • [2](https://www.bunka.go.jp/j-mediaarts/en/animation/FeaturingStudios/SCIENCE-SARU.html) Since June 2024 it has been a wholly owned subsidiary of the film company Toho.[3](https://kitaishihon.s3.isk01.sakurastorage.jp/IrLibrary/9602_securities_2024_ae80.pdf)
| Key fact | Detail |
|---|---|
| Founded | 4 February 2013; trade name 株式会社サイエンスSARU; current representative Masaki Fujita (藤田雅規)[1](https://sciencesaru.com/about) |
| Location and size | Musashino, Tokyo; 73 employees as of October 2026; capital 2 million yen[1](https://sciencesaru.com/about) • [3](https://kitaishihon.s3.isk01.sakurastorage.jp/IrLibrary/9602_securities_2024_ae80.pdf) |
| Founders | Director Masaaki Yuasa and producer Eunyoung Choi, who had collaborated on *Kaiba* (2008) and *The Tatami Galaxy* (2010)[2](https://www.bunka.go.jp/j-mediaarts/en/animation/FeaturingStudios/SCIENCE-SARU.html) |
| Signature technique | Flash-based digital animation, described by Yuasa as like cutout animation, assembling and deforming drawn parts[4](https://lp.p.pia.jp/article/lifestory/212899/216119/index.html?detail=true&page=1) |
| Breakthrough year | 2017: *Lu Over the Wall* won the Annecy Cristal for a feature film, and *The Night Is Short, Walk On Girl* won the Grand Prize for Best Animated Feature at Ottawa[2](https://www.bunka.go.jp/j-mediaarts/en/animation/FeaturingStudios/SCIENCE-SARU.html) |
| Corporate status | Toho decided to acquire all shares on 23 May 2024; Toho's company history records the subsidiary completion in June 2024[5](https://www.fse.or.jp/files/lis_tkj/24052396020.pdf) • [6](https://www.toho.co.jp/company/history/) |
| Recent slate | *THE GHOST IN THE SHELL* and *Jaadugar: A Witch in Mongolia* (both from July 2026), *DAN DA DAN* Season 3 (2027)[7](https://finance-frontend-pc-dist.west.edge.storage-yahoo.jp/disclosure/20260414/20260407599769.pdf) |
## Founding and early work
Choi, who studied fine art in South Korea and animation in London, came to Japan as an animator and worked with Yuasa on many projects, including *Kaiba* (2008) and *The Tatami Galaxy* (2010); this partnership led the two to establish Science SARU in Tokyo in 2013.[2](https://www.bunka.go.jp/j-mediaarts/en/animation/FeaturingStudios/SCIENCE-SARU.html)
**A digital pipeline from the start.** Because Yuasa's work, notably *Mind Game* (2004), was already well recognized among animation professionals abroad, foreign staff took part in the studio from its founding, and Flash-based animation, a method not previously established in Japan, became its trademark.[2](https://www.bunka.go.jp/j-mediaarts/en/animation/FeaturingStudios/SCIENCE-SARU.html) • [8](https://mediag.bunka.go.jp/article/article-13017/) Yuasa has described the Flash technique as akin to cutout animation: a basic eye outline is drawn once, then its pupil, lashes, and highlights are made as separate linked parts that are scaled, distorted for perspective, and moved together so a single drawing appears to animate.[4](https://lp.p.pia.jp/article/lifestory/212899/216119/index.html?detail=true&page=1)
The studio's first official production under its own name was the *Adventure Time* episode "Food Chain" (2014), with Yuasa as director, writer, and storyboard artist and Choi as co-director; the episode was nominated for the 42nd [Annie Awards](https://www.edgepedia.org/annie-awards).[2](https://www.bunka.go.jp/j-mediaarts/en/animation/FeaturingStudios/SCIENCE-SARU.html) The same year, the newborn studio provided digital animation for Yuasa's *Ping Pong the Animation*, produced at Tatsunoko Production; its digital vector pipeline supported dynamic split-screen layouts, rapid camera zooms, and expressive distortion of figures.[9](https://www.lifehaki.com/studios/science-saru)
## The Yuasa era, 2017 to 2020
**The 2017 breakthrough.** In a single year the studio released two theatrical features directed by Yuasa. *[Lu Over the Wall](https://www.edgepedia.org/lu-over-the-wall)* (夜明け告げるルーのうた) won the Cristal du long métrage at the Annecy International Animation Film Festival, and *The Night Is Short, Walk On Girl* ([夜は短し歩けよ乙女](https://www.edgepedia.org/night-is-short-walk-on-girl)) won the Grand Prize for Best Animated Feature at the Ottawa International Animation Festival.[2](https://www.bunka.go.jp/j-mediaarts/en/animation/FeaturingStudios/SCIENCE-SARU.html) The Adobe profile of the studio records that the *Lu Over the Wall* team produced a full-length feature film in less than 16 months using trailblazing new animation techniques.[10](https://blog.adobe.com/en/publish/2020/05/21/how-science-saru-animation-studio-is-redefining-the-japanese-animation-industry)
The studio then became known for sophisticated series for young adults with mature themes, such as *DEVILMAN crybaby* (2018), which combined mature, well-written stories with Yuasa's loose linework and emphasis on freeform movement.[2](https://www.bunka.go.jp/j-mediaarts/en/animation/FeaturingStudios/SCIENCE-SARU.html) Its catalog from this period also includes *[Ride Your Wave](https://www.edgepedia.org/ride-your-wave)*, *Keep Your Hands Off Eizouken*, and *Japan Sinks 2020*.[11](https://gkids.com/2020/08/17/eunyoung-choi-the-animation-process-of-ride-your-wave/)
## Diversification and the Toho era
After the Yuasa-centered years the studio diversified, using in-house talent and outside directors and moving between original stories and ambitious collaborations, a shift that industry commentary describes as emerging from a star creator's shadow.[12](https://www.awn.com/animationworld/dan-da-dan-and-magnificent-science-saru) Director Naoko Yamada, known for *Liz and the Blue Bird* and *The Heike Story*, directed *[The Colors Within](https://www.edgepedia.org/the-colors-within)* (きみの色, 2024), which won the Golden Goblet Award for Best Animation Feature at the 26th Shanghai International Film Festival and screened in the Annecy 2024 feature competition.[12](https://www.awn.com/animationworld/dan-da-dan-and-magnificent-science-saru) • [1](https://sciencesaru.com/about) Other productions include *The Heike Story* (2022), *Inu-Oh* (2022), *The Tatami Time Machine Blues* (2022), and the Netflix series *Scott Pilgrim Takes Off* (2023).[13](https://sciencesaru.wixsite.com/sciencesaru/works)
In May 2024 Toho announced its decision to acquire all shares of Science SARU and make it a subsidiary, citing its corporate strategy of building animation as a growth area alongside IP, digital, and overseas operations; Toho's company history records the subsidiary completion in June 2024.[5](https://www.fse.or.jp/files/lis_tkj/24052396020.pdf) • [6](https://www.toho.co.jp/company/history/) Toho's securities report lists Science SARU as a 100 percent-owned subsidiary with capital of 2 million yen, producing films that Toho distributes, with seven executives seconded between the companies.[3](https://kitaishihon.s3.isk01.sakurastorage.jp/IrLibrary/9602_securities_2024_ae80.pdf) Eunyoung Choi stepped down as representative in 2025, and Masaki Fujita now serves as representative; producer Kohei Sakita, who joined the studio in 2015, leads the production division as a director.[1](https://sciencesaru.com/about) • [14](https://wired.jp/article/science-saru-interview-1-kohei-sakita/)
**DAN DA DAN and current projects.** *DAN DA DAN* (ダンダダン), whose first season aired in 2024 and second in 2025, became the studio's largest recent hit; it was nominated for the [53rd Annie Awards](https://www.edgepedia.org/53rd-annie-awards) television directing category, won Best Character Design, Best Opening, and Best Anime Song at the [Crunchyroll Anime Awards](https://www.edgepedia.org/crunchyroll-anime-awards) 2025, and took the Japan Anime Trend Grand Prize and the opening animation award at ABEMA's 2024 awards.[1](https://sciencesaru.com/about) A third season was announced for 2027.[15](https://sciencesaru.com/)
For 2026 the studio released two large series in the same month: *THE GHOST IN THE SHELL* (攻殻機動隊 THE GHOST IN THE SHELL), the directing debut of Toma Kimura (Mokochan), and *Jaadugar: A Witch in Mongolia* (天幕のジャードゥーガル), directed by Abel Gongora with Naoko Yamada as chief director.[7](https://finance-frontend-pc-dist.west.edge.storage-yahoo.jp/disclosure/20260414/20260407599769.pdf) • [14](https://wired.jp/article/science-saru-interview-1-kohei-sakita/) At the 2026 Annecy festival Kimura stated that zero generative AI was used on the project, a decision made before generative AI became prevalent, and producer Kohei Sakita said, "The feeling of something drawn by a person is the whole appeal of animation to me."[16](https://www.gamesradar.com/entertainment/anime-shows/the-ghost-in-the-shell-director-confirms-no-genai-was-used-in-the-remake/)
## Production style
The studio's identity rests on a digital pipeline that keeps the personality of hand-drawn animation. In an interview with Anime Superhero News, co-founder Choi described the use of digital animation techniques in Flash to create visually dynamic moments that would have been difficult, if not impossible, with traditional hand-drawn methods, with *Ping Pong the Animation* as an example.[17](https://animesuperhero.com/interview-science-saru-co-founder-producer-and-animator-eunyoung-choi/) Commentary on the studio notes that its productions reject rigid character-model adherence common in commercial anime, instead embracing morphing shapes, watercolor-like textures, and unorthodox storyboarding; digital tools let artists smear, stretch, and deform figures in service of emotion.[18](https://www.animepapa.com/article/exploring-the-rise-of-independent-animation-studios-in-the-anime-industry) The Adobe profile records that the studio's Adobe software allows collaboration with traditional animation colleagues, combining the classic and cutting-edge aspects of animation production.[10](https://blog.adobe.com/en/publish/2020/05/21/how-science-saru-animation-studio-is-redefining-the-japanese-animation-industry)
## References
1. [会社概要 - サイエンスSARU (official company profile)](https://sciencesaru.com/about)
2. [Science SARU, Featuring Studios, JMAF Overseas Promotion, Agency for Cultural Affairs](https://www.bunka.go.jp/j-mediaarts/en/animation/FeaturingStudios/SCIENCE-SARU.html)
3. [Toho securities report, subsidiary listing for 株式会社サイエンスSARU](https://kitaishihon.s3.isk01.sakurastorage.jp/IrLibrary/9602_securities_2024_ae80.pdf)
4. [湯浅政明 挑戦から学んだこと（第7回）, ぴあ映画](https://lp.p.pia.jp/article/lifestory/212899/216119/index.html?detail=true&page=1)
5. [株式会社サイエンスSARUの株式取得（子会社化）に関するお知らせ, 東宝株式会社, 23 May 2024](https://www.fse.or.jp/files/lis_tkj/24052396020.pdf)
6. [沿革, 東宝株式会社](https://www.toho.co.jp/company/history/)
7. [決算説明資料, TOHO (Science SARU lineup)](https://finance-frontend-pc-dist.west.edge.storage-yahoo.jp/disclosure/20260414/20260407599769.pdf)
8. [ノルシュテイン作品との出会いが生んだ、新しいアニメーション史観 土居伸彰インタビュー, メディア芸術カレントコンテンツ](https://mediag.bunka.go.jp/article/article-13017/)
9. [Science SARU - Anime Studio, LifeHaki](https://www.lifehaki.com/studios/science-saru)
10. [How Science SARU Animation Studio is Redefining the Japanese Animation Industry, Adobe Blog](https://blog.adobe.com/en/publish/2020/05/21/how-science-saru-animation-studio-is-redefining-the-japanese-animation-industry)
11. [Eunyoung Choi: The Animation Process of "Ride Your Wave", GKIDS Films](https://gkids.com/2020/08/17/eunyoung-choi-the-animation-process-of-ride-your-wave/)
12. ['Dan Da Dan' and the Magnificent Science SARU, Animation World Network](https://www.awn.com/animationworld/dan-da-dan-and-magnificent-science-saru)
13. [サイエンスSARU WORKS list](https://sciencesaru.wixsite.com/sciencesaru/works)
14. [尖ったまま、届ける──サイエンスSARU取締役・崎田康平が語るスタジオの現在地, WIRED.jp](https://wired.jp/article/science-saru-interview-1-kohei-sakita/)
15. [サイエンスSARU official site](https://sciencesaru.com/)
16. [The Ghost in the Shell director confirms no GenAI was used in the remake, GamesRadar](https://www.gamesradar.com/entertainment/anime-shows/the-ghost-in-the-shell-director-confirms-no-genai-was-used-in-the-remake/)
17. [Interview: Science SARU Co-Founder, Producer and Animator Eunyoung Choi, Anime Superhero News](https://animesuperhero.com/interview-science-saru-co-founder-producer-and-animator-eunyoung-choi/)
18. [Exploring the Rise of Independent Animation Studios in the Anime Industry, Anime Papa](https://www.animepapa.com/article/exploring-the-rise-of-independent-animation-studios-in-the-anime-industry)
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*Topic: Encyclopedia › Arts and culture › Screen and stage › Film and television › Screen production organizations › Animation studios › Individual animation studios › Japanese animation studios*
*Initially written Sep 17, 2026 · Reviewed: Sep 18, 2026; Oct 25, 2026 · Edited: Sep 18, 2026; Oct 25, 2026 · Last review: Oct 25, 2026*
*Copyright 2026 EdgeChat AI, a subsidiary of Biostate AI.*
License: Edgepedia Community License 1.0, https://www.edgepedia.org/edgepedia/license