Return to Prince Edward Island: ‘Anne Shirley’ Explores the L.M. Montgomery Classic through a New Anime Lens

This article was written for the
September-October ’25 issue of Animation Magazine (No. 352).

Lucy Maud Montgomery’s Anne of Green Gables books have held a cherished position in the hearts of Japanese readers for nearly 75 years. The initial translation debuted in 1952 as Akage no An, or Red-Haired Anne, quickly becoming a sensation and retaining its popularity. The protagonist of Sosuke Natsukawa’s recent novel The Cat Who Saved the Library is motivated when she realizes the library’s copy of Anne is missing.

Anne Shirley is an orphan mistakenly sent from an asylum to Marilla and Matthew Cuthbert, a sibling duo who run a small farm on Prince Edward Island, Canada. They intended to adopt a boy for help with chores, but ultimately decide to keep Anne, despite their initial hesitations. They soon learn that she is a talkative girl with a vibrant imagination. Anne articulates her emotions in flowery language, gives whimsical names to the local scenery, misadventures comically, and excels academically.

Loved in Japan: ‘Anne Shirley,’ the 2025 adaptation of L.M. Montgomery’s ‘Anne of Green Gables,’ is currently streaming on Crunchyroll.

A Force of Nature

As much of traditional Japanese culture centers on the beauty of nature and its seasonal changes, Anne’s affection for the forests and streams of Canada resonates with Japanese readers. Many young Japanese women have also admired Anne’s ability to express herself freely and make independent choices.

The novel has been adapted into film multiple times, starting with a now-missing 1919 feature featuring Mary Miles Minter. It has also been animated various times, including two adaptations in Japan. Anne of Green Gables (1979), a 50-episode television series, was directed by Isao Takahata in 1979 for Nippon Animation’s World Masterpiece Theater. Takahata condensed the initial six episodes into a 100-minute theatrical release in 1989, which was later re-released in 2010. The series has been made available on YouTube; the DVD/Blu-ray edition of the film is currently unavailable, though viewers with region-free players can locate it on eBay. Sullivan Animation also produced a 26-episode adaptation titled Anne of Green Gables: The Animated Series that aired on PBS in the U.S. and TVOKids in Canada (2001-2002).

Anne Shirley (2025), a new 24-episode adaptation directed by Hiroshi Kawamata and created by The Answer Studio in Tokyo, is currently being simulcast on NHK and Crunchyroll. The two adaptations — Takahata’s and Kawamata’s — provide insights not only into the varying styles of the two directors but also the evolution of the Japanese animation industry over the past three decades.

A significant portion of Takahata’s work celebrates the natural beauty of Japan while offering a poetic portrayal of Anne’s dreams. As she renames a nearby pond to “The Lake of Shining Waters” and envisions a cherry tree covered in flowers as a bride, Takahata decorates the scenes with blossoms, enveloping the characters in nature. The opening scene showcases animation by Hayao Miyazaki, depicting Anne in a carriage that soars through flurries of flower petals. (Miyazaki also contributed layouts and backgrounds for the early episodes before departing to direct The Castle of Cagliostro. The reasons behind his exit have been widely discussed in forums online.)

Kawamata, whose prior projects include Detective Conan: The Quarter of Silence (2011), the 15th Case Closed film, employs both hand-drawn and CG animation to portray a more realistic version of Anne’s surroundings. The backgrounds in Takahata’s approach resemble watercolor paintings that imply depth; Kawamata’s representation of Prince Edward Island feels more three-dimensional.

‘As Takahata and Kawamata illustrate, Anne Shirley’s unique fusion of imagination and resolve resonates with audiences of all ages — whether they aspire to confront an interfering elder or to envision the soul of a blooming tree.’

Although Yoshifumi Kondō, who would later direct the beloved Whisper of the Heart (1995), was the character designer on Takahata’s series, the production clearly operated with a limited budget. There are noticeable issues with the animation and cleanup. The appearances of the human characters sometimes change between scenes, and they often appear disproportionate. The kind Matthew Cuthbert has a blob-like mustache beneath his nose. Over the years, Japanese animators have honed their skills in rendering human characters. In Anne Shirley, the characters are drawn with sharper detail; Matthew’s features and shape are depicted more clearly and accurately, complementing Kawamata’s more realistic interpretation of Anne’s exploits.

In both adaptations, the title character presents difficulties for the animators. Some of Anne’s dialogues extend over several paragraphs, and a significant amount of the conversation in both series is directly extracted from the book. Conveying speech in animation poses challenges. Renowned Disney artist Marc Davis once remarked, “Maleficent just stood there and talked directly to the other characters. That’s extremely challenging to depict.” He compared Maleficent’s approach with that of his next villainess, Cruella de Vil, who “interacted with the other characters, eye to eye, mind to mind.”

Spunky Role Model

Takahata and Kawamata address this challenge by utilizing imagery from Anne’s fantasies and the responses of those around her to diversify the lengthy monologues. The Cuthberts come to cherish Anne swiftly and silently: They frequently find her musings amusing. Their neighbors’ reactions vary from surprise to outrage. The conventions of early 20th-century decorum have lessened, and when Anne chastises Marilla’s self-satisfied friend Rachel Lynde for labeling her skinny, red-haired and ugly, the contemporary audience empathizes with Anne. (Her later apology is a prime example of her characteristic exaggerated expressions.)

Despite significant shifts in children’s literature, Anne of Green Gables, published in 1908, continues to thrive alongside other iconic heroines like Jo March (Little Women), Matilda Wormwood (Matilda), Pippi Longstocking, Nancy Drew, and Hermione Granger (Harry Potter series) — all celebrated for their courage, intelligence, and robust characters.

Anne’s appeal appears set to persist, both in literature and on screen. As Takahata and Kawamata illustrate, her unique blend of creativity and determination resonates with individuals of all ages, whether they wish to confront a nosy elder or envision the essence of a blooming tree.

Anne Shirley debuted in Japan on NHK in April. The series is currently available on Crunchyroll in the U.S.