You are currently browsing the category archive for the ‘giant robots’ category.


I was recently on PatzPrime’s Space Opera Satellite podcast to recap and review the highlights of Otakon from the mecha fan’s perspective. Joining us were also Tom Aznable, Hazukari, and Ashe Blitzen.

Have a listen

This is an interview with director Takamatsu Shinji from Otakon 2015. Takamatsu as worked on many anime including Gundam X, the Brave (Yuusha) series

First question. Most Gundam series had romance but didn’t have it as a strong focus. Gundam X is a series that put the romance at the very forefront, and it was in some ways the main focus. Why was this decision made for this series?

It’ll be a long story!

I wanted to make something that was Gundam but not Gundam. One rule of Gundam X was to get out of Gundam and to be meta about Gundam, to do things that were not like “Gundam.

Before that, about a decade prior, you worked on Z Gundam and Gundam ZZ. What was your director Tomino Yoshiyuki, and how would compare his style to yours?

Well, I did grow up watching Gundam myself, and by the time I started to work at Sunrise Mr. Tomino was in the position of being a great director, so it was a scary prospect working with Tomino.

During Z Gundam I was production management, so I reported directly to him, and I was scolded by him every single day. There were days when I was scared about everything.

Romi Park is also at this event, and she gave a similar description of Tomino that is not inaccurate compared to yours.

However, Ms. Park worked with Mr. Tomino much later than I did, and if you look at Mr. Tomino at the time of Z Gundam, he really was off the wall.

You’re also very well known for your work on the Brave series, and you worked on many of them. What was the main reason you returned to the Brave series for so many years?

The first director of the Brave series, Yatabe [Katsuyoshi], brought me onto production for the show, and I worked on a little bit of Gundam in between. So, there was a hiatus for me, but otherwise I started from beginning to end for the entire series. And I got my debut as a director from the Brave series, so I am very much fond of the Brave series.

Might Gaine was my debut as a director, so I am particularly fond of it.

In that case, I have an interesting question to follow up with.

The Brave series is known for being very toy and merchandise-heavy but also having good storytelling, as well as in some cases the staff resisting the merchandising aspects of the Brave series. Two famous examples I know are a hidden cel in Goldran which sarcastically talks about it’s supposed to be a robot that’s easy to make into toys, and how Might Gaine’s ending is a criticism of the toy industry.

What were your and the staff’s feelings at the time, and how did the toy companies such as Takara react?

That’s a very deep and vexing question!

So when I was getting started with Might Gaine, I was told that there’s just supposed to be good and bad, and all I had to do was to have toys that featured good guys and bad guys who would just battle. The staff really felt we need to show some kind of resistance, and that that wouldn’t just be the end of the show. And by staff, I mean myself.

You did not work extensively on Gaogaigar, but I have to ask this question. Do you have any details you can share as to why Project Z never got off the ground?

That I don’t know about!

That’s okay! Moving on, another similar series you worked on was Chousoku Henkei Gyrozetter, which was based on an arcade game. How would you compare working on Gyrozetter vs. working on the Brave series?

Gyrozetter was based on a video game, so while the look and feel of the show may be similar to a giant robot show, production of the show was otherwise completely different.

Unlike previous shows, the robots came from video games, so it wasn’t really needed as a tangible object, and I thought we could have done more with that.

I did grow up watching toy merchandise-based shows and I did think about what if the robot were a toy, but that wasn’t reflected in the show. That would be my regret. I talked about the resistance to merchandising intent of the toy companies for your earlier question but I actually love toys.

Last question. In regards to Cute High Earth Defense Club Love!, people have talked a lot over the years about the idea of a magical boy series. Whenever anyone brings up magical girls, someone asks, what about magical girls? What was the motivation behind finally putting that into reality?

The producer pitched it to me, and I thought, wouldn’t it be fun to work on something no one’s ever done before? And it turned out to be fun. (laughs)

Thank you!

Thank you.

After a five year hiatus due mostly to not be in the United States, I am making my triumphant return to AnimeNext in Somerset, NJ from June 12-14. I also have two panels I’ll be running alongside the Reverse Thieves’ Alain.

Precure Party

Friday 2:15pm -3:15pm BW Panel 6

We’ll be talking about the crazy enormous Precure franchise that’s now 11 years old and even more popular than Sailor Moon ever was in Japan. Whether you’ve never heard of Precure or you’re a die-hard fan, we think you’ll have a great time seeing magical girls punch monsters in the face.


Giant Robot Romance: Boy Meets Girl Meets Mecha

Sunday 11:15-12:15pm BW Panel 6

Love triangles and star-crossed lovers are a common trope of giant robot anime, but this panel focuses on the series where romance is of central importance to the story. See how love has evolved over time in the world of mecha. We’ll be featuring shows such as Macross, Aquarion, and more!


Also, I’ll definitely be at this panel if you want to chat in person


Kill la Kill, Inferno Cop, and [Redacted] with Studio TRIGGER

Saturday 9pm-11pm Panel 1


See you there! I hope we can all sing the Inferno Cop theme together. Also, if you’re cosplaying Fight Club Mako, I’ll give you a high-five.

A new Super Robot Wars game is coming to the Nintendo 3DS, and at this point people know the drill. A bunch of old favorites come back, a few new series make their debut, and because it’s not on a “main” system they can be a little more daring with their choices in terms of which new anime to bring along.

Returning Series

-Aura Battler Dunbine
-Story of Aura Battler Dunbine
-Zettai Muteki Raijin-Oh
-King of Braves Gaogaigar
-Mobile Suit Gundam Unicorn
-Mobile Suit Gundam 00 the Movie
-Macross Frontier Movies
-Shin Mazinger (Mazinger Edition Z: The Impact!)
-Mazinkaiser SKL
-Martian Successor Nadesico

New Series

-Panzer World Galient
-SD Gundam Gaiden
-Mobile Suit Gundam AGE
-Giant Gorg
-Macross 30

While the new series at a glance might not seem that unusual, I think a second look actually brings home how bizarre the newcomers are. In some cases, it’s because they lend themselves well to the crossover nature of Super Robot Wars. Panzer World Galient and Giant Gorg are two series fans probably thought would never join SRW, yet it’s odd that this would be the case because both of their settings involve disparate levels of technology and a greater dedication to an almost more philosophical sense of science fiction that potentially lets them connect various generations together. Gundam AGE is at this point one of the black sheep of the Gundam franchise, yet its generational story can be the glue that holds similar yet different series together (Shin Mazinger and Mazinkaiser SKL, for example).

On a personal note, I’m looking forward to hearing the instrumental version of the Galient opening.


Then you have SD Gundam Gaiden, and I think to appreciate its inclusion we have to go back to the beginnings of Super Robot Wars.


In the early iterations of SRW, the Gundam units took their designs and aesthetics from the popular SD Gundam franchise. This meant mobile suits looked extra cutesy, with large expressive eyes that future pupils. As SRW progressed this changed: pupils disappeared, robots became not quite as squat, and the old-fashioned SD look became a relic of the past. By having a series that actively celebrates that more cartoonish look, it’s almost like a piece of SRW history is returning. It’s all the more notable then that the Unicorn Gundam from Gundam UC is probably the least chibi-looking Gundam in SRW history; its proportions are practically realistic.

Screen Shot 2015-05-22 at 11.00.20 PM

As for Macross, that franchise is fairly common in Super Robot Wars, but Macross 30 is actually a Playstation 3 game devoted to celebrating the Macross metaseries as a whole. So, in a game dedicated to bringing together multiple giant robot anime, one of their inclusions is a video game all about celebrating decades of one series in particular. Does this mean that all of the Macross characters across history will show up, or is the intention more to focus on the original characters of Macross 30?

So, while it’s not as wild as throwing in Jushin Liger or Iron Leaguer, Super Robot Wars BX might have just enough twists to the formula to make things interesting.

If you liked this post, consider becoming a sponsor of Ogiue Maniax through Patreon. You can get rewards for higher pledges, including a chance to request topics for the blog.


Once more I’ve joined up with mecha fan and toy collector Veef to review a Satelight anime. This time we’re talking about M3: The Dark Metal, a show which presents the combination of Sato Jun’ichi as director (Sailor Moon, Ojamajo Doremi, Kaleidostar) and Okada Mari as writer (Lupin III: The Woman Called Mine Fujiko, Aquarion EVOL, Anohana). It’s an interesting show with some…mixed results.


Raraiya_mondayGundam: Reconguista in G continues to be the kind of whirlwind experience that I love in a Tomino anime. Part of that feeling comes from the show’s tendency to throw around a lot of terms without explanation that everyone but the viewer understands, only to gradually peel back the layers over time. Among these many terms are clear references to the Universal Century timeline of the original Mobile Suit Gundam that Tomino directed back in 1979, and I’ve noticed that there are a couple that relate strongly to the character Lalah Sun from that first series.

The first and most prominent reference is the G-Reco character Raraiya Monday. Not only does she have dark skin like Lalah and appear to exhibit some connection to the G-Self, the “Gundam in everything but name” of the series, but characters will sometimes even refer to her as “Rara,” which sounds mostly similar to Lalah in Japanese (ララ vs.  ララァ). When looking at their last names as well, a connection forms: Lalah Sune -> Lalah Sunday -> Rara Monday -> Raraiya Monday.

The second reference comes from one of the terms being tossed around by characters that has yet to be seen: The blueprint of the “Rose of Hermes.” In Japanese, Hermes is pronounced “Erumesu” (エルメス), which is the exact same pronunciation as Lalah Sune’s Mobile Armor, the “Elmeth.”

(By the way, I learned about the pronunciation thing from watching Densha Otoko, which has as an important object in its story, Hermes-brand tea cups.)

What does this all mean? While I don’t know if these are thematic references or actual plot points, if I were to assume the latter it would mean a few things. First, Raraiya is probably a Newtype (maybe even a Cyber Newtype given her personality?), and the reason nobody is aware of this possibility is because the concept of Newtypes has been buried with time (we also see the protagonist Bellri have occasional Newtype-like flashes). Second, the blueprint of the “Rose of Hermes” might actually refer to design documents for the Elmeth’s bits. If that were the case, whoever joins Raraiya with the Rose of Hermes would gain a powerful weapon, which would also connect to the criticism of militarization that is a central plot point in Reconguista in G.


One of the talking points of the new anime Gundam: Reconguista in G, related to the fact that it’s the return of Gundam creator Tomino Yoshiyuki in a directorial role, is that the dances performed by the characters in the eyecatches were choreographed by, of all people, Tomino’s youngest daughter Yukio. According to Japanese Wikipedia, Tomino Yukio is a modern dance choreographer living in the Netherlands, and as it turns out, some of her performances are available on YouTube.

Be warned, these videos contain some nudity.

I’m not really into dance, so I can’t comment in depth on the performances or the choreography, but I find it interesting that both of his children went into the performing arts (his oldest daughter Akari is a theater director in Japan). Obviously I have no idea about their family but I do feel that Tomino’s own work in anime reflects a kind of performative spirit in itself (his dialogue often sounds like it comes from a musical or play), and I wonder if this has influenced his children in any way.


One of the anime I looked forward to most this past season was Aldnoah.Zero. Although from the beginning it feels heavily derived from many other popular and classic mecha anime, it increasingly reveals itself as a series that can stand on its own merits. Akin to a patchwork quilt, Aldnoah.Zero takes all of these influences and merges them into something that is also remarkably fresh and new.

The story in Aldnoah.Zero focuses on the effects of a lopsided war between the Earth and the extremely powerful space empire known as Vers. Having been resoundingly outgunned in their previous conflict due to the power of the Vers’ giant robots, the Earth has seen an uneasy peace for many years. However, an attempt to bridge the two sides ends in disaster, which leads the planet back into a battle it likely cannot win.

At first glance, Aldnoah.Zero looks like it comes from the Code Geass school of cool teens fighting political battles, yet it also has clear influence from Gundam. Which Gundam though? Its basic Earth vs. Space Colonies plot and its “ship on the run” ongoing storyline resemble the original Mobile Suit Gundam. The way each of the factions in the enemy Vers forces treat the Earth like a battlefield to assert the pride of their respective clans is more reminiscent of Mobile Fighter G Gundam and the literal use of the Earth as a ring for different nations to battle it out. Then there’s the princess-in-disguise plot thread, which evokes the events of Turn A Gundam. On top of all of this, while he looks less muscular, the character Inaho’s logical nature, reticent personality, calm under pressure and his decision to consistently use what amounts to a generic no-frills mecha calls to mind Chirico Cuvie, the hero from Armored Trooper Votoms. In certain ways, it’s a strange mishmash that typically only works in something like the Super Robot Wars games where the “rules” of cohesiveness can be bent liberally, but Aldnoah.Zero manages to pull it off gracefully.

This is probably most apparent in how Aldnoah.Zero handles mecha battles. Given an opponent with vastly superior technology, the rag-tag Earth forces that we follow have to rely on wit and ingenuity, while also taking advantage of the fact that the Vers soldiers tend to be a little too overconfident in their weaponry. The battles are one of the highlights of the series, and what makes them interesting and consistently both fun to watch and intellectually stimulating is the fact that the gap is so large that it more or less feels like the “real robots” of the Earth vs. the “super robots” of Vers, and seeing just how Inaho dissects the opponents’ mecha. Usually sides are either individual robot vs. monster (Mazinger Z), military vs military (Mobile Suit Gundam), dominant real robot mowing down enemy forces until the enemy comes up with something equal (Gundam W), or super-powered equals, which makes what Aldnoah.Zero does remarkably rare, if not outright unheard of.

The series even goes out of its way to make sure this technological and aesthetic contrast is there for the viewer to see in every battle. The mecha designs of the Orbital Knights look fanciful and tend to incorporate more fantastic weaponry such as rocket punches, beam swords, and powerful energy barriers, while the Earth forces use mostly ammunition. Even the one moment when the series could have given Inaho his own protagonist-level prototype weapon gets subverted, as he decides to remain in his mass-produced grunt machine.

Of course, not everyone will care about the quality of the robot action, but the story itself looks to be holding up well. Aldnoah.Zero has a lot of narrative elements that, again, feel as if they’re hitting notes from past anime, but for the most part they drew me deeper into their world rather than making me question how everything fits together. Of particular note is the character Slaine, a Terran on the side of the Vers forces who is caught in the middle, and who may be the real main character rather than Inaho. That said, the first season just finished recently, and we are left at what is clearly a turning point. It’s difficult to judge how the story will turn out in the end, as these kinds of series can often crash and burn from the changes they decide to make the second time around, but for now I’m looking forward to what comes next.

Captain Earth centers around an alien force attacking humanity known as the Planetary Gears, who see humans and their “libidos” as a food source. The main character is Manatsu Daichi, who, as a child, befriends a boy and a girl and is thus set on a strange path that ends with him becoming the pilot of a giant space defense robot known as the “Earth Engine.” At the same time that he defends the Earth with his friends, he must deal with the fact that there is another faction on Earth that believes that the only way to save humanity is to create an Ark to save the best of the best, and who are willing to get in “Captain Earth’s” way to do so.

When I watched the first episode of Captain Earth, I felt that the show had to be somehow related to the anime Star Driver, a previous work from the same studio, BONES. Like Star Driver, “libido” is presented as some kind of important power or energy source. The enemy mecha, known as Kiltgangs, bring to mind many  of the “Cybodies” from Star Driver as well, not only in terms of design but also in their pilots’ very “spirited” (read: erotic) reactions. Mysterious songs herald the arrival of an enemy. In the end, it turns out that these allusions remain only as such and that there were no direct narrative connections between these two works, but I do still find it valuable to compare them because Captain Earth more or less feels like a more conventional, less wild re-telling of Star Driver.

Above: Enemy mecha from Captain Earth, Below: Enemy mecha from Star Driver

Whereas Star Driver has a main character whose sense of justice has him appear out of a rift in space like some kind of giant interdimensional Zorro, Daichi in Captain Earth is mainly inspired to do good by the example of his deceased father, and undergoes an elaborate combination sequence that has him launching into multiple space stations. While quiet scenes in Star Driver are set on a mysterious island and battles take place in an enigmatic pocket outside of time and space, fights in Captain Earth uses Tanegashima (home of JAXA in reality), and its most signature fights take place in orbit around the Earth. One thrives on symbols and mystery and is akin to being a giant metal Utena, while the other plays out more closely to a typical super robot anime, yet they share many of the same strengths and flaws as shows. Both shows have vibrant and expressive characters, a consistent sense of mystery about the enemy that gradually reveals itself, and beautiful animation especially focused around dynamic action sequences. However, they also share unusual plot reveals that are strangely abrupt, as well as changes of heart in characters that basically make sense but could be better if they were focused on more. Both stories feel liable to fall apart in a structural sense, but are held together by the dynamism and energy of their characters, for better or for worse.

How does this manifest in Captain Earth in particular? There are two points that stick out to me. The first is the fact that the Planetary Gears have an intriguing inverse relationship with their robots, in the sense that they are basically giant robots who take on the guise of their “human” pilots rather than the other way around. This is quite a unique idea, but it never gets explored as much as I would have preferred. The second point comes in the last episode, when Daichi is back to basics, fighting the enemy with just the Earth Engine and no additional weapons or frills. It’s something that happens at the end in a lot of giant robot anime such as Gurren-Lagann or Gaogaigar, but when Daichi calls out the Earth Engine’s attacks, I realized I didn’t actually remember any of them, because the story couldn’t quite ever focus on the main robot as this symbol of good and make its attacks memorable. What makes the scene a partial success instead is the fact that we are there with Daichi as he grows into the role of “Captain Earth,” and his romantic relationship with the character Hana.

Actually, when I think about it further, Captain Earth doesn’t feel like simply a different, less surreal version of Star Driver, but more the lovechild of Star Driver and another BONES work, Heroman. The Earth Engine basically looks like an upgraded version of Heroman with its red, white, and blue color scheme and its overall “physique,” while Daichi’s personality is right in between Takuto from Star Driver and Joey Jones from Heroman. What’s even more notable, however, is the fact that many of the other high and low points of Captain Earth that it does not share with Star Driver can be found in Heroman. In particular, when Captain Earth is focused on its main story, it has a sense of urgency and excitement, but often it ends up meandering in a way that is less irritating and more puzzling: “Why put this diversion here of all places? It’s not even humor to break up a serious moment?” With Heroman it’s the long number of episodes they spend dealing with that mad scientist villain, and with Captain Earth it’s the time they spend on Earth chasing down unawakened Planetary Gears. While the latter makes more sense, it just feels as if it comes at an unusual point in the overall story.

While its aesthetics don’t have quite the flash and razzmatazz of anime like Utena or Kill la Kill or indeed Star Driver, the show’s more by-the-books approach to looking good enhances the series and its viewability by giving care to both its characters and its mechanical designs. At the same time, I can easily see why someone looking for a cohesive narrative above all else would find Captain Earth infuriating, even if I did consistently enjoy and look forward to the series. I wouldn’t say it’s a show that you shouldn’t think about too much, but that you should think about it while well aware of where the characters and their emotions fill in the gaps that might not otherwise make much sense.

Most of the fights in the mecha anime Aldnoah.Zero follow a roughly similar pattern: In a reversal of the typical structure of giant robot combat, a technologically superior and seemingly invincible enemy is overcome by the tactics and ingenuity of the protagonist Inaho and his allies without the need of secret prototype weapons or trump cards. What I think makes these battles and the opponents’ eventual defeats work really well both narratively and thematically is that their downfall is usually based on them being blinded by arrogance.

One might argue that this is unrealistic, or more specifically that an opponent with such an edge in terms of firepower would likely not have overlooked some of the weaknesses that end up being exploited by Inaho. However, given the culture of the Vers Empire, the feudalistic space culture that attacks the Earth, I find that it makes a lot of sense. The subjects of the Vers Empire, especially their “Orbital Knights,” have been raised to believe that they are inherently better than people from Earth, and that this superiority derives from their discovery and use of a powerful technology called the “Aldnoah Drive.” While from our perspective it’s easy to point out that the “inherent” superiority of the Vers is anything but because it derives from an outside source in the Aldnoah Drive, actually history has shown that similar reasoning, as strangely illogical as it can seem, has often been used to justify similar mindsets or even forms of racism.

Consider the hypothetical example of a nation of people who believe they are simply better than their neighbors because they were born on land that was more arable. Although one could easily say that this is just a matter of luck or probability to an extent, it wouldn’t seem that strange for them to believe that they were somehow blessed by God or some other great power, and that they deserve this blessing on some fundamental level. It’s circular reasoning to be sure, but that doesn’t necessarily stop anyone from believing it.

Thus, the Orbital Knights believe that they are inherently superior in every way over the Terrans, therefore they receive the more powerful technology, therefore they are inherently superior in every way over the Terrans. They buy so much into not only the idea that the people of Earth are too stupid to figure anything out, but that they actually have no Achilles’ heels to exploit in the first place. With nothing to challenge them and without even acknowledging that they may have overlooked something in their robots (or “Kataphrakts” as Aldnoah.Zero calls them), potentially preventable defeats are addressed too late.

Interested in Supporting Ogiue Maniax?


Got anything to say?



Get every new post delivered to your Inbox.

Join 1,899 other followers

%d bloggers like this: