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The Super Robot Wars series, which crosses over various mecha anime across history in the form of turn-based strategy video games, is known for trying to make giant robots look their best. One way in which this is accomplished is through the attack animations, which have become increasingly detailed, dynamic, and beautiful as graphics have improved, such that even the less popular and even less good-looking series of yesteryear appear to have a new lease on life.
However, on a few occasions there will be an attack, even an ultimate attack, that will within the context of the source material be followed by failure or tragedy, and I find it pretty funny to see when the makers of the Super Robot Wars games try to compensate for this in some way. Below are a few examples.
(Spoilers for some series below).
The first comes from King of Braves Gaogaigar Final.
The mighty King J-Der, rival and ally to Gaogaigar, launches its strongest attack, the J-Phoenix. In the OVAs, this attack is unsuccessful in taking down the enemy, but of course you can’t have that happen in the video game. I personally interpret that pause at the end of the attack animation in Super Robot Wars Alpha 3 to be a vestige of that past failure.
The second example comes from Shin Mazinger Shougeki!! Z-Hen (also known as Mazinger Edition Z: The Impact!).
In the final battle, archetypal hero Kabuto Kouji sends a shower of Rocket Punches at Dr. Hell, ending it off with a final blow with a “Big Bang Punch.” However, in the actual anime, while the attack succeeds, the consequences are revealed immediately after to be arguably worse than if Kouji had not defeated Dr. Hell. It turns out that Dr. Hell, while evil, was also trying to prevent an even more evil force from succeeding. While this is acknowledged in the Super Robot Wars Z games through its story, as the games move along you can just keep using the attack mission after mission. The fact that the background doesn’t just suddenly turn red to signal further horrific developments almost feels as if something is missing.
The third comes from Neon Genesis Evangelion.
When the Angel Zeruel appears, it’s the toughest enemy that Ikari Shinji and the other Evangelion pilots have ever faced. At one point Asuka, desperate to prove herself, launches a non-stop artillery volley at the Angel, only for it to prove utterly ineffective. In the anime, this is one of the stepping stones to Asuka’s total breakdown at the end of the series, but in the video from Super Robot Wars MX below shows it being used to defeat opponents with few problems.
As I mentioned, most of the attacks in Super Robot Wars don’t really have this issue, and generally it’s all about celebrating their successes and having fun with characters from multiple series working together. Though, if most of the attacks in Super Robot Wars were to come from failures in the original anime, that might say something about where mecha anime as a genre has gone.
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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)
Gundam Build Fighters Try has made a number of references to fighting styles from other anime, manga, and games, especially towards the end of the series.
In Episode 19, the character Ichinose Junya pulls off a couple of attacks from various fighting styles. This includes a demonstration of boxing, which might look familiar:
This is actually Makunouchi Ippo’s finishing combination from Hajime no Ippo: the Liver Blow, the Gazelle Punch, and the Dempsey Roll.
Next, Junya demonstrates attacks from Ba Ji Quan:
This specific sequence leading into the shoulder tackle is one of Akira’s signature attack strings from the fighting game series Virtua Fighter:
In Episode 20, Kamiki Sekai, one of the central characters of Gundam Build Fighters Try, sends a burst of energy rippling forward by slamming his fist into the ground:
This is a reference to Terry Bogard’s special move, “Power Wave,” which he’s used since the original Fatal Fury and all other games he’s appeared in.
This last one I’m not 100% certain on, but in Episode 23 Junya appears again and confronts Sekai:
I believe it is supposed to be an homage to Fist of the North Star, specifically Souther’s Nanto Hou’ou Ken style:
That’s all I’ve spotted for now. If there are more, then I’ll probably make another post.
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BEST MALE CHARACTER
Iori Sei (Gundam Build Fighters)
Much like last year’s winner, Armin Arlert, Iori Sei is a character whose skills come from forethought, patience, and preparation. Unlike Armin, however, Iori Sei is in fact the protagonist of his own series, reflecting a more general trend as of late where those who would normally be considered side characters are entering the limelight. In this respect, Sei’s talents, designing and building exquisite plastic Gundam models to use in holographic simulated battles, are best seen when his designs are utilized in the hands of his teammate Reiji. His gentle personality both contrasts with and complements his dedication to honing and refining his craft, and while he eventually becomes a skilled “pilot” as well, it feels like a very natural progression. Also, his innocent romance with Kousaka China is adorable.
BEST FEMALE CHARACTER
Kiryuuin Satsuki (Kill la Kill)
The main rival in Studio Trigger’s popular series of 2013-2014, in order to understand Satsuki’s strength as a character it’s necessary to also be aware of the surface impression that Kill la Kill often first creates. The main motif of Kill la Kill is clothing and nudity, and Satsuki herself is no exception as early on in the series she dons her Kamui Junketsu, a sentient battle uniform, and proceeds to fight in an extremely skimpy and revealing outfit. At many points in the series, her body is on full display, and it is portrayed as very sensuous in its own right. However, when thinking of the character Kiryuuin Satsuki, what first comes to mind is not what she’s wearing (or not wearing), but her commanding presence, her ambition, her radiant confience, and ultimately her redemption. One of the strongest moments in the series has to be when Satsuki apologizes, taking a deep bow that humbles her yet also elevates her to even greater heights as a human being of iron-clad will and determination that nevertheless has room for love and compassion.
Andy and Frank (Yowamushi Pedal)
Andy and Frank (pictured left and right) support, advise, and push Hokane Academy’s 1st-year sprinter Izumida Touichirou to strive for victory. Developing their strength throughout his training, one has to wonder where Izumida would be without the help of Andy and Frank; it’s almost impossible to picture him without them. Though they seem quite similar, what’s also remarkable is how each of them have their own unique yet complementary personalities. It’s what makes them such an incredible team.
While there’s nothing that clearly links these characters together (though Andy and Satsuki might have something in common), I found that my choices this year were surprisingly not that difficult. Especially in the case of Satsuki, while there are plenty of great female characters this year, such as Anetai Toyone from Saki: The Nationals, Koizumi Hanayo from Love Live! School Idol Project, or even her fellow Kill la Kill characters, Satsuki’s sheer presence dominated them all in my mind. Perhaps the most notable thing is how different Sei and Satsuki are in terms of personality, and that their paths during their series lead them in what might be called opposite directions. Sei, though talented, learns confidence, while Satsuki learns humility and the value of friendship. At the same time, both remain true to themselves and their convictions.
Gundam: 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.
Tomorrow is the start of New York Comic Con 2014, and I for one am pretty excited. Though I’ve attended NYCC in the past, it’s actually been five years since I was last able to attend, and I’ve heard from people that it’s changed a lot. Heck, people over the past couple of years have been talking about how it rivals San Diego Comic Con now, and that is certainly not the convention I left back in 2009.
I know that at a con this big I won’t be able to do everything I want, but here’s some stuff I’m considering.
Walt Disney Studios Tomorrowland and Walt Disney Animation Studios Big Hero 6. 1-2:30pm, Main Stage 1-D
Comics – What We’ve Lost, What’s Ahead. 2:15-3pm, 1A01
Nickelodeon’s Legend of Korra: Book 4. 5:15-6:15pm, Empire Stage 1-E
“Marry, Do or Kill?” What Will it Take to Shatter Female Stereotypes in Comics? 11:15am-12pm, 1A05
Voltron: A 30th Anniversary Celebration Presented by Perfect Square. 2-2:45pm, 1A21
Weekly Shonen Jump Presents: Takeshi Obata. 5-5:45pm, 1A10
CBLDF: The Battle of New York – Creativity, Censorship & the Comics Code. 6-6:45pm, 1A18
Sunrise Official Panel. 1-1:45pm, 1A21
The Mary Sue Presents – Strong Female Characters: The Women Shining in Geek Media. 1:15-2pm, 1A01 (Conflicts with above)
Vertical Manga 2014. 5:15pm-6pm, 1A14
Kill la Kill Episode 25. 8:15-10pm, 1A06
Image Comics: I is for Inventive. 12-12:45pm, 1A10
Kakehashi Project – New Japanese Animation Talent. 1-1:45pm, 1A21
Kodansha Comics. 2-2:45pm, 1A18
The Mary Sue Presents – All on the Table. 3-3:45pm, 1A21
Just as Marilyn Monroe graced the first issue of Playboy, it’s often somewhat telling who a magazine gets to be their first cover girl. For the anime magazine Newtype which debuted in 1985, it turns out to be Cham, the fairy girl from Aura Battle Dunbine, and I have to wonder what message that sent at the time.
Honestly when I found this out I was pretty surprised. Perhaps I shouldn’t have been given the Newtype -> Gundam -> Sunrise -> Dunbine connection. And yet, of all of the female characters to be the visual centerpiece for a debut, Newtype went for the cute fairy girl as opposed to even, for example, other girls from Dunbine like Marvel Frozen (a prediction of Disney’s eventual purchase of Marvel nearly 30 years later?!). What could it mean, especially because she would be back only a few issues later?
I may not be the best person to speak on this. I never finished Dunbine, and I don’t have any real idea as to how popular Cham was at the time among anime fans. However, whether they were trying to appeal to a fanbase of Cham lovers or trying to push her as the next big thing (though at this point Dunbine had been over for a while), I feel as if Cham’s status as the inaugural spokesmodel of Newtype says something about where anime fandom was in Japan at the time and where it’s gone since.
You often hear about how anime’s changed and the advent of “kawaii” and “moe,” but where did it truly begin if it began in anime at all? Then you look and see that at the very start of this magazine for anime fans from 1985 and see a cute little pixie.