The Discourse of the Sci-Fi Fan Civil War of 1980 as Seen in Anime Magazines Dr. Renato Rivera Rusca Meiji University Abstract anime?” and the search for a harmonious midway point between “SF fans” and “SF The so-called “Anime Boom” period anime fans”, have been recorded, of 1977-1985 coincided with the encapsulatinged the mood of this resurgence of science-fiction in a new skin, pioneering era. a post-pulp incarnation of the genre which The Japanese animation industry has was informed by the latest developments given rise to some unique “genres” – or in theoretical and applied astrophysics as perhaps, better phrased, “motifs” or well as hypothetical social dilemmas that “frameworks” – which continue to this day, would ensue as a result of the realization as a result of certain commercial factors of these possible futures. In the midst of pertaining to business models and this, anime as a medium was coming of production processes put into place during age and as it began to prove to be the 1960s. conducive for visualizations of these new imagined worlds, a clash in media Introduction ideologies began to form between certain groups of anime fans and science-fiction To set the scene for the discourse that aficionados. continued through the late 1970s into the Much of this controversy hinged on the early 1980s, some details need to be laid approach towards 1979’s seminal robot out to form a foundation upon which we anime series, Mobile Suit Gundam, with its may begin our analysis. unconventional balance between toy Firstly, it took around 15 years (1963- sponsor requisites and sci-fi/hypothetical 1977/78) for animation to be recognized as science elements. Essentially, its a viable subject to base magazines on, as legitimacy as a SF work became a matter the consumers “came of age”. Previously- of dispute, leading to heated arguments mandated sponsor requisites became about whether SF anime can really exist. quintessential anime tropes: robots, The phenomenon was well magical girls, etc. The original generation documented in various outlets, but this of anime fans created the market for anime paper will focus on the discourse that magazines from a grassroots movement – developed in 1980-1981 among the pages publishers and editors at the time were of a of the more otaku-centric publications different generation and had little such as Animec and Out, where debates knowledge of the subject. Fans between major sci-fi writers, anime (viewers/readers), writers, creators, all production staff and fans, mostly centering worked in tandem with one another during on the problematic question, “What is SF this 1977-1985 “Anime Boom” period – The Phoenix Papers, Vol. 3, No. 1, August 2017 314 formulating “critique” of the art form. least limiting, the “maturity” of the show’s From 1982 to 1983, the robot anime series tone. The Super Dimension Fortress Macross epitomized the culmination of the Defining Genres – Robots and Magical grassroots movement – fans making their Girls own anime. Following this, towards the end of the “anime boom”, was a spike in The “genres” in question are that of the otaku subculture which challenged “Robot Anime” and “Magical Girl” anime. business models and resulted in a wide Robot Anime can entail any series or divergence between the mainstream and movie that features a robot, but is normally otaku culture (unlike with manga – due to reserved for giant, battling robots. the difference in generations), as well as Meanwhile, anime series which feature between the sponsors and the creators young girls with special powers are (Rivera Rusca 2016: pp. 62-64). classified under the Magical Girl Anime The divergence is easy to illustrate if category. we look at the performance of the series As explained elsewhere, the evolution which have strong, decades-long, of these genres has been a result of a supportive otaku fanbases; we can combination of various factors, with immediately make out a pattern. influences ranging from American television comedy Bewitched for the 1974: Space Cruiser Yamato: Cancelled Magical Girl side of the equation, while Revived as a movie Sequels Thunderbirds and the tokusatsu genre of Major franchise (new movie in 2015) live-action special effects Japanese movies 1979: Mobile Suit Gundam: Cancelled and series played a major role in dressing Revived as a movie Trilogy the aesthetics of Robot Anime, while also Sequels Major franchise (new series in dovetailing with the economic growth of 2015) Japan and its developing toy technology. 1982: Super Dimension Fortress It has already been seen how, a decade Macross: Truncated Extended in, towards the end of the 1970s, certain Major franchise (new series in 2016) creative groups struggled with restrictive 1982: Fairy Princess Minky Momo: requisites, while at the same time taking Faced cancellation Extended sort of advantage of them as catalysts to further major franchise… (musical in 2012) creativity within narratives and products. This all points to a coming-of-age of the In summary, the demands of the end- industry and of the viewership, and is an users were for more mature story-telling, indication that the old business models while the old model of toy manufacturers would have to shift considerably. As a providing the production funding was still result, we saw a booming period of in place, therefore toy-friendly designs – animation fandom culture, from around robots and/or magical girl sticks and 1977/78 to 1985, and it gave rise to the pendants – needed to be included in the OVA (Original Animation Video) show, and play an important part in the movement, precisely targeting the “anime narrative, effectively undermining, or at fan” consumer. The Phoenix Papers, Vol. 3, No. 1, August 2017 315 What this boils down to, is that at some lists, were shown on a large screen in a point, (precisely around 1985) the old corner of the convention hall. business model of toy companies being the Firstly, the use of the terms “Idol main sponsors of anime, having created anime” and “Mecha anime” are intriguing, the aforementioned requisites, began to because while perhaps “mecha anime” can drop off, and in theory the true animation be considered a more savvy, and therefore fans were freed from the shackles of less generally common (in terms of non- having to feature giant robots or magical fan-circle usage) term for “Robot Anime” girl transformations to enjoy an engaging which still gets the point across, it is in my story with fully fleshed-out characters. view open for debate precisely what “Idol However, by this point, that fan culture Anime” means, and whether or not it is had actually come to expect and demand, synonymous with “Magical Girl Anime.” rather, robots and magical girls in their This discrepancy becomes telling when we animated entertainment, whether there see the actual contents of the list. were toys to sell or not. We may surmise that modern “Idol Modern anime continues these (now Anime” consists of titles such as Ai-katsu, fully established) traditions. Recent years, LoveLive!, IdolM@ster, AKB0048, and however, there have been many mixing of such, since they appear, at least on the genres and motifs, causing some infighting surface, to follow the current notions of amongst the fandoms, particularly what makes up an idol act within Japanese prominent within those franchises that society – that is, a singing young girl or span decades and therefore have groups of young girls whose down-to-earth experienced these changes first-hand. personalities often make up for a lack of In January, 2015, an article on the onstage talent (compared to other types of Japanese website “Goo Ranking” showed musical acts) in approachability and create some surprising results from their poll on a resonance and close relationship with the best “Idol Anime” series of all time. audience members, who often act as The top position was held by science- “supporters”, rather than mere passive fiction space opera robot anime, The Super listeners. Dimension Fortress Macross, beating out However, the Anime Japan list starts even the legendary magical girl anime with Sasurai no Taiyou (Wandering Sun, Creamy Mami, and more modern 1971, directed by Yoshiyuki Tomino, who powerhouses, IdolM@ster, AKB0048 and would later direct the revolutionary Mobile LoveLive! (Goo Ranking, 2015). How can Suit Gundam) being described as the we explain this? “origin of ‘Idol Anime’”. If we listen to At the annual industry event Anime the opening narration, we hear the phrase, Japan 2015, held on 22 March 2015, a “She aims to be a singer (歌手)”. This chart tracing the evolution of this anime seems out of place, because there is a lineage using two parallel progressions – notable distinction in Japanese society “Mecha Anime” and “Idol Anime” – was between “singers” and “idols”, despite the assembled and displayed, in both English fact that idols do also sing. It should also and Japanese, and several full episodes, be noted that the main character here is serving as representative picks from these based on famous real-life singer- The Phoenix Papers, Vol. 3, No. 1, August 2017 316 songwriter Keiko Fuji, whose daughter an infection known as the Var Syndrome Hikaru Utada is now an international that makes people deadly violent has superstar, and neither of them can rightly spread across the galaxy and a special idol be considered “idols”. group has been formed to use the power of The list continues with many magical song as a deterrent to quell this illness. The girl shows but eventually as we follow the singers fly into battle with giant mid-1980s through to the 1990s, transforming robots acting as their support increasingly some discrepancies begin to fighters. In the original 1982 series, the arise, namely the placement of science- robots are designed to fight giant fiction works such as Megazone 23, humanoid aliens who, it turns out, can be Macross Plus, Defense Force defeated by inducing a culture shock Hummingbird, and Key the Metal Idol, to through everyday aspects of human culture name but a few.