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The Discourse of the Sci-Fi Fan Civil War of 1980 as Seen in 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 which The Japanese industry has was informed by the latest developments rise to some unique “” – 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 . 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 out to form a foundation upon which we anime series, Mobile Suit , 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: , 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 -centric publications different generation and had little such as Animec and Out, where debates knowledge of the subject. Fans between sci-fi writers, anime (viewers/readers), writers, creators, all production staff and fans, mostly centering worked in tandem with 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 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 “” 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 – due to reserved for , 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 for the 1974: Space Cruiser Yamato: Cancelled Magical Girl side of the equation, while  Revived as a movie  Sequels  Thunderbirds and the genre of Major franchise (new movie in 2015) live-action special effects Japanese movies 1979: : 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) 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: 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 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.

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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 “ 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 , 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 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 , 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 , Defense Force defeated by inducing a culture shock Hummingbird, and , to through everyday aspects of human culture name but a few. Here I am referring to the such as a song or a kiss, so the aspect of an prominence of “mecha” and “robots” in idol singing as an effective military these works, which one may think would strategy was a twist discovery not made in be better suited to the other list running the story until near the halfway point, and parallel to this one, that of “Mecha Anime”. only employed fully in the latter half of the The Macross franchise is the most series. problematic of all of these, since the In other words, the key difference is original 1982 series The Super Dimension how prominent the idol aspects are in the Fortress Macross (1982-83) is in the show. The original Macross series is a “Mecha Anime” section, described as “A product of a time where humanoid robots masterpiece robot action in the history of are a requisite for a boys’ series to get on its evolvement” (sic), while sequels the air as the sponsor is invariably a toy Macross Plus (1994-95) and Macross company whose sales depend on Frontier (2008) are in the “Idol Anime” increasingly complex robot designs. category, and (1994-95) is Modern anime, produced through a nowhere to be seen. “production committee” chip-in style This leads in to the controversy, approach, do not need to adhere to such inasmuch as it can be considered so within strict requisites, and so instead, can afford internet fandom, which surrounds the latest to lay its emphasis on other factors. installment in the long-running property, But the – mostly online – complaints Macross Delta (2016), currently airing at from “fans” go even beyond simple the time of this writing. denouncement of the alleged over- The phrase, “This isn’t Macross!” or emphasis on idol culture – they lament the variations thereof, can be found in online perceived “magical girl” aspects of the forums and comment sections and social series, comparing it to and media platforms in Japanese, English, . This appears to be mostly Spanish and many other languages. Some caused by the first episode’s introduction examples include, “This isn’t what to “Walküre”, the tactical idol sound unit, Macross is about!”; “This isn’t science- comprised of four (five later) young fiction!” and “This is just idol stuff!” women who jump off fighter jets into the The issue comes from the story battlefield and, before breaking into song, premise in the new series that in the , change clothes from flight-suits into

The Phoenix Papers, Vol. 3, No. 1, August 2017 317 extravagant idol stage costumes, through question. However, for robot the use of a flashy transformation sequence anime Gurren Lagann (2007) head writer reminiscent of tropes seen in “Magical Girl” Kazuki Nakashima, was the anime series: a very by-the-book scene first “Real Robot” for his generation, not where they shine brightly as one costume “Super Robot”. The reason, he describes, disintegrates and another one forms in its is because his frame of reference was place, topping it off with a pose and a Tetsujin 28, etc. Tetsujin had pupils, and catchphrase. Mazinger did not, thus is was more Clearly, even from the first episode, machine-like (here we should note that the the series sets off to meld high-speed robot 1980 remake/update of Tetsujin also did action choreography with magical girl not have pupils, and seemed more elements set to idol pop BGM. technologically sleek overall). To him, Increasingly, many series are mixing Mazinger was revolutionary because of the differing aspects of multiple genres. What series settings describing “Chougoukin Z” is it that causes such negative reactions and “photonic energy” in a pseudo- amongst certain groups? It is not as simple scientific way. Enemy robots all had as concluding that some people just do not mechanical names with numerical suffixes want idols in their robot anime, or vice like “Garada K7” or “Doublas M2”, which versa, as the case may be. In the case of were more “realistic” and reminiscent of Macross, one needs to go back and explore tokusatsu tropes borrowed from the the roots of Macross creators highly-influential Thunderbirds TV series and their position among Japanese science- (Hikawa 2013: 10), so the iconic “RX-78”, fiction fandom to get to the heart of the the model number of the Mobile Suit matter. Gundam, is simply a derivative in the same lineage, rather than a pioneering Constructing “Realism” versus concept ( Original, 2009: 7). Constructing the “Real” From this, we can learn that the generational factor is instrumental in First, let us tackle the issue of “Real denoting genre demarcations, and for this Robots” versus “Super Robots”. Most particular generation, the closer the robot anime fans today, be they Japanese connections to established science-fiction, or otherwise, would probably differentiate the more “real” the content seems. So that the Super tradition from the Real by at least partly explains why Gundam is choosing Mobile Suit Gundam and widely considered to be the first “real/SF” as good robot anime. examples of Real Robots, with their realistically complex military conflict • The theatrical release of Mobile background settings and emotionally- Suit Gundam, right in the middle of troubled protagonists, as opposed to the the “Anime Boom” has been Super category, where the robots are seen referred to as a social phenomenon. as heroic machines piloted by hot-blooded • Its production history has been well teenage boys against clearly evil documented, and it mirrors Space antagonists, such as Mazinger Z and UFO Cruiser Yamato’s 1974-1977 Robo . That much is not in trajectory in terms of its core

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popularity build-up, its 1979 • Space Cruiser Yamato – The movie broadcast entrenched in television broke through the “jinx” and ratings battles, internal struggles helped “quell the idea that anime with sponsors, and finally its was just for kids”. It cannot be explosion into critical acclaim overstated how important Yamato following its 1981 movie edition, was for the anime industry, the providing even more momentum fandom, and the recognition of for animation fanbases, both for these from the general mainstream Gundam itself and anime as a society. whole. • “Giant robot heroes” – “Today, • Studio Nue was involved in the robot anime is a synonym for SF production of both, as well as anime” – years before Gundam, Macross later. these robots were already being • However, its success was met with described as “science-fiction. some contentious opinions from • “True SF anime” – In reference to certain camps. ’s 009. • It should also be emphasized that (sub)cultural context is important – Why the emphasis on SF in anime? In the development of this SF the 1970s, Japanese SF fandom was discourse is parallel to the centred around the “Hayakawa SF Bunko” evolution of the anime magazine, label of books, incorporating translations the rise of otaku culture, and also of SF classics and new, original Japanese the “” movement. These SF novels. Around this time, gradually elements intersect, interact and more manga-oriented illustrators began to feed off each other. do cover illustration commissions, such as • We will take a look at these factors Motoo Hagio and . mostly from the point of view of In the midst of this, a SF-centric design contemporaneous publications. agency known as Studio Nue was founded in 1972, by Haruka Takachiho, an award- The changing notion of “SF Anime” winning science-fiction novelist who through the years as seen in anime would later find fame among anime fans magazines for creating and . The studio popularized science-fiction and The first, “Manga Shonen Special: The art in Japan. Members aside from World of TV Anime” (December 1977) is Takachiho included illustrator Naoyuki a pioneering publication, highly praised by Kato, designer , writer anime critics such as Yuichiro Oguro Kenichi Matsuzaki and, later, the multi- (Animage, Anime Style), and Masanobu talented . Komaki (Animec). It was conceived before The March 1978 issue of Out magazine Animage and other anime-specific regular ran a special feature on Studio Nue, which magazines. It is telling to see how often served as a preview for the book, “The and in which contexts the word “SF” World of SF Illustration: All about Studio appears in the text of this book. Nue”, released later that year (August 1978). It showcased the most impressive

The Phoenix Papers, Vol. 3, No. 1, August 2017 319 of Studio Nue’s contributions to SF- The Gundam feature in this issue of oriented media, namely covers and insert Out had many columns by various writers, illustrations for fantasy novels, spaceship among them Kazuo Yamamoto alluding to and concept designs for SF anime such as “SF-centric queries”, referring to the Space Cruiser Yamato and the internal questioning of the validity of a giant robot mechanism cutaway diagrams for many in space and its place within a serious SF robot anime, which were very popular at narrative. He connects the Heinlein’s the time (these were even made into small Powered Suit now being a staple of SF toys, where one side of the robot would with the Gundam as a piloted “robot”, and have transparent armour revealing the the use of “Minovsky particles” as complex machinery inside). Slowly but narrative justification – or, perhaps, surely, the worlds of hard science-fiction “excuse” – for giant robots, in other words, and animation – and their respective to satisfy the requisites posited by the toy fandoms – were starting to merge, or at the company sponsors (p. 31). very least, find some overlap. Eventually, , the famous Year 24 Studio Nue’s interpretation of the Powered Group shoujo manga artist (who is no Suit design from the Japanese Hayakawa stranger to SF, having penned the editions of Robert Heinlein’s Starship extremely popular ), also Troopers would form the basis for so- has a here, where she talks more called “real” robot designs later employed about the animation techniques and the in anime from this point onwards, Mobile performances therein. Looking to the Suit Gundam being a prime example. future, after Gundam, Phoenix 2772, and As Gundam begins to be analyzed as Toward the Terra (anime version), she an anomaly for animation, we begin to see predicts rotoscoping to be the new tool for dedicated articles which seem almost anime (p. 36). It should be noted that a investigative in nature. An early example year earlier, in January 1979, Out featured can be found in the April 1980 issue of a sizeable cover story special feature on Out. We see a special feature entitled Takemiya, a section of which was focused “What WAS Gundam?” – in the form of a on her fantasy and SF works, with no question. This questioning of the status controversy. quo is reserved for something which But it is Haruka Takachiho’s own clearly gave rise to a seemingly- article in the April 1980 feature which unprecedented situation, thus prompting guaranteed that this particular issue of Out analysis. The approach – with the specific would have a place in history by phrasing – is a technique which continues effectively kick-starting the great SF to this day, as evident in a very recent debate of 1980. issue of , from June 2016, in a In the section entitled, “What is SF?”, similar feature, which asks, “What WAS Takachiho writes: Osomatsu-san?” Such phrases legitimize the “social phenomenon (shakai-genshou,  “Too many anime are being 社会現象)” status of the particular anime referred to as ‘SF’ recently. Yamato in question, while prompting analysis and is not SF. is not SF… critique. The only one worthy of being called SF is .”

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 “I have been involved with the staff But if we observe Ryu Mitsuse’s own at , but I would never let collaborations with Motoo Hagio, who had them refer to Reideen or brought in many new fans into the world Combattler V or as ‘SF.’” of science-fiction through her own original  “Up to around episode 3, I had SF shojo manga works, such as They were hopes that Gundam could become a 11 and Star Red, we come across what great work of SF, but after episode appears to be a discrepancy – Robot anime 5, it just became painful to watch.” is not SF, but Shojo manga is SF. In 1977, (pp.21-23) Hagio had already produced a manga version of Mitsuse’s popular SF novel, At around the same time, Ryu Mitsuse, Hyaku-oku no hiru to sen oku no yoru (100 another award-winning SF novelist wrote Days and 1,000 Nights), from a decade in the Roman Album: Mobile Suit earlier, to great acclaim. Also around this Gundam: “SF fans are not comfortable time, she was publishing manga versions with Gundam.” This, of course, sparked a of ’s classic works of SF major outcry by anime fans, manifested in literature, such as R is for Rocket. This is letters to Out, Animec and other intriguing, because when we look at publications. In the days before the Hagio’s opinions on this issue today, she internet, these magazines gave the readers appears very dismissive of genre a voice. Thus, when something as classifications. Earlier in 2016, a special controversial as this appeared, the fans exhibition was set up in Kichijoji Art reacted in the same way they would have Museum dedicated specifically to had they had access to or other showcasing Hagio’s SF art illustrations such outlets – in this case, many pages and manga genga. To promote the event, were devoted later to fan opinions, where Motoo Hagio herself, together with manga the font size had to be substantially artist () minimized to maximize the content. Many would hold a talk event on April 16th, were clearly angry that Gundam was not 2016. Highlights pertinent to this topic validated as SF when clearly its setting include: seems to allude to many theoretical future situations. It should also be noted that such • Hagio: “We shouldn’t worry about heated discussions were happening within what is or isn’t SF. Thermae the staff room between the creators at the Romae is SF, is SF.” animation studio Sunrise itself. Questions • Yamazaki: “I never thought about and issues such as “Why would we paint it like that. You showed me that the Gundam white – story-wise, logically many of the works I like just speaking, it makes it an easy target, and happened to be SF.” from a production studio, practical • Hagio: “What about Ultraman?” standpoint, white paint takes longer to dry Yamazaki: “Well, he’s an alien, so so the cel painting procedure is more I guess that is SF, too?” laborious than it needs to be!”, as well as • Hagio “Men think about it in a “explosions do not happen that way in a completely different way.” vacuum”, became common arguments • Hagio: “In putting together this amongst the animation staff. exhibition, the staff were struggling

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and asked me which of my works “deathmatch” did not turn out quite as are SF, and I answered that I have deadly as advertised, but there were some no division line.” notable points made which would be expanded upon in later discussions. It seems clearly apparent that Hagio’s Perhaps most importantly, it marked the outlook is the diametric opposite of that of first appearance of the phrase “SF Mind”, Takachiho. In fact, Yamazaki and Hagio Takachiho’s key requisite in the both came to the agreement that Fujiko formulation of science-fiction narratives. Fujio’s 21emon (about a hotel in space, Simply put, nobody can write a true work where all the guests are aliens, and thus is of SF without having an “SF Mind”, that is, a good premise for a story about dealing an advanced knowledge of the canon of SF with issues of cultural diversity and the literature and an up-to-date understanding like) is a SF masterpiece – it is simple of theoretical physics and such (pp. 56-57). enough so that kids can understand, but Other articles coupling with this deals with such vast themes about feature in the issue included Masaki humanity. Tsuji’s (Story writer on Tetsuwan Atom The Gundam flame had been kept alive (60s), Future, , Cutey by this SF debate, and by the time the Honey, Attack No.1, Umi no Triton, etc… ) February 1981 issue of Out was released, call, “Does anybody know SF anime?”, the Gundam hype had entered a new gear, where he claims that “TV anime and as producers and fans were getting ready theatrical anime are totally different” for the forthcoming movie edition. (pp.58-60). This of course, would Freelance writer and critic Shimotsuki famously be echoed much later by Hayao Takanaka, paraphrasing a Miyazaki where he refused to allow his quote from “Yakekuso Tenshi (Desperate works to be called “anime” so as to )”, claimed that “TV anime has been distance himself from the stigma attached ‘cursed’ by SF ever since Tetsuwan Atom”, to anime and its otaku fandom, preferring and “SF’s widespread precedes the instead to have his works referred to as relatively young medium of TV anime” (p. “manga ” (Steinberg, 2012: p. 8) 29). His exasperation stems from the Animec devoted almost an entire issue observation that “Yamato drew “pure” SF to answering the question “What is SF fans and anime fans closer together but anime?” in its special feature in Volume they still do not overlap…”, concluding 20, dated January, 1981. A plethora of that “Anime fans are frustrated that SF writers gathered to share their thoughts on, fans cannot see the greatness, and refuse to not only how to answer the question, but see past the fact it is anime.” how to begin to approach it. Haruka Takachiho returns in Out, April Yoshitake Suzuki, story writer on 1981, and the magazine takes advantage of shows like Reideen, etc., claimed that, the controversy to frame an expansive “True anime culture will take 50 years to “Haruka Takachiho versus Yoshiyuki come to fruition” (p. 32). Interestingly Tomino: Deathmatch Talk” feature (pp. enough, we have already passed 50 years 42-57), where the two would heatedly since Tetsuwan Atom, so that time is debate the points of contention regarding actually now. With anime more and more Gundam’s validity as SF. In reality, the visibly mainstream than ever before, we

The Phoenix Papers, Vol. 3, No. 1, August 2017 322 might be starting to see the effects of this – sounds like they’re saying, ‘if it’s SF, it’s not that that correlates to an acceptance or good, if not, it’s bad’.” growth in popularity of science-fiction. Kazutaka Miyatake and Kawamori Also worthy of note are writers Masaki have repeated this “realism” versus Tsuji (again), Hiroyuki Hoshiyama, “reality” aspect as a major factor in the Kenichi Matsuzaki (Studio Nue), who works of Studio Nue throughout the claim that “the perfect SF anime is decades, Miyatake as recently as October ” (pp. 28-29). This immediately 2015 at his exhibition on the Mikasa in brings to mind some echoes of Hagio and Kanagawa, when he mentioned that Yamazaki from earlier (or much later, as nothing he designs is “realistic”, rather, it the case in real time would be), and their is part of the “reality” of the story and its example of the (somewhat lesser-known) environment. Fujio Fujiko work, 21emon. Back to the Animec article, Izubuchi But the big shakeup here, as far as we then says that Lupin III: Castle of are concerned, having as we do, the virtue Cagliostro and Future Boy Conan are of hindsight, is found within the two pages examples of anime that are popular with (36-37) entitled: “The ‘third generation’ SF fans not because they are anime, but bringing a new wave”, referring to a new because they are good. He laments the type of creator, who “had grown up with necessity that fans seem to have of using anime”. We are talking about Shoji specific words and phrases to categorize Kawamori (Macross, Cyber Formula, and catalogue, which stops smooth Aquarion, AKB0048, etc.) and Yutaka interaction because people cannot agree on Izubuchi (Galient, Gundam ZZ, Record of the correct terminology, yet it is clear that Lodoss War, , Yamato 2199, etc.). they want to engage in in-depth It must not be forgotten that at the time of discussions, so it is almost a wasted the publication, Kawamori’s and opportunity. Once again, this feels like a Izubuchi’s names were hardly known, if callback to the aforementioned Hagio 2016 they were recognized for anything it was talk, where the basic message is that there for their design work on 31 and is no need for “division lines.” Toushou Daimos respectively, meaning Animec, volume 31, from August 1983 that Animec recognized the potential of ran a large feature on Super Dimension these creators as future leading names in Fortress Macross, with the contention that the industry from an early age. it was a “New Visual Media for the Kawamori brushes the whole SF Catalogue Generation”. The very concept debate aside, emphasising instead the is intriguing, as the editors are, already at importance of one’s understanding of the this early stage, explicitly pointing to the real world, and the formation of a way the readers (and by extension, viewers, believable world within the fiction. What fans) interact and discuss the show, often the creators of anime should focus on is in heated exchanges about the story, the not “realism”, but rather, a functional mecha, the characters, and so on (p. 25). reality within the limits of the work. Page 26 asks a new variant of that “What’s worse,” he bemoans, “is that it’s favourite question phrasing, “What WAS not even just about what is or isn’t SF; it Macross?”, featuring many of the Macross production staff now that the show had

The Phoenix Papers, Vol. 3, No. 1, August 2017 323 finally wrapped up. Writer and Studio Nue simply said to be anime. It all begins and member, Kenichi Matsuzaki, makes an ends with Studio Nue. interesting point in that, “All of the staff In spite of this, in the 2004 DVD had different ways of thinking,” and, release of Aim for the Top! , a perhaps most interesting of all: “Fans of Kazutaka Miyatake interview included in Nue complained at first because they were the liner notes points to how he, while expecting hard sci-fi..!” (pp. 29-30) admitting that “SF fans love parody” This otherwise non-remarkable quote (bringing to mind Hideo Azuma and the is of utmost importance today, because, as culture which exploded in a we have seen, many fans, both within barrage of sci-fi and sexual content in the Japan and outside, continue to make the late 1970s and early 1980s, later fervent argument that each consecutive manifesting itself in the OVA movement Macross sequel is “not Macross!”, due to of the mid-to-late-80s), conceded that that the inclusion of other traits, often sort of thinking is “highly dangerous”. The borrowed from other anime genres. work (in this case, Gunbuster) is at its core That may be quelled by the liner notes very heavily SF-based, so, he bemoans, it included with the recent Macross Delta is a missed opportunity and a shame it had Blu-Ray release, where a section entitled to be full of call-backs and references “All aspects of Japanimation are included rather than a wholly-original work. He in Mission 01!” (referring to Episode 1). emphasizes that at the very least the The word Japanimation is a loanword from spaceship designs had to be original and the American English term for Japanese refused to design something which was a animation which came into usage in the parody or homage to a pre-existing, 1980s through the growing recognizable design (Gunbuster Blu-ray Cartoon/Fantasy Organization chapters Box Complete Edition, pp. 60-61). This which were gradually getting interested in once again highlights the need for the medium. It has been phased out in demarcation lines: the question of what favour of the more acceptable “anime”, but can cross over, and what cannot, seems to within Japan it is still being used within be one which, as in the case of Takachiho, the animation industry itself, especially in maybe simply a generational issue of contexts where there is a necessity to perception – especially seeing as how highlight the uniqueness of the various Kawamori and Izubuchi, and, of course, techniques of representation within Gunbuster director , are Japanese animation as opposed to those considerably younger than Miyatake). employed overseas. The brief column, by The hefty volume, Gundam Century Kawamori, mentions that the first episode (released September 1981), published by starts off as a normal day, but then breaks the Out editorial together with writers down into a battle scene, then a concert Matsuzaki, and other staff members, scene, then aerial dogfights, and so on, cemented the SF status of Gundam. (Later, thus it is full of chaos, a mixture of Macross Perfect Memory, another weighty elements which “one is not supposed to book designed in a similar fashion, again, mix”, but that that is what makes it by the Out staff). It did so by discussing exciting. The genre, in this case, can be the show from various perspectives, as well as devoting an entire section to the

The Phoenix Papers, Vol. 3, No. 1, August 2017 324 foundations of the Gundam universe, “Anime Boom”. Even Ryu Mitsuse and namely the “Gundam Science: The High Motoo Hagio are also featured doing a talk Frontier” part, which is comprised of clear together again, to celebrate the release of parallels and homages to, or perhaps even, the image album recording of 100 Days outright plagiarism of, astrophysicist and 1,000 Nights (pp. 45-54). Gerard O’Neill’s ideas for a future space society of space habitats, as described in Conclusion his highly-influential book, “The High Frontier: Human Colonies in Space” (pp. We have seen how the arrival on the 121-140). Here is where the foundation in scene of Hayakawa SF Bunko flamed the theoretical science (at least, that of pre- passion of SF fans, and this dovetailed into millennial, space-race era human society) an infusion of “hard SF” content into the solidifies Gundam’s standing as a tier TV animation medium. The shojo manga above other toy-centric, gimmick-oriented revolution (Y24) and its diversification robot anime, or so the intention appeared into SF coalesced with this flame, bringing to be. After this point, the SF debates in female readers also, so that SF fans had surrounded Gundam mostly subsided. The accepted manga by the mid-1970s, but “realists”, it seemed, had won. anime had not yet come of age – the Once the smoke had cleared, Animec “anime boom” was just starting and would Volume 23 (April, 1982) ran a post- not reach its peak until later (1984). mortem of sorts of the debate in a feature Anime fans were late to the scene, and entitled, “New Wave Anime”. Toshiya amongst the shackles of Shiozawa claimed that there were commercialization/merchandising originally “Two dreams: SF and anime”, requisites, the medium struggled to gain and that now, “Anime is trying to raise up recognition as a viable vehicle for “hard” what SF gave birth to” (p. 56). It should be SF stories, which is why Yamato, Gundam, noted that SF fandom and anime fandom Macross, etc., all had major production were developing in tandem together with a compromises, yet supportive fan-bases. mutually influential tokusatsu genre up This feud between the two camps was until the oil shock and increasing labor fueled by the egging-on of publications costs set a major hurdle to the further such as Out, whose popularity grew with evolution of tokusatsu so that anime was ever more controversial content. the most viable medium for visual Regarding genre demarcation lines, renditions of science-fiction worlds and female fans tend not to care, while older stories. Shiozawa’s comment lends males tend to be overly concerned? Further legitimacy to the success of this endeavor. analysis from a gender perspective in this We thus conclude with the April, 1984, specific time period would garner a greater issue of Out, with Nausicaä on the cover, understanding of this aspect. showing us how far we have come in just a couple of years. 1984 also being the year References of : Beautiful Dreamer, Macross: Do You Remember Love, all of , 1978. Fantasutikku which are featured in this issue, we are korekushon No. 8: SF irasuto no sekai now able to pinpoint the peak of the – Sutajio nue no subete (

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Collection No. 8: The World of SF —Ibid., 1981. Out (February 1981). Illustrations: All About Studio Nue), : Minori Shobou Tokyo: Asahi Sonorama —Ibid., 1981. Out (March 1981). Tokyo: Daitoku, Tetsuo (Ed.), 2000. Gundam Minori Shobou Century: Renewal Version. Tokyo: —Ibid., 1981. Out (April 1981). Tokyo: Kisousha Minori Shobou Goo Ranking, January 11, 2015: Nijigen —Ibid., 1983. Out (January 1983). Tokyo: datte maketenai! Ninki aidoru anime Minori Shobou ranking (2D cannot be beaten! The —Ibid., 1984. Out (April 1984). Tokyo: most popular idol anime ranking): Minori Shobou http://ranking.goo.ne.jp/ranking/catego Rapport, 1980. Animec, Vol. 11 (June ry/026/-79qTqC98u9S/ (Last accessed: 1980), Tokyo: Rapport. August 2016) —Ibid., 1981. Animec, Vol. 20 (October Harada, Toshiyasu (ed.), 1977. Manga 1981), Tokyo: Rapport. Shounen rinji zoukan: Terebi anime no —Ibid., 1982. Animec, Vol. 23 (April sekai (Manga Shounen extra: The 1982), Tokyo: Rapport. world of TV anime), Tokyo: Asahi —Ibid., 1983. Animec, Vol. 31 (August Sonorama 1983), Tokyo: Rapport. Hikawa, Ryusuke, 2013. Japanese Rivera Rusca, Renato, 2016. “The Animation Guide: The History of Changing Role of Manga and Anime Robot Anime, Agency for Cultural Magazines in the Japanese Animation Affairs, Manga, Animation, Games, Industry”, Manga Vision: Cultural and and Media Art Information Bureau / Communicative Perspectives, 52-69, Mori Building Co., Ltd., Online at Melbourne: Monash University http://mediag.jp/project/project/images Publishing. /JapaneseAnimationGuide.pdf , 2009. Animage Original Minori Shobou, 1978. Out (March 1978). Vol.3, (June 2009). Tokyo: Tokuma Tokyo: Minori Shobou Shoten —Ibid., 1979. Out (January 1979). Tokyo: Steinberg, Marc, 2012. Anime’s Media Minori Shobou Mix: Franchising Toys and Characters —Ibid., 1980. Out (February 1980). in Japan, University of Minnesota Tokyo: Minori Shobou Press —Ibid., 1981. Out (January 1981). Tokyo: Minori Shobou

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