The final piece of the Gundam timeline featuring a beautiful portrait of Amuro, Lala & Char for the Char’s Counterattack prologue in the 1/1998 issue of Newtype.
That Psychommu System! Quess Paraya & Alpha Azieru illustrated by Morifumi Naka and Hideyuki Sato in the 1/1988 issue of Newtype for the Char’s Counterattack prologue article.
Sazabi and Re-GZ do battle in the Char’s Counterattack prologue article in the 1/1988 issue of Newtype with illustration by Hideyuki Sato.
Absolutely GORGEOUS image of Alpha Azieru & Char for the Char’s Counterattack prologue in the 1/1988 issue of Newtype. Illustrated by Hideyuki Sato.
Char’s Counterattack Prologue/Timeline in the 1/1988 issue of Newtype. This is pretty cool, Counterattack did not come out until 3/1988, so this was a real treat for Gundam fans at the time. Beautiful illustration by Shiro Nishiguchi on the left.
Beautiful Hi no Tori (The Phoenix) Space Chapter Toho Video ad in the 12/1987 issue of Newtype. Directed by Rintaro and Production by Madhouse Studios. On the bottom page there are VHS ads for Chapter of Yamato and Chapter of Ho-o.
So cool for Scott Green of AICN (Ain’t It Cool News) to post the 21 Prophets of Anime article on Crunchyroll this evening. I just want everyone to read and share this history. I am forever grateful.
You can always check the archives to read the article or search for #21 prophets of Anime.
Tomorrow starting at 9am Oldtype/Newtype will be back on schedule. Here is an idea what will be in the issue. Michael Jackson X Inomata…NUFF SAID. Goodnight!
Some good stuff in these interviews.
Yoshinobu “The Nish” Nishizaki FTW!! Fuck those producers who thought you could fit so much material into 2 1/2 hours. LOL
A Glance at the Anime World: The Hit men and their Predictions
It’s important to have interesting anime that will be universally accepted!
I haven’t really watched TV anime these past two years. Once you get rid of a habit, it’s not good. Once you distance yourself from anime, you won’t even be able tell which anime is good and which is bad. It’s scary to think that I’ve been watching anime by force of habit.
I also haven’t watched that many video animes to be fussy about it but I feel that video animes have become closer in form to manga. I can’t say though that it’s already at the serialized manga level, but it’s just a matter of time. But if you’re going to make video anime and you don’t make it differently from TV anime, it will be a waste. Probably change the design a bit…just like what Mr. Oshii is doing. Once your attempts go beyond the realm of attempting things and once you’ve achieved something basic, I think we’d probably be able to see the direction of video anime for the first time. If I were to create video anime, I’d like to make a short sixty minute one, something that is highly concentrated and can’t be fully “digested” in a TV anime format. Sixty minutes is too short for a movie and too long for TV, and I think it is a length that is untapped and put aside.
Compared to video, TV’s strong point is that you can make serialized anime on TV. Nicely put, TV is a medium wherein if you don’t have “ordinariness” (badly put, “mass appeal”) you won’t succeed so in this sense TV is a more demanding form of media than video. I also don’t like the trend wherein anime that don’t appeal to the masses are turned into video anime. I think that video anime should also have universal appeal.
For 1986, if there are proposals that come my way, I’ll do them. I still don’t know exactly what I’m going to do.
With regards to video anime, I have “The Super Girl” and I’d like to try my hand at a new kind of animal anime.
Anime is said to be on a low note right now but I think that the number of anime being produced now is just right because there was a time when the anime that was being produced went over the production capabilities of those in the anime world. I even think that the number should be reduced by just a little bit more, but only if the quality is improved. It seems that 30 animes will be released in 1986, but I think that in terms of quality, (those that aren’t good) will be culled.
I don’t have any children yet but as a housewife I don’t think that anime has a bad influence on children. Since I was little, I myself grew up watching anime. Even now, from the standpoint of someone making anime, I don’t want to forget about the children. But on the other hand, I also think that mothers who just park their kids in front of the TV to watch anime isn’t good either.
The anime following “Hai Step Jun” will be “Maple Town”, an animal anime but I don’t want it to be anime with just “good” characters in it. I want to try making anime for young girls, which will be a new thing for me.
There must be anime that only young animators can do!
I think that mass media has a very strong influence on children. I want people to be more conscious of that. I feel that anime that is being made today just to make money is overly increasing - animators don’t question things, or assert themselves. An extreme example is the Lolita complex boom of late. If a person is being shown something like (a Lolita anime) from way back (from childhood), that person’s imagination takes precedence instead of the ability to adapt to another human being, and stress builds up as a result. I think we should oppose this current reality, and as for myself, I plan to try different things. I wonder what I’d be able to do before I turn thirty-five, and I also think that you can learn from failure.
MITSURU KANEKO (MK Productions)
The computer is absolutely infiltrating the anime world.
It’s possible to think that in the future, the possibilities of computer graphics will first be used in the industrial fields. For example, the depth maps of the Japan Coast Guard just have numbers on them now but if you input these numbers into a computer, you’ll be able to see valleys (under the sea) that continue for miles as video images. And if this (technology) presses forward, for example, there is an (American) masterpiece special effects movie called “Fantastic Voyage” wherein they (physically) made the sets and then shot the film but in the future, you can make the movie set by inputting data in a computer.
Speaking of another side (of this technology), take the example of video images shown on large screens that have been demonstrated at an expo. Just like what was shown in the expo, video images and 3D images shown on dome-like screens can only be made using a computer.
In this way, the spotlight is now aimed at anime as a means to (showcase technology). Animation’s possibilities will also become limitless as it will need to respond to the diversification of people’s demands.
(Caption for illustration on the right side of the page)
This is Cindy, a young girl from a biker gang in the anime “Megazone 23 Part 2”. Mr. Yasuomi Umetsu’s character design is original, as personified in this drawing. This anime has a different kind of appeal compared to Part 1.
KEISUKE FUJIKAWA (scriptwriter of the anime “Once Upon a Time” or “Legend of Fabulous Battle Windaria”)
I researched and compared the recent trends, the trend in fans’ consciousness about anime and anime programs and from around last year, it seems like the age of wanting “salvation” has come. I think that in so many ways, we are being stifled and we are seeking breakthroughs. I think that how anime as a medium is going to lift this issue up is going to be important. Even “Once Upon a Time”, which we will show in 1986, takes up issues of the present times. I’m putting emphasis on what I will say to the youth of today through SF that has stories of people in it instead of just hardcore SF. For this year and the next, I’d like to dig into aspects of the youth in different ways. I’d like to make anime that makes viewers think that there is something out there that matches their present selves perfectly.
(Caption for illustration on the left side of the page)
This is Anasu, the heroine of “Windaria”. Illustrated by Ms. Mutsumi Inomata, this character personifies the pure themes of Mr. Fujikawa’s anime.
YOSHINOBU NISHIZAKI (producer)
I’d like to make a video anime that will be a preview of a movie theater anime
With regards to “Odin: Photon Sailer Starlight”, I didn’t make excuses and I haven’t commented on it but there are clear reasons why that movie ended in failure. That anime was originally a one-hour program, twelve episode TV anime - in other words, it was an anime made to be aired for twelve hours. I think there was a big mistake in the producers’ thinking that they could digest this into a two and a half hour movie.
I used to say that after 1955, there wouldn’t be a hit anime made for movie theaters. The same thing is about to happen in the video anime world. If the overproduction of low-quality anime continues, there will definitely be a backlash. It seems that the most basic idea during planning anime has been forgotten. And this basic idea is this: things expressed through anime must rouse people’s imaginations.
We’re planning on releasing an anime for movie theaters on July 9, 1986 based on “Desler”*. But before that we’re planning on selling a promotion video about the movie in April. In making this video, budgetary issues, which have always been a concern in video animes, have been set aside so I’m planning on making it in the same high-quality as the movie. I’m also thinking of releasing a trailer of the movie at the same time.
*Translator’s note: Desler is a character in the anime “Space Battleship Yamato”.
(Box at the lower left side of the page)
If there were animes like this I’d watch them!
FUJIHIKO HOSONO (manga artist)
I like the works of Mr. Hayao Miyazaki. I heard that he said that he wanted to make an anime about the Period of Warring States (in Japanese history) so if that anime is made, I’d definitely want to watch it. Personally, I’d also like Mr. Miyazaki to make ninja anime. With regards to other animators, I like Mr. Mamoru Oshii, the one who made “Beautiful Dreamer.
SHOJOTAI (a singer/actress trio)
Reiko: Among animated characters, I like Peter Rabbit. I’d like Peter to guide me into a dreamy nature scene.
Miho: I really like Phillips. I’d like to plunge into a world adventure with a kitty cat.
Tomo: More than anything, I like Snoopy. I’d watch any number of animes with Snoopy in it. I’d like to watch happy animes.
Major producers from each of the anime/production companies talk about their hits for 1986 and foresee what their companies will be producing
KENJI YOKOYAMA (Toei Animation Co.)
The new hit TV show Gegege no Kitaro from the fall of 1985 which received top ratings reflects modern times.
This is what I’ve been thinking with the third conversion of Gegege no Kitaro into animation. One is the change in children’s thinking with regards to ghosts/monsters. Of course “Ghostbusters” and “E.T.” have influenced this change, and now kids consider ghosts almost as pets. So in this way I think that if you match the present mood and go in the direction of lighter anime, you’ll be able to create different things from before. Children’s lives are too managed now, so they’d want an outlet to vent too. And in a society that has too many things and where, if you have the money, you can buy anything, things like the Toyoda Company fraud scandal and shady investment journals can also be construed as monstrosities. This anime has this overall theme: In the ideal world of Kitaro, monsters, people, animals, grass and trees should all co-exist so I thought I’d have various new approaches within the anime.
As a new endeavor, our company is going into video anime. It’s called “Amon Saga” and we’re not just going to sell it in video format, (I’m also hoping) we can show it in any movie theater even for just one week otherwise it’ll just be too sad. Especially with regards to original works with names that aren’t well known, I think it’s dangerous to rely on just one production studio. After “Konpora Kid” ends, beginning February, we’re planning on animating “Kinka”, a serialized manga in the weekly magazine Shonen Jump.
(Caption for illustration on the left side of the page)
A figure from the very popular “Kitaro”. They can’t keep up with the demand for a ghost eraser that they’ve produced and now it is a hit product. It’s also been decided that there will be new movie releases for this anime in the New Year and in the spring.
EIJI YAMAURA (Nihon Sunrise Co.)
Find common ground with your viewers and defeat this lethargic mood!
Sunrise has now expanded into six studios and at any given point in time, we plan to work simultaneously on two to three anime TV series, video anime, anime for movie theaters and collaboration anime. Overall, anime today is manga magazine-driven, so our question is how far can we go in staying on an original anime track. Robot animes have vastly decreased in number, so conversely, I think this is a chance for us to come out with epoch-making anime. I’d like to make anime that will allow us to seriously converse with our child viewers.
TOSHIMITSU SUZUKI (Artmic Co.)
Making anime that will be understood by the whole world! The robot anime boom is shifting from transformation-type robots to robots that merge into one.
Speaking of Japanese products in the international market today, mechanical products come to mind. This is also true in the animation world since Japanese robot animes are extremely in vogue. Especially in the American market, they already have transformation-type robot animes, so animes that have robots that merge into one are new to them. We’ve already exported “Beast King GoLion”, following that, (we’re going to export) “Dancouga Super Beast Machine God”.
We at Artmic plan to make animation that can be exported to foreign markets and we also are also keeping in mind to configure these anime with universal values. The video anime “Gall Force” is the first step in that direction.
NOBUO INADA (Tokyo Movie Shinsha Co.)
Our track remains the same - making collaboration animes for foreign countries but we also have new anime.
I can’t necessarily say that the present state of anime is good. But the passion for anime during the anime boom of “Gundam” and the like was an anomaly so I feel that the state of anime now is the real one.
As you may know, not only do we make anime for Japan but we also produce anime for foreign countries. It’s a difficult situation for us now to concentrate on anime just for Japan because of production costs. It can be said that Japanese anime should be improved from the very basic level.
In 1986, we plan to have “Little Nemo” and in the fall, an anime for movie theater release by the duo Desaki and Sugino. At any rate, we’re doing our best.
JUNZOU NAKAJIMA (Nihon Animation Co.)
We’re aiming for improving the quality of our masterpieces and we’re also trying our hand at new anime!
As you may know, our company has mainly been making masterpiece animes for more than fifteen years but I think we’ve made a habit of making similar anime. But we’ve been able to improve on our animes’ degree of perfection precisely because of the buildup of our experience in animation. We’re also working hard on our technology, and on the authenticity of our masterpieces. At any rate, we’re trying to make anime that is still interesting to watch even after five or six years have passed. Next year, we plan on making “Pollyanna” after “A Little Princess Sara” ends, and a new SF series called “Space Sagittarius”. We’re also going to have one TV special around May.
HIROMICHI MOGAKI (Tsuchida Production Co.)
Just like what we did in “Tsubasa” and “Kimengumi”, we’re adding our original flavor to animation adapted from manga!
Even with regards to animating manga, the time when you aren’t creative when adapting something is over - just like our approach to our anime “High School! Kimen”. In manga, the fun is enclosed in a comic cell. Differing from that, we were able to bring out fun that moves freely (in the anime format). (Our decision to) put two episodes in one anime has also been well-received. We are also planning to have an anime TV series next year but all will depend on how long “Captain Tsubasa” will last. Captain Tsubasa’s storyline is that the finals will end in March, and the European leg will begin. This will catch up with the manga version’s storyline so I’m thinking of making a new one or taking a temporary break.
MASAYASU SAGISU (Eiken Co., Ltd.)
Please watch the cooking scenes in the manga “Oishinbo” animated in a live-action format.
The anime “Sazae-san” is going to be seventeen years old. I think that the things that last for a long time are not manga for boys or manga for girls but manga for adults such as “Sazae-san” that has a family theme. But there aren’t many of this kind of anime today.
There has been a lot of SF space anime but nowadays it’s quite possible for kids to go to space someday. But the world of “Sazae-san” where the grandma, the grandpa, the old maid and the troubles they encounter while living together is farther than space in today’s world of nuclear families. Conversely, this makes Sazae-san’s storyline fresh.
For next year’s anime, we are developing our plans to animate Mr. Shinji Wada’s manga “Pigmalio”. We’d also like to do SF action animes, and a totally new genre - animating Big Comic Spirit’s serialized manga “Oishinbo”. Following a ten-year cycle, monster animes might come out next year but we’d like to try out new genres.
HIROSHI KATO (Ashi Production Co.)
We are developing original videos for the anime “Dancouga”
Our company has concentrated mainly on original anime and we are continuing with this direction in 1986 and beyond. Even though our animes are popular, I don’t know why we are edited a lot. Even “Dancouga” which originally had fifty-two episodes was reduced to thirty-eight and the final story was changed. We are going to sell a one and a half hour video in March and we’d like to include the real final story in it. Seventy percent of animators in Japan today are working on collaboration anime. The pay (for collaboration anime) is more than double, so we have to do something about it.
TOSHIHIRO NAGAO (Kaname Production Co.)
I’d like to see different kinds of SF anime. “Windaria (Once Upon a Time)” is the first step in that direction.
Generally speaking, I’d like to go with polar opposites - simplistic anime that has funny gags and anime that explores heavy themes. I think our company would like to take a short break after “Windaria” ends and then we’re going to do a lighter anime. We’ve also talked little by little about producing an anime TV series, but can we really do it with the present situation? Companies we outsource to are doing a lot of collaboration anime and we don’t have the confidence that we will win the price war and if we dabble in (anime TV series) incorrectly, it will be a death blow. With this situation, it seems like we will be concentrating on video anime for now. With regards to the direction of our anime, we’d like to consider doing SF anime with our own touch and foray into different parts, for example, making modern anime like “Radio City Fantasy (Machikado no Marchen)” that merges footage and music.
(Caption for illustration on the left side)
“Mujigen Hunter Fandora”, one of the original video anime from Kaname Production Co..It is said that the second part will be released in March.
YUUJI NUNOKAWA (Studio Pierrot)
“Magical Emi, the Magic Star” will end in February. We’re working on the anime that will follow this.
Ever since our “Dallos” anime, anime in the video anime genre have increased, and it’s becoming more and more difficult to foresee what’s ahead. But I feel our viewer base will return to children after the continuous increase in anime fans.
In our animes’ genres, it seems that we foray into unprincipled things but through trial and error, we are at that stage where we are aiming for our own style. In 1986, we plan to stop producing transformation-style anime after “Emi” and we are now working on an anime with a witch theme, with a nod to our very first anime. We have also decided that we will make a sequel to “Rumic World”.
(Box at the lower left side of the page)
If there were animes like this I’d watch it!
MIKI TORI (manga artist)
And yet there are only a few animes wherein you can feel each anime’s distinct character. I understand that anime is a group effort, but like manga, the director’s tastes dominate. If the time comes when the writer can say “that is good but this is also good”, I think that anime will become more vibrant.
AKIO YOSHIDA (manga artist)
If I’m going to watch, I might change the channel if they’d revive anime like the long adventure animes of Toei. It would feel just like watching the movie “Mothra”.
YUKI SAITO (actress and singer)
I was in a manga research group when I was in high school so all I watched were anime from Sunrise. I like “Gundam” and “Ideon”. If there were anime in that vein, I think I’d be obsessed again.
1985 was a flat year in the animation world. Let’s ask the hit makers who hit the home runs on how to put an end to this situation.
HAYAO MIYAZAKI (writer and director of “Laputa: Castle in the Sky”)
What are the animated works that the young ones, the ten year olds to fifteen year olds want to watch? Doors will surely open if you keep them in mind.
It’s unthinkable that new hope can come out of TV when one episode from a TV series needs 3500 cells to be drawn. On the other hand, in movie theaters as well, there are no films that will mobilize moviegoers other than anime fans. I think that filmmakers have forgotten the basics of selling movies. Collaboration films intended for overseas markets are all the rage, and even though I want the fans who are in Japan to see these films, they can’t and all I’m left with is frustration. Only deterioration can come out of this situation. Actually, there isn’t even one anime today that is aimed at older kids in elementary school to kids in middle-school - the very kids who should be watching anime. (The anime available now) is aimed at younger kids at elementary school and then jumps straight into anime for college kid anime maniacs. It’s a tough time for fifteen year olds who are put aside by society. Twelve year olds to fifteen year olds are the kids who need the most comfort and yet the situation now is that they get their comfort from handheld video games. Those who produce animation are losing sight of their targeted audience. The remaining anime fans are making anime that they want to watch, and this is a symptom (of the present situation) that is beyond redemption. This is why video animation is still backward in terms of its production, and only its format is new.
If one has an earnest approach, children will definitely react. This is a real example - in a run-down middle school, in his morning greeting, a new principal said, “I don’t determine a person’s value by his or her grades or appearance”. Miraculously, all misbehavior was gone from that day’s afternoon onwards. What children want has always had just one theme - an adventure that saves the mind and heart.
(Caption for illustration at the top of the page)
The hero “Pazu” and heroine “Sheeta” from “Laputa: Castle in the Sky”. Mr. Miyasaki comments that “For a young lad, living at all times in itself is an adventure. The reason why Japanese adventure novels are boring is that the hero (in these novels) makes a living out of going on an adventure.”
SUGII GISABURO (executive director of “Touch”)
What people want nowadays can’t be found in data. What is the secret of the hits “Night on the Galactic Railroad” and “Touch”?
Honestly speaking, if anything, I genuinely make animation to match my desires, not thinking that today’s animation is trending towards this way, or future animation should be this way. In other words, I think a great deal about my daily life, figuring out what is lacking and coming up with desires felt by everyone else. I just happen to be a person who creates, so I vent out those accumulated desires and discontent and let them combust in my work.
My works are quite heavy in terms of cycle and tempo, whether it be “Night on the Galactic Railroad” or “Touch”. I sometimes think if this kind of heaviness is ok or not. But that is because I have a desire for this heaviness, and also because I have this easy pleasure within me. Instead of work that is borne out of being hung up just on data, I think work that is borne out of my inner natural desires is more acceptable to people. In the meantime, “Touch” will be shown as an hour and a half movie in the spring so please look forward it.
ISAO TAKAHATA (producer of “Laputa”)
Movies that make the mind and body come alive are what’s important. As for me, I am trying my hand at my first live action film. I am shooting a documentary.
I think nowadays, the thing that a lot of people working in anime has forgotten is the excitement they felt watching adventure movies when they were kids, the kind of excitement that even your body moved spontaneously. In that sense, I think that works such as Hayao Miyazaki’s films should be brought out to the rest of the world and after (producing his) “Nausicaa”, I am still producing. When kids’ minds are liberated, there’s no reason to think that they won’t spontaneously move. In this day and age dominated by computer games, a lot of kids’ play involve just using the brain and nerves so I’d like them to experience things that energizes the blood and makes the body dance. The difficulty is, I think it’s a difficult time now to have a situation in place wherein you let them experience adventure. If you can’t make people believe in the world portrayed onscreen, you can’t pull viewers into the adventure onscreen.
It’s not that I’m not doing my real job as a producer. I am now producing a live action documentary movie set in Yanagawa in Kyushu. It is about how our Japanese ancestors developed towns which utilized waterways. There is also a part in the movie that has graphic illustrations using anime. It’s less than 2 hours and is slated to be shown after the summer.
MAMORU OSHII (scriptwriter and director of “Angel’s Egg”)
This is a warning!! Please reduce the number of collaboration animes before Japanese animation is annihilated.
If I’m going to be severe about it, I’d say that I want all collaboration animes gone.
Those who work in big studios and places with systems in place may not feel a sense of crisis yet. But in the case of freelance animators like us who work together and put together a workplace and disperse once our anime is done, a part of our actual work is outsourced. Recently however, the small video studios and finishing studios that we outsource to are loaded with collaboration work. Japanese animes can’t compete with collaboration animes in terms of profit so when that happens, we just have to rely on the goodwill of the studio bosses, or make them feel the same way we do with regards to the contents of our work, or by chance see an opening and aim for that, or appease them or plead with them. We can’t work in just that kind of a situation. That’s why it’s almost impossible to make highly compact and solid animes in Japan now. Even without going that far, it’s almost impossible to make even decent animes in the country today. In fact, anime TV series are almost all in shambles, and I can’t even be optimistic about the video quality of the anime we have now. In this kind of situation, I can’t help but seriously think if next year, our ideas can be made into anime.
(Caption for illustration at the left side of the page)
A girl from Mamoru Oshii’s original video anime “Angel’s Egg” (drawn by Seikou Nakura). Mr. Oshii revealed that he is having a hard time because there aren’t enough animators to make even just one anime video.
YOSHIKAZU YASUHIKO (director and screen director of “Arion”)
I haven’t decided yet on what I will make after “Arion”. I will not take part in the new Gundam series.
I am very busy now with screen work for the anime “Arion” which will be shown in theaters on March 8th. But as far as I’m concerned, I’m conscious of the fact that this is my anime for 1985. Therefore, I haven’t decided yet on what my anime will be for 1986. I feel like I want to take a break for a year.
“Arion” is quite restrained for an anime to be shown in movie theaters. I’m happy that this movie is being touted as “the” main animation movie this spring but conversely, it’s a shame that there aren’t a lot of big anime movies for theaters. It’s already been decided that “Arion” is going to be shown in top-class movie theaters throughout Japan. It just shows how much anime has received recognition. I’d like to wait for animes that will pick up on this trend.
With regards to anime TV series, I was in charge of character design for “Z Gundam” this past year but I’ve decided not to be involved at all in the sequel’s new series. I think it’s better to relegate “Gundam” to the younger animators, starting with Hiroyuki Kitazume, who have grown so much in their craft. Now I sincerely think, if only someone as good as Kitazume were around eight years ago to help with “Gundam”, I would’ve been saved…
(Caption for illustration at the bottom of the page)
The heroine “Lesfina” from “Arion”, which was produced, character designed and screen directed by Yoshikazu Yasuhiko. This is the drawing touched-up by Mr. Yasuhiko. As we have discussed in a series of character designers in last month’s issue, he breathes life into his anime characters, showing genius capabilities.
(Box at the lower left side of the page)
If there were animes like this I’d watch it!
MASAMI YUUKI (manga artist)
As a rule, the three things I’d like to see are: “something that isn’t originally from manga”; “robot animation that isn’t dark”; and “in one year, a collaborative anime by Osamu Dezaki and Akio Sugino for release in Japan”. I can watch TV anime while casually lying around but I’d like anime that I wouldn’t be able to take my eyes off of the screen, something that is both easy to watch and amusing. And as written in other magazines before, I’d like to see Mr. Hayao Miyazaki’s version of “Atragon”! (Translator’s note: “Undersea Warship” in Japan)
YUUKI KUDOU (actress and singer)
I’d definitely watch anime that’s fun to watch, anime that will make me happy. At any rate, I’d like a hero on the side of justice who will beat the hell out of the bad guys and put them in a bind.
RYOKO YAMAGISHI (manga artist)
If there were an anime like Disney’s “Fantasia”, I’d watch it!
From the 1/1986 issue of Newtype, page is illustrated by Gen Sato. Each page will be released in 12 minute intervals.
Here is a piece of anime history that I had translated this past week. Please share and discuss. THANK YOU.
21 Prophets of Anime
Grand prophecy of Anime ‘86
This is the project needed by Anime world now! I propose this project! 21 leading personnel in Anime world in 1986 talk about problems in the industry and their solutions. You can see the future of Anime by reading this.