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Sunday, February 13, 2005

12:07:53 am , 615 words, 2946 views     Categories: Animation, Animator

Norimoto Tokura

I've been reading a recent interview with Ichiro Itano that goes into considerable detail about his past work, more than I've seen anywhere else. It's full of interesting anecdotes about his early days, like the way he got in trouble for constantly drawing limbs flying on Gundam, or the way he got personally recognized once by Tomino when he drew every drawing in a shot at full 24 frames, and the director of that episode got mad at him and changed it back to regulation limited, and he went behind the back of the director and changed it back, and the director got pissed at him in the screening room in front of Tomino, but Tomino loved what Itano had done and told him to ignore the director, calling him a "nobody" in memorable Tomino fashion. At the other end of the scale, he talks about his most recent work, the flight sequences for the Ultraman movie remake, which was so successful that he's currently doing the same for the new TV series. He comes across as extremely confident about the knowhow that his new team has built up since they started out with the impressive flight action in Macross Zero. He feels he'll soon be able to take on Hollywood. Itano has an amazing memory, is very talkative and seems to just exude energy. He's the kind of person for whom the word karisuma animator was made.

The surprise of the interview was when he mentioned just about my three favorite animators, Shinya Ohira, Shinji Hashimoto and Satoru Utsunomiya, lamenting the fact, as I often have myself, that there's nobody in the industry with the good sense to step in and get some situation set up that would put the incredible talent of these people to use by putting them at the head of some interesting projects. Anything rather than having Shinya Ohira drawing waves in The Prince of Tennis because they don't want him touching people. In the same sentence he included one figure I'm not familiar with, Norimoto Tokura 戸倉紀元. That got me curious. If he's good enough to stand comparison with those three, then I probably want to see his work. Upon a bit of investigation, it turns out he's been involved in many of the big Hashimoto/Ohira projects. He was in both eps 1 and 10 of Hakkenden as well as Kid's Story. I ran across one citation that noted a similarity between the film he worked on in the omnibus Ai Monogatari (which tellingly featured Masaaki Yuasa as an animator) and the only films on which Ohira and Hashimoto have had total creative control, their episodes in the OVA series Twilight Theatre. So for reference purposes, here's a list of some of his work as an animator, though I know nothing of his style and don't know anything specific about what he did.

   Saint Seiya 5, 9

   Mister Ajikko 47, 52

   Char's Counterattack
   Dirty Pair OVA 4

   Gosenzosama Banbanzai 2, 3, 6
   Ranma TV 3

   Hakkenden 1
   Devilman OVA

   Gundam F91

   Tekkaman Blade 31, 36

   Moldiver 2
   Ai Monogatari (AD)

   Hakkenden 10
   Metal Fighter Miku 2, 5
   Ta-chan 33

   Slayers Perfect movie


   End of Evangelion
   Vampire Hunter


   Captain Harlock 1, 3, 5, 6
   Gungrave op, 1, 5, 7, 12
   Last Exile 3, 7, 15
   Animatrix: Kid's Story
   Bomberman Jetters 52

   Paranoia Agent 1, 13

   Aquarion op



jfrog [Visitor]

So Ohira didn’t have any big scenes in the Prince of Tennis movie? That’s a huge relief, means I don’t have to sit through it! I mean, the guy did Violence Jack…as much as I like his work I’m not gonna watch everything he’s done.

But your mention of Twilight Theatre really got my attention. I confess I’m not familiar with Hashimoto very much (it’s been way too long since I’ve seen Akira or Perfect Blue or any of that), but I really wasn’t aware that anybody gave Ohira MORE creative control than they did on Hakkenden 10. Can you please give us some more information on this series? Google doesn’t turn up anything.

02/13/05 @ 00:54
Balak [Visitor]

Sometime everything seems to makes sense.

When I was a kid, I was a big Saint Seya fan, just like the average french kid at the time.
But there was one specific episode who stroke me like a big hammer hit: the one where seya and shiryu are fighting for the first time, at the beginning of the serie.
Still today, i have that episode in mind. i remenber copying dozens of still frames of it (thnak you VCR).
didn’t know who did that episode, always wondered who did this.
now you’re mentionning Norimoto Tokura, and in his bio i see he’s worked on that very special episode.
I may be wrong, but i think it’s not a coincidence.
i should rewatch that episode.
I remember it was very unusual graphically and the it was animated and storyboarded too.

anyway thanks again.

02/13/05 @ 06:53
Balak [Visitor]

again, i may totally be wrong with this but here is a very short exemple of what i’m talking about.(this is all i’ve found on the internet)

i don’t know… the drawing is very different of the rest of the show, as the animation of this shot.

02/13/05 @ 07:19
Ben [Visitor]


I know what you mean. He’s definitely done a lot of work on projects that otherwise aren’t worth seeing, unfortunately…

I read comments by several different people who went to see the movie specifically for the Ohira, and 3/4 of the way through they were kind of like, WTF, where’s the Ohira? But finally the VERY last shot was Ohira. Same pattern as Otogizoushi, and waves yet again, but apparently more detailed this time. Not that I don’t like Ohira’s waves…

I actually watched all of the horrible Kujaku-Oh and I couldn’t even figure out what part he did. Violence Jack I considered watching but couldn’t find… perhaps for the best.

Twilight Theater is something I’ve been meaning to write about for a while, just I haven’t had the chance to see it yet. An important connection I forgot to mention is that Ichiro Itano was the supervisor of Twilight Theater, so it makes perfect sense that he would recommend the guys - he was one of the first people to see these guys’ potential, and since the very beginning was there giving them work. Once I finally see it I intend to do a full write-up.

Still, it’s amazing how all my favorite animators are connected somehow…


Thanks for pointing this out. I haven’t seen any Saint Seiya, so I can’t fairly judge how it compares with the rest of the series, but in my experience this sort of experience is extremely reliable. Kids have a surprisingly sharp eye for differences like this. It’s like when I watched Robotech as a kid and knew there was something special going on every once in a while, but only found out later that Ichiro Itano was the one responsible.

I looked up the credits for you, and I noticed a significant pattern: the team that made episodes 5 and 9 are similar, and these two episodes are the only two they did. This fits exactly with what you say about this episode looking different from the rest of the series.

Animation Director: Hisashi Takai
Key Animation: Atsuko Ishida & Norimoto Tokura
Director: Shin’ichi Masaki
Storyboard: Masayuki Akehi

Animation Director: Hisashi Takai
Key Animation: Mayumi Watanabe & Norimoto Tokura
Director/Storyboard: Shigenori Kageyama
Assistant Director: Shin’ichi Masaki

Each episode only has two key animators like this. I’m not sure, but perhaps the ordering means the first did the 1st half and the second did the 2nd half.

Anyway, this motivates me a bit more to look through his past work, even though, like Ohira, he seems to have been involved in a lot of uninteresting projects…

02/13/05 @ 11:26
Tsuka [Visitor]

Thanks for this spotlight on Norimoto Tokura :)

I saw Twilight Theater and it’s an interesting omnibus. 4 animated shorts, one is quite crap, the 3 others are well done. I made some screenshots.

The one by Hashimoto is very strange, interesting atmosphrere but a character-design very not pleasant, which is very well used on only one scene (perhaps animated by Hashimoto - screenshot on the right)

The short by Ohira is the one I prefer. Interesting animation even if all the drawings and making is not clean (screenshot on the right comes from a sequence by Tatsuyuki Tanaka)

02/13/05 @ 15:13
jfrog [Visitor]

I actually really like the character design on the left quite a bit. It strongly reminds me of some European comic I read once, but I can’t remember who by. I want to say David B, but I’m pretty sure that’s not it. Probably something from an anthology I read once.

I really liked Ohira’s waves in Otogi Zoushi, and since now I know exactly where his scene was, I can just skip right towards it. Thanks!

02/14/05 @ 15:47
Ben [Visitor]

I have to agree. It has kind of a folk art feel that I quite like.

02/14/05 @ 23:03
Tsuka [Visitor]

When I said that the character-design was not pleasant, it’s not about taste, but about the goal of the artists who made this short. For ex, characters are *better* drawn when they are far. When they are close, the drawings have more errors & lacks of strength (in a basic way). It’s the aim, in order to create an strange atmosphere (the omnibus is about dark stories). I understand what you say about french comic-books and works like David B ones, but it’s doesn’t look like a lot ultimately. Here are other screenshots :

NB : Gosenzosama OAV 1 & 2 raws were just released on internet, good initiative.

02/15/05 @ 10:51
Ben [Visitor]

It’s pretty much impossible to make any real judgment based purely on screenshots, so I can’t really comment until I’ve seen the stills in motion, but honestly I quite like those drawings. To me the very peculiar way the characters are drawn seems to be a very deliberate artistic choice, with youthful lack of drawing skill perhaps a minor factor in there somewhere.

One thing that may be contributing to your impression of the piece is the fact that Hashimoto’s piece was produced after Ohira’s. Both pieces were produced by the same team. First Hashimoto did the storyboard for his. Next he worked on animating Ohira’s piece with everyone else, while everybody was full of energy and working their best, so most of the quality went into Ohira’s piece. Next they did the animation for Hashimoto’s piece, by which time everybody was exhausted from Ohira’s piece, including Hashimoto himself (who also had some other issues contributing), as a result of which the quality apparently suffered considerably. Hashimoto admits that much. However, I think this mainly means that he wasn’t able to make it move as much as he would have liked, rather than having anything to do with the style of the designs. So there may be many aspects about the film that he’s unsatisfied with, but stylistically I think what we see is largely what he intended.

Here’s an excerpt from an interview that indicates what I mean:

“I was actually influenced by someone with the design for this film - a mangaka called Mita Inoue. I’d seen a bit of his manga Bunpuku Chagama Daimao in a magazine recently, and I fell in love with the style of line he used. So after that I started drawing with a really heavy line, really pressing it down as hard as I could. I guess I was under the strange delusion that anything I drew would look great if I just drew it really bold, like I knew exactly what I was doing. As a result, maybe the film is a lacking in terms of appeal as animation, but for once I was able to draw really the way I wanted to, without worrying at all about consistency and cleanliess.”

Here’s an excerpt from the manga he mentions, though the particular excerpt shown isn’t very helpful in getting an idea of the manga’s style and how it could have led to Hashimoto’s piece:

Can’t wait to see Gosenzo. I’d only seen Maroko previously. I think the film is just a compilation, but with some added scenes and modified animation.

02/15/05 @ 12:03
jfrog [Visitor]

That sucks. So right now I’m picturing something like Rin Taro’s Take the X Train - looks really cool in stills, but disappointing in motion.

02/15/05 @ 13:01
Tsuka [Visitor]

Thanks a lot for the informations about the making of these shorts :)
The way of drawings including the defaults are for me deliberate, and even if the animation is not always good, indeed the short in his globality works. The feelings they intended to create are well shown. I rarely saw anime with such an artistic choice (for characters).
Indeed the manga extract you post looks like to this style. I understand the reference.

About Gosenzosama, I just watched the first OAV, what a lot of dialogues ^^ (I hope I will be able to see it subbed one day)
I was wondering if the movie version was just a compilation, now I know that they produced extra scenes, thanks.

02/15/05 @ 13:15
neilworms [Visitor]

“Can’t wait to see Gosenzo. I’d only seen Maroko previously. I think the film is just a compilation, but with some added scenes and modified animation. “

I actually had seen part of a raw of Maroko before also, it looked interesting.

Hopefully someone else who is interested will get this thing subbed in english for all of us non-japanese speakers. Although I’ve lost most of my faith in the fansubbing community a long time ago…

Tsuka: Is there a DVD out for “Twilight Theatre” it looks really interesting?

02/15/05 @ 16:03
Ben [Visitor]

Twilight Theatre is not out on DVD, or I would have bought it a long time ago. Subbing Gosenzo would also be a real challenge/pain. There’s so much dialogue. It’s on par with Twilight Q.

02/15/05 @ 16:30
neilworms [Visitor]

They don’t call Oshii Talking head for nothing…

02/15/05 @ 17:14
Ben [Visitor]

I could be wrong about the added scenes and modified animation. I looked for relevant info but couldn’t find any. It may have been purely re-edited. I haven’t seen the two side-by-side to compare. I just ‘thought’. I only know that in the film the story was changed so that it’s told from the son’s perspective.

02/15/05 @ 22:36
Pedro M. Polanco
Pedro M. Polanco [Visitor]

I also recently saw Gosenzo, and now i have already ordered the boxset with all 6 episodes and the movie.
One of my favourite shows ever.
And you have to understand Japanese to have the full effect

02/17/05 @ 02:42
Tsuka [Visitor]

Neilworms > Yes Twilight Theatre was only released on VHS & LD (I’ve got the original VHS). We can think that it will be never released on DVD, as a lot of old animes :-\ …

About Gosenzosama, I hope you’ll definitevly convince fansubbers to release it :) !

Ben > Thanks to your explanations about Maroko.

NB : Gisaburo Sugii’s “Jack & the Beanstalk” animated film will be released on May on DVD in USA, great news :)

02/17/05 @ 10:07
Naoki [Visitor]

Sorry, I missed this post, just when there was something about Saint Seiya ;)
On my series staff list, I have Tokura listed as Togura ( Is it for sure that his name is actually Tokura?

Ben, indeed it is very likely that on Saint Seiya, animators would do half an episode. It is very noticeable particulary around episode 60 ( where Michi Himeno and Eisaku Inoue both have very good styles, in a different way, and it shows, right at the middle of the episode, that the task switched from one animator to the other. It was the only time I noticed this when I was much younger. I’m not sure it can be said for EVERY episode, though. I’d have to ask a friend of mine who regularly meets with Shingo Araki. (If you’re interested ;))

02/18/05 @ 02:16
Tsuka [Visitor]

Oh ! bonjour Naoki ;)

02/18/05 @ 06:05
Ben [Visitor]

I’m not sure whether it’s Tokura or Togura. You can find citations of both readings on the web, and I haven’t run across a site that gives the reading in Japanese, so I just decided to go with Tokura, which had more hits, even though that’s not really a good thing to do.

Thank you for the added info about Saint Seiya. That’s really interesting to hear. I’ve always been fascinated by instances like this where you can see work by only one or two talented animators, so that you can clearly see their styles thrown into contrast. I’ve heard a lot about Michi Himeno, though I’m less familiar with Eisaku Inoue.

There are still a lot of cases today where you can see different styles at play because of rotation work on TV series, but it’s rarer to see teams as small as the teams regularly were on Saint Seiya and other shows of the day, though it still happens every once in a while even in shows like Gankutsuoh and Samurai 7. One person I’ve noticed who was doing it in Saint Seiya, and is still doing it, is veteran Nobuyoshi Sasakado.

It would indeed be interesting to hear Shingo Araki talk about his involvement on the original Saint Seiya with an emphasis on the animators, to maybe get a better idea of who had what kind of style, and how they managed the amazing task of having two key animators do every episode.

02/18/05 @ 12:40
Random person
Random person [Visitor]

It happened in one episode of Genshiken (episode 9): the rest of the series had teasm of animators that were largely downright horrible and in general the show had pretty low budget, but that one episode, while it had less movement, was the best directed and animated and had only 2 animators on it. Shows how lousy the rest of the animators were :p

02/19/05 @ 00:13
Naoki [Visitor]

Salut Tsuka :) J’ai le blog dans mes flux RSS donc je passe de temps en temps, j’ai trouvé mon maître en matière de staff ;)

Ben> Indeed… There are even places where it seems to be both Tokura and Togura ;)
Eisaku Inoue is not part of Araki Production (as opposed to Michi Himeno), but he’s one of those talented Toei animators who can work with many different graphic styles and still be recognizable. I’m afraid he’s not as talented as the people from Studio 4°C though, but you know as well as me that Toei is quite a difficult place to develop one’s own technique ;)

Rotation work was much more noticeable in the past, it’s really become less obvious now with recent shows.
Sasakado is indeed someone whose style is easily recognizable (small eyes, hard edges…), but he’s really dim compared to “the” ultimate recognizable animator on Saint Seiya: the dreaded Shizuo Kawai ;) One of the most terrible animators I’ve even had the unfortunate opportunity to hear the name of ;) IIRC he was working at Tatsunoko long ago, or maybe it was already Toei, but he’s been in the industry for at least 30 years… And he’s still around, and he still sucks ;) It looks like his pictures are taken from bad Hokuto no ken TV episodes. :p Not only that, but all of the episodes he worked on are technically very poor, with animation that doesn’t connect well from one genga to another, etc. I’m ecstatic each time I see an episode featuring his works ;)

I’ll try to ask my friend about the animators’ work, I promise. (And sorry for never answering your e-mail but it did make me feel really good about our mutual work :))

02/19/05 @ 10:32
Ben [Visitor]


Lovin’ it. Great example. I noticed it’s by the same guy who did those two Guu eps with Sueyoshi, Tsutomu Mizushima.


Thanks for the info. You’re incredibly well informed about these guys. (surprise surprise…) I thought Sasakado was mediocre, but Shizuo Kawai sounds even better! I recall hearing similar horror stories in recent years about the animation by one SAKURAI Kinomi, though unfortunately I’ve never had the good fortune of sampling his work.

I guess it’s inevitable that you’d have some bad animators handling episodes along with some good animators when they’re strung out as thin as they were on Saint Seiya. At least it makes the good ones stand out all the more.

I think Toei probably has its share of talented animators even today, but you’re right that it’s hardly a bastion of individuality like 4°C, so it’s a very different kind of animator we see there. I’ve seen a lot of good names like Takashi Hashimoto, Yoshihiko Umakoshi, Sushio, Kazuto Nakazawa, Yamashita Takaaki etc. working there in recent years. And of course it’s also produced some unique directors like Ikuhara and Hosoda.

One thing I’ve always wondered is why there’s so much interaction with Gainax animators at Toei…

Anyway, thanks again for the interesting comments. And don’t worry too much if it’s impossible to ask about that stuff.

02/20/05 @ 12:52
Naoki [Visitor]

Guu: actually Tsutomu Mizushima directed the whole show ;)

Kawai: (that’s my little page about Kawai, with some research on his other works… Written in French though.)

I was also interested in the Gainax animators back in ‘91 when I discovered Nadia, but have progressively lost interest in them after Evangelion so I’m not keeping track of them like I’m doing for Saint Seiya ;) It’s nearly a fulltime job ;)

02/21/05 @ 04:29
DRMECHA [Visitor]












矢野 淳
古瀬泰栄 (古瀬泰英)

09/30/06 @ 04:15
Ben [Member]  

Excellent. Thanks for these additions. Though I had no idea Iso was actually involved in Ohira’s Studio Break in the 80s. Are you sure about this? That would be one incredible link I wasn’t aware of.

10/05/06 @ 11:17
drmecha [Visitor]  

Yes I’m Sure, I explored complete Staffs of 80s OVAs and recollected much data for much years (plus 13 years!!!). I’m animator and investigator of Argentina.

Much collaborations of Oohira:
86_Fandora OVA 3 (Kaname Pro)_Key Anim.
88_Watt Poe (Kaname Pro)_Key Anim.
83_Vifam (Sunrise)_inbetweener!!!!

(Studio Mat is in Machine Robo Revenge of Chronos ep 9)

06/14/07 @ 17:55
drmecha [Visitor]  

Studio Break’s animators is one of the much people of my favorite little studios:

Sadamitsu’s Studio Z (1977-1979)and Ikou Kaneda’s Studio Number One(1980-198?) (Kaneda, Masahito Yamashita, Kazuhiro Ochi, etc)

-Ishiguro’s Studio Artland (but 1982-1986 only)(Itano, Anno, Mikimoto, Hirano, Kakinouchi, Yuuki, Kadokami, Motoigi, etc)

-D.A.S.T: Itano founded in december of 1986 whit much animators of Artland (Nobuteru Yuuki, Sadami Morikawa, Satoshi Urushihara, Kinji yoshimoto, etc)

-Studio Graviton: Founded in 1984 by Anno’s friend Shoichi Masuo of St. Giants (before works in Orguss) in an multimple foundation (with gainax) but important since 85/86 Shoichi Masuo (president? very probable), Kouji Itoh, Tomohiro Hirata, Masa Yuki (after in Gainax), Toshiyuki Kubooka (before in Tomonori Kogawa’s Studio Bebow).

-Tomonori Kogawa’s Studio Bebow (but 1980-985) (Kitazume, Ohmori, Onda, Ochi, etc)

Studio Pokke/Atelier Giga: founded in 1985 by Kitazume (with Naoyuki Onda, Hiroyuki Ochi and others of Bebow) and changing name to Atelier Giga in 1987 whit de affiliation of Hidetoshi Ohmori and others animators of a new diaspora from Bebow. After Kitazume/Onda/Ochi passes to AIC, and Ohmori and others (Keiji Gotoh par example, and the founders of Brains Base) founded (Project Team Muu, after changing name to Phoenix Entertainment).

Minamimachi Bugyosho: The Studio on working Masami Ohbari before the foundation of St. G-1 in 1994 and after on his work on Ashi Pro. Minamimachi Bugyousho is founded (Satoru Yamazaki of Kaname Pro) in 1984 but is important since 1986/7. The most important members: Ohbari, Osamu Tsuruyama, Masanori nishii and Kenichi Ohnuki.

Gabo Miyabi (1991-1994) founded by people of jungle Gym) Shinya Takahashi, Takafumi Hashimoto, Koichiro Niiba (after in Xebec), Masahide Yanagizawa (from Anime R and friend of Michitaka Kikuchi).

Yoshikazu Yasuhiko’s Kugatsu-Sha (1982-1989)

Studio MIN 1982-1984 founded by people of Neomedia Pro: Moriyama (after in St. Fantasia), Kitakubo (after in APPP and Prductio IG), Kouji Itoh (after in St. Graviton), Hideki Tamura (after in Studio CAM)

Studio CAM (Michitaka Kikuchi/Hideki Tamura)

AIC: Producer of much of my favorites 80’s OVAs and contract the other little studios.

Toyoo Ashida’s Studio Live (but the style of 1985/1988, similar to Tamura’s style)

Ashi productins (80s)

Nippon Animation (70s)

Toei/A. Pro/Nippon/Telecom/Ghibli for the works of Miyazaki and his friends.

Dezaki’s Annapuru (An Apple?) / 4ºC for the Works of Morimoto and his whife Atsuko fukushima


Studio Bones

06/15/07 @ 05:18
drmecha [Visitor]  

Oh, and Rin Taro’s works in the 70s and 80’s (he founded Project Team Argos in 82 or 83)

Kawajiri’s Works

and Yasuomi Umetsu

06/15/07 @ 05:31
drmecha [Visitor]  

Error, this collaborations is not of Oohira, is of Tokura (sorry):
86_Fandora OVA 3 (Kaname Pro)_Key Anim.
88_Watt Poe (Kaname Pro)_Key Anim.
83_Vifam (Sunrise)_inbetweener!!!!

06/27/07 @ 11:56
drmecha [Visitor]  

The most old work where i have discovered Tokura is in Vifam (Sunrise 1983)as inbetweener, very arguably for a little subcontracted studio (but I don’t now wich). After in 1985-6 I meet in several Productions of Kaname Pro (Saint Seiya 5, 9, (only the episodes animated by Kaname Pro) Windaria, Kimagure (only the episodes animated by Kaname Pro), Fandora, Watt Poe) but I don’t now if he worked in this works for Studio Mat subcontracted for Kaname Pro. In 1986 he works for Studio Mat in Wanna Be’s (Artmic/AIC 1986) and Machine Robo Revenge of Crhonos (Ashi Pro. 1986) with other animators relationated after with Oohira. in 1987, 1988 and 1989 (I no remember) Tokura and this other animator of Studio Mat works regularly in the OVAs or episodes always with Oohira (for this years Oohira founded Studio break).

07/02/07 @ 14:22
Ben [Member]  

Thanks for all of this help in filling out Tokura’s filmo… you seem well versed in the history of small subcontractor studios.

07/03/07 @ 17:24
DRMECHA [Visitor]  

Norimoto Tokura is key animator in Violence Jack Evil Town (1988 D.A.S.T/Studio88) with Shinya Oohira of St. Break and hiroyuki Kitakubo and Yoshiyuki Ichikawa of Studio MIN.

07/27/07 @ 09:31
DRMECHA [Visitor]

Tokira (and Oohira) is key animator in Gall Force 1: “Eternal Story” (1986_Artmic/AIC/Animate Film)

11/07/07 @ 10:25
DRMECHA [Visitor]  

Norimoto tokura is key animator in New dominion OVA 1 (1993)

01/07/09 @ 02:27
DRMRCHA [Visitor]  

Tokura apparently is animator of Toyoo Ashida’s Studio Live in a short period (1983/84). Tokura is inbetwener in the episodes of Dr.Slump and Vifam animated by Studio Live!!!

11/22/09 @ 12:10
DRMRCHA [Visitor]  

Norimoto Tokura:

Studio Live (1983?-1984)–>
Kaname Pro.(1984-1988)–>
Studio Break(1988-199?)–>

11/22/09 @ 12:14
DRMECHA [Visitor]  

A breakthrough in the Hikaruon OVA: in 25:46 on a door reads “Break” and the next door says “Ohira Shinya!".

11/25/10 @ 13:59