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What other episodes did you find and can you please send them to me? I really like this anime and I want to see all the episodes too.
Thank you Ben,
After all these years this is still one of the best/only english sources on the internet to help us understand the Toei works on a historic and “production-flow” level.
I would like to get my hands on a book that goes into more detail about all these dynamics. You mention Sakuga Ase Mamire in the other post, are there any more books on the subject?
I know it’s an old post, but it took me ages to find the version Damian mentioned, so I want to share it with the others, who could look for it in the future: https://www.youtube.com/watch?v=UVsZ_dHbddg
ah, I made a mistake, Osomatsu-san is from Fujio Akatsuka, not Fujiko F. Fujio.
this wacky opening reminds me the opening from Osomatsu-san, a recent anime from an old manga by the author of Doraemon
Unfortunately it’s not subbed, but who knows, eventually, maybe… I personally think a best of sampling is a good way to go for a lot of these old shows like this and Goku, at least to start with, cause they’re not serial and there are lots of episodes that honestly aren’t up to par - and less work that way. But people are probably averse to that kind of release.
The demographic was kids, like most gag shows of the day (unlike many gag shows made today which are more aimed at young adults). If you watch the show it’ll be pretty obvious. It’s just that they were more brazen about telling the kind of stories they wanted, and were facilitated in that by having a compliant broadcaster who didn’t stonewall them like happened to Goku and Pyun Pyun Maru.
I was considering doing a writeup on the new Lupin III and Osomatsu-san, as I’m watching both, but I didn’t feel like I was bowled over enough to merit a writeup. There are parts I like about both shows, but I’m not overly enthusiastic.
Osomatsu-san I really love the drawings. Naoyuki Asano does a great job reinvisioning the characters and making every episode watchable in terms of the animation. The animation style really breathes the spirit of the A Pro school. But I can’t stand the writing. I appreciate the attempt to bring the material up to date, but I just find Hideshi Matsubara’s sense of humor is off the mark most of the time. Ironically the only part where I’ve liked the writing so far was the lost cat story in episode 5, which was a pretty serious story.
The new Lupin I’ve been underwhelmed by, and again I think the writing is the culprit. Writing was never the strong suit of the previous shows, but I find the stories here needlessly talky and lacking in dynamism, with the Lupin gang just hanging around yapping half the time, not actually doing anything. They also seem like they’re just tagging along with the action without being the drivers. There hasn’t really been anything in the animation worth shouting about or reminiscent of the Telecom Lupin of yore, either, which is what I was afraid would be the case. If only there were at least a few bits in each episode that lived up to the promise of the dynamic animation at the start of the opening theme (which I assume was by Yokobori)… The action scenes are more often than not unconvincing and forced. The only episode I quite liked so far was episode 5, the solo episode by Sadahiko Sakamaki. One he’s a great artist and I’m a big fan, but more than that, the feeling of the drawings and the solo style of animation brings to mind the aspect I most liked about the second series, the way it was animated by small crews without overpolishing the drawings - and of course Sadahiko Sakamaki was an animator in the second series (almost 40 years ago!), so he’s an element of continuity. (The presence of Hatsuki Tsuji in ep 2 was another pleasant surprise) I love Hisao Yokobori’s designs, don’t get me wrong, they’re a nice balance of the best elements of green jacket, Mamo and Fuma, but only Sakamaki’s episode has satisfied as animation so far, at least to me. I can’t blame the animation for that - the stories don’t challenge the animators or give them any opportunities to shine. I’m glad to hear there are a few more Sakamaki episodes in store. I still look forward to the show and hope there will be at least a few episodes where the Telecom spark comes alive. The current president of Telecom is apparently a huge Fuma fan and wants to make something that lives up to that in this show. I hope the show eventually produces some work that does that.
Thank you, I find your blog wonderfull!
Man, this show was ahead of it’s time! I imagine this could have been one of the inspirations for Yuasa’s style, especially with all the lively movement and wonky shot compositions. It appears I wasn’t the only one who noticed the similarities with Wacky Races, which also started airing in 1968! Also, some of the social commentary you mentioned seems pretty gutsy, especially for a 60’s cartoon. I’m pretty sure many American satire series these days would be unwilling to take on some of Pyuta’s subject matter. By any chance, do you know what the intended demographic for this series was (kids, adults, both?) Anyway, thanks so much for writing this up- I’ll have to give this show a watch at some point (assuming I can find subs for it.)
Also, while you certainly don’t have to do a long writeup on them, I was wondering what your opinions are on the new Lupin III and new Osomatsu-san series. They both feel quite different from anything else that’s aired this year, probably because of their old-school style.
Yep, Pyuta pre-dates both Wacky Races and Time Bokan. Time Bokan could very well have been influenced by both Pyuta and Wacky Races, although I haven’t seen Time Bokan so I can’t confirm the Pyuta influence. Obviously at the very least they copied the name Warusa for one of the villains, although they used it on the dumb short one rather than the tall one. In Pyuta, Warusa gets punished at the end of each episode by the ancestor computer for failing to defeat Pyuta, and I’ve heard Time Bokan may have copied this aspect as well. I’ve never thought to track this tall dandy villain character trope beyond this…
The part at the end of the opening sequence was animated by Daizo Takeuchi. The “Yankees go home” phrase doesn’t have anything to do with Pyuta and Warusa scuffling, so it was obviously Takeuchi’s idea. It’s hard to say how deep-felt the political jokes like this in the show were, but it’s also hard to ignore that the very first shots of the opening are a fighter jet, a tank, and a US carrier exploding in sequence. The image in ep 11 of Lyndon B. Johnson in a ten-gallon hat brandishing a six-shooter with the word “DEMOCRACY” emblazoned behind him speaks for itself. This was, after all, 1968, the year protests were sweeping the world. Students in Japan protested the US presence in Japan due to the Vietnam war. The show couches its political sentiment in a clowning sensibility, but it’s obviously a reflection of the era’s political ferment. Rather than being a political tract, Pyuta seems in its own small way to act like a snapshot of the revolutionary fever of 1968.
This looks incredible. Posts like this are the most depressing because I know there’s no chance whatsoever of these old shows ever getting translated or localized.
I noticed a subliminal “YANKEES GO HOME” during the fight at 1:08 into the intro… Does that have anything to do with the characters fighting or was it just a political sentiment someone on staff snuck in?
The villains are strongly reminiscent to me (though obviously it’s the other way around) of those from the various Time Bokan series minus the lady. I’d assumed the Time Bokan villains were inspired by those from Wacky Races, and would assume the same of this except it looks like Fight Da!! Pyuta came out before Wacky Races by a short margin. It’s not as though cartoons have ever been hard up for bumbling villains but this particular variation on “the tall one” in particular seems to show up a lot in anime, with the most famous example in North America being Waluigi. Can you shed some light on the history of this guy?
Thanks, Aaron. Yep, it was a pretty daring show for such an early period in anime history. I’ve since started watching Toei’s Pyun Pyun Maru from around the same time, and it’s remarkable how unfunny it is compared to Pyuta. Confirms that Pyuta really was a high watermark for the period.
This show looks very inspiring in its audaciousness and outright insanity. I love the willingness to experiment and try out new ideas back in this era of anime. Nothing seemed too defined or set in stone and it resulted in some amazing work.
Thanks for shedding light on this series!
Glad to hear you enjoyed it, Charles. Indeed, misspellings appear to be more common at this period than I thought. It’s not just limited to this show. I was just randomly checking out Nippon Animation’s Pinocchio show from 1976 and noticed Masami Hata’s name misspelled as 波田正美 instead of 波多正美. I’m sure that’s just the tip of the iceberg.
Great article, Ben! Always enjoy these posts.
Yeah, I’ve come across misspellings in anime credits released back then. It made it difficult to keep track of who did what.
H Park -
Yes, Daniel also asked me to write something for the set or do a commentary, but I found the responsibility a little too overwhelming so I essentially dropped out. I feel bad about it.
Sorry to hear the panel didn’t go well. I would never in my life venture to do such a thing. The stage fright would kill me.
Sounds like a cool guy to me, I’d love to talk to him.
Thanks! I didn’t really watch much anime over the last year, but lately I’ve dived back in and I’ve got a big stock of things I intend to go through, mostly old shows. I’m not really up to date on the new shows anymore. I just marathoned 1999’s Taiga Adventure by Sadahiko Sakamaki, but despite high hopes, it was disappointing. His storyboards are better than the final product. I’m watching a certain old show at the moment to prepare my next post. There are a lot of shows I’d like to watch in the coming days: Wolf Boy Ken, Ashita no Joe 2, Hakugei Densetsu… I think the new Lupin is airing in Japan soon, so I look forward to seeing that, although I’m not sure if it’s going to be good enough to make me want to blog it.
It’s great to see a new post. Have you been watching anything (new or old) lately?
Slightly off subject, I just got a copy of Prince of Sun, Hols on DVD. I was surprised to see that they put your words on Reiko Okuyama in that DVD.
As for me, I did a Sakuga panel at a small convention couple days ago and I didn’t do well. Still, I learned good lessons from that experience.
One of these days, I really want to introduce you to Kenji Fujita, publisher of E-Sakuga ibook via Skype. I believe he knows much as you do plus he gets to hang around with Mitsuo Iso and Tadashi Hiramatsu.
My pleasure. I’ve seen the movie, but I still need to see the TV series. Nice to know there’s still some Takahata out there that I haven’t seen.
Fascinating. Thanks for the additional info! I still need to see Jarinko Chie.
Sorry I just got around to responding to this. Thanks for the correction! Good to finally find out who did this work, and to finally be able to pin down Osamu Tsuruyama’s style from this period. I’ve seen his name a lot in anime from that period but was never sure how to ID his work.
Thanks, H Park! It’s been a mixed bag lately, but I can’t complain too much.
I know, it’s very confusing, but he definitely cannot draw. Takahata was never trained as an animator. He trained as a director from the start, and at least in those days that did not require drawing skills. It’s fascinating that despite this his imprint feels so strong in the storyboards for his films, considering he didn’t draw them. Even as early as Horus the (final) ekonte for the movie was drawn by Yasuo Otsuka, so it wasn’t something that he started doing later in his career.
Luckily we have the storyboards for all of his films, published by Ghibli, so we can see that they were all drawn by his respective collaborators on those films. What I recall about his description of the storyboard-drawing process for his films is that he communicates what he wants verbally or through stick figures to his storyboard illustrator, and has that person put it into proper drawing form. Lest this make it seem like he leaves the drawings completely up to the animators, he’s renowned for being a stickler about every aspect of the drawings, which is what set him apart from most directors then or now.
Aside from the big movies, he’s also credited with ekonte on several TV shows including Jacky, Jarinko Chie, A Dog of Flanders and Perrine, so that leaves the question open as to how these were handled. Perhaps, as with the movies, he had an as-of-yet unidentified staff member working on the show (a storyboarder or animator) help him throw the storyboards together, or else his storyboard was just a stick figure storyboard. I’d certainly love to learn more about what exactly he did on Akado Suzunosuke.
Great article, Ben! Always glad to see a new one from you. Somehow I hadn’t ever heard of this series before, despite Miyazaki and Takahata’s involvement.
As I see more of Miyazaki’s early work, I realize that a lot of the highlights of his later movies worked so well because he had already practiced doing those scenes, gags or characters before, sometimes several times.
You mention “Takahata the storyboarder” in this article– I was under the impression that Takahata couldn’t draw and had never worked in the industry as an artist. Was this apparent inability to draw just an exaggeration or simplification from later in his life, when he chose not to draw?
Welcome back, Ben!
How’s life treating you?
Forgive me for commenting on such an old post, but I recently watched Dancouga and learnt that the tank being sliced cut was in fact the work of an animator called “Osamu Tsuruyama” as mentioned by Shinsaku Kozuma on Twitter: https://twitter.com/kozuma_/status/108019479270789120
He has a large role on the show doing a lot of AD work for the series. But I never saw that level of animation, ohat realistic style, in the show outside of that episode.
(5 years since your last comment… but having just caught up with this show, here goes anyway.)
With any other show, I would’ve definitely given up after episode 3. But, trusting Yuasa, I stuck with it. And in this final episode, after the main character has broken free from the endless tatami rooms, the clothes of everyone around him change every few frames… and I cried. I can’t explain why, except by saying that Yuasa truly has that rare alchemist’s touch, the ability to present you with moments that resonate with your inner core.
Looking back at Yuasa’s previous shows, I felt Kemenozume and Kaiba both started out incredibly strong and moving, only to lose themselves in mechanics of plot around episode 7. Interestingly enough, Tatami Galaxy did the exact opposite: overwhelm you with the mechanics of plot first, then tie it all together into a moving end, resulting in a much more gratifying whole.
What’s even more interesting is that all this previous work culminates in Ping Pong. It pulls you in through the compelling human elements of early Kemonozume, moves through the metaphorical elements of Kaiba and sophistication of Tatami Galaxy, pushes to a climax with the exuberant bliss of Mind Game, and finally comes full circle, back to the compelling human element it started with.
It’s a rare treat to be able to watch a talent such as Yuasa grow from show to show. Like you, I hope he gets another chance at a feature soon. I’m not sure how he could grow in that format after the momentous achievement of Mind Game, but if anyone can find a way, it seems he can.
Thanks for your continuous support of him!
Yes, those are impressive and beautiful images .
Thanks for visiting my blog. :)
Hey Ben, heard you were hoping the new blue jacket Lupin would return to the loose, expressive animation style of the early series. If this clip is any indication, I’d say your wish was granted!
http://imgur.com/wpwBrzA (URL for the clip)
Hello Dr Mecha,
I just stopped to say that your “Nuevo Realismo Gundam” post is great.
I’m stunned by the artistry of those images
From your description it really seems to be
Nido to Mezamenu Komori Uta or Death Lullaby
by Hiroshi Harada.
Despite having a 70s feel, it was made in 1985
(it pays hommage to the Narita struggles which were still in progress
at that time http://en.wikipedia.org/wiki/Revolutionary_Communist_League,_National_Committee)
You can find it subbed on Bakabt.
Hello, I am looking for an independant Anime i saw on youtube some months ago but i can’t remember the name of the movie or the director, it is in the 60s or 70s. The main character is a kid with a big head and big teeth. he is bullied by a girl he loves because of his big teeth. The anime also features some puppets and the final of this short movie is very impressive, it is a scene showing the city destroyed by huge highways and railroads. it also features live pictures from the narita struggle airport. Does it ring a bell to anyone ? Thank you
I was reading this note, after several years, for the second time.
I drew attention that you mention about “hanging arms” and your mention that is seen on the first half of the 90s. That’s true.
I’m not sure. But I think this is the type of animation that I found in the works where Gabo Miyabi people participate. In fact, you surely know, several members came from Anime R,
On the other hand, I was surprised to find Shinya Takahashi, an animator who was not Anime R but was later a member of Gabo Miyabi, in fact one of its most important members.
I wonder if the connection was made in the Sukeban Deka OVAs.
I also wonder if Gabo Miyabi already or not during the Sukeban Deka OVAs.
Finally. True, anything you say. When I saw the picture of the people on the street, certainly it reminded me 3x3 eyes.
Possibly Koichi Arai is a great influence.
See my last post.
Possibly of your interest.
This site has been a constant source of inspiration these many years. All I can say is thank you, thank you, thank you!
I think episode 28 is animated by Greenbox because Chuichi Iguchi and Yoshinori Tanabe were members of thee studio.
(Greenbox was founded in 1977 and worked many times for Toei and Tatsunoko and closed in 1982. During the production of Technovoyager)
Tanabe had previously worked with Yoshinori Kanada.
this was during the first Studio Number One period (the Takuo Noda’s Studio Number One, not the Kanada’s studio with the same name).
A rip appeared online, courtesy of /a/.
I’m sorry to leave an off-topic comment,
but I need help:
I’m not permitted to comment anymore with my Anipages account. Can this be solved ?
Did I do anything wrong ? Can I fix it ?
Turning on topic,
I’m glad you enjoyed this sort of movie:
I think it may be the best Lupin offspring
in last years (I still have to see the entire
Fukiko series before I can hold an opinion )
I loved Atsushi Kamijo in the 80s, so it’s too bad his next great work SEX ended so nebulously. The first two volumes were absolutely groundbreaking (printing and style and everything); then the guy pulls a Hagiwara I’m-tired-I-give-up move. So TO-Y will remain his best work (albeit the Nagel lift, which he managed to pull himself out of by the time he worked on SEX). But SEX started so awesome, hack, may be Yamamoto can adapt it to anime. It would be awesome if they give her free reign.
Sadly SUNET (Swedish University Network) decided last year to start closing down their database.
So I urge any visitor/anime fan who may be reading this
to backup these linked images as soon as they can.
Meanwhile, I’m writing Ben a PM about this
Good morning Ben,
I’d like to thank you for pointing out this interesting anime; I’d like to leave my contribution to this.
I recently found this great image/data archive
about anime and manga (you probably may know it already) which includes a directory about Yadamon among others
It contains screenshots from the anime,
some cute illustrations/chara design sketches
and even some (un)related Saizen sketches like this http://ftp.sunet.se/pub/pictures/anime-manga/Yadamon/Images/suezen07.jpg It really seems that his trademark is drawing red baggy boots!
He really seems to like this kind of rounded-yet-angular face design too http://ftp.sunet.se/pub/pictures/anime-manga/Yadamon/Images/suezen08.jpg
You might be interested in this interview with Takahashi about the film: http://news.ameba.jp/20140508-112/.
In any case, I hope Takahashi and Nakashima return next year. It’d be great if the Shin-chan films could regain some of their former glory.
I thoroughly enjoyed it, although I didn’t feel the film surpassed Mitsuru Hongo’s or Keiichi Hara’s entries. It was around the time of the Muto Yuji era (2005-2007) that I thought the Shin-chan films were losing the cinematic appeal of the Keiichi Hara days, but this film felt cinematic and had a social theme reminiscent of Adult Empire, so it was a good balance and return to the feeling of the older movies. Kazuki Nakashima wrote some clever lines, and the animation was pretty strong, as usual. I’m not familiar with Ayumu Takahashi (or any of the recent directors) but he’s done a nice job, though there were a bunch of storyboarders and I don’t know how it was broken down so it’s hard to really get a sense of his style just from this.
Thank you for the info!
How did you end up liking the film overall?
Just watched it. It looked like Yuasa to me when I first saw it, and indeed there’s a section in the credits that reads “Giant Hiroshi Robo Battle: Science Saru” with design by Yuasa and animation by Yuasa, Abel Gongora, Juan Manuel Laguna and Eunyoung Choi. And Yuasa receives a storyboard credit so he also storyboarded this section.
Hey, do you know which scene tomoyuki niho worked on. I’m thinking the drinking scene or the licking scene, but I don’t want to give out false information based on assumptions.
Aaron - Those comments are very encouraging. I’m looking forward to this even more now. I hope they can manage to bring back ye olde Telecom vibe.
tamerlane - I haven’t seen a Shin-chan movie in years, but I’ll check it out and let you know. Sounds great. It’s nice how they’re continually switching up the staff to try out different things with the movies rather than letting them stagnate.
Rubin - Sakkaning is a word I just made up in an attempt to produce a verb for what the animation director or “sakkan” does. It’s basically drawing correction.
Could someone explain to me what “sakkaning” is?
I googled it and still did not find a good answer.
Hey Ben: I don’t know if this is the right place to ask but have you seen the new Shin-chan film (the 22nd)? I recently watched it and was blown away, it felt like the best entry since Keiichi Hara’s days. It has an interesting script by Kazuki Nakashima and the director, Wataru Takahashi, was apparently taught by Tsutomu Mizushima. The storyboarding was quite strong throughout and I wouldn’t be surprised if Takahashi ends up as the next success story from the studio a la Ayumu Watanabe/Keiichi Hara.
The animation had the cinematic polish you’d expect but there was something weird about the finale. It looked like it was done in flash by a webgen animator but no-one on the KA list stuck out to me as such. There’s the usual Sueyoshi, Hayashi, Otsuka, Takakura cuts, and even a few by Michio Mihara, but I can’t for the life of me figure out who did the big ending fight and I was wondering if you knew.
Happy birthday! And THANK YOU. (-:
I liked the way he handled the ending. Like death, it was abrupt, inescapable. And in the end, it only took a scene of roughly a minute and a half to arouse an intense sorrow.