Sunday, December 1, 2019

The Making Of A Legendary Anime Documentary



This piece began in 2005 as a review of the then-just-released documentary "Space Battleship Yamato: The Making of an Anime Legend." It has been revised and expanded to commemorate the 40th anniversary of the premiere of Star Blazers.
-Dave

If you’re like me, forty years ago you ran home every day from school just to catch the latest episode of Star Blazers, the seminal Japanese anime SF serial about the derelict WWII battleship resurrected from the seabed to save Earth in the year 2199. When you found out originally it was a Japanese TV show called ‘Space Battleship Yamato that had inspired films, comics, model kits, toys, and books, you vowed to do whatever it took to get your hands on those things. Soon you connected with others who shared your obsession and before you knew it, you had a fandom.



And here, forty years later, after several generations of North American anime fans dragged the medium into the spotlight, after premieres of Hollywood-optioned anime-inspired films and record-breaking anime convention attendances and international media corporations running former kitchen-table licensing operations, here now that anime is finally a thing, well, the kids that ran home from school to watch Star Blazers are asking, where’s the Star Blazers

These days just about every cartoon IP has been remastered for DVD and BD box sets, been rebooted as an edgy show for grownups, has at least one bad live action film adaptation, and has engendered rafts of licensed bobbleheads and keychains and Hot Topic knickknacks;  fodder for an always hungry maw of nostalgic marketing eager to sell us retro themed everything everywhere all the time. Again we ask, where’s the Star Blazers?



Talk to anyone that was 10 and anywhere near a TV in 1979 and they’ll speak fondly of that show with the outer-space battleship. But the ability of us nostalgic nerds to actually go out and spend money on this thing we’re nostalgic about is almost non-existent; the invisible hand of the marketplace is keeping very invisible indeed.

As a Gen Xer, I can file it away as one more grievance of our in-between generation, one more reason to be angry at the boomers and jealous of the millennials. Licensed by Westchester films and localized by Sunwagon Films for distribution by Claster Television, Star Blazers hit American airwaves in September 1979, catching that last burst of Star Wars fever among American children. Once Westchester’s sponsorship deal with toymaker Hasbro ended, the show vanished quickly from broadcast. After a second, faltering attempt at syndication with an extra 25 episodes of Yamato III added to the Star Blazers package, Westchester tried to capitalize on the growing home video market with what amounted to a vanity-press edition of poorly transferred VHS tapes under the Kidmark label. 

all three box sets for only $449.95!

As the 80s turned into the 90s, the Star Blazers license reverted to the American arm of Yamato producer Yoshinobu Nishizaki’s company Voyager. Though more active than Westchester, Voyager’s US branch was basically an entertainment lawyer’s office in New Jersey, and Voyager’s approach was also was a day late and a DVD short in keeping Star Blazers in the public eye. They released more Star Blazers VHS titles with confusing box art, and capriciously altered versions of the Yamato films, all priced for the serious collector rather than the average consumer.

When compared to the rollout of any other contemporary properties like, say, Sandy Frank’s release of Battle of The Planets, Star Blazers seems positively neglected.  BOTP aired across the country for years, was re-dubbed and broadcast on cable TV superstations as G-Force for several more seasons, received a wide home video release courtesy pop-culture label Rhino, was then licensed by ADV in both Japanese and English versions, and is now repped by Sentai in both physical and streaming media. That bird ninja show achieved a level of success that Star Blazers simply didn’t get, both in the 1970s and beyond. 

Japanese fans waiting forever to see Be Forever Yamato in WARP DIMENSION
Part of this is because Space Battleship Yamato wasn’t a Toei property or a Tatsunoko property or a Sunrise property, it was a sole proprietorship owned & operated by Yoshinobu Nishizaki Incorporated, a hand-crafted artisanal object that wouldn’t get bundled or packaged or promoted with anything else, a property without an engaged American office in the field trying to make things happen. Compare this to Harmony Gold, which for all their many and egregious faults, is always trying to keep Robotech The Trademark in the public eye, or with Speed Racer Enterprises, which spent the 1980s and 1990s selling Speed Racer magnets and coffee mugs and getting Speed Racer on MTV.

Nishizaki’s Voyager didn’t market Star Blazers with anywhere near this energy. Their initial VHS releases of the property were flawed, expensive, and poorly distributed, and later DVD releases were also flawed, expensive, and poorly distributed. For interested outsiders, getting licenses for other merch like the Star Blazers Role Playing Game or TCI’s model kits was like pulling teeth.

One exception? Star Blazers comics. In the mid and late 1980s, a creative team including Phil “Girl Genius” Foglio produced two decently-selling Star Blazers series for Robotech comics publisher Comico. A few years later, longtime Yamato fan Tim Eldred was working at then-ascendant Malibu Comics just as Voyager was seeking to promote their property. Malibu passed on the offer to publish Star Blazers comics, but Eldred sensed an opportunity. He convinced Voyager US president Barry Winston to publish Star Blazers comics under a new publishing line, Argo Press. Eldred would produce the actual comics as Studio Go, a licensed property comics production service. Alongside other anime-license titles like M.D. Geist, Gall Force, Project A-Ko and Votoms, Studio Go would publish 12 Star Blazers comic books as well as an actual honest to gosh official, licensed Star Blazers book, the now out-of-print “Star Blazers Perfect Album.”



Eldred's involvement with Voyager and the Star Blazers franchise would also lead to something unique in the annals of Japanese animation; the English-language anime series documentary Space Battleship Yamato: The Making of an Anime Legend. Today, every YouTube account with the ability to splash misleading Impact font headlines across screencaps considers themselves a documentarian, but in 2005, serious documentaries about Japanese animated films were rare to nonexistent.  As a Star Blazers fan Tim was unhappy with the decrepit look of previous Star Blazers DVD releases and he'd done the legwork sourcing high quality video for the DVD release of the show's little-seen third season, now titled "The Bolar Wars." He'd arranged the translation of a wealth of Yamato images, text, and video for the official Star Blazers website, and of course he’d produced hundreds of pages of Star Blazers graphic story himself. In hindsight it seems an obvious next step: he had the translations, he had the artwork, he had the music, he had the DVD rendering skills, and he had the blessing of the actual copyright holders. He could produce an honest-to-gosh Star Blazers documentary.



Nishizaki and Matsumoto in the 70s; an early Yamato design

The end result is unique. Not only is this DVD a comprehensive look at the work it took to animate the three Yamato TV series and the five Yamato films, but it places Yamato firmly in the context of both the Japanese and the American animation markets of the time. Yamato producer Yoshinobu Nishizaki’s career is detailed from his start with Osamu Tezuka’s Mushi Production, and his tireless and sometimes outlandish efforts to promote Yamato are shown in detail. We see the roots of the series, first conceived as funky looking live-action SF involving a rocket-propelled asteroid. Yamato chief designer Leiji Matsumoto’s influence on the final product is shown through original design sketches and interviews. We see eccentric publicity stunts like a Yamato ocean cruise in a liner tricked out with deck turrets and a mystery Yamato train trip reportedly to the asteroid Icarus.



Many of the fan legends that surround the series are brought to light; the seldom-seen Yamato pilot film is on this DVD in its entirety, and there’s a comprehensive look at the English-language theatrical version of Yamato, titled “Space Cruiser,” that screened in Europe before Star Blazers even existed. This of course leads into a long-awaited explanation of the strange “ghost Starsha” variation of that first Yamato feature film. We also learn the stunning truth behind the cinematic innovation “Warp Dimension” that was unveiled with the premiere of the third Yamato theatrical film, Be Forever Yamato.

some of the Star Blazers voice cast

Narrated by original "Derek Wildstar" voice actor Ken Messeroll, this DVD also features interviews with other Star Blazers voice actors like Amy “Nova” Howard-Wilson, Tom “Venture” Tweedy, and Leader Desslok himself, Eddie Allen. Also throughout the DVD are transcribed interviews with the Japanese Yamato voice actors, director Noboru Ishiguro and Yamato composer Hiroshi Miyagawa, the designers of Yamato characters, costumes and mecha, rare footage from Yamato concerts, original theatrical trailers, material deleted from Star Blazers, and some amazing footage of the massive crowds that greeted each Yamato film as it opened in Japan. It may be difficult for Western audiences to grasp just how insanely popular this franchise was in Japan, but this DVD is itself incontrovertible evidence. Yamato spawned festivals, concerts, speaking tours, hundreds of fan clubs, a weekly radio show, and all-night radio dramas; the series went beyond mere popularity and became a pop culture phenomenon, further proven here by a fine selection of vintage toy TV ads, including the famous Yamato Bicycle commercial.

we just want to ride our machines without being hassled by the man

Those expecting a “warts and all” look at the scandals and convoluted legal issues facing both Yamato and producer Yoshinobu Nishizaki in the 90s and 00s will be disappointed, but remember; this documentary was produced by and for Yamato's corporate owner. A certain amount of discretion and some glossing over of uncomfortable subjects is to be expected. Yamato fans new to the franchise may be surprised the doc fails to mention the live-action Space Battleship Yamato film, or Yamato Resurrection, or the Yamato 2199 and 2202 reboots, but remember - all these had yet to happen in 2005. 

the offices of Nishizaki's production company Office Academy

2005, of course, marked the peak year of DVD sales in the United States market. From here on a glutted market, a consumer base choosing between HD-DVD and Blu-Ray, and new options for home video would whittle the once-mighty market segment down to fragments. With a vanished Suncoast and Best Buy reducing their once-mighty anime section to a few shelves, there’s barely any room for any DVD titles, and without a strong marketing team and good distribution, a 25 year old cartoon about a space battleship is going to be lost in the clearance bin shuffle. Which explains why you may not have even known this documentary even existed. 

early Yamato character designs, early fan clubs

If you’re a lifelong Yamato or Star Blazers fan, or if you’re just finding out about the show, or have any interest at all in the creation, production and marketing of Japanese animation, you’ll find Yamato: The Making of an Anime Legend fascinating. I was impressed with this documentary in ‘05, and as the years pass it only gets more impressive, a testament to Eldred's ability to make things happen and to capitalize on opportunities. When was the last time you saw the main cast of Star Blazers make anime con appearances? There aren't many documentaries about anime TV this comprehensive or this well produced – actually, I think this one is it, this is all we get. Why we don't see something like this for Speed Racer or BOTP or Robotech or Sailor Moon is anyone’s guess. Apart from a third of Otaku Unite, the odd DVD extra, and myopic, click-baity YouTube videos, nobody even tries to gets close to the comprehensive scope of Making Of An Anime Legend. These days Tim is busy directing animation for Marvel Productions and producing another original SF webseries; he's done his part, he’s made his Star Blazers documentary. Now it’s time for someone else to pick up the torch, or the camera, and carry on to Iscandar, or YouTube, whichever is closer.

-Dave M

Thanks to Tim Eldred, Steve Harrison, and Mike Toole for their assistance.

indeed it was the final chapter, for a little while anyways

Thursday, October 24, 2019

twenty five years of anime weekend atlanta

25 years of AWA? That CAN'T be right. Fact is, when a bunch of Atlanta anime nerds got together in 1994 and said "let's put on a show," we figured we'd get maybe a hundred attendees, we'd show some anime and sell each other some junk and look at each other's costumes, and maybe we wouldn't lose too much money. Then we could tell each other that we'd done it, and then we could go on about our business.  

AWA 1995 cosplay contest (photo: Lloyd Carter)

As it turned out, more than 300 badge-purchasing fans showed up. We did show lots of anime, lots of merch got moved, lots of costumers turned up, and the convention actually wound in the black. Year One wasn't even cold and we were already making plans for next year.

AWA 1995 vendor table

Twenty five years later, the convention has moved six or seven times, has grown exponentially right along with the popularity of Japanese animation, is held in world class convention facilities using state of the art AV equipment, and yet, still retains some of that "let's put on a show" attitude. It's still staffed by a crew of volunteers - some 25 year veterans among them - and everybody's looking forward to dropping their regular life for a few days and immersing themselves in the anime con world. 

I'm one of those 25 year lifers, and even though the out-of-body-panic of the early years has faded to a dull roar, I still get a kick out of presenting panels and screening goofy shorts, and I hope I always will. 

Here's what I'm up to this year: 


Thursday night the SuperHappyFunSell is in full effect, in a new venue but still jam packed with pre-loved bargains from the closets and crawlspaces and storage units of the Southeast's most troubled anime hoarders. Bring cash!


Three separate panels on three separate days celebrate twenty five years of Anime Weekend Atlanta! I'm gonna be on at least one of these!


Friday night Anime Hell is back for two hours of tasty short form Japanese animation or Japanese or animation or whatever seems to make people laugh. Guaranteed to confuse!

Followed as always by the anime parody dub showcase Midnight Madness! 




Saturday at 4 the Mister Kitty team of Shaindle Minuk and Dave Merrill will be showing you seventy years worth of terrible comics badness. Free comics for all while they last, too!


Totally Lame Anime's moved to a new time and a new place, Saturday afternoon in the Grand Panel in the Waverly! Still a big dumpster fire though! 


And on Sunday at 2 we'll be going back fifty years to groove on the fantasmagorical freak-out happenings happening in the Japanese animation of 1969! Can you dig it? 


-Dave M

Sunday, September 1, 2019

Calling International Rescue - no, the OTHER International Rescue

I was born too late for Thunderbirds. The seminal 1965-66 Gerry Anderson Supermarionation adventure show was instead beloved by that late Boomer contingent of kids maybe too young for James Bond or the Rolling Stones, but just the right age for a show filled with model kits manned by big-headed puppets named after astronauts zooming through miniature sets while carefully placed explosions create disaster all around them. Those kids, and the genius of Gerry Anderson and crew, made Thunderbirds an instant icon and an early British TV export success, creating a wave of toyetic die-cast merchandising the likes of which Mom and Dad’s wallets and pocketbooks had never seen. But I missed all that. 





What I WAS old enough for was Thunderbirds 2086, the 1982 Japanese cartoon that took the International Rescue concept and dressed it out with big-eye anime characters, updated SF mecha design and a running time more suited for modern attention spans. And yet the sad truth is that the show was sort of a Derek Meddings misfire that only managed 24 episodes, six of which didn’t even air in Japan, all of which I missed on its first go-round. Airing in Japan as 科学救助隊テクノボイジャ or Kagaku Kyūjo Tai Tekunoboijā (Scientific Rescue Team Technoboyager to you and me), the series premiered on Japan's Fuji TV in April of 1982 and was gone a mere eighteen weeks later. 

the Technoboyagers, or Thunderbirds if you prefer


As a show about a high-tech rescue team using amazing vehicles to save lives and property amid terrible dangers, Thunderbirds 2086 is loosely based on the Thunderbirds template - so loosely, in fact, that some Thunderbirds purists don't consider it part of the Thunderbirds universe at all, which is kind of a weird attitude to take about a series called "Thunderbirds" about an International Rescue team that rescues people internationally in vehicles designated TB-1, TB-2, and so on. However, if there’s one thing I’ve never been accused of, it’s being a Thunderbirds purist. 

if you suspect you have T.B. Love, see your doctor

 


So why "Technoboyager" and not "Thunderbirds?" Well, there’s this guy, Banjiro Uemura, who founded Tohoku Shinsha, produced the Toei Star Wars homage Message From Space and financed the Tippi Hedren jungle cat fiasco Roar. Banjiro was fresh from a meeting with his pal Gerry Anderson and another meeting with puppet super-robot show X-Bomber producer Kimio Ikeda when he pitched a new Thunderbirds show to Japanese television execs. Well sir, it was not a good time for that particular pitch. Japan’s current rerun of the original Thunderbirds TV show was dying in the ratings. Toy sponsor Popy's sales of Thunderbirds toys were in a crash dive, and not the good kind of crash dive like on “Stingray.” Clearly kids did not want anything called "Thunderbirds." Hence a quick rebranding as Technoboyager, a portmanteau of "technology," "boy," and "voyager." Did this name change help, hinder, or merely confuse? Probably those last two. 


Meanwhile, UK based Thunderbirds distributor ITC Entertainment - you know, the guys that gave America The Muppet Show, Randall And Hopkirk (Deceased), and Secret Agent aka Danger Man - when ITC packaged this new series for international rescue, I mean broadcast, the Thunderbirds legacy was embraced wholeheartedly as a selling point to global TV markets that hadn't seen Gerry Anderson's original series in a while and might harbor some lingering nostalgia or at least name recognition for the 60s puppet adventure.
ITC trade ad pitching TB2086

Retitled Thunderbirds 2086, the English language version was brought to life by Thunderbirds In Outer Space producer Robert Mandell, localized by veteran anime localizer Peter Fernandez, edited for content not suitable for Western TV cartoon audiences, shown out of original broadcast order, and peppered with new and by now very dated computer graphic insert shots.



In spite of name changes, computer graphics and 60s nostalgia, our Technoboyagers fared only slightly better outside of Japan. The series came and went in the UK, Spain, Malaysia, Australia (perhaps part of Seven Network’s “Agro’s Cartoon Connection?”), Italy, Portugal, the Arabic world, Edmonton Canada's CITV (channel 13) and a few US television markets that sadly didn’t include my home town – but did include NYC powerhouse Channel 11 WPIX, home of the Yankees, “Captain Jack,” and the WPIX Yule Log. Thunderbirds 2086 was also edited into 90 minute compilation films that aired on Showtime cable TV, which my family didn't get. I had to content myself with one measly, static-filled VHS copy of one of those Showtime airings, just to reassure my cartoon-obsessed self the thing actually existed. Later I was able to find a few of the commercially released VHS tapes of the show, and I filled in the gaps with episodes recorded off TV acquired via tape-swapping with fans lucky enough to live in one of its broadcast areas. 


getting nothing but static on Channel Z

And if you're like me, an 80s lad hungry for science fiction TV animation, you’ll find TB2086 to be a refreshing dose of hard SF, conspicuous in a cartoon landscape full of magical elves, improbable lion based super robots, and Super Friend Challenges. Our Thunderbirds zoom into disasters involving decaying solar orbits, high-G boosts to Jupiter, genetically engineered killer plants, mutated viruses, and malfunctioning central computers, all with a pleasant lack of ro-beasts and galactic overlords. I don't mean to say the show slavishly obeys the laws of physics - our Thunderbirds still bank and turn in outer space like airplanes, instead of making controlled burns and watching their Delta-V like real space vehicles are forced to. But microgravity, explosive decompression, and the almost inconceivable distances between the planets of our solar system are dealt with realistically, without cheats like hyperspace, teleportation or artificial gravity. 

My Anime article on Technoboyager - note early Catherine character design

Thunderbirds 2086 jettisons the original series' Tracy family concept, along with the secret island and the spy elements. Instead, our new International Rescue Organization team is a multi-national crew operating under the auspices of what the show calls the Earth Federation and headquartered in a gigantic pyramidal mega structure, eponymously titled “The Arcology”. Under the command of Gerard Simpson, the Thunderbirds team leader is the gentle giant Gran Hanson, who pilots the tank-like TB-3. 

Commander Simpson, Gran Hansen

Hidaka and Catherine, or Dylan and Kallan, if you prefer
Our real stars are TB-1 pilot Hidaka Raiji (Dylan Beda in Thunderbirds 2086) and TB-4 sub commander Catherine Hayward / Kallan James. Hidaka is a karate-master Japanese equally competent with laser-pistol or interplanetary spacecraft so obviously he's gonna be our hero. Catherine breaks the anime girl character mold by failing to be some scientist’s daughter or a princess or somebody’s long-suffering girlfriend or any combination of the three – instead she’s a competent professional who knows her job and does it well and doesn’t take any static from anybody, who has a life and friends outside her IRO career and gets the show past the Bechdel test before the Bechdel test was even a thing. Are Catherine and Hidaka an item? The show’s pretty vague, but the 45 single cover tells the story. 



Rounding out our Technoboyager team is the TB-2 navigator/pilot crew of classy Brit Eric Jones and former NFL player Sammy Edkins Jr. As one of the few non stereotypical black characters in Japanese animation, Edkins also puts Technoboyager into new and progressive territory, especially when he’s at the disco. Because it might be 2086, but in some places it’s still very much 1982. For Thunderbirds 2086, Eric Jones would become the southern-dialect Jesse Rigel and Sammy Edkins would be localized as Jonathan Jordan Junior and get a mild but distinct Caribbean accent, which is not a thing I’ve heard in cartoon voice work before or since. American audiences used to more heterogeneous cartoon casts might not appreciate the international aspect of Technoboyager’s crew, but this was a rarity in Japanese animation at the time, usually content to crew its space cruisers and super robots with all-Japanese casts. 

TB-2's crew of Jesse and Jonathan

Audience identification is delivered via kid sidekick Paul, or Skipper as he’s known in English, an easily impressed tween with neglectful parents who spends all his free time hanging out with the Thunderbird team and occasionally hiding out in vehicles to go on missions because he saw Spritle do it on Speed Racer, or maybe he saw that TV movie where the kid stowed away on an Apollo mission. 

obligatory kid sidekick

I'm not generally a fan of American dubbing and usually prefer Japanese dialogue, but TB2086 is an exception, a Peter Fernandez-helmed localization that avoids Speed Racer style rapid-fire delivery in favor of more naturalistic pacing and relatively authentic characterization. The familiar voice of Earl "Hayata from Ultraman" Hammond lends a comforting authority to the professional voice cast. The script doesn't take itself too seriously and the inevitable technological jargon is leavened by pop culture references and celebrity sound-alikes. If you’re mortally offended by an English dub unafraid to quote Star Wars, 2001 and Monty Python while unabashedly mimicking the Honeymooners and Abbott & Costello, this dub might not be your thing.

TB2086 VHS box art

The animation, by Green Box and AIC, is workmanlike 1980s TV animation; Green Box worked on the tonally similar Yamato III, the nesting-robot adventure Gordian, and Invincible Superman Zanbot 3, and went bankrupt while producing Technoboyagers. Whoops. Meanwhile, AIC had a hand in every piece of 80s anime you loved, and I mean that sincerely. 

my Catherine cel
The show has that clean-line international look that says “let’s sell this to the West,” helped by the character design by Kazuhiko Udagawa, who worked on everything from Pelican Road to Pokemon, from Final Yamato to Future War 198X (fun fact: the unseen-until-the-Japanese DVD box Technoboyager pilot was animated by Japanese cartoon rock star Yoshinori Kanada). Considering the scripts take place everywhere from erupting volcanoes to undersea caverns, from collapsing mountains to mega-cities, the quality of the show’s visuals are pretty remarkable.

Anime fans will take particular note of episode 10 (15 in the TB2086 broadcast order), which was produced by Artland, directed by Noboru “Space Battleship Yamato” Ishiguro, and character-designed by Haruhiko “Megazone 23” Mikimoto. A seeming test run for the upcoming Super Space Fortress Macross, this particular Technoboyager episode stars I Can't Believe It's Not Misa Hayase as a dedicated scientist whose experimental plant turns into a sci-fi cliche plant monster. Thunderbirds 2086 dubs the killer vine "Kudzilla," referencing contemporaneous news reports about how once beneficial import vine Kudzu was at that time taking over vacant lots and back yards throughout the American south, including my backyard. The solution, BTW, is to yank it out of the ground by the roots. Sharp-eyed viewers may notice how certain characters who are rescued and reported “all right” in the TB2086 iteration aren’t quite so lucky in the Japanese version. 

stay tuned for "Macross" on these stations

A Thunderbirds show is going to live or die on its mechanical design, and Yasushi Ishizu’s designs live up to the challenge. Ishizu would go on to design for Mobile Suit Gundam 0083, Dirty Pair, Crusher Joe, and Space Battleship Yamato 2199, so you know he’s doing something right. Some of the 2086 vehicles stick close to the 60s designs, but others are wholly new creations. Let’s give these Thunderbirds mecha a quick rundown, shall we? Let’s. 

the TB 1-2-3 combo

TB-1 is a Space Shuttle type high-speed Earth orbital vehicle. TB-2 is a vertical-launch cargo-delivery vehicle that requires a booster to achieve Earth orbit. TB-3 is large transport and rescue tracked vehicle that’s heavily armored and can use JATO units to fly for short distances. TB 1, 2, and 3 combine into an integrated unit in a sequence we see in pretty much every episode, so get used to it. TB-4 is a search and rescue submarine which has various detachable vehicles including a combat submarine and a small one-operator sub. It can’t combine with the flying vehicles, but they arrive at the disaster areas at pretty much the same time, so that’s one fast submarine.

TB-5
TB-5 is that beloved of science-fiction vehicles, the “At The Earth’s Core” style drill vehicle. TB-6 is the orbital nerve center of IRO, 3.4 KM of space station crewed by hundreds of International Rescue team members, making everybody wonder exactly how many people work for the IRO. TB-7 is a high-speed jet interceptor launched from TB-1 and/or TB-2. TB-8 is a hover-bulldozer carried by TB-1. TB-9 is a one-man powered exoskeleton for outer space repair work. TB-10 is a high-speed space courier vehicle launched from TB-2, capable of speeds of up to Mach 176. TB-11 is for when the Thunderbirds need to head out on the highway, it’s a fast sports car carried in TB-3. TB-12 is a caterpillar-tread telescoping platform/bulldozer vehicle carried by TB-1 and/or TB-3. TB-13 is a solo-operator high-speed submarine.
TB-7, TB-9, TB-10, TB-12

TB-14 is a bathysphere for extreme ocean depths, and both are transported by TB-4. TB-15 is a wheeled reconnaissance/comm vehicle carried by TB-5 and TB-15 itself has a separate unmanned drone. TB-16 is another drill car, this one’s remote controlled and carried by TB-5. TB-17 is a massive high-boost plasma engine vehicle used for Thunderbirds operations outside Earth orbit. How massive? It can ferry *all* the other Thunderbirds vehicles at a maximum acceleration of 10Gs. 

TB-17
Technoboyager is a mechanical design wonderland, filled with high tech everything, from space ships, space stations, moon colonies, O’Neill style space habitats, and undersea research stations; the kind of SF world building that helps to sell us that this is the future and that the dangers of our advanced technology require dramatic survival resources mobilized at a moment’s notice. The series is filled with gargantuan super-constructions like the Arcology and the two mile long TB-6 space station, giving all the adventures an epic backdrop.

The Arcology


TB-6

This vast space-opera immensity is reinforced by the excellent orchestral soundtrack by Kentaro Haneda, whose scores include Final Yamato and Macrosses Frontier and Delta. Here his huge, bold, brassy themes are filled with the ominous wonder of the stars, bravely intoning Important Things Are Happening In Outer Space, Prepare For Blastoff. 


Most Thunderbirds 2086 episodes are self-contained adventures, but we catch glimpses of what might have developed into a story arc, if the show had lasted long enough. The Shadow Axis, a mysterious interplanetary terrorist organization that was “behind the rebellion in the Asteroid Colonies” (is this a Gundam side story?) are up to various solar system-conquering shenanigans, and in three episodes the Thunderbirds team find themselves mixed up in their schemes. But for the most part this show doesn’t bother with any sort of over-arching narrative, refreshing in this age of convoluted multi-season storylines. 

shadowy and not-so-shadowy agents of the Shadow Axis

Instead we see the IRO protecting a marine wildlife sanctuary from a mid-ocean chemical spill, rescuing a monorail full of schoolchildren trapped in an Alpine tunnel during an avalanche, rescuing a disabled space shuttle full of schoolchildren, rescuing two schoolchildren who accidentally launch TB-1 into the side of a building, rescuing an entire city
disaster strikes!
(which probably includes schoolchildren) from a deranged supercomputer, and saving Moonbase Omega from a deranged supercomputer who enjoys quoting the Control Voice from “Outer Limits.” The crew hops into acceleration pods to survive a three hour trip to Pluto (now that’s traveling, kids) and rescues a solar observatory from getting a lot closer than intended to the sun by the simple expedient of causing a solar flare. 

Let’s break it down; it’s a mid 1980s anime series filled with well-designed mecha, decent animation, great music and space adventure built on the foundation of a beloved 60s pop icon, bringing two fandoms together like a Reese’s Peanut Butter Cup of Supermarionation and SF cartoons. What’s not to love, 80s audiences? What’s your problem? Why wasn’t this a hit? Why do we have to dig around for this one while other shows of the same vintage get Western home-video releases two, three, four times? Well, sometimes not even the high-speed plasma boost vehicles or the subterranean drill tanks of International Rescue can rescue a show from being in the wrong place at the wrong time. However, we can’t give up hope. Perhaps some streaming service or boutique DVD licensor of the future will rescue Thunderbirds 2086 from the no doubt high-tech multi-function dustbin it currently occupies, maybe using some sort of elaborate mechanical flying submarine or a hovercraft bulldozer. We can only hope. 

-Dave Merrill

they aren't fooling anybody



Wednesday, July 31, 2019

Anime Hell 80s Night II: The Return

It's summertime and that means just one thing: I take over the screening room at one of North America's last remaining video stores and drop a few hours of ANIME HELL upon an audience of scenesters and cineastes. This Saturday night I'll be in the back of Eyesore Cinema here in Toronto showing three 80s anime classics, some of which were anime-fan must-haves, others virtually-unseen cult classics, and still others modern-day icons of outrageousness. 





Fight! Iczer One, the thrilling saga of lushly-illustrated space lesbians battling for the fate of Earth itself, was released in October 1985. Written, directed and character designed by 80s anime MVP Toshiki Hirano, Iczer One tells the story of an Earth under attack by alien invaders called "Cthulhu" who infiltrate and replace humans with parasites known as "Vedims". Mysterious fighter Iczer One must find a human with whom she can "synchronize" and control the Izcer Robo to defeat the aliens! Iczer One is based on the original manga that appeared in the magazine "Lemon People," portions of which are probably illegal in Canada. 




Flying Warped Boy Ranpou aired for 21 episodes in 1984, produced by the animation division of an ad agency and broadcast opposite major league baseball, not a great programming decision on somebody's part. Ranpou was a normal high school kid who was kidnapped by a flying saucer and returned to earth shorter and goofier and with a talking mouse companion who is also a genius inventor. When he's not harassing Coach Hiroshi or Miss Iwasaki, his teachers, he's harassing his girlfriend Mutsumi. This zany gag comedy series is based on a manga that ran for nearly ten years in Shonen Champion, and has never been released on any kind of home video anywhere. Without 80s anime nerds swapping VHS tapes through the mail we'd never be able to see this show. You're welcome!





Mad Bull 34 the anime was released in December 1990, which completely defeats my 1980s theme, but hey, it's based on the 1980s manga drawn by Noriyoshi Inoue and written by Kazuo Koike, who also gave us Lone Wolf And Cub and who passed away recently. So relax. This is the story of Daizaburo Ban, a New York City cop assigned to the tough 34th Precinct, where his partner is John "Sleepy" Estes, a giant monster of a policeman who is WAY OUTTA LINE, YOU'RE THROUGH, TURN IN YOUR BADGE! This ridiculously hardboiled piece of attempted grindhouse mixes cartoony slapstick with ultra-violence and is one of those "not for kids" Japanimations you're always hearing about. 



If you're in town, come on over Saturday! Doors open at 7:30, show starts at 8! That's Eyesore Cinema, 1176 Bloor West, Toronto Ontario Canada!