A Discussion on Animation by Four Great Manga Artists
Nezha Talk Session
Translated by: Harley Acres
On Sunday, December 21, 1980 at 6:00pm, at "Takizawa" in front of Shinjuku Station.Participants are Moto Hagio, Nanae Sasaya, Rumiko Takahashi and Hideo Azuma.
Moderator Takashi Namiki. Recorded by Hiroshi Iida and Hiroshi Yoshinari.
Takashi Namiki: Did you see the TV broadcast of The Castle of Cagliostro last month, Azuma-san? [1] [2]
Hideo Azuma: I did (laughs). [3]
Nanae Sasaya: It's good, isn't it (asking Namiki to agree)? [4]
Namiki: Hagio-san, have you seen it? [5]
Moto Hagio: Lupin the Third, you mean?
Sasaya: Eh, you haven't seen it!
Hagio: It'll probably be on TV soon.
Sasaya: You dummy! It already was.
Hagio: What? Where?
Sasaya: I have the video at home. Come see it next time, it's really good.
Hagio: Wow, yeah, let's do that.
Namiki: Prince of the Sun (太陽の王子/Taiyo no Oji) will also be on TV, so don't forget that. [6] Takahashi-san I heard you're a fan of Otsuka, so of course you like Horus (ホルス)? [7]
Rumiko Takahashi: Yes.
Sasaya: I like Puss in Boots (長靴をはいた猫/Nagai gutsu wo haita neko). [8]
Namiki: What about you, Hagio-san?
Hagio: I don't know either of them.
Namiki: Have you never seen any of Toei's feature films?
Hagio: Well, I've even seen Doggie March (わんわん忠臣蔵/Wanwan Chushingura). [9]
Namiki: Well, let's just say I'm of the era of Doggie March.
Hagio: You're kidding!
Namiki: And of Animal Treasure Island (どうぶつ宝島/Dobutsu Takarajima). [10]
Sasaya: When I was in junior high school, they used to show movies on TV on New Year's Eve. One of those movies was an anime. It had drawings by Tezuka-san. It was about Treasure Island.
Namiki: Ah, New Treasure Island (新宝島/Shin Takarajima). [11] It was the first in a series of "Something Land" films by Tezuka-san.
Sasaya: Oh, so that was it. It was strangely impressive. The main character was a demon. You know, the drawings were really beautiful.
Namiki: Ah, that's right. How about Disney films? They often showed previews on TV for Disneyland and I've seen quite a few in the cinemas too.
Takahashi: My brother often took me to see them.
Namiki: Disney is doing something called The Rescuers soon. [12] I highly recommend it. It's much funnier than The Lord of the Rings and other silly things like that. [13] That's the only recommendation I have for this year.
Sasaya: The Lord of the Rings was interesting though.
Hagio: This is the first time I've heard it was interesting.
Sasaya: Yeah. I'd heard so many horrible rumors about it that I had no expectations at all. But I went. I was saying it would be a waste of the ticket and all that. But I went. And since I had no expectations, it was interesting. I came out wondering why it was being criticized so much, I wonder why.
Namiki: Hmm. Is that so?
Sasaya: It was interesting. We both had heard terrible rumors about it, so we came out saying, "How could it be interesting?" (laughs).
Namiki: Azuma-san, have you seen it?
Azuma: No, I haven't.
Namiki: That's fine, that's fine (everyone laughs).
Hagio: Well, I guess I have a lot of questions.
Sasaya: I think the reason why it has a bad reputation is that many people say they don't like rotoscoping. I wonder if that's why. It's been around for a long time.
Namiki: That's right. I used to use it for study. Nezha (ナーザの大暴れ/Naaza no ooabare) seemed a bit like it was rotoscoped, though. [14] It's different. The ultimate in full animation isn't rotoscoping. Smooth movement is a bit different from the movement of an actual human being. Nezha is a good example of this. Azuma-san, you may be dissatisfied because there isn't a heroine in the film...
Azuma: Ah, that's a bit of a problem.
Namiki: But on the flip side, Nezha himself is sexier.
Azuma: He's sexy. That is. I wonder why (everyone chuckles). People who only saw the stills said stuff like, "That's a man?"
Namiki: It looks like he's wearing lipstick, hmm? When he goes into battle, his lips look a bit reddish...
Hagio: Red, they're red.
Sasaya: And also, this between his eyebrows, it looks feminine.
Hagio: Well, in the end he becomes a god, so it doesn't really matter which one he is.
Namiki: That's right. He becomes a god and loses to Son Goku in Great Rampage Son Goku (大あばれ孫悟空/Ooabare Son Goku). [15]
Azuma: I thought the promotional image on the flier you have, Namiki-san, is pretty amazing.
Namiki: Right?
Azuma: It's too amazing. Anyone who sees it will have to go. They'll be blown away.
Namiki: It's not that amazing (laughs).
Azuma: It was good afterall.
Namiki: They didn't ask for their money back.
Azuma: Wow, I was so moved. I was trying hard to hold back my tears.
Namiki: There is a story that a certain director left with tears in his eyes.
Azuma: Maybe they can't get over the emotional scars of their childhood (for some reason, the women laugh gently).
Sasaya: The story about the four-person group in the performance was interesting.
Namiki: I like the octopus at the banquet. The copper shark cymbals on the octopus. And the turtle dance.
Takahashi: Ah, it was so cute.
Namiki: That kind of thing's always there in the movies we like. It's like a bit of fun that has nothing to do with the main story. There's a big party in Toei's Journey to the West (西遊記/Saiyuki). [16]
Hagio: You only watch the banquet part (laughs).
Namiki: It's fun to see all the demons moving around filling up the screen. I only watch those parts.
Azuma: With everything moving around like that, you can't really see it all in one go, so it feels like a waste and you want to watch it again and again.
Sasaya: I bought four tickets for the revival on the 24th.
Namiki: Thank you very much.
Sasaya: Can I get a refund? (laughs)
Namiki: No, we'll refund you, whatever the amount is. But we'd be happier if you sold it to a friend. I don't care how much you sell it for (laughs).
Sasaya: Ah, I could re-sell it.
Hagio: Or maybe give it as a New Year's gift.
Sasaya: Ah, that's right, I could give it as a year-end gift.
Namiki: Even though it's such a great work and there's the animation fad now, it can only be seen at independent screenings like that. I'd like to show it to more people. [17]
Hagio: Um, I don't know. Maybe there's something they could do at elementary schools. When I was little we watched films recommended by the Ministry of Education that way, can't they do it like that?
Sasaya: There's a suicide scene in it, right?
Hagio: Yeah, there is.
Sasaya: I thougth that was pretty shocking.
Hagio: Ah, that's right.
Namiki: I think that kind of thing can be a problem. The superhero stuff is hard to read, isn't it? It's not aimed at kids, so it's a bit hard to read, and people might say the story is too complicated.
Hagio: I shouldn't laugh, though. Ah. Is that so? Hmm, I guess so.
Namiki: Aren't there a lot of things like that these days? I used to go see a lot of those films too when I was in elementary school. I watched long films, too. TV wasn't that popular back then, so I would watch an hour and a half or so long film. I hear kids these days don't watch them... It might just be an adult prejudice, but anyway, every 30 minutes, when there's a commercial break, they start making a fuss even at the movies.
Sasaya: Right. So they'd make movie recommendations?
Takahashi: I think that was how we did it. I don't think there was... I think it was around the time of Doggie March, but after that, I don't think there was any more occasions that we...
Hagio: How would you go see them? Was it based on a school recommendation during summer vacation?
Sasaya: Yes, yes.
Takahashi: The school handed out tickets.
Hagio: Oh, okay. Your teacher would lead you to the...
Takahashi: Well, no, that's not how it worked.
Sasaya: I wonder if it's different over here then.
Hagio: Then, is it just us? Is it only in this area?
Sasaya: We're of the same generation.
Hagio: Or teachers at elementary school or something.
Azuma: Hey, we didn't have a movie theater where we lived.
Sasaya: Wow. Scary!
Azuma: We'd watch things at school sometimes.
Sasaya: Oh, you'd see it when you came to school. Come to think of it...
Namiki: There was a movie theater where we lived too, but you came to school to see some films. You'd come to school. They'd show it in the auditorium, right?
Hagio: I used to go see movies at the nearby movie theater all day, once or twice a year.
Sasaya: No, it wasn't like that. For us, we had one once a month.
Hagio: That's nice.
Sasaya: There was always one. And sometimes it's the wrong film. It would be a great movie, all of a sudden, I didn't know what they're thinking, but they'd show it. It'll be quiet and the kids would watch a yakuza movie or something...
Hagio: Maybe the teacher wanted to see it.
Sasaya: And then there'll be a really conspicuous scene. We were all in the sixth grade of elementary school, and were looking at each other silently. I remember I wondered if it was okay to watch it.
Hagio: Really?
Sasaya: I think they picked the wrong film when they choose it without realizing what the film was about.
Hagio: Wasn't there something like Nihon Shoki (日本書紀) made in Japan? [18]
Namiki: Is it the one with the Yamata no Orochi or something in it, Toho's The Birth of Japan (日本誕生/Nihon Tanjo)...? [19]
Hagio: Ah, that's right. I went to see it when I was in the third grade. That's the one.
Sasaya: I don't remember that. Sometimes they didn't come to my hometown.
Namiki: I guess there are a lot of different kinds of manga too, after all.
Sasaya: No! Even when it came to regular movies some didn't come. That's why I watched yakuza movies and stuff (laughs). They're amazing, those ones. Looking back, I'm surprised I was able to get away with watching some of those movies.
Hagio: I guess they wanted to have a lot of varied films...
Sasaya: Hmm. But why? You see, I think they must have made a mistake. And it was a double feature. And one of them was that one. So they probably got them there without knowing what they were. They think they'd make a profit. Oh, let me write this down. I've been having trouble finding material for Igusa Diary (井草日記/Igusa Nikki). [20]
Hagio: Congratulations.
Azuma: What are we talking about? We've completely gone off topic.
Namiki: At this point, the host should probably steer the conversation towards childhood experiences with anime or something, but I'm getting a little tired. What should we do about the next topic?
Azuma: I can't take this anymore.
Namiki: I don't think Hagio-san has seen that many, after all. It's fine if you just watch Nezha. Just a smattering of things.
Sasaya: I don't know.
Namiki: You don't need to have seen Snow White, I mean. [21]
Hagio: I know.
Namiki: You have to say it, otherwise it won't show how great it is.
Hagio: But it's not that great. If you praise all the good ones and then praise Nezha the most, that's fine.
Azuma: That's Namiki-san's usual technique.
Hagio: Oh, I see.
Namiki: But just having mentioned their names means they've been praised. There are some that aren't included. I just included the ones I like. I didn't include the ones I dislike.
Azuma: Has Gauche the Cellist (セロ弾きのゴーシュ/Sero hiki no Goshu) been released yet? [22]
Namiki: No, not yet. It's only just been made, so it'll probably be sometime next year. That one is pretty interesting, though. It was in the frontispiece. If you think of it as being technically an extension of the TV shows Heidi (ハイジ/Haiji) and 3000 Leagues in Search of Mother (母をたずねて三千里/Haha wo tazunete sanzenri), then I think the story is faithful to Kenji Miyazawa. [23] The character designs are the same too.
Azuma: I used to watch Heidi every week and cry (laughs).
Sasaya: For me, it was Dog of Flanders (フランダースの犬/Furandaasu no inu). [24] I wonder why they don't show that at the theater.
Namiki: Well, they showed it again a while ago. Oh, it's not so satisfying because the ending is sad. At the end, everyone is crying and crying, and even in Heidi, there's a part where they are saved at the end. Maybe 3000 Leagues in Search of Mother too.
Sasaya: I didn't watch the end of Flanders because I thought it'd make me cry.
Takahashi: Alois's voice was amazing. That such a cute girl could have a voice like that.
Sasaya: That's why I was smiling when I saw Rascal (ラスカル). [25] I was saying how nice it was.
Namiki: Even with Tom Sawyer (トム・ソーヤー) I cried, but the recent ones... [26]
Sasaya: I haven't seen Tom Sawyer.
Namiki: Oh?
Sasaya: I only watched the beginning, but the image of Anne of Green Gables (赤毛のアン/Akage no An) was too strong for me. [27] More so than when I was a little girl, but I didn't like it at first. But... I heard that it got a lot better halfway through. At first, I didn't like it.
Namiki: Hagio-san, you don't watch TV at all?
Hagio: Well, I watch Japanese Folk Tales (日本昔話/Nippon Mukashibanashi) from time to time, like Tezuka-san's Astro Boy (鉄腕アトム/Tetsuwan Atom), the old black and white one from a long time ago. [28]
Namiki: I haven't watched the recent ones. The recent ones are very detailed... I also watched Astro Boy and Tetsujin (鉄人) around that time, and that's when I started to go crazy. [29] Azuma-san, what about you?
Azuma: No, I couldn't watch them at all. I couldn't even watch movies.
Namiki: I can't believe Heidi was the first. Did it all start with "that"...
Azuma: What do you mean by "that"?
Namiki: Lana pretending to be Heidi, that kind of thing (laughs).
Azuma: I haven't been able to watch it since I was a kid, so I don't care about watching it and I can't really get into it. It's too much of a pain to go to the cinema. I only go to the cinema about once a year...
Namiki: Considering that, you've seen something odd like Angie Girl (プティアンジェ/Petite Angie). [30]
Azuma: Yes.
Namiki: I haven't seen Angie Girl though.
Azuma: Why haven't you seen it? Angie Girl was great.
Namiki: I'll watch it the next time it's re-broadcast.
Hagio: What did you think of the story of Astro Boy?
Namiki: It's basically the same. But it's not as flavorful as it used to be, and there were more leaps in the story in the older anime. The location changed and time passed in the old days. In contrast, anime today don't make as many leaps in the story.
Azuma: I saw it the other day, and the theme was that robots are human too, and it was pretty much the same as the original. It wasn't interesting. It was dark and heavy...
Namiki: There aren't many cheerful manga these days, are there?
Azuma: There aren't.
Namiki: Even in gag manga, there aren't many that are cheerful and heartwarming like Ishii's series, are there? Like Kumkum (クムクム). [31]
Hagio: Right. There're really attractive female villains. There are also trios and [something that can be marketed as] a pencil toy.
Namiki: Ah, the Time Bokan (ターイムボカーン) series? [32]
Azuma: Haven't you seen it?
Azuma: Yeah, I have. Time Bokan!!! (shouts) I can't keep up with that, it's giving me a headache.
Sasaya: There's no mention of Nezha at all.
Namiki: No, don't get hung up on that.
Azuma: Nezha was good. I like that the boy wasn't shy.
Everyone: Yeah, that's right.
Azuma: He's got a refreshing quality. He removes all the plot. It's like he should have removed the plot (laughs). I like that he's not shy or stuffy. He gets revenge, too.
Namiki: Even in the sky, whipping him out right in the middle of the sky...
Azuma: That resurrection scene.
Hagio: Spinning around.
Namiki: Don't say that. I like the party scene and the camera going around in circles. That's why I like A Man and a Woman. [33] Anything. Anyway, I like things that go round and round. When I say that I like it, people say, "Well, of course it goes around." Whenever something happens these days, the men embrace each other and say "master," and since there are no cameras, they try to go around in circles by themselves (everyone laughs together).
Azuma: Ahhhh.
Takahashi: Amazing! They spin around.
Namiki: That's where you get carried away.
Azuma: Sasaya-san said it before, but the villain was weak.
Sasaya: In other words, he's cute. You can't hate him. So, if he'd been more hateable at the climax, I think it would have been more interesting.
Namiki: Nezha was too strong, and it felt like he was one-sidedly bullying the villain...
Sasaya: If you ask me if there was anything interesting about Nezha, it was because the events leading up to that point were cute.
Hagio: He was cute, wasn't he?
Sasaya: I can't believe he was about to commit suicide.
Azuma: Is it difficult to pull that off?
Namiki: I think you can judge the technique there. It's very three-dimensional.
Hagio: Oh indeed, I felt that very much. Whether it's a close-up or a long shot, the face moves in all directions very well. They would look to the right and come from the front, and then look to the left and go long.
Takahashi: I guess you can't do that kind of twirling screen in other scenes.
Namiki: Yes, the spinning screen, yes (a little excited)!
Takahashi: If they had done it there, I think it would have been really fun. Even when the battle had become a three-way battle, they still did a little something here and there.
Sasaya: It's pretty flat, if you like that sort of thing.
Namiki: If they incorporated more Japanese techniques into pieces like this, it might become a bit more interesting.
Takahashi: There are parts that I wish had that.
Namiki: It feels like you're watching a Peking Opera performance from the audience seats high up in the balcony.
Hagio: Oh, I see. It has a good composition though.
Namiki: Up until now, Japanese animation has been characterized by American comic book-style poses, but I'm hoping that from now on, we'll see a shift to Peking Opera-style poses.
Hagio: I wonder if that's true.
Sasaya: It'll become a joke.
Namiki: Right. It might become a gag if you try to imitate it in places that don't usually have that sort of style.
Takahashi: I think it would come into play with colors and other things.
Namiki: It's no good if men go round and round in a circle hugging each other. No one would be impressed by that sort of thing.
Azuma: They should just hug each other side by side and roll around.
Namiki: I think pretending to be Nezha would be popular.
Azuma: It's minor.
Namiki: Azuma-san calling it "minor", I'm not sure what that implies (laughs).
Azuma: I can't help it.
Namiki: For a while, I didn't have any trouble finding jokes to make. It wasn't a mockery, I could make jokes out of it. And the music. I've been liking it lately.
Hagio: It was like Peking opera.
Namiki: Nezha was a little on the tame side. It had this melodic, tear-jerking music at the scene where they die. Then there was a party scene. We immediately started talking about the party (laughs).
Azuma: That party was really good.
Namiki: It was sad that those guys were getting beaten up. They should have added more party scenes and made it about an hour and a half. Hour-long films are never good for Japanese productions. They're too short.
Azuma: How long are Japanese anime?
Namiki: About an hour, I guess. 009 was a little over two hours. [34] No matter how interesting it is, not many people come to see an hour-long film on a roadshow.
Sasaya: The Adventures of Sinbad (シンドバットの冒険/Shindobaddo no boken)... [35]
Namiki: It's an hour and a half.
Sasaya: In my day, anime tended to be part of a double feature. Are they still doing double features?
Namiki: No, it's usually a single Western movie, or at Manga Matsuri, which is an animation festival, they'll they put a lot of TV shows together (seven episodes).
Sasaya: I thought it was a double feature, somehow Sinbad seemed shorter.
Takahashi: What's Sinbad about?
Sasaya: Well, it was shown alongside various things. I've seen Sinbad five or six times, maybe seven times. Whenever I went to the movies, Sinbad would start.
Namiki: So was it interesting?
Sasaya: It was interesting. Well, after about the third time, I got bored and fell asleep. Then after about the fifth time, I watched it again carefully and thought it was indeed interesting after all, so by the seventh time, I was enjoying watching it as it started.
Namiki: Even so, it's a story that doesn't have many leaps in meaning.
Sasaya: That's true. But that statue appears, you know, at the end. It's still scary. They showed it on TV, right? Did you see it?
Azuma: I didn't. Is that the "elephant" statue?
Sasaya: That stone statue is really scary.
Namiki: That one was scarier to me. The jelly-like space jellyfish.
Sasaya: That one appeared, too.
Namiki: That statue used to be scary, but looking at it now it seems ridiculous, since it's just in the background. If something like that were to appear, it should have started to move around at the end, and really just circled around before it showed up, but (everyone laughs) it doesn't move at all.
Takahashi: It's got a party vibe...
Namiki: A party! Is it some kind of party vibe of repressed trauma? It only appears in about two shots. What is it? A background drawing!
Sasaya: But it's still scary. If that thing gets bigger.
Namiki: I think the yashahime character from Sarutobi Sasuke (猿飛佐助) is really scary. [36]
Takahashi: Because she turns into a skeleton.
Sasaya: That one's really scary. It scared me as a child. Have you seen it?
Hagio: I don't know anything about a skeleton.
Azuma: Her hair is fluttering...
Sasaya: Right. That part where she walks on the waves.
Namiki: Even back then, I was interested in parties. In The Tale of the White Snake (白蛇伝/Hakujaden), when Xu Xian is swept away, there's some kind of acrobatic troupe from the town. [37] They're swallowing daggers...
Takahashi: This guy Xu Xian...
Namiki: Xu Xian hardly matters. In the animated film, this guy is just persecuted.
Takahashi: He's pathetic in the animated adaptation. I wonder why he has no real presence? I'm not making fun of the animation, I'm just...
Namiki: Right, the way it's drawn...
Takahashi: I really like anime, but...
Namiki: I only watch stuff like dancing pandas, so I'd like a complete collection of party anime.
Hagio: Or something like a party critic.
Azuma: Or something with endless parties. One hour and 40 minutes. Is there nothing like that?
Namiki: That's Enkaiment (ザッツ・エンカイメント). [38]
Sasaya: That's terrible. That's terrible.
Namiki: We'll do it again, so please do check it out.
Azuma: I want to see that one again.
Namiki: I get the other parts, but I have to see the banquet scene twice to get it. There are three sharks banging on cymbals. The one on the far right is trying his best to move the cymbal up and down.
Takahashi: It looks like a toy monkey. It was impressive.
Sasaya: Yeah, that was cute.
Namiki: The carpet thing gets up like this. They really come up with unexpected ideas.
Azuma: Those characters are new. They're different from Toei's old feel. As expected, completely new.
Sasaya: That Bambi, that Bambi, that baby deer has a Disney feel to it, right?
Namiki: Yes. The lines of the hind legs are just so beautiful (Namiki-san takes out a picture book of Nezha).
Sasaya: How'd you get that book?
Namiki: This book? I got this from Tezuka-san and Ai-san.
Hagio: There are a few cuts I'd like to have too.
Namiki: Maybe the hind legs of the foal.
Azuma: The thighs too.
Namiki: More than the character itself, I think it's the way it moves that is so beautiful.
Sasaya: It feels like that deer is his mother.
Hagio: That's true. Because his mother doesn't appear.
Namiki: There are various theories, such as the theory that it is God, Mao Zedong or the theory that it was his mother.
Hagio: Apparently his mother died soon after he was born.
Sasaya: They never said anything about that. They completely ignored it.
Hagio: Is that the status of the mother in China?
Sasaya: (Looking at the picture book) Looking at it like this, this scarf is transparent.
Takahashi: I liked him before he transformed. He was cute and sexy, and these wheels were indescribable. Ah, he had feet. [39]
Hagio: Just feet. And ankle rings that looked like they had bells attached to them.
Namiki: You can wipe your body with that cloth, it's very convenient in many ways.
Hagio: It can also be used to hold things.
Azuma: It's indescribable.
Hagio: The other day, you said that the lines of my butt were really cute.
Sasaya: Yeah, it was cute.
Hagio: These are my legs, and this is my butt.
Sasaya: I was just staring at your butt. I thought it was cute. It really did look like a baby's butt. It was plump.
Namiki: If I organize a tour to China, will anyone come?
Hagio: The political situation is a bit unstable at the moment.
Sasaya: Maybe I can get some [of this artwork] if I go there (laughs).
Namiki: Yes, you can. Just shout "Give me a cel!" Speaking of cels, Sisters of the Grassland Heroes (草原英雄小姐妹/Sogen eiyu kone imoto) is an old one. [40] Miyazaki-san gave me a cel from a feature film from ten years ago, and it's scary, the paint flakes off when you move it a little. It's cracked all over, it's really scary.
Sasaya: You can't let it flake off.
Azuma: I was drawing a manuscript today. I was using correction fluid on it. I whited it out and it dried. Just as I was about to finish it, the white flaked right off.
Sasaya: T-T-that's scary. Uh-huh, where's that white out?
Azuma: I've been using it for about two years (laughs). It was scary.
Namiki: Does it fall off after you apply it?
Azuma: Yes. After it dries, it flakes off.
Namiki: That's scary.
Sasaya: If it's a really old manuscript, sometimes it falls off. You see, mine doesn't dissolve that much, so it just balls up and pops off. Like stars, and sometimes they fall off with a bang, and it's really scary.
Namiki: Have you ever received any offers to turn your work into an anime? Toei is going to be making anime out of original works by various manga artists.
Sasaya: The other day, Asami Yoshikawa-san said something. [41]
Hagio: I'm not interested. I like watching. Like the Soviet Union. You saw Fantastic Planet yesterday, right? [42]
Sasaya: It was good.
Hagio: Right.
Sasaya: Hey, Azuma-san have you seen it?
Azuma: What?
Sasaya: Fantastic Planet.
Azuma: I haven't seen it.
Sasaya: Oh. You should see it. It's good.
Namiki: Oh, you haven't seen it? Not at all? I thought you weren't there because you'd seen it.
Azuma: I had work to do.
Sasaya: Oh, I was supposed to have work, but I skipped it. There are all kinds of images, like grass. It's from some planet. The grass and the animals are amazing.
Hagio: That's right.
Sasaya: It was well thought out, wasn't it?
Hagio: From the characters and the clothes, and the quality of the fruit. It's not something that's so-called pre-existing.
Namiki: It's like something from a completely different world.
Hagio: That's right.
Namiki: The direction is like something from a different world...
Sasaya: Right. That's right. It's like it's blended in somewhere, it's amazing. The music is also very good. My husband has the record, but it made me feel sick. [43] Well, I say he has it, but he's always looking for new things. Whenever something comes out, he watches it carefully and thinks, "This is good," even with anime. And then the record comes out, like Cagliostro. And then... He had already bought Cagliostro when it came out.
Hagio: Wow.
Sasaya: And then when I said that the music for Planet was good, he said he had the record. It wasn't even released in Japan.
Namiki: That's right.
Sasaya: Even in America, he asked a friend to buy something for him from France.
Namiki: Um, you can get it at import record stores.
Sasaya: Oh, really? He was so proud that he couldn't find it in Japan. You should tell him, when you go back.
Hagio: If the animation is that beautiful, it doesn't have to move.
Sasaya: It doesn't, there's not much movement. It's very static. If you think of Morohoshi-san's work. [44]
Hagio: Oh, right, right.
Sasaya: The penwork is beautiful. It was really quite good. Was it all the script, or was it just the torpor? What do you think about characters like that?
Namiki: The characters, well. I'm not sure what it was about them, but they're gross.
Sasaya: They're gross, aren't they? I don't like them. I hate those blue fishlike faces.
Namiki: That's right. They're not exactly merman, but they're characters that look like they have a feather stuck to them somewhere. Only their eyes are red. The red color is incredible.
Sasaya: It's a little creepy though. It's truly amazing. I'd heard rumors about it. Sato-san told me about it and I always wanted to see it but I always missed it. This time I went.
Namiki: But it's a good print so you have to see it. The colors are a little...
Sasaya: It's not that it's rusty or anything. It looks kind of faded.
Namiki: It's interesting, isn't it? There are ones similar to it too.
Hagio: Yellow Submarine and things like that. [45]
Sasaya: I like it. That's nice.
Namiki: That one gets a lot of attention too. There are parties too. You could say that at the end it's all like a party.
Sasaya: I recorded it on video.
Hagio: I missed it.
Namiki: It came out a week early, so I guess I got left behind.
Sasaya: Oh, that's right. It was released early.
Namiki: It was a week early because Lennon died.
Sasaya: Oh, that thing? They did it before that, didn't they? Yellow Submarine. They did.
Namiki: They did it a long time ago.
Sasaya: I recorded it then. I'll watch it when I get back.
Namiki: If that's the case, then most interesting foreign films are probably only available to watch from the sidelines.
Sasaya: That's right. Submarine. Why didn't I see it when it first came out?
Namiki: It was of your generation? The Beatles.
Sasaya: Right.
Hagio: Yes, the youth of those days.
Sasaya: Oh, and there was that NHK program With Mother (おかあさんといっしょ/Okaasan to Issho) somewhere. I think it was Ping Pong Pan (ピンポンパン). [46] Something drawn in the sand...
Namiki: A E I O U (アエイオウ) or something made of origami. [47]
Sasaya: Yes, that's right. It's amazing.
Namiki: Just sand, just the character's faces all the way through...
Sasaya: It's so cute. And the movements are good too. I was shocked when I saw it. It's really well made, isn't it?
Namiki: It's short. About five minutes, I think. There was the origami series, the sand series, the clay series, and what were the other books called?
Hagio: By clay, you mean that clay commercial?
Namiki: Yes. It's the same as that one.
Sasaya: But the commercial version wasn't very cute.
Hagio: So, is that one cute?
Sasaya: It was kind of cute. When I saw it over there, I thought the commercial version was the same as that one, but somehow it wasn't as cute. I thought that was because it's a commercial.
Namiki: Because it's clay, the shape of the butt is a little... (laughs).
Hagio: I didn't know anything about it, so I just watched the commercial thinking how cute it was.
Namiki: If you're talking about cute commercials, then the Picolet series is the cutest. [48]
Sasaya: Oh, but more importantly, Glico's hot pig came out...
Hagio: Pudding? [49]
Sasaya: Pudding, right! It was cute.
Namiki: Ah, the one with the four of them dancing.
Sasaya: That was cute. Do you know it?
Azuma: "Pucchin Pudding is only from Glico," right? It was Hiroko. [50] Hiroko, I used to record it on video all the time (laughs). That one, you know. She would do Ino in the morning. I was desperate to record it.
Hagio: I watched the TV many times but I couldn't figure out why that pudding was falling, so I thought about it a lot, and then I asked a friend. How does it come out so smoothly?
Sasaya: Ah, I didn't know about that. Amazing. Unbelievable.
Azuma: Next was Glico, and Hiroko said that. Oh, I've been stupid.
Sasaya: That was delicious, wasn't it?
Azuma: Enough. I've stopped eating.
Hagio: Well then. If I tell them, they might come as a New Year's gift.
Namiki: I watch it as well, like I'm given mentaiko. You watch quite a lot, don't you? (laughs) If you just watch that much, you watch more than me. That's for sure. Even though I haven't been watching much animation on TV lately.
Hagio: It's sometimes on Wednesdays at 11 PM.
Namiki: They sometimes have something called "World Animation" on NHK for about 30 minutes. There are a lot of good ones on there. Conan... [51]
Sasaya: Conan is good. Conan...
Namiki: Let's talk about Conan.
Sasaya: I've seen it.
Namiki: Oh, you're watching it? You are, aren't you? Right?
Sasaya: I'm watching it.
Hagio: I don't know that one.
Takahashi: I saw it.
Sasaya: That's right, you idiot. Conan.
Namiki: Oh yeah. Conan's butt is nice. Conan's legs and butt, for now.
Sasaya: Butt aside, his legs are nice.
Namiki: What about Conan's legs?
Sasaya: I like his toes.
Hagio: I only know the name. Rainbow Sentai or something like that, I've seen a little of it.
Namiki: (laughs) Well, it's only three katakana so they're pretty much the same. [52]
Azuma: But if you've seen Cagliostro then you don't need to watch it.
Sasaya: I haven't seen it. Nor Cagliostro.
Azuma: You can watch either one.
Namiki: Either one...
Azuma: Cagliostro is short, so you can just watch that one.
Namiki: That's what people who have seen both say.
Sasaya: Conan is interesting. Really.
Hagio: Yeah?
Sasaya: Me too. I didn't know about it at first. I happened to see it on NHK. At first, I thought it wasn't NHK. I thought this kind of thing was on some private channel, but it was NHK. I couldn't believe it.
Hagio: Animation, NHK...
Sasaya: Animation. Was it on Sundays at 6:30?
Takahashi: No, on Tuesdays, originally around 7:30 on Tuesdays (It was great!).
Sasaya: Then I wonder if I was watching a rerun.
Takahashi: Yes, that was around the end of the year too.
Sasaya: That's right, it wasn't one that was on every day. So that was on a Tuesday. Ah, I see, I see. I was watching it then. Somewhere too. I'd only seen it once or twice.
Hagio: What's it about? Sci-fi?
Sasaya: It's about a future society. "The people left behind"?
Namiki: Right.
Sasaya: There's an original story about that.
Namiki: It doesn't seem like a future society though. It's about swimming with spears and harpoons and killing sharks.
Takahashi: When they kill the sharks, there's a trap in what seems to be an old-fashioned city of buildings.
Namiki: So it's after the first final war has ended. Anyway, it's not a nuclear war, but it's a war with super-magnetic weapons or something, so it doesn't leave much radiation behind.
Takahashi: Anyway, this huge thing, what do you call it? A gigant, appears.
Namiki: It's a kind of spaceship.
Takahashi: Gosh, it's really big. It's amazing how big it is.
Namiki: It's static though. All of it.
Takahashi: But it's fine because it's static.
Namiki: It's very precise direction to make it look that big.
Sasaya: It's really moving, when you watch it.
Namiki: It's kind of silly. Like having a sports day on wings.
Sasaya: You shouldn't say that. I was planning to show it to you later. I have a video at home.
Hagio: Then I'll see that next time.
Sasaya: When I move, I'll try to get together people who haven't seen it yet...
Hagio: Where are you moving to?
Sasaya: I haven't decided yet.
Namiki: If it's a Conan book, there's a little book I published...
Sasaya: Do you have it?
Namiki: Azuma-san, please promote it.
Azuma: It's a really good book. I bought it.
Sasaya: It's kind of scary.
Takahashi: How much does it cost?
Namiki: It's 3,800 yen. I'll give it to you.
Sasaya: Oh, wait a minute, is it a white book?
Namiki: It's a black book. A pitch black book. [53]
Sasaya: It came out somewhere.
Namiki: It was released by Nippon Anime.
Azuma: That's no good. Anidou is better (laughs).
Namiki: The supplements are interesting too.
Azuma: The supplements are interesting too, aren't they? Dress-up dolls.
Namiki: They're not dress-up dolls, are they? There was no sailor fuku, was there? The person who drew it at the time was wearing a sailor fuku, but she didn't have any attachment to sailor suits.
Azuma: Was that person wearing a sailor uniform at the time?
Namiki: Yes. Now she works in animation under Miyazaki-san.
Hagio: They're a woman, huh?
Azuma: She's good too, isn't she? She has a lot of fans, right?
Namiki: Rumor has it that she's pretty promising. But that manga isn't interesting at all unless you've seen all of Conan. I made all kinds of games and stuff for the book. I'm from the old manga generation. Back in the days of monthly magazines, they thought that was number one, so they were bloated in the middle, and had things like 23 major supplements.
Sasaya: Those shonen magazines were amazing. For shojo magazines, they'd have at most ten supplements.
Namiki: At the most, they were 30. Like, second and third place with that amount.
Sasaya: They're competing over some weird thing, like they were competing.
Namiki: So I made all kinds of supplements. Like board games and stuff. I could only make five. Do you have any?
Sasaya: I don't have any. That guy wasn't interested in Conan. So, I... I'd watched it once and it was kind of interesting, but I'd missed it all the time, so when it was rebroadcast, I forced myself to watch it. I became a fan after the first episode, and then I started looking for the plastic models, and the original novel, but I couldn't find anything. [54] The other day, I found the plastic model now that it's being rebroadcast. I finally found it. I was planning to make it if I found the same one.
Hagio: Haha.
Sasaya: I think I'll keep it.
Hagio: She'll probably keep it for fun in her old age. She'll grow flowers instead of bonsai...
Namiki: Watering them.
Sasaya: Well, I tell my kids that if they have children, they should do everything for them, but that doesn't work at all.
Namiki: Well, children are the enemy. I remember, I would go to a model shop and when I saw children there, I would buy a lot of models in front of them, remembering how I felt when I was a child and buying two such large models. If you're sorry, you too should grow up quickly. I thought, "I thought that if I did that, my children would grow up to be great people." That's why there are so many Star Wars waist-length costumes out there. They're all just like the ones with the heads replaced. What am I talking about? Check out Conan. Please. And Panda Go Panda (パンダ・コパンダ) for New Year's! [55] Panda Go Panda Have you seen it? Mimi-chan!
Azuma: I haven't seen it.
Namiki: You have to know Mimi-chan. From now on, Mimi-chan will pretend to be Lana!
Azuma: The literary underground is hell.
Namiki: Azuma-san. Let's go eat. We'll get a drink! [56]
Azuma: Have you all finished work yet?
Sasaya: No. I'm going out later tonight.
Namiki: No!
Azuma: I was just working on it a while ago.
Namiki: Put it away.
Azuma: I handed it over to the editor and ran over here in a flash. Have you finsihed yet, Takahashi-san?
Takahashi: Somehow. Thanks to you. I'm all done for the year.
Azuma: Ah, that's nice. Hagio-san, how about you...?
Hagio: Not yet, my deadline is at the end of this week.
Azuma: Publishers are pretty persistent.
Namiki: I hear the next full-length story after Nezha is amazing too.
Hagio: I haven't seen the previous one, Goku, either, so maybe next time.
Namiki: Yes, I would like to do it, so please come.
Footnotes
- [1] Takashi Namiki (並木孝) was the fourth president of the Tokyo Animation Club (アニドウ/Anidou). Namiki studied fine art at Nihon University Tsurugaoka High School when he joined the Tokyo Animation Club, which was founded by professional animators. By the early 1970s he worked on The Three Musketeers (ながぐつ三銃士/Naga gutsu sanjushi) at Toei Animation as a camera assistant. He founded Japan's first animation magazine, Fantouche, but left after the first issue due to internal disagreements and then founded Film 1/24. Namiki is one of the first voices to praise a then unknown Hayao Miyazaki (宮崎駿), particularly for Future Boy Conan (未来少年コナン/Shonen Mirai Konan).
- [2] Lupin III: The Castle of Cagliostro (ルパン三世 カリオストロの城/Rupan Sansei Kariosutoro no shiro) is the 1979 film directed by Hayao Miyazaki and the second Lupin III film.
- [3] Hideo Azuma (吾妻ひでお) was a mangaka often cited as the pioneer of "lolicon" (Lolita Complex) manga. Azuma was part of the "New Wave" movement of the late 1970s and early 1980s in the manga. You can read more about his influence, friendship with Rumiko Takahashi and major works at our article on him found here.
- [4] Nanae Sasaya (ささやななえ) was part of the Year 24 Group of shojo mangaka and was close friends with Moto Hagio (萩尾望都), Ryoko Yamagishi (山岸凉子), Keiko Takemiya (竹宮惠子) and Yasuko Sakata (坂田靖子). Her manga Frozen Eyes (凍りついた瞳/Kooritsuita Me) helped raise awareness of child abuse and lead to the passing of the Child Abuse Prevention Act in 2000 after the manga was distributed to a number of Diet members. In 1990, she won the Excellence Award at the 19th Japan Cartoonists Association Awards for her essay manga Okame Hachimoku (おかめはちもく), a humorous portrayal of her married life.
- [5] Moto Hagio (萩尾望都) is the legendary shojo manga artist best known for her series The Poe Clan (ポーの一族/Poe no Ichizoku) and The Heart of Thomas (トーマの心臓/Tooma no Shinzo). She and Rumiko Takahashi interview one another in "New Year's Special Project Rumiko Takahashi and Moto Hagio".
- [6] The Great Adventure of Horus, Prince of the Sun (太陽の王子 ホルスの大冒険/Taiyo no oji Horusu no daiboken) is the 1968 debut film of Isao Takahata (高畑勲). Hayao Miyazaki also worked on the film.
- [7] Yasuo Otsuka (大塚康生) was a mentor to Hayao Miyazaki (宮崎駿) and Isao Takahata (高畑勲) of Studio Ghibli fame. Otsuka was a key animator on The Wonderful World of Puss 'n Boots (長靴をはいたねこ/Nagagutsu o Haita Neko). Pero, the cat from The Wonderful World of Puss 'n Boots, would go on to become the mascot for Toei animation.
- [8] The Wonderful World of Puss 'n Boots (長靴をはいたねこ/Nagagutsu o Haita Neko) is the 1969 film by Toei directed by Kimio Yabuki (矢吹公郎). Yasuo Otsuka (大塚康生) and Hayao Miyazaki (宮崎駿) both worked as animators on the film.
- [9] The story of the 1963 film Doggie March (わんわん忠臣蔵/Wanwan Chushingura) was written by Osamu Tezuka (手塚治虫). The story follows an Akita named Rock as he seeks revenge against a tiger named Killer.
- [10] Animal Treasure Island (どうぶつ宝島/Dobutsu Takarajima) is Toei's 1971 film directed by Hiroshi Ikeda (池田宏).
- [11] New Treasure Island (新宝島/Shin Takarajima) is the 1965 television special based on the novel Treasure Island by Robert Louis Stephenson and directed by Osamu Tezuka (手塚治虫). It is not to be confused with the manga of the same name by Tezuka, which is unrelated.
- [12] The Rescuers is the 1977 Disney film directed by Wolfgang Reitherman, John Lounsbery and Art Stevens. The film was first released in Japan on December 19, 1981.
- [13] The Lord of the Rings is the animated adaptation of J.R.R Tolkein's series of fantasy novels. The animated film adaptation was released in 1978 and directed by Ralph Bakshi.
- [14] Nezha Conquers the Dragon King (哪吒闹海/Nézhà Nào Hǎi/ナーザの大暴れ/Naaza no ooabare) is a 1979 Chinese film directed by Wang Shuchen, Yan Dingxian and Xu Jingda.
- [15] Great Rampage Son Goku (大あばれ孫悟空/Ooabare Son Goku), known in English as Havoc in Heaven is a 1961 Chinese film directed by Wan Laiming. Despite the implication here that the film is a sequel to Nezha Conquers the Dragon King, it is an earlier film. However, the character of Nezha does appear in this film and battles against Goku, the Monkey King.
- [16] Journey to the West (西遊記/Saiyuki), known in English as Alakazam the Great is a 1960 Japanese film directed by Taiji Yabushita (藪下泰司) and Daisaku Shirakawa (白川大作). Osamu Tezuka was stated to have been a director in promotional material from Toei, however that was only done for promotional purposes as Tezuka was tangentially involved in storyboarding until his manga work occupied too much of his time. However, his involvement in the film spurred Tezuka's interest in animation.
- [17] Though this interview is conducted in 1981, but 1987 Namiki is helping bring foreign animated films to Japanese film festivals. He gave particularly strong support to Yuri Norstein and supported his film Hedgehog in the Fog (Ёжик в тумане) and Tale of Tales (Сказка сказок).
- [18] Dating from 720 CE, the Nihon Shoki (日本書紀), known as the Chronicles of Japan is the second oldest book of Japanese history (the first being Records of Ancient Matters (古事記/Kojiki) from 712 CE).
- [19] The Birth of Japan (日本誕生/Nihon Tanjo), also known in English as The Three Treasures, is a 1959 live-action film from Toei directed by Hiroshi Inagaki (稲垣浩). The film was Toei's 1,000th release and was at the time the most expensive Japanese film ever made. The film is an adaptation of the Nihon Shoki and Kojiki.
- [20] Igusa Diary (井草日記/Igusa Nikki) is Sasaya's autobiographical manga series, similar to Takahashi's Diary of Kemo Kobiru (けも・こびるの日記/Kemo Kobiru no Nikki) and Azuma's Disappearance Diary (失踪日記/Shisho Nikki).
- [21] Snow White and the Seven Dwarfs is the 1937 first animated feature length film released by Disney.
- [22] Gauche the Cellist (セロ弾きのゴーシュ/Sero hiki no Goshu) is a story by Kenji Miyazawa (宮沢賢治) that was adapted into an anime in 1982 by Isao Takahata. Namiki was involved with overseeing the advertising campaign for the film and in later years handled the DVD audio commentary.
- [23] Heidi, Girl of the Alps (アルプスの少女ハイジ/Arupusu no Shojo Haiji) is a 1974 television series directed by Isao Takahata. It has remained one a cultural touchstone for many fans of its generation. 3000 Leagues in Search of Mother (母をたずねて三千里/Haha wo tazunete sanzenri) is a 1976 television series also directed by Takahata to great acclaim.
- [24] Dog of Flanders (フランダースの犬/Furandaasu no inu) was the first entry in the World Masterpiece Theater collection of television series, of which the previously mentioned Heidi, Girl of the Alps (アルプスの少女ハイジ/Arupusu no Shojo Haiji), while not formally considered a part of this grouping, was connected to Masterpiece's predecessor programing Calpis Comic Theater (1969–1974). 3000 Leagues in Search of Mother (母をたずねて三千里/Haha wo tazunete sanzenri) was part of World Masterpiece Theater alongside Dog of Flanders
- [25] Rascal the Raccoon (あらいぐまラスカル/Araiguma Rasukaru) is also part of the World Masterpiece Theater collection of television anime series. Released in 1977 it was directed by Masaharu Endo (遠藤政治), Hiroshi Saito (斎藤博) and Shigeo Koshi (腰繁男).
- [26] The Adventures of Tom Sawyer (トム・ソーヤーの冒険, Tomu Soya no Boken) is also part of the World Masterpiece Theater collection. Released in 1980, the 49 episode television anime was directed by Hiroshi Saito (斎藤博).
- [27] Anne of Green Gables (赤毛のアン/Akage no An) is perhaps the most popular of the World Masterpiece Theater anime. This 50 episode series was directed by Isao Takahata. Rumiko Takahashi has commented on it being a favorite of hers.
- [28] Japanese Folk Tales (日本昔話/Nippon Mukashi Banashi) ran from 1975 to 1995 and featured 30 minute episodes focused on various folktales. Astro Boy (鉄腕アトム/Tetsuwan Atom) is the most famous work by Osamu Tezuka. It has been adapted into an anime a number of times. The first series was from 1963 to 1966 for 193 episodes. The second from 1980 to 1981. The third from 2003 to 2004.
- [29] Tetsujin 28 Gou (鉄人28号), known in the United States as Gigantor, was a 1963 anime series created by Mitsuteru Yokoyama (横山光輝).
- [30] Angie Girl (プティアンジェ/Petite Angie) is a 1977-1978 anime about Sherlock Holmes' niece. The 26 episode series was directed by Fumio Kurokawa (黒川文男).
- [31] Naughty Ancient Kum Kum (わんぱく大昔クムクム/Wanpaku Omukashi Kumu Kumu) is a 1975 to 1976 anime created by Yoshikazu Yasuhiko (安彦良和) and directed by Rintaro (りんたろう).
- [32] Time Bokan (タイムボカン/Taimu Bokan) is a 61 episode 1975-1976 series from Tatsunoko and directed by Hiroshi Sasagawa (笹川ひろし).
- [33] Un homme et une femme (A Man and a Woman) is the 1966 film directed by Claude Lelouch and starring Anouk Aimée and Jean-Louis Trintignant. The film won the 1966 Palme d'Or and the Academy Award for Best Foreign Language Film and Best Original Screenplay.
- [34] The Cyborg 009 film they were likely speaking about here is the 1980 film Cyborg 009: Legend of the Super Galaxy (サイボーグ009 超銀河伝説/Saibogu 009 cho ginga densetsu). That film is 130 minutes and directed by Masayuki Akehi (明比正行).
- [35] Arabian Nights: Sinbad the Sailor (アラビアンナイト・シンドバッドの冒険/Arabian Naito Shindobaddo no ) is a 1962 Toei animated film directed by Taiji Yabushita (藪下泰司) and Yoshio Kuroda (黒田昌郎).
- [36] The "yashahime" referenced here has nothing to do with the 2020 sequel series to Rumiko Takahashi's Inuyasha of the same name. Sarutobi Sasuke (猿飛佐助) was a 1953 puppet show that ran for four episodes. There is a later anime series, Manga Sarutobi Sasuke (まんが猿飛佐助), however their mentioning that they watched it as children suggests it is the puppet show rather than the 1979-1980 anime.
- [37] The Tale of the White Snake (白蛇伝/Hakujaden), known in English as The White Snake Enchantress was directed by Taiji Yabushita (藪下泰司) and released in 1958. By 1961 it had debuted in American theaters making it one of the early anime to appear in the United States.
- [38] This is a nonsense title that is likely meant to reference the 1974 compilation film That's Entertainment! which was comprised of clips of MGM musicals from Hollywood's 1920s-1950s golden era. The film was made to celebrate the 50th aniversary of the studio and was released in Japan in 1979.
- [39] Takahashi is likely referring to the flaming wheels on the character Nezha's feet that are used to fly.
- [40] Sisters of the Grassland Heroes (草原英雄小姐妹/Sogen eiyu kone imoto, also known as 草原の姐妹/Sogen no ane imo) is a Chinese animated film released in 1965 from Shanghai Art Film Studio. It is based on a true story of two sister who in 1964 struggled to save a flock of sheep.
- [41] Unfortunately it is unclear who Asami Yoshikawa (吉川あさみ) is.
- [42] Fantastic Planet (La Planète sauvage) is a 1973 French/Czechoslovakian co-produced animated science fiction film directed by René Laloux. It is based on the 1957 novel Oms en Série by French writer Stefan Wul.
- [43] Nanae Sasaya's husband is Toshihiko Sagawa (佐川俊彦), the second editor-in-chief of the shojo magazine JUNE (ジュネ).
- [44] This is refering to sci-fi/horror mangaka Daijiro Morohoshi (諸星大二郎). For more on Morohoshi please see our article which discusses Rumiko Takahashi's fondness for his work as well as his lengthy career.
- [45] Yellow Submarine is the 1968 animated film featuring the music of The Beatles and directed by George Dunning. The film is hailed by Pixar's John Lasseter as helping audiences take animation seriously as more than a medium for children.
- [46] With Mother (おかあさんといっしょ/Okaasan to Issho) is an educational show for Japanese children aged two to four similar to Sesame Street. The show has aired since 1959. Inspired by With Mother was Let's Play with Mom: Ping Pong Pan (ママとあそぼう!ピンポンパン/Mama to Asobou! Pin Pon Pan) which aired from 1966 to 1982.
- [47] A E I O U (アエイオウ) is an animated short made from sand. The short is directed by Francesco Misseri and Italian Misseri Studios and was shown as part of With Mother (おかあさんといっしょ/Okaasan to Issho) in Japan.
- [48] Picolet is a Japanese bathroom air freshener. It is the inspiration for the name of Takahashi's Picolet Chardin II. The commericals they are referring to are likely one of these two.
- [49] The Glico pudding advertisement is this one.
- [50] Hiroko refers to Hiroko Hayashi (林寛子) who appeared in the Glico pudding ads of the late 1970s and early 1980s.
- [51] Future Boy Conan (未来少年コナン/Shonen Mirai Konan) is a 1978 26 episode television anime which marked the directorial debut of Hayao Miyazaki (宮崎駿).
- [52] Hagio is confusing Conan (コナン) of Future Boy Conan (未来少年コナン/Shonen Mirai Konan) with Robin (ロビン) of Rainbow Sentai Robin (レインボー戦隊ロビン).
- [53] Namiki's book, simply entitled Future Boy Conan (未来少年コナン/Shonen Mirai Konan) is often known as "the black book" (黒本/kunohon) is a book written by Namiki about Future Boy Conan. As mentioned in a note above, Namiki was one of the early, vocal supporters of Hayao Miyazaki (宮崎駿) who was just beginning to transition from working as an animator to become a director.
- [54] Future Boy Conan is based on the 1970 novel The Incredible Tide by Alexander Key.
- [55] Panda Go Panda (パンダ・コパンダ) is a 1972 animated film directed by Isao Takahata and written by Hayao Miyazaki.
- [56] Hideo Azuma will eventually struggle with alcoholism to such an extent that he vanishes twice in the late 1980s and early 1990s, living on the streets and working as a gas pipe fitter. Azuma documents his period of homelessness in his autobiographical manga Disappearance Diary (失踪日記/Shisho Nikki).
Film 1/24 31巻
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