Gundam GQuuuuuuX is a work that has a lot to potentially talk about, especially because it both utilizes and deviates from a lot of established Gundam lore. This is a followup to my overall review of the series, where I now want to take the time to put forth what I consider my biggest GQuuuuuuX theory as a result of the show’s final episode: The Gundam QuuuuuuX mobile suit is possessed by the spirit of the original Amuro Ray. And by original, I mean original.
Before I elaborate, I want to make two notes. First, there will be MASSIVE SPOILERS.
Second, I’ll be discussing the actor Furuya Toru, the original voice of Gundam protagonist Amuro Ray, someone who’s become persona non grata due to revelations of adultery and domestic abuse. While I myself have soured on him because of this and am deeply disappointed by his actions, he still played a role in the finale that I think is meant to have greater implications than just being a fun callback. Thus, the analysis below takes into account what I believe is the effect of his inclusion.
With that, let’s begin.
In the final episode, as Machu in the GQuuuuuuX is fighting Shuji in the original-design RX-78-2 Gundam, the GQuuuuuX unlocks the true form of its Omega Psycommu. Within the rush of the kaleidoscopic “kira kira” Newtype space, the voice of Furuya Toru speaks to Machu and Shuji and says, “I can’t bear to see the Gundam taking Lalah’s life again.”
One would assume that this is the Amuro from “Rose of Sharon” Lalah’s universe, but here’s the catch: Lalah never died there. While extremely similar, the Lalah we see in the Elmeth is established to be different from the Lalah in the original 1979 anime and the film trilogy. In her world, Char dies instead of her, and the shock causes her to slip into alternate timelines where he survives. In fact, according to Shuji, more often than not it’s Char who dies instead.
This is why I believe that this is “our” Amuro Ray, the one we saw go through Mobile Suit Gundam and on. And on top of that, I think this was his fate after the end of Char’s Counterattack.
Additionally, while not a direct reinforcement of the above point, I want to point out the significance of the true name of the Omega Psycommu that’s inside the GQuuuuuuX. Challia Bull reveals that it’s actually called the Endymion Unit, and those familiar with Furuya’s voice roles might find that it sounds familiar. This is because Prince Endymion is the original name of Tuxedo Mask in Sailor Moon before he reincarnated as Chiba Mamoru, and Furuya plays this character in the 1990s anime. In other words, the Endymion Unit is a reference to a character played by Amuro Ray’s actor—one who failed to save his lover and was reborn into a watchful protector who helps guide Sailor Moon. Even if only meant to be a fun reference, the thematic parallels are hard to ignore.
Also, the way the GQuuuuuX looks when the Endymion Unit is unleashed is very reminiscent of Neon Genesis Evangelion, where the EVAs themselves contain the souls of other characters who (for the most part) watch over their pilots.
One thing that GQuuuuuX also does is imply that the vaunted esper-like abilities of Newtypes are quantum in nature, in that they can see multiple possibilities and choose the right one, somewhat like the Doctor in Doctor Who. Perhaps Char’s Counterattack Amuro ascended to a higher level of this, and in spirit form traversed alternate universes to find the Rose of Sharon.
If all this were to be true, that leaves me to wonder about something else: If the GQuuuuuuX houses the spirit of the original Amuro Ray, where is the original Char Aznable? Could it be that the Red Gundam, i.e. the RX-78-2 of the GQuuuuuuX world, is actually possessed by Char? When the GQuuuuuuX Char pilots it, does that mean we’re getting Double Char? Were that to be the case, this would mean Amuro and Char have decided to work together to save this Lalah from living through endless tragedy.
I prefer to review shows after they’ve finished, so my plan has always been to wait until the end of the TV series to give my more complete thoughts. However, the way Mobile Suit Gundam GQuuuuuuX fueled speculation every week with every reveal means that it’s hard to separate it from the hype train surrounding its broadcast. One question I have to ask myself is simply, to what extent do I judge the show removed from the moment when that energy was so important to its release?
Complicating all this is the fact that I can’t pretend that all the nudges and winks at the fandom weren’t up my alley. To that end, this ends up being less of a review and more the ramblings of a long-time Gundam fan who tries not to care too much about the nitty gritty of lore but still gets excited about it nevertheless, especially when GQuuuuuuX is built heavily around that world building.
The Beginning (Literally)
My introduction to GQuuuuuuX was through the movie from earlier in the year. I went in knowing nothing beyond a few promotional images and one curious spoiler that had me more confused than anything, and I figured Gundam GQuuuuuuX: The Beginning was some new franchise entry. Then an all-too-familiar narration began accompanied by an iconic colony drop deliberately made to evoke a simplistic cel animation, and by the time Char Aznable stole the Gundam, it was clear that we were not working with an alternate universe so much as an alternate timeline.
Coming out of the theater, my #1 thought was “The world’s biggest Challia Bull fan must have waited decades to pull this off.” The Beginning actually takes a one-off character from the original TV series and turns him into one of the biggest badasses around, a decision that could only come from some incredibly hardcore fans at the helm. To then also make it a show that establishes an alternate history where a Zeon victory during the One-Year-War creates a whole host of different consequences in the lives of characters both new and old, both famous and obscure? That’s some kind of fever dream only a complete nerd could create, and I mean that in a good way.
With GQuuuuuuX, you have a work that clearly anticipated the whole spectrum of Gundam fandom as an audience. Its what-if nature is catnip for old-school Gundam fans, the female protagonist and other setting elements resemble the wildly popular Witch from Mercury in some ways, and it would only be natural to assume at least some new viewers curious about this Gundam thing or who are perhaps drawn in by the characters and aesthetics. My own love for the franchise runs nearly the full gamut, and this bringing together of generations only made things better in my eyes, especially because that clash of eras is also reflected in the characters themselves.
A Gathering of Generations
When I say the characters are of different generations, it’s not just about some being older than others, or a reference to the fact that the character designs suddenly take on the classic Yoshikazu Yashuko aesthetic when the story jumps from the year UC 0085 back to 0079 and the One Year War. The younger characters feel reflective of our current times in the year 2025, and they behave differently from not just the older vets surrounding them but also the teenage characters of past Gundam series. The main heroine Amate “Machu” Yuzuriha looks for meaning and self worth through illegal mobile suit matches (“Clan Battles”), starts a close yet adversarial friendship with the other major heroine Nyaan (a refugee on the run from the law for illegal entry), navigates a complex love triangle she wants desperately to believe her supernatural psychic connection to the boy Shuji is unique to her, and desperately hopes other characters she meets won’t be trapped by her circumstances. I can’t fully describe why, but the way she takes to the unfamiliar world of mobile suits and Newtypes, excelling in some areas and being frustrated by others, just reminds me of modern-day teenagers and the challenges they face.
The alternate history helped propel a lot of the speculation that accompanied GQuuuuuuX. Every week, more and more characters from Gundam history would make appearances and get people abuzz. Some are fairly well known side characters, like the Black Tri-Stars (fighting in Clan Battles), Basque Ohm (still formidable but with less power and influence), and Sayla Mass (who seems to have become the ace of the Federation in the absence of Amuro). But then you have extremely minor faces show up, like Cameron Bloom (Mirai Yashima’s fiancee) and Gates Capa (a Zeta Newtype), and even figures who are original to GQuuuuuuX but have threads connecting to other figures, like ace pilot (and popular mom character) Shiiko Sugai and Cyber Newtype Deux Murasame. Additionally, undergirding all this is the persistent presence of the distinct refrain of “La…la…” heard whenever Newtype characters experience a psychedelic vision. This sound is all too familiar to old Gundam fans, and the very possibility that this is a series connected to Lalah Sune, the tragic Newtype girl who loses her life trying to protect both Amuro and Char from each other, is uniquely appealing. GQuuuuuuX is brimming with fanservice, and it’s the kind where the fans they’re servicing are often those Gundam otaku running the entire ship.
Overflow
So here we have an anime packed so tightly with storylines and character threads that it can be difficult to see how all this can all fit into 12 episodes. The answer is that it kind of doesn’t, and that there are potentially many untold or unfinished stories that could spring out of GQuuuuuuX. Also, the shifting emphasis between new and old characters could make it difficult to figure out who the audience should concentrate on the most. Amate, Shuji, and Nyaan are clearly the main trio, but their story gets partly subsumed in the end by the focus on the “Rose of Sharon” and the older characters. The result is that Amate and the others feel as much observers of a greater world as they do individuals with their own agency.
I do feel that the increasing emphasis on old Gundam lore is less surprising to me because I first watched the movie, since it front loads all the flashbacks to the One Year War. I suspect that starting with the TV series might have made this more jarring. Nevertheless, the speculation was fun and allowed imaginations to run wild. And I don’t mind that the anime ended differently from everyone’s expectations, including my own.
Conclusion
I struggled a lot writing this review (if you can even call it that), but I have come to think of this as a good thing. GQuuuuuuX is a messy work: a 5000-piece jigsaw puzzle where the manufacturer made a few pieces too big, a few too small, and threw in a handful from another box entirely. It doesn’t quite fit together to create a picture-perfect image, but that incongruity is beautiful in its own way. If they ever decide to make more, that’s fine, but I’d be quite happy if they just left it alone and allowed us fans to keep speculating.
Stay tuned for a future follow-up to this review, where I get into all the spoilers and nerd out over all my GQuuuuuuX theories.
There’s a lot I want to write about Mobile Suit Gundam GQuuuuuuX: The Beginning. It’s a film version of the early episodes of the upcoming anime TV series, and it carries an interesting pedigree as the first Gundam by Studio Khara of Rebuild of Evangelion fame. But I really don’t want to spoil anything, and this post is mainly to nudge people to avoid information and check it out themselves if they can.
What I will say is that GQuuuuuuX feels like it’s trying to appeal to every type of Gundam fan, and it might very well be capable of accomplishing this feat. Whether they’re old school diehards for Universal Century–style stories, newcomers who fell in love with The Witch from Mercury, or part of the crew that prefers alternate universes with quirky rules like G Gundam, there’s just a lot to chew on and enjoy. The way GQuuuuuuX incorporates these nods to the history of the franchise as a whole also stands out to me in a manner reminiscent of Anno Hideaki’s Shin movies (Shin Godzilla, Shin Kamen Rider, etc.).
So I recommend watching this, whether you’re a relative Gundam newbie or a longtime fan, and whether in movie format or the TV series coming in April (though one thing that’ll be missing from the latter is an insert song by hololive’s Hoshimachi Suisei). I hope to see you back here in a few months, where I’ll be ready to talk GQuuuuuuX again—just without holding back my thoughts.
I haven’t forgotten what the world was like four years ago. I’d long been hesitant to talk about anything political on Ogiue Maniax, but the importance of the US election in the face of a pandemic that killed a previously unfathomable amount of people made me address it more directly. When the dust cleared, I thought (or perhaps hoped) that at least one of the monsters we had to deal with would be gone for good, but I was apparently too naive. So here we are again.
I hope everyone can vote if they are able to. I won’t say who to vote for (though my leanings are probably obvious), and I know that voting is a drop in the bucket in terms of effective political engagement, but I truly think this is a crucial election that will determine so much of the future. Let’s do away with the fearmongers who want to scapegoat various groups while they pick the pockets of their supporters.
In other news, I need to mention the fact that Patreon is changing the way it bills supporters due to Apple shenanigans. Whereas I used to bill everyone at the start of the month, now it depends on when you started subscribing.
So thank you to my supporters on Patreon. I still have no idea what this will look like next month!
Last year, I got the chance to interview Tanaka Rie, the voice of Lacus Clyne in Gundam SEED. She mentioned to me that there were certain answers I could not record, and I wondered why. Not long after, the Gundam SEED Freedom movie was announced, and I realized that it was the reason why Tanaka couldn’t say as much as she might have wanted to.
Receiving the news about the film, I felt rather ambivalent. That’s because my feelings towards the SEED franchise are rather mixed. I adored the original Gundam SEED. Not long after, I was actually living in Japan while Gundam SEED Destiny was on TV. I was such a fan of the first seriesthat when SEED Destiny was airing, I would make sure to be in front of the TV every Sunday evening so I could catch it. I remember once leaving a group of friends to not miss an episode, and one other time frantically biking to get back home. And in those early days, I really felt the show was exceeding my expectations, as I wondered where all its hints and plot threads would lead.
Then came one disappointment after the next, and my opinion of it soured accordingly. Worst of all was the way SEED Destiny treated my favorite character, fiery tomboy Cagalli Yula Athha, into a constant whimpering mess. Her relationship drama with her partner, Athrun Zala, felt contrived and an insult to what they had built up in SEED. The ending was a mess that felt rushed and made all the characters look terrible—even the franchise protagonist Kiara Yamato and his romantic interest Lacus Clyne, who came across as too perfect. There were some supplementary endings to make up for the rushed finale, but it was too little, too late.
To this day, I will say I’m a fan of just SEED (and the manga Gundam SEED Astray, but let’s leave that aside). So with Gundam SEED Freedom, I couldn’t help but feel apprehensive: How much would it be SEED and how much would it be Destiny?
To my relief, it turns out to be a solid movie that repairs some of the damage caused by its predecessor, and reminds me enough of what made SEED good while also avoiding being a complete nostalgia grab.
Plot
Gundam SEED Freedom takes place not long after the end of SEED Destiny. After having stopped the machinations of political leader Gilbert Dullindal, which involved basically eugenics and a giant space laser (of course), Kira and Lacus have formed an independent peacekeeping force called COMPASS. Among their ranks are even SEED Destiny characters (and former foes) Shinn Asuka and Lunamaria Hawke. Despite winning a crucial (and lethal) victory against Dullindal, humanity is not at peace, and the tensions between Naturals and genetically engineered Coordinators continues to be inflamed by extremist groups. Amid this ongoing turmoil, a small nation called Foundation emerges as a potential ally of COMPASS. When Lacus meets with its leaders, she feels an unusual and entrancing connection to Orphee Lam Tao, one of the country’s elite Black Knights, all of whom are a new type of human called Accords, with abilities surpassing even Coordinators. Machinations behind the scenes put COMPASS in danger, with Kira ending up a scapegoat amid battle.
Playing to SEED’s Strengths
SEED Freedom is primarily centered around Kira and Lacus, and this is not a bad thing. Especially in Destiny, this main couple of the franchise could feel weirdly distant and robotic. But here, the pressure each faces in their respective roles as fighter and politician are shown to create tension and even a few insecurities. This doesn’t mean that SEED Freedom is contrived in its melodrama, but rather that the two are shown to have moments of real weakness that make them feel human on a level that even the original person SEED doesn’t always reach. It’s a good supporting foundation for the film as a whole.
Character Designs
I want to address one concern I had about the film: the character designs. In the promotional material. A lot of the new characters seem to have mildly bizarre strange proportions, like their heads are a tad too big or their legs a little too short. All the girls for some reason now have extra pouty lips, even then they weren’t like that originally. I wondered if these changes would be distracting, but either they’re not as bad as I thought, or the other elements of the movie distracted me enough to not notice it as much.
SPOILER SECTION
A lot of the more interesting parts occur in the second half of the movie. So from here, it’s going to be spoilers. Be warned!
The VIllains Are Walking Right-Wing Memes
The Accords are (unsurprisingly) the main antagonistic force of SEED Freedom, and I find their role in the story fairly intriguing. They are the main proponents of restoring the Destiny Plan (i.e. space eugenics), and their reasoning and justifications end up feeling (perhaps unintentionally) like talking points from right-wing manosphere-esque communities. While created to be superior in every way, they can’t wrap their heads around the fact that being designed for specific roles in life doesn’t automatically mean that others have to play along. Orphee in particular was meant from birth to be Lacus’s ideal partner, and the fact that she rejects him for someone “inferior” in Kira bedevils him to the point of obsession.
(As an aside, I find it funny that this obsession with perfection and intolerance towards any sort of failure is very similar to the Perfect Choujin, the villains of the recent Kinnikuman anime.)
The very idea that someone might have an “unideal” partner, or devote their lives to something they’re not inherently talented at, bothers the Accords. When Orphee exclaims that Lacus is supposed to love him, it’s a sentiment cut from the same cloth as nonsensical beliefs about alpha, beta, and sigma males; angry incel notions of relationships (or lack thereof) as genetic inevitabilities; and other weird nonsense. The movie indirectly hits back at all this, especially in a key line by Lacus: “You don’t love people because you need them, you need people because you love them.”
Character Un-Assassinations
Another welcome part of the film is that a lot of it seems to be devoted to salvaging characters who were made to be rather pathetic in SEED Destiny. This is especially the case for Athrun and Cagalli, who aren’t as prominent in the movie but impact the narrative in their own ways that restore what made them great.
Athrun makes a big splash in his first appearance in a Z’Gok, which is later revealed to have the Infinite Justice Gundam inside, not unlike the Black Sarena from Nadesico: The Prince of Darkness. He’s the only one who can knock some sense into a distraught Kira, emphasizing their enduring friendship. Cagalli is portrayed as a bit overwhelmed by the current situation but still firmly in charge and capable as the young leader of a small nation, far from the crying mess she was in SEED Destiny. Their relationship seems to be one where they’re often not able to be physically together but are connected through their feelings, and that’s more than enough. The movie even literally has a scene where they’re working together long-distance in battle to thwart the mind-reading powers of an opponent by having Cagalli remotely pilot the Infinite Justice. They’re shown to be capable and reliable friends individually, and clearly full of love for each other as a couple.
Even Shinn is shown to have less of a chip on his shoulder, but in a way that still shows him as endearingly hotheaded. When the Accords try to read Shinn’s mind and are greeted with a monstrous(ly protective) ghost of Stellar (Shinn’s starcrossed lover who died in SEED Destiny), they basically recoil over the fact that Shinn’s angsty darkness is too angsty and dark for them to handle. It’s perfect in a way.
Other character appearances in the movie can feel like fanservice in the sense that the work is often saying, “Remember this person? Aren’t they great?” but it’s a form of fanservice I welcome. One of SEED’s strengths is its portrayal of character relationships, and it collectively feels like a return to form for the franchise as a whole.
(There’s also a bit of actual fanservice. In fact, one joke I made about the movie while watching was to exaggeratedly call it “Gundam SEED Freedom: Godannar Season 3” in reference to a particular Lacus scene.)
(I also called it “Oops, All Sciroccos” due to the seductive nature of the Accords.)
Cool Robots Fighting
While this doesn’t play a huge factor in my assessment of the movie, I do want to say that the mobile suit combat in this film is excellent. It’s not just a matter of good animation or crisp action scenes, but rather the fact that SEED Freedom really incorporates the fantastical and technical parts of its mecha lore into satisfying moments. Whether it’s giving everyone even more ridiculous backpacks, the Infinite Justice chopping an enemy in half with its head-mounted beam saber, or Shinn being at full strength in the Destiny Gundam when he can go full “no thoughts, head empty,” a lot of moments just work. And the Mighty Strike Freedom at the climax is the peak of all that excess.
SPOILER SECTION OVER
Final Thoughts
I’m glad Gundam SEED Freedom happened, even if it took forever to get here. And I would gladly allow the franchise to ride off into the sunset, only it turns out that they’re doing two additional epilogues that they’re going to air in theaters.
Kio recently had a talk at Umeda Lateral, an Osaka-based live music house and talk venue, to celebrate the release of his new artbook. Below are my notes from watching it.
(Unfortunately, the VOD is no longer available. Also, screenshots are not allowed.)
There are three people: the host, Kio, and his editorial manager Moteki.
For the event, Kio drew special signboards featuring the Genshiken characters, one per character: Ogiue, Madarame, Sue, Ohno, and Saki.
Apparently, it’s normal for the hosts and speaker to drink on stage at this venue. Kio’s first order was draft beer.
He has been to Osaka before, for work and for sightseeing. Was on the train for 9 hours to get there.
The artbook was not his idea. It was Moteki’s, who brought it up because it’s Kio’s 30th anniversary. Kodansha wouldn’t do it themselves? Moteki actually reached out to him through Pixiv.
Kio wanted to reply, and he got motivated to actually make the book happen.
There were cases where Kio was looking through his old work and thought, “Did I draw this?”
Starting doing digital after Genshiken, starting with Jigopuri. At the time, he still scanned in his pencils, though.
Works prior to that transition were newly scanned for the artbook. He had a bit of experience doing it for the Shinsouban (the special edition that has new covers and changes the nine volumes of the original into five).
Kio admitted that he doesn’t actually remember much of his works before Genshiken. Moteki jokingly expresses concern that this pre-Genshiken period was eight years.
Moteki: Ogiue is a character who really takes the story places, but is there anyone from before Genshiken like that?
Kio: Nope, I don’t think so.
Kio actually doesn’t think Ogiue is that much of a driving force. Madarame was originally planned to be there from the start in some form.
Kio showed early concept notes about Genshiken. At the time, it was still written in kanji.
The original 3 characters were early versions of what would become Saki, Kohsaka, Madarame.
Saki (or her prototype) was the original protagonist. Prototype Kohsaka’s gender hadn’t been determined yet—the character was labeled “Hero (Heroine?)” One note mentions that he maybe looks like Squall from Final Fantasy VIII.
The school setting was based on Chuo University, just like in the actual Genshiken.
Kio wanted to make the series focused on character gags.
Prototype Madarame looked very different. Labeled as the “Rival.” Second-Year, otaku.
All the characters are listed with a specialized otaku genre. Proto-Kohsaka and Proto-Mada are both labeled as being into “everything.”
All the characters are labeled as virgins.
Prototype Kugayama was labeled as being a third-year, having a good personality, and also being a lolicon. Otaku genre: anime.
Another character with glasses specialized in games, and another shorter character has manga.
One unused design was a girl who was a second-year. She was a little unattractive, but with big boobs. (This might be the prototype for Ohno, but they look quite different.)
Kio does not actually particularly like kujibiki lotteries. But it is funny that Kujibiki becomes a plot device in Nidaime when all the girls are drawing straws for the order in which each girl has their date with Madarame.
Kio ordered octopus karaage next.
The first gunpla he built was probably the Guncannon. He built it right before the Gundam boom, when he was in elementary school. He has an older brother who was buying gunpla before him. Actually, it might not have been the Guncannon. Kio mentioned not having a good memory.
Did Kio have an inscrutable senpai like the original club chairman? He had senpai, but he wasn’t sure if they were quite like that. But Tanaka was based on someone Kio knew—a person who loved plastic model kits.
Kio used to build a lot of gunpla and kits, and broke them at the joints all the time. But with more recent models, he remarked that they really don’t break easily. He also compared the old days of gunplay that used polycaps to the improvements of modern kits.
For the scene in Genshiken with the gunpla, Kio tried to break the hip joint of a real model for reference, but it wouldn’t snap. But he wanted to do the scene, so he had to force a break.
He checked with Bandai if showing a busted gunpla would be okay, and they said as long as the break was shown to be by accident and not on purpose, it was okay.
Kujibiki Unbalance was made to be an original parody series because getting permissions for actual things was difficult.
Host mentions that he wasn’t a pure otaku, and it’s because of Genshiken’s numerous reference lines that he got to be one. Chapter titles are references, and Kio had to constantly rack his brain for them. Kio does not consider himself a high-information-retention otaku.
He had a desire to draw and write about the old-style 90s-era otaku of his own generation.
When Kio got Genshiken serialized, it made him feel like a real pro. When it got an anime he was ecstatic. “It felt like I had won at life.”
Kio was worried that if he tried to make a manga about the newest things, it would quickly feel dated, so that’s why the otaku stuff was more 1990s.
In that time, video tapes were still the standard, and official recordings of the anime were still done on tapes. He was okay with the work, but saw the struggles of the anime’s production in the anime, accepting that those are kind of inevitable.
The host asked about the OVA, believing that Kio wrote it himself, but Kio himself didn’t remember if that’s the case. He did work closely with Genshiken 2, as well as the original Kujibiki Unbalance anime.
Kio mentioned being involved with a scene involving Tanaka and Ohno, and the host instantly guessed correctly that it’s the spicy scene of them getting together. In response, Kio asked, “Why did you know what I was talking about?” It was later that he realized the scenes he drew for the fictional eroge Ohno made Tanaka play were just used straight-up in the anime.
Kio showed his actual old notebooks.
“It’s not your dark history.”
Kio: But it is.
Kio loved Famicom Detective Club, and made his own story based on Famicom Detective Club II.
He wanted to make a manga of Ghibli’s Laputa in middle school, so he drew one. Here, he showed it to the audience, page by page. He even did the title logo. However, as he turned each page, he would have his eyes closed because he didn’t want to look at them.
(It actually looks really well drawn for a middle schooler.)
Kio actually wanted to change the story partway through in a way that would make it more interesting, but he couldn’t quite decide on where to take things after they get to the fortress, so he stopped drawing it.
Another notebook is filled with his attempts to draw like Miyazaki, clearly copying famous Nausicaa images. He also feels embarrassed about these.
He also showed that he made lots of drawings of Elpe Ple from Gundam ZZ.
He didn’t watch Gundam as it aired, but he did keep up with Dunbine and L-Gaim in elementary school (4th grade, 6th grade, thereabouts).
Also showed a piece of fanart for Metal Armor Dragonar in there, along with a drawing of the Queen Mansa from Gundam ZZ.
Because Kio was clearly into fantasy-like settings as a kid, the host asks if he ever wanted to make manga along those lines. Kio says that he actually worked on a real manuscript from high school to college. “Any plans to announce it?” “None.”
After the break, Kio got a lemon sour. Host a highball. Moteki got another draft beer.
Host talked about how some people considered Nidaime to be like a fan sequel. After the first series ended, everyone tried to imagine what would come next.
Kio got back to drawing Genshiken after doing the art for a budget edition box set of the anime (the ones with the white cases), which led to the one-shot, and then he was asked by Kodansha if he could come back for a short run, like a single volume. (Nidaime ended up running for 11.)
Kio hadn’t planned to resolve Madarame and Saki. Couldn’t it have just ended at the school culture festival?
The second half of the talk was Kio answering questions they had received from fans.
Will Spotted Flower get an anime?
Kio: That’s not up to me.
There are also challenges to getting a story like that made into anime. If he had to say whether he’d want one or not, he’d say yes.
What was a gathering spot for otaku in your days?
Kio was only in a circle for half a year. But there had to have been a place where people gathered to draw.
Kio was in the art club in high school, but it didn’t have an otaku feel. Same for middle school. But the otaku in middle school did meet up after school.
Kio actually bought his own Neo-Geo machine! They reminisced about the massive cartridges.
What works are you into recently?
Manga: A current work in Harta magazine by the author of Hinamatsuri, Ohtake Masao, called J⇔M.
Doesn’t watch dramas. Closest is taiga historical dramas like Kimi Hikaru e.
Couldn’t decide for anime or movies (mainly watches anime movies).
If you drew Genshiken now, what would the characters be into?
VTubers, not that he knows much about them.
Moteki mentioned that Kio must have done research about fujoshi circles and slang for Nidaime, but Kio said he was doing it since the first series. He got some things wrong, though. In college, Kio was surprised to discover fan-derivative works and 18+ doujinshi in college (much like Sasahara).
How did you decide who Madarame would end up with?
Kio didn’t even know who it would be as he was drawing it. He was thinking of having it conclude with Madarame alone, but he actually said to himself, “Are you really going to end it this way?” Even he as the author couldn’t accept that.
Moteki: When it comes to The Fifth-Year and Genshiken with Ogiue, these characters realized about the kind of people they are, and it helped them decide on their feelings. But Madarame even to the very end did not have that self-awareness.
Also, lots of people thought it’d be Sasahara’s sister, because she’s so similar to Saki.
Kio: Yeah, even now. When you mention it, that pairing could’ve worked. But I wasn’t thinking about Saki (or Keiko’s similarities to Saki).
Kio-sensei switched to tablet in Nidaime. How was it?
Actually, Kio switched during Jigopuri. Back then, he still drew the manuscripts on paper and scanned them in before doing digital drawing over them. Eventually, he switched to all digital.
Is there something you feel about the Otaku of the 2010s and 2020s?
Based on what he sees with his daughter and her classmates, it’s almost like there’s not really a distinction between otaku and non-otaku.
Host: Even gyaru are into Frieren.
Kio: Maybe there’s no need for a series like Genshiken anymore.
Kio wanted to do Nidaime as a series where there were more members of the club who were like Ogiue and Ohno along with one new male character. However, he actually thought up a version with a more typically masculine guy, but thought it felt a little too normal.
Host: It’s like the barrier between otaku and non-otaku is gone.
What’s important to remember while making works?
Kio: I can’t really think of anything. Maybe, if you think of it too much like work, you’ll lose what makes it unique. Don’t try too hard to make a “manga-like manga.” Don’t focus on how things are supposed to go at the expense of making it interesting.
Genshiken wasn’t intended to capture the zeitgeist, but it ended up doing so.
Did you see the online reaction to Genshiken or the doujinshi during serialization?
Kio did not look at comments. The people at Kodansha looked at it though.
Kio bought all the doujinshi of Genshiken he saw. Didn’t have any problems with any content, knowing that it’s up to the doujin creators. He might occasionally check out the website of one of the artists.
He got some of them for the Genshiken 8.5 doujin project.
What was it like working for Afternoon?
Thought of Shounen Sunday first for Kodansha, but Kio remembers Parasyte being a big title. Minor no Pride, Major no something (a cooking manga).
In response to Ogiue is drawing for Afternoon in the manga: “It’s meta.”
What do you think of making H-manga?
Kio always wants to do it. He’s working on Part 2 of his doujinshi project, and the manuscript has gotten to 134 pages.
Moteki: What was the reaction to you announcing an 18+ doujinshi? Was it like, “Here we go!!!”
Not a particularly strong response, but when Kio posted it on Fanza (an adult site), some people who were fans asked him if it’s okay to do this at his age (he’s 50).
Can you do a live drawing?
He was unsure of his live drawing ability. Before the talk, Kio ended up putting a lot of time into the five signboard drawings at the talk, as well as the 30 that were included in specific copies of the artbook.
Host and Moteki tried to convince him, but no go.
Will there be more Genshiken merch?
It’s not up to him.
A lot of questions about how Kio decided who Madarame would be with, actually.
Are there any characters who acted in ways you didn’t intend?
All of them.
During the nose hair chapter (with Saki and Madarame), Kio planned to have a story about that, but went at it by thinking “What would the characters do in this situation?”
Before a manuscript, he’ll draw freely. For Genshiken, it’s like the ideas would just readily come. When drawing the characters, he would think about how they would behave. He compares figuring character’s lines to taking a dust cloth and wringing it tightly until the exact words drip out.
Moteki: In terms of characters moving on their own, Ogiue is a well-known example, right?
Kio had considered sticking her with Kuchiki as a kind of “mutually cringe couple.”
Kio is unsure of what he needs to do in serializations. With one-shots, in contrast, it’s harder to play around. He’s still not sure what to do.
At first, Kio didn’t use any assistants. But that’s when he was young. Now he’s 50 and he can’t do the same anymore.
Weekly serialization is the “territory of monsters.” Knowing what weeklies are like, he understands the need for assistants there. But if someone came to him asking if he could do one, he’d consider it and try to figure out a way it could work.
Kio worked as Takano Fumiko-sensei’s assistant, but for only one day.
What otaku works or genres have you been into recently?
He watched some of Usada Pekora playing Elden Ring. He’d have her on as background noise while working on manga.
He also listens to music while thinking up ideas and working on manga. When he’s doing tasks with not a lot of information, he uses ambient noise. When doing the initial drawings, he listens to stuff like J-Pop. After that, more editorial/critical Youtube channels.
What have you enjoyed recently?
Kio has a hard time thinking of anything, but he did travel to Gunma recently. He went to Ninja Gakkai, a ninja education camp.
Among your works, are there any scenes that stick out most in your memory?
The first thing that came to mind is the nose hair story, particularly when Madarame leaves the clubroom and is looking back at it from the outside across the courtyard, and you can see the light in the clubroom still on.
Moteki: Which character is your type?
Ohno, in terms of sexiness. The scene when she first appears in a mask is an example of her heroine appeal. Though Kio’s been told that the shifting heroine focus for Genshiken is unusual: from Saki to Ohno to Ogiue.
Ever since the original Mobile Suit Gundam, works in the Gundam franchisehave tended to end in space. Whether it’s a sequel or an alternate universe, they typically leave the confines of Earth for a big battle among the stars. But Gundam: Reconguista in G is different: It starts on Earth, has its characters venture into space, and then returns home for the final battle. This is where we find the characters in the fifth and final movie, Crossing the Line Between Life and Death, and I think the decision to conclude the series there ends up emphasizing all the messages laid through G-Reco from the beginning. Whether those messages are clearly conveyed is another matter.
Bellri Zenam and the rest of the main cast have been to the far-off Venus Globe, the collection of space colonies near Venus. They saw a society far removed from the ravages of Earth, where people are taught that war is barbaric, but who sometimes fail to see the latent barbarism in themselves. Having gone back through Towasanga on the far side of the moon, they now are in Earth’s orbit where, once again, the different terrestrial supernations are all vying for control of resources. At this point, characters and groups have switched sides so many times that it can be difficult to keep track of who’s fighting for what, but that’s less important than the simple reality that factionalism still persists. Bellri, Aida, and the others aim to head their own direction and fight their own way, neither entirely separate nor fully entrenched in any one side.
There’s one scene in particular that I think encapsulates the final film and the series as a whole: As the various forces battle in Earth’s orbit, they’re forced to undergo atmospheric entry. It’s a return to one of the more iconic scenes from the original Gundam, where rival character Char Aznable has to give the unfortunate news to one of his troops that the poor guy and his ill-equipped mecha have gotten too close to the planet and their death is inevitable. We see history repeat itself as various characters have to decide what to prioritize (attempting a safe landing, trying to get an upper hand in battle, retreating, etc.), and it feels like the folly and hope of humanity both never die.
Speaking of death, there is no shortage of lives lost. Some are more fascinating to me, like a certain character who might have actually been a Newtype. The important thing is that this person is also a dumbass, as if to say that we shouldn’t worship Newtypes or anyone who’s supposedly the next evolution of humanity and its savior. The biggest death is also so unceremonious and kind of random that it feels very fitting—a warmonger hoisted by his own petard.
One major change from the TV series is the actual epilogue, which has been expanded greatly. The new scenes emphasize the fact that changes come only in bits and pieces. Human beings, whether born on Earth or in space, seem to adapt to their circumstances, and beliefs don’t just change overnight. On top of that, many of the characters are young, so while they may have fought in many life-or-death battles, that doesn’t have to fully define who they are or will be. The ultimate message might be that people, but especially those still possessing youth, can break through all the entrenched barriers that previous generations have erected.
In looking at the Gundam: Reconguista in G movies in total, it’s safe to say that they should be the definitive way to experience the series. It clarifies and expands on the TV anime, is better paced, and just conveys more of the world and its complexities. G-Reco is able to show itself in the best light, and for those who dismissed it the first time, I think this is a great opportunity to experience one of the most unique entries in Gundam.
It’s been over two years since my last review of a Gundam Reconguista in G movie. In Part IV: The Love That Cries Out in Battle, the series continues to gain new life as a more cohesive work compared to the original TV series.
G-Reco is about a world centuries after the Universal Century era of the original Gundam. Humanity has crawled back from the brink of extinction, leading to a ban on the old UC technologies and a rationing of energy. However, conflicts still remain, and people are cut into various factions.
At the end of Part III, protagonist Bellri Zenam inadvertently activates the Crescent-Moon Ship, a space-faring vessel that’s meant to lead them to Venus Globe, where the batteries that are meant to provide power to Earth. However, right as Part IV begins, Bellri and those traveling with him are confronted by a group from the G-IT Laboratory, a technology research facility that views the war-prone Earth-born with disdain, and wants to take both the Crescent-Moon Ship and Bellri’s mobile suit, the G-Self, for their own. From there, the film continues and amplifies many of the trends of the previous film, like the importance of understanding individual characters’ motivations, as well as the ways that people’s environments can affect their views on society and civilization. It sees the furthest reaches of humankind before drawing the characters back towards Earth and juxtaposing all these different ways of thinking.
A recurring lesson emphasized throughout is that people can have different blindspots depending on their proximity to Earth and its issues:
The character Aida Surugan (newly discovered to be Bellri’s sister, to his chagrin) questions why energy has to be rationed when so many people suffer, but other characters point out that she’s been affected by “Amerian” indoctrination that fetishizes “freedom.”
The mobile suit pilots of the G-IT Laboratory are quick to judge those from Earth for their legacy of war and death, but they also imagine themselves as glorious fighters who just haven’t had the chance to really show their stuff, and they incorrectly assume that the weapons they wield indiscriminately won’t cause the same problems. (Their similarity to Gym Ghingham in Turn A Gundam is probably no coincidence).
The inhabitants of Venus Globe appear to live in peace while faithfully honoring the heights of Earth’s civilization, but they are largely ignorant of what happens on Earth, and their abundant luxury masks greater health issues that come with both living in space and seeing themselves as the far-off arbiters of Earth’s ability to sustain itself.
Capital Army leader Cumpa Rusita (the closest thing the series has to a main antagonist) is motivated by his disgust at the physical deterioration of the space-born, and this has led him into being a Social Darwinist who believes conflict is the key to restoring humanity’s greatness.
It’s as if the goal of G-Reco is to highlight how people often think that they now see the big picture, but their perspective is far more narrow than they realize. Or even if they don’t miss the forest for the trees, their failure to also account for the trees is in itself a flaw.
I think I give the impression that G-Reco and this film in particular are very serious with all the political and speculative philosophizing, but the series can also be refreshingly lighthearted at times. There are many scenes devoted to daily or mundane activities, like running to sweat out any toxins that come from space travel, or stepping on a robotic scale to check weight. Noredo Nug and Manny Ambassada have an almost “Scooby and Shaggy”-like presence with their antics that’s more understandable rather than annoying. All this actually adds a lot to conveying the idea that these are individuals with lives of their own, and adds a touch of joy to the worldbuilding of this series.
As for Bellri, he seems to embody both the silly and the serious, which might be why he’s the main character. In the same movie, you see him continuously calming his libido by remembering that the girl he’s into is actually his flesh-and-blood sister, and then showing incredible frustration at how many of the people he fights can’t see beyond their own nose. When he uses a new weapon to try and slow down conflict only to unleash a never-before-seen power that leaves all sides horrified and bewildered, Bellri immediately reacts with genuine disgust.
With the original G-Reco TV series, a good part of my overall positive review of the series had to do with how the last few episodes play out. The final film, Part V, is next—I get the feeling I’m going to enjoy this finale even more.
Spotted Flower Chapter 45 is out in the physical edition of Rakuen (digital is end of March). Kio also shows off all the issues of Rakuen he’s collected.
Kio retweeted a previous tweet of his showing an old model kit of the L-Gaim MK-II that he tried to rework and improve. It’s not quite to his liking yet.
The adult video version of Kio’s 18+ doujinshi was on sale (ended 3/11). The tweet includes one old drawing, and I believe one that’s entirely new (on the right).
Kio reacts to the death of Toriyama Akira. “Ever since I discovered Dr. Slump in my boyhood days, I was happy to have the art of Toriyama Akira with me through life. May your soul find happiness.”
Kio finally finished reading through the 7th The Five Star Stories Designs book. He especially likes the character 剣聖ヴェイデリ・コーダンテ (Sword Saint Veidery Codante? I can’t find an official English spelling).
Responding to the death of Tarako, the voice of the main character of Chibi Maruko-chan (also the second voice of Monokuma in Danganronpa). “Whoa, whoa, whoa. Hold on…”
Kio tries out a Five Star Stories Shindanmaker, and the site decides that he would be part of the Magic Kingdom Buchtgma, his Motorhead would be Batsch the Black Knight, and he would be compatible with the Fatima Harper.
Kio has apparently been shadowbanned on Twitter for the past year. When someone replies that he should consider bluesky, he’s hesitant because of how long it took him to get on Twitter.
Kio reacts to the death of Inomata Mutsumi, character designer on the Tales RPG series. “Inomata Mutsumu-sensei…I feel so sad…May your soul find peace in the afterlife.”
Reacting to the manga artist Kusada drawing the Jamru-Fin from Gundam ZZ, Kio joins in on talking about how awesome the design is. Kio remembers seeing it in a plastic modeling magazine back then.
Kio is surprised to discover there are Gundam model kits that are Real Grade Ver.2. He remembers having trouble with the fine details of the Version 1 Real Grades due to his aging eyes, but now he has Hazuki Loupe magnifying glasses, so it should be okay
What does it mean for a work of fiction to feel “realistic?” It’s a question I return to over and over because of how subjective the answer can be. The more I’ve thought about different possible takes, however, the more I’ve found that I resonate strongly with something I call “emotional continuity,” and it informs which series I view most positively.
Broadly speaking, there are many types of continuity in storytelling. There’s the simple that the events of the past should inform the events of the future. A character who loses an arm in episode 1 of a show shouldn’t get it back with no explanation in episode 10. Then there’s capital “C” continuity, like what American superhero comics often deal in, where all the individual parts ideally look together to form a consistent universe and timeline across multiple different series. “Emotional continuity” isn’t nearly so complex. Instead, I define it as simply when events that should affect a given character emotionally result in an appropriate response, and that this character remembers this feeling on some level. Those reactions and memories don’t have to be “sensible,” and they don’t have to result in a “character arc,” though both are possibilities. They simply have to feel consistent with the character and their way of being, and then leave a mark on that character.
One work I’ve debated with others about realism (and by extension show quality, though the two are not necessarily related) is the anime Mobile Suit Gundam: Iron-Blooded Orphans. Whereas others saw the character actions as making little sense and thus stunting the overall story, I felt the opposite. I came to strongly understand each character’s motivations, especially in the core cast, and to see how early events both happy and tragic would inform the general trajectory of their approaches to life.
Another anime that I’ve argued about is Kill la Kill, specifically in regards to the idea that the heroine, Ryuko, is a strong main character even though she didn’t receive much “character development.” The big sticking point for detractors is that she doesn’t really change significantly throughout the series or learn any personal lessons. However, I find that even if she doesn’t transform dramatically, she conveys a strong sense of “emotional continuity” based in her anger, her stubbornness, and her desire to right wrongs. Even if she’s still the same rage-filled Ryuko by the end, it’s impossible to say that the events of the series don’t affect her emotionally or inform her friendships, battles, and decisions.
I realized that “emotional continuity” also greatly informs my utter fondness for the series Heartcatch Precure! and might even explain why the series is often seen as the best of the Precure franchise or somewhat overrated. Years ago, a blogger named Scamp tried to watch through as much Precure as he could, but ended up dropping every show, including Heartcatch. His reason was that nothing ever seemed to happen for the most part, and that dramatic, story-changing moments came too abruptly. This surprised me, because I felt the total opposite—that the show built up to every significant plot point like a skilled architect oversaw the construction. I even wrote a response. In hindsight, while I used the phrase “emotional logic,” i.e. reasoning through feelings, to describe what I saw, what I was actually highlighting was emotional continuity.
Moonlight…in suffering loss…felt wracked with guilt, giving up her role as protector. The task to defend the world had been passed onto a new generation…and as they collected the Heart Seeds, they laid the groundwork for Moonlight to redeem herself, to learn from her mistakes while also forgiving herself…. Although Cure Moonlight’s return is telegraphed to a degree, for me it built anticipation … I felt satisfied that the show had reached a strong emotional point with a solid expression of how the feelings of each character, especially Moonlight, defined their actions.
Rarely in fiction is anything utterly devoid of emotional continuity, but the best series make you feel as if they care about what’s happened to their characters. Something that has had issues with maintaining this continuity in recent years was World Wrestling Entertainment, and that seems to be finally turned around in the past couple years. While there are general structural issues with how WWE presents itself that go beyond emotional continuity, it’s telling that fans had very little faith in their favorites wrestlers being recognizable beyond a basic template. Continuity is played fast and loose in general, and the highly physical nature of their format means injuries and other unpredictable elements can gum up the best laid plans, but there’s a persistent sense that what a given wrestler does or says one week should actually matter the next.
Do you find emotional continuity to be important? If so, how much is it a priority for you? I’m curious to see how others feel.
OGIUE MANIAX 