![]() Mobile Suit Gundam: Awakening, Escalation, Confrontation (San Francisco, California: Stone Bridge Press, 2004).Mobile Suit Gundam #3: Confrontation (New York: Ballantine Books/Del Rey, 1991).Kidō Senshi Gundam 3 (Tokyo: Asahi Sonorama, 1981).Mobile Suit Gundam #2: Escalation (New York: Ballantine Books/Del Rey, 1990).Kidō Senshi Gundam 2 (Tokyo: Asahi Sonorama, 1980).Mobile Suit Gundam #1: Awakening (New York: Ballantine Books/Del Rey, 1990).Kidō Senshi Gundam 1 (Tokyo: Asahi Sonorama, 1979).Tomino is also credited as the original creator on literally hundreds of Manga and novels spun off from his anime serials. The bulk of his prose fiction publications are ties to the Gundam franchise, although Haran Banjō is based on the anime Muteki Gōshin Daitarn 3 ( 1978-79) and the sprawling Byston Well sequence comprises prequels and sequels to the anime Seisenshi Dunbine ( 1983-84 vt Aura Battler Dunbine, 2003 US), which injects mecha into a Fantasy milieu. ![]() His published work hence spans fiction, textbooks and collections of polemics from numerous anime magazines. Tomino is a volatile figure, unafraid of speaking out against the inanities of Videogames or backward steps in the modern anime industry. Another is the trilogy Ō no Kokoro (1995-1996 Kadokawa Novels), set on a Ruined Earth that is plunged into conflict after the assassination of a ruling monarch. One such escape bid is the Cima Cima series (1988-1989 Animage), set in a far future in which the elite have left the Earth's surface to dwell on flying islands. Conversely, the anime community has shown a lukewarm response to Tomino's occasional prose attempts to break out of the mecha ghetto. Japanese literary sf often defines itself in reaction to toy tie-ins and mecha shows, and hence frequently disregards his achievements in that field. His name is conspicuously absent from the Seiun Awards despite five decades of intimate involvement in the sf community. Tomino's body of work is curiously unacknowledged outside the anime world. His most enduring creation is the Gundam series, beginning with Kidō Senshi Gundam ( 1979-1980 vt Mobile Suit Gundam), which he publicly proclaimed to be the "dawn of a new age in anime". This and other anime holocausts led to his nickname in anime Fandom of Minnagoroshi no Tomino, an affectionate jibe that obliquely acknowledges his role in turning disposable children's television into serious sf. The deeply cultured, fiercely intelligent Tomino channeled his resentments into hard-hitting plots, beginning with Muteki Chōjin Zanbot 3 ( 1977) in which many of the protagonists die in the finale. ![]() ![]() Although he participated in many genres, he found his vocation in the casual creative environment of the late 1970s, when animators were given free rein in their stories, so long as their shows hit the requisite number of minutes and showcased the right Toys. The frustration of his ambition to work in live-action film has fostered a love-hate relationship with cartoons. His directorial debut was on the anime television series Umi no Triton ( 1972), but he is most famous for his work in the Mecha genre. He left in the late 1960s to work as an art lecturer and commercial filmmaker, but was subsequently lured back into the anime industry during the recession of the early 1970s. A graduate of the Nihon University of the Arts, he joined Osamu Tezuka's Mushi Production as an animator on Astro Boy. Some of his other pseudonyms include Minoru Yokitani, and Manami Asa. (1941- ) Japanese author, Anime director and sometime lyricist (as by Rin Iogi), whose career spans the entire history of animation on Television in the twentieth century and into the twenty-first. ![]()
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