A cult classic in the schlock n’ gore OVA genre, Genocyber took an unlikely road from pitch to production.
Hidden within AnimEigo’s beloved Super Dimension Fortress Macross DVD Boxset lies a candid conversation with series director Noboru Ishiguro. However, the stories shared by (and of) the late director leave a greater impression than just the simple tale of a hidden commentary.
The gunpla boom of the early ’80s saw an explosion of interest in mecha modeling and provided unprecedented opportunities for a group of model enthusiasts that dubbed themselves “Stream•Base.”
Drawing from their experience in TV anime, 3D photo stories, and other media, ARTMIC created rich OVAs that, more often than not, shared familiar thematic elements along with a consistently recognizable visual style.
Parallel to the development of giant robot anime in the 1970s, Studio Nue’s revolutionary renderings of Robert A. Heinlein’s Starship Troopers powered suit changed the game, and in turn lead to smaller, more “realistic” powered suits appearing in the pages of manga weeklies and hobby magazines.
Project A-Ko’s origins in the adult anime series Cream Lemon are well documented, less so the influence and shared staff between the iconic OVA and the legendary TV show, Urusei Yatsura.
After years of swearing off sequels, Shoji Kawamori returned to Macross with not one, but two new Macross projects in simultaneous production.
During the studio’s lean years after Nadia, Gainax briefly developed a new animated sci-fi project. While little information on it has been shared publicly, there’s evidence to suggest Olympia’s troubled production left a lasting impact on the studio.
A super brief look at a bit of history that may have influenced Mamoru Oshii’s Patlabor 2.
A brief look at some of the early design work created by ARTMIC artists for Omega City 23 while it was still planned as a television series.