A cult classic in the schlock n’ gore OVA genre, Genocyber took an unlikely road from pitch to production.

A cult classic in the schlock n’ gore OVA genre, Genocyber took an unlikely road from pitch to production.
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.
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.
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.
With the gunpla boom in decline and TV robot anime losing its luster, in 1985 Bandai began to look for new ways to embrace older fans and early otaku.
At the tail end of the gunpla boom, Bandai’s enthusiast publishing and garage kit division, B-Club, unleashed a monthly magazine and dozens of garage kits on a modeling community that was growing out of normal plastic model kits.
Unearthed via the DVD-ROM features of an ancient US Manga Corps digital video disc, we speculate on the provenance of the models used for filming on Genocyber.
The Emotion logo was created in 1983 — around the same time moai statues made a surreal appearance as spacefaring, laser-vomiting opponents in shooting game series Gradius. Just why is Japan so moé for moai?
Originally conceptualized at the height of the real robot boom as a 26-episode TV series called Omega City 23, Megazone 23 went through numerous changes and iterations before it became a cutting edge OVA. For the first time, the original pitch document of Omega Zone 23 is available to read in Japanese and English.