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Leonardo
A Brief History of Japanese Robophilia
Author(s): Mark Gilson
Source: Leonardo, Vol. 31, No. 5, Sixth Annual New York Digital Salon (1998), pp. 367-369
Published by: The MIT Press
Stable URL: http://www.jstor.org/stable/1576597
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A B r i e f
H i s t o r y
o f
Japane s e Ro bo phi li a
Mar k Gi ls o n
A bs t r act
The aut ho r di s cus s e s t he
par t i cular pe nchant
t o war ds
r o bo t s e xhi bi t e d
by
t he
Japane s e
and
at t e mpt s
t o
e xplai n
t he
o r i gi ns
o f t hi s
phe no me no nt hr o ugh
an
analy s i s
o f
Japane s e po p
cult ur e char act e r s .
The r e
was at i me whe n
pe o ple
be li e ve d t hat
by 1998
t he
wo r ld wo uld be o ve r r un
by r o bo t s ,
no t unli ke t he clas s i c
195o s
vi s i o no f t he f ut ur e whe r e i nwe allr o de i n
f ly i ng
car s t o o ur
ci t i e s i nt he
s ki e s ,
whe r e o ur r o bo t s e r vant s at t e nde d t o o ur
e ve r y
ne e d. In
f act ,
t he advance me nt o f r o bo t s and r o bo t i cs has
be e nar at he r
qui e t af f ai r ,
o ut s hi ne d i nr e ce nt
y e ar s by
clo ne d
s he e p
and t he li ke . Int he
age
o f t he
Int e r ne t , t e chno lo gy
has
be co me a
pr o vi de r
o f what i s
no waday s
calle d
co nt e nt ,
and
de s kt o pco mput e r s
ar e an
i mpo r t ant
f ace t o f mas s me di a. The
t e chno lo gi cal
t hr e at i s
go ne ,
and wi t hi t t he f e ar o f t he me t al
me n. The wo r d 'r o bo t ' has t ake no na
co mple t e ly
di f f e r e nt
me ani ng
i nt he
1990S,
and t he s e
day s , e ve r y o ne
wo uld r at he r
have ano de o nt he ne t wo r k t hanar o bo t but le r .
Thi s i s no t auni ve r s al
s e nt i me nt ,
ho we ve r . One nat i o nhas
s lo wly
but
s ur e ly
be e n
i nt e gr at i ng
r o bo t s i nt o
dai ly li f e ,
bo t hi n
t he
o pe n
and be hi nd t he s ce ne s . Inco nt r as t t o t he
We s t , Japan
has
alway s
e xhi bi t e d a
uni que
f o r m o f what canbe de s cr i be d as
r o bo phi li a. Japane s e
r o bo t i ci s t Ichi r o Kat o has
e nt hus i as t i cally
s t at e d t hat
"Japane s e
r o bo t
t e chno lo gy
wi ll
change
t he wo r ld"
[1].
The r o o t s o f t hi s
r o bo phi li a
ar e
par t
o f a
lar ge r phi lo s o phy
i n
r e gar d
t o
t e chno lo gy
t hat
de ve lo pe d alo ng
wi t h
po s t war Japan
t o
make i t t he
po we r
i t i s
t o day .
InWo r ld War
II, Japane xpe r i -
e nce d f i r s t hand t he
de vas t at i ng po we r
o f mo de r n
t e chno lo gy
i n
t he f o r m o f t he at o mi c bo mb. In
po s t war Japan, t e chno lo gy
wo uld be co me
Japan's
s avi o r . The no t e d
e xpe r t
o n
Japane s e
cul-
t ur e Kar lTar o Gr e e nf e ld de s cr i be s
To ky o
as "a
s o ci e t y
i n
s y m-
bi o s i s wi t ht he machi ne .
Exact ly
whe r e human
be i ngs
e nd and
machi ne s
be gi n
canbe co me
co nf us i ng
i na
ci t y
t hat r e s e mble s
mo r e t han
any
o t he r
ci t y
o nt he
plane t
ane o n-li t ci r cui t bo ar d
wr i t
gi gant i c" [2].
Mo s t
pe o ple 's i mage r y
o f r o bo t s co me s f r o m t he wo r ld o f
f ant as y .
A s k s o me f r i e nds t o dr aw t he i r
co nce pt i o n
o f a
r o bo t ,
and mo s t wi ll dr aw
y o u
t he clas s i c me t al
man,
and no t t he
i ndus t r i al
r i ve t i ng
ar m f r o m t he De t r o i t aut o
f act o r y .
A s o f
y e t ,
o ur
s t r o nge s t i mage s
o f r o bo t s ar e de r i ve d f r o m t he s e
r e pr e s e n-
t at i o ns . It s ho uld co me as no
s ur pr i s e
t hat wi t ht he bi r t ho f t he
Japane s e
co mi cs
i ndus t r y
i nt he
195o s ,
t he f i r s t he r o i t
s pawne d
was ar o bo t .
Mi ght y
A t o m
[3]
wo uld lat e r be kno wn as
A s t r o bo y
i nt he Uni t e d
St at e s ,
whi le i n
Japan,
hi s
no t o r i e t y
wo uld
gai n
hi s cr e at o r Os amu Te zukat he t i t le o f
manga
no
kami s ama; t he
go d
o f co mi cs .
A t o m's
appe al
li e s i nhi s
humani t y ,
e ve n
t ho ugh
he i s a
r o bo t . Ina
way ,
hi s
s t o r y
i s li ke t hat o f
Pi no cchi o ,
bui lt t o be a
r e place me nt
f o r t he s o nlo s t
by
hi s cr e at o r i nat r af f i c acci de nt .
So
r i ght away , Japan's i mage
o f r o bo t s was a
nur t ur i ng
o ne .
A t o m was
Japan's
s o n. It 's no t unt hi nkable t hat
many Japane s e
who lo s t s o ns t o t he war e f f o r t co uld r e lat e
ve r y pe r s o nally
t o
t he
co nce pt
be hi nd A t o m.
(A s
I wr i t e
t hi s ,
t he ve r bal
s i mi lar i t y
i n
Engli s h
be t we e n"A t o m" and "A dam" als o be co me s
appar -
e nt .)
Te zukawas ame di cals t ude nt who
o r i gi nally
i nt e nde d f o r
A t o m t o be as o r t o f
par o dy ,
but he r e calls t hat
"publi s he r s
want e d me t o s t r e s s a
pe ace f ulf ut ur e ,
whe r e
Japane s e
s ci e nce
and
t e chno lo gy
we r e
advance d,
and nucle ar
po we r
was us e d f o r
pe ace f ulpur po s e s " [4].
A ut ho r Fr e de r i ck
Scho dt , ar guably
t he
f o r e mo s t
e xpe r t
o nt he
t o pi c
o f
Japane s e co mi cs ,
no t e s t hat
"o ve r t he
y e ar s ,
A t o m and r o bo t s be came li nke d wi t hawo nde r -
f ulf ut ur e t hat s ci e nce and
t e chno lo gy
co uld
pr o vi de " [5].
A n
i mpo r t ant par t
o f A t o m's char act e r
de ve lo pme nt
was hi s
we akne s s e s . H i s
po we r s
we r e t o s o me e xt e nt bas e d o n
pr i nci ple s
o f
hy dr auli cs
and
e le ct r o magne t i cs .
Sche mat i cs o f hi s i nt e r nal
Mar k
Gi ls o n, 3
St uy ve s ant
Oval
#s F,
Ne w
Yo r k,
NY
10009,
U.S.A . Emai l:
mg@bway .ne t .
LEONA RDO, Vo l.
31,
No .
5, pp. 367-369, 1998 367
?
1998
Mar k
Gi ls o n, r e ce i ve d I May 1998
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ci r cui t r y
we r e
publi s he d,
and i t was no t at
allunus ualf o r A t o m t o
r e qui r e r e pai r s
at
s o me
po i nt dur i ng
hi s adve nt ur e s
[6].
A s t he f at he r o f
Japane s e co mi cs ,
Te zukas e t t he t r e nd t hat wo uld be f o l-
lo we d
by many
o t he r s . Te zuka's s ucce s s
was s o o nf o llo we d
by
t he de but o f Ir o n
Man#28
[7], by
ar t i s t Mi t s ut e r u
Yo ko y a-
ma. Ir o nMan#28
o ccupi e s
an
i nt e r e s t i ng
ni che i nt he
de ve lo pme nt
o f t he
Japane s e
f ant as y
r o bo t . H e was
e s s e nt i ally
a
gi ant
r e mo t e -co nt r o lle d r o bo t
pi lo t e d by
Sho t ar o Ki nt a
agai ns t
var i o us ne f ar i o us
t y pe s .
Scho dt make s t he
i nt e r e s t i ng
o bs e r -
vat i o nt hat "A t o m and Ir o nManar e t he
ance s t o r s o f all
s ubs e que nt Japane s e
f an-
t as y r o bo t s , par t i cular ly
t wo di s t i nct
ge n-
r e s s e e n
t o day : t r uly
aut o no mo us r o bo t s
and t ho s e t hat
r e qui r e
humani nt e r ve nt i o n
f o r t he i r
o pe r at i o n" [8].
Co uld Ir o nMan
#28 have i nf lue nce d t he
Japane s e pe n-
chant f o r
gadge t s ?
I wo uldn't be s ur -
pr i s e d.
It i s als o
i nt e r e s t i ng
t o no t e t hat
wi t hi nt he
ge nr e s
o f co mi cs and ani ma-
t i o n,
co lo s s al
s upe r -r o bo t s
s uchas Ir o n
Manwo uld s o o nbe co me t he no r m.
The ne xt
bi g
r o bo t i co n t o
s we e p
Japan
was Do r ae mo n
[9],
cr e at e d i n
1970
by
t he t e am kno wn as
Fuji ko Fuji o .
Do r ae mo ni s ar o bo t cat s e nt f r o m t he
f ut ur e t o wat cho ve r a
bo y
name d No bi -
t a. Do r ae mo n wo r ke d o n
many
s ubt le
le ve ls . No bi t ai s aclas s i c s lacke r who s e
lazi ne s s wi nds
upcaus i ng
all s o r t s o f
t r o uble f o r hi s de s ce ndant s . Do r ae mo n
was s e nt f r o m t he f ut ur e t o s e t hi m
s t r ai ght ,
as i t we r e . The
Japane s e
ve r b
no bi r u me ans t o do
t hi ngs
i nalackadai s i -
calmanne r . The
pas t
t e ns e o f t hi s ve r bi s
no bi t a,
t he s ame as o ur
pr o t ago ni s t 's
name . The r e i s adi s t i nct unde r cur r e nt
vi s i ble i nDo r ae mo n:
t e chno lo gy
f r o m t he
f ut ur e co me s back i nt i me t o e ns ur e o ur
he r o 's
we ll-be i ng-
t he i de ao f t e chno lo -
gy
as s avi o r .
A no t he r
e xt r e me ly i mpo r t ant i ngr e di -
e nt o f Do r ae mo n's s ucce s s was hi s char -
act e r
de s i gn.
H e
ve r y
we ll
may
have be e n
t he f i r s t char act e r
de s i gne d
i na
s t y le
t hat
wo uld co me t o be kno wni nt he
ge nr e
as
"s upe r -de f o r me d"
o r "SD." Do r ae mo n
has a
pe r f e ct ly
r o und he ad
di s pr o po r t i o n-
at e ly lar ge
i n
co mpar i s o n
t o t he r e s t o f
hi s
s mall, s o f t -e dge d
li mbs and
bo dy .
Thi s
i s af o r mula t hat t he Sanr i o
co mpany
wo uld lat e r t ur ni nt o ali t e r alme r chandi s -
i ng e mpi r e
wi t ht he
1976
de but o f t he
ado r able i co ni c cat char act e r H e llo
Ki t t y
[lo ].
The f o r mula
wo r ke d,
and Do r ae mo n
i s s t i llani co ni n
Japan.
It i s
i nt e r e s t i ng
t o co ns i de r ho w Do r ae -
mo n's s ucce s s came t o be . H e i s calle d a
r o bo t cat but
act ually
lo o ks li ke ne i t he r
r o bo t no r cat -
maki ng
hi m a
uni ve r s al,
ne ut r ali co n. H e has i ncr e di ble
po we r s ,
all
bas e d o n
t e chno lo gy
f r o m t he f ut ur e
(mo s t no t ably
t he do ko de mo
do a,
ado o r -
way
t hat le ads t o
any whe r e y o u
want t o
go ).
Whe r e as A t o m i s
e s s e nt i ally
amo de l
s upe r human,
Do r ae mo n i s clo s e r t o a
s upe r pe t ,
acut e be ar e r o f t he
t e chno lo gi -
calwo nde r s o f t he f ut ur e . Inr e ce nt
y e ar s ,
Japan(and
lat e r
A me r i ca)
was
s we pt
wi t h
af ad kno wnas t he vi r t ual
pe t .
The s e
s mallde vi ce s f all s o me whe r e be t we e na
t o y
and a
game
and ar e abo ut t he s i ze o f
a
di gi t al
wat ch.
Play e r s
"hat ch" as o r t o f
di gi t al e mbr y o (no t
unli ke a
t adpo le )
whi ch
t he y
mus t t he nr ai s e t o adult ho o d
and
ke e p
ali ve
t hr o ugh
f unct i o ns s uchas
cle ani ng, f e e di ng, di s ci pli ne ,
and
play .
The mo s t f amo us o f t he s e vi r t ual
pe t s ,
t he B andai
co mpany 's Tamago t chi (t he
name i s a
play
o nt he
Japane s e t amago ,
me ani ng e gg)
was a
phe no me nal
s ucce s s
and t o o k
many by s ur pr i s e ,
s o t hat
s up-
pli e s
we r e
qui ckly
unable t o me e t
de mand.
Lo o ki ng
at char act e r s s uchas
Do r ae mo n, ho we ve r ,
we can
cle ar ly
s e e
t he r o o t s o f t he
Tamago t chi phe -
no me no n.
Japan
has had an
e nde ar i ng
at t i t ude t o war ds cut e
t e chno lo gi cal
cr e a-
t ur e s f o r clo s e t o
t hi r t y y e ar s [11].
The
1970S
als o s aw t he bi r t ho f a
co mple t e ly
ne w
co nce pt
i n
f ant as y
r o bo t s
pi o ne e r e d by
ar t i s t s s uchas Go
Nagai .
Say s Nagai ,
"I want e d t o cr e at e s o me -
t hi ng di f f e r e nt ,
and I
t ho ught
i t wo uld be
i nt e r e s t i ng
t o have ar o bo t t hat
y o u
co uld
dr i ve ,
li ke acar "
[12].
H e di d
jus t
t hat
wi t ht he cr e at i o no f
Mazi nge r
Z
[13],
a
gi ant
r o bo t t hat was
pi lo t e d by
me ans o f
as mall
f ly i ng
car and co mmand ce nt e r
t hat do cke d i ns i de t he he ad.
Nagai 's
cr e -
at i o ns
(mo s t no t ably Mazi nge r Z)
ar e
t o day
co ns i de r e d t o be t he clas s i c
Japane s e s upe r -r o bo t s .
Re nde r e d i n
br i ght
pr i mar y
co lo r s ,
and
s t y le d
s o me whe r e
be t we e n
mi li t ar y e qui pme nt
and s amur ai
ar mo r
(t o
t hi s
day ,
almo s t all
Japane s e
f ant as y
r o bo t s
car r y
s o me ki nd o f
s wo r d),
Mazi nge r
Z i s an
ar che t y pe
f o r t he f ant a-
s y
r o bo t .
Nagai 's
cr e at i o n
s ubs e que nt ly
t o uche d o nani s s ue t hat i s s t i llt he s ub-
je ct
o f
r e s e ar ch,
t he
co nce pt
o f t he i nt e r -
f ace be t we e nr o bo t and human. Scho dt
no t e s t hat
Mazi nge r
Z and i t s s ucce s s o r s
s e r ve d t o "s o lve ano ld
pr o ble m
i nr o bo t
f i ct i o n, t he
pr o ble m
o f
pe r s o ni f y i ng
t he
machi ne "
[14].
Nagai 's
r o bo t s we r e s ucce s s e s i nco mi c
and lat e r i nani mat e d f o r m but we nt o n
t o
de ve lo p
i nt o af o r m t hat
undo ubt e dly
had a
phe no me nali mpact
o nt he
y o ut h
o f
Japan: t o y s .
Wi t hat t r i but e s s uchas
f i s t s t hat s ho t o f f and mi ni at ur e
s hi ps
t hat
do cke d i nt he r o bo t s
t he ms e lve s , Nagai 's
cr e at i o ns t r ans lat e d
pe r f e ct ly
i nt o
t o y s .
In
f act ,
at t he
r e que s t
o f
t o y make r s , Nagai
wo uld lat e r cr e at e Co mbat t ar a
[15],
t he
f i r s t r o bo t t hat was made o f s malle r co m-
po ne nt
r o bo t s and t he
pr e de ce s s o r
o f all
t he
t r ans f o r mi ng
r o bo t
t o y s
t hat
s we pt
t hr o ughJapan
and A me r i cai nt he
198o s
[16].
Mo r e
i mpo r t ant ly , Nagai 's
r o bo t s
be came no t
o nly
he r o e s but
play t hi ngs .
A
ge ne r at i o n
o f
Japane s e
chi ldr e nwas li t e r -
ally br o ught upplay i ng
wi t hr o bo t s .
The ne xt
de ve lo pme nt ,
and
ar guably
t he o ne wi t ht he mo s t
pr o f o und i mpact
o nt he
ge nr e
o f
Japane s e f ant as y r o bo t s ,
came i n
1979
whe n
Ni ppo n
Sunr i s e ani -
mat i o nai r e d "Mo bi le Sui t Gundam"
[17].
Gundam was t he cr e at i o no f
Yo s hi y uki
To mi no ,
who t o o k a
r adi cally
di f f e r e nt
appr o ach
t o t he
s upe r -r o bo t
s t andar d.
Whe r e as i nt he
"Mazi nge r
Z" s e r i e s t he
r o bo t i s t he ce nt r alf o cus o f t he
s t o r y ,
To mi no
place d
hi s f o cus o nchar act e r i za-
t i o n. A s t he name
i mpli e s ,
t he r o bo t s ar e
i nf act
gi ant
mo bi le s ui t s o f ar mo r
(li ke
a
humano i d
t ank), be ar i ng o nly
clas s i f i ca-
t i o ns and no t name s . The f o cus was o n
t he
s t r uggle s
be t we e nco lo ni e s i no ut e r
s pace .
"Mo bi le Sui t Gundam" was awar
s t o r y ,
and i t
t ar ge t e d
t he
blur r i ng
o f t he
li ne s be t we e n
go o d
and e vi l and t he
e f f e ct s o f war o nt he
pe o ple
who
f i ght .
A ddi t i o nally ,
"Mo bi le Sui t Gundam" t ake s
place
i n
de e ps pace , allo wi ng
f o r f ant as t i c
e pi c
bat t le s ce ne s .
Gundam's
po pular i t y
and e f f e ct o n
r o bo t
i de o lo gy
can no t be s t r e s s e d
e no ugh.
The
o r i gi nal
s ho w was a
phe -
no me no ni n
Japan,
and
s pawne d
af r an-
368
Mar k Gi ls o n,
A B r i e f
H i s t o r y
o f
Japane s e Ro bo phi li a
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All use subject to JSTOR Terms and Conditions
chi s e t hat i s s t i ll
go i ng s t r o ng.
What St ar
War s i s t o A me r i can
t we nt y s o me t hi ngs ,
Gundam i s t o
Japane s e
o f t he s ame
age ,
i n
po pular i t y , i mpact
o n
cult ur e ,
and me r -
chandi s i ng.
It i s co ns i de r e d o ne o f t he
t hr e e
gr e at e s t
ani mat e d s ho ws i n
Japane s e
hi s t o r y ("Space
Cr ui s e r Yamat o " and
"Ne o n Ge ne s i s
Evange li o n",
t he lat t e r
ano t he r
pr o gr am f e at ur i ng r o bo t s ,
ar e t he
o t he r
t wo ).
In
f act , B andai ,
t he
co mpany
t hat o wns t he mas t e r li ce ns e f o r Gundam
me r chandi s e ,
made s o much
mo ne y
f r o m
i t o ve r t he
y e ar s
t hat
t he y act ually pur -
chas e d
Ni ppo n
Sunr i s e ani mat i o n
o ut r i ght
and e ns ur e d t hat t he Gundam f r anchi s e
wo uld co nt i nue f o r
y e ar s
t o co me .
To day , Japan's r o bo phi li a
has e xt e nde d
i nt o
mult i ple appli cat i o ns
t hat
t e chno lo gy
has allo we d f o r . The r e was t he af o r e me n-
t i o ne d
Tamago t chi cr aze , whi ch,
li ke
t r ans f o r mi ng r o bo t s ,
was ahi t i nt he
Uni t e d St at e s . The nt he r e ar e t he ne w
r o bo t s , t e le pr e s e nce s
li ke t he vi r t uali do l
Ky o ko
Dat e
[18].
Vi r t uali do ls have be e n
a
par t
o f
Japane s e
ani mat i o ns i nce at le as t
1986,
whi chs aw t he i nt r o duct i o no f t he
char act e r o f Eve i nt he
o r i gi nal
vi de o ani -
mat i o n
(OVA ) Me gago ne
23,
and Eve has
s i nce be e nf o llo we d
by
char act e r s s uchas
Shar o n
A pple
f r o m
1994's
Macr o s s Plus
OVA .
Cur i o us ly ,
bo t hEve and Shar o n
A pple 's
char act e r s we r e i do l
s i nge r s , jus t
li ke
Ky o ko
Dat e . Mo de r n
y o ung Japane s e
ar e
gr o wi ng up
i nan
age
i nwhi chce llular
pho ne s
ar e co ns i de r e d a
ne ce s s i t y
and ar e
s ur r o unde d wi t h
"t e ch-f r i e ndly "
name s
s uch as Game
B o y , Di s cMan,
and
Play St at i o n.
Eve n wi t hi n t he r e alm o f
co ns ume r
e le ct r o ni cs ,
t he r e i s analmo s t
ant hr o po mo r phi c quali t y
i nhe r e nt i n
Japan's s mall, e le gant gadge t s .
Lo o ki ng
at t he
hi s t o r y
o f
Japane s e
f an-
t as y r o bo t s ,
we cans e e whe r e t hi s s e ns e
o f e as e wi t h
t e chno lo gy
has i t s r o o t s .
Ro bo t s we r e
acce pt e d
i n
ge ne r al
as t he
t o o ls t o r e bui ld
po s t war Japan. Fant as y
r o bo t s have s e r ve d t o
r e pr e s e nt
t e chno lo -
gy
i n
ne ar ly e ve r y
f o r m i nwhi chi t co uld
pr e s e nt
i t s e lf t o
Japan.
Ro bo t s canbe
humano i d,
li ke
A t o m,
o r awat chf ul
s upe r pe t
li ke Do r ae mo n. Co mbat t ar aand
Mazi nge r
Z
r e pr e s e nt co mpo ne nt s ,
e xpandabi li t y ,
and t he us e r -machi ne i nt e r -
f ace . Gundam
r e pr e s e nt s
r o bo t s as
we apo ns ,
and s ho ws s uchas t he
po pular
"Evange li o n"
f r o m
1996
have
pus he d
t he
co nce pt
e ve n
f ur t he r ,
as t he r o bo t s f r o m
t hat
par t i cular
s e r i e s ar e hi nt e d as
havi ng
di vi ne
o r i gi ns
and ar e r e ve ale d t o be bi o -
lo gi cally
as we llas
me chani cally
de r i ve d.
Whe r e wi ll t he f ut ur e
co nce pt s
i n
r o bo t i cs co me f r o m?
Ke e pwat chi ng
t he
car t o o ns .
Re f e r e nce s and No t e s
1. Fr e de r i ck L.
Scho dt ,
Ins i de t he Ro bo t
Ki ngdo m:
Japan,
Me chat r o ni cs and t he
Co mi ng Ro bo t o pi a
(Ne w
Yo r k: Ko dans ha
Int e r nat i o nal, 1988) p. 13.
Fo r mo r e i nf o r mat i o nabo ut
Japane s e s upe r -
r o bo t s ,
s e e als o B andai 's /i e w
B r o adly :
The
Supe r -
Ro bo t
Supe r
B o o k
(To ky o :
B andai
Co mpany
Me di a
Wo r ks , 1997).
2. Kar lTar o
Gr e e nf e ld, Spe e d
Tr i be s :
Day s
and
Ni ght s
wi t h
Japan's
Ne xt Ge ne r at i o n
(Ne w
Yo r k:
H ar pe r Co lli ns , 1994) p. 17.
3.
Os amu
Te zuka, "Mi ght y
A t o m"
(Te t s uwan
A t o mu),
Te zuka
Pr o duct i o ns , 1951. Image s
o f
Mi ght y
A t o m canbe f o und o nt he We bat
www.t e zuka.co .jp.
4.
Scho dt
[1] p. 76.
5.
Scho dt
[1] p. 76.
6. Scho dt
[1] p. 76.
7.
Mi t s ut e r u
Yo ko y ama,
"Ir o nMan#28"
(Te t s u-
ji n#28),
Mi t s ut e r u
Yo ko y ama/Ei ke n, 1956.
8. Scho dt
[1] p. 79.
9.
Fuji ko /Fuji o , "Do r ae mo n," Fuji ko Pr o , 1970.
Image s
o f Do r ae mo ncanbe f o und o nt he We b
at
www.ky o t o -s u.ac.jp/i nf o r mat i o n/f amo us /
do r ae mo n.ht ml.
lo . H e llo
Ki t t y
was cr e at e d i n
1974 by
Sanr i o .
Mo r e o nH e llo
Ki t t y
canbe f o und o nt he We bat
t he
co mpany 's
ho me
page ,
www.s anr i o .co m.
11. Scho dt
[1] p.
80.
12. Scho dt
[1] p. 83.
13.
Go
Nagai , "Mazi nge r Z," Dy nami c
Plan-
ni ng/Fuji
Te le vi s i o n/To e i
Fi lms ,1972. Image s
o f
Mazi nge r
Z canbe f o und o n t he We bat
www.s f wj.o r .jp/me mbe r /NA GA I-GO.e .ht ml
(ho me
page
o f t he Sci e nce Fi ct i o nWr i t e r s o f
Japan).
14.
Scho dt
[1] p.
83.
15.
Go
Nagai ,
"Co mbat t ar a
V,"
To e i
Fi lms , 1976.
16. Scho dt
[1] pp. 84-86.
17. Yo s hi y uki To mi no ,
"Mo bi le Sui t
Gundam,"
Kur at s u
A ge ncy /Ni ppo nSunr i s e , 1979.
Mo de ls
o f t he clas s i cMo bi le Sui t Gundam canbe f o und
o nt he We bat
www.plut o .dt i .ne .jp/-hanao ka/
gundam.ht m.
18. Mat t hi e u
Dumas , "Ky o ko
Dat e Inf o
Page ,"
o nt he We bat www.e t ud.i ns a-t s e .f r /-mdumas /
ky o ko .ht ml.
Mar k Gi ls o ni s a
gr aphi c de s i gne r
f r o m
Ne w Yo r k
Ci t y .
H i s
par t i cular
s t r ai no f
Japano phi li abe gan
i nhi s
e ar ly y e ar s
wi t h
t he
ki ng
o f t he
mo ns t e r s , Go dzi lla,
and
e ve nt ually
le d hi m t o o bt ai nanunde r -
gr aduat e de gr e e
i n
Japane s e language
and
li t e r at ur e f r o m Co nne ct i cut
Co lle ge .
H i s
f avo r i t e bo o ks ar e H ar uki Mur akami 's
H ar dbo i le d Wo nde r land and t he End
o f
t he
Wo r ld and Sco t t McClo ud's
Unde r s t andi ng
Co mi cs ,
bo t ho f whi chhe
hi ghly
r e co m-
me nds . A f t e r a
s t o po ve r
at Par s o ns
Scho o lo f
De s i gn,
he i s
cur r e nt ly wo r ki ng
t o war ds hi s mas t e r 's
de gr e e
i n
co mput e r
ar t f r o m t he Scho o l o f Vi s ual A r t s .
Cur r e nt ly ,
he i s o bs e s s e d wi t h
Japane s e
pr o f e s s i o nalwr e s t li ng.
Mar k Gi ls o n,
A B r i e f
H i s t o r y
o f
Japane s e Ro bo phi li a 369
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