#Toei Doga

[bobduh]

The Flying Phantom Ship

Hello folks, and welcome back to Wrong Every Time. Today I am thrilled to announce we are returning to the venerable archives of Toei Doga, this time exploring the 1969 feature Flying Phantom Ship. By the end of the ‘60s, the methods of film production had already changed significantly within the young animation studio; from the humble beginnings of Hakujaden being key animated largely by two…

[they-have-the-same-va]

Ko Yagami from New Game! shares a voice actress with Yamato from One Piece.

Voiced by Michelle Rojas

[padawan-historian]

A young Hayao Miyazaki as a union activist for Toei Doga, an influential anime studio in Tokyo (1964)

[billerak]

AND LIKE

AT LEAST GIRLS-BAND CRY IS MAKING SURE YOU KNOW MOMOKA AND NINA ARE FUCKING DATING WITH BACKGROUND DETAILS

I DON'T EXPECT TO SEE A KISS BUT IT'S UNDENIABLE AND THE REASON IT WON'T GO SUPER EXPLICIT IS PROBABLY TOEI

YORUKURA JUST GOT COLD FUCKING FEET. DOGA KOBO HAS DONE YURI BEFORE. THERE IS NO FUCKING EXCUSE HERE.

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

[chaztalk]

Rinkai!

Studio: TMS Entertainment (Fruits Basket)

Summary: Izumi Itō is a high school girl who loves cycling. After witnessing a race in which the best female bicycle racers compete against each other, Izumi vows to become a bicycle racer with her friends.

A Salad Bowl of Eccentrics (Henjin no Salad Bowl)

Studio: Synergy SP (Major), Studio Comet (Initial D)

Summary: While trailing someone, the poor detective Sousuke Kaburagi runs into Sara, an imperial princess from another world who uses black magic. Sousuke and Sara gradually begin living together, but in the blink of an eye, Sara becomes accustomed to modern-day Japan...

Girls Band Cry

Studio: Toei Animation (One Piece)

Summary: The main character drops out of high school in her second year, and aims at entering a university while working alone in Tokyo. A girl is betrayed by her friends and doesn't know what to do. Another girl is abandoned by her parents, and tries to survive in the city by doing part-time jobs. This world lets us down all the time. Nothing goes as planned. But we want something that we can continue to like. We believe there's a place where we belong. That's why we sing.

Unnamed Memory

Studio: ENGI

Summary: Witches—the centuries-old mages that command power immense enough to bring catastrophe. Oscar, the crown prince of the powerful kingdom of Farsas, was cursed as a young boy to never sire an heir. Hoping to break the magic, he seeks out Tinasha, the strongest witch on the continent. To meet her, he climbs her tower, as she is said to grant the wish of any who successfully do so. Yet, when he arrives at the top…he requests that Tinasha become his bride!

Viral Hit

Studio: Okuruto Noboru (Tomodachi Game)

Summary: Scrawny high school student Hobin Yoo is probably the last guy you’d expect to star in a NewTube channel that revolves around fighting. But after following some advice from a mysterious NewTube channel, Hobin is soon knocking out guys stronger than him and raking in more money than he could have ever dreamed of. Can Hobin keep this up, or will he eventually meet his match?

Mission: Yozakura Family

Studio: SILVER LINK. (Non Non Biyori)

Summary: Taiyo Asano is a super shy high school student and the only person he can talk to is his childhood friend, Mutsumi Yozakura. It turns out that Mutsumi is the daughter of the ultimate spy family. Even worse, Mutsumi is being harassed by her overprotective, nightmare of a brother, Kyoichiro. Taiyo will have to take drastic steps to save Mutsumi.

Jellyfish Can’t Swim in the Night

Studio: Doga Kobo (Oshi no Ko)

Summary: The young artist Yoru Kurage has been on hiatus ever since a certain incident. In reality, her name is Mahiru Kōzuki. She became traumatized by the pressure of being "special" and instead decided to live a normal, standard high school life. However, things change when she meets former idol Kano Yamanōchi.

A Crow Doesn't Choose Its Master (Karasu wa Aruji o Erabanai)

Studio: Pierrot (Bleach)

Summary: Yukiya is the lackluster second son of a regional boss in the North House territory. His younger brother has overtaken him in academics. He is no good at sword battle, either. Not that this ever bothers him. So it comes as a shock when this boy, who claims to have no ambition whatsoever, is the one chosen to attend the Imperial Prince in Court--. What awaits Yukiya and his new master is intrigue, murder, a mysterious drug, and invasion from an unexpected enemy. Can they save the world of Yatagarasu (three-legged crows of Japanese myth)?

Mysteries, Maidens, And Mysterious Disappearances

Studio: Zero-G (Grand Blue)

Summary: A mysterious incident that occurs in a row in a city. The challenge to this monster is... With a writer's aspiration, Sumireko, who is a plain girl and has a lot of sexual appeal and body. Although it looks like a boy, it is a bookstore clerk from Adashino who is full of mystery.

[tominostuff]

Complete Works of Yoshiyuki Tomino - Yasuhiko Yoshikazu Interview Excerpt

Book Released 1999

Mr. Yasuhiko is an indispensable member of the "Mobile Suit Gundam" staff, and he is also an integral part of early Tomino works such as "Raideen the Brave" and "Invincible Super Man Zambot 3". We interviewed Mr. Yasuhiko, who has since moved his activities to the manga world, about his work with Mr. Tomino.

The Wandering Storyboard Man

--Mr. Yasuhiko, you joined Mushi Productions in 1970, and the first work you were involved in was The Wandering Sun. Were you aware that Mr. Tomino worked as an (enshutsu) director on that show? 

Yasuhiko: Yes, I was aware. At that time, he was famous in the industry for showing up here and there and drawing many storyboards.

--He was famous in the industry?

Yasuhiko: He was fast at drawing storyboards. I also considered myself on the faster side, but there used to be a saying, "If you ask Tomino to make a storyboard, he will finish it in three days.” People like that were very precious in the industry, so everyone asked him to do it.

--You were involved in the production of Raideen the Brave from the planning stage, weren't you? Did Mr. Tomino participate as a staff member at that time?

Yasuhiko: He was not present during the planning stage. When we actually started the series, we had to decide who to ask to be the CD (chief director), and there were a lot of different ideas, but in the end, I heard that Tomino was chosen. When I heard the news, I thought, “Oh, /that/ Tomino-san?” and found it unexpected. 

--Did Mr. Yasuhiko move directly from Mushi Productions to Soeisha (early Sunrise)?

Yasuhiko: I was not affiliated with Soeisha, but I went there as a freelancer to get work.

--So when you went to Soeisha, did you find Mr. Tomino there as well?

Yasuhiko: He also wasn’t affiliated with anyone at the time, a wandering storyboard artist (laughs), so it was like, "Oh, so he's working here, too.”

--What was Soeisha like at that time? I believe that the company had just been established and was making films such as Zero Tester.

Yasuhiko: Zero Tester was our second work. When I went to work at that time, I found that Mr. Tomino was an episode director on that show as well.

--At that time, there was Toei Doga, Tatsunoko Productions, Tezuka Productions, Nishizaki Productions, and so on. Being among those names, did the works produced by Soeisha receive any attention? 

Yasuhiko: No, not at all. It was a company that would’ve fallen apart with the lightest of touches. We hadn’t produced anything good yet, so it was natural that we did not attract attention.

--When was Mr. Tomino chosen to direct Raideen?

Yasuhiko: I don't know. I think it was at the very last minute when we were about to start making the series. It was so long ago that I don't remember much about it.

--From Mr. Yasuhiko’s point of view, what kind of person was Mr. Tomino at the time?

Yasuhiko: He was a very unserious person. The nickname, 'Wandering Storyboard Man' also had a light nuance, implying that he’s that one guy who is just kind of there wherever you go. So when it was decided that Mr. Tomino would be the director of Raideen, to put it bluntly, my first thoughts were “Mr. Tomino? That shallow guy?” At that time, I didn't know about Triton of the Sea, so I wasn’t aware that he had a few interesting works under his belt. I didn't even know he had worked as a director before. It's a bad way to put it, but I had an image of someone who scattered storyboards everywhere. A fast drawer.

--When you say “scattered”, how would you rate his work in terms of quality?

Yasuhiko: It was not high by any means.

--So you would say he only does work to a certain standard.

Yasuhiko: I mean, his storyboards are pretty silly. There are a lot of people who draw more simple storyboards. Their storyboards are not bad, but rather, just okay. His storyboards are not like that, but more like, "Are you being serious!?” But they were fast. Because people who work fast were treasured, many places asked for him. However, Mr. Tomino's storyboards were not well received by animators. There were a lot of cuts that made you say, "Are you kidding me? What was he thinking?!” 

--In the sense that it would be hard to animate?

Yasuhiko: Yes, they make you wonder, "Why do I have to make all these cuts?” I think the situation is still the same today, but a TV series is made with a cheap budget of about 3,000 frames for 20 minutes or so. That 3,000 is after taking into account the minimum number of movements that are absolutely necessary for the story to make sense. If you do anything extra, you will soon end up with 4,000 or 5,000 frames. 

Under such circumstances, Mr. Tomino's storyboards are full of unnecessary details. This made his storyboards very difficult to accept. For example, when the main character is performing something in the center of the screen, there are passersby in the background who are doing something unrelated to the main character. When I see that, I get angry. Do you know how many extra pages it costs me to do something like that? During drawing meetings, I would often remove them and say, "No one will notice that detail.” If Mr. Tomino hears about this, he might get angry though.

--Mr. Tomino graduated from the Nihon University College of Art as a film major. Was that kind of film orientation, or rather, the live-action orientation and the anime industry at the time incompatible?

Yasuhiko: It's incompatible, isn't it? Thinking back on it now, I really believe so. They were drawing storyboards that were not limited animation style. Such people draw storyboards that are elaborate in a good sense, but if they get too overly elaborate, they are shunned. They work too slowly, and the story becomes tedious. But with Mr. Tomino, he is light, so people don't really turn away from him. He can complete a storyboard in three days, no matter how much he elaborates or plays around with it. And the parts that make you go, “what the heck is this?” we would simply cut out later. Even so, he never complains. That's the kind of person he is. So it wasn't just me. I think there were many people who looked at him and said, "Tomino? Oh, that unserious director.”

The enthusiasm from the lovely dovey wife bento box!

--At the time of Raideen, you were working with C.D. Tomino as an animation director, but were the storyboards drawn there different from the storyboards he drew before that?

Yasuhiko: Storyboard quality was the same.

--In terms of directing?

Yasuhiko: To be frank, at first I thought, "What the heck, Tomino again?” However, I probably should talk about this, but he came to work with a magnificent bento box. I wonder if they still exist today, but it was a warmed-in-the-pot type bento, essentially what we call an "aisai-bento" (lunch box from a loving wife). At that time, we were at a point in our lives where we were content to eat whatever as long as we could fill our bellies. Of course, it was a show of his wife's support, but I also felt he was very enthusiastic about his work. Seeing his lunch box. It's a strange story (laughs). I had thought he was just unserious, but at that moment I thought his enthusiasm was quite unusual. He was very motivated, and even though he came in later, he was very proactive, saying, "I'm going to make this in my own color," and suggesting we do this and that. 

[dying-suffering-french-stalkers]

via Animation Obsessive (@/ani_obsessive on Twitter, 19 Dec. 2020):

Early character design sketches for Hilda from Horus: Prince of the Sun (1968), dir. Isao Takahata, Toei Doga

Drawings by Reiko Okuyama, Yōichi Kotabe, and Hayao Miyazaki.

[therewasabrowncrow]

Hayao Miyazaki (22) one of the workers striking at the Toei Doga anime studio- who later on became the general secretary of Toei’s labor union.

"[It] was a terrific training ground for me because I had to face my own weaknesses on a daily basis.”

He left the union to start Studio Ghibli.

via Animation Obsessive

[guardoparainspiracion]

Part of the mesmerizing dance from The Little Prince and the Eight-Headed Dragon (1963), dir. Yūgo Serikawa, Toei Doga This is a key section in one of Japan's most important animated films -- a landmark that influenced Samurai Jack, Wind Waker, Cartoon Saloon and more

[bobduh]

The Wonderful World of Puss 'n Boots

Hello folks, and welcome back to Wrong Every Time. Today I am delighted to announce we’re returning to the venerable films of Toei Doga, this time screening the much-loved Wonderful World of Puss ‘n Boots, one of the final films of the studio’s original golden age. Coming out shortly after the landmark Horus, Puss ‘n Boots was actually something of a step back in terms of dramatic content – Isao…

[they-have-the-same-va]

Hajime Shinoda from New Game! shares a voice actress with Marron from the Dragon Ball series (since 2010).

Voiced by Tia Ballard

[iczer-ryuga2]

Tomb of Dracula anime movie by Toei in collab with Marvel (and Harmony Gold butts in later on)

Another dive into a blog that has lots of info on ‘Tomb of Dracula’ and its production into anime form back in the 70′s by Toei: https://spider-man.at.webry.info/200806/article_2.html

Let’s begin -------

‘When I wrote about Toei's version of Silver Surfer in my diary before, one of my friends informed me that around 1980, Toei and Marvel were connected and an anime based on the Marvel Comics' Tomb Of Dracula called 'The Dark Lord Vampire Dracula' was broadcast. I had no idea that this work existed, but I thought that, unlike Silver Surfer and 3D Man, I would be able to gather some information about it online, since it was actually produced. However, there was unexpectedly little information available on the subject, so I obtained related magazines (although only a few articles were published in the animation magazines of the time) through internet auctions and somehow managed to write an article on the subject.

Magazines and other items obtained at auction in the course of entering this article. From left to right: "Toei TV Anime Theme Song Compendium 1963-1975" (2002, Toei Video), "Anime NOW 1982 Animation Yearbook" (Sugiyama Taku, 1982, Shueisha), "Gekkan OUT September Issue" (1980, Minori Shobo), "The Anime August Issue" (1980, Kindai Eigasha).

Summer Vacation TV Animation Special

The Dark Lord: Vampire Dracula

In the late 1970s, as special effects programmes began to fade, an unprecedented anime boom began, led by Space Battleship Yamato, which replaced them. The Dark Lord Vampire Dracula was one of the works broadcast during this boom.

Key station: TV Asahi Production: Toei Doga Broadcasting date: 19 August 1980　 Broadcast time: Tuesdays, 19:00-20:54 Format: 94 mins, 1 complete episode

Synopsis. The Black Mass ceremony is being held at a church in Boston when Dracula suddenly bursts in and steals away his daughter Domini, who was to be sacrificed to the Devil. Dracula takes Domini back to his lair and tries to suck her living blood, but he is unable to do so because he has fallen in love with her. Dracula's human heart is restored and he marries Domini and gives her a son, Jenas. Rupesky, a priest of the Black Mass, is furious that Domini has married Dracula and attacks them. However, the bullet from Lupeski's gun pierces the young Jenas' chest, and Jenas dies without warning. Dracula, enraged by the murder of his own child, reverted to his maniacal nature and attacked the people of Boston night after night. Quincy, an elderly man whose father had once been killed by Dracula, forms the Vampire Hunters with master fist-fighter Frank and crossbowman Rachel, and is bent on revenge. Meanwhile, a miracle occurs when Domini is grieving at Jenas's grave and is about to take his own life. In a golden light, the earthly coffin rose into the sky and a noble young man descended from the sky and became one with Jenas. Jenas became an adult and came back to life. However, Jenas was given a mission by the gods to defeat Dracula. Domini weeps at this ironic fate, but it does not stop the father-son duel between Dracula and Jenas. An epic battle unfolds between Dracula, the Dark Lord, and Jenas, the messenger of God, as well as the vampire hunters who hate Dracula, and even Dracula's daughter Liras and Satan the Great from Hell...

(ZZ’s comments: And this is the original opening for the anime movie when it was presented. Try finding the anime anywhere, all you can get are English titles that say Dracula and the Toei Animation thing but the opening and end credits are either from Harmony Gold or just downright EMPTY/creditless. None of that cool stuff sadly.)

From the OP credits

Planning: Mimei Koizumi (TV Asahi), Yoshifumi Hatano, Takeyuki Suzuki Based on: Marvel Comics The Tomb Of Dracula Creative consultant: Jean Perk Screenplay: Tadaaki Yamazaki Music: Yokoyama Seiji Performed by: Transylvanian Baroque Ensemble (Columbia Records) Art direction: Hidenobu Hata Character Design/ Animation Director: Hiroshi Wagatsuma Direction: Minoru Okazaki Production: TV Asahi, Toei

From the ED credits

Production Manager: Yoshiro Sugawara Voice Cast

Dracula: Kenji Utsumi

Dolores/Domini: Hiroko Suzuki

Janus: Kazuyuki Sokabe

Quincy: Yasuo Hisamatsu

Rachel: Mami Koyama

Frank: Keiichi Noda

Satan the Great: Hidekatsu Shibata

Layla/Lilith: Reiko Katsura

ZZ’s comments - Fun fact: Her name pronunciation in the JP audio is Lyras so she’s STILL called Lilith in the Japanese dub. Someone in HG must have misheard her name and called her Layla. 

Lupeski: Junpei Takiguchi

Narrator: Ryo Ishihara

Drawing: Yasuhiko Suzuki, Fukuo Yamamoto, Sadayoshi Tominaga, Junzo Ono, Yoshimasa Iiyama, Yasuyuki Tada, Kou Iino, Tsunenaka Nozaki, Jiro Tsuno Video checker: Takahiro Tana. Video: Hiromi Seino, Miyuki Ikeda, Mieko Saiki, Noriko Honma, Tomoko Minami, Junichiro Saito, Yayoi Suzuki, Tomiko Takamiko, Yasuko Saito, Kyoko Sato, Yuzo Toyoshima, Kumiko Mogi Backgrounds: Kenji Matsumoto, Yoshiharu Ishigaki, Toshiro Nozaki, Kuniko Matsumoto, Tomoko Eritate, Takao Sawada, Tomoko Arikawa, Yumiko Yamazaki. Zerograph: Akiko Mogi Trace: Mineko Maeda. Colouring: Tatsuo Takahashi Special effects: Masayuki Nakajima Finishing inspections: Tsuyoshi Tsukada Art direction: Takeshi Torimoto Finishing touches: Toyohiko Hiraga Recording: Yumiko Takezawa Assistant Director: Akinori Nagaoka Production Manager: Kazuichi Tsurumi Photography: Hisao Shirai Editing: Tanaka Osamu Sound recording: Hiromi Kanbara Sound effects: Ishida Sound Developer: Toei Chemical Co. Reference: The Devil's Book, translated by Hibiki Hinatsu (Tairiku Shobo, published by Tairiku Shobo).

Additional voice appearances (as published in Anime NOW) Young A: Kazuyuki Sogabe Master: Hidekatsu Shibata Silver: Reiko Katsura Wyler, Young C: Kimitsugu Toya Boyfriend, Young B: Shoji Sato Carly, Maisa, Woman A: Seiko Nakano Anton, Woman B: Satomi Mashima Togo, Announcer: Yasuro Tanaka

Gene Pelc, who is credited in the OP, is also mentioned in American Comics Poster Library (1978, Tokuma Shoten) and American Comics Compendium (2005, Shobunsha). In the commentary book for the Spider-Man DVD-BOX (Toei Video) released in 2005, an interview with Susumu Yoshikawa and Toru Hirayama describes in detail how he contributed as a bridge between Toei and Marvel.

[Excerpt from an interview with Susumu Yoshikawa] In the late 1970s, Ryotoku Watanabe, then head of Toei's television business, was aiming to find new and different routes for discovering characters apart from the Ishinomori characters that had been available until then. At that time, Jean Perk, general manager of Marvel Japan, happened to be promoting the Japanese versions of Marvel characters such as Spider-Man here and there. However, Toei was not a publishing company and wanted film rights to Marvel characters. Pelc said "If that's what you're talking about, let's sign a contract with Toei-san for the visual rights to the characters" and signed a three-year exclusive contract for Marvel characters.

[Excerpts from an interview with Toru Hirayama] Contracts with overseas companies are very difficult when it comes to rights, and if you make even the slightest change to a character's design, you get complaints, but Pelc did not make any detailed orders at all. The success of Spider-Man is largely due to Pelc.

The fact that the copyrights for Kobunsha's Marvel Comics series were taken via Toei is probably due to the fact that Mr Pelc sold them together at the time of this 'three-year contract'. By the way, there is an "urban legend" that Marvel was furious when they found out later that Spider-Man was going to have a robot. However, I believe this to be a mistake, as Mr Pelc intervened, understood and agreed to all the Toei side's settings. (Incidentally, the great Stan Lee also liked the presence of the robot, along with the spider action.)

However, a story that could be mistaken for this is described in the American Comics Compendium. It's about a writer at Marvel who heard about a planned story for Shogun Warrior when he was adapting a character from Toei into a comic book. 'What the hell is that!　It's like there's no story. One robot fights another robot. It's just a repeat of that." He was so upset that he stopped listening to the story halfway through. Perhaps the exchange at that time was switched to 'Spider-Man'.

(*) In an interview with Susumu Yoshikawa, Yoshifumi Hatano (then producer at Toei Motion Picture), who is credited as the planner, is also mentioned. He was a fluent English speaker and interpreted for the original author Stan Lee when he visited Japan, and also took the lead in negotiations with Marvel. He was also mentioned in the article as "a fluent English speaker".

A feature article in "Ji-Anime" stated that "For the theme song, we will immediately use Satoko Yamano (her real name), who recently won the "To the Earth..." contest, for both the opening and ending songs. Both the opening and ending songs were instrumental and had no lyrics. However, in the middle of the ending song, there is a vocalisation "la la la la~". It is thought that Ms Yamano may have been in charge of this vocalisation (no credit given). Her debut as Satoko Yamano was in the theme song for the 1980 1 Sept. (Students' School), which started on 1 September 1980, so this song, which was broadcast on 19 August, was an earlier debut.

The animation was also broadcast in 1983 on Harmony Gold cable television in the USA. In Italy, it seems to have recently been released on DVD, and a video is available on YouTube. In Japan, however, it has only been re-broadcast once and has not been released on DVD or even on video. It would be a shame if this film were to remain buried for those who are interested in Marvel, anime and Dracula. We hope it will be made available on DVD.‘

--------------------End of Translation

So there ya go, there’s pretty good background of what was going on in the production of the very first animated Marvel movie. And wow, Spiderman did contribute a lot they were expanding on that. Though some parts of this anime movie will remind you a lot of Golion which is no mistake considering this and Golion were running at the same time. The villains in Golion were vampires so they might have had an idea for that at some point.

You can watch both the English and Japanese dubs here: https://www.youtube.com/watch?v=p0KWWLAReVQ&ab_channel=BVGamesCenter Japanese dub

https://www.youtube.com/watch?v=e1x_9Tv9QZ8&t=3899s Harmony Gold Eng dub

[everyanimatedmovie]

499. Dr. Slump: “Hoyoyo!” Space Adventure (1982)

2/10

For a blissful five minutes at the beginning of this movie, I was fooled into thinking it might be interesting by the presence of weird sci-fi shit and spaceships. I was so, so gullible to think such a thing after reading the title. I guess Dr. Slump is a children's series, but one that is so unbelievably vapid and dumb that it's hard to come to terms with its existence. It must be just about the first show that employs the "RaNdOM!!11!!" style of humor that kid's shows dogmatically cling to now, and frankly it was just as annoying in 1982 as it is today.

The main character is supposed to be twelve, but appears to be about four, and has some sort of verbal tic/Turette's Syndrome that makes her say "hoyo" or "hoyoyo" nearly constantly, a word which is apparently meaningless and irritating in both Japanese and English. Later in the movie, she and her father wear hats with their names printed on them, in case the audience is too comatose to tell the difference between a female child and a middle aged man. I don't really feel the need to delve into the inane plot, but yes, they do go to space, and yes, it is for dumbass reasons contrived in dumbass ways.

[prettyfuckingcaps]

Dragon Ball  ドラゴンボール  

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