Char’s Counterattack is once again the cover story in the October 1987 issue of Animage. This is highlighted by an interview with Director Tomino in which he discusses his decision to set the movie when Amuro and Char are in their thirties and how it fits in the Gundam world’s chronology. Plus some notes about the characters, mobile suits, and High Streamer, which was being published in this magazine at the same time.
The End and Rebirth
Interview with Director Yoshiyuki Tomino about Char’s Counterattack
Spring 1988, releasing nationwide through Shochiku
A story that is both an end and a beginning. Amuro and Char fly through space, forever enemies yet understanding each other, piloting their mobile suits in the shining light of the stars, sparks flying. For them, who survived the battle and witnessed the tears of time, this was something they both had to do…
Perhaps that’s the reason the story is set in an extreme situation, with the survival of the Earth at stake?
Or was it because of the desire to part ways based on their standpoints of evil and justice?
Now, Char, the Red Comet, and Amuro, who has become the White Unicorn, engage in a fierce battle in the void.
…without knowing what would come after…
I want to draw something that is enjoyable to look at, rather than focusing on the details
Yoshiyuki Tomino
He is an anime director who has worked on many productions, including as general director of the Mobile Suit Gundam series. He also writes novels, and is serializing High Streamer, the original work on which Char’s Counterattack is based, in Animage.
When talking about “Gundam” as a work, we cannot forget about Director Tomino, the general director of the series. So, as a pre-interview, we asked him about the basic ideas behind the world of the film.
Q: First of all, we would like to ask, why did you choose to set the story in the year Universal Century 0093?
T: I hadn’t decided on a specific time period. Generally speaking, as evident in the proposals written by the project staff, 30 years old is the maximum age at which the story can be concluded. I also didn’t want Amuro and the others to go beyond 30. But, I don’t know… what’s concerning me as a creator is that there are a lot of people who set a time period, calculate the ages, and then try to portray those ages in earnest. That’s troubling for me as a director. What I mean by that is, let’s take Superman as an easy-to-understand example. The series has continued to be made ever since the first film, but no one ever criticizes the age of the characters in it. However, since the basic setting of Gundam is a period piece, I understand the desire to create a timeline. But in stories, especially entertainment, sometimes you want to leave the protagonist’s age ambiguous. I want that to be understood.
Q: So you’re not particular about those kinds of things.
T: They are around 30 years old, but the ideal protagonists are basically someone younger than 30. Some people would say that they have been dragging their feet for over a decade, but I ignore that. When it comes to creating the animation, I only think about the presentation, so I have the characters drawn as young as possible. But recently, when I check the genga, everyone draws the characters older, which is troubling me. When I draw a character, I do retakes many times and try to make him younger, but the reality is that he ends up looking older anyway. It’s a movie, and it’s troubling that people don’t understand that.
Q: So you’re saying age isn’t a problem…
T: If there were people who are sticklers about details such as age, and if that was considered the right way to go about things, then I would have made this movie the story of Amuro and Beltorchika. The main reason why we had to ignore her was because at its core, this project has to work as a movie. I understood that, and I think that’s how movies should be made. So when it comes to making the basic decisions about a project, I try to ignore age.
If this were true historical study, I would consider the significance of even a one-year difference, but I don’t have the brainpower to think about that much detail, so I can’t do that. So I have no knowledge of the timeline or anything else. And the text Universal Century 0093 does not appear on screen in this movie. However, I have no intention of rejecting the Gundam world, which exists separately from its creators, nor does it bother me. But if I am creating a fictional world that is understandable and fun to watch, I can’t really fit that in with Gundam.
Q: So you don’t want to make a film that interprets Gundam as history.
T: I too felt that it was necessary to create a story that followed the same chronological order to some extent, so I wrote a scenario about Amuro and Beltorchika. But it was rejected by the sponsors, and in practice, it turned out that they were right. So then from that moment on, there was to be no such thing as a chronology. In other words, if we were to make a movie based on the idea that Amuro was married, we would have to depict a lovers’ quarrel between a husband and wife, and in that case, Char wouldn’t even appear (laughs).
Q: It certainly seems like putting the cart before the horse.
T: In the end, making a film is a little different from making a timeline. But even so, I had no choice but to raise the ages to a certain extent in order to get the feeling of a chronological story. It’s causing a lot of problems now, and that’s how I’m thinking about Char’s Counterattack.
Q: Do you think that the fact that Gundam allows each viewer to construct their own unique worldview ends up restricting the work itself?
T: Gundam is a robot story after all, and that’s how I would like to see it discussed. However, when it comes to Gundam, for some reason there is no one involved in the production who talks about it that way, and everyone takes their work very seriously.
The truth is, the fact that both my way of doing things and a different, more rigid Gundam world exist is not an issue that can be easily resolved. However, in reality the visuals have been put to film, and because of that, I have been prepared to be embarrassed by it since the time of Zeta, so I won’t complain about it.
Char Aznable
Although he had an idealistic father, he only found his purpose in the midst of battle. Because of this, he has become skeptical towards everything
Bright Noa
Bright is becoming a bystander of time. He may be the most composed person at any given moment.
Hathaway Noa
Once again, a boy is faced with the pain of becoming like Amuro. However, he is Bright’s son… The times will repeat once again.
Kayra Su
A female pilot of the Londo Bell corps. She also tries to save Amuro, but…
Rezin Schnyder
A female pilot of the Neo Zeon army. She also pilots the Geara Dora(sic) and approaches Amuro.
Nanai
In the movie, she is the woman closest to Char. She is also vaguely aware of the conflict between Char and Amuro.
Quess Paraya
A girl with a dangerous level of sensitivity. Hathaway sees the universe for a moment while talking to her.
Chan Agi
A woman who is always seen by Amuro’s side. She is a strong woman as well. Will she at least be able to provide him some comfort?
Gyunei Guss
A Cyber Newtype created by Char. Some people may wonder why he would do something like that, but it’s the path he chose.
Amuro Ray
Ace mobile suit pilot of the Federation Forces. He still has the heart of a troubled boy.
Mobile suit design and combat have become more angular and functional
The MS-06 Zaku was the first mobile suit designed for actual combat. The mechanical functions of the machine, which were originally designed for working on the moon and in outer space, had made great strides in just over a decade, reflecting the history of war in the Gundam world. This can also be seen in the Gundams of the past. The RX-78 Gundam was made as a multi-use type because it was the prototype for the first mass-produced mobile suit of the Federation Forces. Then, the Zeta Gundam was developed, which focused on mobility and anti-mobile suit combat. This concept was further developed into the ZZ Gundam, which added large-caliber firearms and exceptional power.
However, as the machines grew too large, their uses began to be limited, and they began to become mobile suits that were different from those that bore the name Gundam. A notable example of this would be the ZZ Gundam, as it appears that the design of this machine was similar to that of a mobile armor for use in limited types of battles.
However, when we think of the Gundam that Amuro himself helped design so that he could pilot it again, we can say that it has returned to the original idea of the mobile suit. Plus, it has become even more combat-oriented. Isn’t this the evolved form of the mobile suit that we have always dreamed of?
v GUNDAM
Model number: RX-93. This is the Federation’s state-of-the-art machine, created for Amuro’s final battle. In addition to conventional weapons such as a beam rifle, it is also equipped with a shoulder-mounted beam cannon and funnels. The mark on the shield is a design based on Amuro’s initial, the letter A. Height: 20.0m tall. Main unit weight: 27.9t. Fully equipped weight: 63.0t. Power generator output is 2980kW. Armor material: Gundarium alloy.
SAZABI
Model number: MSN-04. This is the personal machine of Char, who became the leader of Neo Zeon. Naturally, it is equipped with a Psycommu system, allowing for all-range attacks. The beam saber it holds can also be used in a tomahawk form. The mark on its left leg is the initials of his real name, Casval Deikun. Height: 21.8m. Main unit weight: 30.5t. Fully equipped weight: 71.2t. Power generator output: 3960kW. Armor material: Gundarium alloy
Arm Raker
This system succeeded in making the movements of mobile suits more delicate and bold. Its shape resembles a sphere with a bowl on top, which made it easier to give more precise commands to the unit than previous lever-type systems.
v Gundam Linear Seat
The control systems of the mobile suits have also been further improved. The grips during the time of Zeta were a lever type, but this time they have been replaced by arm rakers (right). In addition, the Zeon style seat is a bucket type, further improving the pilot’s control ability.
Re-GZ
Model number: RGZ-91. It is an improved and mass-produced version of the Zeta Gundam. It may be the only legacy left from Kamille. Used by the Federation Forces.
Re-GZ high speed flight mode
The Re-GZ, which does not have a transformation function, can be used for anti-ship combat by attaching the back weapon system externally to its head.
JEGAN
Model number: RGM-89. The Federation’s main mobile suit. An advanced version of the Nemo.
GEARA DOGA
A mass-produced mobile suit that is the mainstay of the Neo Zeon army. It could be considered the Zaku of this era. The model number is MS-16. It is not Psycommu compatible.
JAGD DOGA
A Neo Zeon Newtype mobile suit used by Gyunei and Quess. Of course, its main tactic is all-range attacks using funnels. Model number: MSN-03
Amuro Ray
Gundam began when he accidentally piloted the RX-78 Gundam at the age of 16. Since then, he has continued to wish for peace and joined the current war, but…
The staff of key animators who will be drawing these characters and mechanical designs are Hiroyuki Ochi, Keiichi Sato, Kōichi Usami, Tomokazu Tokoro (all from Atelier Giga), Toshimitsu Kobayashi, Yasuomi Umetsu, Hideki Futamura, Shinsuke Terasawa, Kisaraka Yamada, Kōichi Chigira, Yorihisa Uchida, Studio Dub, Donguri, and many other talented animators. It will be exciting to see what kind of scenes they will create on the big screen.
Normal suits have also progressed
Although it is a sub-mecha normal suit, progress can be seen directly in the mechanism that sustains life. The backpack, which is the core of the space suit’s function, has become smaller and more powerful, and the visor now provides a wider field of vision. It can be said that this is the mechanism where changes are most clearly seen.
[Listed from right to left]
▶ Federation Forces, normal suit for general soldiers. The material is thinner than before, and it is evident that it is easier to move around in.
◀ For use by ordinary soldiers of the Neo Zeon Army. Also used by mobile suit pilots.
▶ Normal suit for Federation bridge personnel. The backpack has been made extremely compact.
◀ Neo Zeon army, high-ranking official normal suit. There is almost no difference from the one for regular soldiers. This one is also made of thinner material.
◀ A design for special soldiers for the Neo Zeon army. It shows how the conflicting issues of airtightness and maneuverability have been improved at the same time.
High Streamer (serialized in Animage) is the basis of Char’s Counterattack!
Some of our astute readers may have already noticed, but the original story for Char’s Counterattack is High Streamer, which is currently being serialized in Animage. Due to various circumstances, we have refrained from announcing the news until now, but we are finally able to make it public. Please cheer on Quess’s appearance in High Streamer from this month’s issue!
Director Tomino speaks to fans
On Friday, August 7th, the “Anime Festival in Mito” was held at Mito Civic Hall, sponsored by the local Kawamata Bookstore, and also featured a lecture by Director Tomino.
First, the first episode of Gundam, “Gundam Rising” and an unreleased preview film for Char’s Counterattack were shown, followed by a dialogue with the fans. There were many questions, but the main ones were, “Will Sayla not appear in Char’s Counterattack?” and “What’s going on with the rumored ‘live-action version of Gundam’?”
Fans bombarded him with intriguing questions, and Director Tomino responded to each one with honest answers, such as, “Sayla will not appear because the voice actress is not nice to me (laughs),” and “Unfortunately, we were unable to come to an agreement on the ‘live-action Gundam’.” It seemed to pique the fans’ interest.
The venue was flooded with questions from enthusiastic fans.