The OVA industry during the 1980s was closely tied to major electronics manufacturers like Toshiba and Matsushita.
The support of Fujita and Youmex meant that Crisis not only had easy access to musical talent, but it also had money.
The meeting between Suzuki and Fujita had steered the Technopolice reboot project towards stories focused on “the fear the that rapid technological innovations will make people apathetic as to how these new innovations could be used.” In short: much of ARTMIC’s work was a generation-spanning tapestry of humanity’s conflict with technology, and Bubblegum Crisis was the opening act.Įarlier that year, Fujita had founded Youmex, a subsidiary of the music company Toshiba EMI. For example, Gall Force dealt with humanity barely holding out against a superior robotic foe, while Gaiarth took place after a cataclysmic war between humans and machines. Gall Force, Megazone 23, and Genesis Surviver Gaiarth all dealt with conflict between humanity and machines, albeit in different ways and at different stages of that conflict. To hear Suzuki tell it, many of ARTMIC’s anime projects were linked - not chronologically, but thematically. The influence of those films on Crisis should be readily apparent. Between the release of Technopolice in ’82 and the meeting with Fujita in ’85, three notable films had been released: Blade Runner (1982), The Terminator (1984), and Streets of Fire (1984). Soon enough, Suzuki’s planned Technopolice reboot was something else entirely thanks to creative brainstorming with Fujita - it was turning into Bubblegum Crisis. In December of 1985, Suzuki met music exec Junji Fujita at the Fight! Iczer-1 wrap party and they hit it off. Three years after the theatrical release of Technopolice, he was already planning to remake it with new talent.
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It’s easy to imagine that spending four years on the troubled series only to see it released as a salvaged film must have been incredibly frustrating for Suzuki. Instead, animation from the first few episodes was patched together and released by Toho Productions as a movie in 1982.
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Collaborating with Studio Nue, Suzuki intended Technopolice to be a groundbreaking sci-fi cop show set in a plausible future, but production difficulties meant that it never reached TV screens. It was ARTMIC’s first major project, Technopolice 21C, that inadvertently set the studio and Suzuki on a path towards Crisis. That eye for design was apparent in the studio’s animated work and at times seemingly came at the cost of everything else. Not only was the studio capable of overseeing the entire lifecycle of a film or OVA (with help from a production company for the actual animation, of course), but ARTMIC also helped design everything from logos to advertising campaigns. Suzuki’s experience working from creation through production to merchandising served ARTMIC well. An early version of the Knight Sabers, by Kenichi Sonoda. Throughout his tenure at ARTMIC, Suzuki helped plan and co-write anime, authored novels and audio dramas, and even had a side gig painting box art for model kit manufacturer Imai. We’re not interested in production work.” That might seem odd coming from a former producer, but then, Suzuki wasn’t just a producer. He said as much in an interview with Animerica magazine in 1993, “Artmic is more a place where we can utilize our designs and stories. In ARTMIC Design Works, studio founder and series co-creator Toshimichi Suzuki declared, “ Bubblegum Crisis has the type of things I like.” That’s not surprising Crisis was one of the most successful iterations of the ARTMIC archetype and the studio itself was created in Suzuki’s own multitalented image.ĭespite his prior experience as a producer at Tatsunoko Productions, Suzuki didn’t consider ARTMIC to be an “animation production house” intended to tackle the day-by-day production of a series or film. Today, we’re talking about how it came to be made. Despite being cancelled short of its intended 13-episode run, it inspired a slew of spin-offs and sequels. Produced by ARTMIC, AIC, and Youmex, the sci-fi OVA series ran for eight episodes. February 25 is the 30th anniversary of the release of Tinsel City, the first episode of Bubblegum Crisis.
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