DAISUKE AND HIKARU: AN ANALYSIS BY GERDHA

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    HIKARU'S TRILOGY (EPISODES 37-39)

    EPISODE 38

    Umon was right: driving the Double Spacer was exactly what Hikaru wanted in order to be of help for Daisuke and her planet. Daisuke's reaction in ep37 was not unexpected for sure, and she knows him enough to be sure that a simply discussion with him would not change his mind. Actually, also Koji and Umon agree on her desires. So Hikaru decides to go on secretly for a while in improving her abilities as a spacer driver. She has no intention to lie to Daisuke, but only to postpone a bit the discussion. So, with the aid of Koji and Umon, Hikaru secretly learns to drive the Double Spacer, probably while Daisuke is working at the farm.
    The opportunity to reveal to Daisuke the truth arrives during a horse riding with him (please note: she has enough physical power to break a horse in, no wonder she is taking Double Spacer driving lessons without any special training... 1). He suggests her to pay attention, and she understands this could be the opportunity to start the discussion she had in mind.

    Hikaru: I have fear of nothing. I am even able to drive Koji’s Spacer, for your information.
    Daisuke: Eh? What?

    A1 A2


    Hikaru: Didn’t you know? (ah, Hikaru, you knew very well he didn’t know, eheh... ^_^ ) Koji has taught me how to depart, and he told me also that as soon as it’s ready I will drive it by myself. Then I will challenge you.
    Daisuke: Do you really want to challenge me, Hikaru?

    A3


    Hikaru: Of course.
    Daisuke: Okay. So... follow me!

    Daisuke launches his horse at maximum speed along difficult paths in the forest, followed by Hikaru, who is able to challenge him for a big part of the riding. They meet Danbei who is disappointed seeing his daughter “wasting time” in horse ridings with his farmer (“I don’t understand what she finds in him”) but they both don’t care.

    A4 A5


    Seeing he cannot defeat Hikaru, Daisuke launches his horse in perfect timing to jump a river, while Hikaru – who follows him so she can’t see the obstacle in due time – is forced to stop her horse suddenly and she is not able to let it jump the river too.

    A6


    Daisuke turns to watch Hikaru, thinking:
    Daisuke: Please try to understand, Hikaru. The war is going to become harder and harder, and I don’t want you to be involved in it.

    A7 A8


    Yes, my friends, this is the only and real reason why Daisuke does not want Hikaru to fight at his side: very far from being a misogynist, he worries because he loves her2. He is aware of the reasons behind her desire of fighting, he knows she could be helpful in the war, but nevertheless he is available to continue to fight alone with Koji instead of letting her risking her life.
    From her side, Venusia is delusional. The task to let Daisuke changes his mind has revealed to be even harder than expected. Plus, now she must face her father’s anger for her behaviour (she left him alone working at the farm for the horse riding). Sitting on a chair, she listens to Danbei’s complains:

    Danbei: So, would you answer me or not? Would you try to understand me, eh? Or do you believe there’s nothing wrong in fooling around with that guy... without my approval? Remember, you are still minor age! (please note: in Japan the older age was reached at the age of 21 years). You should search for something better than the company of such an ordinary guy like Actarus. What do you find so special in him? He’s only a lazy and good-for-nothing guy, I can tell you as I know him well! (LOL!!! :lol: )

    A1 A2


    But Hikaru does not reply her father a single word. How could she explain to Danbei about her relationship with Daisuke, his real identity, her willing to fight? She is aware that Danbei is talking that way because he loves his daughter and he wishes she could have the best in life according to his own tastes. Unfortunately, she supposes he could not appreciate to know what she believes to be the best for her own life. Danbei instead is going to surprise her very soon...
    It’s true that, a lot of times, the sender reveals the addresser. The Japanese title of ep38 is “Hikaru’s tearful connection”, clearly referring to the moment when she interconnects for the first time Double Spacer to Grendizer. Please note: she is able to connect the Double Spacer to the robot at second tentative, and probably without a special training at the Centre; we are not told exactly neither how long lasted Koji’s lessons, nor if she tried also the operation in the special room, but I personally tend to think she could not had enough time available for a complete training giving the need to act keeping Daisuke in the dark and taking care anyway of her duties at the farm.

    A3 A4 A5


    So, Hikaru has clearly some special personal abilities, which are even better than Koji’s. Respect to Koji, Hikaru is a better driver, she is physically stronger*, she has a more rational personality. And Daisuke is perfectly aware of this. When he understands that Hikaru is driving the Double Spacer instead of Koji, he is surprised, but not upset.

    A6


    Daisuke comes back at the farm (after having faced Danbei’s disappointment for Daisuke’s lack of trust in him as he was the last one still in the dark about his real identity – that was the reason behind Danbei’s playful harakiri tentative)

    A7 A8


    Daisuke looks at Hikaru riding a horse under the sunset, and he reflects about the fact that, despite his tentatives to keep her far away from the war, she has been involved in it anyway; then, he thinks they could fight together.

    A9 A10 A11


    So, at the end of ep38, it could seem that Hikaru has succeeded in breaking the wall. Well, in reality Daisuke has still to overcome completely his idea to keep Hikaru away from the war involvement. He has no doubts about her abilities, but he still prefers to continue to fight without her aid. His hate for the war will take the lead in his approach to the issue for a while still. Hikaru will need to fight a little bit more to get what she wants. It’s still to be seen who is the most stubborn person between them...

    JOE7'S NOTES

    Please note in the images about the end of the episode: Daisuke clutches his hands between one sequence and another, almost as if to reproach himself for failing to keep Hikaru out of this.

    --------------------------------------------------------------------------
    1 Hikaru's physical strength: It is necessary to explain this observation. First of all, for anyone who does not know the subject, it may seem anything special, but in reality, taming a horse is a difficult task and requires physical force outside the norm. In addition, a woman who tames a horse was certainly not common in Japan in the '70s. You might think why physical force is important to drive the Marine Spacer: in fact, you only should pull levers and press buttons. But the three planes of Team Grendizer are very similar to the acrobatic plane specialty, style Tricolor Arrows: a special athletic training and a great physical strength are needed to drive them, because their speed is much higher than that of a normal plane and these aircraft also perform sharp change of direction and screwdrivers, which undergo the rider with accelerations/decelerations heavy to bear. In fact, only a few pilots selected and trained in special training can pilot that type of aircraft. The Double Spacer also resembles aesthetically; the Marine Spacer, also, has to withstand underwater pressure bars. One might object that Maria is a little girl, yet she piloted the Drill Spacer: but one must consider that the Drill Spacer was created as the last one, so she had already embedded some possible constructive improvement due to experience; it has also been built with the aim of moving into the subsoil, where there are certainly no screwdrivers to do or sudden accelerations / decelerations. In fact, Maria will almost always be in trouble whenever she is driving a vehicle other than the Drill Spacer.

    2 I'm referring to various threads on the forum due to bad adaptation of the VF, French Version.

    Edited by joe 7 - 25/11/2019, 17:14
     
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    EPISODE 39

    I won’t waste time analysing the gym contest, even if a reliable source told me that the kind of exercises Hikaru presents are too much complicated even today to be real. It's a kind of duel, or a clash between Hikaru and Daisuke: none of them actually smiles. Neither Hikaru, during the race (except at the end of the ceremony), nor Daisuke, who understands the sense of Hikaru's gymnastic acrobatics.

    A1 A2 A3

    A4 A5 A6


    Anyway, Daisuke's reflection on the fact that “those daring exercises seem to be a complain” let me suppose that some big discussions between ep38 and ep39 happened, involving not only Hikaru and Daisuke, but also Danbei and Goro and likely Koji and Umon too. Otherwise, there is no explanation why Danbei and Goro talk with Daisuke at the farm about the fact that, after the gym contest, he should be convinced about her abilities and he should allow her now to join the Grendizer Team.

    A7


    And it is impossible that Daisuke did not have discussed the topic with Umon and Alcor too, as they allowed Hikaru’s training without his permission and, for more, they have a very different opinion respect to his one on the matter of her involvement in the fight, so at the end about the war strategy. Once again, Grendizer anime shows a real interesting storytelling approach: here is a very “adult” and profound thematic (what to do when good theoretic principles collide with real life issues?) masqueraded behind an apparently simple story.
    Anyway, the scenes at the farm in ep39 are some of the best of all the anime, in my opinion. With some of the most beautiful dialogues too. Danbei shows Daisuke the newspaper announcing Hikaru’s victory at the gym contest, happily telling to his “farmer” that now he should be convinced on his daughter’s abilities and he should assign her a task at next vegan’s attack. Daisuke reiterates instead his denial.

    Daisuke: That’s impossible, these are very different things.
    Danbei is disappointed.
    Danbei: She has proved to be exceptional!
    But Daisuke is adamant.
    Daisuke: One thing is fighting against aliens and one other is playing gym exercises. It’s out of question!

    A8 A9


    Back to work in the stable, Daisuke notices Goro who is looking at him with an angry expression and he feels the need to explain better his thoughts.

    Daisuke: Goro, maybe I did not explain myself properly. I don’t underestimate your father’s words, and I have the highest possible consideration of Hikaru.
    Goro: So explain yourself.

    A1 A2


    Daisuke: Well, it’s somehow difficult to explain, but you know, war is different from an agility exercise, there’s nothing beautiful in it. Sometimes we are forced to make a war, but we should never desire it. I hate to fight, yet I must do it (he takes a bunch of hay in his hand). Look at this piece of hay. Maybe you could think it has no value at all; to me it has more rate than all combat machines. Do you understand why I would like that Hikaru would not fight? War should not be our ideal. I hope that at least you understand me, Goro.

    A3 A4


    Well, I must confess this Grendizer scene has taught me about war more than a lot of discourse from “adults” during my teen days...
    But the best part of the episode has still to come. When Umon advises Daisuke about the attack of the Vega monster, he rushes to his motorbike, but he meets Hikaru in the garage. And Mashima writes an incredible dialogue between the couple:

    Hikaru: Daisuke, a monster is approaching, isn’t it?
    He does not reply a word and, fixing her very seriously, he prepares to switch on the motorbike.

    A5 A6


    She holds him, so he replies her with calm:
    Daisuke: Let me go, Hikaru, move away!

    A7 A8


    But she does not want him to leave.
    Hikaru: No...
    Silently, he moves her hand away from his arm, but she is not impressed from his mute denial.

    A9 A10


    Hikaru: Daisuke, please, take me with you!
    Daisuke tries again to convince Hikaru.
    Daisuke: You should not risk your life, it would be useless!
    He turns the key on, but she interposes herself ahead of the motorbike.
    Hikaru: I am the owner of my life and I want to risk it!!!
    Daisuke is totally astonished.
    Daisuke: What?
    Hikaru: I don’t take my life into account!
    Daisuke gets angry.
    Daisuke: Don’t say silliness! Stand back, I must go!

    A1 A2 A3


    Then he launches the motorbike outside the garage, while Hikaru screams to him:
    Hikaru: You will change your mind, you will change your mind!

    A5 A6


    And driving to the Research Centre, Daisuke reflects:
    Daisuke: No, I must do everything possible in order to Hikaru not to be involved in this war!

    A7


    Uh, great, fantastic dialogue exchange.
    Where is the misogynist guy, where is the girl who is a “glue” to Daisuke? What I get to know in Ufo Robot Grendizer, instead, are two incredible characters with such strong personalities who are fighting for defending their own points of view in the name of good principles, and are still unable to find the “balance point” to reach an agreement. Hikaru has all the rights to consider herself as the owner of her life, so Daisuke is not entitled to forbid her to spend her days the way she likes; on the other hand, though, Daisuke thinks correctly that it is better that the less possible number of people get involved in a war (especially for what a loved one is concerned!). How this struggle is going to end?
    Well, it is going to end with another wonderful scene, at the Research Centre balcony (ah, that balcony! The ultimate place for a major number of important scenes in the anime...) Daisuke has understood that Hikaru is right and also that he needs her aid, but, after all, he was not wrong so... how could he ask Hikaru to join the Grendizer Team for good? It’s Umon who helps his son: while everybody (himself, Daisuke, Hikaru, Koji and Danbei) are at the balcony, he turns to his son:

    Umon: Only because of Hikaru’s precious help, this Research Centre still exists. Daisuke, surely the enemy’s attacks are going to become harder and harder, so I think the time has come to ask Hikaru to help us. What’s your opinion?

    A1


    Daisuke closes his eyes (Mashima is a genial scriptwriter, really), as if he is fighting his pride for the last time, then he turns to Hikaru:
    Daisuke: Yes, I agree. Hikaru, you know, we lean on you.

    A2 A3


    Koji is happy (proving that some arguments probably went on previously with his friend on the matter)
    Koji: Oh, great, finally!

    A4


    Umon approaches Danbei.
    Umon: Danbei, vegan troops cannot do anything against them!
    Danbei is ecstatic.

    A5


    Danbei: Ah, I am exulting, dear Umon! I have always said that Hikaru would have become a legend. Look at that trio!

    A6


    Under the sunset, Hikaru, Daisuke and Koji are crossing their hands, as if they are signing a perpetual deal to fight together.

    A7 A8


    But that gesture is also the signature of the new deal that Hikaru and Daisuke are signing between themselves. She has won her battle, she will stay aside Daisuke, not only as a pure psychological support, but acting together with him, living and – maybe – dying together with him. Hikaru Makiba is the only person who can counterpart Daisuke, who is able to let him change his mind, who has enough personality to be a proactive support for a guy like him. She is the real co-main character of this anime.
    Ah, Hikaru, your father is not the only one who is proud of you. There is also a 13 years old girl sitting on a couch in Italy who feels the same... Whatever thing could happen to your character from now on, you have nothing to prove anymore. What your character was meant to be and where the story was intended to go is so clear. Nothing will be ever able to cancel what Ufo Robot Grendizer has been for the first 39 episodes. Nothing.

    JOE7'S NOTES

    It is noteworthy that Danbei and Goro, initially enthusiastic before Hikaru's performance,, have a perplexed look at the end, as if Hikaru wanted to exaggerate: not only about winning but also overthrowing. She really wats to enter in Daisuke's group. At he end of the episode, with Daisuke, Hikaru and Koji shaking hands, notice how Daisuke is smiling, as he makes the deal with them. It is a sign that he is now also happy with Hikaru's decision.

    Edited by joe 7 - 25/11/2019, 17:17
     
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    HIKARU THE FIGHTER (EPISODES 40-45)

    EPISODE 40

    Finally, Hikaru has accomplished her goal: she is a member of Grendizer Team. As soon as she joins the team, though, a big strategic issue arises for earthlings: Zuril discovers the weakest point of Grendizer (it uses a double amount of energy when it is fighting under the sea) and, without a proper countermove, Duke Fleed would be for sure defeated very soon. So, Umon creates the Marine Spacer. And he decides to appoint Hikaru as its specific driver1.

    A1 A2 A3

    A4 A5 A6


    This is a real surprising story plot. And a great matrioska in reality. Face it. Marine Spacer is now – and will be forever – the ONLY spacer which is NEEDED absolutely by Grendizer to succeed in fights. ^_^ Double Spacer is a good device for sure, but Grendizer could fly without problems even by itself: the issue of the 7 seconds is not a big deal like the use of a double amount of energy. Drill Spacer will be a good idea too, but Grendizer has no problem at all in drilling the ground (in no ep we are shown an issue on the topic). Instead, the only spacer which is a vital device for Grendizer is Marine Spacer. Without it, there is no way Duke Fleed could survive to the next battle.
    But why appointing Hikaru as its driver? It’s a strange choice from a narrative perspective. If Ufo Robot Grendizer is really the “third chapter of Mazinger saga”, the logic choice for scriptwriters would be to select Koji Kabuto as the driver of such a strategic device. For more, he is a larger experience as a fighter, while Hikaru, after all has, flown up to that moment only a couple of times alone against the enemy. So at first sight, Umon’s choice could seem a total nonsense, and we could expect Daisuke to disagree at loud voice on the matter. Instead, nothing similar happens. How to explain it? Well, once again we should open the matrioska to understand what happens in the story. hikaru is a better choice, because she has more ability than Koji as a driver of such a complicated device. Marine Spacer has a particular structure and a different way to interconnect itself to Grendizer, which requires more technical ability than Double Spacer.

    A1


    In fact, Hikaru had no major difficulties in ep38 for the interconnection, even without a previous test (see the difference with koji and his training in ep36), while she requires a special training anyway for the same operation with Marine Spacer in ep41. But that’s not enough. She is physically stronger than Koji, and she can sustain better a fight under the sea, where anyway the Marine Spacer could suffer high pressures and could need more strength during maneuvers. But these are only Procton’s considerations. Actarus has another one to add to the list, and it’s called “trust”.
    Without Marine Spacer, Daisuke is destined to a sure defeat: so, basically, he is going to rely his own life to Marine Spacer’s driver. Yes, he already “trained” himself with Koji driving Double Spacer while connected to Grendizer, but, in that case, the implications were not so important like a fight under the sea, where he is for sure weaker than the enemy. So he needs as Marine Spacer’s driver someone to trust completely, someone with such a rational and strong personality to allow him to rely completely his life without a second thought in such critical situations as fighting under the sea. That’s why Daisuke agrees on the choice of Hikaru as Marine Spacer’s driver: Koji is too much impulsive, while Hikaru has already proven more than once to be able to keep a rational approach to problems even in difficult situations2.
    By the way, this is the most clear prove that there were no misogynist issue from Daisuke’s side when he tried to keep away Hikaru from the Team, and he has instead a deep respect for her, a profound knowledge of her personality, the highest consideration for her as a person, and the level of trust which is described here in the anime let me think once again to a relationship which is something more than a “deep friendship”. Well, as a matter of fact it seems to me that after all it’s not Hikaru to be a “glue” to Daisuke (here I'm referring to discussions on the French forum), but the opposite instead... ^_^
    Unfortunately, something is happening in the meantime, in the backstage, which will change the storyline of Ufo Robot Grendizer forever. And Hikaru Makiba is going to discover soon that her worst enemy is not called King Vega.

    -------------------------------------------------------------------------------------
    1 Here, Daisuke is visibly satisfied with this: yes, it is another element that makes sense of Daisuke's estimate of Hikaru (Joe7's note)

    2 (Joe7's note) An example has also been seen in this episode: at a certain time while Grendizer takes away the explosive tank of superuranium, Daisuke says he fears the Veghians will come. Koji does not comment (he almost does not understand why they should come), but Hikaru immediately understands:
    Hikaru: Sure, they are interested in superuranium and they will come to take it!

    A2



    Edited by joe 7 - 25/11/2019, 17:19
     
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    HIKARU MAKIBA: THE JAPANESE AUDIENCE ISSUE

    27th June 1976: episode 39 is broadcasted in Japan. Go Nagai & Toshio Katsuta are developing Ufo Robot Grendizer coherently, following their own vision of what this anime should have been. Yes, they are paid by Toei to develop the third chapter of Mazinger, but their aim is clearly different, considering how the story has transformed itself since ep1. In particular, they are continuously developing this revolutionary female character named Hikaru Makiba with such a passion to even darken in the end Daisuke Umon, without talking about Koji Kabuto. And this is their big mistake.

    A3


    The anime ratings have been declining since episode 25 (Naida's episode, what a coincidence, right?), but, anyway, the rating values are not a disaster and, probably, Katsuta thinks he could still handle the situation. What he and Nagai unfortunately totally underestimate is Japanese male audience reaction to the change of role of Hikaru Makiba.

    A4 A5


    I have to make an important premise: in Japan, robotic animes have always been (and they still are!) considered a “boy’s thing”, in the meaning that girls have never been allowed by families to watch them. When I asked my stepsister what robotic animes she watched in her childhood, she looked at me astonished and answered “zero”, then explained me that, from a social and cultural point of view, a Japanese girl is not allowed to watch a robotic anime. The boundary between “Shojo” (for girls) and “Shonen” (for boys) is not only applied to manga, but to animes too. So, the only audience Ufo Robot Grendizer had in Japan consisted exclusively of boys, educated according to Japanese social rules existing at beginning of the ‘70s. And while in the western world, in the meantime, women were fighting for their rights and reached some very important social conquers, in Japan something similar was still to happen at that time.
    What I am going to describe below is not a personal hypothesis, but what Toshio Katsuta and Go Nagai confess in their interviews included in the Roman Album (you can read the complete transcription here). After episodes 37-38-39, Katsuta received hundreds of letters from viewers complaining for the plot of this girl from the countryside becoming a fighter, for more with an equal role respect to their beloved hero Koji Kabuto. The audience had enough difficulties up to that moment in tolerating that the main character of the anime was that blue-eyed alien named Daisuke Umon, but Hikaru Makiba becoming a spacer driver was really too much. The boys wanted absolutely her to come back to the farm and to stay there quietly working the hay without disturbing the two heroes with her strange attitude. The letters were really harsh: how could the Authors have possibly thought to that girl as a fighter? Girls from the countryside must remain what they are, it’s impossible to think to a woman as a serious fighter, they cannot escape their social role. Katsuta jokes in the interview saying that he feared even for his own life. Katsuta and Nagai tried to “resist” to the audience complains for a couple of episodes, but facing the terrible feedback against Hikaru continuing to go on, in the end (I think after the disaster of episode 42, which had the lowest rate of the whole broadcast) they decided to introduce a new female character in the anime, whose presentation could be more acceptable for the Japanese boys.

    A1


    This is the content of the interviews in the Roman Album and I can tell you, if this is what is explicitly written, it means that the situation backstage should have been even more critical, because Japanese people (and especially managers) are not keen to talk about their failures in public and always try to lower the description of possible issues. The fact that Katsuta and Nagai admit to have faced such a massive bad reaction towards Hikaru’s change of role and to have been forced to change storyline perspective to the anime, it means to me that more and more should have happened in reality backstage.
    I would like to underline that I was not aware of the content of the Roman Album interview when I wrote my MM ("Monstrogoth Message": it means a looong analysis) about Maria-Grace introduction story months ago. Actually, now I believe that really Sayaka Yumi was discussed and maybe supported by Toei as the new female character to be introduced in the anime.

    A2


    If the aim of the operation was to resurrect Koji Kabuto as a lead character, Sayaka should have been a logical choice. Instead – this is my personal opinion - Katsuta and Nagai wanted to save the anime, but keeping their beloved Hikaru in her new role. In satisfying audience, they could have killed her in a battle or found an excuse to let her go back to her previous life at the farm. Instead, Hkaru remained alive and kept also the role of Marine Spacer driver. This means, to me, that Nagai and Katsuta loved very much the character and wanted to find a way to save their creature at all costs. Of course, they were forced to divert the stage lights from Hikaru, but without changing the true nature of the story. Thanks to Shingo Araki’s imagination, Maria Grace Fleed will avoid the risk to transform for real Ufo Robot Grendizer in a sequel of Mazinger and will allow to continue someway to develop the anime in the original direction.

    A3


    And, for more, she will allow also to silently implement the “two-couples” scenario. Some plot holes will be the price to pay for the operation, but, after all, they can be considered as the minor damage. It will require some time, but in the end the story of Duke Fleed will reach anyway its end as originally devised.

    Edited by joe 7 - 19/11/2019, 18:45
     
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    HIKARU MAKIBA: WAITING FOR MARIA GRACE'S ARRIVAL (EPISODES 46-48)

    EPISODE 46

    Introducing a new character in a story is not an easy task, especially if:
    - it was not originally foreseen;
    - there is very few time available;
    - and it is intended for more to become the star of the show.

    A4


    But, given the circumstances, Katsuta and Nagai did their best to reach the goal without damaging the other characters. After all, many things can happen in 5-6 episodes.
    For example, in ep46 they still keep the focus on Hikaru: she is the star of the episode (even if she can divide the prize with Danbei and Koji – Daisuke is a secondary figure). But ep46 is an interesting matrioska for what the relationships in the Grendizer Team are concerned. The scene of the living room at the Centre is very interesting. We get some hints about Koji’s sympathy for Hikaru since from the beginning of the anime (starting with the party at the ranch in ep3, for example)1 but here he seems to show a deeper interest than usual. When Daisuke declines the invitation to the aquapark, Koji starts insisting with Hikaru in order to let her accepting to go there alone with him.

    A1 A2


    I remember my internal giggling at the scene since I first saw it: so Koji has a crush for Hikaru... hey, what is Daisuke going to tell on the matter? Well, he doesn’t say a thing because in reality he is sure about Hikaru’s love for him, so he knows he has no reasons to worry. In fact, she refuses more than once the offer, up to Umon’s intervention2. Daisuke would agree with her idea to stay home with him, but Umon suggests instead that a day off would be nice for her too.

    A6 A7


    Interesting relationships network: Hikaru tells the group very clearly she loves Daisuke, he accepts the statement without any problem, Koji gets disappointed. Well, he should have known better about the situation, but his reaction shows that once again his irrational attitude has taken the lead. Well, when one falls in love he/she usually needs a bit of time to rationalise, right? ;)

    ------------------------------------------------------
    1 (Joe7's note) In fact, during a scene of that episode, Koji comes forward to ask Hikaru to dance with him, but Danbei, with calm and delicacy makes him realize that it is better he don't even think about it...

    A5 A6


    Or in ep35, where he makes an irreverent joke to Hikaru who had come to bring milk, embarrassing her.

    A7 A8 A9



    --------------------------------------------------------
    2 (Joe7's note) Notice also this: Koji accidentally takes him hand on Hikaru's (naked) shoulder as she talks to her to convince her. The girl immediately moves her shoulder, dropping Koji's hand (silent message to say: "Know your place!") and says: "If Daisuke does not come, I'm not coming". Crystal clear: Daisuke does not replicate and that means he approves in silence. He does not object about, in fact.

    A3 A4 A5



    Edited by joe 7 - 21/11/2019, 16:27
     
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    EPISODE 47

    Well, in fact Koji will need a further episode to rationalise. I know that a lot of fans hate ep47 (I'm referring to discussions on French forum), but for me it is very nice and fundamental in preparing Maria Grace's arrival. Here Daisuke and Hikaru are enough clearly designed as a couple: the looks they exchange each other during the motorbike driving to the lake, for example. (Among other things, notice the confidence between Daisuke and Hikaru: he smiles at her, and she, over his back, winks: Joe7's note)

    A8 A9 A10


    Her image listening happily to Daisuke’s guitar which drives Koji mad, the fact that he decides so early to “give up the fight” are to me “subtle” indications that the lovestory between Daisuke and Hikaru is going on.

    A1 A2 A3


    And I like to underline the little homage the Authors give to her, knowing what is going to happen soon in the story: when Hikaru is passed out in Marine Spacer and Koji tries to wake her up, he thinks “I adore girls like her”.

    A4 A5


    Considering how much a distant character is Hikaru respect to Sayaka, I like to believe this is a subtle hint to confirm that really there would have been no space in Grendizer for Miss Yumi.

    A6


    Shingo Araki will have my forever gratitude for his brilliant idea of Duke Fleed’s sister character...

    Edited by joe 7 - 21/11/2019, 17:14
     
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    EPISODE 48

    The Komatsubara era closes with ep48, where nothing special happens (honestly, I still have to understand the purpose of this episode); the Authors let anyway Hikaru to have the stage light for a last time, as she saves both male characters from a sure death and mostly receives a beautiful compliment from Koji for her intelligence (when she illustrates her discover about the monster path, he shouts “I always say that no particular escapes to Hikaru!”).

    A1 A2 A3

    A4 A5 A6


    Goodbye, my dearest “old Hikaru”. Another female character is going to replace you as the star of the show, but you have already revolutionised the approach to female figures in robotic animes. And you can be proud of yourself: you have accomplished your task in such a good way that no mangaka has tried after Grendizer to reprise somehow your character in other productions, just as Daisuke Umon. If Ufo Robot Grendizer can be considered a one-off case in anime history, besides a lot of other reasons there is also your female figure.

    A7


    But Hikaru is not going luckily to leave the show: despite all contrary circumstances, Katsuta and Nagai decided to keep her alive and kicking. They needed to apply a big change in the storytelling approach towards Hikaru though, and it will be another trick to be discovered – after all it will require for fans only to open more matrioske than usual in order to understand what is really going on in the show. A good training in order to be able to finally open the biggest matrioska of all in ep72 (^_^)....

    Edited by joe 7 - 21/11/2019, 18:56
     
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    HIKARU MAKIBA: THE ROLE RE-ASSESSMENT (EP49-61)

    Maria-Grace Fleed appeared on TV screens on 5th September 1976 to Japanese boys’ delight, who immediately celebrated the event letting the show gaining a decent viewers rate level again (by the way, interestingly a sudden peak happened also in ep47*... just when Koji Kabuto had the stage light for himself once in a while...).

    A1 A2


    And the rate increase curve continued for a while, until it stabilised at the same level around ep54. As shop owners usually say, “the customer is always right”... The show has been saved by the Princess of Fleed, no matter how mad the scriptwriter could have become to give a sort of internal coherency to the plots; anyway, after all, considering the difficult conditions where they find themselves acting, the final result was not a disaster. In particular, Maria Grace Fleed allowed the scriptwriters to enjoy a new development phase for the previous characters. Maria Grace’s arrival meant also the famous change of the anime's character designer (from Komatsubara to Araki): but, plus interestingly, the sudden comeback of Shozo Uheara in the writing team (he had left the anime after ep34).

    MARIA VS HIKARU

    The switch of the focus between the two female characters meant, of course, the virtual “disappearing” of Hikaru in the background: it was the necessary price to pay towards the Japanese boys who hated her to all extent, in order to keep alive the anime. I find amazing that Japanese boys (but as a matter of fact this consideration can be applied also to a big part of western male viewers) disliked so much Hikaru and loved instead Maria Grace with such a passion, despite the fact that the princess of Fleed had apparently a “strong personality” just as Hikaru. The issue Japanese boys had with Hikaru was in fact not centred around her beauty at all, but on the fact she was presented as a revolutionary character of a woman very distant from the classical female social role in Japan. But Maria Grace had more or less the same characteristic, after all, so why loving the princess and hating the girl from the countryside? Nice question, right? ^_^ Well, may I try an answer by myself? Is it possible that guys loved (well, actually loves) Maria Grace because she is an alien, so, unconsciously, she is “allowed” to act in such ways without scaring males, while instead a “normal” earthling girl causes irrational fear doing the same things? Sigmund Freud, analyse this.... ^_^ 1

    ...OR HIKARU FOREVER?

    Anyway, a convenient plot to justify the virtual “disappear” of Hikaru in the background should be found and communicated to the viewers. But surprisingly nothing similar happens. The writers simply let Hikaru decreases her appearances in the episodes – even cancelling her completely in ep57 – for a certain time, at least up to the moment Katsuta and Nagai maybe felt confident enough towards the viewer ratings to launch the “final arc”. Anyway, Hikaru’s personality, apparently, seems to suffer of a big transformation, becoming exactly what the Japanese boys and literature schemes wanted her to be: a quiet, ordinary Japanese yes-girl often in danger needing for salvation from the hero from time to time. But is it really true? Or are we facing instead a new masquerade, a renovated tricky storytelling approach to let us know something different once scratched the surface?
    Well, I believe that the trick is the correct answer. I think we own enough evidences to be quiet sure that Nagai and Katsuta loved the Hikaru character they have developed up to ep48; I find hard to believe that they would have given the lie to themselves completely only to give satisfaction to the audience. If they really liked to give the viewers what the boys wanted, they would have removed her from the story or sent her back to the farm. The fact that instead she is simply put in the background with the same role in the storyline make me suppose that the Authors did not want to change her personality, but to avoid further problems with the audience applied a new masquerade to the storytelling, in order to hide how much important her character was in the anime. Well, the opening system of the matrioska has become a little more complicated, but with a bit of patience I think it’s possible to succeed.

    ------------------------------------------------------
    1 (Joe7's note) Could I risk another hypothesis? More than for male chauvinist motives (if so, the kids would not even accept Maria Grace as a pilot), I think it's because the idea of ​​people who drives giant machines and robots, and saves people's lives, must be, in the eyes of everyone, a being above the human being, very beautiful and strong: Daisuke, of course, then Maria Grace, who was beautifully made, then Koji Kabuto, who was the hero driving Mazinga Z. In short, "super human beings", to whom a common girl like Hikaru should not even be worthy to belong. The first appearance of Maria Grace in the anime also emphasizes her exceptionality: she is a great motorcyclist who beats three motorcycle riders and she appears on a motorcycle with an adherent jacket and boots that emphasize her shapes before sunset: a tribute, perhaps, to Fujiko Mine of Lupin III, a "particular" woman.

    A3 A4

    A7 A5 A6


    The fact that it was just the ordinary and common Venusia, instead, to save the situation, often made upset everyone, men and women. Yes, even women: often Daisuke, seen as the "perfect man", is also imagined by women always with the "perfect women" of the series: Naida, Rubina, Mineo, Shira, or other "perfect women" invented by them. Rarely Daisuke was represented along with Hikaru. With the due exceptions, but the general trend is this.

    A1 A2 A3



    Edited by joe 7 - 21/11/2019, 21:47
     
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    HIKARU MAKIBA: THE ROLE RE-ASSESSMENT (EP49-61)

    DAISUKE'S PAIN

    Just as for ep25, ep34 and – later – ep63 and ep72, ep49 seems to be centred around a new character introduction (in this case Maria Grace), and this is certainly true, but there are further plots in this episode: the first one being the proof that a fourth spacer driver would be very helpful in battles (a wise way to justify the introduction of Duke Fleed’s sister in the story). But this is not enough. A further plot is subtle introduced, and it’s referred to the return under the stage light of the poisoning injury. In ep49, Daisuke is shown as nearly totally unharmed facing vegatron radiations,

    A4


    and we can understand that each meeting with them will cause a worsening of his sickness. We have evidence of this from the fact that, differently from the past, when, despite the pain, Duke Fleed could somehow continued to fight, or anyway he took a short time to recover, from ep49 on, everytime he faces vegatron radiations he has a bad physical response, worsening from episode to episode. Other examples: ep51,

    A5 A6


    ep64,

    A7 A8


    ep70,

    A9


    ep71.

    A10


    If he has always known that he was sentenced to death, anyway, the idea to die due to his injury could have been in his mind a remote perspective, after all. Now, instead, he must realise that, in addition to the problems of the issues of the war (at the moment Vega empire needs to conquer Earth in order to survive), he has a very short time still available for living. There is no cure on Earth for his injury, so he cannot do anything else than observing it worsening day by day and hoping it won’t reach the critical point before the war with Vega ends. Daisuke’s life has consequently now a different perspective. May we suppose that Hikaru’s life should face a change of perspective too?
    Well, yes, here is where I believe lays the tricky storytelling approach in the new phase of the anime. Daisuke and Hikaru love each other, but they know they are going to be separated by death very soon, independently from the war. So, a change in their psychology is logical. Especially for what Hikaru is concerned, who now must support the man she loves not only in a terrible fighting, but in managing his approach to his own death too.

    A1


    Everybody must die, we all know it, but how to reach psychologically that moment is a different problem, and depends from people's personalities and also from life circumstances. Dying suddenly in an accident car is different to dying for a long illness, for both the persons involved and their beloved ones. It’s true that Daisuke, on the other hand is facing happy moments, as he has unexpectedly found alive his sister, but this cannot completely overcome the thought of his death approaching soon in his soul. And the only person who is able to comfort and support him properly is Hikaru.

    A2 A3


    Maria Grace is only a teen with an unfinished ego, Koji is a good guy, but he is completely involved by his relationship with Maria Grace and anyway he can’t be a psychological support for Daisuke for this problem. Only Umon and Hikaru could be able to support him properly. And it’s exactly what happens.
    This is my personal explanation to the apparent change of personality of Hikaru after Maria Grace’s introduction. Ufo Robot Grendizer seems to turn into a “childish” anime changing the focus to the new couple (Koji and Maria Grace) but in reality the “adult” story is continuing, like a silently river which flows in the deep of a mountain and waits to find the proper exit to see the light.

    HIDDEN, BUT DEEPER, FEELINGS

    I think the Authors wanted to underline a new change in the lovestory between Daisuke and Hikaru: they cannot plan a future together, but they want to live anyway the short time still available, possibly peacefully, despite the war. So, Hikaru becomes apparently a quiet girl, often worried for Daisuke, losing her strong personality (Chiyoko Kawashima, Hikaru’s Japanese dubber, confesses in the Roman Album that at one point she started to feel like a fool as the scripts required from her only to say “Daisuke-san” endlessly…). In reality, Hikaru has not lost a single piece of her stamina, but she must “divert” it from defending herself to protect her man from a psychological point of view. In other words, she must change her sentiments: from being in love for Daisuke to love him. She has finally completed the process she started in ep25 after the meeting with Naida. But the Authors could not leave totally the lovestory subject in complete hiding. Shozo Uheara’s comeback in eps 52-53 let us face a little hint about how much deep is the link bonding Daisuke towards Hikaru. Once she is captured by the gorilla (in the Italian version, it is only a monster which has taken an hostage to force the Team to approach it and it is not “in love” for Hikaru - here Gerdha refers to VF (French Version) discussion on French forum),

    A4 A5 A6


    Daisuke becomes irrational for a moment and he makes a strategic mistake, getting too much close to the monster, allowing it to cut away an arm to Grendizer.

    A7 A8


    But this is not enough, as soon after Daisuke - for the first and last time in the anime - decides to leave alone Grendizer in order to rush to save Hikaru.

    A9 A10

    A11 A12


    He has never abandoned his robot a single time during a battle before, but now Hikaru, being in such a danger, is considered by Duke Fleed as deserving such an exception.

    A1 A2


    From ep54 to ep61, Hikaru's involvement in episodes slowly decreases, and Marine Spacer is not much required in battles under the sea. In ep57, Hikaru is even totally absent, while in ep59 she is shown only a brief moment as the “coffee-woman” of the situation.

    A3


    Nevertheless, we can still see her in some important situations. In ep55, her joint action with Maria Grace saves the situation;

    A4


    in ep58, her intuition about the fake identity of “Grendizer” driver shows how deep is her bond with Daisuke;

    A5 A6


    the final scene of ep61 shows the two-couples scenario very clearly.

    A7 A8 A9


    But there is another aspect of Hikaru’s personality which, despite the “low profile” in the scripts, nevertheless is subtle developed, from ep49 on: her relationship with Maria Grace. Some old discussions in the forum have already rightfully underlined that Hikaru takes slowly the role of an older sister towards Maria Grace, but I would like to point out also the fact that the princess, after an initial blunt approach (ep50 after the training with Drill Spacer, when Maria Grace remarks that her driving abilities comes from her fleedian origins), starts to treat Hikaru with respect and I would say caring. I personally believe Maria Grace knows that Hikaru is his brother’s girlfriend. In fact, in ep50 Daisuke replies immediately to his sister’s speech in defence of Hikaru.

    A10 A11

    A12 A13


    Then the princess faces his behaviour in ep53:

    A1 A2 A3


    So, she can understand immediately how important is Hikaru in Daisuke’ life. Despite the few occasions the scripts gives to the two girls to interact in this phase of the story, it’s enough clear what kind of relationship they are undertaken.
    It’s November 1976. Ufo Robot Grendizer ratings have now reached again a “safe” level, viewers are satisfied, the new relationship network between characters has been developed enough. The appropriate moment to launch the “final arc” of the anime has finally arrived.

    Edited by joe 7 - 21/11/2019, 23:34
     
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    HIKARU MAKIBA: THE "FINAL ARC" INTRODUCTION (EPS 62-69)

    From a narrative perspective, “the Fleedian Trilogy” (my definition ^_^ - eps 70-72) is interesting for a lot of reasons: the most important of them, in my opinion, is the Author’s choice to leave to the final episodes the complete re-validation of the whole background story of the anime. But they will reach that point with a serie of episodes which have the purpose to create the dramatic premises of the final “big-bang” (read: ep72). Now that the ratings are secured, it is possible reprising the “old-style” anime and switch once again the stage light of the show on its main purpose: Duke Fleed and his personal journey 1 And consequently, all the other characters need to follow him in his evolution towards the end of the story.

    EPISODE 62

    Ep62 is the first “choral” episode after a long time, I mean, involving even Danbei, Goro and Umon with their personalities and not leaving them acting as ghosts around Maria Grace Fleed and Koji Kabuto. Here are also, for the first time after a while, the “old” Hikaru and Daisuke interacting with the other characters (particularly Goro, who finally finds again his sister and his “brother”). A good business card for the final arc for sure.

    A4


    EPISODES 63-65

    But the first surprise arrives soon with ep63 ("Kirika: a girl who disappeared in the snow") . After 38 episodes, Tomoharu Katsumata comes back as episode director in Grendizer, re-forming the same design team of ep25, together with Shingo Araki (artistic director) and Mitsuru Mashima (scriptwriter). A very interesting coincidence. But also the content of the script comes back to the drama of that old episode, as if ep62 had been a sort of “test” to verify if it was possible to reprise a certain kind of atmosphere, even with Maria-Grace around. After all, Mashima is the writer of both episodes.... Well, the result seems to me to be really positive: yes, it is possible writing a good dramatic “old-style” episode, involving also Maria Grace. Referring to Hikaru, starts here a long “reappearing” process – very cautious, Japanese boys could be upset if they become aware of it, LOL! – as she is, in the majority of the scenes, acting together with Maria Grace (nice trick really, giving her exposure again without receiving complain letters, eheh ^_^).

    A5


    The same dramatic atmosphere and choral script are displayed in ep64, so we can hope Hikaru’s comeback is finally approaching.

    -------------------------------------------------
    1 It is an inner, emotional journey. I did not specify it in the analysis, because I discussed about it several times on the French forum. Here I think it's better to clarify the concept, for the readers.

    Edited by joe 7 - 25/11/2019, 17:30
     
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    EPISODE 66

    In fact, ep66 represents in a way the “old Hikaru” ’s revenge. Just as the other episode (ep14, "Boss Robot Arrived!!"), the ratings are a total disaster but this is not an issue, because at that particular day (2 January 1977, Joe7's note) most of families don’t watch TV, so low ratings are predictable. Who knows, maybe it was exactly this foreseen situation which lead the Authors to let Hikaru be the star of the show once again, LOL! Anyway, the main scene of the episode is, for me, what happens in the control room of the Research Centre, where Hikaru confronts Maria Grace, who would like to drive Marine Spacer in a difficult operation.

    A6


    Daisuke accepts promptly her intervention. After all, he would have accepted his sister as Marine Spacer driver only because he would have liked – just as Maria Grace – Hikaru staying at the farm with her family, at least on that important day (a traditional family festivity in Japan). But, as she is ready to fight together with him, he honestly cannot really ask for more. Once Hikaru and Daisuke are trapped by the monster under the deep sea, and Marine Spacer starts to suffer of a serious damage which for sure would kill her in a short time, Daisuke gets extremely worried and tries to solicit Hikaru to not give up hope and to save energies in order to let the oxygen to last the longest time possible (by the way, Hikaru does not say a thing while she hardly breathes in the Italian edition – no goodbye thoughts to her charming prince or similar…Note: I'm referring here to VF, French Version).

    A7 A8 A9


    But this scene could have nothing special, after all. Instead, what it’s interesting is Maria Grace’s reaction at the news about what is happening under the sea: she falls on her knees crying…not for her brother, but for Hikaru! Yes, strangely she is worried more for Hikaru than for Daisuke, and she sobs between tears “No, no, this cannot happen, Hikaru should not die!!!”

    A10


    Well, it’s true that Maria Grace could have found herself in Hikaru’s shoes, as originally she was intended to drive Marine Spacer in that battle, but honestly I don’t find her reaction linked only to this reasoning. For me, Maria Grace seems worried for Hikaru not only because of the “sister-like” relationship they have been slowly developing in the story (especially in the latest episodes), but, particularly, because she knows how important is Hikaru in her brother’s life and what tragedy could be for him losing her. Honestly, I would find hard to explain Maria Grace’s attitude in that scene in a different way. (Joe7's note: it is noteworthy that, in this episode, Maria's hairs behind are much like those Sayaka's...)

    A11



    Edited by joe 7 - 22/11/2019, 19:29
     
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    EPISODE 67

    Just to remark how much the storytelling approach has finally come back to the “good ol' days”, when characters' interaction was the main core business of episodes, ep67 gifts us with another great scene referred to Hikaru and Daisuke, involving also Maria Grace. Ep66 is not an isolated case: Hikaru and Maria Grace have really developed a sister-like relationship.
    Koji was captured and he is held as prisoner in the Vega Submarine base. His impulsiveness has lead him to a stupid action, and Maria Grace – who has accompanied him in the “excursion” with the Spacers - is confronted by a more than angry brother in the Control Room of the Research Centre. Daisuke screams to his sister all his disappointment:

    Daisuke: Who told you two to exit with the spacers? Why didn’t you listen to me?!

    A1


    Maria Grace, shamefully, lowers her eyes.
    Maria: I am sorry.
    Her brother is all but impressed by her words and he continues at loud voice his complain:
    Daisuke: It’s too late to be sorry! Now the catastrophe has already happened: Koji has been captured!!

    A2 A3


    At this point, we can see Hikaru interposing herself ahead of maria Grace, with the clear gesture of taking her defence; with a strong tone and watching daisuke straight in the eyes, she tries to calm him down:
    Hikaru: Maria Grace and Koji only wanted to defend the Centre!

    A4


    Maria Grace is hiding behind her, with the same expression of a kid who has broken the Ming vase and she is trying to prove the parents it was not her, but the cat doing the disaster:
    Maria: (she trembling confirms) Yes, it’s true.
    I personally consider this scene very amusing, but, more importantly, of high quality from a script perspective. If somebody thought that Hikaru changed personality after Maria Grace’s arrival, here he/she can face how wrong this statement can be. No, Hikaru Makiba has not changed at all, she is still the same person of the “Komatsubara era”. Just like in other occasions, only Hikaru is able to counterpart Daisuke and to let him change his mind.

    A5


    But I would underline also that this is an even more particular and delicate situation, as it involves also his sister. I believe that everybody knows how difficult can be family relationships in real life sometimes, and how hard can be for “third parties” to cope with them. Well, in ep67 we are clearly shown Hikaru as feeling herself enough confident with Daisuke to be able to defend his own sister, acting not only as an older relative towards Maria Grace, but also like she knows that she owns a sort of power towards him (and in fact, Daisuke does not do anything to give the lie to Hikaru’s attitude). On the other side, Maria Grace’s behaviour proves she feels herself like a younger sister towards Hikaru, but moreover she seems to know very well, too, the kind of relationship which is linking Hikaru and her brother, and that she can confide only in her to calm down Daisuke. Ah, that’s really great. It’s so good to face again a certain kind of scripts. I have missed them so much for such a long time… ^_^

    Edited by joe 7 - 23/11/2019, 21:50
     
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    EPISODE 68

    Ep68 is in my opinion the introduction to the Fleedian Trilogy, because, without it, a lot of happenings in eps 70-72 could not be properly explained. Surely this is a Maria Grace centred episode, but, anyway, for what Hikaru is concerned, I like to point out the little scene in the Research Centre living room. The Grendizer Team is watching Breaking News at TV announcing the sudden big snowstorm in Hokkaido, and I would say that the “two-couples” scenario has never been displayed so clearly up to now. From left to right we see Koji and Maria Grace, then Daisuke and Hikaru sitting on the couches. Once, Agnes talked about the “first impression” topic… well, yes, my first impression here, since the first time I watched the episode, has been of a purposely display of the two-couples scenario. Look at the characters facial expressions and “physical” positions: they are all relaxed, like if they are finding themselves in their “perfect place”. Particularly Daisuke, who seems the most relaxed of all: he is sitting between his sister and Hikaru…

    A6


    And I love the beautiful interaction between the characters, once they have switched off the TV: I fully recognise all Araki & Himeno’s abilities in displaying, with few designs, an entire set of emotions.

    A7 A8



    EPISODE 69

    The plot of the three fathers (Danbei, Umon and Zuril) and their respective children would deserve a proper analysis one day...it’s interesting to notice also that the arc is going to present another father in the following episode (the king of Fleed), and another one will decide the sort of the whole story soon after (King Vega, Rubina's father). Anyway, I would point out here only that, for what Hikaru and Danbei are concerned, this episode remarks what already underlined by the Authors in ep66: Danbei is all but a fool and an useless character in the anime (ahah, I am revamping old discussions… another temptation I cannot resist, eheh ^_^ (Note: I'm referring to discussions on the French forum). At least, the Prosecution and the Defence agrees on this point, LOL! (Note: I'm referring to the TTOTC1). He is a good father, who has accepted the fact that his daughter has the right to live her life as she likes, but of course cannot help himself in worrying for her. The gift of the scarf to Hikaru – a very precious souvenir of his late wife – is a sweet and beautiful gesture of a man who would like his daughter to feel his own and all her family’s presence even when they are physically separated.

    A9 A10


    How a long ride has been for Hikaru and Danbei to reach this point… looking back to ep3, we can face what an incredible anime is Ufo Robot Grendizer, and how many important and “adult” thematics has been developed in it. This anime is all but “the usual story of the fight between Good and Evil” (most common and favourable definition). Well, now everything is ready. We are aware that the closing of the anime misses only 5 episodes, and the enduring dramatic atmosphere of the Final Arc is a sure prelude to something really big approaching. To discover what it is, we should only sit down on our coaches and wait patiently for the next episodes to appear on our screens. Stay tuned...

    ---------------------------------------
    1 TTOTC: "The Trial Of The Century". It was a sort of role-playing game, in which a trial was performed on the characters. Gerdha had the role of Prosecution, Agnès was the Defense Counsel, the Judge was Jerome, the Jury were Suzi and all the other members of the forum who wanted to comment on the various posts.

    Edited by joe 7 - 23/11/2019, 22:38
     
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    HIKARU MAKIBA: THE "FLEEDIAN TRILOGY" (EPISODES 70-72)

    I have personally re-named eps 70-72 as “The Fleedian Trilogy” because, despite very different contents, those episodes have a unique storyline in common: the re-appearing on the scene of Planet Fleed. Or, to be more precise, after having been only a pale ghost in a distant horizon for the whole anime, Planet Fleed suddenly becomes the star of the show.
    I find really amazing the narrative approach applied by Katsuta and Nagai to Ufo Robot Grendizer, and, as far as I know, a similar storytelling is unknown to other sci-fi animes (maybe something similar has been done with Neon Genesis Evangelion, but for sure not at this extent). After having left in the background Duke Fleed’s past for nearly the whole story (few references and anyway no substantial news in rare episodes), suddenly the viewers are submerged by information about him, and in ep72 they are moreover literally smashed in the face with the most incredible news of all. If a dramatic atmosphere has been developing from ep62 to ep69, in the Fleedian Trilogy the Authors put every possible effort to let the story of Duke Fleed reaching the point they had in mind since the beginning: to close the circle, from Uchu Enban Daisenso (the film pre-Grendizer) to Uchu Enban Daisenso. It is somehow surprisingly how consistent is the storyline of Grendizer during the Final Arc, and how it is aimed to develop a series of sub-plots which are necessary to the script of ep72. I have already talked in TTOTC1 that I personally consider ep72 as the real end of Grendizer, and I confirm here my opinion. Anyway, in eps 70-72 Daisuke returns finally to be the main character of the anime – just to close the circle – but, for sure, all the happenings he must face in the Fleedian Trilogy affect also Hikaru for sure. And in a very surprising way…

    EPISODE 70

    I think ep70 is an underrated episode 2. Despite its strange plot and its not deniable plot holes, it is consistent in its meaning and it is strategic to understand the final of the anime. The last fleedian ghost still missed from the guest starring list finally appears, even if under a masquerade. It does not matter that the King of Fleed acting in the episode is a fake one: the kind of feelings, memories and relationship network which are displayed in the episode are evoked independently from the real identity of the monster driver.

    A1 A2


    Particularly, for what Daisuke is concerned, this episode is, in my opinion, crucial to understand his future attitude in eps 72-73-74. But ep70 is important also in the perspective of an analysis about Hikaru. Once again, after ep68, at the medical room, we can clearly see displayed the two-couples scenario.

    A3


    To be more precise, maybe this is the first time we see Koji acting like a real boyfriend towards Maria Grace (and one of the few occasions where he is able to change Daisuke's mind for instance).

    A4 A5


    But, if somebody could have still doubts about the kind of link bolding Daisuke and Hikaru, his speech is a revelation. He talks to Hkaru about his experience in ep32 (in which the vegan Marine simulated to be his mother),

    A6 A7 A8


    and about his feelings when he met his fake mother.

    A9 A10


    We know how much Daisuke is a reserved person, and never in the anime, up to now, he has been shown talking to anybody about his own feelings. He has talked about Fleed destruction in the past, for example, but without expressing how he felt during the event. Now he doesn’t talk to Hikaru on whatever topic, but how he felt meeting his “mother”.

    A11 A12 A13


    Maria Grace had already left the room, so his speech is not directed to convince her. No, Daisuke talks to Hikaru about his own feelings in such a distressful experience in ep32, and, well, let me tell you that I highly doubt that, considering his personality, he would have shared a similar information with a friend. It’s too much a personal topic, he is too much a reserved person also, he could have talked about that experience only with a very special person.

    A3 A15


    I get the impression from this scene that it displays how much Daisuke relies on Hikaru, and how much they are sharing a life in that critical point of the story, where the poisoning injury has almost reached its peak and it is ready to kill him. And in this crucial moments, she is by his side, worried and aware that she cannot do anything to save him. It’s a very dramatic moment, and it’s clear that, without a miracle, Hikaru’s eyes will be filled with tears of desperation very soon.

    EPISODE 71

    Ep71 is probably one of the best Grendizer episodes, but curiously it lacks completely the two female figures. This is not a problem linked to the “Hikaru’s issue”, as also Maria Grace is completely visually absent; they are both included in the plot, but the writer (Tatsuo Tamura) thought it was not necessary to show them. Well, I agree with him. Maria Grace and Hikaru are not necessary for the good development of the plot. But it is not essential participating to an event for being involved in it. The script leaves the viewers see as the last scene of ep71 Duke Fleed’s tears of pain, looking at the scarf falling down from the sky,

    A1 A2


    and it avoids to show us the tears of joy of everybody at the Research Centre, when he comes back, announcing that the impossible miracle has instead happened and there is no more a poisoning injury threatening his life. A great tricky storytelling approach, once more: without taking into account those tears of joy, next episode would be only a stunning fragile little glass doll, instead of a giant wonderful strong wooden matrioska...

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    1 TTOTC: The Trial Of The Century: it was an analyzing game on Grendizer's characters, treated as if they were processes, with as much defense attorney, and so on.

    2 please note that Maria Grace, in the previous episode (Ep69), looked with envy because Danbei, Hikaru's father, gave her deceased mother's scarf: a situation which would have influenced her in this episode.

    Edited by joe 7 - 24/11/2019, 16:41
     
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    EPISODE 72: BEGINNING

    Well, I know that ep72 should be a matter of TTOTC 1...but...well, how could I leave this incredible episode outside an Hikaru Makiba analysis? I rely on the Court to decide if what I am going to express in this chapter could be used in our funny trial too ^_^ Anyway, for what the Prosecution is concerned, even if I love TTOTC game to all extent ^_^ , I consider giving justice to Hikaru as a more important goal for me than “winning” the trial. ^_^ Sometime life requires to make hard choices... ^_^
    First point in any ep72 analysis, whatever aspect one would like to discuss, is taking into consideration its design team. As for ep25 and ep63, the main roles are assigned to the trio Katsumata-Araki-Mashima (the three episodes differ only in the scenarists, which are different in each of them). I would like in particular to underline the coincidence of the same design team for ep25 and ep72, whose correlation is to me one of the keys to understand the deep meaning of the latter;

    a1 A2


    connecting ep25 to the Fleedian Trilogy is in fact what could help us in giving a proper sense to all the incredible happenings we must face in ep72.

    A3


    I have already told that I consider this episode as the real end of Ufo Robot Grendizer, as it closes what I believe to be the real main plot and deep meaning of the anime: the personal journey of Duke Fleed to overcome his guiltiness feelings. But I believe this is not enough. His personal journey has up to now involved also Hikaru Makiba, and ep72 is, in some way, the final celebration of their lovestory. I told in TTOTC that, in this episode, Rubina is only the beautiful dress of the most complicated matrioska of all in Grendizer, and the more I watch ep72, the more I'm convinced of my opinion. Connecting the visual evidences to some deductions referred to the narrative arc of the anime, it should become enough easy to discover what is hidden in ep72, also about Hikaru and her relationship with Daisuke. Apparently, Hikaru is the great absent from ep72. Just as in ep25 (Naida's episode, see the coincidence…), she appears in few scenes, and her voice resonates only two times in 23 minutes (two little sentences: one at the lake scene and one while she is on the jeep).

    A4 A5


    So, apparently, her typical low-profile implemented by the Authors after Maria Grace’s arrival is here even more remarked than the usual, and, adding this impression to Rubina’s massive presence, it could seem that this episode cuts definitely any connection between Hikaru and Daisuke. Instead, I believe that ep72 represents the maximum expression of the “Grendizer masquerade” and that Hikaru Makiba has somehow – just as in ep25 – an important role in the story. There are some “strange” scenes in ep72 involving Hikaru, which have caused big discussions between fans during the years; well, I think that finding the right “key lecture” of ep72 can enable fans in finding a proper explanation also to those “little mysteries”.
    Funnily, I have elaborated my theory on ep72 only last year(note: summer 2002), when I watched it for a casualty with the TV volume switched off. To my big surprise, I discovered that what it mostly counts in ep72 is not what it is said in it, but instead what it’s NOT told there. I mean, this episode lacks at least a proper explicit introduction (the original ending credits of ep71 could be interesting for TTOTC, but they don’t give added value here). What’s happened between ep71 and ep72? In fact, watching ep72, it’s clear that the timeline of the story has undertaken a big change and it does not follow anymore the parallel flow with the airing time, which has been, up to that moment, one of the features of the anime. Ep71 (Morus episode) was broadcasted in Japan on 6th February 1977, and, in fact, for what we can see in the episode, its scenario is consistent with a late winter ambient.

    A6


    Instead, one week later (13th February 1977), the scenarist applies a late spring (if not even early summer) ambient for ep72.

    A7


    It’s impossible that this aspect is an accident or a mistake, so, we should think that really ep72 is located in the Grendizer timeline at a certain distance from ep71 (2-3 months if not more). Or, we can suppose that ep72 starts really a short time after ep71, and Rubina takes some months to cover the distance between Planet Fleed and the Moon Base (I personally find it very likely, as she is driving a simple spacer and not a spacecraft).

    A8


    At first, this delayed timeline could seem to have anyway no importance, after all: Rubina is a character linked to flowers, so this could be the reason behind the choice of the scenarist.

    A9 A10


    Instead, I believe that this moving of the scheduling of the Grendizer story has a deep meaning and is crucial to understand ep72 happenings.

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    1 TTOTC: "The Trial of The Century". It was a sort of role-playing game, in which a trial was performed on the characters. Gerdha had the role of Prosecution, Agnès was the Defense Counsel, the Judge was Jerome, the Jury were Suzi and all the other members of the forum who wanted to comment on the various posts.

    Edited by joe 7 - 24/11/2019, 16:37
     
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36 replies since 6/6/2016, 21:38   3308 views
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