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The article contains a large number of spoilers. In addition, there are many translated versions of the characters in the film, which has formed a subculture, and the group in the selection text is mainly for the sake of smooth consideration and the author's own interest.
Author in 220110 : There are two obvious fact-checking omissions in this article, one is that the new theatrical version does not clearly indicate that "Island of Dogan" belongs to the "ORIGIN" worldview so far, and second, the only official endorsement of "ORIGIN" is "Parallel World", and the use of the word "revised" in the text implies that the new replaces the old, which is not accurate.
Thank you for your verification and encouragement in the comments section. The comments section is part of the article, and readers who want to learn more about it must read it further. In addition, there are some small questions that can be referred to the comment area, I believe that it can be better understood. The text is left as it is for reference, and if it is inappropriate, please correct it.
The theatrical animation Mobile Suit Gundam: Kokurus Doan Island will be released in the early summer of 2022, with a concept visual and special video released, supervised by Yasuhiko Ryokazu. Since the launch of "Mobile Suit Gundam THE ORIGIN I: Kasbal of the Pupil" launched in 2015, in the past 7 years, the 1/3 content of the manga "Mobile Suit Gundam THE ORIGIN" and the 79-year TV animation "Mobile Suit Gundam" has all been put on the big screen with very high quality. In the future, it may even continue to be this part that coincides with the original story. So today I would like to take this opportunity to introduce you to this unique robot comic.
Talking about robots, and even the performance of the "Gundam" IP in recent years, it is more and more inseparable from the impression of "thirty minutes of toy advertising", as if it returns to 1978 before the first gundam began shooting. In addition to suffering misunderstandings about this aspect, the manga "Mobile Suit GUNDAM THE ORIGIN" (hereinafter referred to as "ORIGIN") will also present another impression for viewers who do not know - it is just a remake of the famous anime of the grandfather' generation, and Bandai has money to play. Luckily, the manga ORIGIN is neither. The closest analogy in my limited experience should be the "new revision of Jin Yong", and it is a blessing for the reader that the original author went back many years later and made a responsible reconstitution of the masterpiece.
"Mobile Suit Gundam THE ORIGIN" is a manga drawn by the original Gundam and painting supervisor Yasuhiko Ryokazu, based on the 79-year animation "Mobile Suit Gundam", the mechanical setting was re-produced by the original machine set by Kunio Ōkawara, and the cumulative circulation of the series of manga has exceeded 10 million copies. Yasuhiko Ryowa gradually entered the manga industry after 79 years, and his representative works are historical/legendary comics such as "Great Power Lord" and "Aryan", and he has won many awards and personally adapted his works to the big screen.
His level of business was already very high in those days, and I was under the impression that Yuki Tomino once said that "instigating Yasuhiko and making manga is one of the most regrettable things in his career.". "ORIGIN" is one of the few comic strips that uses a brush outside of the Japanese national treasure manga "Ronin". In addition, combined with the deep re-examination of the script in the interview with Mobile Suit GUNDAM THE ORIGIN GUIDE BOOK I, II (XiaYa's motivation, etc.), I speculate that the script of ORIGIN also has the contribution of the collective creation of sunrise's editorial department, at least to the extent that the direction is agreed.
Let's talk about what ORIGIN, as the new revised version of the first Gundam, has inherited and revised. Also try to provide a reference for the following question: Why, forty years later, the original Gundam is still worth seeing robot animation, as well as cartoons? What is the value of ORIGIN outside of the original animation?
It is a revised version, not a remake, nor a sequel
ORIGIN adds about a third of its length to the 79-year-old anime plot, depicting the past of the Shaya/Serra siblings and a portion of the alternate history that precedes the animation timeline. It also includes Shaya, Lambalar, Lala, etc., mainly the activities of the characters on the side of Gion in this part. Therefore, after the release of the "ORIGIN" movie in 2015, I believe that Xia Ya has also added many new fans.
Later generations of viewers recall the original Gundam, often with the impression of a "double protagonist" - Amro and Chaya, who fell in love and killed each other. However, due to various conditions, Chaya's role is not enough to fully support the title of "protagonist", and even temporarily withdraws after killing Kalmar due to readership. The impression of the two protagonists comes more from the importance of Xia Ya's plot as a prince in the dark line "The Prince's Revenge", and the further depiction of the two in subsequent works. The new one-third of the content can be said to be the light and dark lines, the double male protagonist to achieve the name of the real match, in the plot is not weaker than this part at the same time, but also in the screenwriting of the overall consideration, and the rest of the "ORIGIN" to achieve a seamless integration.
Because of this, "ORIGIN" cannot be a replica of the 79-year animation, and certainly does not have the radical re-enactment of DC New 52, which is properly described as a revised version that was partially participated by the original author and discussed and recognized by sunrise's editorial board. Just as Jin Yong deleted Qin Nanqin in the newly revised version of "Shooting Eagle", Yang Guo's mother can only be Mu Nianci, and the "ORIGIN" movies that have been presented on the screen are not connected to the 0079 / theater trilogy, because they contain the foreshadowing and design that continue to the revised version.
The current six theatrical versions of the film can be said to be one-third of the length of "ORIGIN". And "Mobile Suit Gundam: The Island of Kukurus Doan", which will be released in 22 years, can be said to be the last piece of the puzzle in this revised version except for this part.
When ORIGIN began serialization in 2001, the Gundam series had been going through more than two decades, and it was no small feat to repaint heavyweight works with the roots of the series. I don't know if it was a memorial work or if there were already plans for revision, but Yasuhiko was undoubtedly an extremely suitable and convincing candidate. In guide BOOK, it is mentioned that the plan has long been there, and Yasuhiko also wants to draw, but he has no time until he is hospitalized until he is sick, and when the editor comes to visit him, he has already drawn the storyboard until Kalmar's death. (Exactly four single books!) ）
There was no Fortune Code that year: the two faces of 1979's Mobile Suit Gundam
The original Gundam animation of '79 had two distinct tendencies: a relatively realistic depiction of alternate warfare based on World War II, and a common sense of the question of where humans are going in science fiction films. These two tendencies do not coincide completely, and even gradually part ways in the sequel. In my opinion, this is because not only did we not find a new Fortune code at the time, but we also went to great lengths to jump out of the old Fortune Code — a robot animation that served as a toy advertisement. After the success of the first two works, the sponsor told the team that "the third year can be done with your pleasure", which gave sunrise a group of young people the opportunity to fully develop their talents.
Sequels, or even second works of this genre, can expect the audience to accept certain conventions, such as that the battleship crew should be like this, without further explanation, but the original Gundam can't. Therefore, the main creative team mixed as much inspiration from different sources and backgrounds as possible. The resulting first anime, in the history of the Gundam series, is not an exaggeration to say that it is the most informative and multi-faceted.
The original Gundam's white depiction of alternate warfare is quite rare even in the sequel to the same series. As an animation that sells toy attributes, the characters are more than half middle-aged, and they also give them the most powerful plot, such as Lamba Lal. Not to mention the parts of supplies, refugees, espionage, and reconnaissance that are not directly related to robots: if the death of the spy Michal can be regarded as a common offshoot plot, then the "logistics" represented by Maggie Luda who flew the transport plane occupies a position in the play that is not important, and it is also rapidly absent from the sequel to be invisible. Maggi Luda's transport crew, O'Moore's maintenance squad and damage control team, and the assault landing ship White Base survived on these.
At the same time, represented by Shrig Roe, the soldiers in service came from all over the world, boarded ships, died in battle, and replenished; in several major air battles, the decks of the white base were piled with fighters who had lost their mother ships. Hidden behind the robot hero, these episodes convey a powerful hint to the audience that the protagonists are nothing more than witnesses chosen by the story itself, like Paul Boymer of No War on the Western Front, who are simply destined to escape random death and see the war to the end.
It is worth mentioning that in terms of overall design, I think the original Gundam is a deep reference to the battlefields of World War II Germany, especially North Africa, including desert warfare myths, German martial arts and Prussian/German combat traditions. There should be people on the team who are fairly familiar with this part of military history, or who were more widespread than they were now forty years ago. Whether it is a coincidence or a deliberate act, this whole set of uses is quite consistent with the tonality of robot animation, which profoundly affects this genre. This will be expanded later.
In subsequent series, this first tendency gradually gave way to the second, the problem consciousness summarized by the word "Newtype". Mentioning this second creative tendency, the most immediate impression that comes to my mind is the passage that occurs in the dark theater of Z Gundam 50 times. In the empty stage and audience, only three politicians, Haman, Shaya and Hirok, are fighting each other with guns, fiercely arguing where humanity is going, and at this moment, a fourth gun bearer, the young Camus Vidan, jumps out from behind the curtain. Then there was inevitably a fierce battle, and Xia Ya, who had been good at saving his life all his life, this time he would give up his life and forget death to protect Camus thoroughly, and choked: "It is not the old man who creates the new era!" With a laser of satellites shining through the universe, they triumphed, And chaya saw the dawn alive, but the young man Camus was killed.
Revision 1: The war itself
"Newtype" was carried forward in the sequel until it no longer adapted to the times, forming what we can see in the so-called UC Series Gundam canonical history. Whether it is motifs or problem consciousness, this part constitutes the metaphysical core of a space opera. It is said that the Japanese science fiction community at that time was deeply influenced by Heinlein's "Starship Paratrooper" and "The Moon is a Harsh Hostess", and the original Gundam can see many obvious references, saying that it retains part of the spirit of golden age science fiction, and there is no problem. ORIGIN inherits the two faces of the original anime and expands on the direction that was overlooked by the sequel— the survival of the little people in the war.
The sequel, which began with Z, went down the path of emphasizing metaphysical space opera, and then became the wealth code of a new generation due to the exhaustion of motifs and commercial operations. And "ORIGIN", as the name suggests, "Origin", returns to the origin and starts again. This is tantamount to Jin Yong's revision of the "Tianlong Eight Parts" and a major adjustment to the plot structure. What is even more remarkable is that "ORIGIN" is still responsible for most of the original creators. In fact, ORIGIN has made cautious and restrained revisions mainly in some important plots and characters.
What awakener? Wherever man goes, he is just a man. What was originally just a true story of how small human beings survive in the vast world has become a story of selected human beings becoming special beings at some point. Propagating the story of the chosen son and the voters is very dangerous. So I was determined to spread the Gundam of my own understanding. Of course, the original author and director Yuji Tomino also agreed. I said that I would remove the excess and make up the necessary part, and Yuki Tomino only said one sentence, "Then let me see." ”
The above is an excerpt from an interview with Yasuhito in 2017 (excerpt https://www.gcores.com/articles/26419). Overhead history works always convey the author's ideas, and there are precedents in the history of the Gundam series. However, Yasuhiko brings his calmness in drawing historical comics to "ORIGIN", and the author's perspective is not described, leaving it to the reader to comment.
The alternate story of the soldier's survival on the battlefield is based on this point, and the revision focuses on the re-examination of the development of the characters and the integration of the plot that was originally limited by various conditions and could not be fully unfolded.
Revision 2: Group portraits and cinematic screenplays
There are no more revisions that have had an impact on the entire worldview than the blanks of Gion's death and Chaya's motives for revenge. Gion Deacon still died of a heart attack in a dramatic manner during his speech, but the specific reason was left blank. "Gundam is not a story of the so-called dichotomy of good and evil, nor is it a story of tragic heroes and heroines. The father (of Chaya and Sera) was just dead. (The story begins here)," Yasuhiko said in an interview with GUIDE BOOK 2.
Using this as a starting point, Xia Ya's motivation is closer to her mother's vendetta than her father's vendetta. "Xia Yaming is obviously set up as a good mind, but he doesn't show any strategic concept." Even with revenge as the ultimate goal, he could have had more options, which is unreasonable. Therefore, yasuhiko, while retaining the original structure of the story, chose to interpret it as Xia Ya's emotional response to the greatest trauma in life.
From "My Dad Never Beat Me" to Amro's escape, ORIGIN made more grassy gray line arrangements. During an escort mission to land on Earth, Amro developed a severe claustrophobia. He was supposed to return from the rear deck before the gravity critical point, but just then, a friendly general's lifeboat appeared, and Lin Youde had to use the rear deck to contain the dinghy. Amro missed the last opportunity to return to the ship, hid in the wake of the white base, and survived the high heat and communication interference in the dark. In addition, since the voyage, along the way, Lin Youde basically hit him with a stick to a date, "you don't open it and have to be driven by people" and "the preparation class is at your disposal" alternately, surviving the most difficult days and planting hidden dangers, and when Lin Youde realized that it was too late, the final outbreak was an escape event.
Thus gradually laying the groundwork from a few chapters before, and eventually progressing to the decisive plot of the character relationship is many more - Amro and Flau; Sierra and Kai; Lamba Lal, Hamon and the petty officer who loves Harmon; Lin Youde, Millais, Kamran and Shrig Roe, etc. The comic has enough space to make a group portrait of the characters.
The plot of "ORIGIN" is quite full, reorganized according to the standard of the film script, and each scene averages a main plot with two sub-plots. Take, for example, the first episode of the 79th edition of the anime classic, which was considered to have "conveyed a wealth of content in a limited time and allowed the audience to fully absorb it", and this catastrophic twenty-minute episode was expanded to become "Sailing Chapter" as follows:
Main Plot: Amro's Adventures until gundam stands tall on the earth.
Episode 1: The fire reconnaissance of Chaya's minions, engaging RX-78-01 in the Colony Star Compartment. The camera turns to the Soldiers with faces and names, explaining where the original test driver went.
Episode 2: Serra and Flo's ambulance tour, a civilian perspective, brings out Kai and Kobayashi by the way.
Sub-plot 3: Fat Dragon and the captain attack in a torpedo boat, and the captain gives command to Lin Youde before leaving. The original captain's injury to the gun mount was quite far-fetched.
After such a reconfiguration, "Voyage" is very suitable for adaptation into a theatrical version, or the first two acts of the theatrical version. This may also be one of the reasons why ORIGIN's adaptation of the theatrical animation works so well – because it's drawn in itself. Not to mention that Yasuhiko himself is an all-rounder, an animation practitioner, manga artist, and film director, and his background allows him to tailor a compact and exciting plot that suits the medium based on the material he already has.
In addition, the filled characters who originally lacked drama also have more room to play. In the 79th version of the anime, Kicilia basically plays the role of a god of liberation, and in "ORIGIN", there is a character with a huge span from youth to middle age, and as a politician, she is active and decision-making, and has important performances in the plots of Xiaya's return and Kiren's shelling of her father. Flo has a more complex inner world, which further breaks herself out of the shadow of the kind of girl who must have one in the robot animation.
Revision 3: Debotization
The revision also removes many of the conventions of robot animation. The first is to remove some elements that had to be added because of the need to advertise toys, such as the combination of deformation, and the meteor hammer, which is of unclear significance. More importantly, debotization is reflected in the structure of the plot - many "come one by one" unit dramas are woven into logical and passing combat actions. For example, from Lamba Lal to the first black trifecta, this paragraph has made a very wonderful integration, the following is briefly introduced.
This series of combat operations is at the end of the White Base's homecoming road, with Gabro's victory in sight.
Act 1
In the midst of the long yellow sand, the first to stand in the way of the white base were Lamba Lal and Harmon Clare, who had returned to the front line in the name of "revenge for Kalmar". Lamba was an unambitious soldier, and even though he had been a man of great military merit and ability, he was not reused because of his status as the son of a political prisoner, and even had difficulty in supplying him properly. Harmon was his lover and a comrade-in-arms with him for decades. She had persuaded Ramba to push off this high-risk task, and her subordinates would support it. Lamba said he could live as a person with a stain on his resume, but Harmon and his brothers could not suffer with him. Therefore, he hopes to complete this important propaganda task and give them a guarantee for the rest of their lives.
Ramba Lal led his team in three raids on the White Base, each with poor equipment, but the damage was greater than once. The first time there was a Zanzibar-class cruiser, it directly beat Amro to autism, startling Lin Youde in a cold sweat (after this, he also gave Amro a life mentor). The second cruiser was transferred and replaced by the hovercraft Gallop, still relying on land combat to kill half of the carrier-based aircraft of the white base. Because they could not get the big demons of their belongings, the last time they could only rely on the flesh to carry out special operations, and the white base was now full of devastation and ran out of ammunition, and was almost attacked into the bridge. Eventually, Ramba Lal encounters Aldesia (Serra), who was searching for orphans in the early years, and is shot and killed by the officers and soldiers of the White Fortress in a moment of shock. Before dying, he did not forget to explode with a grenade and died in the hands of Gundam. Harmon and the remnants drive Gallup to retreat.
Act II
The White Base then reached Cusco, a neutral strip on the front line, where it was ditched in a federally controlled dock for emergency repairs. At this time, the ace pilot group Black Triple Star was also training in the adaptability of the Great Devil in the suburbs of Cusco, and noticed a hint of abnormality. Maggie Luda's transport crew brought orders, Gabro would instruct friendly forces near Cusco to launch a massive feint to cover the return of the white base, and the command highly valued the results of your troops along the way. The boat people were very excited: the above never gave up on us, and they could go home soon! So on the day of the operation, the White Base kept its radio silent and quietly set out from the east of Cusco, sailing low north along an unnamed valley filled with thick fog.
Meanwhile, a petty officer arrived at Harmon's compound with an old Zaku and two Majellas, and he brought personal information on the whereabouts of the White Base that he had obtained through personal connections. It turned out to be The younger brother of Lamba in the early years, who loved Harmon for many years and also respected Ramba, so he has been saddle up for the two for many years. This time, in order to avenge Lamba, the petty officer used all the connections and manpower he could find, including himself as a dead soldier. So that night, Harmon Crowley's troops quietly disappeared from the sequence of battles. The Black Tristars did not participate in the night's combat operations, but they witnessed Gallup's movements during the live-fire exercise and followed them with a keen sense of smell.
Act III
The White Base was ambushed by Harmon and his party in the Rift Valley. If it is a flat battle, with the white base replenished after the equipment, ten more Gallup will not be in the eyes, but the crowd will be out of trouble, the mood is relaxed, and it begins to gradually become unsupported under the opponent's life-for-life play. In the infirmary, the fat dragon who was injured in the last operation woke up due to the bumps, muttering in his heart, "Is Lin Youde not reconnaissance good again", while waddling to the hangar, cheating the ground staff and then setting off without authorization, preparing to fly a reconnaissance voyage back.
Harmon's killing tactic is to use Gallup, filled with explosives, to end the White Base, while he himself rides on the Majera (Flying Turret) and personally ends Amro, and the situation has completely put the White Base to death. But at this moment, the fat dragon returned from the reconnaissance mission, could not see the front clearly in the thick fog, and could only rely on the ground radar to fly, coincidentally, and collided head-on with Harmon's Majera. Fat Dragon died on the spot, and the White Base Team seized this small opportunity to defuse the crisis and annihilate Harmon's troops.
Dragon, as the most qualified pilot, supported the white base all the way, and his death was a great blow to the morale of the whole people. But no one expected that this was just the beginning of a series of nightmares.
The fat dragon and Harmon's bones were not cold, and immediately the black triple star rushed forward. After a simple reorganization, the mobile troops of the white base were put into battle again, but they could not help the demons with both superb movement and strong armor, and the defensive line was crumbling. During the chaotic battle, Maggie Luda broke in with Midia, created a knife gap for Amro, and in a very creative way, killed Matthew, who was in charge of sniping in the trifecta, but the transport plane was also hit, and Maggie Luda was killed on the spot. After suffering considerable losses, the remnants of the Black Triad finally retreated.
Overnight, the White Fortress lost their old predecessor and goddess of victory, but fortunately they were still able to move on.
Summary: Debotization
"ORIGIN" made a more reasonable arrangement of the classic bridge section of the original Gundam in time and space, and organized it together after overall consideration. Chapters such as "Belfast of rain" and "Blood Stained Atlantic" also follow the geographical rationality of the reversal of order. In ORIGIN, there is no longer a unit drama as a convention for robot animation, but instead a coherent curtain and intermission.
epilogue
The first time I came into contact with the Gundam series was in the community library more than a decade ago, when I found a copy of the original Gundam script/novel written by Tomino, which seems to end with Amro Ray dying of stray bullets in the final Battle I, and Chaya embarks on the revolutionary road with the new human army... This was followed by the manga Mobile Suit GUNDAM THE ORIGIN. So what I thought at the time was that the series should be positioned closer to "No War on the Western Front" or "Quiet Don", and "The Count of Monte Cristo" is more like something that the ACG community will come up with. This inaccurate impression has been with me for many years, and I've always felt that ORIGIN might be almost the best work in the history of the Gundam series. Later, there was a theatrical version, and then I actually finished the parts that did not coincide... To be honest, this article is already ready for everything, just look at the state of whether Sunrise wants to shoot or not. Like Hasavi's old book at the bottom of the box, it will not be a very strange thing to shoot immediately or not shoot for decades. Hopefully, after my introduction, more readers will know about this great comic.
In the history of Japanese animation, there are many films that carry the spirit of the times, and the original Gundam certainly carries some. Of course, the amount is not very large, and some people shout "We are all tomorrow's fathers", but the words "I am Gundam" can only be used as a meme. Whether it's as an anime archaeology, or if I want to feel the spirit of that era, or if I want to observe the evolution of the Gundam series over the decades, if I were to recommend only one gundam series (in fact, there are few to recommend), I would choose the original Gundam, and the manga I would choose "ORIGIN".
This article is very long, thank you for your patience, we have the opportunity to see you again.
Outer one: realistic nutrition
Finally, by the way, let's talk about the real-life material that may have had an impact on the original Gundam and ORIGIN. Specifically, it is the myth of desert warfare in the North African battlefield during World War II, and part of the German command system that inherits the old German tradition - or "German art of war".
North Africa: The Battle of No Hate and the Myth of Rommel
There are more "myths" in the North African battlefield than any other battlefield. Many people think that the desert is far more than just a "terrain", but an empty place that allows mechanized armies to get rid of the shackles of towns, mountains, bottlenecks and blocking positions, and move freely. ...... According to common sayings, due to the lack of terrain constraints, the clash of armored units is very pure, and each battle is a fierce contest between chess opponents. Finally, in this environment without civilians, both opposing sides can fight innocently, neither bothered by the vague moral boundaries of the obligations of the occupying forces nor the struggle to suppress the guerrillas in the rear. ...... Only desert warfare still enjoys the reputation of "hateless war".
The above is a quote from Robert M. Chapter IV of the first part of M. Chittino's work on military history, The Wehrmacht. Of course, "Hateless War" is a myth and does not have much real content, but this myth has a natural fit with the setting of the "Real Robot" series based on the original Gundam. To tell a story with overhead warfare as the core, one choice is of course to put strategy first, like Yoshiki Tanaka's "Legend of the Galactic Heroes", draw nutrition from ancient books/imperial techniques, and write a biography of a great man or "Romance of the Three Kingdoms"; another path represented by the original "Gundam" is to focus on the tactical level, the story of small people, pilots, and front-line commanders. At this point, the connection with the myth of the "Hateless War" emerges: not only a convenient setting, but also a deep resonance between the two.
The mobility and versatility of science fiction robots, although the screenwriter can not be buried in the old paper pile of war history, in order to create a convincing unfolding of the audience, more importantly, focusing on the tactical robot theme, the need for innocent heroes and anti-heroes. Even if the characters are temporarily troubled by the dark clouds that are common in the history of war, such as occupation and slaughter, their final destination is to die or win in the fight as a warrior who stands tall in the sky. The little man in the adult, the robot, is in some ways a narcissistic projection, and the robot animation and North African mythology are invariably shaping the self of an "innocent warrior".
Speaking of the Battle of No Hate and North African mythology, the most famous image it created was, of course, Erwin Rommel. This image also overlapped to varying degrees on the group of commanders created by the original Gundam, and had a profound impact on the robot theme of later generations. The following quotation is also from the Defence Forces:
Every scholar of World War II is aware of the myth of Rommel. He was a talented soldier who didn't care about politics at all. He was not a Nazi, he fought a beautiful and innocent battle in the desert, earning the reputation of one of the greatest commanders of all time. When he finally realized the demonic nature of the regime to which he was loyal, he actively participated in the plot to assassinate the Fuehrer, and after his defeat, he cut himself off in exchange for the Fuehrer's promise not to harm his relatives. In fact, none of these claims are strictly factual.
Rommel's preference for command, offense, a knack for quick marching, difficult supplies, and a distance from the Nazis, traits that varying degrees of grafting on Lamba Lal and Chaya, who are also among the most distinctive and popular characters in the Gundam series. The more Lamba Lal played, the worse he became, the more ferocious he became, relying on pure spiritual strength to defeat enemies with material superiority, and even the stage given to him by the script was a desert. The origins of Chaya's role are much more complex, and may even include a part of Tomino's own projection, but the distrust he has aroused among his many fellow officers/always gaining the trust of the most important people, as well as his image as an "ambitious and energetic outsider", are all qualities that conform to the pattern of the great officers in Prussian history. All of this had a profound impact on the composition of the characters of later generations of robot animation, whether the creators at that time intentionally or unintentionally conspired, one thing is obvious: robot animation and some kind of modern war myth are moving towards the same spiritual core.
Of course, how can the "hateless war" be truly hateless? Harmon's insane revenge drama after Ramba Lal's death, Amro Ray's claustrophobia, and the protracted debate between him and Chaya about Lara Sheen's death all inadvertently reveal a mocking smile to the audience.
Interwar Period: German Art of War
If war were a simple contest to see who could humiliate the opponent most thoroughly in the first confrontation, the Wehrmacht would have won the Second World War with ease.
The Germans in World War II had an impressive combination of traits: the pursuit of quick victories, a preference for mobile warfare and centripetal attacks, the ability of officer corps to act in camera without vigorous interference from superiors, and close coordination of tanks and aviation —traits that historically presented strengths and weaknesses were also used in the story of the original Gundam. It can even be said that the white base and their Jion opponents have a strong "German military" temperament on both sides, which is even more evident in the revision of "ORIGIN".
Mission-based strategies, the idea of giving subordinate commanders independent decisions, play an important role in many bridges. For example, in SIDE 7 Kim's unauthorized attack begins the whole story, and without amro Ray who was unexpectedly present, it would probably have been a very successful raid. Harmon Clarey and the Black Trifecta pushed the White Fortress into a desperate situation in a series of uncoordinated offensive operations, as well as the command of The Crazy Fisherman's Team led by Chaya in Gabro and Belfast. In the absence of a mature staff system in the play, the mission-style strategy becomes the recipe for creating chaos, but also under the guidance of the "short and active" tactics, it has seized fleeting opportunities.
The problem of German art of war was also reflected in the plot design. This method of warfare, which relies on the impact of mobile small units and aviation, emphasizes quick victory, and even if it wins, it is difficult to reintegrate the conquered lands. On the journey home from the White Fortress, the transport fleet led by Maggie Luda can be said to be a real lifeline, and the poorly armed Midia can cross the intertwined fronts of the two sides many times, in addition to the needs of the plot, I believe there are also some realistic reference factors. Rapid advance will bring a lot of gaps, and at the same time, in another important reference, the North African desert of the Ichima Pingchuan River, there is no real encirclement.
The addition of 1/3 of the content of "ORIGIN" includes the technology and armaments of both sides before the war, and it seems that the creative team has a basic understanding of the reflection and experimentation of countries between World War I and World War II. The British invented the tank and formed a radical mechanized test brigade as early as 1928; the Red Army was also studying the potential of tanks, aircraft and paratroopers. However, the german army was characterized by the fact that they did not try to discover new tactics, but combined new technologies with their own operational doctrines, and the "armored units" were "all classes of troops with the mobility of the same level as tanks". Of course, we must not forget that all this is only a by-product of satisfying the audience to see the "Zaku Hack battleship".
Movement warfare is a historical phenomenon that stubbornly resists the personality flaws of leaders, such as Hitler, and resists complex systemic factors that are not favorable to it. Whether it's a cavalry on the back of a dragon or a paratrooper on a starship, it could have a place in our historical consciousness for a long time.
Resources
Mobile Suit Gundam The Origin 1 - 24 Vol. (Japanese) Yasuhiko Ryokazu
Mobile Suit Gundam The Origin Guide Book 1 - 2 (Sun) Yasuhiko Ryokazu et al
Wehrmacht: Part I: The First Battle of the Wehrmacht in 1942 M. Chittino
Image Principles of Yuki Tomino (Japanese) Yuki Tomino Yuki
I am still very happy, and many popular literary works that I liked in my early years have been responsibly revised.
Cross-reference table of translated names
Lin Youde: Brad Noah
Fat Zi Long: Liang Baozheng
Sierra: Sheila Mars
Due to the revision of the WeChat public account
If you like it, please take a look
This way you won't miss our pushes
:-)