Miura Touru

AIC President

Active behind the scenes from the genesis of OVA, Mr. Touru was the shadowy force who launched numerous hits out into the world. The projects that he produced along with Artmic are now monumental landmarks of the industry. Representative works include Vampire Princess Miyu, Dai-undoo-kai, and Tenchi Muyo!

I am very proud of BGC which created a great current of Japanese animation.

Bubblegum Crisis was an original piece that was created in a period when the times were leaning toward the market called video animation. Looking back to that time, original works like BGC were at the time by no means rare. However, the story development was uniquely that of Artmic, reflecting the tastes of men like Aramaki-kun and Kakinuma-kun. The design of the powered suits was inevitable, given the staff and the development of Japanese Animation at that time.

What was expected in OVAs at that time was something that was different from TV series. So, the way we worked on the OVA was different from the TV Anime production system. This was a characteristic of the OVAs of that time, notjust Bubble, in which various artists would showcase their various story ideas within the framework of a singular theme. As a result, more and more talented people who were dissatisfied with TV moved into the OVA world.

What was hard was that, because BGC was an original story, it took us a lot of time to create its world. From the onset of planning to the release, it took over a year. It was a work that originated with a casual conversation about “let’s do an SF version of “Hissatsu shioki nin” (“Sure Deathl”, a samurai TVIMovie series similar to Shigoto-nin),” and it was not easy to build it up from there. Even seeing it today it's up to date, and its level of detail is high. In a way, I feel that it's a compilation of Artmic’s mecha designs.

It was a period when the entire industry’s — including its talents — growth was skyrocketing, so I could say that it was a work that was made at a very good time. Oobari-kun, Gouda-kun, they all accomplished things they really wanted to do in it. When I look at their recent works, it is clear that their style was well established in BGC, which lead to their recent works. I feel that the times have finally caught up to BGC, there are fans of it around the world who find it precious; not many titles can boast that.

Technically, it was still quite immature, however, but I think that it was a representative work of so-called “Japanimation.” And I pride myself that for having created one of seminal works in the genre. It was a project with many deep memories for me, so I won’t just let it end with memories alone. So I feel that it would be great if you would continue cheering Bubble on.