Detonator Orgun

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Detonator Orgun
Detonator Orgun DVD Cover.jpeg
Cover of English Detonator Orgun DVD
デトネイター・オーガン
(Detoneitā Ōgan)
Genre Adventure, Mecha
Original video animation
Directed by Masami Ōbari
Produced by Noburo Ishida
Satoshi Koizumi
Takanori Yaegaki
Written by Hideki Kakinuma
Music by Susumu Hirasawa
Studio Anime International Company, Artmic
Licensed by
Released July 25, 1991March 25, 1993
Runtime 48 to 56 minutes per episode
Episodes 3
Light novel
Written by Hideki Kakinuma
Published by Kadokawa Shoten
Imprint Sneaker Bunko
Original run August 1991March 1992
Volumes 3
Game
Developer Hot B
Publisher Hot B
Genre Adventure
Platform Mega-CD
Released July 31, 1992
Anime and Manga portal

Detonator Orgun (Japanese: デトネイター・オーガン Hepburn: Detoneitā Ōgan?) is a 1991 Japanese original video animation series by AIC and Artmic, directed by Masami Ōbari with character designs by Kia Asamiya, working under his real name Michitaka Kikuchi. The series was originally going to be called Ginsō Senshi Ōgu (銀走戦士オーグ?), a homage to Tekkaman; the robot's name was later changed to Orgun as a tribute to Hulk Hogan. A month before the first episode's release in Japan, a making of VHS tape with cast & crew interviews marked "episode 0" was released exclusively in Japan. It was released on DVD by Central Park Media in the United States in 2001 (re-released in 2003 with a lower MSRP), by Happinet Pictures in Japan on 2002 (in a limited edition boxset with episode 0) and by Manga Entertainment in the United Kingdom in 2003. Besides the series, Orgun also appeared on the video game Super Robot Wars W.

Plot[edit]

Part 1 - Birth[edit]

Tomoru Shindo is a college student in City 5. Only months away from graduating, he cannot decide what he wants to do with his life. He ponders joining the Earth Defense Force (EDF). Tomoru begins having strange dreams where he is protecting a woman from mecha monsters. He also dreams about a mecha named Orgun fleeing from other mechas. They attack Orgun on the moon and are destroyed.

The supercomputer I-ZACK informs a professor, Kanzaki, that it is receiving signals from the moon. A meteor enters the Earth's atmosphere and is headed for City 5, when it suddenly changes course and splashes down in the ocean. The Earth Defense Force deploys a squadron of "bird-man" aircraft to investigate. The EDF bird-men engage the object, a hostile mecha, but cannot defeat it.

Without fully understanding the process, Kanzaki and I-ZACK have rebuilt Orgun's body, which wakes up and breaks out of its underground lab. Tomoru and Professor Kanzaki try to get to a vantage point to see the alien attacker, which targets them. The situation turns into a replica of one of Tomoru's dreams. Orgun shows up and invites Tomoru to fight. He takes the offer, joins with the mecha and defeats the invader, as well as a second one that has appeared.

After the battle Tomoru is released from the mecha. He has gained alien memories from the experience, saying the mecha's name is Orgun and that he has travelled 260 million years to get to Earth. Orgun is of the same race as the invaders, a species known as the Evoluders.

Part 2 - Pursuit[edit]

The EDF builds replicas of Orgun to defend Earth. It is revealed that the Evoluder are descendants of a space probe launched 200 years in the past. Due to the effects of special relativity, they have experienced millions of years of dilated time. The harshness of space has evolved them into half-human, half-machine hybrids. Some of the Evoluder have humans linked to them such as the oracle Kumi Jefferson with the Evoluder leader Mhiku, and Tomoru Shindo with the rebel Orgun.

Part 3 - Showdown[edit]

The Evoluders attack Earth. They are eventually repelled by the EDF and Orgun. Zoa, the Evoluder military commander, ignores the orders of Mhiku, whom he has installed as a puppet regent, and personally joins the fight. He fires the main anti-matter cannon, but Orgun stops it with his Grand Cross attack, which requires sunlight. Orgun dies in the process, while Tomoru survives. Zoa is killed and Mhiku resumes ruling the Evoluders, who peacefully leave Earth. Tomoru and Kanzaki walk off into the sunset.

Characters[edit]

  • Youko Mitsurugi
    • Voiced by: Emi Shinohara / Katherine Devaney (US) / Sara Williams (UK)
  • I-Zack
    • Voiced by: Nobuo Tanaka / Justin Thompson (US)
  • Professor Michi Kanzaki
    • Voiced by: Yumi Tōma / Angela Parks (US) / Joanna MacInnes (UK)
  • Bannings
  • Commander Zoa
    • Voiced by: Kenji Utsumi / Matthew Bray (US) / William Roberts (UK)
  • Simmons
    • Voiced by: Norio Wakamoto
  • Foreston (フォレストン?)
  • Nokku
    • Voiced by: Toshihiko Seki / Corey Carthew (US) / Daniel Marinker (UK)

Music[edit]

Detonator Orgun 1
ORIGINAL VIDEO ANIME SOUNDTRACK
Soundtrack album by Susumu Hirasawa
Released July 25, 1991 (1991-07-25) (1)
October 25, 1991 (1991-10-25) (2)
March 25, 1992 (1992-03-25) (3)
Genre
Label Polydor K.K.
Producer
  • Susumu Hirasawa
  • Yūichi Kenjo (Executive)
Susumu Hirasawa soundtrack chronology
Detonator Orgun
(1991 – 1992)
Glory Wars
(1993)
Singles from Detonator Orgun 1
  1. "Bandiria Travellers [Physical Navigation Version]"
    Released: June 25, 1991 (1991-06-25)
Following episodes
Detonator Orgun 2
Detonator Orgun 3

Susumu Hirasawa wrote and performed all the music for the OVA, in his film score composer debut. Similarly to his solo albums Water in Time and Space, The Ghost in Science and Virtual Rabbit, Hirasawa mixed together electronic and symphonic sounds, using elements across a broad range of music styles, with a large focus on Classical music. At the time, Hirasawa thought of anime and movie soundtracks only as enhancements and not as standalone works, and made the soundtracks considering it as "a job" and "entertainment", employing an epic tone and dramatic exaggeration in his composing.[1] He drew songwriting elements from his solo albums throughout the soundtrack, and used already-made songs from them as ending themes and insert songs.

Hirasawa eventually got tired of working on the series, and considers Detonator Orgun 3 to be the worst album of his solo career, yet also considers the experience helpful in making the music for the Berserk series[2] and regards the "grand and delicate" technique for orchestral tones he developed through this soundtrack as guidance for his later works in general. Series writer Hideki Kakinuma enjoyed the soundtrack, later commissioning Hirasawa to compose for his fantasy manga Glory Wars, this music was later released as an image EP of the same name.

To promote the album, the remix of Bandiria Travellers used as the ending theme of episode 1 was released a month ahead as a single and a sampler Mini CD with the opening and ending themes of episode 1 was distributed to interested parties. Besides the individual episode soundtracks, a drama CD, containing select tracks from the soundtracks and audio from the series itself, was also released.

The series' main theme was included on the 2007 compilation Music For Movies: World of Susumu Hirasawa Soundtracks. Hirasawa had the soundtracks remastered for the 2012 boxset Haldyn Dome; his former record label did the same for the 2014 compilation Symphonic Code (since those were catalog-wide projects, songs that were also present on other albums were omitted to avoid duplication, being either included on earlier discs of the boxset or on the Archetype compilation); Glory Wars ended up bundled together with the soundtracks for these reissues.

Hirasawa has not brought up his soundtracks for the series in his overall career much. In his 1994 shows, the title theme was played over the PA system before they began; Hirasawa usually opened his shows with "Frozen Beach'94", a rearrangement of "YOHKO Mitsurugi" with the lyrics of "Frozen Beach". A studio recording of this version, simply titled "FROZEN BEACH", was released a year later on the Scuba Recycle album.

All songs written and composed by Susumu Hirasawa. "Bandiria Travellers" & "SUNSET" have string & choral arrangements by Hirasawa & Kayo "Kokubo" Matsumoto. "Root of Spirit" titled by Toshiaki Minejima with string arrangement by Jun Miyake

Detonator Orgun 1
No. Title Length
1. "DETONATOR ORGUN"   4:12
2. "KUMI Jefferson"   3:38
3. "E.D.F."   3:04
4. "YOHKO Mitsurugi"   2:45
5. "EVOLUDERS"   3:08
6. "City-No.5"   3:06
7. "MICHI Kanzaki"   2:12
8. "P.A.S.F.U."   1:47
9. "PROPAGANDA of E.D.F."   1:39
10. "MUSEUM"   2:36
11. "FÜHRER MEEK"   3:40
12. "Bandiria Travellers (バンディリア旅行団 Bandiria Ryōkōdan?) (Physical Navigation Version)"   5:01
Detonator Orgun 2
No. Title Length
1. "SUNRISE"   1:11
2. "Clear Mountain Top (山頂晴れて Sanchō Harete?)"   4:08
3. "DETONATOR ORGUN"   4:12
4. "LEAVE"   2:43
5. "NIGHTMARE"   4:44
6. "TERROR"   1:05
7. "YOHKO & TOMORU"   1:16
8. "ORGUN & TOMORU"   0:59
9. "Venus (金星 Kinsei?)"   3:16
10. "LUNGE"   4:33
11. "SUNSET"   4:54
Detonator Orgun 3
No. Title Length
1. "DETONATOR ORGUN"   4:12
2. "PROPAGANDA of E.D.F. II"   0:32
3. "DREAM QUEST"   3:30
4. "DUAL MIND"   1:03
5. "TOMORU & MICHI"   1:12
6. "Water in Time in Space (時空の水 Jikū no Mizu?) (Full Size)"   4:01
7. "ZORMA"   0:42
8. "SPACE FORCE"   1:11
9. "CLIMAX"   5:05
10. "HOPE"   0:32
11. "Root of Spirit (魂のふる里 Tamashii no Furusato?)"   5:43

Personnel[edit]

Reception[edit]

Ben Carlton of Manga Mania praised the series' art; "Tomoru lives in a future world which is bright, clean, and scarily antiseptic. The military look like plastic toys in their chunky armour and craft. [...] skies are as rich and beautiful as any in Macross Plus [...]", also noting that "Tomoru's world is also sharp and crisp as only anime can make it, with every edge and colour defined, giving more tension to the robot battles and dream sequences, where with every major change or impact the image loses definition in a sudden blur of brightness or shadow." On the other hand, Carlton criticized the UK dub's mixing, describing it as "sadly, disappointing, with uneven levels and what sounds like some nice music almost drowned out."[3]

Helen McCarthy in 500 Essential Anime Movies called the anime an "intriguingly fresh take on the traditions of giant robot shows", noting that three "hour-long episodes allow plenty of time to develop concepts and characters".[4]

Paul Thomas Chapman, writing retrospectively for Otaku USA, criticized the series, stating that "it starts off dull, proceeds to take an interesting twist and mangle it beyond recognition, and concludes in a manner that can only be described as complete and utter nonsense, even by anime standards;" When he talks about a scene where Kumi moves the sun with telekinetic powers, Chapman states "I don’t have enough exclamations points to describe how ridiculous that is." Comparing the series the other works by its staff, he notes that "it’s no surprise that the themes explored in Detonator Orgun—trans-humanism, the loneliness of space, the cyclical nature of history, and the sense of futility experienced by cultures consumed by war—are so similar to those explored in Gall Force [...] But whereas Gall Force felt like a sincere work of popular science fiction, Orgun feels like [Hideki] Kakinuma repeating himself, chewing over an idea he’s already examined more thoroughly and with greater skill. As for future utopias and transformation as a metaphor for self-actualization, I’ve seen this kind of imagery from Masami Obari before and since," comparing the series to Angel Blade. The 2001 DVD release of the series is also criticized, described as "a mediocre Telecine transfer with noticeable rainbow artifacting."[5]

References[edit]

  1. ^ Hirasawa, Susumu (2012). Haldyn Dome (liner notes) (in Japanese). Chaos Union, TESLAKITE. CHTE-0061. 
  2. ^ "RocketBaby's interview w/Susumu Hirasawa". RocketBaby. Neo Cosmic Industries. Retrieved 3 March 2001. 
  3. ^ Carlton, Ben (1997). "postmortem". Manga Mania (London: Titan Magazines) (42): 83. ISSN 0968-9575. 
  4. ^ McCarthy, Helen (2008). 500 Essential Anime Movies: The Ultimate Guide. Harper Design. p. 55. ISBN 978-0061474507. 
  5. ^ Chapman, Paul Thomas. "The Vault of Error: Detonator Orgun". Otaku USA. Sovereign Media. 

External links[edit]