Royal Space Force: The Wings of Honnêamise

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Royal Space Force: The Wings of Honnêamise
Royal Space Force Poster.jpg
Japanese theatrical release poster
Japanese王立宇宙軍 オネアミスの翼
HepburnŌritsu Uchūgun: Oneamisu no Tsubasa
Directed byHiroyuki Yamaga
Produced byHirohiko Sueyoshi
Hiroaki Inoue
Written byHiroyuki Yamaga
StarringLeo Morimoto
Mitsuki Yayoi
Music byRyuichi Sakamoto
Yuji Nomi
Koji Ueno
Haruo Kubota
CinematographyHiroshi Isagawa
Edited byHarutoshi Ogata
Production
company
Distributed byToho Towa
Release date
  • 14 March 1987 (1987-03-14)
Running time
119 minutes
CountryJapan
LanguageJapanese
Budget¥800 milion
Box office¥347 million

Royal Space Force: The Wings of Honnêamise (王立宇宙軍 オネアミスの翼, Ōritsu Uchūgun: Oneamisu no Tsubasa) is a 1987 Japanese animated science fiction film that marked the cinematic feature debut of Gainax. It was written and directed by Hiroyuki Yamaga. The film was released on 14 March 1987 and grossed only modestly in the box office.[1] Since then, it has received very positive reviews.[2][3][4][5]

A sequel was intended to be released set 50 years later, but due to lack of funds, Gainax abandoned it part way through production; former president of Gainax Toshio Okada cited a fundamental dissatisfaction with the script and plot.[6] However, it was announced in March 2013 that the sequel is in production once again.[7]

Plot[edit]

On an alternate Earth, an industrial civilization is flourishing amid an impending war between two bordering nations: the Kingdom of Honneamise and "The Republic".

Shirotsugh Lhadatt is an unmotivated young man who has drifted into his nation's lackadaisical space program. After the death of a fellow astronaut, he nurtures a close acquaintance with a young religious woman named Riquinni Nonderaiko. Seeing Lhadatt as a prime example of what mankind is capable of, and understanding the godliness and ground-breaking nature of his work, she inspires him to become the first man in space.

His training as an astronaut parallels his coming of age, and he and the rest of the members of the space project overcome technological difficulties, doubt, the machinations of their political masters, and a botched assassination attempt by the enemy nation. Amidst the debacle, Lhadatt becomes worn out by the overbearing publicity, prompting him to stay with Riquinni for a while; he then comes close to raping her one night while catching her undressing, causing a temporary rift between them that is later mended, thanks to Riquinni's kindness.

These events culminate in the eventual space launch, which is taking place in a demilitarized zone, with the government's hope that the launch of the rocket will provoke the enemy nation into war. As planned, the Republic military launches an invasion, resulting in fighter planes dueling high above an armored advance towards a defensive trench network.

Despite calls to pull out, Lhadatt — already in the space capsule and determined to finish what he started — convinces the frightened and vulnerable ground crew to complete the launch. The spectacular launch stuns both sides into inaction as Lhadatt goes into orbit. As his capsule orbits the earth, Lhadatt prays for humanity's forgiveness.

In a symbolic moment, Lhadatt's capsule is suddenly bathed in sunlight, and a montage of his own life and his world's history and achievements are shown. Meanwhile, on the planet's surface, Riquinni witnesses the first snow fall and gazes into the sky.

Cast[edit]

Character Japanese English dub
Shirotsugh Lhadatt Leo Morimoto David A. Thomas
Riquinni Nonderaiko Mitsuki Yayoi Patricia Ja Lee
Manna Nonderaiko Aya Murata Wendee Lee
Marty Tohn Kazuyuki Sogabe Bryan Cranston
General Khaidenn Minoru Uchida Steve Bulen
Dr. Gnomm Chikao Ōtsuka Michael Forest
Kharock Masato Hirano Tom Konkle
Yanalan Bin Shimada
Darigan Hiroshi Izawa Stephen Apostolina
Domorhot Hirotaka Suzuoki Jan Rabson
Tchallichammi Kouji Totani Christopher de Groot
Majaho Masahiro Anzai Tony Pope
Nekkerout Yoshito Yasuhara Dan Woren
Prof. Ronta Ryūji Saikachi Kevin Seymour

Production[edit]

Honnêamise was based on a story by Hiroyuki Yamaga. A four-minute short The Royal Space Force was funded by Gainax and presented to Bandai Visual who were planning to enter the film-making industry. Bandai president Makoto Yamashina approved an 800 million yen budget for a full-length film, the record for an anime film at the time. The key staff travelled to the United States for aviation and spacecraft research, including the launch of Space Shuttle Discovery. Production began on the film after their return in September 1985.[8]

All the characters were designed by Yoshiyuki Sadamoto. Hideaki Anno worked as special effects artist and as part of the animation design staff. Both Anno and Sadamoto would gain notoriety after working together in Neon Genesis Evangelion years later. Famous musician and actor Ryuichi Sakamoto created most of the film score.

Release[edit]

The initial advertising campaign in 1987 was structured to make the film seem like Nausicaä of the Valley of the Wind. Executive producer Toshio Okada said in a 1995 interview, “Toho/Towa was the distributor of The Wings of Honneamise, and they didn’t have any know-how, or sense of strategy to deal with the film…And they were thinking that this film must be another Nausicaä of the Valley of the Wind, because Nausicaä was the last ‘big anime hit.’ But when they finally saw Wings, they realized it was not another Nausicaä [PANICKED SCREAM] and they thought, ‘Okay, okay…we’ll make it Nausicaä in the publicity campaign!” [9] Assistant director Takami Akai likewise stated on the 2000 DVD release, “The PR department didn't really seem to understand the film. They have a tendency to make a new release interesting by making it appear similar to a film that was previously a hit."[10] Writer/director Hiroyuki Yamaga remarked that, "There was no precedent in advertising a film like ours at the time. When they are asked what type of a film it is, they can only compare it to something like Nausicaä. It's actually completely different. But Nausicaä at least served as a reference when we were asked to describe our film. If it wasn't for that precedent, there would have been no reference point at all. We could never have explained why it was animated or why it was a theatrical release, or much of anything about it."[11] Jonathan Clements, in a 2013 history of the anime industry, devotes three pages to the issues surrounding the distribution and exhibition of Wings in Japan, remarking, "the promotions unit did everything in their power to make Honneamise appeal to precisely the same audience as Nausicaä, even if that meant misleading advertising."[12]

The world premiere of the film was held in the United States on February 19, 1987, when it screened at Mann's Chinese Theater in Hollywood. The event, covered by the Japanese news media, was intended to help build publicity for the film’s March 14 release to theaters in Japan.[13] The version of the film shown at the world premiere was an English dub prepared for the occasion with the title Star Quest.[14] The Star Quest dub was remarked upon for its differences from the original film; in particular its use of “Americanized” names for the characters and changes to their motivations: as examples, in Star Quest, Riquinni, now known as “Diane,” opposes the space project from the beginning, whereas Shirotsugh, now known as “Randy,” is more positive toward it[15] while the superiors of General Khaidenn, now known as “General Dixon,” wish to use the rocket launch not as a provocation for war, but as a peace overture.[16] Toshio Okada, who had attended the world premiere event together with writer/director Hiroyuki Yamaga,[17] “concluded that a market did indeed exist in America for well-dubbed and subtitled animation,” and after discussions with Bandai prepared a subtitled 16 mm film version of the film to be shown at the 1988 Worldcon in New Orleans, with the subsequent aim of making a “budget-priced videotape version” available in the United States.[18]

In 1994, a new English dub of the film was made by Manga Entertainment using its original 1987 Japanese theatrical release title, The Wings of Honneamise: Royal Space Force. Previously active releasing anime in the United Kingdom, the dub of Honneamise was Manga’s debut project upon entering the US anime market.[19] The new English dub showed in over 20 movie theaters during 1994-95 in a 35 mm film version distributed by Tara Releasing[20][21] and in June 1995 the film was released by Manga Entertainment in separate dubbed and subtitled VHS versions[22] followed in January 1997 by a bilingual closed-captioned laserdisc release by Manga Entertainment and Pioneer LDCA.[23]

The 2000 release by Manga Entertainment on DVD, which features commentary by Hiroyuki Yamaga and Takami Akai, was severely criticized for its poor quality.[24][25][26][27] Bandai Visual released a Blu-ray/HD DVD version during its 20th anniversary, 11 September 2007, drawing on the remastered 1997 DVD release in Japan. However, it lacks the commentary. It is now out of print. Maiden Japan re-released the movie separately on Blu-ray and DVD on 15 October 2013.[28]

The film's initial release in the United Kingdom on VHS in 1995 by Manga Entertainment was cut to remove the attempted rape scene, in order to receive a PG certificate from the BBFC.[29] Anime Limited distributed and released the film on Blu-ray and DVD on 23 March 2015 in the United Kingdom, passed 15 uncut.[30]

Critical response[edit]

Cover art of the 2007 HD DVD release by Bandai Visual

Honneamise ranked high in major annual retrospectives awarded by the Japanese anime press. The film won the Japan Anime Award for best anime release of 1987, chosen by an industry jury and sponsored by a consortium of magazines including Animedia, OUT, My Anime, The Anime, and Animec.[31] In the Anime Grand Prix fan poll rankings, sponsored by Animage magazine, Honneamise made two of the year's top ten lists: voted #4 anime release of 1987, with Shirotsugh Lhadatt as #9 male character,[32] in addition to receiving an Animage Award presented that year by the magazine to the film itself.[33][34] In 1988, Honneamise won the Seiun Award, Japan's oldest prize for science fiction, for Best Dramatic Presentation of the previous year.[35]

Tetsuo Daitoku, editor of the anime magazine OUT, reviewed Royal Space Force for Japan’s oldest film journal, Kinema Jumpo, in their March 15, 1987 issue.[36] Daitoku wrote that he began watching the movie wondering why the young creative staff on the movie, “a new kind of people in anime,” had choosen to use the “well-worn subject” of space travel, which had already been the focus of such iconic works as Space Battleship Yamato, not to mention live-action films such as The Right Stuff. Daitoku however found the question in his mind being removed “little by little” as the film progressed: “Mankind has indeed gone beyond the terrestrial, and has landed on another world physically, but did their conscience and mentality also go beyond the terrestrial?”[37] He felt the movie acknowledged the issue and therefore took it as “necessary to observe the history and civilization of mankind from [a point] where the whole Earth can be seen…Wings of Honneamise has this kind of motif at its very bottom. It is obvious from the scenes where they look at the real history of mankind, not from the different world [of space] that is shown at the end of the film.” By “taking full advantage of the unique medium of animation,” the creators “observe civilization objectively first and then disassemble it to eventually restructure it”…“creating the different world by newly creating everything,” down to the spoons, in the example Daitoku gives. “Stories that feature cool machines, robots, and attractive characters, with the plot unfolding while drifting through space, already reached their peak in a sense with the [1984] Macross movie. Rather than trying to go beyond Macross, I think the creators of this film believed that they could find a new horizon for anime by creating a different world in a way that draws the story closer to Earth again.”[38]

Crtical reaction to the English-dubbed version of the film during its 1994-95 theatrical release was greatly divided, with reviews differing widely on the film’s plot, themes, direction, and designs. The San Jose Mercury News's Stephen Whitty gave a one-star review, writing that the film offered “nothing really original…nothing’s ever really at stake; there’s never a resolution because there’s never any conflict to begin with…And there’s also the same misogyny that ruins so much ‘adult’ animation.” Whitty also perceived “self-loathing stereotypes” in the character designs: “The only characters who look remotely Japanese are comical or villainous; the hero and heroine have Caucasian features and big, cute, Hello Kitty eyes.”[39] A very similar perception was advanced by LA Village View's Sean O’Neill: “nearly all the good guys look white, with big, round, Walter Keane-style eyes, while the villains are sinister Asians, straight out of a WWII-era American movie. Is this an example of Japanese self-loathing, or does it simply underscore the international prevalence of Western standards of beauty?”[40] The Dallas Morning News's Scott Bowles had a more fundamental disagreement with the film’s approach as an anime, comparing it to attempts to “commercialize punk music” that instead “stripped the music of its anger, vitality and interest…face it, anime, and the manga (Japanese comic books) that inspire them are pretty scurrilous pop art forms. Filled with perfectly sculpted heroes, large-breasted and often naked women and lots and lots of violence, they’re forms best appreciated by 13-year old boys. And in trying to appeal to a broader audience, writer/director Hiroyuki Yamaga has smoothed out anime’s rough edges so much that what he’s left with is about as interesting as a Formica counter top,” recommending instead that audiences see “a far more representative anime, Fist of the North StarFist has few of the pretensions of Wings and it’s driven along with an energy its better-dressed cousin never attains.”[41]

More favorable contemporary reviews tended to regard the film as unconventional while nevertheless recommending the movie. The Fort Worth Star-Telegram's Andy Grieser wrote that the film “blends provocative ideas and visual beauty…The world of Wings is a bawdy, claustrophobic Sodom reminiscent of the hybrid Japanese-American city in 1982’s Blade Runner.”[42] F.X. Feeney wrote in LA Weekly, “These strange, outsize pieces fuse and add a feeling of depth that cartoon narratives often don’t obtain…Technical brilliance aside, what gives The Wings of Honneamise its slow-building power is the love story—a mysterious and credible one.”[43] Richard Harrington in The Washington Post viewed its two-hour length as “a bit windy” but also asserted, “Hiroyuki Yamaga's The Wings of Honneamise is a spectacular example of Japanimation, ambitious and daring in its seamless melding of color, depth and detail.”[44] Roger Ebert of the Chicago Sun-Times gave the film three stars out of four, writing: “One of the pleasures of the film is simply enjoying Yamaga's visual imagination, as in a montage at the end, which shows the planet's suffering and turmoil,” and remarked on his “offbeat dramatic style”…“If you’re curious about anime, The Wings of Honneamise, playing for one week at the Music Box, is a good place to start.”[45] Chris Jones of The Daily Texan gave it four stars out of five; while describing the film as “really strange,” Jones nevertheless urged readers to see the movie, writing, “I really liked this film more than any other animation I’ve seen and more than most other ‘real’ films. Depth and intelligence are written into it in more ways than words can describe.”[46] In the United Kingdom, Jonathan Romney, writing in The Guardian, regarded the movie as the standout of an anime festival at London’s National Film Theatre: “One film in the season, though, proves that anime can be complex and lyrical as well as exciting. Hiroyuki Yamaga’s Wings of Honneamise…Creaky dubbing notwithstanding, it beats recent Disney offerings hands down.”[47]

Following its initial English-language release in the mid-‘90s, later retrospectives on anime have had a positive view of Royal Space Force: The Wings of Honneamise. In a 1999 issue of Time, former Film Comment editor-in-chief Richard Corliss wrote an outline on the history of anime, listing under the year 1987 the remark, “The Wings of Honneamise is released, making anime officially an art form.”[48] In the 2006 edition of The Anime Encyclopedia, Jonathan Clements and Helen McCarthy characterized the film as “one of the shining examples of how cerebral and intelligent anime can be.”[49] Simon Richmond, in 2009's The Rough Guide to Anime, wrote that the film’s “reputation has grown over time to the point where it is justly heralded as a classic of the medium.”[50] whereas in 2014’s Anime, Colin Odell and Michelle Le Blanc described the movie as “an example of science-fantasy anime as art-film narrative, combined with a coming-of-age drama that is intelligent and thought-provoking.”[51] In a 2017 Paste listing of the 100 best anime movies of all time, Adult Swim senior vice president and on-air creative director Jason DeMarco ranked the film at #11, remarking, “If The Wings of Honnêamise is a 'noble failure,' it’s the sort of failure many filmmakers would kill to have on their résumé.”[52]

Sequel[edit]

In March 1992, Gainax had begun planning and production of an anime movie called Uru in Blue (蒼きウル, Aoki Uru), which was to be a sequel to Royal Space Force: The Wings of Honnêamise set 50 years later (so as to be easier to pitch to investors[53]) which, like the original film, would follow a group of fighter pilots. Production would eventually cease in July 1993: a full-length anime movie was just beyond Gainax's financial ability – many of its core businesses were shutting down or producing minimal amounts of money:

"General Products had closed shop. We'd pulled out of Wonder Festival [a "flea market for garage kits"] and garage kit making altogether. We weren't taking on any subcontracting work for anime production. We did continue to make PC games – Akai had seen to that – but there wasn't a lot of work tossed our way. With mere pennies coming in, we were having a hard enough time just paying everyone's salaries. Finally the order came down for us to halt production on Aoki Uru. We were simply incapable of taking the project any further."[54]

With the failure of the project, Hideaki Anno, who had been slated from the beginning to direct Aoki Uru, was freed up. Legendarily, he would soon agree to a collaboration between King Records and Gainax while drinking with Toshimichi Ōtsuki, a representative at King;[55] with King Records guaranteeing a time slot, Anno set about making the anime. Unsurprisingly, elements of Aoki Uru were incorporated into the nascent Neon Genesis Evangelion:

"One of the key themes in Aoki Uru had been "not running away." In the story, the main character is faced with the daunting task of saving the heroine … He ran away from something in the past, so he decides that this time he will stand his ground. The same theme was carried over into Evangelion, but I think it was something more than just transposing one show's theme onto another …"[56]

Gainax has periodically attempted to restart Aoki Uru, such as releasing a 1998 CD with storyboards, a script, and several hundred pieces of art,[57] and a 2000 release of a mod to Microsoft Flight Simulator.[58]

At the 2013 Tokyo Anime Fair, Gainax announced that they are finally producing the Blue Uru film with Honneamise veterans Hiroyuki Yamaga as the director and screenwriter and Yoshiyuki Sadamoto as the character designer, but without Hideaki Anno's involvement in the project (given his present work completing the Rebuild of Evangelion for Studio Khara).[7]

In 2014 Gainax President Hiroyuki Yamaga announced at Anime Festival Asia in Singapore more details about Uru in Blue. Instead of the typical Japanese production committee, the sequel will be produced by Uru in Blue LLP, a Limited liability partnership composed of various investors and partners. This LLP is based in Singapore, and they are currently seeking investors. The projected budget is US$40 million, and Yasuhiro Takeda will be a producer. Hiroyuki Yamaga is writing and directing the project with designs by Yoshiyuki Sadamoto. Both had worked together in the same roles in the original 1987 Royal Space Force.[59]

A preview short for Uru in Blue called "Overture" was planned to be released worldwide in 2015. The project team members were also meeting production companies for potential collaboration in Japan, Taiwan, Singapore, South Korea, and the Middle East, aiming to release the final anime worldwide in 2018.[59]

In 2018, Gainax left the project, and Gaina took over production. Gaina has slated the film for a 2022 release.[60]

See also[edit]

References[edit]

  1. ^ "The Wings of Honnêamise is considered one of the top 10 films of 1987 by Japanese film critics and a bittersweet, introspective tale of an incompetent space program staffed by slacker astronauts who are despised by society at large. It was made by an iconoclastic band of talented twentysomethings who called themselves Gainax. The name is a self-mocking contraction of a Japanese word for great with the English word max." "Heads Up, Mickey: Anime may be Japan's first really big cultural export", Issue 3.04 - Apr 1995, Wired Magazine
  2. ^ "1987 The Wings of Honneamise is released, making anime officially an artform." Richard Corliss, 'Amazing Anime', Time magazine; 22 Nov 1999. Vol. 154, Iss. 21; pg. 94
  3. ^ "What emerged on the other side is arguably one of the finest films ever to come out of Japan." Jeff Kleits 2008
  4. ^ "The Wings of Honneamise (preceded by 'Royal Space Force' in the US) is one of those landmark films that everyone should see at least once. Released in 1987, a year before Akira landed, Honneamise is every bit as impressive both artistically and in concept." http://www.dvdtimes.co.uk/content.php?contentid=3544
  5. ^ "Countless lists have this movie in the top 10 anime of all time. This movie is always sold out almost as soon as it hits the shelves. There is a reason for this. People love this movie. It is a thought provoking, deeply philosophical, and well written film..." http://www.dvdvisionjapan.com/wing.html
  6. ^ Horn, Carl G. (1996). "Speaking Once as They Return: Gainax's Neon Genesis Evangelion". AMPlus. Pioneer was at one point to finance a sequel to Honneamise, written by Yamaga and directed by Anno, yet the project fell through because, Okada relates, Yamaga's heart wasn't in what he was writing; his script was becoming a parody.
  7. ^ a b "Gainax Makes Blue Uru Film with Honneamise Yamaga, Sadamoto". Anime News Network. Retrieved 21 March 2013.
  8. ^ "Anime Uk" (16): 8–11.
  9. ^ Carl Gustav Horn (May 1996) [Interview conducted in 1995 at Otakon; note all-caps "[PANICKED SCREAM]” and emphasized words were part of the sourced quotation.]. "The Conscience of the Otaking: The Studio Gainax Saga in Four Parts, Part 4". Animerica. Vol. 4 no. 5. Viz Communications, Inc. p. 9.
  10. ^ Takami Akai (assistant director) (2000). Royal Space Force: The Wings of Honneamise (Director’s Commentary) (DVD). Manga Entertainment. Event occurs at 40:40.
  11. ^ Hiroyuki Yamaga (writer/director) (2000). Royal Space Force: The Wings of Honneamise (Director’s Commentary) (DVD). Manga Entertainment. Event occurs at 41:22.
  12. ^ Clements, Jonathan (2013). Anime: A History. Palgrave Macmillan. p. 173. ISBN 978-1-84457-390-5. As one example, Okada cites...the 'insect incident', in which the artist Sadamoto Yoshiyuki was commissioned to draw an image of a giant spider-beetle attacking the city from the film. The insect in question only appeared in the film as a finger-length child's pet, although the advert gave the impression that it would grow into a house-sized behemoth equivalent to the giant ohmu in Nausicaä. Okada was incensed, not only at the apparent conspiracy to mislead audiences about his film, but that the producers would assent to wasting the time of Sadamoto, who spent three days on the commission.
  13. ^ Fred Patten (March–April 1987). "Japan's 'Star Quest' Premieres in U.S.". Animation News. Vol. 1 no. 2. p. 3.CS1 maint: Date format (link)
  14. ^ Fred Patten (March–April 1987). "Japan's 'Star Quest' Premieres in U.S.". Animation News. Vol. 1 no. 2. p. 3.CS1 maint: Date format (link)
  15. ^ Toren Smith (1987). "Wings of Oneamis". Anime-Zine. No. 2. Minstrel Press, Inc. pp. 28–29.
  16. ^ Michael Ebert; Toshifumi Yoshida; David Riddick; Robert Napton; Toren Smith (Spring 1987). "Wings of Oneamis". Animag. No. 3. p. 35.
  17. ^ Michael Ebert; Toshifumi Yoshida; David Riddick; Robert Napton; Toren Smith (Spring 1987). "Wings of Oneamis". Animag. No. 3. p. 33.
  18. ^ "Subtitled Wings of Oneamis". Animag. No. 4. 1988. p. 7.
  19. ^ Carl Gustav Horn (January 1995). "Winging its Way to a Theater Near You". Animerica. Vol. 3 no. 1. Viz Communications, Inc. p. 14.
  20. ^ Carl Gustav Horn (January 1995). "Winging its Way to a Theater Near You". Animerica. Vol. 3 no. 1. Viz Communications, Inc. p. 14.
  21. ^ Carl Gustav Horn (March 1995). "Wings of Honneamise Update". Animerica. Vol. 3 no. 3. Viz Communications, Inc. p. 60.
  22. ^ "Out of the Blue and Into the Black: The Wings of Honneamise". Animerica. Vol. 3 no. 6. Viz Communications, Inc. June 1995. p. 16.
  23. ^ "Animerica Radar". Animerica. Vol. 5 no. 1. Viz Communications, Inc. January 1997. p. 15.
  24. ^ "The Manga Entertainment DVD of Wings of Honneamise is widely reviled as a poster child for poor compression and authoring. From the horrific telecine to the double flagging, fake anamorphic and the ludicrous edge halos, many professionals I've shown it to couldn't believe it ever was released at all, as The VHS looks better in many cases." http://www.thedigitalbits.com/reviewshd/wingsjinbrd.html
  25. ^ https://web.archive.org/web/20070808040401/http://www.inwards.com/woh/
  26. ^ "...the print Manga have sourced shows frequent signs of ageing. Dust, hairs, cigarette burns (as they are known in the industry) at reel changeovers, it is all here and all faults make frequent appearances. There really has been zero effort put into remastering this print which is a great shame, and the encoding is again quite poor, resulting in a picture that loses out on a lot of detail due to an overall softness (edging on blurriness) that kills the kind of clarity this film requires...but on the whole for fans this release is a definite disappointment." DVDTimes 2001
  27. ^ Brian Hanson stated simply that "the transfer looks like ass"
  28. ^ "Maiden Japan to Release Royal Space Force Film on DVD/BD in October". Anime News Network. Retrieved 27 June 2013.
  29. ^ http://www.melonfarmers.co.uk/arbpanim.htm
  30. ^ https://www.amazon.co.uk/Wings-Honneamise-DVD-Bryan-Cranston/dp/B00M97DW48/ref=sr_1_2?ie=UTF8&qid=1422552663&sr=8-2&keywords=wings+of+honneamise
  31. ^ Founded in 1981, Animedia is Japan's second oldest remaining anime magazine after Animage, although it is perhaps better known for its spinoff magazine focusing on bishōjo characters, Megami. Royal Space Force: The Wings of Honneamise (DVD). Back cover: Manga Entertainment. 2000.
  32. ^ "Dai 10-kai Anime Grand Prix [10th Anime Grand Prix]". Animage. Tokuma Shoten. June 1988.
  33. ^ Royal Space Force: The Wings of Honneamise (DVD). Back cover: Manga Entertainment. 2000.
  34. ^ The Animage Award was a special recognition prize, formerly a part of the Anime Grand Prix; although usually awarded to an anime, it was also sometimes given to an industry figure. "Dai 10-kai Anime Grand Prix [10th Anime Grand Prix]". Animage. Tokuma Shoten. June 1988.
  35. ^ Royal Space Force: The Wings of Honneamise (DVD). Back cover: Manga Entertainment. 2000.
  36. ^ Note the article's title does not use isekai in its modern connotation of a story genre where the main character is someone transported to another world; here it simply refers to the idea of another, alternate world itself. Tetsuo Daitoku (March 15, 1987). "Isekai no Don Quixote wa datsu chikyū no yumewomiru ka? [The Don Quixote of Another World: Does He Dream of Going Beyond the Earth?]". Kinema Jumpo. No. 956. Kinema Jumpo Sha Co., Ltd. pp. 80–81.
  37. ^ Tetsuo Daitoku. "Isekai no Don Quixote wa datsu chikyū no yumewomiru ka?". Kinema Jumpo. No. 956. p. 80.
  38. ^ Tetsuo Daitoku. "Isekai no Don Quixote wa datsu chikyū no yumewomiru ka?". Kinema Jumpo. No. 956. p. 81. 「かっこいいメカやロボット、魅力的なキャラクターが登場し、宇宙を漂流しながら物語が展開していくという話は、ある意味では映画『マクロス』で一つの頂点に到達してしまっている。『マクロス』の先を進むことよりも、もう一度より地球に物語を引きつけた形で別の世界を創出するこどの方が、アニメ映画の新しい地平がひらけるのではないかという目論見はこの映画の創り手たちにあったと思うのである。」
  39. ^ Whitty, Stephen (December 2, 1994). "A journey to no place special". San Jose Mercury News. p. 9.
  40. ^ O’Neill, Sean (March 10–16, 1995). "Broken Wings Is Offensive". LA Village View. p. 18.CS1 maint: Date format (link)
  41. ^ Bowles, Scott (November 28, 1994). "Animated 'Wings' looks good but isn't". Dallas Morning News. pp. 11C.
  42. ^ Grieser, Andy (June 24, 1995). "'Wings' of wonder video blends provocative ideas and visual beauty". Fort Worth Star-Telegram. p. 3.
  43. ^ Feeney, F.X. (March 10–16, 1995). "The Wings of Honneamise". LA Weekly. p. 55.CS1 maint: Date format (link)
  44. ^ Harrington, Richard (December 23, 1994). "'Wings': Soaring Animation". The Washington Post. pp. D6.
  45. ^ Ebert, Roger (May 12, 1995). "The Wings Of Honneamise". rogerebert.com (originally published in the Chicago Sun-Times). Archived from the original on April 24, 2010. Retrieved January 14, 2010.
  46. ^ Jones, Chris (April 3, 1995). "Japanimation flies high in 'Honneamise'". The Daily Texan. p. 5.
  47. ^ Romney, Jonathan (May 4, 1995). "Manga for all seasons: A festival at the NFT shows there is more to Japan's cult anime movies than misogyny and apocalyptic animation". The Guardian. pp. T15.
  48. ^ Corliss, Richard (November 22, 1999). "Amazing Anime". Time. p. 96.
  49. ^ Clements, Jonathan; Helen McCarthy (2006). The Anime Encyclopedia: A Guide to Japanese Animation Since 1917—Revised & Expanded Edition. Stone Bridge Press. p. 726-727. ISBN 978-1-611720-18-1.
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  56. ^ pg 165 of Takeda 2002
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External links[edit]