From Char’s Counterattack to Penning Hathaway’s Flash:
The World Yoshiyuki Tomino Wove Together

As we count down to the May 7th (Friday) premiere, we’re kicking off our Mobile Suit Gundam: Hathaway’s Flash special feature series. In this issue, we sit down with Shinichiro Inoue from KADOKAWA, who was Tomino’s editor at Monthly Newtype back in the day, and Naohiro Ogata, producer at Sunrise Studio 1, who’s bringing the anime to life. We delve into the inception of the Hathaway’s Flash novel, uncover writing anecdotes, and explore the dual roles of Yoshiyuki Tomino as both anime director and author. Plus, we reveal the surprising circumstances surrounding Char’s Counterattack – a film that could have potentially put a period on the entire Gundam series!

CHAR’S COUNTERATTACK WAS ORIGINALLY THE THEME OF ZETA GUNDAM

――Char’s Counterattack hit theaters in ’88. We all remember the fever pitch excitement at its release. What was the atmosphere like among Director Yoshiyuki Tomino and the team as they geared up for the premiere?

Inoue: It’s hard to believe it’s been 33 years since then. The TV series Gundam ZZ had wrapped up in January ’87, and I heard whispers of this new project started circulating towards the end of that run. Now, this might shock today’s Gundam fans, but back then, there was this pervasive feeling that “this could be the last Gundam ever.” I think that’s why Tomino had this burning desire to give Amuro and Char their final showdown, to create this magnum opus for Gundam, you know?

Ogata: I wasn’t with Sunrise at the time, but from what I gathered, things were pretty dicey for the company during the Zeta and ZZ era. Not because of Gundam, mind you, but the whole anime industry was in a bit of a rough patch.

Inoue: Exactly, and that’s why Tomino was feeling the heat. Look, the guy’s not one to prioritize merchandise over art, but seeing those numbers? It was getting to him, I could tell. The original Mobile Suit Gundam was a sleeper hit that took off in reruns, but Zeta had to be an instant success. I’m sure he agonized over the plot, and even then, I think he felt it didn’t quite hit the mark. With Char’s Counterattack, I sensed this drive to take what didn’t work in Zeta, restructure it, and finally give Amuro and Char the resolution they deserved.

Ogata: It’s funny you mention that, because at the World of Yoshiyuki Tomino exhibit, there’s this early Zeta proposal that’s literally titled “Char’s Counterattack.”

Inoue: That’s right. In Tomino’s original vision, the very essence of Char’s Counterattack was meant to be the core of Zeta. When I first laid eyes on the plot for the film, I actually tried to reimagine it as Zeta in my head. I figured Quess was probably filling the role intended for Kamille, and Hathaway was the new Katz.

――Fascinating. It all starts to click into place. So Char’s Counterattack was Tomino’s shot at redemption?

Inoue: Absolutely. That’s why I’m sure he was gutted when it ended up being a double feature with SD Gundam. The initial storyboards for the solo release had a bit more meat on the bones. For instance, there was this whole cat-and-mouse sequence with Amuro and Char on the surface of Axis. It’s still there in the storyboards, marked as “omitted,” but it never made it to animation. I can only imagine how painful those cuts must have been. He even asked me which parts I thought should go.

――That must have been a tough position to be in. What did you tell him?

Inoue: From a purely selfish standpoint, I begged him not to touch the train scene.

Ogata: Ah, where Char gets the bouquet?

Inoue: From the moment I saw it in the storyboards, it was my favorite sequence. It’s this brilliant moment that flips the script, showing Char – the guy we’re supposed to see as the villain – being adored by the Spacenoids.

Ogata: I get that. That scene is brimming with the Spacenoids’ affection for Char.

Inoue: Years later, I watched Darkest Hour (the 2017 Churchill biopic) and there’s this scene where Churchill’s on the tube, asking everyday folks if they should fight the Germans. It’s not in Anthony McCarten’s original biography, so it’s likely a cinematic flourish. But it’s fun to imagine the filmmakers might have seen Char’s Counterattack.

THE INSANE TIMING OF THE BELTORCHIKA’S CHILDREN WRITING REQUEST

――Speaking of storyboards, do the current creators working on Hathaway’s Flash ever refer back to Tomino’s old storyboards for inspiration?

Ogata: At Sunrise Studio 1, everyone from Director Shuko Murase down to the episode directors has pored over them. While we’ve evolved our own style, Tomino’s directorial approach was already perfected by the time of Char’s Counterattack. His camera work transitions are flawlessly mapped out even at the storyboard stage. The team’s constantly learning from studying his work.

Inoue: It’s like a masterclass, isn’t it? Packed with Tomino’s filmmaking magic.

Ogata: Tomino himself was pleased with the direction in “Char’s Counterattack.” It holds up remarkably well even today. You know, I actually watched the 4DX version with him.

Inoue: What did he think?

Ogata: He said, “Compared to nearly drowning in the sea at Odawara, this is nothing!” (laughs) Talk about an unfair comparison – he was on the brink of death then!

――Inoue, you were editing for Monthly Newtype when Char’s Counterattack came out. Ogata, what were you up to?

Ogata: I was in my second year of junior high. I’d missed Zeta and ZZ as they aired, so I was getting these wild snippets from friends – “Kamille’s gone mad,” “Frau Bow married Hayato.” I thought the story had gone off the rails! (laughs)

Inoue: Must’ve been quite the confusing patchwork of information! (laughs)

Ogata: I caught bits of the reruns, then went to see the final showdown between Char and Amuro with my buddies. My reaction? “I have no clue what’s going on…” The psycho-frame concept clicked intuitively, and the climax with the Nu Gundam pushing back the asteroid was straightforward enough. But why was Lalah suddenly a mother figure? What was Char on about? I left the theater feeling unsatisfied with Char and Amuro’s resolution. Now, watching it as an adult, every piece falls into place. That ending that left me conflicted as a teen now feels beautifully crafted. It’s precisely because of that open-ended finale that while it put a period on the story, it didn’t truly end Gundam.

Inoue: You’re spot on. If it had been a more definitive ending, it would’ve felt too final to continue the franchise.

Ogata: I was convinced there had to be a sequel, and lo and behold, a year later I stumbled upon the Hathaway’s Flash novel in a bookstore. I snatched it up, only to find not a peep about Char or Amuro! (laughs)

Inoue: We knew readers were hoping for that, but in Tomino’s mind, Char and Amuro’s story was done and over with Char’s Counterattack.

――How did you approach Tomino about writing Hathaway’s Flash?

Inoue: Like Tomino, I felt satisfied with how Char and Amuro’s conflict wrapped up. But Hathaway… In Beltorchika’s Children he kills Quess, and in the film, he kills Chan. I was curious about how a boy carrying that kind of burden would grow up. So I pitched him the idea of a novel with Hathaway as the protagonist. To my surprise, he agreed without hesitation. Just a simple “uh-huh” – I suspect he already had some ideas brewing.

――Since Zeta, Tomino’s been juggling both anime production and novel writing. For Char’s Counterattack, he even wrote two books – the film official Mobile Suit Gundam: High-Streamer and the parallel Mobile Suit Gundam: Char’s Counterattack Beltorchika’s Children. That workload must have been insane.

Inoue: From our perspective, sure. But for Tomino, it seemed… normal? He might struggle with the quality of work, but I never sensed him buckling under the quantity. His writing speed was just phenomenal.

――Was it your call to go with Beltorchika’s Children instead of the official version?

Inoue: We were caught on the back foot there. High-Streamer had already started serialization in Animage. We’d been collecting Tomino’s works for Kadokawa Sneaker Bunko, so as the editor, I felt like we’d dropped the ball. Not having a Char’s Counterattack novel for the movie’s release was a critical miss. When I approached Tomino about it, he mentioned having an earlier draft scenario with different settings that he could work from.

Ogata: Wait, he wrote it on such short notice?

Inoue: Yeah, and what happened after I asked was even more incredible. It came back in a flash. Even if it was based on an early Char’s Counterattack scenario, the speed was inhuman. In an interview from that time, Tomino mentioned he didn’t have his next job lined up. That might’ve driven him to write so feverishly, but still, the sheer volume of work he churned out was staggering.

Ogata: But you know, he’s still like that at 79. Until the pandemic forced us into remote work, he was outpacing everyone in the studio. It’s the younger folks struggling to keep up – truly awe-inspiring.

THE DRIVING FORCE BEHIND TOMINO’S NOVELS
AND THEIR CONNECTION TO VISUAL MEDIA

――How were Tomino’s novels received back then?

Inoue: Frankly, most would agree his prose wasn’t exactly polished. But there was this unique rhythm – the “Tomino style” – that was captivating.

Ogata: The momentum of his writing comes through in the rapid-fire dialogue. It’s got this incredible drive that translates into the fast-paced visuals of his work.

Inoue: He’s also brilliant at conveying scene descriptions through character dialogue. In the first volume of Hathaway’s Flash, for instance, he paints a vivid picture of Earth’s environmental crisis through fishermen’s conversations. Skipping lengthy narration to maintain that breakneck pace is a hallmark of Tomino’s novels.

Ogata: Tomino was in his late 40s then, but his writing had this youthful, cutting edge. His portrayal of women was particularly provocative – we’ve been very careful to preserve that sensual quality in the film adaptation.

――While Tomino cultivates this image to some extent, the media tends to spotlight his eccentric or extreme side. How do you two view Tomino, and what’s your relationship with him like?

Ogata: I first met him around ’98, during Brain Powerd. This was the “kinder, gentler Tomino” people talk about.

――Really? I hear he still has quite a temper.

Ogata: He’s actually quite gentle. I never knew the “scary Tomino,” but folks like Yasuhiro Imagawa and Shinji Takamatsu who worked with him back then would stand at attention around him. Seeing that, I can imagine how intimidating he must have been. Even now, he’ll tear into staff who aren’t up to snuff, but it feels more like tough love. In G-Reco, there was a production assistant he’d constantly berate, but that pushed them to grow. Now Tomino trusts them implicitly.

Inoue: He’s just so pure when it comes to creativity.

Ogata: Absolutely. Even without TV work, he’s always writing novels or planning his next project. Where most people would take a breather, Tomino’s still at his desk, working away.

――Inoue, you knew Tomino during his “scary” phase, right?

Inoue: I’d say it peaked during Zeta and ZZ. You felt like you might get chewed out for saying anything – he was like a walking thundercloud. Things calmed down after ZZ ended, and by Char’s Counterattack, we saw a reset Tomino. It really puts into perspective how grueling those TV series must have been.

Ogata: Churning out nearly 50 original episodes week after week – it must have been beyond exhausting. Even during G-Reco he was pretty prickly, but that was the “mellowed” Tomino. A creator’s tension shows in their work, and Tomino’s stuff should have that edge. G-Reco shows his gentler side, like he’s addressing his grandkids, but Hathaway’s Flash has just the right amount of that classic Tomino bite.

――Switching gears a bit, let’s talk about the Xi Gundam and Penelope. How did you decide on Yasuhiro Moriki’s designs?

Inoue: I’d wanted Moriki on Gundam ever since we met during Fight! Iczer One. It was a more relaxed era – I remember calling Sunrise from a payphone at Ogikubo Station, asking if I could choose the mecha designer. They just said, “We trust you, Inoue.” So I approached Moriki, and he drew up the designs. They were approved instantly, with no revisions from Sunrise.

――Did Tomino have any specific requests?

Inoue: Just some general characteristics. The rest was based on interpreting the text. That un-Gundam-like silhouette is pure Moriki.

Ogata: Tomino loves designs with a distinctive silhouette. If it had been too obviously “Gundam,” it might not have worked.

――I heard the Minovsky Flight Unit was your idea, Inoue.

Inoue: Yeah, constantly showing the mobile suits getting on and off the Base Jabber would’ve been clunky and killed the pacing. I wanted to maintain that rapid-fire feel in the writing, not just the battles. Tomino didn’t exactly say “great idea,” but he sort of grunted and incorporated it.

Ogata: No way! Inoue, you revolutionized Universal Century mobile suit combat! The aerial battles between the Xi Gundam and Penelope in the film are a must-see.

――At last year’s Gunpla EXPO (2020), they really emphasized the gravity-defying combat made possible by the Minovsky Flight Unit.

Ogata: The showstopper this time is the first-ever mobile suit battle under gravity using Minovsky Flight. CG really helped us nail those impossible maneuvers you couldn’t do under normal gravity.

Inoue: Now I’m even more excited. Is the movie trilogy confirmed?

Ogata: That’s the plan, if everything goes smoothly. We initially thought of Part 1 as Hathaway’s story, Part 2 as Gigi’s, and Part 3 as Kenneth’s. But Gigi’s presence is so overwhelming that Part 1 feels more like the story of Hathaway falling under Gigi’s spell.

Inoue: Fascinating. So it’s about two men revolving around her as the goddess of victory?

Ogata: It’s still up in the air, but Part 2 might focus on Hathaway and Kenneth with Gigi between them. Gigi plays them off each other, but somehow, she doesn’t come across as off-putting, even to female viewers. Unlike the volatile Quess, Gigi is remarkably composed for her age.

Inoue: She has her childish moments, but she’s also this delicate, grounded, mature-beyond-her-years type.

Ogata: While the mobile suit battles are eye-catching, the heart of Gundam is human drama. The novel delves deep into the Hathaway-Gigi-Kenneth love triangle, and we’re aiming to bring that drama to life in a way befitting a cinematic experience.

――Recently, we’ve seen the Universal Century expand with the UC NexT 0100 project, while non-UC series like Gundam Build have been thriving. How do you both view the future landscape of Gundam?

Ogata: First and foremost, Sunrise is celebrating Mobile Suit Gundam’s 40th Anniversary. There’s no other franchise that’s lasted this long, consistently producing new content. That’s uniquely Gundam, and it’s become a diverse universe that welcomes creators beyond just Tomino. This diversity extends to themes, addressing contemporary issues within the context of war – be it inter-state conflicts, civil wars, or terrorism. Tomino’s brilliance lies in how he’s tackled themes relevant to our times since the original Mobile Suit Gundam.

――Do you sense any upcoming changes?

Ogata: The life-sized, moving Gundam in Yokohama has dramatically shifted public perception of Gundam. While it’s always been popular among anime fans, the static life-sized Gundam statue from the 30th anniversary really boosted mainstream recognition over the past decade. Now that it moves, the attention is beyond imagination. It’s amazing to see how the “pretend play” with Gunpla 40 years ago has become almost reality, turning Gundam into a dream-fulfilling phenomenon.

Inoue: From a fan’s perspective, I hope to see Gundam go more international. There’s still untapped potential for expanding the overseas fanbase – I’d love to see Gundam fans worldwide.

――This year, a life-sized Freedom Gundam statue was erected in Shanghai, boosting recognition in Asia. However, it’s still rather niche in the West.

Inoue: How can we make it as globally popular as Dragon Ball or Pokémon? While creating quality content is crucial, I’m also eagerly anticipating the next generation of talent to make it happen. I’m sure we’ll see another miraculous convergence of talent like we did with Yoshiyuki Tomino, Yoshikazu Yasuhiko, and Kunio Okawara.

Ogata: Hathaway’s Flash will definitely resonate with long-time Universal Century fans, but it’s also visually groundbreaking. Even those new to Gundam will undoubtedly enjoy it. Gundam has a lot more in store after Hathaway’s Flash, and we’re aiming to make it a truly global phenomenon.

YOSHIYUKI TOMINO’S FORESIGHT

Inoue: Whether in novels or on screen, what astonishes me about Tomino’s works is his incredible foresight. Hathaway’s Flash, written 30 years ago, predicted that the future of warfare would shift from inter-nation conflicts to terrorism.

Ogata: And it’s not just a whim. He predicted this through a diligent study of history and sociology, almost like it was a prophetic script.

Inoue: He’s been consistently vocal about the deterioration of Earth’s environment, and Hathaway’s Flash even incorporates issues like the refugee crisis. Technologically speaking, there’s the Base Jabber and the Bugs from Gundam F91. The Base Jabber concept has materialized into something we now see as the Flyboard Air, and the Bugs essentially presaged today’s drone warfare. Back when I first saw them, they seemed like mere children’s anime weaponry. I must admit, it’s a humbling realization to see how far we’ve come (laughs).

IS GIGI’S MODEL A MADONNA FROM THE BELLE ÉPOQUE ERA?

Inoue: While Tomino never explicitly named anyone, Gigi’s character was likely inspired by a woman named Alice Prin. She was a darling of the artists in Paris during the Belle Époque, a kind of Madonna of the art world at that time. Known affectionately as Kiki, she was a muse that sparked the creativity of many artists and was also romantically involved with some of them.

Ogata: It really shows the breadth of his knowledge. He has an intense desire to learn, and to get on well with him, it’s best to be well-versed in history and current affairs. Conversely, he shows little interest in those indifferent to these subjects. That’s why he often says, “Don’t just watch anime.”

Inoue: Whenever I met him, we ended up discussing current and social issues rather than just work. It’s impressive how he not only gathers information but also seeks to understand what people are thinking.

FROM NOVELIST TO FIRST-EVER MANGA ORIGINAL WORKS

Inoue: In 1994, I took the helm as the editor-in-chief for the newly launched Monthly Shonen Ace. Right from the start, I had my eyes set on a particular project—it was to craft a manga sequel to Gundam F91. Unfortunately, F91 ended its run as a movie, and the planned TV series sequel never saw the light of day. When I approached Director Tomino about turning this into a manga, his initial reaction was, “If I do it, it won’t turn out as a shounen manga.” Yet, contrary to his words, he graciously provided us with an original plot.

As you might be aware, the content featured a Gundam with a cape, and a space pirate ship modeled after a sailing vessel—quintessential Tomino, aiming to capture the spirit of shounen manga to the fullest. We didn’t set the story immediately after F91 was because of this. Initially, Tomino wrote the original plot for each episode monthly, but as the series progressed, the characters and the story gradually shifted towards Yuuichi Hasegawa’s vision. Eventually, Tomino himself suggested, “Let’s leave it to Hasegawa.” He and I had been toying with the idea of introducing more aesthetically pleasing characters. Ultimately, entrusting the series to Hasegawa led to its enduring popularity, a fact that Tomino acknowledges without regret.