#BUBBLEGUM CRISIS SUIT SERIES#
#BUBBLEGUM CRISIS SUIT TV#

Between the release of Technopolice in вЂ™82 and the meeting with Fujita in вЂ™85, three notable films had been released: Blade Runner (1982), The Terminator (1984), and Streets of Fire (1984). Soon enough, SuzukiвЂ™s planned Technopolice rebootВ was something else entirely thanks to creative brainstorming with Fujita - it was turning into Bubblegum Crisis. In December of 1985, Suzuki met music exec Junji Fujita at the Fight! Iczer-1 wrap party and they hit it off. Three years after the theatrical release of Technopolice, he was already planning to remake it with new talent.

#BUBBLEGUM CRISIS SUIT SERIES#

ItвЂ™s easy to imagine that spending four years on the troubled series only to see it released as a salvaged film must have been incredibly frustrating for Suzuki. Instead,В animation from the first few episodes was patchedВ together and released by Toho Productions as a movieВ in 1982.

#BUBBLEGUM CRISIS SUIT TV#

Collaborating with Studio Nue, Suzuki intended Technopolice to be a groundbreaking sci-fi cop show set in a plausible future, but production difficulties meant that it never reached TV screens. It was ARTMICвЂ™s first major project, Technopolice 21C, that inadvertently set the studio and Suzuki on a path towards Crisis. That eye for design was apparent in the studioвЂ™sВ animated work and at times seemingly came at the cost of everything else. Not only was the studio capable of overseeing the entire lifecycle of a film or OVA (with help from a production company for the actual animation, of course), but ARTMICВ also helped design everything from logos to advertising campaigns. SuzukiвЂ™s experience working from creation through production to merchandising served ARTMIC well. An early version of the Knight Sabers, by Kenichi Sonoda. Throughout his tenure at ARTMIC, Suzuki helped plan and co-write anime, authored novels and audio dramas, and even had a side gig painting box art for model kit manufacturer Imai. WeвЂ™re not interested in production work.вЂќ That might seem odd coming from a former producer, but then, Suzuki wasnвЂ™t just a producer. He said as much in an interview with Animerica magazine in 1993, вЂњArtmic is more a place where we can utilize our designs and stories. In ARTMIC Design Works, studio founder and series co-creator Toshimichi Suzuki declared, вЂњ Bubblegum Crisis has the type of things I like.вЂќ ThatвЂ™s not surprising Crisis was one of theВ most successful iterations of the ARTMIC archetype and the studio itself was created in SuzukiвЂ™s own multitalented image.Дespite his prior experience as a producer at Tatsunoko Productions, Suzuki didnвЂ™tВ consider ARTMIC to be an вЂњanimation production houseвЂќ intendedВ to tackle the day-by-day production of a series or film. Today, weвЂ™re talking about how it came to be made. Despite being cancelled short of its intended 13-episode run, it inspired a slew of spin-offs and sequels. Produced by ARTMIC, AIC, and Youmex, the sci-fi OVAВ series ran for eight episodes.

February 25 is the 30th anniversary of the release of Tinsel City, the first episode of Bubblegum Crisis.

Bubblegum crisis suit