Part three of the Zero Zero Magazine scanlation, pages 36-48
This translation effort has been, on and mostly off, 18 years in the making due to time constraints, external factors, and my old ADHD tendency to bite off more than can ever be reasonably chewed. It has been largely complete for the past couple of years as a scanlation other than the parts not focused on Microman, which I had hoped after one point to also typeset once the translation was complete. If anyone would like to typeset the translated appendix pages once they go up, they are most welcome to do so.
Over the years, I have approached this translation different ways. Initially, I had to transcribe the Japanese text by hand as Optical Character Recognition just wasn't able to do it well enough. Once I had the text, it was easier to look up kanji definitions and parse sentences with online dictionaries and translation aggregation tools to break them down to a level my own modest Japanese comprehension could interpret. This got a bit easier once I found much of the better content was transcribed on a Japanese site, but with some alterations and rearrangement for putting into the context of a story timeline. This allowed me to get most of the Microman-relevant portions compiled more easily with some editing. These original translations were shared with the accompanying raw scans on the MicroFans FB page several years ago, covering the full history of MicroEarth, and afterwards I set towards finishing the rest of these portions and typesetting them. I used a mix of an older version of Photoshop CS and CleanupPictures AI for the latter, which helped speed up the process a bit.
Originally I wasn't sure what to do about the daunting second half of the magazine as it was largely dense material and usually not really relevant outside of historical reference. I was encouraged though that text extraction was much easier by then with Google Lens, other than a few bits too hard for it to make out. I wasn't as confident about translating the technical language of the factory tours, so at first I enlisted in the aid of Claude AI, which did a good job at first, but would arbitrarily skip parts without any indication of doing so, so in the end I found it too untrustworthy and abandoned it for a variation of my original approach, and checked every line carefully from scratch.
Since then, though, I just haven't had the time and enthusiasm to typeset roughly 40 pages that have little to do with my interests, and this has languished far, far too long in my archives, so it's going up as-is. Originally I had considered leaving it untranslated, so at least this appendix format will be a step better as the translations will be included as separate text that folows each scan.
Part one:
💬 0 🔁 1 ❤️ 7 · Post by @micromanclub · 10 images ·
The first 17 pages of Zero Zero Magazine. This amazing book was masterfully created
Part two:
💬 3 🔁 4 ❤️ 11 · Post by @micromanclub · 10 images · Part two of the Zero Zero Magazine scanlation, pages 18-35
Part one here:
💬 0 🔁 1
Part four:
💬 0 🔁 0 ❤️ 1 · This is the world of Microman! · Part Four of the Zero Zero Magazine translation, (pages 49-53, 76-78 and catalog)
Part Th
Original scans by Jack Szwergold, scanlation by Microman Club. All typeset text is human-translated. Some AI image editing tools (not generative AI) used for image editing for text replacement, removal of page creases, and other artifacts.
Okay, so, before Transformers, there was Microman, a series of 3.75-inch figures made by Takara after the 70s energy crisis made making 12-inch figures not a viable strategy. The story of the toyline was that the figures were actual size, composed of refugees from Micro Earth doing battle against the evil mutants known as Acroyears. This "actual size" gimmick would eventually lead to the creation of the Micro Change subline, where they introduced robots that could transform into everyday objects, like audio cassettes and cameras and such. This subline would be merged with Takara's other toyline Diaclone in the west to become the Transformers, and eventually both toylines would be retired when Takara decided to reimport the Transformer brand to Japan.
Of course, there were brief revivals of Microman every so often, including a few that focused on licensed characters, such as Batman, Godzilla, and even Rei and Asuka from Evangelion. But the one of focus for this post was 1998's Replica Microman, a series of reissues of old figures for the new millenium which lasted for about five years. In the year 2000, they released a figure dubbed "M18X Lady Command Arcee", a white-and-gold redeco that was given out as part of a Lucky Draw contest, with only five of them ever having been released. The name is obviously a reference to the Transformers character of the same name, and what makes this interesting is that this figure predates Arcee's first-ever proper toy in the Transformers line released in 2001 for that year's BotCon.
Of course, the name is just a reference to the Transformers character, and I'm not saying this has any in-story connection to her... but Transformers likes to do callbacks to their roots on many occasions, especially the Japanese side by Takara, so who knows really? And besides, at the same time as Replica, there was also the Powers series of figures, which features new designs that were, occasionally, complemented by pre-exisiting Transformers molds. All I can say is that a modern Arcee toy with this paint job would be pretty sick, right?
An Abbreviated History of Mecha Part 2: AWAKEN! SUPER ROBOT!!! (1970-1979)
(Read in the voice of Tessho Genda) ITS NAME IS.... MAZINGER.... Z!!!!!!!!!
Welcome back to An Abbreviated History of Mecha. Last time, we covered the origins of mecha by highlighting some of the major works of the time including Godzilla and Ultraman, which are not really mecha but are just as influential to the genre as the other shows mentioned.
Today, we will be moving on to the 70's. Here we will see three extremely iconic entries to the canon make their grand entrances, known to Super Robot Wars fans as the Holy Trinity. We'll also see a lot of the classic mecha tropes become codified with a lot of these entries. So, let's MAZIIIN GO!
Kamen Rider (1971)
Kamen Rider is the second iconic series created by mangaka Shotaro Ishinomori and would be part of the reason why henshin heroes (that is, heroes who transform) would become so popular. More importantly, Kamen Rider would give us one of the most homaged attacks of all time: the Rider Kick! And in case you're wondering, yes, Ishinomori still has one more series worth mentioning.
Kamen Rider, alongside Godzilla and Ultraman, got a 2023 retelling in the form of Shin Kamen Rider, courtesy of Hideaki Anno.
Mazinger Z (1973)
Mazinger Z is one of the many iconic series created by legendary mangaka Go Nagai. If Tetsujin 28 was the original "super robot", Mazinger Z would be the series that would introduce a lot of the tropes now commonly associated with a lot of giant robot anime, including but not limited to:
A robot that has to be piloted from the inside
A chest blaster
Laser eyes
Hot-blooded pilots
The term "super robot"
And most important of all, the rocket punch
Let's just say that there's a good reason why Mazinger Z (and this is just Mazinger Z) is the first of the three pillars of the Holy Trinity. Mazinger also has, in terms of sequels and adaptations:
Great Mazinger
UFO Robot Grendizer
Mazinkaiser
Shin Mazinger Z/Mazinger Edition Z: The Impact
Mazinger Z Infinity
Getter Robo (1974)
Created by Ken Ishikawa with help from Go Nagai, Getter Robo would be the second pillar of the Holy Trinity alongside Mazinger Z. Getter Robo would be important for introducing concepts such as a robot piloted by multiple people and, more importantly, Getter Robo would also introduce us to the combining robot, which is why it requires multiple pilots to man.
Getter Robo would get multiple sequels and spinoffs including, but not limited to:
Getter Robo G
Getter Robo Go
Shin Getter Robo Armageddon!
Shin Getter Robo vs Getter Robo Go
New Getter Robo (not to be confused with Shin Getter Robo)
Getter Robo Devolution
Eventually Ken Ishikawa would pass away before he could wrap up the series with Getter Robo Arc. I will come back to Getter Robo at some point in this series though, but to give you a hint: the series does get a conclusion.
I think I'd also be mistaken not to link to Cheese GX's excellent video retrospective on Getter Robo.
Super Sentai (1975)
Because Shotaro Ishinomori wasn't content with creating two iconic series, he went ahead and made a third: Super Sentai. That's right: Ishinomori created the two most iconic versions of the henshin hero. Super Sentai is worth mentioning here due to the fact that the series would eventually start adding giant robots into the mix. This series would also eventually attract the attention of one Haim Saban, but that's a story for another day.
Microman/Microbots (1974)
Microman (the toy, not the wrestler) was a line of, and I'm not joking when I say this, "Tiny Little Guys" released in 1975 by the toy company Takara. I'm not super familiar with Microman, but I feel it is important to mention Microman here to understand that one of the biggest names in mecha is descended from this line of toys, as it would start out as a spinoff of microman. Something about transforming vehicles the micromen could pilot. Who could know?
Also fun fact, there's a wrestler named Microman.
Brave Raideen (1975)
(We'll have to settle with this clip from Super Robot Wars)
Brave Raideen is a series created by Studio Sunrise and is one of the first giant robots that is considered to be supernatural in origin. Raideen is important in the history of mecha as it is where two important figures would come into play: Yoshiyuki Tomino and Tadao Nagahama. While it is largely overshadowed by other bigger series, Raideen is still important due to it being the first stepping stone for those two directors alone.
Space Battleship Yamato/Star Blazers (1975)
Up next is Leiji Matsumoto's legendary Space Battleship Yamato. This series would be one of those watershed moments in anime history as Yamato would prove that there was, in fact, an audience who wanted more serious war stories. To say that this series isn't that influential would be a mistake, as we will soon see.
Space Battleship Yamato would eventually receive multiple adaptations, including a live-action film and an anime reboot in the new millennium. The success of Yamato would also help pave the way for other Leiji Matsumoto works like Space Pirate Captain Harlock and the Galaxy Railway 999.
The Robot Romance Trilogy (1976-1979)
(Pictured above: Voltes V)
The Robot Romance Trilogy is a thematic trilogy created by Toei and directed by Tadao Nagahama. These series would include:
Super Electromagnetic Robot Combattler V (V as in the letter)
Super Electromagnetic Robot Voltes V (V as in the number)
Fighting General Daimos
The Robot Romance Trilogy is known for building off of the innovations of its peers. Whereas Getter Robo combined by smashing three jets together (and thus was hard to translate into a toy), Combattler V was designed in a way where the parts of the robots actually made sense when combining to form the robot. This also doesn't even touch on the fact this trilogy would also help to popularize things like the five man band (alongside Super Sentai), mecha shows having more serious storylines with melodrama, and funnily enough, the motion capture mecha (specifically Daimos).
Voltes V is also extremely popular in the Philippines. While this isn't unheard of at this time, Voltes V was different in that it was banned from airing on television by the Marcos regime. Speculation behind its ban may be that its themes were similar to the plight of the Filipino people under Marcos, so you could say that Voltes V in particular is a symbol of rebellion in the Philippines. Heck, it was so popular that there now exists a live action Voltes V series filmed in the Philippines.
Zambot 3 & Daitarn 3 (1977 & 1978)
(Pictured above: Zambot 3)
Meanwhile, Yoshiyuki Tomino would continue to push boundaries as he got more into the groove of directing. On top of producing Voltes V (according to Wikipedia), Tomino would work on a few more series before the end of this decade. The first two would help to establish a pattern with Tomino's works, where he would follow up a more serious and depressing series with something more lighthearted and silly. Zambot 3 would help Tomino earn his nickname "Kill 'Em All Tomino," while Daitarn 3 would also show that he knew how to relax when working on a series. Both Zambot 3 and Daitarn 3 were big hits, but the next series would forever cement Tomino as a legendary figure in the world of anime and manga.
Mobile Suit Gundam (1979)
Mobile Suit Gundam, the final pillar of the Holy Trinity, is arguably Yoshiyuki Tomino and Sunrise's single most important series date. Arguably the single most famous mecha of all time, Gundam would be the first giant robot to be treated less as a hero and more as a tool of war, and it would be Gundam who would kick off a new generation of mecha stories that focused more on things like war and how it affects the lives of the characters in these stories. Which is funny, because Gundam was initially a flop at first. Over time, the series would eventually become a hit thanks to its compilation movies as well as the sale of its models and, most important of all, its female fans.
Mobile Suit Gundam would also be a watershed moment in animation history, as it would be the introduction to a lot of people who would also become famous thanks in part to this series. This includes people who worked on the show like Yasuhiko Yoshikazu (the character designer), Kunio Okawara (mechanical designer, and arguably the first credited mechanical designer), and Ichiro Itano (animator, the same man who Itano Circus is named after). Gundam would also be a direct inspiration for one Ryousuke Takahashi, who would begin to really push the boundary for what one could do with military mecha shows.
Conclusion
I hope this was an enjoyable read. Next time, we'll be getting into the 80's, where we will begin to see a lot of series pop up as Japan's economy grows at an exponential rate. We'll also see how these giant machines will come to influence people outside of Japan on top of how they build off of the themes present in the first Gundam.
