This is a part of series of posts relating to Fight! Iczer-1 franchise. Please see Robot related materials above for further content on the subject
The intention of this post is to cover main appearances of Iczer Robo and its main different versions and successors from the Fight! Iczer-1 franchise. This is not an exhaustive list of all appearances and images, but an overview on some notable ones. This post is heavy with images, so the click below for more.
I wonder where I should start with this one. Perhaps from the start, though what is the starting point is hard to determine. Maybe it was the fact that Back to the Future sparked my liking for time travel stories at a younger age, or that SF books and such have so much about it. Even the first Final Fantasy is a time travel story at the end, looping the beginning and end together. Time travel story after time travel story after time story. With further understanding on how world works, the stories themselves adapted the ideas, installing multiple world theories and others as the standard rather than BttF‘s popular linear time traveling.
At some point, it became clear that time traveling requires spatial traveling as well. I don’t remember what made this point clear to me, but one story had it as its major focus. It might’ve been a short story in a collection. Both spatial and dimensional travels are popular topics within fiction. These sometimes incorporate time travel, but time travel inherently has to have either of the other, sometimes both.
These stories are everywhere. Very few of them are anything new. Games, books, movies, comics, each form of media has taken their numerous takes on time and dimensional travel. I grew tired of them. Few times I didn’t exactly realise that these were major parts of a story, like Muv-Luv. You could say I did, seeing my main argument to hate it was Don’t bring you aliens and mecha into my realistic romance story but after learning it was an alternative world, I opened up to it.
Perhaps the thing that broke the camel’s back with these stories was the fact that branching universes breaks the intended motif of Muv-Luv, where Takeru has been set in an ever-looping hell before he can find that one path to save the world from certain death. However, with the series now having retroactively installed the whole branching timelines, there are no loops as such. Each time Takeru returns to origin point, he is at a branching point. Rather than saving humanity in BETAverse, he manages to save one of the infinite branches his actions are part of in infinite amount of BETAverses. The original intention, the very mechanic of Muv-Luv, of repeating a loop until one true path was found, was made moot.
How would you sell a story with time travel to someone who categorically is sick of them? I’ve been sold many stories described as the most scientifically accurate or realistic depiction of time travel, but that’s an oxymoron. With the current understanding, time traveling only exists forwards. We do it just by being. Nobody has yet gone back to the past and explained how it all works, or come returned (if that’s even applicable term) from the future to tell us how it works. To put it bluntly, none of if is realistic, none of it works, and we can only travel forwards.
Maybe that’s not exactly the starting point. More like presenting the colours and paint that are going to be used on the canvas. When Jinki:Extend was airing around 2005, I was aware of it but never watched the show. I liked its visuals but at the time I had my hands and mind busy elsewhere. Tsunashima Shiro’s style is distinctive and eye-pleasing. It is rather ageless as well, and will stand the test of time better than some of his contemporaries. Fast forward some thirteen years. At this time I’ve begun checking modern shows that I missed, comics to read during my downtime despite going through some hard times. Finding his works, very few translated as such, ultimately lead me to 2009 novel Purple’s Qualia by Hisamatsu Ueo and its 2011 comic adaptation.
Purple’s Qualia, or lit. translated from 紫色のクオリア as Purple Colour’s Qualia (officially formed as Qualia the Purple because of course this would be the official translation Japanese went with) is a story about infinite possibilities, about deep and loving friendship, sacrifices through trial and error, and perhaps most importantly, about a girl with purple eyes who sees all living things as robots. It is also a story with time and dimensional travel without actually having either.
More after the jump, we’re going a bit image heavy here.
The three approaches to mecha design this blog uses is based on their role and function within fiction rather than in-fiction. The first archetype is the Protagonist, a mecha that functions or acts like any human character and is treated as such within the narrative.
The Protagonist mecha as a character serves an integral role within the narrative. Initially they may seem like simple machines, like the eponymous Mazinger Z, yet they exhibit clear-cut human characteristics in actions and behaviour. Mazinger Z sunbathing in the original series Mazinger Z-series is this exact human-like behaviour the mechas are written with.
These type of mecha can also be explicit characters unto themselves, as it is with the The Transformers and Brave-series. These mecha are only separated from their human co-characters is their nature as giant mechanical beings. In cases like Beast Wars, there is no distinction between characters as such, all of them simply are the characters, but share the main characteristics of being human equivalent in different form.
The Protagonist has a unique role within the story. Not necessarily the main protagonist in itself, often sharing that role with another human character or another mecha. The same categories of heroes and villains apply to these as much as they apply to human characters.
In visual design, Protagonists more often than not share a humanoid body with strikingly human face. Heroman, by all intentions, shared all the previously mentioned points; a human-shaped mecha with human face and sits in a prominent role within the fiction as one of the main characters next to the main human protagonist.
However, there is extremely wide variety of Protagonist mechas which toy with the concepts and ways to realise the main role. GaoGaigar, for example, in itself has no characters outside as it is an extension of Guy Shishioh; it less piloted as it is a giant piece of armour for Guy.
It must be mentioned that most Protagonist mechas are found in media aimed at younger audiences with healthy amounts of toys, and tend to have connections to the Super Robot side of mecha. This is not to degrade from the fiction itself, only an observation.
Naturally, the opposite of human-like characters would be the lack of humanity, as it tends to be the with the second archetype, the Machines.
The utilitarian approach to mecha design has always been there, though it gained most of its popularity in the 1980’s. While Mobile Suit Gundam certainly paved the way for Real Robot as a sub-genre, shows like Armored Trooper Votoms and FLAG have taken the concept to its more natural direction due to lack of needing to sell toys as much.
FLAG‘s HAVWC, High Agility Versatile Weapon Carrier, is equipment.
Unlike with the Protagonists, a Machine has no nature to speak of. To make a blunt comparison, they are toasters. Their use is largely utilitarian. The form is made and designed for a purpose first and foremost, following the necessities over flavour.
The mechanical design is far more industrial as opposed to organic contours, than anything else among the Machines. Take Heroman above for an example. Most of its shapes are round to further accommodate its humanoid visual. While at a first glace HAVWC would fit this as well, its shapes are equivalent that of a car, lines made to increase aerodynamics. Heroman is not exactly an aerodynamic character, and its not supposed to. That is a tertiary concern at best. In order for it to be more aerodynamic in its forward position, it would require some sort of wind-breaking apparatus around its chest to lessen drag.
However, FLAG is an example of the more more adhered end, similar to Metal Skin Panic MADOX-01, which has been described as equivalent of mechanical pornography due to its attention detailed opening.
The Machine comes in many varieties, all of which share multiple characteristics. Mass production is one, where the mecha can be or is mass produced. Scopedogs are a dime in a dozen in Votoms and are easily replaceable. Round Vernian Vifam is another example of a show, where mechas are tools, and the cast goes through numerous units during the course of the show.
Valkyries from Macross, despite often gaining a prominent role as a single unit or a customised main character vehicle, are all from a production line of similar units. While later entries in the series have made an effort to give most characters their own unique snowflake Valkyrie, in the end all of them are more or less faceless machines that showcase no human characteristics, outside the genre-defining four limbed humanoid shape.
Specialist roles are not exactly uncommon among Machines. Full Metal Panic!’s Arm Slaves, while mostly consisting of non-unique units, the units used by the protagonist Sousuke Sagara deviate from this mould in form of Lambda Driver, which allows the pilot to turn their willpower into physical force. This specialist position, be it due to extra equipment, prototype role or simply because the mecha is a protagonist’s unit, is a common trope. This position does not change them into Protagonists per se, unless human characteristics are applied. It is not uncommon for people, fictional or not, humanise their devices to a large degree and treat them accordingly.
Vehicles technically fulfill this spot,
However, it’s not uncommon to see the the aforementioned archetypes mixed either.
The Hybrid approach takes characteristics from both sides of the fence in a happy mid-ground. Perhaps the most well-known examples of this would be the Evangelion units of Neon Genesis Evangelion. While treated as equipment and something that can be mass-produced, each EVA-unit exhibits overt human-like characteristics from in-universe and in their role. EVA-01 is effectively one of the main characters while still serving the role of a toaster. Its design goes for utilitarian, but only in terms how the EVA-unit itself allows this in-fiction. The base design idea was, after all, a monster barely controlled by humanity.
Another method to give mecha character is by keeping the core mechanics itself intact in terms of its role though the use of Artificial Intelligence. Jehuty from Konami’s Zone of the Enders series of games is exactly this.
Jehuty in itself has no conscience or awareness within fiction, no character to speak of. Its actions and behaviour are determined by its pilot and support AI, A.D.A. In principle, A.D.A. could be embed into whatever Orbital Frame would support the addition.
These three approaches are more or less starting points, more or less. While at first it may seem arbitrary to make a category of three, one of which is effectively just combining the first two, they serve their role in setting the proper mindset for design work. That is, the nature of the mecha rather than the end-visual the designer ends up making. That is up to the designer’s own style and research into the subject materials.
For further reading on expanded subjects, such as combiners, basic design tips, controls and similar, please visit the Robot Related Materials section.