Ultra Eye stolen repeatedly

Alien Pitt in human form

In “Ultra Seven,” there are also episodes in which aliens mutate into human women.

Alien Pitt appearing in Episode 3, which was shot at the very beginning of the series, is the first one.

Episode 3 “The Secret of The Lake” is said to have tiled “Beautiful Invader” originally in the script, and two of Alien Pitt like twin sisters, when in human form, appear.

Alien Pitt

Actually they were played by a single actress, Reiko Takahashi who was 15 years old at the time.


Now that it’s mentioned, the two don’t appear in the same scene with their faces shown to us.

The drama not to give us a sense of strangeness is excellent.

Alien Goddra in human form

It is well known Alien Pitt are the aliens to control Eleking.

In Episode 4 “Max, Acknowledge,” Alien Goddra appears with the appearance of a young woman acted by Ryuko Mizukami.


What is in common between both episodes is that Dan has Ultra Eye stolen by the girls the aliens have transformed into.

Alien Goddra

That’s why it’s often talked about playfully among fans that Dan is very susceptible to female charms.

But it’s true, in addition to the story about Alien Magellan, Maya (Episode 37 “The Stolen Ultra Eye”), Dan has Ultra Eye stolen by girls over and over.

Come on, Dan!

Android Girl

Zero One (“Ultra Seven”; Episode 9)

Alien Chibull mentioned in the previous post is accompanied by a subordinate android girl named Zero One.

I don’t know since when she has been called so because I think she was called merely Android Girl or something in my childhood.

But, as it looks like Zero One is her official name today, I’ll follow it.

Alien Chibull calls his evil scheme Android Zero Directive as the subtitle (Episode 9) shows. and she may have got the name from it.


Furuhashi paid for it

Though she looks very charming, the android without expressions was scaring when I was a kid.

In the drama, Zero One appears in front of Furuhashi and Soga of the UG on patrol by Pointer.

Zero One: Do you happen to be Tai-in Dan Moroboshi?

Furuhashi: Me? (With a wink at Soga) Yes. Dan Moroboshi.

Zero One: I wanted to meet you… (Offers her hand)

As soon as Furuhashi holds her hand, he gets an electric shock.


Alien Chibull’s human form and Zero One

And Zero One, who failed to end him, runs away.

I wondered why Furuhashi pretended to be Dan Moroboshi as an innocent child though I knew his intention in later years.

Yukiko Kobayashi who played Zero One was an actress belonging to Toho at the time.

Her beautiful features really match the role of the android girl.

Ms. Kobayashi says in a recent interview on a book the role of Zero One remains impressive.

Zero One has much of a presence and remains impressive to me as well.

Intelligence of Ultra

Tetsuo Kinjo, the main screenwriter for the early Ultra Series

Regardless of whether the producers actually knew much of Greece or not, I think it’s a fact that Ultra was sustained by background culture of the producers.

Just my opinion, Japanese of the olden days had much intelligence.

I mean It’s not just knowledge.

I think they had much of what may be called general culture, or liberal arts academically, regardless of their academic background.


It’s not just the size of information but something more radical, I think.

They may have loved intelligence in a real sense in accordance with the initial meaning of the word “philosophy.”

I think the subtitles show the intelligence of the producers of the time.

They have terms which should be difficult for children to understand.


But, as I told you before, Ultra was produced family-intended and children could ask their parents or grandparents about such difficult terms.

It may be said it was produced and works out on the premise of warm family or human relationship.

The logo of each title is tasteful as well.

That makes each episode more likely to be an independent one like a movie as I said before.

I think it shows the producers must have put their heart into the product episode by episode.

Sweet names of Ultra Kaiju

Alien Iyros (“Ultra Seven”; Episode 13)

Besides the subtitles, what also draws my attention is the names of the Ultra Kaiju which I find very much attractive.

You may find there are lots of monsters whose name ends with “ra” or “la.” (They are not distinguished in Japanese.)

The custom should come from the famous Godzilla which I heard named after gorilla and kujira (whale in Japanese).


Coming up with a unique name for the monsters appearing weekly in the drama must have been considerably a tough task.

But they are attractive enough as each of them seams to match the particular monster or alien.

“The producers of ‘Ultra Seven’ know very much about Greece.

There was a Greek playwrite named Aeschylus. ” […]

According to “Ultra Seven Pictorial,” it’s explained properly Alien Ayros (Iyros) was named after Aischylos, poet of ancient Greece, In the publication for children of the time.


Alien Chibull (“Ultra Seven”; Episode 9)

Those named intuitively or by playing on words are also attractive.

They often have a nice ring or are full of wit with a sense of fun.

A masterpiece is, for example, Alien Chibull named after the Okinawan term meaning “head.”

Shozo Uehara who wrote the script for this episode is  from Okinawa along with late Tetsuo Kinjo, the main screen writer for the first trilogy of Ultra.

Tohl Narita designed the alien by abstracting the brain.

Charming subtitles

“Passport to Infinity” (Ultraman; Episode 17)

As a matter of fact, I doubt the Ultra Series has lasted until today without the original Ultraman designed by Tohl Narita.

All f the newer Ultra Heroes follow the original Ultraman and Ultra Sven.

And there were lots of super heroes other than the Tsuburaya products in the past.

They are reviewed as nostalgic heroes (I love them, too! ) but not with such an impact as Ultraman.


Some cartoonists say success of the product depends much on the characters.

And I also hear, if they get a good character, they tend to come up with attractive stories more easily to make the characters act attractively.

For all that, it is also true excellent producers get together and each of them contributed to expanding the world of Ultra.

It can be said the Ultra Series were blessed with talented producers of all time including the directors and screen writers.


As an example, though it’s not often mentioned, I think each episode title of the first trilogy of Ultra is so nice.

If interested, please see the static pages of this site.

I’m not sure if the English subtitles would make you feel the same way, but they are not childish at all and, moreover, quite elegant in Japanese in addition to being brief and lean with much impact.

Each of them easily makes me remember the story, the monster and the scenes.

“The Invisible Challenger” (Ultra Seven; Episode 1)

No Ultra without Narita

Statue of Man, Seven and Human (far left) by Tohl Narita

I wonder what you would think of Tohl Narita by my previous posts.

When I first saw the picture of “Statue of Man” in the book “The Art of Tohl Narita” (above) and on Internet, I had a slight sense of strangeness to be honest.

It looked so much different from actual Ultraman.

I’m familiar with Ultraman with no color timer through his art works.


But the statue looks so rough and has a different image from Ultraman we’re familiar with.

But now I find the statue very beautiful after all.

The more I look at it, the more beauty of form I find.

Maybe you can see it through the photos of different angles.

The one from the back or from underneath makes me aware of the beauty of the statue afresh.

That makes me realize Mr. Narita did a great job in creating the design of Ultraman.


No Ultra without Narita.

I renewed my notion that way.

Of course, lots of people were involved in producing the outstanding and epoch-making production.

But I still think Mr. Narita’s nobleness or spirituality as an artist contributed immeasurably to bringing the hero of all time into being.

It’s undeniable he did a great thing with great spirit.

I believe he and his work deserve so much credit for the success f Ultra.

Statue of Man 3

“Incarnation of truth, justice and beauty” painted by Tohl Narita

It was explained the color timer was attached later against Mr. Narita’s will for dramatic impact.

“Ultraman is completed by my design and leaves no room for additional touches.”

The program tells us Mr. Narita said so.

Mr. Narita’s sculptures were also shown.

He attracted attention as an up-and-coming sculptor before joining Ultra.

But it’s hard to make a living as a sculptor and he entered the field of film making.


Human Fossil  With Wings

And then he was invited to Tsuburaya.

“Hanging sculpture in the corner of my mind all the time, I haven’t been able to sculpt for the last four years.”

He made a sculpture titled “Human Fossil With Wings” in 1971, three years after he resigned Tsuburaya.

It is a human figure with hard wings which won’t make it possible to fly out any more.

Something like his scream of soul strikes my heart.


Statue of Man

But he stopped exhibiting his work ever since in despair with the art world which makes a lion of just showy works.

“(Mr. Narita was) a person with purity of soul.”

Mrs. Narita’s remark makes me guess he should be so.

The program also introduced Mr. Narita’s remark as below:

“It is my pleasure children walk holding the miniature of a monster I designed in their arms.”

It ends with the narration admiring Ultraman as the everlasting hero and immortal art.

Statue of Man 2

Statue of Man

In the TV program, it’s explained Tohl Narita burned his left hand when he grabbed a piece of charcoal in the fireplace as an 8-month-old baby.

The accident left his left arm disabled all his life.

I think Mr. Narita says in his book he aimed to be a painter because he could do it with only his right hand.

In his junior year of Musashino Art School (current Musashino Art University), he transferred from Western Painting Department to Sculpture Department.


And then, he joined the Ultra Series.

“Though I have had no job worth doing this much, I haven’t had such a tough job.” 

It’s explained Mr. Narita said so regarding his work for Ultra.

The program shows lots of his design works for Ultra as well.

“It exactly matches the image I had. That’s actually the sculpture I imaged.”


Mr. Furuya of today

Satoshi (Bin) Furuya says in the program Mr. Narita told him so regarding his acting Ultraman.

He says he was moved by Mr. Narita’s remark.

“I think a really strong person would wear a smile in a fight.”

As to the archaic smile of Ultraman, it’s explained Mr. Narita said so.

It’s also explained why Statue of Man has no color timer.

Statue of Man 1

Statues of Man, Seven and Human (a hero’s name) by Tohl Narita

A while ago, I watched a TV program titled “Statue of Man.”

It’s about Tohl Narita and his sculpture of Ultraman he made in 1987, 20 years after the broadcasting of “Ultraman.”

I was very much pleased to see Mr. Narita featured in a TV program as I think it’s a rare case.

The TV program was quite well-made.

I think it offered a good opportunity for more people to learn more about Mr. Narita who designed the great national hero which I believe is a great achievement.


It features his three principles of monster design and so on properly as well, and it also has Satoshi (Bin) Furuya who played Ultraman, and Mrs. Narita appear.

“(Mr. Narita said,) ‘As it’s a program for children, as children watch it, it’s a big thing. 

I should never approach it in a halfhearted manner.’

He had it firmly in himself a program for children is a far bigger thing than the one for adults.”

That’s what Mrs. Narita says.


Statue of Man

The program also shows Mr. Narita, aged 58 then, videotaped in life.

“It took pains how to give a feeling of vitality (to Ultraman) while simplifying (the design).” he says.

It is explained Mr. Narita said:

“We can’t allow ourselves to broadcast something unhealthy and unpleasant saying, ‘Please watch.

Those who do such a thing are unqualified as an adult.” 

Ultra is like a movie!

“Kanegon’s Cocoon” (Ultra Q; Episode 15)

When watching the early Ultra Series, I feel like I’m viewing a movie though it’s a half-hour program.

Each episode of abundant individuality makes me feel like each of them is an individual product.

It’s sometimes exciting, sometimes comical and sometimes thought-provoking.

According to the screen writer and the director, each episode has its own uniqueness.

That’s a major attraction of the first trilogy of Ultra.


“Challenge from the Year 2020” (Ultra Q; Episode 19)

It is conspicuous especially in “Ultra Q.”

The episodes were given variety every time even with different opening credits.

It should still have been a time of trial and error, and the product has a variety of episodes.

And I feel like I saw a very good movie after viewing.

At that time, movies were still so popular on the street with not so much TV penetration yet.

So the products should probably have been produced in movie-making methods.


“Space Directive M774” (Ultra Q; Episode 21)

And I think that makes me feel it’s rich as a movie despite the program duration.

Before TV penetration, movies were the major amusement in Japan.

And, for children, picture-story showmen entertained them with amusing picture-stories on the street. (I had no experience of it myself.)

Therefore, TV programs were belittled as an electric picture-story among movie producers in those days.

And the producers of the early Ultra Series worked on the products taking the exact same approach as movie-making.