Tag Archives: Ultraman Dyna

Ultraman Ace & Dyna Featured In Sporting Newspaper

The interview with Keiji Takamine

While the articles featured in the sporting paper were, of course, centered on “Ultraseven,” it also included “Ultraman Ace” and “Ultraman Dyna,” each of which has marked the 45th and 20th anniversary this year respectively with the interviews made with Keiji Takamine (for Seiji Hokuto in “Ace”) and Takeshi Tsuruno (for Shin Asuka in “Dyna”).

Expressing his pleasure about the longstanding popularity of “Ultraman Ace” with a lot of fans, Takamine says he was very much impressed to find out an increasing number of younger fans abroad while they have come to like the show over the last decade.

The interview with Takeshi Tsuruno

He adds that (the attraction of) period dramas and tokusatsu shows remain unchanged no matter how many years have passed although modern dramas get outdated in 10 years.

Takamine says he wanted to say the last words Ultraman Ace uttered while he dimly remembers his request to do so was refused by the director (the quote should have been spoken by Goro Naya who voiced Ultraman Ace). Takamine jokingly admits he can’t resist feeling jealous of Koji Moritsugu because “Ultraseven” has won the highest reputation among the series.

Takeshi Tsuruno also says he still likes the quote uttered by Asuka in the show “although it may be reckless/unreasonable, it’s not impossible (muchakamo shirenaikedo murijanai)” and that he speaks the line to himself even now every time he faces difficulties in his daily life.

He says Asuka who was a hot-blooded and clumsy guy reflected his own character just as it is. And he states he still keeps the transformation item Reflasher by enshrining it in the household shinto altar (kamidana) in his home.

As the youngest actor who was given the protagonist role for the latest show “Ultraman Jeed,” Tatsuomi Hamada modestly says records are made to be broken and that he hopes his play will encourage younger viewers to follow him to become the youngest hero flaring up a competitive spirit (yeah, even an elementary school kid may not be impossible although it may be unreasonable).

He seems to be from the generation who were excited with Ultraman Nexus, Max and Mebius aired on TV when he was a child. I may have to retire now…

Hair grower advertised with the appearance of Father of Ultra (left) with a catchphrase “Ultra Hair Grower”

Ultraman Tiga, Dyna and Gaia

Ultraman Tiga

I think it should be so tough to come up with a new design for a new Ultraman.

And the design easily tends to be the one with more decorations added to the original Ultraman.

So the idea of deleting, not adding, adopted for the Ultramans in the Heisei Trilogy is great, I think.

Without excessive decorations, I find each of the design well finished and attractive.

Ultraman Dyna

The Heisei Trilogy has the settings completely separate from the Ultra Series produced in the Showa (era name just before Heisei) Era.

In the Showa Series, the Ultra heroes were set as the Ultra Brothers though such settings didn’t exist in the First Trilogy (“Ultra Q,” “Ultraman” and “Ultra Seven”).

But, in the Heisei Trilogy, the Ultramans are not from Nebula M78, home for the Ultra Brothers.

(Ultraman Leo is exceptionally set to be from Nebula L77 of Leo)

Ultraman Gaia & Ultraman Agul

It’s not clearly described where the Ultramans were from in the drama of the Heisei Trilogy.

But looks like they are the Ultramans the Earth gave birth to.

So they are not aliens.

As shown well in its name, Ultraman Gaia was depicted as something the Earth’s will made substantial.

And, though I’m unfamiliar, the Heisei Trilogy has attractive stories of its own.

It’s understandable that the Heisei Trilogy has ardent fans even today.

Heisei Trilogy of Ultraman

We have a Ultra Series commonly called among the fans “Heisei Trilogy.”

Heisei is a Japanese traditional era name continuing from 1989.

The products are “Ultraman Tiga” (1996-1997), “Ultraman Dyna” (1997-1998) and “Ultraman Gaia” (1998-1999).

“Ultraman Tiga” was produced in 16 years after “Ultraman 80” (1980-1981).

I enjoyed “Ultraman Gaia” with my own children among these.

These three were well-made products through which the production people showed much respect to the First Trilogy, “Ultra Q” (1966), “Ultraman” (1966-1967) and “Ultra Seven” (1967-1968), while developing innovation.

“Ultraman Dyna” is the sequel to “Ultraman Tiga” with the same world settings though Ultraman Gaia” has its own settings completely separate from the first two.

That reminds me of the relationship among the products of the First Trilogy.

In the Heisei Trilogy, what attracted my attention is the design of each Ultraman.

Hiroshi Maruyama, involved in the design art with Tsuburaya Productions at the time, is said to have designed each Ultraman with the idea of “deleting,” not adding something to the original Ultraman as the hollowed head of Tiga shows it clearly.

When seeing Tiga for the first time in publication, the face evoked B Type Ultraman with the narrow mouth.

According to Mr. Maruyama, he designed it modeling after A Type.

Now that it’s mentioned, the flat shape seen from the lower lip and the jaw exactly looks like that of A Type.

“Dyna” was modeled after C Type Ultraman and “Gaia” B Type.

You can see it in the shape of each mouth.