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This Week in Anime
The YAS-ification of Mobile Suit Gundam: Cucuruz Doan's Island

by Christopher Farris & Monique Thomas,

The recent Mobile Suit Gundam: Cucuruz Doan's Island film gave Mobile Suit Gundam animation director Yasuhiko "YAS" Yoshikazu the opportunity to redo an infamous chapter in the anime's history. How does the episode hold up with a modern coat of paint?

This movie is streaming on Crunchyroll.

Disclaimer: The views and opinions expressed by the participants in this chatlog are not the views of Anime News Network.
Spoiler Warning for discussion of the series ahead.


@Lossthief @BeeDubsProwl @NickyEnchilada @vestenet


Chris
Nicky, I don't know how, but even in a season with both The Witch From Mercury and Birdie Wing, I still don't feel like I'm getting enough Gundam in my life. Isn't there anything else to give me my fix for giant robots, Toru Furuya, and maybe even a goat?
Nicky
Well, if we're talking anime that are the "Greatest of All Time" (GOAT), it's never too late to check out some of the original Gundam 0079 series.
Hey, that's an idea! We could have fun just putting on an episode of the franchise-forming classic. Let's pick a random number to go with...how about episode 15? Sure, we can just throw that one right on—

Hmmm...
Ah yeah, while we have all the 0079 series available on streaming, one part of the original series was broadcast but forbidden from release outside of Japan—a "lost episode." Episode 15 of the original Mobile Suit Gundam, "Cucuruz Doan's Island," is an infamous example. Forbidden by Tomino himself from ever having an overseas release. You may check here for more details.

While no official reason was stated, many believe creator Yoshiyuki Tomino's disdain for episode 15 stems from its low-quality animation. Sometime during production, character designer and animation director Yasuhiko "YAS" Yoshikazu became ill with a serious lung infection that earned him an extended hospitalization. YAS believed he was stricken by overwork and very well could've died. Without his supervision, much of the TV show's quality fell apart. The series' length was cut, and some episodes were outsourced, leading us to our legendarily off-model ghost of an episode.

An episode so messily made that it effectively ends up disowned might live on as an odd curiosity in the history of any other show. But Mobile Suit Gundam is not any other show. An anime with its cultural cache has already been allowed to revisit its roots multiple times before, be it in the compilation movie versions of the original series or the Mobile Suit Gundam: The Origin manga from the 2000s and its anime adaptation. So, of course, a whole bunch of that staff was able to come together for the opportunity to give Cucuruz Doan his do-over.

This is the version we were allowed to have over here.
Hey, this one got a theater release and is now widely available for streaming on Crunchyroll!

Like the prequel/retelling The Origin, YAS also directed this film. Many recognize YAS as a great character designer and artist who defined much of Gundam's human characters, but few know his history as a director and animator. For that, we have Mike Toole to thank for already doing the work for us. Classic Mike.

Even in old age, it's clear that Yoshikazu Yasuhiko has retained his touch as an artist. Records have shown that we have his artistic sensibilities to thank for making each character feel iconic, and he also frequently contributed to their personalities. He's as essential to Gundam as Tomino, which the two of them would qualm over many times in the years following the show's original run, resulting in a love/hate personal and professional relationship, even famously going as far as coming to blows at the Crusher Joe premiere.

The Cucuruz Doan's Island movie offers a unique opportunity to see how YAS's Gundam sensibilities evolved from his beginnings to this latest contribution. So you get elements like this version of events aging Bright Noa up from his infamously unbelievable 19-year-old status to a slightly more reasonable 25.

And even more focally, you have the ahem, decidedly dadlier take on the titular Doan in his design for this movie.


I guess you could say they...YAS-sified him?

You could say that about the whole movie. Not only is it a redesign, but it's also clearly going all out to feel like a glossier version geared for modern audiences. Going from a 20-minute single-episode story into a 100-minute film, they're giving this once-failed flop the best tools and talents that Gunpla money can buy. Even some flashbacks grant us glorious re-animated sequences from the original TV series.

While The Origin OVAs conveniently omit Doan's Island, they might also serve as a successful attempt to revitalize the original for a modern audience. They're equally gorgeous!
It does make Cucuruz Doan's Island an interesting prospect for those new audiences. Expanding the original's story has added connections that tie its events and characters into the broader One Year War conflict of Mobile Suit Gundam. However, it's still mostly an independent outing. So long as you go in knowing the basics of Gundam, the Federation's war with Zeon, and who Amuro and the crew of White Base are, you can settle in for some white-knuckle robot and farming action.
While I think The Origin and this movie go together like peanut butter and jelly, I'd argue the quickest way to get all the context would be the first TV series compilation film; while old, it's still much shorter than either the OVA or TV option, and should still hit all the important beats. I even did the honors of watching it for the first time for this column for anyone needing further convincing or a reference!

Seeing something old might also instill some appreciation for the new, but I also hope the same is true in reverse. Usually, I'm cynical about most remakes and retellings as quick cash grabs, but Gundam's core themes remain on point. It's no wonder it is still relevant beyond toy marketing.

Cucuruz Doan's Island is cool as its own story because it becomes a microcosm of those broader Gundam themes. Amuro and the other characters are in the middle of the primary conflict. But the story of Doan, his defection, and defense of a gaggle of adorable war orphans posits that there might be a better way.

You know you're self-assured in your themes when you have Doan turn to the camera, and all-but-verbatim intone the "War is bad" message from that famous Gundam meme image.
For context, the White Base crew heads to a deserted island to eliminate what they believe to be a group of Zeon stragglers. There, Amuro is singlehandedly bested by a lone Zaku and wakes up having his wounds treated by orphan children.

The children are under the care of Cucuruz Doan, who, despite his rugged appearance, is quite gentle and seeks to foster a meager yet peaceful existence isolated from the ongoing war. I particularly love this little metaphor for the healing that can be obtained from a post-war existence, just as the ash becomes a proper bed for fresh farmland.

It's also neat foreshadowing of this being a whole motif for Doan, reworking and repurposing elements of violence to kinder, peaceful ends. Him turning the multi-missile he was monitoring on the island into a birthday fireworks display is definitely sweeter than the "Birthday Candles" little Eri experienced over in G-Witch's prologue episode!

However, Doan's little slice of island paradise isn't totally free from the violence and suffering of war. While his vision is idyllic, Doan must continue to patrol the island for external threats. He slayed several Federation forces to protect his place. Bright believes Amuro, who had lost his Gundam, could be a similar loss and sends people to look for him. Meanwhile, the forces of Zeon plot to gain control of the warhead under the island that Doan was trying to keep hidden.

All of that is to say, no matter what Doan does to escape the war, he's still forced to be entangled in it.

While on the topic of White Base: I think we should let a mobile suit sit on top of a vehicle craft. Y'know, for peak, "Wow, Cool Robot!" energy?

I should confirm that I saw Cucuruz Doan's Island in theaters during its run here, and Sleggar's doofy custom GM getting the inglorious crash landing it deserved got one of the biggest laugh-cheers out of the audience.


But for real, while it's not shying away from how hellish war is, the movie doesn't skimp on snazzing up those robots. The opening scenes of Doan's attacks on the Federation GMs are dripping with ferocious energy, contrasting with Doan's gentle demeanor.

Doan's Zaku from the original anime would go on to become something of a joke throughout the franchise. But here, they make the Zaku scary.
The mechs here, while CG, somehow still capture the feel and tone of the original. I largely credit this to their illustrative shading. There's no point in the film where they feel "out of place." Other Gundam series like G-Witch and Hathaway also provide an argument for good 2D Gundams. It's nice to see good iterations of both within the same franchise.
The movie's direction does a great job using CGI to communicate the size and weight inherent to the mobile suits. And it's also not above throwing some stylized flourishes into the fights to highlight their more impactful moments.

Importantly, the movie's goat also gets a sequence of stylized frames for its attacks. Because yeah, as foreshadowed, this is another Gundam entry with a goat.

I also like how some of the returning characters remain cartoonish. Kai is a great example. Though, I'm partial to this moment of exhaustion from Bright to Mirai's humor.


Also, yes, they bring back The Slap™️, though my points still go to the original on that one.
Even the most innovative artists know they still have to play the hits. Cucuruz Doan's Island may be strong on its own merits, but it still knows it has to at least include things like the slap or a cameo appearance by The Red Comet.

In a movie otherwise defined by its heavier, more realistic approach to the grandfather of the Real Robot genre, Char's sequence stands out in its inventive indulgences.
I wouldn't consider it an insult to call this movie simultaneously a love letter and fanservice. It's practically part of Gundam's DNA. The nightmare sequence is crucial to understanding Amuro's place in the war. Unlike Doan, he's still just a kid. He's older and more hardened than most orphans, but more vulnerable than adults.

While the island represents a vision of the future for Doan, you could also take it as a potential present for Amuro. Deserting, living out the simple life, plowing crops, and fixing things that need to be fixed. It reflects a "what if," yet he proudly displays the will to fight when necessary in acknowledgment of his growth.

The movie's status as a remake of a single episode from the middle of the TV series means it is in an odd place to demonstrate a character arc for Amuro. There are allusions to issues he's still working through that he can't resolve in this single adventure because, hey, that's what the whole show was for. It means that while Amuro isn't lacking in character through this, he can come off as a bit static, comparatively.

Still, we do come to understand how his time on the island with Doan contributed just one component to the man we know Amuro would grow into. It does a good job of presenting the character at his crossroads as a sheltered kid who's had to step up as a capable soldier. It's tempered by the intimacy of YAS getting to explore moments in these characters' lives that he and others have defined for over forty years.


This is someone who was far less enthusiastic about smashing another person with his mobile suit than Suletta was.
Regardless of his aversion to ketchup, he still concludes that his actions aren't pointless; Doan could've sacrificed himself if Amuro hadn't stepped in. Still, because he chose to continue his path, he can give Doan's military career a sendoff by delivering his Zaku to its final resting place.

It'll probably help that the WMD the Zeon forces were after isn't on the island anymore, but sure, yeet the Zaku off too. Best to be safe.
Speaking of sendoffs, at the age of 75, Yoshikazu Yasuhiko has stated that this is likely his last contribution to Gundam and his last work in animation overall.
It's an odd but earnestly engaging way to go. Being an artist who takes pride in his craft, YAS had talked about the issues he felt watching the episodes of Gundam that had to be produced when he was hospitalized. Getting to take one of the series' most infamous episodes and turn it into his definitive take has got to feel like a relief four decades in the making.

That Cucuruz Doan's Island is celebrated by the Gundam fandom at the same time as G-Witch is bringing in more new fans than ever before...well, that's just a bonus.

It feels a little redemptive, having survived a near-death experience yet still finishing what he started in his old age. YAS's relationship with Gundam feels almost full circle. Whether you're old or new to Gundam, there's always something to be gained from its history.

Even before I watched anything Mobile Suit-related, I knew how many anime were inspired by it in one shape or another. Not only Gundam but much of anime as we know it wouldn't be the same without Yoshikazu Yasuhiko (and hey, let's not forget his direct contributions to many other anime too!)

That said, we could use more anime where all the exploding clouds of destruction are colored pink. YAS had it right. It's time for everyone to start learning from past examples and remember: if it's not pink, it stinks!

If Cucuruz Doan's Island's success with all this classic Gundam goodness proves anything, it's that some things always stay in style.

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