The interviewer’s negative response to that idea is particularly amusing, not just because that exact strategy took off in the ’90s and ’00s, but because interviews published in supplementary books like this are rarely confrontational. Interviews with Suzuki often include frank statements on the difficulties of OVA economics, but it’s worth nothing in this one he specifically mentions making use of a “media mix” – using different types of media to tell a single story – to alleviate the need to cram everything into a short OVA. According to Shinji Aramaki, by way of an old forum post from 2008, ARTMIC head Toshimichi Suzuki was a big fan of Shiokinin. I wrote about the origins of Crisis in the failure of Technopolice 21C, but the following interview sees yet another influence revealed: the 1973 jidaigeki TV show Hissatsu Shigotonin. It’s not difficult to see the influence of a show about vigilante assassins leading double lives in the Knight Sabers, but it’s always fascinating to see where Crisis took some of its more esoteric inspiration. There’s been no shortage of explorations into Bubblegum Crisis‘ Hollywood influences (in fact, Grant touched on that earlier this year), but it shouldn’t be surprising that there were plenty of Japanese influences, too.
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