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We have a situation now where educated anime fans are styling themselves as cultural theorists, and then you have Americans and Europeans responding to all of this, thinking that Japan possesses something special in its moé culture. This Orientalist fantasy feeds right into the nationalistic strategies of government officials in Japan, who seek to appeal to the world for recognition as cool. First of all, moé is not cool, and neither is otaku culture. These so-called phenomena are taken out of context and blown out of proportion.
They will be the next generation of fans. There have also been figurines, toys, and merchandise, which expand the chances for new encounters with the character. We are thinking of rereleasing or perhaps remaking the series. In any case, I think that the character of Minky Momo will continue to be an influential example of the magical girl genre. indd 53 13/2/14 10:10 AM Interview with 54 Nunokawa Yuji PHOT HOTOGRA HOT OGRAPHS OGRA P COU TESY COUR ESY PIE ERROT RR T CO. ,, LTD.. N unokawa Yuji, born in 1947, is the representative director of anime production company Pierrot.
Akers. So you have an anime about robots bots sponsored by a company that makes robot toys. The anime serves as a kind of advertisement for the toys. In n our case, the sponsor was the toy maker Bandai, and they said that they wanted us to do a show for girls that would ould be about transformation. The toy that hat they would sell would be a magic ic wand. Bandai didn’t touch the animation series itself. We were allowed to create original work within the frame set up by the sponsor. First we built the character, acter, Minky Momo, and then we discussed ussed how she should transform.