70年代アメリカ、OCS海外子女教育振興財団が地方テレビ局の限られた時間帯に、日本語放送を土曜日の夜数時間のみしていた時期があり、日本のニュースや大河ドラマ、子供枠にアニメ「一休さん」を放映していた。インターネットもビデオもない時代ゆえ日本語放送だなんてその時代の日本人にとっては遠い祖国に触れられることができるそれはそれは貴重な時間。
「一休さん」が最終回を迎え次に来たのが、母を機械人間に殺され復讐を誓う少年が金髪の謎の美女と宇宙間を銀河鉄道で旅するSFアニメだった。「なっ、何だこれは？！」銀河鉄道999。
戦士の銃コスモ・ドラグーンを腰に惑星間を冒険する主人公の幼き少年鉄郎の姿は、年齢も近く異国に住む自分を被らせ感情移入するには充分すぎた。その数ヶ月後には日曜日もチャンネル47のソビエト放送後の夜9時から日本語放送開始、なんと「キャプテン・ハーロック」と水谷豊主演「熱中時代」。（因みにハーロック後は石ノ森章太郎「サイボーグ009」、手塚治虫「不思議なメルモ」と続き、この時期のOCSのセンスの良さが窺える）週二で松本零士作品。スター・ウォーズに完全に毒されていた時代でもあり、Made In USAとは違ったタッチのMade In JapanのSFの凄さを肌で感じた瞬間である。999とハーロックは劇中に互いのキャラがクロス・オーバーし、言うならば熱中時代の北野広大先生が金八ティーチャーの代わりに非常勤講師として3年B組を受け持つというぐらいあり得ないパラドックスで、そんな発想すら及ばなかった時代に緻密な松本零士ワールドに感嘆する他なかった。普段のパブリック・スクールではルークとベーダーの関係、レジー・ジャクソンのホームラン、ダラス・カウボーイズのチアリーダーが話題の中心だったが、週一の日本語補修校ではハーロックのアルカディア号やアンタレスの話で盛り上がり、この辺りから私は父に「もう日本に帰ろうよ」と懇願するようになる。数年前に改めて映画版の999を見たが、ストーリーを知っているにも関わらず、旅を通して成長していく鉄郎の姿に感動。城達也の素晴らしいナレーションで締め括られるエンディングの鉄郎とメーテルの名シーンは思い出すだけでも目頭が熱くなる。作者松本零士が亡くなった今、子供の頃から海外生活の自分の人生がまるで銀河特急に乗って地球に帰れずに宇宙を彷徨う防人であるかのようにも思え、鉄郎をモチーフにしたタトゥを入れようと図案を考えようと思った。松本先生、どうぞ安らかに。合掌。In the 1970s, in US, there was a time when the OCS Overseas Children's Education Promotion Foundation provided Japanese language broadcasts on local TV stations for a few hours on Saturday nights. They aired Japanese news, historical dramas, and the anime 'Ikkyu-san' in the children's slot. In an era without the internet or videos, these Japanese broadcasts were a precious opportunity for Japanese expatriates of that time to connect with their distant homeland.
After 'Ikkyu-san' concluded, what followed was a science fiction anime where a boy, vowing revenge after his mother was killed by a cyborg, travels through space on the Galaxy Express with a mysterious blonde beauty. 'What is this?' It was 'Galaxy Express 999.'
The image of Tetsuro, a young boy with the gun 'Cosmo Dragoon' strapped to his waist, embarking on interstellar adventures, resonated deeply with me, given our close ages and my life in a foreign land.A few months later, Sunday evenings also featured Japanese broadcasts starting at 9 PM, following the Soviet broadcast on Channel 47. To my delight, it included 'Captain Harlock' and the series 'Netchu Jidai' starring Yutaka Mizutani. (By the way, after Harlock came Shotaro Ishinomori's 'Cyborg 009,' and Osamu Tezuka's 'Fushigi Na Merumo,' showcasing OCS's exceptional programming during that period.)
It was a time when Leiji Matsumoto's works aired twice a week. It was also during the Star Wars craze, but I could feel the uniqueness of Made In Japan science fiction, different from Made In USA.'Galaxy Express 999' and 'Captain Harlock' had crossover moments in their plots, as if teacher Koudai Kitano from 'Netchu Jidai' temporarily substituted as a part-time teacher for 'Class 3-B' in the absence of Kinpachi Sensei (EX: imagine Superman appearing in Batman in those era) – an unthinkable paradox that left me in awe of Matsumoto's intricate world, in an era where such ideas were unimaginable.During regular public school days, the discussions centered around Luke and Darth's relationship, Reggie Jackson's home runs, and the Dallas Cowboys' or Pittsburg Stealer's cheerleaders. However, at the once-a-week Japanese supplementary school, we enthusiastically delved into stories about Harlock's Arcadia and Antares. It was around this time that I started pleading with my father, 'Let's go back to Japan.'A few years ago, I watched the movie version of Galaxy Express 999 again, and despite knowing the story, I was moved by Tetsuro's growth throughout his journey. The ending scene with Tetsuro and Maetel, wrapped up with Tatsuya Jo's magnificent narration, brings tears to my eyes just thinking about it.
Now that creator Leiji Matsumoto has passed away, I can't help but feel like I'm a traveler wandering through space, unable to return to Earth, much like Tetsuro from my childhood. I've even considered designing a tattoo inspired by Tetsuro. Sensei Matsumoto, may you rest in peace.
#松本零士 #leijimatsumoto #galaxyexpress999 #銀河鉄道999 #キャプテンハーロック #captainharlock #albator #interstella5555 #daftpunk #星野鉄郎 #コスモドラグーン
In the 1970s, in US, there was a time when the OCS Overseas Children's Education Promotion Foundation provided Japanese language broadcasts on local TV stations for a few hours on Saturday nights. They aired Japanese news, historical dramas, and the anime 'Ikkyu-san' in the children's slot. In an era without the internet or videos, these Japanese broadcasts were a precious opportunity for Japanese expatriates of that time to connect with their distant homeland.
After 'Ikkyu-san' concluded, what followed was a science fiction anime where a boy, vowing revenge after his mother was killed by a cyborg, travels through space on the Galaxy Express with a mysterious blonde beauty. 'What is this?' It was 'Galaxy Express 999.'
The image of Tetsuro, a young boy with the gun 'Cosmo Dragoon' strapped to his waist, embarking on interstellar adventures, resonated deeply with me, given our close ages and my life in a foreign land.
After 'Ikkyu-san' concluded, what followed was a science fiction anime where a boy, vowing revenge after his mother was killed by a cyborg, travels through space on the Galaxy Express with a mysterious blonde beauty. 'What is this?' It was 'Galaxy Express 999.'
The image of Tetsuro, a young boy with the gun 'Cosmo Dragoon' strapped to his waist, embarking on interstellar adventures, resonated deeply with me, given our close ages and my life in a foreign land.
A few months later, Sunday evenings also featured Japanese broadcasts starting at 9 PM, following the Soviet broadcast on Channel 47. To my delight, it included 'Captain Harlock' and the series 'Netchu Jidai' starring Yutaka Mizutani. (By the way, after Harlock came Shotaro Ishinomori's 'Cyborg 009,' and Osamu Tezuka's 'Fushigi Na Merumo,' showcasing OCS's exceptional programming during that period.)
It was a time when Leiji Matsumoto's works aired twice a week. It was also during the Star Wars craze, but I could feel the uniqueness of Made In Japan science fiction, different from Made In USA.
It was a time when Leiji Matsumoto's works aired twice a week. It was also during the Star Wars craze, but I could feel the uniqueness of Made In Japan science fiction, different from Made In USA.
'Galaxy Express 999' and 'Captain Harlock' had crossover moments in their plots, as if teacher Koudai Kitano from 'Netchu Jidai' temporarily substituted as a part-time teacher for 'Class 3-B' in the absence of Kinpachi Sensei (EX: imagine Superman appearing in Batman in those era) – an unthinkable paradox that left me in awe of Matsumoto's intricate world, in an era where such ideas were unimaginable.
During regular public school days, the discussions centered around Luke and Darth's relationship, Reggie Jackson's home runs, and the Dallas Cowboys' or Pittsburg Stealer's cheerleaders. However, at the once-a-week Japanese supplementary school, we enthusiastically delved into stories about Harlock's Arcadia and Antares. It was around this time that I started pleading with my father, 'Let's go back to Japan.'
A few years ago, I watched the movie version of Galaxy Express 999 again, and despite knowing the story, I was moved by Tetsuro's growth throughout his journey. The ending scene with Tetsuro and Maetel, wrapped up with Tatsuya Jo's magnificent narration, brings tears to my eyes just thinking about it.
Now that creator Leiji Matsumoto has passed away, I can't help but feel like I'm a traveler wandering through space, unable to return to Earth, much like Tetsuro from my childhood. I've even considered designing a tattoo inspired by Tetsuro. Sensei Matsumoto, may you rest in peace.
Now that creator Leiji Matsumoto has passed away, I can't help but feel like I'm a traveler wandering through space, unable to return to Earth, much like Tetsuro from my childhood. I've even considered designing a tattoo inspired by Tetsuro. Sensei Matsumoto, may you rest in peace.
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