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Daitarn 3

The unbeatable Daitarn 3

The threat comes from Mars, but its roots lie in a human tragedy: that of Dr. Haran Sozo, a brilliant scientist creator of Megadeth, bodies perfect robot who took over and now plan to submit our race. Against them stands a hero, Haran Banjo, son of the scientist, who escaped the civil war on the red planet and now ready to fight on board the robot Daitarn 3 to defend the Earth. With him are two young and beautiful assistant, Beauty and Tachibana Reika Sanjo, the pestiferous Toppy and versatile butler Garrison. The war unfolds in a blaze of combat hours humorous, surreal hours, while the tragedy of the Haran family slowly gets more and more shape.

Starting from the mirror he sees robotics as a series The unbeatable Daitarn 3 opposed to the previous The invincible Zambot 3, one can not help but notice the absolutely unique and borderline of this classic of Japanese animation. A striking fact is the radiance of concept, which is opposed to more tragic results of his predecessor, but the fact that the genius of Yoshiyuki Tomino works along a route that brings him gradually and simultaneously pay their respects to overthrow the expectations of the viewer and dictates that the plant could be the general.

Therefore, although pleasant, Daitarn 3 is a series that reveals an ever-present sense of tragedy, intended to find partial completion when the evidence of the tear inside the Haran family is revealed, the path towards this awareness that the end is studded with stories, though often an excuse for gags and funny moments, tell of failures and human beings who decide to marry Megadeth because of seeing it as a chance for redemption and revenge against the society which rejected them or betrayed. A director who, however, at least in one case was reversed (the reference is to the "odd couple" formed by Mary and Franken, seen in episode 9 and 35), symptom, however, to what the formula does not accept the imposition of a cloth well defined and instead seeks to overturn more prospects.

these elements are already sufficient to declare the genius of a series, but goes even further Tomino and takes advantage of this porosity of the subject (the result, apparently, extremely creative freedom of staff and therefore a source of many inventions visual) to undertake a theoretical reflection on the genre itself: on the other hand, that language is spoken narrative is clear, already the very idea of \u200b\u200btelling the tragedy through the irony that often degenerates into farce or pure surrealism to reveal the 'intent, but by the implicit Tomino out and told not to openly reveal its purpose.

is therefore that stories told in the individual episodes are often appealed to the concept of representation and enhance the value of iconic elements: a charming hero and superior physical characteristics (which can stand up to dozens of opponents, survive naked in the cold Arctic and break barriers and chains with his bare hands), two assistants are fascinating, but above all a precise ritual to the formula that the classic presentation of the weekly bad guy joins a battle cry and a final blow (the famous Solar Attack, also in opposition to ' Attack of the Lunar Zambot) that are repeated in each episode and that the pace of the story.

What Tomino is therefore wish to express an iconography and a robotic repetition inherent to the genre, but it becomes his strength as an iterative mechanism that involves the viewer and the recognition of specific elements that are expected and therefore shared. Then there is the aforementioned issue of representation, which embraces the most diverse forms of expression: sometimes the shift is Megadeth's disguised as a movie star, sometimes the companies themselves are filmed Daitarn to become a full-length ( Tomino and took the opportunity to present his habit of quoting Star Wars), and in other cases, calls into question the balloon effect onomatopoeia and graphics that appear in the frame, or numbers of stages are mentioned figure skating, the characters are arranged in evocative poses, enhanced by the director and the play of light and photography (large credit goes to the staff of Studio Z, who worked on the 'animation of some memorable episodes). Everything is of course an excuse to absorb the spirit of an art (the soul) and a company that is now totally in spectacular and the mechanism has already made its transition from modern to postmodern and can therefore begin to think about itself, however, well ahead of its time but without that excess citazionistico (still present) typical works today. The result is a tourbillon of original inventions that - in its finest moments - seem to come from the pen of Lewis Carroll suddenly votatosi science fiction.

apparent anarchy, but it really shiny in his action in all fields Daitarn 3 The unbeatable advantage of this chaotic nature to introduce some issues that will then completeness in Mobile Suit Gundam and allow deeper reflection on the drift of human evolution. We can therefore see Megadeth as a metaphor for evil that tension to a "higher level" that will subsequently to the New Type or, more correctly, the New Type of Cyber \u200b\u200b Z Gundam, where the evolution will be surreptitiously induced by the use of invasive technology. But in this war of light and shade, Daitarn 3 no discounts, and above all, once again plays with the reversal of perspectives, bringing back every character in a shadow that does not leave the field heroes and villains in the round. Haran Banjo is in fact a character obsessed with his desire to break free from war and the legacy his father, just as Megadeth are perhaps not totally negative in pursuing a design that in their great folly seems very logical.

The basic problem is that even in this case, the thrust of a devastating conflict that embraces an entire galaxy is due to interpersonal and family dynamics that form a compact "small", where the father reports son-to dictate the route. Why War, once again, is a matter of private feelings, instincts that guide personal actions, such as the rivalry between Char and Amuro in Gundam , the only element that remains on the ground in front of prospects human evolution .

The series finale is not just a case closes with a space battle that would indicate tominiani and future scenarios, as a whole, is ambiguous and rightly open just enough to encourage exciting speculation. We recommend watching the series in subtitled version to capture all the nuances of history, been tarnished by hasty Italian version of the early eighties.

The unbeatable Daitarn

3 (Muteki Kojin Daitan 3)

Director: Yoshiyuki Tomino

Script: Yoshihisa Araki Hiroyuki Hoshiyama, Ken'ichi Matsuzaki (from a general idea of \u200b\u200bYoshiyuki Tomino and Hajime Yatate)

Source: Japan, 1978

Length: 40 episodes

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