It’s the year 2206, and a bright pink spacecraft has made an unauthorized launch from Pluto Space Base #17, and is sporting its hyper rocket engines with intense haste. As authorities seek to control, and perhaps even down the runaway craft, a crucial baseball drama is unfolding. With perhaps the Tigers’ 200+ year losing streak at an end, their winning play is thwarted as the troublesome pink streak fouls up the game, rendering a mob of spacefaring fans ready, and eager to destroy the speeding interloper. Not even the denizens of Macross, or Yamato can stop this intergalactic bullet from causing all amounts of nuisance to all in her path. Seriously, she’s a real pain.
Such is the life of headband wearing, pendant-sporting Micchi, pilot of the Pink Shock. Her mission is not very complicated. And it isn’t concerned with your space wars, your losing streak, your culture. She’s having none of it. She’s seventeen years old, and speeds on for love. And not you, nor any militaristic regime can do anything to stop her from reclaiming it.
How is this hard for your to understand?
OVAs in the 1980s are pretty much a wasteland of VHS nonsense, often highlighted by your random Bubblegum Crises, or Megazone 23s, and offer very little in the way of viable historical context. Even in Japan’s anime on home video heyday, these were the shelf stocker equivalent to today’s Asylum Pictures release. They were a dime a dozen, and often made on the quick and cheap. New studios opening, and new studios closing. It was a new market, and something rife with mental images of airborne yen signs just itching for a slice of this new home entertainment pie. So why in the world do we want to talk about 1986′s Cosmos Pink Shock?
Quite frankly, because despite everything in it that is typical, there is also a potent, and perhaps even frightening sliver of prophecy embedded within. From the wet-wafer thin nature of the aforementioned “plot”, there is both a reverence for the era’s legendary love of space war tales, as well as the burgeoning of that now all too worn concept of moé. The show makes every effort imaginable to play into the fetish, and does everything possible to justify its existence. In fact, the entire point of Cosmos Pink Shock, is just that: “Space Wars are annoying, this is the era of the cute girl-STEP OFF.” It has no compunctions saying that the space heroes of the past will have to make way for all the petulant cuteness, as if the show itself were Noah’s dream of a flooded planet, and we had to prepare for the inevitable.
It even goes so far as to introduce a possible foil in the form of woman hating, Gatsupi. A handsome ball of noble whom the ladies like for his looks, but are constantly rebuffed by his declaration of disinterest. Even when the assumption is that of a slashfic narrative, he contends this isn’t the case. Yes, even fangirls of the 1980s were quick to assume this guy to be prime fantasy material. But this Sho Hayami-voiced character holds within a simple reason for his standoffish ways. Perhaps leave it to the newly captured Micchi, to weave her tale of woe, thereby thaw Gatsupi’s frozen heart?
You see, Micchi’s one true love, a boy she was fond of at AGE 4, was abducted by a UFO during the night of the matsuri. Yes. And noone seemed to remember who he was, nor was motivated at all to find him. So naturally, she stowed away on a space shuttle in hopes of finding him. Again. How is this not getting through? Are you just being stubborn?
Looking back at it now, it feels like this was a sentiment that had long been festering until it finally saw a ray of legitimacy with the original Superdimension Fortress Macross series. And from that point on, it became standard practice to keep that element as an integral part of the space war genre. That is until the conditions were right. Cosmos Pink Shock feels like a light handed back slap against the decade preceding it in all its need for hard edged militarism and samurai propriety. Featuring some neat character design work by the always terrific Toshihiro Hirano (of Fight! Iczer One & Vampire Princess Miyu fame), and some impressive animation direction by Keisuke Matsumoto & Yasuo Hasegawa, there is some visual charm happening here. Especially worthy of note are the scenes involving hardsuit armor and even a robot baseball game. There is much to see as mere distraction in Cosmos, that many may see as your typical benign japan toon, but there is just enough moxy, and outright raspberrying to all things Gundam and Yamato, to make it into something of a manifesto. A harbinger of the future.
A future that was barreling closer toward us.
Whether we wanted it..or not. Get out of the way.
Oh yes, and it features quite a nod to fans of the Hanshin Tigers, granting it a Kansai aura that must have been bubbling in lieu of their once rumored “cursed” state. A running gag that screams “you had to be there”, but is mildly chuckle-inducing regardless.