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PRODUCTION HISTORY

MIGHTY ATOM: THE BEGINNING

To fulfill his dream of creating animation, Osamu Tezuka became a contract employee at Toei Animation in 1958. He studied animation by working on the company's third feature film, Alakazam the Great (released August 14, 1960). At the time, Tezuka stated:

"I think every manga artist wants to be like Disney. But professionally, Disney isn't my goal. Our objectives differ. Disney's works, in a word, are picture stories. In literary terms, they're too much like children's literature. I believe I can use Disney as a foundation and take a step further in content.

Disney spends seven to eight hundred million yen on even small projects. Toei spends thirty to forty million yen. Even the production team involves around 300 people. I simply don't have that kind of resources. However, I held a large-scale presentation event at Ginza Yamaha Hall, featuring multi-plane camera techniques, where I screened "Tales of a Street Corner," "Mighty Atom Episode 1," "The Birth of Disney," and my independent animation "Osu." Let me be clear: my confidence in surpassing Disney lies in content, not as a corporation."

- Weekly Kōron, May 7, 1960 issue

Tezuka poured the funds he earned from manga into Mushi Productions, which he ran on animation manuscript fees. One project devised to secure independent income was the ‘TV Manga’. With its decade-long serialization providing ample source material, ‘Mighty Atom’ emerged as a prime candidate. Producing a 30-minute TV anime episode weekly was considered impossible by the standards of the time. Therefore, a plan was devised: first set a daily quota, calculate the work volume achievable in a week, and produce what could be made within that scope. On this foundation, new directing techniques and animation methodologies were experimented with.

THE MIGHTY ATOM'S TELEVISION DEBUT

The black and white anime version of Mighty Atom produced by Mushi Production aired on the Fuji TV network from January 1, 1963, to December 31, 1966. Over four years, all 193 episodes were broadcast. It achieved a peak viewership rating of 40.7% and an average rating of 30%.

The program's record-breaking success prompted other companies to follow suit one after another, sparking an unprecedented television anime boom.

Various methods were devised: camera work that made still images appear to move by moving the camera; three-frame animation, which reduced the number of frames used per second from 12 to 8 (previously 24 frames per second); and the pan-and-shoot system, which created different scenes by changing backgrounds while keeping the animation the same. These were stopgap measures, but they became the fundamental systems for subsequent Japanese television animation.

Before the broadcast began, Osamu Tezuka discussed the progress of Mighty Atom in a newspaper article.

"It is now almost certain that Mighty Atom, the first long-running domestic television animation series produced by children's manga artist Osamu Tezuka, will find its way into people's homes starting next January, with a sponsor secured. Given that animation is notoriously labor-intensive and time-consuming, making it difficult to balance the books, Mr. Tezuka's attempt to broadcast one thirty-minute episode weekly is drawing attention from various quarters, albeit with some apprehension. We asked Mr. Tezuka, the driving force behind “Nippon TV Animation,” about the full scope of this "Mighty Atom Project," as it were, and the challenges of creating television animation.

"Regarding the production progress of Mighty Atom... The third episode is complete. We're working on the fourth. A confectionery company has sponsored it, and it's scheduled to air nationwide starting next January. However, scheduling hasn't worked out yet, so the broadcasting station hasn't been finalized. For us, I'd like to air it during prime time, but the station we're negotiating with is saying the 6 PM slot."

"Video production seems to be quite labor-intensive. Take filming, for instance. If one person does it, they can barely manage 300 feet of film per day. Film runs at 24 frames per second, so 200 feet is only about three minutes. Adding more cameramen speeds things up, but that costs money. It's truly a craft, you see."

"How many people are working on production?"

"About fifty staff at Mushi Production (the animation studio Mr. Tezuka runs). Since the original work was serialized in a boys' magazine, all that's left is drawing the pictures, filming, and editing."

"Some people say that with something as labor-intensive as animation, especially when it's broadcast weekly for thirty minutes each time, it might be fine at first with existing stock footage, but eventually, they'll have to rush the work just to keep up."

"It absolutely won't become slapdash work. We came up with a system here called the "Bannonku System." Normally, in animation, once you use a drawn frame, you throw it away. That makes it labor-intensive and costly. But here, we classify and store every single frame."

Using this Bannonku System should make it profitable. Actually, the Mighty Atom project was planned last year, but it took a full year just to study whether it would be profitable. Today, of course, it's running at a loss. But we should start turning a profit around the fifteenth episode or so. With the Bannonku System, the more you make, the cheaper it gets."

"How much does it cost to make one?"

"Normally, they say ten minutes of animation costs about two million yen, but with my method, we can produce it for about the same cost as a regular TV drama. Five or sixty thousand yen? Well, I'll leave that part to your imagination. For example, we draw just the mouth for Atom – smiling, crying, talking, and so on. We also have drawings of standing Atom and sitting Atom. Combining these drawings allows us to create various versions of Atom. Yes, the drawings are done on transparent celluloid. The backgrounds are drawn on separate celluloid sheets too. Then it's just a matter of planning the story and combining them. We drew 6,000 drawings for the first film, but only 4,000 for the second, and 3,000 for the third. As the stock of drawings increases, fewer new drawings need to be made, which means less labor and time required. Using this Bannonku System, it should be profitable. Actually, the Mighty Atom project was planned last year, but it took a year to study whether it would be profitable. Profits should really start rolling in around the fifteenth episode."

"I understand it's financially viable, but will it actually turn a profit?"

"Just TV broadcasts alone won't bring in that much. It's like Disney's animated films. There's also something called licensing fees. Like with Disney TV or Disney handkerchiefs, we let other products use the brand and collect usage fees. Atom handkerchiefs, Atom yarn, Atom pencils, even Atom geta sandals are set to hit stores early next spring. And then there's exports."

"You're even thinking about exports?"

"We'll find buyers. We made Atom's character with exports in mind. We made the action scenes look foreign too. The future looks bright."

"But why did you decide to make animated films in the first place?"

"Mighty Atom is a science manga where a boy-like android named Atom flies around the universe doing great things. I wanted kids to develop their imagination. Kids these days are so practical, they've lost their dreams. And if I may speak personally, manga artists get caught up in the passion to see their own manga move. Once you animate it, it's like a drug—you get hooked. If Mighty Atom succeeds, I want to make another one."

- (Interview with manga artist Osamu Tezuka, creator of the TV anime 'Mighty Atom’ Tokyo Shimbun November 19, 1962

Staff numbers soon multiplied exponentially, and work became more efficient. However, due to the originally low budget, the production costs for the TV anime itself were running at a loss, snowballing into a deficit. For Osamu Tezuka, the method of making TV animation developed by Mushi Production was fundamentally at odds with his ideals. He had originally intended to invest significant time and effort (which inherently meant spending money). However, he was forced to reduce production costs when compared to other programs like dramas. Furthermore, he believed that if he worked on a low budget, no one else would dare to imitate him.

Production cost figures vary depending on the source, but it is certain that the budget was insufficient based solely on the production fees from the TV stations. Criticism is often voiced today that because Tezuka accepted TV animation projects at excessively low budgets, the Japanese animation industry would suffer the consequences for years to come. However, as evident from his statements here, Tezuka never intended from the outset to produce programs relying solely on the production fees from the TV stations. He had devised a meticulous plan to recoup costs. Its two pillars were character licensing business and overseas export of film.

Quoting Osamu Tezuka after the broadcast began:

"The animation industry going forward must adopt diversified management. Selling animated films alone simply won't cover the expenses. Animation is ultimately just one business tool for us. Our policy is to use it as a foundation to expand various revenue streams. One such stream is merchandising, which is generating significant profits. Products bearing the ‘Mighty Atom’ name range from transistor radios to geta sandals, totaling about seventy varieties domestically. The average production cost per ‘Mighty Atom’ episode is around 1.4 million yen, resulting in a deficit of roughly 500,000 to 600,000 yen. However, this deficit is not only covered by the licensing fees for the name alone, but also funds the expansion of our studio (approximately 132 square meters). Therefore, the proceeds from this export contract will be pure profit."

- (Mighty Atom's $520,000 Export Deal: First Domestic Manga to Go Overseas / ‘The Day the Earth Stood Still’)

The TV anime “Mighty Atom” began with Osamu Tezuka directing the first four episodes. However, among the total 193 episodes, the number actually directed by Osamu Tezuka himself was not particularly high. Tezuka primarily handled checking scripts and storyboards, as well as character design and settings. Though not widely known, he meticulously worked on character designs for this “Mighty Atom,” leaving behind numerous original drawings. What catches the eye are the background characters, the extras- factory workers, soldiers, gangsters' henchmen, various animals. It's surprising to see Tezuka himself drawing such minor characters. You can tell he was concerned about maintaining his signature style throughout the work. This was an era before copy marks were common; initially, mimeographed setting sheets were used. Later, blueprints and photographic prints were also used extensively. While he didn't design every single character in “Mighty Atom,” it's safe to say he contributed significantly to a large portion of the work. Tezuka's drawings sometimes featured disconnected lines, so they were often redrawn for coloring purposes. In that sense, they weren't strictly design-oriented, but his ideas, knowledge, and sense were truly extraordinary.

THE BIRTH OF ASTRO BOY

"ASTRO BOY!Boy O' Boy! A robot boy alive as any boy in 52 animated half-hours, each half-hour a full adventure. Created especially for syndication, ASTRO BOY - 21st century boy who flies through space, and moves mountains, and is as wond'rous an attraction to youngsters and adults alike, and sponsors in your area. ASTRO BOY - brand new - through NBC FILMS"

Even before its broadcast began, careful consideration was given to making the Mighty Atom films suitable for overseas markets. In March 1963, Osamu Tezuka traveled to the U.S. to negotiate a contract with NBC. By May, an agreement was reached for NBC to distribute 52 episodes of “Mighty Atom.” Previously, when Japanese animation was sold to America, distributors often arbitrarily altered the films or removed the names of Japanese creators and producers. To prevent this, Tezuka secured a contract based on a distribution percentage system.

Broadcast began on September 7 under the title “Astro Boy.”

The show proved a massive success. Even Walt Disney himself watched it and told Tezuka, “Astro Boy is a fine work. The children of the future must look to space.” Subsequently, it aired in over 40 countries overseas, including the UK, France, West Germany, Australia, Taiwan, Hong Kong, Thailand, the Philippines, Canada, Mexico, and Brazil. By 1980, it had also aired in China.

Names were changed to fit the North American market:

Atom - Astro Boy
Uran - Astro Girl
Cobalt - Jetto
Prof. Ochanomizu - Dr. Elefun
Higeoyaji (Mr. Mustachio) - Mr. Percival Pompous
Tobio Tenma - Astor Boynton
Dr. Tenma - Dr. Boynton

When the name Mighty Atom was brought up, Tezuka was told it was a slang term for fart by NBC's General Manager. NBC's General Manager immediately suggested the name Astro Boy instead.

In the U.S., it wasn't broadcast on NBC's network stations because it wasn't in color. Instead, it aired on the syndicate's thirty contracted stations, and its popularity was excellent. Taking New York as an example, it consistently maintained the top ratings in its broadcast time slot.

By the end of October 1963, it topped ratings in New York broadcast stations, surpassing shows like Mickey Mouse. It is particularly noteworthy that Mushi Production's Mighty Atom has successfully secured export contracts with NBC Films in America for both last year and this year, receiving tremendous acclaim not only in the United States but also in countries like Australia and Mexico.

"WHAT DO I DO FOR AN ENCORE? My series is less than a year old and it's breaking records across the country... Like 45% of the TV audience in Atlanta, 38% in Memphis, 37% in Charleston, 30% in New York, 65% in Jackson and top ratings in many other markets. Because of all this success, I've been signed up by 30 stations including WMAQ Chicago, WEWS Cleveland and KHJ Los Angeles. No time to rest, I'm out for even more fans with my 52 brand new episodes. 104 shows! Maybe I should run for president?"

Fred Ladd, NBC's technical advisor who handled the dubbing for Astro Boy, also praised it lavishly: "Within its scientific fantasy lies a unique blend of humor and poetry that American animated films lack. There's probably no child in America today who doesn't know Astro Boy."

- (Satellite World)

The following year, 1964, saw the conclusion of a second distribution contract for 52 episodes. NBC's Fred Ladd visited Japan, and a press conference was held at the Tokyo Hotel in Ginza, Tokyo, on October 29th. Various topics were discussed at the press conference, generating considerable buzz.

Years later, when Osamu Tezuka traveled to South America, he discovered pirated copies of “Mighty Atom” being sold there. He was delighted to find that “Mighty Atom” had spread even to such places. Due to the popularity of “Mighty Atom,” later works like “Jungle Emperor,” “W3,” and “Ribbon Knight” were also exported overseas as "Kimba the White Lion," "Amazing 3," and "Princess Knight."

Overseas film exports weren't without obstacles. Tezuka himself seemed perplexed by American television's ethical regulations.

The massive success of the TV anime led to the release of a wide array of licensed merchandise featuring Mighty Atom's image. Toys, snacks, clothing, tableware, furniture, bicycles... and everything else imaginable, all of which sold explosively well.

It is no exaggeration to say that the full-fledged character business in Japan began with the TV anime Mighty Atom. Osamu Tezuka initiated it with deliberate planning and conviction. He is said to have played a pioneering role in this field as well.

At Mushi Production, a Copyright Department was established to manage the rights for Mighty Atom.

THE DECLINE OF THE MIGHTY ATOM

Tezuka wasn't solely dedicated to anime, and when he was involved, work didn't proceed according to schedule. Within Mushi Production, the tendency to remove Tezuka from the anime production process gradually grew stronger. This gradually eroded Tezuka's sense of fulfillment and connection to his TV anime "Mighty Atom," and his remarks began to reveal this feeling. In “I Am a Manga Artist,” Tezuka stated the following:

"The TV manga Mighty Atom ran for four years. That meant producing four years' worth of film for Japan's Mighty Atom. The Atom based on my original story ended after about a year and a half, but to keep up, the staff then churned out stories one after another. The most rigid requirement was to have Atom fight something. Gradually I gave up. You might wonder why I stood idly by, but by that time, the Mushi Pro organization had grown so enormous that I alone couldn't control it. Even when I wanted to use an idea, the spinning gears couldn't be stopped, and the idea was often discarded in vain. Above all, this approach meant meeting deadlines took precedence over quality. The reputation that ‘Astro Boy’ was a poor work began in its second year. Some critics even said they couldn't bear to watch Mighty Atom. "This is the limit of Tezuka's manga," someone wrote in a weekly magazine. I felt lonely. Truthfully, the Atom of the final episodes was not Atom. Yet ratings remained strong, so to education-obsessed moms who'd never seen a comic in their lives, and teachers who swallowed newspaper articles whole, Atom still appeared to be a conscientious cartoon. They kept handing out awards for some reason. Whenever I heard someone say, "Mighty Atom is such a fine program, isn't it?" I'd think, "Enough already!" and then I'd agonize, admitting it was all my own fault."

The TV anime Mighty Atom aired its final episode on December 31, 1966. Around the time it ended, it became such a social phenomenon that magazines and newspapers debated why Mighty Atom had to end.

It cannot be denied that various factors contributed to the decision to cancel. First, it was a fact that the sponsoring pharmaceutical company, seeing Atom product sales plateau, had been voicing a desire to commercialize the next character soon.

"We had been advised for quite some time that it was time to wrap up Atom. At the production company, they agonized over what kind of merchandise Atom could generate to satisfy the target market, and it seems there were heated debates among the executives. On the other hand, the production team at Mushi Production, after the absolute character of Atom, and how to satisfy the target audience with Atom merchandise. On the other hand, the production side at Mushi Pro prioritized what came after the character of Atom."

"Royalty rates had fallen, making it impossible to adjust production costs based on that income. Additionally, there were troublesome issues with advertising agencies over Atom, as well as some murky disputes. But above all, the fatal cause was that Atom's success led to a flood of TV anime, many of which were essentially variations on the same theme. It would have been strange if they hadn't cannibalized each other. Shows like ‘Tetsujin No. 28’, ‘Eightman’, ‘Space Boy Soran’, ‘Planet Boy Pabee’, ‘Space Ace’, ‘Space Patrol Hopper’, and so on, pounced on Atom like hyenas, blatantly stealing ideas and techniques. The composition, scripts, and characters were virtually identical. And it was all done under the guise of morality—trading ideas from Mushi Production's studio, or staff secretly helping out on other shows. In America, color broadcasting was already mainstream, and monochrome “Atom” could no longer be exported. That was another major factor. At Mushi Production, there was fierce debate over how to handle Atom's death. One opinion was that he died for humanity, driven by a sense of justice until the very end. The other was a revolution where all robots, including Atom, rebel against humanity. They would then build the ideal society humans couldn't achieve. Robots, long live Atom... that was the idea. But I thought making it a death would be cleaner."

- (Mainichi Shimbun, December 24, 1966)

The final episode, "The Greatest Adventure on Earth," was written and directed by Osamu Tezuka himself. Certainly, there were various circumstances, but the latter half of the TV anime series was mostly original work. Tezuka surely felt this wasn't his Atom. Therefore, rather than ending it halfway, he likely thought it best to end the series altogether.

The following week, the Mushi Production anime “Son Goku's Great Adventure,” with Osamu Tezuka no longer involved in production, began as the successor program. This changed everything surrounding Osamu Tezuka. The TV anime “Mighty Atom” had ended.

On the day production of Atom's final episode ended, the Mushi Production executive in charge of Atom passed away. His funeral felt like Atom's own funeral.

Thus, the television Atom died.

Mushi Productions

Regarding the Conclusion of “Mighty Atom” Broadcasts

With the arrival of February, the cold has grown even more severe.We hope this message finds you well.Now, “Mighty Atom,” which has been broadcast since January 1, 1963, has come to an end for the time being, with last New Year's Eve's broadcast being the final episode. As you all know, it held the glory of being Japan's first long-running television manga, became an idol for children nationwide, and ushered in the subsequent anime boom.It even ventured overseas, becoming a friend to children around the world and boosting awareness of Japanese anime. While its conclusion hass deeply saddened us, we promise it will return one day in a new form. We, the entire staff, express our heartfelt gratitude to everyone who has nurtured Atom until today.Above all, we humbly request your continued support.
Mushi Production Co., Ltd.Representative DirectorOsamu Tezuka

The television series “Mighty Atom,” which has been running since 1963, will come to an end for now at the end of December. Thank you all for your support.

Soon, a new color television program featuring Atom, "Atom Land," will begin.

Until then, the television series will take a break, but the Atom stories in Shōnen magazine will continue indefinitely. Please keep reading them.

A message printed on the page following the final page of “Mighty Atom: The Boy in the Fourth Dimension” (from the December 1966 issue of Shōnen magazine, supplement Shōnen Punch).

via Tetsuwan Atom Illustrated - Kawade, Shobo Shinsha pg. 122–125. ISBN 978-4-309-29191-8.

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