's story Tomohori Yasui, creator of the concept Kami-Robo, just looks like-with reservations - the plot given by the mangaka Naoki Urasawa in his 20th Century Boys . In both cases, the dreams and fantasies of childhood are particularly relevant, however, Yasui transcends the limits of fiction and since 2005 decided to make public their love of battle between robots mounted with wire assemblies, which since childhood had been hiding for fear of ridicule and rejection.
was in the late 1970's, called the last gasps of the Japanese miracle, when his imaginary universe takes shape. Yasui , just a child and inspired by television content in those years earlier fascinated audiences (such as wrestling and anime mecha), choose to create their own characters away from consumerism rooted among their peers, using basic tools as paper and cardboard, wire and pens. Shortly after decides to confront each other and form a whole mythology around them.
The term Kami-Robo is a word made up kami, which in Japanese can mean "paper" or "God" depends on how you write it, and theft, which is a slang adopted the word robot. However, the operator differs from the traditional concept as a machine in the service of humans and claims that each of the pieces he has made over 30 years old have their own life. Remember Shinto philosophy, religion whose basic tenet is to accept that in every expression of nature inhabited by a deity or spirit and, therefore, has an essentially unique and unrepeatable.
Consequently, when starting the fight on the ring the hands of those who manipulate the movements of the Kami-Robo wrestlers are merely incidental, unimportant and they immediately go into the background. This feature comes Bunraku theater , traditional Japanese art with more than 200 years old, where the drama between the puppet becomes so intense that, in effect, the puppets come to life itself.
Beyond "otaku culture?
The text that accompanies the museum mounted the exhibition, open a parenthesis that puts on the table a direct critique to consumerism (according to himself Tomohori Yasui) characterizes the (sub) cultural otaku. It's no secret the relative success of the toy companies warned the direct link between cartoons and manufactured products, however, classify as a simple phenomenon of otaku use the circle seems to me by others wrong.
Clearly the industry has evolved, and the middle of 1980 did not look anything like the current one, is hardly shared similarities between decades. Fortunately, we can turn back and review a nodal point, inter-generational ("false?) Docudrama Gainax: Otaku no Video (1991) , to confirm the above. We perceive nothing practical to limit the otaku universe banal consumer products vacuous (though neither denies). Perhaps the practice of making your own Garage Kits at home, outside the established market, is not it contains the same idea of \u200b\u200bKami-Robo ?, And what I say about make your own cosplay without resorting to specialized shops?
The meeting between Tomohori Yasui and Katsunori Aoki in 2005 was instrumental in expanding Kami-Robo's World . Aoki , publisher and creative director of Butterfly Stroke Inc., was fascinated by the talent of Yasui, while no doubt self proclaimed evangelist Kami-Robo. He enthusiastically favored the fact that more people now have the opportunity to meet and wonder with a unique collection of more than 400 pieces, which have come since then, various galleries, conventions and museums around the world as A rt & Design Store Exhibition in Roppongi Hills in Tokyo, the Institute of Contemporary Art in London, and the Comic Con # 20 San Diego, USA.
If at first, the assemblies were devoted exclusively to wrestling, recently we rate the Kami-Robo Transmediatic as an expression, which has distributed DVD tournaments, plays, photo montages and renders through motion capture . One thing is clear, this has just begun.
really do not miss this exhibition is unique, which is displayed until 21 March at the University Museum Poplar : Dr. Enrique González Martínez # 10, Colonia Santa María La Ribera, Delegación Cuauhtémoc, City Mexico.
was in the late 1970's, called the last gasps of the Japanese miracle, when his imaginary universe takes shape. Yasui , just a child and inspired by television content in those years earlier fascinated audiences (such as wrestling and anime mecha), choose to create their own characters away from consumerism rooted among their peers, using basic tools as paper and cardboard, wire and pens. Shortly after decides to confront each other and form a whole mythology around them.
The term Kami-Robo is a word made up kami, which in Japanese can mean "paper" or "God" depends on how you write it, and theft, which is a slang adopted the word robot. However, the operator differs from the traditional concept as a machine in the service of humans and claims that each of the pieces he has made over 30 years old have their own life. Remember Shinto philosophy, religion whose basic tenet is to accept that in every expression of nature inhabited by a deity or spirit and, therefore, has an essentially unique and unrepeatable.
Consequently, when starting the fight on the ring the hands of those who manipulate the movements of the Kami-Robo wrestlers are merely incidental, unimportant and they immediately go into the background. This feature comes Bunraku theater , traditional Japanese art with more than 200 years old, where the drama between the puppet becomes so intense that, in effect, the puppets come to life itself.
Fragment specialized series of the BBC, Japanorama, Yasui Tomohori interview .
Beyond "otaku culture?
The text that accompanies the museum mounted the exhibition, open a parenthesis that puts on the table a direct critique to consumerism (according to himself Tomohori Yasui) characterizes the (sub) cultural otaku. It's no secret the relative success of the toy companies warned the direct link between cartoons and manufactured products, however, classify as a simple phenomenon of otaku use the circle seems to me by others wrong.
Clearly the industry has evolved, and the middle of 1980 did not look anything like the current one, is hardly shared similarities between decades. Fortunately, we can turn back and review a nodal point, inter-generational ("false?) Docudrama Gainax: Otaku no Video (1991) , to confirm the above. We perceive nothing practical to limit the otaku universe banal consumer products vacuous (though neither denies). Perhaps the practice of making your own Garage Kits at home, outside the established market, is not it contains the same idea of \u200b\u200bKami-Robo ?, And what I say about make your own cosplay without resorting to specialized shops?
Kami-Robo Max League: Bird Man vs The Ole
Endless possibilities The meeting between Tomohori Yasui and Katsunori Aoki in 2005 was instrumental in expanding Kami-Robo's World . Aoki , publisher and creative director of Butterfly Stroke Inc., was fascinated by the talent of Yasui, while no doubt self proclaimed evangelist Kami-Robo. He enthusiastically favored the fact that more people now have the opportunity to meet and wonder with a unique collection of more than 400 pieces, which have come since then, various galleries, conventions and museums around the world as A rt & Design Store Exhibition in Roppongi Hills in Tokyo, the Institute of Contemporary Art in London, and the Comic Con # 20 San Diego, USA.
If at first, the assemblies were devoted exclusively to wrestling, recently we rate the Kami-Robo Transmediatic as an expression, which has distributed DVD tournaments, plays, photo montages and renders through motion capture . One thing is clear, this has just begun.
really do not miss this exhibition is unique, which is displayed until 21 March at the University Museum Poplar : Dr. Enrique González Martínez # 10, Colonia Santa María La Ribera, Delegación Cuauhtémoc, City Mexico.
Kami Robo Tomohori Yasui Katsunori Aoki
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