Masaaki Ōsumi

2.1. Early Activities and Education

In his formative years, Ōsumi co-founded and led a puppet theater troupe called "Kobe Puppet Art Theater" (神戸人形芸術劇場_{Kōbe Ningyō Geijutsu Gekijō}^Japanese) with his brother in Kobe. This experience provided him with a foundational understanding of storytelling and character performance. Later in his career, he pursued advanced studies, completing a master's program in Media Science at the Graduate School of Media Science at Tokyo University of Technology in 2005. Following his graduation, he became a creative advisor at the Katayanagi Research Institute of the same university, contributing to academic and research initiatives related to media and animation.

3.1. Joining Tokyo Movie Shinsha

His involvement with puppet theater, particularly through connections with Yutaka Fujioka (藤岡豊) of the "Hitomiza" puppet theater, led him to join Tokyo Movie (later known as Tokyo Movie Shinsha or TMS), one of Japan's pioneering animation studios. He quickly became an active and influential figure in the studio's early productions, where he began to develop his unique directorial approach.

3.2. Early Works and Puppet Theater

Ōsumi's early animation projects at Tokyo Movie included directing episodes for series such as *Obake no Q-tarō* (1967-1968), *Perman* (1967-1968), and *Kaibutsu-kun* (1968-1969). His experience in puppet theater, which emphasized visual storytelling and character expression, significantly influenced his work in animation, allowing him to bring a distinct theatrical sensibility to the medium.

5.1. Moomin (1969 TV series)

In 1969, Ōsumi served as director for the initial 26 episodes of the *Moomin* TV series, a collaboration with animator Yasuo Ōtsuka. While the series was an immediate hit, it faced strong objections from the original Finnish author, Tove Jansson. Jansson expressed significant dissatisfaction with the depiction of her characters and the narrative deviations from her books, famously stating, "My Moomin is No car, No fight, and No money," criticizing the inclusion of elements like violence and money-related plots that were absent in her original works. Due to Jansson's complaints and concurrent financial issues within Tokyo Movie, production of the series was shifted to Mushi Production after the 26th episode. The subsequent *New Moomin* series (1972), produced entirely by Mushi Production, adopted a different character design and plot direction. Later, in 1990, the series *Tanoshii Moomin Ikka* (楽しいムーミン一家_{Tanoshii Mūmin Ikka}^Japanese) was produced by Telescreen and officially recognized by Moomin Characters as the "world standard" for animated *Moomin*. This recognition led to a self-imposed restriction on re-broadcasts and home video releases of Ōsumi's original 1969 series in Japan, effectively making it a "sealed work."

5.2. Lupin the Third Part I

Ōsumi's most widely recognized and controversial work is his direction of the early episodes of *Lupin the Third Part I* in 1971, again collaborating with Yasuo Ōtsuka. Ōsumi directed the first six episodes, as well as episode nine and twelve, with some degree of involvement in episodes seven, ten, and eleven, which were completed by his successors. His directorial vision for *Lupin the Third* was characterized by a sophisticated, stylish, and cynical hard-boiled tone, which resonated with a niche audience and continues to have dedicated supporters. He consciously aimed to create a series that challenged the conventional "good versus evil" narratives prevalent in children's television animation at the time.

However, the series struggled with low viewership ratings during its initial broadcast. The television network demanded that the target audience be lowered and the content be made more child-friendly. Ōsumi staunchly refused to compromise his artistic vision, leading to his dismissal after the third episode aired. Following his departure, the direction was taken over by the acclaimed duo Isao Takahata and Hayao Miyazaki, credited as the "A Production Direction Group." They shifted the series' tone from Ōsumi's cynical, hard-boiled style to a more comical and teamwork-oriented approach. Despite their efforts, ratings did not significantly improve, and the series was ultimately canceled after two cours, totaling 23 episodes.

A notable detail from Ōsumi's tenure is the appearance of "Ōgū Masaaki" (大偶正秋_{Ōgū Masaaki}^Japanese) as the judge's name on Fujiko Mine's arrest warrant in the first episode, a subtle nod to the director. Furthermore, the change in Fujiko Mine's voice actress from Eiko Masuyama in the pilot films to Yukiko Nikaido in *Part I* was reportedly due to Masuyama's discomfort with performing the more "erotic scenes" required by Ōsumi's direction. Despite its initial struggles, *Lupin the Third Part I* gained significant critical re-evaluation through numerous re-broadcasts between 1975 and 1976, which led to the production of the highly successful *Lupin the Third Part II*. Ōsumi later returned to the *Lupin* franchise in 1993, directing the TV special *Lupin the Third: Orders to Assassinate Lupin*, signaling a reconciliation with Tokyo Movie Shinsha after 22 years.

5.3. Other Notable Works

Beyond his highly publicized work on *Moomin* and *Lupin the Third*, Ōsumi directed or contributed to a wide range of other significant television series and films, showcasing the breadth of his creative output. These include the documentary anime *Anime Document: Michi e no München* (1972), the chief director role for *La Seine no Hoshi* (1975), and serving as the original creator, director, and lyricist for *Robokko Bīton* (1976-1977). His filmography also encompasses theatrical films and Original Video Animations (OVAs), demonstrating his versatility across different animation formats. Additionally, he has been involved in "mask play musicals," also known as "costume musicals," for groups such as Gekidan Hikosen.

6.1. Virtual Idol Development

In 1996, Ōsumi played a significant role in the development of "Date Kyoko" (伊達杏子_{Date Kyōko}^Japanese), who debuted as the world's first virtual idol. This pioneering project showcased Ōsumi's interest in the intersection of technology and entertainment, pushing the boundaries of digital character performance and media.

6.2. University and Research

Demonstrating his commitment to both practical application and theoretical understanding, Ōsumi pursued postgraduate studies at Tokyo University of Technology. In 2003, he enrolled in the Master's program in Media Science at the university's Graduate School of Media Science, alongside Monkey Punch, the creator of *Lupin the Third*. Their joint enrollment focused on researching computer animation, reflecting Ōsumi's continuous engagement with evolving animation technologies. He completed the program in 2005 and subsequently took on the role of creative advisor at the Katayanagi Research Institute within the same university, where he continues to contribute to academic endeavors and advise on creative projects.

7.1. Collaboration with Yoshiyuki Tomino

Ōsumi held a high regard for director Yoshiyuki Tomino, recognizing him as an individual with a sensibility similar to his own. This mutual professional respect led to several collaborations. Ōsumi notably enlisted Tomino as a storyboard artist for *Moomin* (1969), and later entrusted him with the direction of the final cour (episodes 27-39) of *La Seine no Hoshi* (1975), where Ōsumi served as chief director and general director. Tomino himself has acknowledged his positive impression of Ōsumi, stating that he readily accepted the *Moomin* assignment, highlighting the strong rapport between the two directors.

8.1. Television Series

• Big X* (ビッグX_{Biggu Ekusu}^Japanese) (1965) - Direction (Episode 59)
• Obake no Q-tarō* (オバケのQ太郎_{Obake no Kyūtarō}^Japanese) (1967-1968) - Direction
• Perman* (パーマン_Pāman^Japanese) (1967-1968) - Direction
• Kaibutsu-kun* (怪物くん_Kaibutsu-kun^Japanese) (1968-1969) - Direction, Script
• Moomin* (ムーミン_Mūmin^Japanese) (1969) - Direction (Director) (Episodes 1-26)
• Lupin the Third Part I* (ルパン三世 (TV第1シリーズ)_{Rupan Sansei (TV Dai Ichi Shirīzu)}^Japanese) (1971) - Direction (Director) (Episodes 1-12)
• Anime Document: Michi e no München* (アニメドキュメント ミュンヘンへの道_{Anime Dokyumento Myunhen e no Michi}^Japanese) (1972) - Director
• La Seine no Hoshi* (ラ・セーヌの星_{Ra Sēnu no Hoshi}^Japanese) (1975) - Chief Director (Episodes 1-26), General Director (Episodes 27-39)
• Robokko Bīton* (ろぼっ子ビートン_{Robokko Bīton}^Japanese) (1976-1977) - Original Creator, Director, Lyrics
• The Yearling* (子鹿物語_{Kojika Monogatari}^Japanese) (1983) - Director
• Lupin the Third: Orders to Assassinate Lupin* (ルパン三世 ルパン暗殺指令_{Rupan Sansei Rupan Ansatsu Shirei}^Japanese) (1993) - Director

8.2. Theatrical Films

• Attack No. 1* (アタックNo.1 涙の世界選手権_{Atakku Nanbā Wan Namida no Sekai Senshuken}^Japanese) (1970) - Direction (Director)
• Moomin* (ムーミン_Mūmin^Japanese) (1971) - Direction (Director)
• Umi da! Funade da! Nikoniko, Pun* (海だ！船出だ！にこにこ、ぷん_{Umi da! Funade da! Nikoniko, Pun}^Japanese) (1989) - Script
• Hashire Merosu* (走れメロス_{Hashire Merosu}^Japanese) (1992) - Director, Script
• Doraemon: Nobita's Great Adventure in the Spiral City* (ドラえもん のび太のねじ巻き都市冒険記_{Doraemon Nobita no Nejimaki Toshi Bōkenki}^Japanese) (1997) - CG Supervisor

8.3. OVAs and Other Projects

• Young Scheherazade* (ヤング・シェヘラザード_{Yangu Sheherazādo}^Japanese) (OVA) (2004) - Director
• Cake-ya Ken-chan* (ケーキ屋ケンちゃん_{Kēki-ya Ken-chan}^Japanese) (TV drama) (1972)
• Omocha-ya Ken-chan* (おもちゃ屋ケンちゃん_{Omocha-ya Ken-chan}^Japanese) (TV drama) (1973)

9.1. Critical Reception and Controversies

Ōsumi's directorial style often prioritized a sophisticated, mature, and sometimes cynical narrative over broad commercial appeal, which led to both critical acclaim and significant production issues. The controversies surrounding *Moomin* and his dismissal from *Lupin the Third Part I* are prime examples of his refusal to compromise his artistic vision. In the case of *Moomin*, his interpretation clashed directly with the original author's intent, leading to a production halt and a shift in studios. For *Lupin the Third*, his insistence on a hard-boiled, adult-oriented tone, despite low initial ratings and network pressure to simplify the series for children, ultimately led to his departure. While these decisions resulted in immediate setbacks and dismissals, they also cemented his reputation as a director committed to his creative principles, regardless of commercial consequences. The subsequent re-evaluation and enduring popularity of *Lupin the Third Part I* among fans underscore the lasting appeal of his original, uncompromising vision.

9.2. Artistic Influence and Legacy

Masaaki Ōsumi's artistic influence on subsequent generations of animators and directors is significant, particularly through his early work on *Lupin the Third Part I*. His urban, stylish, and cynical approach to animation, which defied the prevalent "good versus evil" tropes, paved the way for more complex and mature themes in television anime. His preference for conveying instructions verbally rather than relying solely on storyboards also highlights a unique, intuitive, and collaborative directorial method that emphasized the animator's direct contribution. Despite the controversies, his early contributions to iconic series demonstrated a commitment to pushing creative boundaries, establishing a legacy of artistic integrity that continues to be recognized in the history of Japanese animation.