SON GOKU ARC (#001-#013)
Episode 1 (Buruma to Son Gokū) aired on February 26th, 1986.
Script by Yasushi Hirano, storyboard and direction by Minoru Okazaki and animation supervision by Minoru Maeda.
Key animation: Sonomi Aramaki, Masayuki Aoki, Akiko Nakano, Yasushi Tanizawa
–Good storyboarding. A solid start for a brand-new anime.
-Nice transition.
-This episode introduces our main character, Kakarrot, a.k.a. Son Goku. Anything about him is great: he’s the hero, but he’s extremely naive.
-Bulma being reasonably embarrassed by her name.
–Technically, she is… if we don’t include DB Minus canon.
-Apparently, Bulma whizzes sparkles.
-For some reason, the eyecatch BGMs (before and after the commercial break) are switched here.
-This episode also marks Pilaf‘s introduction. I’m not saying I’m glad about it…
–So Japan seems to have a totally different approach towards underage girls. We’re probably need to get used to that…
-Bulma doesn’t seem to hesitate to shoot a kid. I get Goku isn’t an ordinary kid, but she doesn’t know it, yet.
Episode 2 (Arararaa! Tama ga Nai!) aired on March 5th, 1986.
Script by Toshiki Inoue, storyboard and direction by Daisuke Nishio and animation supervision by Tomekichi Takeuchi.
Key animation: Tomekichi Takeuchi (uncredited), Yoko Iizuka, Masako Misumi, Katsuyoshi Nakatsuru (uncredited), Takeo Ide (uncredited).
–The title says it all.
–Nishio‘s storyboarding is the highlight of this episode: nice atmosphere and really solid direction.
-As a result, the more action-packed 2nd half is stronger than the 1st one.
-It seems like they’re trying to be as close to Maeda’s model sheets as possible in these earlier episodes.
–This gag.
–Goku discovering TV.
-All in all, emphasizing some of Bulma’s hidden purity is a nice touch…
-… which is immediately erased by her thoughts about boys’ front tails. I personally think it’s fine for a girl her age to highlight some indecision in respect to this topic.
–Goku’s kindness makes sense in context.
-Goku immediately believing Bulma’s front buttocks are a problem.
–Fanservicy bit… ? Nudity shouldn’t be tabooed anymore, but I’m still concerned about following it as part of Japanese culture.
-Bulma has been pretty nagging since the very beginning… then again the story needs to focus on her spoiled attitude to make it a start.
–Why would Son Gohan ever let his adoptive grandson sit on his lap???
-The filler with Pilaf’s gang is way too long.
-Bulma being unnecessarily impolite towards Umigame.
Episode 3 (Kame-Sen’nin no Kinto-Un) aired on March 12th, 1986.
Script by Keiji Terui, storyboard and direction by Kazuhisa Takenouchi and animation supervision by Masayuki Uchiyama.
Key animation: Tai’ichiro Ohara, Yoriko Shirosu, Akio Katada, Yasuhiro Kaneda.
–Tori-Bot making a cameo while mentioning Penguin Village. Admirable callback to Dr. Slump.
-Much like Takeuchi in the previous episode, it seems like Uchiyama’s corrections sometimes approach Maeda’s model sheets in these early entries.
–The immortal Phoenix being dead is actually kinda hilarious in hindsight.
-I’ve always dug the design for Kintoun. So cute. Of course, its BGM not only is fitting, but it’s utterly memorable. It may be the very first Kikuchi’s track I’ve ever listened to.
-Our favorite pervert, Muten Roshi, makes his debut. Kōhei Miyauchi will always be the best seiyu the character has ever had.
-Takenouchi’s board and direction seem like a step down over the previous two episodes. Doesn’t stand out enough.
-The Pilaf subplot is pretty forgettable.
-Since when does Pilaf have someone else working for him, Shuu and Mai aside??
-I’m not sure about this, so I want to give the benefit of the doubt. I hope Muten Roshi isn’t aware of Bulma being still 16 at this point of the series.
-Of course, Bulma is shown wearing her nightgown (ONLY), therefore her being unaware of not wearing any panties is a very dumb thing to believe. I mean… if you didn’t get to wear undergarments, you’d notice it, right?
-She even mentions BATHING SUITS while holding her nightgown. She should’ve gotten a clue in that right moment.
Episode 4 (Hitosarai Yōkai Ūron) aired on March 19th, 1986.
Script by Michiru Shimada, storyboard and direction by Minoru Okazaki and animation supervision by Minoru Maeda.
Key animation: Sonomi Aramaki, Masayuki Aoki, Akiko Nakano, Yasushi Tanizawa, Katsuyoshi Nakatsuru (uncredited), Takeo Ide (uncredited).
-Apparently, Goku considers patting other people’s crotches an alternative ‘How do you do’.
-Does Goku foreshadow ki sensing? Jokes aside, it appears Goku acts like wild animals while looking for they preys.
-Bulma’s plan is atrocious, but Oolong’s reaction after realizing the little girl isn’t really a girl is priceless.
-I really like the way they point out Bulma’s enormous shallowness. Even Goku realizes it.
-The twist around the girls Oolong kidnapped subverts a recurring trope. It’s actually ingenious.
-I’m not really a fan of Okazaki’s direction. Doesn’t add nothing that worthy to the story.
-Bulma is incredibly shallow and nagging.
-This time, they remember us Bulma is still 16. I’ll probably stop complaining about how Japan views sexuality, since it looks like a common anime trope…
-I guess the narrator explaining Oolong’s transformation power can be still considered a subverted trope, but I don’t particularly care for it.
Episode 5 (Tsuyokute Warui Sabaku no Yamucha) aired on March 26th, 1986.
Script by Takao Koyama, storyboard and direction by Daisuke Nishio and animation supervision by Yukio Ebisawa.
Key animation: Yukio Ebisawa, Satoru Kusuda.
–Good storyboarding, overall.
-The way Oolong describes Gyumao is hyperbolic, but Nishio’s direction executes it very well, with those red silhouette sketches on a black background.
-Also a nice transition at the beginning, which is also a reference to the first episode.
-Toilet humor may not be the brighest comedy source, but the firecracker metaphor of Oolong’s diarrhea is quite clever.
-I think Goku asking Oolong if he likes pork needs to be mentioned, too.
–Ebisawa’s art takes a slight deflection from Maeda‘s designs. I don’t particularly enjoy it, and it’s going to be quite a constant.
-I admit I forgot Ebisawa drawing a pupil-less Yamcha.
-The first official fight of the franchise, Goku vs Yamcha, has an okay-ish choreography, but it’s not well animated. It’s actually very boring: some devices are pretty out-dated, like the frame repetition or the hitting the camera bit.
-On top of that, I don’t think this BGM fits the fight.
-Goku’s patting crotches “greeting” is getting out of hand.
-Even though it’s canon, I’m not necessarily a fan of this material. Oolong trying to run away twice gets really old after a while.
-Also, how does Bulma lose her capsules? We don’t see her or her capsules falling directly in the river. What now?
Episode 6 (Mayonaka no Hōmonsha-tachi) aired on April 2nd, 1986.
Script by Yasushi Hirano, storyboard and direction by Kazuhisa Takenouchi and animation supervision by Masayuki Uchiyama.
Key animation: Tai’ichiro Ohara, Yoriko Shirosu, Akio Katada, Yasuhiro Kaneda, Katsuyoshi Nakatsuru (uncredited), Takeo Ide (uncredited).
–Takenouchi‘s board shares some nice perspectives.
-I swear this is Yamcha’s best day ever.
–Furuya’s scream.
-I admit I never noticed the detail of Yamcha’s nipples/pupils before. Nippupils.
-Goku’s innocence and naivety make him a really unique character in this era. It shows why THIS Goku is a PERFECT protagonist.
-Another Pilaf subplot. Shu and Mai are such pathetic characters. There’s no way at least one of them will play an important role in the future… wait
-The second fight between Goku and Yamcha isn’t better than the first one. It’s very conservative and not that animated.
Episode 7 (Furaipan Yama no Gyūmaō) aired on April 9th, 1986.
Script by Toshiki Inoue, storyboard by Katsumi Endo, direction by Yoshihiro Ueda and animation supervision by Mitsuo Shindo.
Key animation: Kazuko Hirose, Noriko Iitani, Tsuyako Yamamuro, Tadayoshi Yamamuro.
-Ueda’s first time as a director mainly stands out in Gyumao’s castle. His dark red colored skies totally give the idea of his leitmotiv.
-In these early episodes, Pilaf is definitely more sadistic and cruel than recent times. Too bad he doesn’t know the physics around electric conductors.
-It’s always great to hear Daisuke Gori as Gyumao.
-It’s also always great to hear the instrumental Makafushigi Adventure near the end.
-Overall, this is probably the funniest episode so far. Be it Oolong imagining how Gyumao’s daughter looks like, Yamcha’s serious face or Chichi comparing her soul with a clean toilet… just pick one of these bits.
-The narrator saying this is pretty funny, out of context.
-I quite like Chichi’s shallowness towards romance. I mean… she learns about it on a magazine and falls in love with Goku after he patted her crotch…
-“Dragon Ball Super transformed Goku into a battle-obsessed maniac.”
-This moment, however, is veeeeeery awkward, even for Yamcha.
-I know Gyumao is overenthusiastic, but he wants his own daughter to become Goku’s bride after only two minutes of battle.
-So Yamcha has a motto. A motto he’ll never mention ever again.
-Oolong escaping for the THIRD TIME in 3 episodes.
Episode 8 (Kame-Sen’nin no Kamehameha) aired on April 16th, 1986.
Script by Keiji Terui, storyboard by Toshihiko Arisako, direction by Yoshihiro Ueda and animation supervision by Minoru Maeda.
Key animation: Tai’ichiro Ohara, Akio Katada, Yasuhiro Kaneda, Katsumi Aoshima, Hidehiko Kadota, Katsuyoshi Nakatsuru (uncredited).
-I love Muten Roshi’s smugness.
-I really like Gyumao showing a lot of respect and trust towards his master.
-The execution of Muten Roshi’s Kamehameha is great. Especially if you get him to become all buff and muscular to power up, which makes it stand out quite a bit. Yes, even though it’d eventually become a cliché, it’s still important to recall WHEN, WHERE and HOW everything began.
-Is Oolong foreshadowing Bulma’s future counterpart being killed off by the evil version of his friend?
-BTW, if Muten Roshi happens to call a white cat ‘Kami-sama‘…
-Goku firing a Kamehameha at his first attempt. Then again, it doesn’t involve tingly backs, so I guess it’s fine…
Episode 9 (Usagi Oyabun no Tokui Waza) aired on April 23rd, 1986.
Script by Michiru Shimada, storyboard and direction by Minoru Okazaki and animation supervision by Minoru Maeda.
Key animation: Sonomi Aramaki, Masayuki Aoki, Yasushi Tanizawa.
–Solid storyboarding, as a whole.
–This bit is kinda funny in hindsight.
-Puar’s ability is used very well in this episode. This moment in particular… just remove the context.
-Once again, not a big fan of this part of the main story.
-The Rabbit Gang are super bland villains, and despite displaying a unique power, the Boss Rabbit isn’t that memorable, either.
-As for THAT infamous bit, we can share two different standpoints:
1) It’s either played for comedy, and the moon can be viewed as a concrete metaphor.
2) Or it’s a plain plothole, as it’s later established that Goku’s race cannot survive in outer space, unlike a certain space tyrant.
3) Or… Toriyama doesn’t have a solid memory.
Episode 10 (Doragon Bōru Ubawareru!!) aired on April 30th, 1986.
Script by Takao Koyama, storyboard and direction by Kazuhisa Takenouchi and animation supervision by Tomekichi Takeuchi.
Key animation: Yoko Iizuka, Masako Misumi, Katsuyoshi Nakatsuru (uncredited), Takeo Ide (uncredited).
-For some reason, Takeuchi’s corrections are very light in this episode, which is quite strange considering this era.
–Takenouchi‘s board is solid, mostly in the 2nd half.
-The last minutes are the best part, which coincide with Nakatsuru and Ide’s sections.
-I really wanted to give a better rating to a Seigasha entry, but unfortunately…
-…I don’t like Takao Koyama’s characterizations at all. He usually tends to exaggerate characters’ traits: for example, Bulma is often nagging and whiny, and Koyama manages to make her even more nagging and whinier. Yamcha is scared of women in this era, and Koyama makes him even more scared.
-As a result, Bulma is super obnoxious here: she cries, she whines, she chickens out and even plays the damsel in distress trope.
-Pilaf isn’t much better, sadly. I just don’t like him as a villain of this arc. He’s too whiny and weak to be considered an actual threat.
-The laxative gag stopped being funny long ago.
-What’s with Iizuka’s eyes here?
Episode 11 (Tsui ni Doragon Arawaru!) aired on May 7th, 1986.
Script by Yasushi Hirano, storyboard and direction by Daisuke Nishio and animation supervision by Masayuki Uchiyama.
Key animation: Tai’ichiro Ohara, Akio Katada, Yasuhiro Kaneda, Hidehiko Kadota, Naotoshi Shida (uncredited).
–Good storyboarding and direction.
–Another nice transition.
-The 2nd balls joke in 11 episodes.
-Bulma flipping off Pilaf.
-Several clips from previous episodes are reused here.
-Pilaf is one of the main flaws of this arc. I know the series will eventually and thankfully get far better villains, but he doesn’t deserve to be a main villain, by any means. He’s so obnoxious he basically ruins this arc.
Episode 12 (Shenron e no Negai) aired on May 14th, 1986.
Script by Toshiki Inoue, storyboard by Toshihiko Arisako, direction by Yoshihiro Ueda and animation supervision by Yukio Ebisawa.
Key animation: Yukio Ebisawa, Satoru Kusuda, Tsuyako Yamamuro, Mari Tominaga.
–Great storyboarding all over the episode. Ueda’s direction mainly stands out during Shenlong‘s summoning.
-Ebisawa isn’t my favorite animator and/or supervisor, but the choreographies are pretty solid. Sure, if only they were executed better.
–Oolong’s perversion saves the world.
-I guess Ueda likes villains handling planets wickedly.
–The narrator breaking the fourth wall after Goku transforms into an Oozaru. This is what made Dr. Slump great in the first place. Pretty nice to see Toriyama recall his origins.
-I know Goku is kinda dumb, but it took him several years to find out HE was the responsible for Son Gohan’s death. Why didn’t he think about that for a sec?
Episode 13 (Gokū no Dai-Henshin) aired on May 21st, 1986.
Script by Keiji Terui, storyboard by Akinori Nagaoka, direction by Yutaka Sato and animation supervision by Mitsuo Shindo.
Key animation: Kazuko Hirose, Noriko Iitani, Tsuyako Yamamuro, Teruhisa Ryu.
-“Shut up, Fred.”
-Goku tripping after his tail was cut off is an interesting touch.
-For some reason, Oolong becomes the most relatable character after Bulma and Yamcha’s “”engagement””.
-The storyboarding is pretty bland.
-Decent arc finale, but could have been much more impactful.
GOKU ARC – FINAL THOUGHTS: 6/10
-Solid build-up for the main cast (Goku, Bulma, Oolong, Yamcha).
-Linear, yet simple story arc.
-Terrible villain.
-Not so great battles.
BEST EPISODE: episode 12 (well-boarded and well-directed)
WORST EPISODE: episode 5 (WHY did I put episode 10 over this? That Goku vs Yamcha was a bad experience)