Masami Obari Part 1: An Introduction

I have been mulling over this post for a long time now and I was worried about how to present the information I’ve gathered over the last few months. I eventually decided to split this into a series of posts, with this being the first part. It has certainly helped that Obari joined twitter last summer as many of his tweets have shown a great insight into his career and many of the shows he has worked on.

When I first heard about this ‘Obari’ guy I was comfortable sitting with the notion many people had that “he’s just a guy who likes doing fanservicey shows” – I’m not going to deny Obari loves fanservice and has worked on several hentai anime works, this won’t be my aim. However I think many people only see the fanservice side of him and simply write him off in regards to any thing else. This is understandable if you only judge him by the works where he’s the director, judge him as an animator then I think you might get a different view of him.

Obari eyeing up Dragonar Unit 1

I think what first got me curious about Obari was listening to him talk about his career on an online radio show. As a result, over the past few months I have examined his chronology of works(ANN) and I have come to admire him and his work.

Masami Obari(大張正己) is a Japanese animator, mecha designer, character designer and director who has been working in the anime industry since the early 1980s. Obari was born on the 24th of January 1966 in Hiroshima, Japan. Upon hearing the name those that have not heard of him might assume he is a woman seeing as Masami can sometimes be a female name. Obari’s career in the industry began as soon as he graduated from highschool in 1984, at the young age of 18 he began working at Ashi Production – now known as Production Reed. Obari grew up watching anime in the late 70s and early 80s, and like many other animators from that time period he was greatly influenced by the work of Yoshinori Kanada. Obari says had Kanada not animated that wonderful Braiger opening he would never have chosen to become an animator.

Galaxy Cyclone Braiger’s Opening by Yoshinori Kanada

It is easy to place Obari as a follower the “Kanada school of animation” however Obari is notable in that he absorbed the Kanada style and created something to call his own. Obari’s own style went on to become quite popular throughout the late 80s and 90s. It became inspiration for many animators that grew up watching anime in that period. His own style is often called the “Obari school of animation” – Japanese fans often use the word ‘BARI’ as a verb when describing something that looks or moves very Obari in style.

Figbird - Pose
Fighbird and Iczer(click for more)

Obari shared this next anecdote when he was asked “How did you enter the anime industry?” during an episode of the Super Robot Wars Radio show back in 2011. Having heard it, I have to say that Obari’s entrance onto the animation industry is quite an unusual one.

During highschool Obari had a friend in class called Satoshi Urushihara who would often be carrying the 3 pegged sheets of paper that animators use to draw on. Curious about this, Urushihara encouraged him to draw on it and when Obari saw how easily his drawings could be made to move and come to life he was instantly hooked. Urushihara then showed Obari some of Kanada’s Daitarn 3 and Zambot 3 episodes on Betamax. Obari was impressed at how a single person was capable of such charismatic animation. From here on Obari became determined to learn about how anime was created and over the summer holidays Obari used money he had gained from part-time jobs to book appointments with various studios such as Tatsunoko Pro & Kaname Pro. There he met with animators like Yoshinori Kanada & Kazuhiro Ochi face to face. Through them he learnt to refine his drawing skills primarily focusing on human life drawing. Back then he did not realise that you could go to art schools and technical colleges for learning animation and instead chose a more unorthodox but direct method, which somehow managed to pay off.

Obari aged 21, from the making of “Fight! Iczer 1!”

As Obari moved through highschool he carried on with his appointments where the animators would talk to him for a few hours at a time, teaching him and helping him refining his own drawing abilities as well as learning about the process of animation. Incidentally I only learnt of this later on but one person he visited was Toyoo Ashida, who unfortunately died a few months ago. On hearing about Ashida’s death Obari made a tweet recalling when he first visited Ashida; he showed Ashida his sketchbook and was told “You can’t go around copying Kanada!” and then (an unspecified time later) on their final meeting Obari was told “So, when will you be starting?” – You have to wonder why would these senior animators spend their time with a young man who wants to know about animation, surely they have their own hectic schedules and jobs like animating to be doing? One of the hosts on the Radio show said it was probably due to his charming nature that got them.

After completing highschool at 18 Obari began working for Ashi Production. He began tackling the ropes of actual anime production with a mecha show called Tokusou Kihei Dorvack and followed on into Ashi Pro’s next show called Seijuushi Bismarck where he moved up from an in-between artist to become a key animator. Following Bismark’s end he continued working at Ashi Pro where he worked on episodes of the shows the studio got subcontracted to, both Japanese and American shows. One particular American show was the original Generation 1 Transformers. Like many American cartoons outsourced during the 80s, none of the outsourced staff were credited, however Transformers was known quite well for it’s varying levels of quality, so you can certainly see episodes in which Obari, or at least Ashi Production had a hand in.

A Transformer drawing Obari did much later in his career

Obari’s first major breakthrough came when he landed the role of Mecha Designer on Ashi Production’s new mecha show Choujuu Kishin Dancouga, at the age of 19 this was certainly something that made his name stand out. While working on Dancouga he also did a lot of animation work. Of the 38 episodes aired, Obari worked on a whopping 17 episodes. 15 episodes where he was a Key Animator and 2 episodes where he was the Animation Director. Obari managed to create and refine his unique animation style during this period particularly coming into contact with animators like Hirotoshi Sano & Hideki Tamura. A story from people of that era is while working on Dancouga, Obari and others would compete with one another in order to find out who could draw animation cuts with the most lines and detail in them, their youth and passion certainly took them to the extreme! As young as Obari was while working on Dancouga, during that time he took a young animator called Nakamura Kenichiro under his wing who became his apprentice.

Dancouga ended in December 1985, however there was no rest for Obari as 1986 was a busy year for him. While he continued his work with Ashi Pro, with the first two episodes of Machine Robo and the last 3 episodes of Ninja Senshi Tobikage, he also began working in other parts of the industry. During this year, he tweeted he worked part-time with Kaname Production, the Kanada inspired studio that animated the Birth OVA just 2 years prior in 1984. During his short time with Kaname Pro it seems he participated in some episodes of Hokuto no Ken and Saint Seiya but he was not credited for these. My guess is that it’s likely because he was still fairly young and contracted to Ashi Pro at the time and both of those shows were made by Toei who were most likely a rival studio. Kaname Pro worked on episodes 5 and 9 of Saint Seiya so it is likely he worked on one of these episodes. For Hokuto no Ken he mentioned working on an episode where Kazuhiro Ochi was the animation director and Ochi later revealed it on his blog to be episode 59.

In 1986 Obari was called in to work on the 2nd and 3rd episodes of AIC’s OVA “Fight! Iczer 1” as an Animation Director. Ben from Anipages has quite a nice post on the OVA here. During Iczer 1’s production Obari poured his unique style over the mecha design of the show. Despite the mecha designs being established in episode 1, director Toshiki Hirano asked Obari to redesign the mecha for episode 2 and 3 as seen below. Hirano wanted Obari to change the feminine mecha designs from episode 1 to be more macho and hero-like for episodes 2 and 3. Hirano was a firm believer in Obari’s talents and pushed him to go all out on Iczer 1 and the later Dangaioh OVA.

Iczer 1’s story is quite typical of an 80s OVA but features lots of high quality animation. Not only was Obari animation director for episode 3, he contributed over 80 cuts of animation to the episode. The majority being in the fight sequences at the start of the episode.  This first clip features about 5 minutes of footage where the majority of the battle scenes between the giant mecha were handled by Obari:

Start from 2:15 until about 7:30 (slightly NSFW)

Obari’s work on episode 3 was just an indicator of things to come. Obari next move was to work on another OVA series directed by Hirano, Dangaioh. As he was involved in the production from the start, Hirano knew how to put Obari’s talents to use; he told Obari that he was in charge of the entire final act on episode 1 of Dangaioh. He would draw the storyboards, animation and essentially direct the action all by himself. He was given freedom to tackle it how he felt and ended up adding scenes that weren’t in the script. He ended up drawing around 120 cuts of animation, both character and mecha, firmly establishing Obari as one of the top mecha animators of the mid-late 1980s.

From about 3:30 to the end.

Almost two years after working on season 1 of Transformers, Obari returned in the Fall of 1986 to work on one of the final episodes, episode 91 titled Call of the Primitives. Not much is known about the staff details for it however this episode is known for its high quality and it is known that Obari was the Animation Director at the very least. This episode also used animation models which were unlike the ones used in the rest of the show. Compare the animation style for Predaking’s usual combination stock footage, to the more distinct Kanada effects and token Obari pose made by Predaking in ‘Call of the Primitives‘.
July 2014 update: This is actually the work of Shin Matsuo, while Eiji Suganuma was the animation director.

The Sakuga wiki has this to say about Obari: He had already found his own animation style at the young age of 18, by 19 he had become a Mecha Designer, then at 20 he was doing work as an Animation Director and by 21 he began directing (episodes). However, when he worked on the opening of Dragonar, his talent went on full display and it became the talk of the industry. Some would call him a young prodigy.

One of the reasons this opening became so famous was Obari animated it single-handedly. Now a single person animating openings back in the 70s and 80s was not unusual, however a single person producing something that good – while being so young at the time – made it particularly impressive. He remembers working on it through his 20th birthday in the January of 1987. Another factor in it becoming famous was that Obari had changed the designs of the Mechs’ faces, which the staff were fine with, until Bandai realised what was being shown on the TV in the opening was not reflective of the actual toys they were selling to the kids. So in the end they were forced to redraw the Mechs back into the Kunio Okawara style.

Oct 2013 update: It seems I fell into the trap of believing hearsay. As of writing this article Obari has said on Twitter several times now that this is not the case. He recalls when the OP was screened to producers and executives at Bandai they were incredibly pleased with it and gave it a go ahead to be aired. So much in fact that they asked him to come back and animate the second intro as well, however due to scheduling issues he was unable to commit.

The real reason for the change seems to be that because Obari went and created a stylish version of the mech for the opening, many of the young animators on the show were trying to follow in his footsteps by creating their own versions of Dragonar whilst working on episodes. As a means to deter this the staff decided to revert the mecha in the opening back to the more standard animation model.

Another highlight of Obari’s career was him being chosen to direct episodes 5 and 6 of Bubblegum Crisis. Being a director at the age of 22 for a commercial production was something incredibly rare. Obari tackled this project head on. As well as his directing duties he drew the storyboards for both episodes. This would be as far as most directors would go but Obari also worked as one of the Animation Directors even going as far as doing Key Animation himself. Not to mention he designed some of the mecha that would appear in the episodes. Tasking himself with so many jobs did not jeopardise the quality of production as episodes 5 and 6 featured a stark increase in quality from previous episodes. Even now episodes 5 and 6 of BGC are fondly remembered by fans as some of the best. Obari’s work on Iczer 1, Dangaioh and Dragonar had already shown him to be very talented but working on Bubblegum Crisis cemented that talent.

1987 marked the year in which Obari finally left Ashi Pro and joined the freelance studio Minamimachi Bugyosho. He joined up with fellow animators Osamu Tsuruyama, Osamu Yamazaki, Masanori Nishii and Kenichi Ohnuki. Yamazaki and Ohnuki were former members of Kaname Production, a studio which had close ties to Ashi Pro. Yamazaki was also one of the lead animators on Dancouga so he must have recognised Obari’s potential back then and was ready to pluck him out of Ashi Pro. Thank you drmecha for the correction.

Works he participated in through Minamimachi as well as some done without them:

  • Dangaioh eps 1-3 (Storyboard/AD/KA)
  • Hagane no Oni OVA (AD/KA)
  • Project A-Ko Movie 3: Cinderella Rhapsody (KA)
  • Tokyo Vice OVA (KA)
  • Gunbuster eps 5  (KA)
  • Takegami (AD/KA)

Through Minamimachi Obari managed to work on many shows for different studios, giving him opportunities he wouldn’t otherwise have had if he was still tied to Ashi Pro. However like the people at Kaname Pro and Minamimachi had done before, Obari probably decided he wanted more control over what he worked on, so in 1993 he established his own studio named Studio G1. From here on he’d work through his company to work on many other productions. One thing he became know for in the 90s was creating anime openings with his studio. He created several for the Braves robot franchise, Tekkaman Blade and Magic Knight Rayearth among others.

In the end, I hope I’ve managed to shed some light on this animator and give a different perspective of him. In part 2 I’ll try to talk more on his influences and animation style amongst other things. For now I leave you with a video compilation of some of his works.

Since writing this post I’ve written a some more on this topic, so feel free to check them out.
Part 2: Influences and Style
Part 3a: Obari Style Animators and Legacy
Part 3b: Obari Style Animators and Legacy
Part 3c: Obari Style Animators and Legacy

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54 Responses to Masami Obari Part 1: An Introduction

  1. Aer says:

    Sadly, I think I’m one of those who knows him more for his Hentai production than other things. But alas, dat Inazuma Kick :3.
    Funny I was planning to see Dangaioh, you just pumped me up even more to do so.

  2. Dai says:

    Now I can’t stop to play Dragonar opening. It’s totally your fault but OMG THANK YOU 😀

  3. Tito says:

    This article is so WELL DONE. As a fan of Obari since the early 90’s i could say this is very informative and makes tribute to Master Obari. Thumbs Up for the greatest animator of action of all time.

    • Kraker2k says:

      Thank you for the kind words. By writing about Obari I wanted to clear misconceptions and show people what he was truly capable of. I myself have only been a fan for the last one and a half years, but the more I’ve learnt about him, the more I’ve come to like him. Hopefully I’ll be able to shed more light in upcoming posts!

  4. drmecha says:

    Very good note. I researched that Masami was a member of Minamimachi Bugyosho (freelance studio) between 1987 and 1993. When he came to Minamimachi were there Atsuko Ishida (his future wife), Nishii Masanori (other hibrid animator, since 1986) two animators who belonged to Kaname, along Kenichiro Nakamura (since 1984), Osamu Tsuruyama and Kenichi Ohnuki. In fact Minamimachi had also been founded by another animator Kaname: Satoru Yamazaki in 1984. That period is very interesant!. In 1993 he founded Studio G-1 taking home to several animators of the studio.

    • Kraker2k says:

      Hey! I actually read your blog when I was researching this post, I was quite interested in what Nobuyoshi Habara had to say about his time at Ashi Production.

      As for Minamimachi, I was aware of some of the founding members, but I couldn’t find any more details, I will certainly take this into account in future posts. By the way, did you mean ‘Osamu Yamazaki’, when you said ‘Satoru Yamazaki’?

      As far as I can tell, Obari founded Studio G1 with fellow animators Kazuto Nakazawa, Masahiro Yamane, Takehiro Nakayama and Atsuko Ishida, do you have any more details about this? I am also interested in how the studio broke up then reformed as “Studio G1 Neo” around the year 2000-2001.

  5. drmecha says:

    Thanks for reading my blog!
    I really liked your note.
    True, I meant Osamu Yamazaki. Sorry hehe.

    Some time ago I wrote a note about Ohbari that soon will i post in my blog (although they do not think it’s as interesting as yours, yet perhaps there is some information you want). Also i wrote another note about Minamimachi with the little information I have.
    As for the history of G-1, I have many names but little information is sorted. I have a fanzine G-1 which are named several members of G-1 during the 90s (like Nakazawa, Matsubara, etc).
    Someday I will show in my blog.

  6. drmecha says:

    I think it is called “G1 illusions”

  7. drmecha says:

    I shared the link to your note on my blog. I’ll upload these notes he had written so far. I hope to serve you to make notes even more impressive!
    Thanks for your work Kraker!

    • Kraker2k says:

      This has certainly made clear on how & why Obari worked on many OVAs for different companies during 1987-1992, it was through Minamimachi that it was made possible. Thank you for your help!

  8. drmecha says:

    I’ve posted my note about Ohbari on my blog. Hope you like!

    • Kraker2k says:

      Very nice post! I don’t know how to make a comment on your blog so I will reply just here:
      Regarding the Cream Lemon/Lemon Angel show, I watched the episode Obari worked on, it is only about 5-8 minutes long. He said on Twitter that it was indeed he who did that episode’s mecha action, I took some screencaps of it here: – One of the directors on the show was Osamu Yamazaki, so that is probably why Obari worked on an episode.

      You’d also be interested to know that, Obari took part in the Captain Power VHS Toy OVA – he said on Twitter that he was a storyboard artist for it.

      Your list of works is interesting though, I never knew he worked on Pastel Yumi(ep3) or Gall Force 2(OVA) – I looked up those online and it does show his name in the credits.

      Thank you for input, it’s always good to know someone else’s perspective, I can only research whatever I find on the internet, I don’t have booklets or fanzines to look into to learn stuff so your information is greatly appreciated.

      • drmecha says:

        Thanks for your message.
        Thanks for confirming me that Ohbari worked in Cream Lemon. But the Cream Lemon on my list is the OVA series, the Super Dimensional Legend Rall episode. In the staff appears Oh-Chan (or O-Chan) and there are scenes with his style, but was never confirmed if Ohbari.
        You’re referring to the TV series Cream Lemon – Lemon Angel. On more than one occasion I thought that maybe would have worked Ohbari in that series too. Obviously they are two different data.

        On the other hand, did not know what Ohbari had happened briefly by Kaname Pro That would explain why Ohbari, Ishida and Nishii appear in Minamimachi simultaneously within approximately July 1986. They all came together from Kaname Pro!. While Kenichi Ohnuki and other animators were already lower before. I think that within Minamimachi Ohbari must have been joined as an assistant with Kenichiro Nakamura.

        I did not know Ohbari had worked on Kaname’s episodes of Hokuto no Ken and Saint Seiya. It’s a great information!.!. In the same episodes is non-credited another important Kaname animator: Mutsumi Inomata. I knew that these episodes were animated by Kaname, but sometimes more missing data for non-accredited. In one of these episodes, appears (in a paneo) Fandora, star of another Kaname OVA, like Ashi’s Minky Momo.

    • Kraker2k says:

      Yeah, Saint Seiya was a surprise for me too. Apparently around that time the Kaname Pro animators worked closely with Ashi Pro animators. It was roughly around the time Kaname was animating the Leda OVA, some of the Kaname animators came to Ashi Pro to work on Dancouga. I also heard that Kaname was originally an offshoot from Ashi Pro, so it makes sense they worked closely.

      Regarding Inomata Mutsumi, she used a false name for when she worked on Saint Seiya, ‘高井久’ is actually Inomata under a pen-name. So it was Inomata who was the Animation Director on episodes 5 and 9.

      As for Cream Lemon #15 Rall 2, I watched it and I do see what you mean that it could maybe have been Obari as “O-chan” but without any confirmation, we’ll never know.

      I have a few more posts planned regarding Obari, so I hope you’ll come back and read again.

  9. drmecha says:

    of course I will read it!Anxious wait!
    You have mail?

  10. rockmanshii says:

    Damn that article was so awesome. Made me learn many things about Obari. I’m looking forward to the rest.

  11. drmecha says:

    Me too! I would like to collaborate with you in the next part Kraker2k. I will not write anything more Ohbari on my blog, I think.

  12. drmecha says:

    Check this out!

  13. drmecha says:

    then I send a message to your mail.

  14. Pingback: Masami Obari Part 2: Influences and Style | The Vanishing Trooper Incident

  15. Zaki says:

    Wow…Seriously a huge big fan of his work now..I do recall seeing a Denji Sentai Megaranger art with the mechas and they all look Obari-like.

    ..that’s the power that Obari contains..animation awesomeness.

    I think I wanna follow Obari’s footsteps after being so hyped for every single piece of slice of life Obari made…I can’t wait for your entries of what Obari’s all about to be honest…I hate waiting…I’m too impatient and hyped for Part 3 and I did read about Part 2..

  16. Zaki says:

    I know. Somebody must have been a fan of what you called a hit influence on media. I forgot the words I was about to say. They slipped from my mouth before I can say them. XD will Part 3 of Obari will come up? I can’t wait!!

  17. Pingback: Masami Obari Part 3a: Obari Style Animators and Legacy | The Vanishing Trooper Incident

  18. Pingback: Masami Obari Part 3b: Obari Style Animators and Legacy | The Vanishing Trooper Incident

  19. Pingback: Masami Obari Part 3c: Obari Style Animators and Legacy | The Vanishing Trooper Incident

  20. drmecha says:

    hello Kraker:
    I have reread this post and would like to make a correction.
    I have read a long time ago but do not remember where, that the OP animation of Dragonar not only made Ohbari.
    This is the complete staff of the OP:
    -director: Masami Ohbari
    -animation director: Masami Ohbari / Hidetoshi Ohmori
    -key animators: Osamu Tsuruyama and Keiichi Sato

    Ohmori and Sato are two ex-bebow animators who became in the two Hiroyuki Kitazume’s studios: St. Pokke (1984-1987) and Atelier giga (1987-1988).
    Possibly Tsuruyama assisted Ohbari in the mechanic animation while Sato asisted Ohmori in the character animation.

    • Kraker2k says:

      Hmm, I don’t believe this is true.
      This magazine article from April 1987 shows that Obari was the key animator on the OP:
      The reason Obari worked on the Dragonar OP was because of his fellow studio member, Kenichi Ohnuki (who was working on Dragonar as character designer).
      Obari himself says that the first OP he directed was Tekkaman Blade. Dragonar’s 1st OP was directed by 滝沢敏文(Toshifumi Takizawa)
      Hidetoshi Ohmori did the key animation for the 2nd Dragonar OP..

      Perhaps you are remembering wrong?

  21. drmecha says:

    Not really remember where I found the entire staff.
    But surely I have saved the page for that staff in some DVD.
    But it is very difficult to find because I have no way of knowing at that date save the page or on what date I add that data to my excel file.
    I have many hundreds DVD. I keep everything. Despite having a catalog. I do not register every page with information.
    If, by chance, one day I came to find what will share with you, do not hesitate.

  22. drmecha says:

    hello Kraker:

    Definitely the OP 2 has a post-bebow style (like Z-Gundam. Gundam ZZ two stories of Robot Carnival, Urotsukidoji, the AIC works, etc.).
    Surely the OP 2 is animated by Hidetoshi Satoh Ohmori and Keiichi.
    just need to figure out where is the data for the cooperation of Osamu Tsuruyama.

    On the other hand: you’ve seen the last post on my blog about Anime R doujinshi?


  23. drmecha says:

    About the participation of Osamu Tsuruyama in the Dragonar OP1
    I just remembered Osamu Tsuruyama had an official website. There is a possibility that I have taken from there the data. Although, I’m not sure.

    This is the link to the first page Tsuruyama was many years ago, but no longer exists:

    e later appeared the page on this link:
    But right now, I just saw that does not exist.
    😦 😦 😦

    There is a possibility that I have saved the first page in some disc. I usually save everything. 🙂 I have only to look. But first, I need to remember what year I had saved. :(.

    Maybe we can contact Tsuruyama or some other related animator to ask this?

    On the other hand, I’ve got new post on my blog, you’ve seen?

    • Kraker2k says:

      I have seen your new posts, the Kanada style animators are very interesting. There are some names I do not recognise so that was very useful. I also saw the Tobikage pictures, very nice!

      It is a shame those websites no longer work any more, would have been nice to find out more information!

  24. drmecha says:

    Kraker Hello!
    I am pleased to inform you that thanks to the 作画@wiki page I’ve found another rare video.
    It is other Ashi Pro’s special short. With characters of Dorvack, Minky Momo and Goshogun. It is 1984, apparently in the same dorvack VHS with another short something more familiar: ■ 激 闘 パ ワ ー ド ア ー マ ー!

    I do not know Masami Ohbari works in it.

    Sorry for my bad engish 🙂


    PS: I want to ask if you can upload it to youtube to have it, since I do not download it.
    You can tell by mail and do Nicovideo to download videos? Years ago I could do it! But not now. I do not know why.

    • Kraker2k says:

      Ooh this is very interesting!!! Do you know who worked on it?
      I have heard of this “激 闘 パ ワ ー ド ア ー マ ー” before – I never managed to find it though 😦
      To download from Nico, I use a program called “J Downloader” here:

      • drmecha says:

        hello Kraker:
        I have not the staff of this short.
        The only thing I found it in the Nobuyoshi Habara filmography on the 作画@wiki page
        As for the other short (激闘パワードアーマー!) Is easier to get. A few years ago I found it in Nicovideo. But now available on youtube.


  25. drmecha says:

    Oohh. Happy new Year 2016!!!!!!!!!!!!!

  26. drmecha says:

    Hello Kraker:
    I tried to download using jdownloader but does not allow me.
    Jdownloader has ask me a (paid?) account at Nicovideo or jdownloader.
    You could download the video? Could you share with me?


    PS: On the other hand, in the other short (激闘パワードアーマー) Ohbari has worked as inbetweener.
    Ohbari also present in other work of Ashi Pro I did not know !:
    生徒諸君!心に緑のネッカチーフを (1986)

    All these data are in 作画@wiki

  27. drmecha says:

    look at this, kraker!
    I just bought this AshiPro FC doujin !!
    It contains things about the recently discovered short!

  28. Pingback: Masami Obari | Sobre animadores y sakuga

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