Episode Analyses

Turn A Gundam Staff, Production, and Episode Analyses – Episode #38 “Warrior God Ghingham”

Turn A Gundam‘s thirty-eighth episode was broadcast on Fuji TV on January 7, 2000.

Turn A Gundam‘s thirty-eighth episode was broadcast on Fuji TV on January 7, 2000.

Loran and Sochie reach the Mistletoe asteroid colony, as a group of Mahiroos chase after them. Harry follows suit and confronts the Mahiroo squad, requesting their assistance. He claims to have rescued “Dianna Soreil” (Kihel) from the Willghem and wants to rendezvous with Gym Ghingnham. Loran apologizes to Sochie for dragging her into this mess because of his desire to save Dianna, but she takes no offense. Instead she views Dianna and Kihel as “two peas in a pod”, which is a great character development moment for her. Recall that her entire purpose for joining the Militia was to get vengeance for her father’s death, of which she viewed Dianna as responsible. We’ll get to see more of this as the show progresses.

Dianna and the RRET Team arrive at Mistletoe’s control center and power on the internals of the colony. They marvel at the beauty of the still-living trees and surrounding greenery. Dianna’s ancestors built the colony to modify crops so that they could then be harvested in space. Insects and water were also necessary for the vegetation. They notice a Mahiroo squad member patrolling the area on foot and the RRET Team quickly pin him down. They use this opportunity to escape to the hangar and steal his parked Mahiroo. Loran and Sochie hear the sounds of battle and make their way to the RRET Team’s FLAT and stolen Mahiroo. Loran finally returns to Dianna’s side. The RRET Team are wary of the “Gundam” of legend, however Dianna eases their fears by stating that Loran is a trustworthy individual and that mobile suits are simply tools at the end of the day. They fend off the chasing Mahiroos and begin to make their way out as a group.

Harry and Kihel share a moment in the SUMO’s cockpit. She confesses her love for him, but he coldly responds that he has no room in is heart for anyone other than Dianna. Kihel pleads that if he says that he loves her, she’ll do anything he requests—even assassinate Agrippa. Harry says that she’s allowed to torment him as she sees fit, but in the end he just wants her to act as Dianna’s shield; “if I say I’ll love you in exchange, doesn’t it sound so fruitless?” He then moves to moves to kiss her. It’s an odd moment, but one filled with much romantic passion and tension. Harry and Kihel’s relationship and how it develops over the course of the show is an interesting point of discussion. Out of the two main pairings (the other being Loran & Dianna), it’s definitely more visible and direct in its presentation. Loran & Dianna’s relationship is told through the lens of Loran, who’s much subtler in his actions and mimics the soft-yet-reliable elegance of a Takarazuka knight; while Harry & Kihel’s is told through the lens of Kihel Heim, an Earther noble who’s put into a precarious position and falls in love with her newfound knight. It’s a difficult situation to navigate for both parties, as Harry does indeed care for Kihel as well. Tetsu Inada (Harry’s voice actor) views the kiss scene as a romantic moment, but apparently Tomino revealed to him that it wasn’t meant to be romantic at all. Rather, Harry felt sorry for rejecting her love and wanted her to stay quiet in that particular moment. A lady & casting a forbidden love which cannot be publicly accepted, alas. Nevertheless, they make a cute couple!

Harry and Kihel board the Gendarme. They’re greeted by a welcoming party befitting of a queen, despite the fact that Gym knows via Meam that Kihel is not actually Dianna. Harry requests a vessel, so that “Dianna” can be escorted back to the Moon. When Kihel herself speaks, Gym is immediately taken aback, unable to believe she isn’t the real Dianna. Gym, Harry, and Kihel have a back-and-forth where Harry claims they need not waste any more time on a “lowborn” on Mistletoe (referring to “Kihel” here, who’s actually Dianna of course). Kihel reprimands Gym for his warmongering tendencies, but Gym fires back by mocking her failed Earth Return Plan. He would have invaded and conquered Earth much quicker, but Kihel reminds him that her plan was to return to Earth, not invade it. Harry and Kihel are led to their quarters, where Kihel requests that if she is to die, she wishes that it’ll be in his arms. He claims that he can’t commit to that promise, because there’s a chance he may die before she does. She’s even willing to attempt to feign as Dianna even better in the future, but Harry does not want to put her in further danger. There’s a lot of passion in the room! He turns to leave, but Gym is standing right outside the doorway. It’s passively implied that he may have been eavesdropping, but he doesn’t say anything of it. Gym asks Harry to observe the deployment of the Mahiroo squad with him on the bridge. The squad, which had been waiting to resume their attack on the colony, finally are given the go-ahead to commence formation.

Loran and co. get in contact with the Willghem, which has arrived and entered the colony, but they struggle to find their location. The Ghingnham Army outside bombard the colony exterior and close its shutters in an attempt to cave them in. Gym and Harry observe the battle from the Gendarme’s bridge; Gym wanted their inaugural battle to be filled with fireworks, so he’s very satisfied. He reckons this attack will crush the Earthlings’ morale and allow him to invade the Earth with ease. Harry holds back his feelings and simply thanks Gym for lending “Dianna” a ship. Loran, Dianna, Sochie, and the RRET Team are able to escape the colony as it explodes, but it’s unclear if the Willghem and its crew made it to safety.

Turn A Gundam Episode #38 Credits
Loran – Romi Park
Dianna – Rieko Takahashi
Kihel – Rieko Takahashi
Sochie – Akino Murata
Guin – Gou Aoba
Fran – Kumiko Watanabe
Miashei – Noriko Kito
Michael – Tetsuo Kanao
Yani – Takuya Kirimoto
Ladderum – Ikuya Sawaki
Harry – Tetsu Inada
Gym – Takehito Koyasu
Sweatson – Toru Uganda
Lily – Ai Kobayashi
Bruno – Kazunari Tanaka
Jacop – Hidenari Ugaki
Cancer – Urara Takano
Muron – Fumihiko Tachiki
Midgard – Ryuji Mizuno
Shikkinen – Ken Iwamatsu

Key Animation – Nakamura Production (Kohei Yoneyama, Shinichi Takahashi, Akira Matsunaga, Kazuhiro Sakakura, Hiroyuki Mori, Seiichi Hoshimoto, Yuji Miyashita, Takeo Tominaga, Takefumi Suzuki, Hiroyuki Hashimoto), Masami Goto, Atsushi Shigeta, Hidetoshi Omori, Akitoshi Yokoyama, Yasushi Shingo, Takao Takegami, Katsutoshi Tsunoda, Hiroyuki Takahashi, Shoko Ikeda, Yoshihito Hishinuma

In-between Check – Tsuguru Fukuda (Nakamura Production)
In-betweens – Nakamura Production (Ryuji Iwabuchi, Tomoyuki Tajima, Yoshitake Iwagami, Isshou Matsuyama, Koji Konno, Tomonao Ohashi, Keiko Yoshida, Hitomi Takechi)

Color Setting – Fusako Nakao (EMUAI)
Assistant Color Coordinator – Miyuki Sato (EMUAI)
Finishing – EMUAI (Kazuhiro Mikami, Yasuko Suenaga, Shinya Yoneda, Yuko Takahashi, Michiyo Takase, Minako Shimizu)
Finishing Manager – Fumie Maebayashi

Art Board – Yukiko Maruyama (Atelier Musa)
Backgrounds – White Map (Masashi Hasegawa, Sachie Endo, Junko Sakurai, Akio Manabe)
Special Effects – Toshio Hasegawa (Marix)
Title Lith Work – Maki Pro

Photography – Asahi Production (Shinya Sawada, Atsushi Tamura, Asami Kumazawa, Noriaki Akitaya, Tomokazu Kaneko, Akihiko Fujino)
Assitant Editor – Nobuhiro Akiho (Jay Film)
Development – Tokyo Laboratory

Sound design – Koji Kasamatsu
Foley – Eiko Morikawa
Recording Adjustment – Yasushi Nagura (Avaco Creative Studio)
Recording Adjustment Assistant – Mika Kamemoto (Avaco Creative Studio)
Sound Production – Rakuonsha
Desk – Yoshimi Sugiyama
Music Production – Yoshiaki Ota (Borderline Records)
Digital Effects – Sunrise D.I.D. (Hiroshi Furuhashi, Makoto Takakura, Akira Iribe, Haruka Iwamoto)
Digital Coloring – EMUAI
Video Editing – Qtec
Telecine – Makoto Imazuka
Video Editor – Tetsuro Fujita

Mechanical Design – Hitoshi Iwaki, Yoshikazu Miyao, Junya Ishigaki, Mahiro Maeda, Tsukasa Dokite, Kazutaka Miyatake
Setting Proof – Shigeru Morita (Studio Nue)
Title Logo Design – Daisuke Unno

PR Management – Sachio Tamenaga (Fuji TV), Kaoru Asai (Sunrise)
Setting Management – Shigeru Horiguchi, Yoshitaka Kawaguchi

Episode Director – Kunihiro Mori
Animation Director – Takuro Shinbo
Screenplay – Miya Asakawa
Storyboard – Jun Takada, Kunihiro Mori
Assistant Episode Director – Masakazu Hishida
Production Advancement – Aya Kishida
Production Desk – Yoichi Watanabe
Literary Coordinator – Tetsuko Takahashi
Setting Production – Koji Yasukawa
Production Secretary – Michiko Yamamoto

5 thoughts on “Turn A Gundam Staff, Production, and Episode Analyses – Episode #38 “Warrior God Ghingham”

  1. Is there any indication what RRET in “RRET Team” stands for? Other subs I’ve seen render it as “Red Team”; which, I don’t know how correct that is, but is certainly easier on the tongue. Also, I’ve always found the Dianna/Loran and Harry/Kihel couplings and how they mirror each other rather interesting, because just like Sochie views Dianna and Kihel as two peas in a pod, Harry and Loran are very similar in many ways as rather protective knight figures who are happy to stand back and support powerful women rather than try and be the dominant figure in that relationship on any level.

    And because while no-one disputes the Harry and Kihel relationship, a lot of fans are vehemently opposed to any suggestion that Loran and Dianna are in anything but a servile relationship, despite how much the two couples are alike. I can certainly see why people don’t view them as romantic on an initial viewing of the show, since even Tomino said he didn’t want it to be taken as explicit going off other material you’ve translated from his “Healing Power of Turn A” book, but I love the little interactions like the bike ride down the mountainside, where Dianna grabs on to Loran for support, them dancing under the Gundam as they discuss what to do, Dianna standing up to Coran with nothing but a rifle when he’s in a mobile suit, Dianna being the only one to understand why Loran is happier after he loses the Turn A etc.

    Subtle might be the wrong word, but it’s a very low key and sweet romanticism, and it’s always struck me as really sweet. Loran and Dianna both come across as very reserved people with old fashioned (comparative to modern norms) ideas of romance, and even with the original Will Game, Dianna always spoke to him quite formally, so it makes sense to me that they’re so polite with each other, even when living with each other in the epilogue.

    Liked by 1 person

    1. Hmm… I can’t recall offhand if the RRET Team is meant to stand for anything. “RRET” is what Right Stuf’s English release uses and I try to stay consistent with that. It’s also used in official Japanese publications, like in Akiman’s artbook. Your read of Loran & Dianna’s relationship is spot-on for the most part. The lady & knight romance is popular in Takarazuka theater and that’s what Tomino was going for with both pairings. Especially given that Loran is much more in-tune with his “feminine” side (the Takarazuka is all-female, and even the male characters are played by women). There’s a certain subtlety to it that can be left up to interpretation, so I don’t blame first time watchers. Tomino brings it up in an interview, where he’s surprised some people simply categorize the ending as “servitude” (then he goes into a little spiel about how most people can only understand relationships in an elementary way or something… lol…).

      Like you said, it’s a low key and sweet romance. 🙂 Maybe I will write an article about it at some point. It’s also worth noting that in earlier drafts of the story their romance is much more pronounced. They’ve always been a pairing.


      1. I’d love to see more on Tomino’s intent with their relationship if you ever feel like translating either that interview, or earlier drafts that make their relationship more explicit. Or just earlier drafts for Turn A in general really, since it’s interesting to see what was used and what wasn’t in any work.

        The only other Gundam one I’ve seen is early drafts for the original show’s setting, which is very different in some ways but those differences give an interesting insight into Tomino’s thinking and what he viewed as important. Or what sponsors/producers didn’t view as important, I guess.


  2. Question: is this the episode where “Turn A Turn” by Hideki Saijo is replaced with “Century Color” by RAYGUNS as the theme song? I say this as someone who’d definitely watch Turn A Gundam and digs both theme songs (“Turn A Turn” for its retro flavour and manly sound, “Century Color” for its upbeat turn-of-the-millennium pop-punk)


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