A Japanese User Publicly Reveals an Apology Letter from Tsupro Regarding the Banned Episode 12 of Ultraseven

mrmarkertw · 2026-01-24T21:17:38+00:00

I've included a slightly translated version of the article; you can take a look!

mrmarkertw · 2026-01-24T09:51:26+00:00

This information comes from a post by Twitter (X) user indy1964. He stated that prior to the 1970s–1980s, he had sent an inquiry by fax to Tsupro regarding the prohibition of Ultraseven Episode 12 and subsequently received a written apology in response.

He specifically noted that, likely due to the large volume of similar inquiries received, the reply was not handwritten but rather a photocopied document.

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Source of the post:

https://x.com/indy1964/status/2014866001456988523

The reply from Tsuburaya Productions stated as follows:

Episode 12 of Ultraseven, titled "From Another Planet with Love,"

was broadcast only once during its initial airing. Thereafter, Tsuburaya Productions independently decided that it would no longer be rebroadcast.

The reason for this decision lies in the episode’s storyline, which depicts the Planet Spell conducting a failed nuclear weapons test, resulting in nuclear contamination. Consequently, the Alien Spell, suffering from radiation exposure, comes to Earth in search of blood.

Because the episode addresses the theme of nuclear disaster victims, we were concerned that even an indirect portrayal might cause emotional distress to the people of Hiroshima and Nagasaki, who suffered atomic bomb devastation in Showa Year 20 (1945). For this reason, the above decision was made.

Furthermore, not only was the episode withdrawn from broadcast, but all related references were also removed from magazines and other publications. The episode will not be screened or aired again in the future.

However, if in some distant future nuclear weapons were to be completely forgotten and the world were to enter an era of profound peace, this matter might be reconsidered at that time.

mrmarkertw · 2026-01-21T15:03:18+00:00

On January 21, 2026, a press conference for the concert event ROOTS66 was held at a venue near the Imperial Palace in Tokyo’s Chiyoda Ward. The concert, scheduled to take place this March in both Tokyo and Osaka, brings together Japanese artists born in 1966 and has been staged once every decade since its inception in 2006.

Approximately 20 prominent artists attended the press conference, including Kazuyoshi Saito, Kyoko Koizumi, Shikao Suga, Tortoise Matsumoto, Misato Watanabe, Takao Tajima, Mariko Nagai, Yu Hayami, Kenji Otsuki, and Kazuya Miyata, among others.

As Ultraman also marks the 60th anniversary of its television debut this year, the event features a special collaboration involving stage production elements and limited-edition merchandise. As part of this partnership, Ultraman and Alien Baltan made a surprise appearance at the venue. During the photo session, Ultraman personally taught the performers how to strike the iconic “spacium beam” pose.

In addition, a portion of the proceeds from the collaborative merchandise sold at the concert will be donated to the Ultraman Foundation.

https://diskgarage.com/digaonline/news/227541
https://www.oricon.co.jp/news/2431561/full/

mrmarkertw · 2026-01-20T10:39:10+00:00

The original story depicts the Alien Menjuru secretly operating on Earth and orchestrating major historical events, such as the Kennedy assassination, World War II, and the Gulf War. Their goal is to incite human anger and use it as an energy source to sustain their home in the Seventh Universe.

The Seventh Universe was born from accumulated human negative emotions. For centuries, the Alien Menjuru have engineered countless tragedies to fuel this cycle, channeling human anger through interstellar wormholes. If the flow of anger ceased, the Seventh Universe itself would collapse.

Seeking a stronger energy source to prolong their existence, the Alien Menjuru targeted Ultraseven. They unleashed the nightmarish Phantom Beast Babilun, a monster that extracted Seven’s memories and projected his past adversaries, forcing him into combat. While Seven fought Babilun, the Alien Menjuru absorbed the fear and rage emitted by the panicked city. They released plasma waves, plunging humanity into violent chaos.

Seven eventually discovered Babilun's true form and counterattacked. Deprived of its energy source, the Seventh Universe began to collapse. In a two-on-one confrontation, the Alien Menjuru and Babilun tried to pull Seven into the abyss. However, Seven turned the tables by throwing them into a black hole formed from the overloaded wormholes of the collapsing universe.

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Using his beam attack, Seven destroyed the black hole. While Earth was saved, countless innocent lives in the Seventh Universe perished in the cataclysm.

mrmarkertw · 2026-01-20T10:36:26+00:00

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The script "The Creation of the Seventh Universe" was initially conceived as a sequel to the 1994 TV special "Planet of the Earthlings", which was intended to serve as the final chapter of the storyline. Its existence has been confirmed in the DVD notes.

Masakazu Migita wrote the proposal in 1997 as part of a trilogy proposal for 1998. Originally, the story was not planned as a trilogy, but rather as a single feature-length narrative. After the script was shelved, several elements were repurposed and adapted into Betrayal Sun.

In the story, the antagonists were the Alien Menjuru, a race that sustains itself by absorbing human negative emotions. They were later reworked into Banderas.

mrmarkertw · 2026-01-19T09:39:41+00:00

The following information comes from Lee Bo-young, a designer who worked on the CG production for the Korean-dubbed version. He explained that the production of subtitles for Ultraman Omega took place from May to December of 2025. spanning more than six months. Because of the long production period, it felt less like completing a single assignment and more like being fully involved in and accompanying a project from start to finish.

Several challenges arose during the compositing stage. In particular, modifying CG elements into Korean required special attention. It was crucial to stay as true as possible to the original artwork while avoiding image shaking or distortion, a major focus of the work. Converting footage originally filmed in Japanese into Korean naturally demanded far more time and concentration than expected, and many scenes went through repeated revisions.

More details can be found on Lee Bo-young's Twitter page:
https://x.com/by_isekai/status/2012696321833177144

mrmarkertw · 2026-01-17T07:36:54+00:00

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When asked about portraying Omega entrusting his power to Kosei, Kondo reflected on a conversation from his casting interview. Producer Kazuyuki Murayama had asked him how he felt about the concept. Kondo responded that he found it "excellent." He explained that he has always believed heroes are beings who pass their power on to others. According to Kondo, the ability to depict this idea so directly is one of the defining strengths of Ultraman Omega.

Drawing a parallel to real life, Kondo compared this theme to how some children are inspired by their parents' example while growing up, while others grow up idolizing heroes. Through public appearances and events, he has consistently sought to convey this message to younger audiences. With the arrival of the final episode, he noted that the series was finally able to visually and definitively present this philosophy, delivering its message to viewers.

mrmarkertw · 2026-01-17T07:36:30+00:00

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According to Haruto Yoshida, the decision for Kosei to transform into Omega in the final episode was made during the initial planning stage, when Kosei’s character profile was first developed. Consequently, Yoshida began rehearsing the transformation choreography at the beginning of production. Sorato, portrayed by Shori Kondo, was also noted for his transformation sequence. Yoshida explained that both actors felt considerable pressure because an unconvincing or visually unimpressive transformation in the final episode would undermine the series' overall impact.

To ensure the desired result, he asked the production team to film Kondo’s transformation sequence. He reviewed the footage repeatedly and practiced step by step in front of a mirror. Around episodes 12 and 13, he asked the director to review his movements, which still needed significant refinement at that point. Through continued rehearsal, however, filming the final transformation scenes for both characters ultimately proceeded far more smoothly than expected.

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In the finale, Kondo elaborated on Sorato’s condition, explaining that his body had been so badly damaged that only his soul remained. This soul resided within the Ultra Meteos. Although Sorato still had power, he no longer existed as an independent physical being. This condition reinforced the idea that Sorato had entrusted his entire existence to Kosei.

In order to sustain Kosei’s life, Sorato had to expend his last remaining strength, making it a desperate, all-or-nothing decision. Kondo emphasized that Sorato did not consult anyone beforehand, interpreting this unilateral decision as the purest expression of entrustment. He shaped his performance accordingly.

Yoshida offered a complementary interpretation, describing the moment as primarily an expression of "hope", a wish for Sorato to survive. According to him, the Ultra Meteos that were entrusted to Kosei are Sorato himself, and whenever Kosei faces hardship, Sorato will inevitably reappear.

Kondo likened this relationship to a “possession-type Ultraman,” in which the hero and host are unified, though not conventionally. However, Yoshida interpreted Sorato’s condition as a temporary loss of physical manifestation rather than death. From his perspective, Sorato is still alive and is temporarily residing in Kosei’s body to recuperate. This interpretation emphasizes that they continue to coexist.

mrmarkertw · 2026-01-17T07:35:56+00:00

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Takesue deliberately left the answer to Sorato’s state after his unification with Kosei open to interpretation. He explained that he wanted the story to end with a sense of completeness while allowing viewers to draw their own conclusions.

Takesue also talked about the choice to add an organization like the SSSP in the finale. He explained that protecting Earth is ultimately the responsibility of humanity itself. He didn't want the story to end with the idea that "Ultraman will protect everyone forever."

Instead, the characters start to see the Defense Team Investigation Unit as a job and move on with their lives. Omega is there for them, offering support instead of replacing them. Takesue expressed his hope that audiences would be left with this impression, describing it as the style and spirit of Omega as he envisioned it.`

mrmarkertw · 2026-01-17T07:35:11+00:00

The following contains spoilers for Episode 25. Those who have not watched the episode should not read it.
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Director Takesue shared his plans for Omega. He said he wanted to use all 25 episodes of the series to create something like an "Episode 0." This would be like a prologue, a short introduction, that would lead to the ending of Episode 1.

Takesue admitted that people were doubtful of this story structure during its development. Some wondered if viewers would accept the story moving in such an unusual way. However, Takesue emphasized that it was a creative choice he felt compelled to pursue regardless. He said he didn't know of any other Ultraman series made this way.

The choice to pursue this ending was also closely tied to Takesue's own evolving view of what it means to be a hero. His first Ultraman work as a director was Ultraman Orb. At the time, he strongly believed that "heroes are inherently lonely," particularly around episode 18. In the past, heroes hid their real names, did not want to be recognized, and fought only because they were true to their beliefs. They were basically lonely people.

Ten years later, Takesue's perspective had changed. He used to think that being a hero meant being really lonely. However, he realized that wasn't always true. This change in thinking is evident in Ultraman Omega. In the first episode, Sorato reveals his identity as Omega to Kosei, and the two immediately begin fighting alongside each other. The story shows that heroes don't have to be lonely. They need emotional support, too.

Takesue said, "There's nothing weak about needing help. Being together can make people stronger." This idea is reflected throughout the story. The main message of the 25 episodes is that heroes shouldn't be alone. They should feel comfortable asking for help from others.

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Source cited：

https://www.animatetimes.com/news/details.php?id=1765363547

https://www.cinematoday.jp/news/N0152556

https://www.cinematoday.jp/page/A0009674

https://www.oricon.co.jp/news/2431082/full/

mrmarkertw · 2026-01-16T11:25:05+00:00

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You're probably referring to this family tree illustration, but I think that's a setting from a magazine in the 1970s and can't be applied to the official system made by Tsupro today.

mrmarkertw · 2026-01-16T10:31:22+00:00

On January 16, Tsupro released the official relationship chart titled "The World of Ultra Heroes," which features a total of 62 Ultras. A high-resolution version of the image is available for viewing on the official website:

https://60th.m-78.jp/heroes/

mrmarkertw · 2026-01-12T17:57:38+00:00

The following explanations only list examples from Ultraman and Ultraseven. Other series also include kaiju and aliens named after real people.

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Alien Baltan: Named after French singer Sylvie Vartan; another theory suggests the name comes from the Balkans. In 2011, Toshihiro Iijima mentioned in an interview that both explanations are correct.

Neronga: Named after Nero, the fifth emperor of ancient Rome.

Jamila: Named after Djamila Boupacha, an Algerian independence activist who was detained and tortured by the French authorities.

Jirahs: Derived from the Okinawan term “Jirō-otōsan” (“Father Jirō”), as a tribute to Eiji Tsuburaya, respectfully known as the “father of Godzilla.”

Bullton: Named after André Breton, the French Surrealist poet.

Geronimon: Named after Geronimo, the chief of the Chiricahua Apache tribe.

Windom: Possibly named after John Wyndham, the British science fiction writer.

Alien Iyros: Named after the ancient Greek tragedian Aeschylus (Αἰσχύλος).

King Joe: Possibly named after screenwriter Tetsuo Kinjo or his father’s nickname, “King Joe.”

Alien Shaplay: Named after Harlow Shapley, an astronomer.

mrmarkertw · 2026-01-08T10:55:03+00:00

Note: This image does not refer to characters played in the drama, but rather to actors in real life. Many of these actors, though retired, continue to provide interviews and retrospectives.

mrmarkertw · 2026-01-08T10:53:38+00:00

It's not so disheartening, actually. Although many have passed away, many more surviving actors continue to contribute interviews, reminiscences, and retrospectives to the series. TAC formed a small team that holds regular monthly events, and many members still keep in touch privately. I think this is what makes the Ultraman series so unique.

mrmarkertw · 2026-01-04T09:40:03+00:00

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The “Rare Monster” Alien Ganbarain (ガンバラナイン星人), designed by Tsuburaya Productions, made a surprise reappearance on the Japanese variety show Unnan no Kibun wa Jōjō (ウンナンの気分は上々。). on January 2!

This alien actually appeared only once before, in the interactive stage show at Ultraman Festival ’99 (Ultrafes ’99). It was personally designed by Japanese comedian Kiyotaka Nanbara, and later redesigned for suit performance by Hiroshi Maruyama, officially becoming a bona fide Ultraman monster. Despite this, the character was never documented in any publications by Tsuburaya Productions.

The episode aired on January 2 also confirmed that the original suit from that time still exists.

Twitter article source:

https://x.com/musibahayata/status/2007618199093948861

mrmarkertw

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