Coming in the wake of perhaps the most influential year for Japanese animation, 1964 arrived with considerably less impact on the animation industry as a whole. With the massive success of such titles as Tetsuwan Atomu (Astro Boy) and Tetsujin 28 (Gigantor) just a year prior, the industry was attempting to essentially recuperate and further explore what the medium of animation could offer in terms of storytelling.
Stemming from this effort, 1964 saw the release of only three animated series: Shōnen Ninja Kaze no Fujimaru ("Fujimaru of the Wind"), Big X, and Zero Sen Hayato. While numbering only three, these series would provide production studios and directors an opportunity to explore Japan’s traditional past, confront controversial issues of patriotism surrounding Japan’s involvement in World War II, and even exploring the social philosophy of eugenics during the war. Certainly these were difficult subjects to elaborate upon within animation—most would even suggest taboo—but seemingly mature thematic material was increasingly finding the medium of animation as a viable platform within Japan. This year also saw the release of only one theatrical film, Tetsuwan Atomu: Uchû no Yûsha ("Astro Boy: The Brave in Space"), a production featuring the recently famous robot boy created by Osamu Tezuka, introduced to the world only a year prior.
