Production
Mia Ikumi spent a year designing the Tokyo Mew Mew manga before the release of the first volume in February 2001. The story she originally presented to her editors, Tokyo Black Cat Girl, featured a heroine named Hime Azumi. An intergalactic police officer named Masha gave her the ability to transform into a cat-girl and asked her to aid him in defeating alien invaders called the Bugs. After the production team decided to focus on five female superheroes, Ikumi was asked to reconstruct the lead character. She had reservations about the changes, as the character was originally designed for a more dramatic series.
As Tokyo Mew Mew became a viable project, Kodansha hired Reiko Yoshida to be the series' scenario writer and story supervisor. Yoshida and two other editors determined each volume's plot, created a scenario by adding stage directions and dialogue, and presented it to Ikumi. Ikumi added her own ideas and changes, creating the manuscript's first draft, which was taken to the publishers for final review and approval. This differs from most manga series, in which the manga writer also creates the scenarios and stories before submitting to their editor for approval.
After the first volume's release, a two-day Tokyo Mew Mew festival was held during the Golden Week holiday—a week long span in late April and early May during which four public holidays occur—to promote the series. Events included a Tokyo Mew Mew art gallery and the release of new merchandise. Ikumi, the series' artist, created a special poster for the event, featuring all twelve characters. She also cosplayed as characters from the series, as Mint Aizawa on one day and Lettuce Midorikawa on the other.
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Famous quotes containing the word production:
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
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