Yoshiyuki Tomino is a revolutionary, not in the classical sense of course, but a power of change within the Japanese animation industry. One might know of his magnum opus, the world famous Mobile Suit Gundam series.
He goes by many nicknames, the most commonly known is “Kill ‘Em All Tomino”, and in China, he is known as “Black Hearted Tomino”. Indeed, he has a strong tendency to kill of his animated characters in cold blood and with pure emotionless logic, and it is this exact strict logic that introduced the “semi-scientific/relistic” category into Japanese animation mainstream. This is seen especially in the conversion of the super robot genre into the real robot genre.
A war is not fought and won by a single insanely powerful weapon and the raw emotions of one person, you need both quantity and quality, and a common faith to rally behind. This is one of the new and important realistic concepts that Tomino introduced into Mobile Suit Gundam. No more were the dominant days of invincible superheroes and ultra-weapons, and no more were there a pure black and white world of good and evil. Japanese animation started to change more … realistic.
In Mobile Suit Gundam, nearly every piece of sci-fi technology have some sort of realistic background that can be explained logically through scientific means. Maybe not all of them tend to be cost effective or completely reliable in real life, but they do work. Some examples would be that the mobile suits utilise AMBAC combat maneuvering, explaining their humanoid shapes apart from aesthetics. Huge orbital space colonies are designed with the O’neill colony cylinder plans in mind. Minovsky particle physics is based upon the muon, a real world subatomic elementary particle. It must also be mentioned that many military strategies, doctrine, and technological advancements shown in the anime are, on a military standpoint, completely logical given the situation. Tomino started a trend to give animation, manga, games, and novels of such genres a heavy realistic background setting of some kind.
In this aspect, Tomino is a revolutionary. It was even said that he was absolutely pissed when toys and models producers came to him asking to change his mobile suits to larger, huge robots. He envisioned smaller exo-skeleton suits, the most logical design of mechas on the battlefield.
He is also revolutionary for … speaking out vehemently against his audiences, fans, media, etc.
“You must be shitting me, my work has no problems at all.”
“Like it then watch it otherwise go fuck off.”
Then we have stuff like: “Only when an animation work succeeds in slapping the audiences faces hard does it become an eternal classic.”. The old dude is pretty brutal.