
Touch: Miss Lonely Yesterday
1998

2002
Director
Hiroyuki Imaishi, Hideaki Anno
Runtime
3 minutes
Average Rating
No ratings yetSynopsis
This is the Animation Store Manager!! Anime Tenchou is a CM character for Animate, one of Japan's biggest retailer of anime, games, and manga. The character series was created by Shimamoto Kazuhiko for publicity purposes. Later adapted into a manga, a weekly radio drama and this OVA animated by GAINAX and directed by Anno Hideaki. Anizawa Meito is the blazing store manager. He is a fireball who loves animation merchandise at heart. He takes over the dying wish of the former store manager, though still alive, who was attacked by the rival store and becomes a “store manager” of newly opened animation goods specialty store, Animate. The scarlet, “store manager visor” is his trademark.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The narrative focuses on the professional zeal of Anizawa Meito. There is no explicit depiction of LGBTQ+ identities or non-heteronormative relationship dynamics.
Gender Representation
The story centers on a hyper-masculine, high-octane protagonist. It lacks evidence of diverse gender roles or the subversion of traditional gender hierarchies.
Racial & Ethnic Diversity
Set within a Japanese retail context, the work reflects a homogeneous cultural environment. There is no evidence of race-bent casting or intersectional blending.
Religious & Cultural Diversity
The film explores subcultural identity through the lens of the otaku community. It centers on a spiritual-like devotion to animation merchandise and media.
Disability Representation
No visible or invisible disabilities are portrayed. The protagonist's intense temperament is framed as a personality trait rather than a clinical condition.
Strengths
Areas for Improvement
AI Analysis
Animation Store Manager is a high-energy character study designed as a promotional vehicle for the Animate retail chain. While the creative pedigree of directors Hideaki Anno and Hiroyuki Imaishi suggests a capacity for stylistic subversion, the content remains highly localized to Japanese otaku culture. The work lacks intersectional breadth, focusing almost exclusively on the professional passion of a single male protagonist. This narrow focus limits the representation of diverse identities, including LGBTQ+ and racial variety. Ultimately, the project functions more as a celebration of a specific subculture than a diverse narrative, prioritizing commercial enthusiasm and stylistic flair over broad social representation.

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