Specifically to that point, I think there are two things wrong with that line of thinking:
1) To make that rather generous reading of Tomino's work we have to ignore all the other ways he portrays women in other situations. You know what I mean, how women are bitchy, fickle, quick to betray both their men and even their cause for another man. How emotionally unstable they are, how unfit they are to pilot a robot (unless they've been 'enhanced by some man') and how often they must suffer and die (hint: always and forever).
2) Even if we were to accept that reading of Tomino then we can still criticise him because if he only portrays women as victims who cannot be saved and how tragic that is. He's creating a reality without hope for women. A world where it's simply accepted as fact that their job is to suffer abuse and eventual death at the hands of men. In a fantasy world, why must women be given such a role? Can Tomino explain why why he doesn't champion the possibility a better world for women? If he thinks that what he's portraying is reality than what good does it do to simply reflecting cruel reality back a the audience. Isn't that to accept defeat, in a sense? Miyazaki chooses to to go beyond 'reality' and give his female characters strength, determination and the possibility of achieving very real goals, there's no reason Tomino couldn't do the same.
Moreover, the women don't exist as characters in themselves but merely as plot points to motivate great men to action, men who can and do change the course of history. This is to fail to respect their fundamental humanity.
Now, I'd argue that Tomino's portrayal of women has changed over the years but it's still pretty bad (see Brain Powered).
I think the latter point is one everyone can agree to. Nobody I've ever spoken to considers Tomino beyond reproach for his portrayal of women so much as they prefer to debate the larger of the charges: whether or not Tomino hates women.
I feel that nobody really exemplifies Tomino's terrible job writing women than this woman here:
When first introduced, I think Reccoa was probably one of my favorite characters in Zeta. She was a competent, confident female pilot, more than capable of handling her own and very aware of the world around her. She was pivotal in convincing Emma Sheen to defect from the Titans to the AEUG, and she served as a sort of secondary mentor to Kamille when Quattro couldn't be bothered to do so. She went on dangerous secret missions, hung out with nifty characters like Kai Shiden, and was all around a fairly engaging character.
Partway through the series, however, something went wrong. All the men aboard the ship suddenly took an intense interest in Reccoa's lack of a love life, her willingness to do dangerous missions somehow became associated with her lack of a man in her life, and despite her own protests to the contrary, she ultimately defected to the Titans after one encounter with Paptimus in which he threatened her. Threatened. He didn't do anything particularly attractive, but somehow that was the basis of her desertion of everyone she held dear, and yet it never once showed up again in her relationship with him. From then on she sort of just yammered about how she was doing everything she was doing because she was a woman and that's what women do.
I've had it put to me that this aspect of Reccoa's character is because she wrongly believes traditional and skewed interpretations of what a woman is supposed to be, but I don't know. As far as I can tell she backs Char into an emotional corner and then deserts for the next biggest Newtype dick to jump on. To say I now hold her as one of the most contemptuous women in Tomino's run on Gundam is to put it lightly.
However, I think there are one or two examples of female characters I might say I enjoyed, and whose success might be considered something of a fluke.
Admittedly, Mirai goes through three relationships over the course of MSG and each of these has an impact of significance upon her character. However, I don't think that Mirai's relationships with men defines her nearly as much as some women later on. Perhaps I misremember it, but there is a period of time in which Bright is ill and Mirai covers for him as the White Base's captain. She is naturally uncertain of her abilities, but she manages to keep the ship running all the same. She requires help from Sayla to do so, and you may argue that this is a case of two women being necessary to fill a single man's role, but I think that this particular example doesn't come off that way, since there are substantial, reasonable explanations for it, the incident brings the two women closer, and it helps Mirai to grow.
Further down the line, though, Mirai shows her strength when confronted by her fiance. It turns out that she is the daughter of a politician, fled from her cowardly fiance, and joined up with the military to take an active role in the war. Throughout the arc Mirai demonstrates an understanding of who she is and what she wants, while also managing to avoid a serious amount of the more common pitfalls that would ordinarily come from a Tomino girl jilting a Tomino guy. In that sense, I kind of like Mirai in MSG. Her portrayal in Zeta is arguable, however.
I was going to cite Haman, but then I realized that if you sort of simplify her character into being "well she's competent and smart, but also an evil bitch" that sort of fits Tomino's bill perfectly. I do think she manages to avoid being a victim or overly reliant upon men for most of her run, though. She definitely has an attraction both to Char and Judau, but neither of these attractions ever blinds Haman from her personal agenda, and although they do affect her mood on notable occasions, never in the same extremely typical way that Reccoa gets. Haman only sort of half-counts, then.