anime – Arcadia Pod

Ghost in the Shell (2017)

Let’s get this first part out of the way:

If there is one thing I’m tired of in the realm of film and television, it’s pre-emptive complainers trying to de-rail everything before it even comes out. with any review of this live action American/Chinese Ghost in The Shell film, everyone has drawn battle lines in regards to the elephant in the room of “Hollywood whitewashing”; in fact, I would say you were almost expected to take a side, and if you took a side that many didn’t like you’d get lectured by the other. It’s annoying that folks are getting in fights and “unfriending” each-other because of opinions over a goofy sci-fi film, but that’s our modern society I guess. Some popular reviews from major sites didn’t even talk about the film, they just reviewed everything that was in some way perceived as racist to stoke the outrage fires, this honestly comes across like they never actually watched it.

I’m not going to dwell on this topic too much because I can see both sides and don’t think arguing over whether or not Scarlett Johanson should or should not be cast as The Major actually addresses the actual problem that Hollywood has with representation. The internet witch hunts and rage were nearly identical to what people attempted to do with both recent Star Wars films, and even last years re-boot of Ghostbusters, and I honestly don’t care anymore. I’d rather discuss a film based on an anime/manga property that I’ve loved for upwards of 20+ years, and how it turned out.

/end rant

Ghost in The Shell has been a favorite of mine for a VERY long time. I recall being first introduced to it through my older stepbrother that loved cyberpunk stuff – he had the original Masamune Shirow manga laying around at some point when I was visiting and I was enthralled by what I saw. Not too long after that, I was able to rent the anime adaptation from one of our local video stores and was hooked on the franchise from that point forward. every continuation has been something I get really excited about – all the movies, games, TV shows etc. That said, I was torn when they announced that a western adaptation was going to be produced a few years ago.

Readers may recall that I’m pretty vocal about my dislike for most anime adaptations because they don’t treat the source material with respect and are generally bad (Dragonball Evolution is the king of this). That goes for live action adaptations produced in Japan itself. I am always annoyed when they discuss a possible Akira remake because the two directors that were vocally lobbying for it seemed determined to completely alter the entire premise of the story into something else. I recall at one point, the script going around had Kaneda and Tetsuo, protagonists of the film, gender swapped and made into former lovers – nope! Any such fears that I had with Ghost in the Shell were calmed when the released the first trailer – the logo was there, scenes appeared to be adapted directly from the 1995 film, characters looked almost correct – “wait?! was this going to be okay somehow?” the controversy I touched on above was something that troubled me a bit, but I figured I’d give it a shot and see what happens.

Quick verdict – Ghost in the Shell 2017 is good, not great, and it’s not deserving of the critical heat it’s getting online.

An argument can be made that many of the visual flourishes in this film seem like a road often traveled, somewhat dated, nothing new. That’s by design, as many scenes are literally directly lifted from the 1995 film – keep in mind that the source material is nearing thirty years of age if you go even further back to the comic. it’s filled with typical cyberpunk aesthetics, and much like steampunk, or post-apocalyptic fiction – straying too far from the agreed upon tropes is never a great idea. Most “cyberpunk” properties follow a set groundwork laid by much older films like Blade Runner, books like Neuromancer, and the like. Ideas like megacities run by huge militarized corporations, dingy slums filled with bright holographic neon lights, weird Asian and Western culture amalgamations and the idea of trans-humanism seem passe today, but we seem to be ever closer to that very reality. it might not look the same, but in many ways cyberpunk is closer to our modern society than it was back in the 80’s.

I mentioned that some scenes were directly influenced by the Mamoru Oshii film of the same name, and I would even go as far as to say that this was almost a shot-for-shot remake of that very film with a little bit of some of the sequel material sprinkled in. This is a double edged sword in many ways, as seeing scenes like the building infiltration, the spider mech fight, and the cloaked fight with the hacked garbage man was cool, but a lot of those scenes were a lot cooler and more fleshed out in the original film. This was because there was a decent amount of new material – some adapted from the comics or TV series taking up the runtime. Reading reviews online, a constant complaint I kept seeing was that “The Major got a new backstory” which is funny because Hideo Kuze and his revelations at the end of the TV series factor into this film quite a bit, meaning that people have not seen Stand Alone Complex and should not be commenting on it as if they are authorities on the matter.

For much of the film, we know The Major as Major Mira KIllian – a cyborg created by a large robotics company named Hanka Robotics. She was a survivor of a refugee boat accident – something that left her family dead and herself severely injured. Her brain was the only thing salvageable from her body, so it was put in a new body as a second chance at life as long as she’s cool being basically sold to the government as a weapon. Of course, this is all BS and the driving force behind The Major trying to piece her previous life back together.

Much like the backstory stuff, I saw people complaining that the inclusion of Hanka was a new addition to the franchise, but they were actually an organization from the original comic, although not as major as here. In both versions they are a VERY bad company, as the comic version of Hanka was caught in a scandal where they were dubbing the ghosts of children into a mass-produced consumer robot to achieve a greater sense of human personality. Here, without going into too much detail – they are trying to create a race of perfect soldiers with human brains in a cybernetic body, where they get these brains could be an issue.

In some ways, making Hanka Robotics a major plot point in the film is actually going against one of the major philosophical ideas from the original manga. In a world where the internet is literally in and around you at all times, and cyber-warfare is something even low-level street thugs dabble in from time to time, old ideas like national sovereignty and borders are basically obsolete. Section 9 always skirted a fine line between acting within the scope of normal law enforcement, and treating the Networks as a free for all that the old ways stood against. Leaving out some of this diplomatic and political intrigue sort of boils down the role that Section 9 and Hanka have as nothing more than a Corporation acting as The Government and Section 9 acting as their willing lap-dog. I guess in some ways that’s a telling indictment of the current status-quo with our own corporations, but something that I wanted to point out as a major difference. Hanka is also a convenient way to have a blatant “villain” rather than the numerous ephemeral “gray area” antagonists the material usually features.

There are a few differences like this that are not huge deal breakers, but sort of “dumb down” the ideas from Ghost in the Shell to a more palatable product for those looking to see an action popcorn movie rather than a philosophical look into trans-humanism. I’m not annoyed by this in any way because no two versions of Ghost in the Shell are exactly alike. The manga, the Oshii films, The TV series, and the recent Arise films are all different parallel versions of this story, and none of them are very much alike to be honest. I actually prefer the TV series Stand Alone Complex, to the films and dislike the manga sequel. with a franchise like this, there are many ways to look at the story – something for everyone.

When it comes to casting, I absolutely loved the job they did. And yes, Scarlett Johanson did a fine job no matter what internet folks want you to believe. Pretty much every character from section 9 is present aside from Paz, seemingly replaced by a new character named Ladriya, I’m pretty sure she’s not from any previous version, but could be wrong. Takeshi Kitano (As Aramaki) is my favorite Japanese actor, and having him be such a badass in this film was awesome. He has, by far, the best line in the entire film where he chumps out an entire squad of armored assassins with a briefcase and quips “Never send a rabbit to kill a fox”. I wanted to clap at that very moment, but that probably would have made everyone mad in the theater.

Chin Han is also great as Togusa, perhaps my favorite character from the TV series. He’s not a major part of the film by any means, but I was glad to see him in there. Finally, I wouldn’t be able to discuss this without talking about Batou, as played by Danish actor Pilou Asbæk. I’ve somehow missed him up to this point, but he was really good – he really captured the character and was perhaps the truest to the source material of anyone in the film.

I’ve already written a lot here, and I don’t want to spoil more than what I have since the film does have a few mysteries and twists. To reiterate from above Ghost in the Shell 2017 is a good, but not great film that stayed close to the source material with a few alterations. Yes, these alterations sort of “water-down” some of the themes of the source material itself, but this was a summer popcorn flick, I was never under the assumption that this was going to be a complex film for jaded otaku. I enjoyed the casting despite the online backlash, and would be up for a sequel if one ever materializes. That is unlikely as the film hasn’t really caught the box office on fire, but who knows. I am sad that there was no reference to any sort of mobile tank unit like the Fuchikoma / tachikoma / Uchikoma /or Logikoma units from the numerous iterations of the franchise. This was no surprise as they are not present in the 1995 film either unless you count the spider tank.

I’d say ignore the haters and see this for yourself – I’m not saying you’ll like it, but it’s not the bucket of dog turds everyone wants it to be.

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Godzilla: Monster Planet Announced

For better or worse, the 2010’s have been a big decade for the revitalization of the Kaiju genre. We’ve had multiple Godzilla films from both sides of the Pacific Ocean, a new King Kong film, Pacific Rim, Matt Damon fighting Chinese wall monsters, and even plans for eventual cross-overs. Hot off the heels of 2016’s Shin Godzilla, it looks like Japan is going the anime route for the first time ever for a proposed new series of films called Godzilla: Monster Planet.

a look at the launch website reveals the following:

Since its birth in 1954, the feature film “Godzilla” has been loved all around the world as a giant cultural icon. This is followed by “SHIN GODZILLA” (General Director: Hideaki Anno) released in 2016. The thorough realism depicted in the film grasped the heart of many audiences, recording a big hit of 8.25 billion yen box office. And in 2017, Godzilla goes through a brand new “evolution” no one has ever expected: the animated feature film “GODZILLA”.

The work depicts a severe and hard-core future world unlike any previous Godzilla films. It is a story of human beings destined to confront “Godzilla” that has reigned the Earth for 20,000 years.

One of the dual director is Kobun Shizuno, who realized “Detective Conan: The Darkest Nightmare” (2016), which marked the box office of 6.33 billion yen; the highest record of the franchise. Another director is Hiroyuki Seshita who has proved his abilities at the forefront of CG field through his direction/ general direction in “Knights of Sidonia” and “Ajin”. Original story and screenplay is written by Gen Urobuchi, known for “Puella Magi Madoka Magica” and “Psycho-Pass”. His groundbreaking ideas and unpredictably elaborate structures has grasped the heart of many fans. The production house is the greatest 3DCG studio in Japan, Polygon Pictures, which has created “Knights of Sidonia”, and through their work such as “Star Wars: Clone Wars”, received an award for three consecutive years for Outstanding Special Class Animated Program at 41st Annual Daytime Emmy Awards, known to be the Oscars of the U.S. television industry.

Hear the roar echoing through the world, telling the beginning of the unprecedented, brand new “GODZILLA”.

also included are details on the plot:

The last summer of the 20th Century. That day, the human beings learn that they are not the only ruler of the planet Earth.

The appearance of the giant living creatures “Kaiju’s” and the ultimate existence that destroys all monsters: Godzilla. Through the battle against kaiju’s that lasted for half a century, human beings has experienced continuous defeat, and finally plans to escape from the Earth. And in 2048, only those who were selected by the A.I. managed under the central government boarded the inter-sidereal emigrant spaceship “Aratrum” to head for “Tau Cetus e”, the planet beyond the distance of 11.9 light-year. However, the environmental condition differences between that of the Earth and Tau e, which they finally arrived after 20 years were far beyond the predicted numbers, and was not an environment considered to be habitable by human beings.

The young man on the emigrant ship: Haruo, who saw his parents killed by Godzilla in front of his eyes when he was 4 years old, had only one thing in his mind for 20 years: to return to the Earth and defeat Godzilla. Shut out from the possibility of emigration, as the living environment in the ship deteriorates, the group of “Earth Returnists” led by Haruo became the majority, and determines to head back to Earth through a dangerous long-distance hyperspace navigation.

However, the Earth they have returned has already passed the time of 20,000 years, and has become an unknown world with the ecosystem reigned by Godzilla.

At the end, will human beings win back the Earth? And what will Haruo see beyond his fate…?

Her’s some more concept art, and stay tuned for details as they are revealed!

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The Monday Meme: Work?

MEETING

Image From: ACCA

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Under the Dog (2016)

Just about three years ago I ran across a Kickstarter campaign that excited me quite a bit. A small company called Mentat Studios LLC had a vision – they wanted to produce an anime for anime fans around the world without the need for the industry standard production committees and TV networks butting in. It seems that there are a lot of industry types in Japan that are not fans of the current road that the anime market is going down e.g. visual novel anime projects and moe shows designed to sell merchandise and little else. Hiroaki Yura, the executive producer at the time, even went as far as to do a solid Reddit AMA that outlined the project’s vision:

“I hope UTD will give an example that the Japanese anime industry should really focus their attention globally, not just our tiny Japanese audience. Anime should be for the whole world, not just Japan. We don’t always want moe anime or a light novel based anime. I for one long to see anime like Akira.”

This was also the original trailer presented, none of this is in the movie, so it could be seen as a trailer of what could have been a later episode I suppose.

while the project did not make the five million dollars needed to make a full feature length film, it did make enough money for one 30 minute OVA episode. I really wish that it could have made more (although some issues the project had that I will talk about in a bit could have complicated it) because ideally Under the Dog was meant to be a TV series.

The staff consisted of Jiro Ishii, director Masahiro Ando, producer Hiroaki Yura, character designer Yūsuke Kozaki, and composer Kevin Penkin. Though the project was successfully funded, Creative Intelligence Arts and Kinema Citrus separated due to creative differences, and Kinema Citrus took full control. The split resulted in the replacement of some development staff, including Yura being replaced by Kōji Morimoto and Yoshirō Kataoka.

This really worried me, because at the time the whole project seemed somewhat “up in the air” backer rewards started getting cancelled and rumors of creative differences were hitting message-boards. Now it’s early 2017 and I thankfully got my psychical Blu Ray disc to review – technically it was released last fall digitally, but I wanted to wait until I had the disk.

The Blu Ray itself is a bare-bones affair with basically just the film and a handful of special features including the above trailer and a few sound options.

What we see in this episode is largely stand-alone, but like many 1980’s OVA episodes it’s full of stuff that would be awesome if further explained. There are characters, organizations, and other bits of world building that obviously had to be set aside to meet the running time, making this seem like a introduction to a show that will (likely) never exist. According to the original Kickstarter page, the overall plot is as such:

The story takes place within Neo Tokyo in the year 2025, five years after a severe terrorist attack at the 2020 Tokyo Olympics. Students possessing special abilities are forced into serving an elite anti-terrorist unit created by the United Nations, fighting against threats including other ability users. If these agents fail their mission, they will be killed along with their families, who have bombs planted within their heads. One member of this covert ops unit, a Swedish girl by the name of Anthea Kallenberg, seeks to find who she really is.

Not a whole lot of this actually makes much of an appearance in the actual movie, as the focus of fifteen minutes of it is built around two entirely other characters than Anthea. The OVA’s story underwent a massive reboot in February 2015, shortly after the staff shakeup and the removal of Creative Intelligence Arts from the project. This may be why the OVA’s story and feel is almost totally different from the trailer and the previously revealed plot elements (there is no mention of a terrorist attack on the 2020 Olympics in the final product, for example).

We find a young girl named Hana Togetsu who appears to be a member of some sort of clandestine organization and is referred to as a “Flower.” Flowers are forced to work under the United Nations to carry out assassinations of terrorists and other detriments to human society such as monsters called Pandoras. It’s implied that a failed mission results in imminent death for a Flower agent and her family, and considering the tension she appeared to have with her family at the beginning of the movie, it seems messed up. She has been planted (Flower! Planted! whoooaaa – I’ll get my coat…) into a school to shadow a boy that seems to have some sort of latent abilities that her organization is after. Too bad the US Military appears to run in Team America style to complicate things.

On the technical side, everything looks pretty nice although not incredibly spectacular. I can only assume that the budget and staff change-ups meant that parts of this production were rushed. Some of the animation, especially some of the American soldiers is worse than other parts of the film, so they stand out as being somewhat off. This isn’t helped by English voice acting for these characters that isn’t the best. If anyone has been anime anime with half-English and half-Japanese dialog (Beck: Mongolian Chop Squad comes to mind), they usually end up like this since they use non-native speakers or untrained people that just happen to know English.

I really enjoyed the character designs for all of the principle characters, and would have loved to know about some of the other agents that we barely see. I found out by looking at the Anime News Network Encyclopedia entry for Yusuke Kozaki to see he has done a TON of stuff I enjoy like a DS game called Osu! Tatakae! Ouendan, Fire Emblem, No More Heroes 1 and 2, and even Pokemon Go. I need to possibly read some of his manga works if I can find any that are translated.

All-in-all Under the Dog is a solid enjoyable watch that could have really benefited from being a bit longer. it definitely reminded me more of old-school anime (which is what they were going for) in that it pulled no punches, was bloody as hell, and was made for people like me in mind. It’s basically a cross between Gunslinger Girl and Evangelion in many ways, and despite my few quibbles above I’d recommend checking it out if you can. OH! and if you’re there you can try to find my microscopic name in the end credits!

I am hopeful that we get to see Anthea’s story told as this was recently posted on the official Website for this project:

We are excited to announce that a new partnership for Under the Dog is established! We should be able to officially announce more details soon, but for now, we just would like to let our backers know that Under the Dog, which started out on Kickstarter, will now expand beyond crowdfunding!

This is all due to your support. We thank you again and again, and please look forward to seeing what comes out of our new partnership!

I’m still assuming we won’t see more as this was months ago, but I’ll be excited if this turns out false and we do get more.

And in case you were wondering….

The phrase “under the dog” comes from GREAT3’s song “Under the Dog” with a line that says “Why don’t you sleep under the dog if you are so sad” for which the meaning is trying to convey (in translation) the definition we had placed on our KS page: “when one is in a situation so disagreeable that they would wish to rather be “under the dog,” a place of dishonor, misery, and filth, in order to escape their current state of affairs.” While the meaning for “underdog” can still apply to the situations the characters will find themselves in, the original meaning comes from very specific elements that are not necessarily tied to “underdog.”
–Kickstarter FAQ answer

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The Grindhouse – Final Fantasy: Legend of the Crystals – A Recap of episode 1

The Grindhouse is a new feature kicking off here on Arcadia Pod. This article is NOT a movie review, but a detailed recap of a film set up in such a way that you really don’t have to watch it. I will watch questionable movies so you don’t have to. As this goes on, expect me to go over dollar bin anime, bad cartoons, and even the occasional TV series! Without further ado, here is the first edition, where will be looking at Final Fantasy – Legend of the Crystals episode 1. The next 4 of these will be about this train wreck of a show.

When I first got into anime, it wasn’t at all like it was today. It wasn’t the wide selection of movies and other merchandise currently available. I can fondly remember going to our crappy little video store in town way back in 1998 and rummaging through tapes looking for something cool to watch. This was before DVD players got really big and the anime market seemed to be old VHS tapes locked away near the “adults only” section. All the titles that this dingy, poorly-lit store had were of the exploitative nature, mainly focusing on nude girls and bloody disembowelments – a real treat for any self-respecting sixteen year old kid.

Aside from classics such as Vampire Hunter D and Akira, my friends and I would ALWAYS rent one movie in particular: Final Fantasy – Legend of the Crystals. In hindsight, I have no idea why we actually rented this movie, as we pretty much mocked the whole thing. It was basically something that we would make jokes about due to some poor choices that the movie seemed to take at almost every turn. That didn’t keep us from watching it over and over again, meaning that some of the horrendous plot and bad writing were hidden directly behind a big old layer of charm.

The main problem that occurs right from the get-go is that this OVA (direct to video basically) series has very little to do with Final Fantasy despite it purportedly existing as some sort of sequel to Final Fantasy V. It’s almost like some guy that played the games was telling an uninterested writer about the plot over the phone; the writer, while starring at a Ralph Bakshi poster, cranked out what he could, but ended up with this. The tone is all wrong, the music is wrong, and it just really doesn’t feel like a Final Fantasy movie.

The beginning of the film brings a false sense of security for anyone expecting this to be decent, as the main theme from Final Fantasy V, Tour de Japon, plays for a bit here. When I first watched this, I of course had not played Final Fantasy V, but as an older gamer, that was a nice touch. This leads directly into the first scene showing a man sitting on a Cliffside looking at a brewing storm. At this point I’m quite worried as to how this movie is going to be written because this character basically starts repeating every line he says one additional time. In this way we learn that “A storm is coming” not once but twice. I know he’s talking metaphorically about an upcoming battle that this movie will no doubt present, but the storm in the background makes it look like he’s some sort of lonely man that talks to himself all day.

We learn that this sad old man is in fact the grandfather of the movie’s heroine Linaly, a girl who is supposedly a descendant of Bartz, the Final Fantasy V’s protagonist. Since this takes place hundreds of years after the events in the game, we will sadly not get to see any of those characters, save one that we meet later on. Grandfather announces that it is basically up to him to stop the upcoming storm, one which he can sense because of the “evil winds” and starts rushing out the door. If my grandfather started saying crap like that, it would result in a one way ticket straight to the home. Linaly won’t have that and insists that she needs to go instead or at least tag along with her Grandfather as if to humor him in his senile dementia. It was hard to pay attention to this as my eyes were drawn to Linaly’s ridiculously short miniskirt that seems to be defying some sort of natural law. I wasn’t looking in any sort of sexual way, but looking simply in a sense of sheer wonder.

Pretty soon we finally get to meet the actual “main character” of this whole ordeal – Prettz. Unlike the usual modern Final Fantasy hero, Prettz is not a douche-bag emo guy covered in zippers and belts that talks in ellipses, but a goofy loud-mouth who won’t mind his own business. When he sees Linaly and grand—you know I’m tired of typing “Grandfather”, from now on his game is Gomez. So anyway Gomez and Linaly are in a boat traveling to one of the temples to see what is going on, and here comes Prettz chasing them around, yelling that “old people and girls should not be alone!”. Since I never had the illusion that this planet was populated by incestuous pedophiles, one can only assume that Prettz is a jerk. When declined as the pair’s bodyguard, he gets mad and insists on going anyway. In fact, he throws such a big tantrum that he collapses a bridge in a “super-comical way”. Aw sweet! Jar Jar Binks is the main character!

It’s at this point that I want to point out that Prettz has the most true-to-date 90’s attire on that anyone possibly could. Note his shaved-under rat-tail hairstyle, sleeveless T-shirt, and comfy pants. While those aren’t exactly the class of Zubaz pants, they still take me back to a much simpler time; a time when our fantasy heroes did not dress like Lady Gaga when they fight monsters. Seriously, all Prettz needs is a fanny pack and a gym membership and I’d imagine he was an off-duty WWF wrestler.

This whole plotline gets pretty tiring at this point, and Prettz has only been on screen for a short while. While watching I was basically worried that the movie would consist of Prettz chasing around Linaly and whining the whole time. Prettz gets a huge motorcycle and silly armor to help in his chase, much to the chagrin of Gomez. More slapstick ensues, until we finally get some worthwhile dialog where Gomez relates to Linaly what the “evil wind” is all about. It looks like the wind crystal must be in danger and he could sense the trouble. This is cut short as Gomez comically trips for no reason whatsoever and tumbles a ridiculous distance down a hill, way to take this movie seriously guys. So far the overall tone of this movie is somewhere around a morning children’s show, not the caliber of the games in my opinion.

Suddenly and literally for no reason at all, a huge demon-like creature with eight eyes leaps from the ground and makes Linaly decide to cast a spell. Since Linaly is speaking as if she is going to summon a creature, I’m at this point wondering what sort of awesome creature will come out. Could it be Ifrit? Shiva? Bahamut? Sadly no, we get this:

That’s right folks, a stupid looking naked……chicken thing? Please God tell me that isn’t supposed to be a Chocobo!

Gomez apparently shares my opinion of the matters and begins to slam the beast left and right, saying things like “couldn’t you do better?”. Linaly is sad that a half-assed Chocobo is the only thing that her mighty summoning powers can muster, and I can see why, did you see how stupid that thing looked!

Finally Prettz shows some A-game and rushes the monster on his motorcycle with a huge katana, this not only kills the creature stone dead, but makes Gomez look like a tool for raising such a fuss about him tagging along. After they escape to what appears to be an inn, Gomez lays in bed worried that he is too old to carry on this adventure, this leads Prettz to basically heckle him for being old. Gomez yells at him and tells him to go home. Linaly sets out on her own, only to have Prettz follow her out and along the way. We get a few minutes of glorious dialog where Prettz says he wants to go, and Linaly rejects him. As this pattern has been the majority of the actual spoken dialog of the show so far, my initial worries of the plot of the show may not seem to unfounded. I mean seriously this is basically the movies script up to this point:

Gomez: “A storm is coming”
Gomez: “A storm is coming”
Prettz: “I wanna go!”
Gomez: “NO!”
Prettz: “I wanna go!”
Gomez: “NO!”
Prettz: “I wanna go!”
Gomez: “NO!”
(Repeat infinitely)

Just as with the monster, mere minutes ago, something suddenly leaps out of the ground towards the party, possibly a subtle hint at the random nature of battles in the old games. But this thing isn’t a monster – it’s a huge garishly pink spaceship of some sort. Once it fully lifts out of the ground, we’re told by Prettz that these are in fact sky pirates trying to kill them. A door opens on the ship and what appears to be a dominatrix and her two husky female sex slaves rise from within. Her name is Rouge, and she wants Prettz’s motorcycle apparently. I would too if I had to fly around in a ship as ostentatious as that pirate ship she has. Prettz makes short work of the pirates using some bombs that he apparently carries around at all times, but I doubt that’s the last that we’ve seen of these guys.

They finally make it to the Wind temple, the first of four that I’m sure we are to encounter in this series, and just as soon as they get there Prettz runs out for no explicable reason leaving Linaly to solve the puzzle of how to enter the temple on her own. We soon find that Prettz has seemingly commandeered the pirate ship we just saw and is holding it hostage with his bandoleer of goofy bombs. By goofy, I don’t mean in a general way, like “oh hey look at those goofy bombs”. These stupid incendiaries actually have smiley faces on them and open up to show the face before they explode. We know this because Prettz insists on clapping them together like a set of garish castanets in order to intimidate the bondage ship’s crew. No doubt Prettz shops at the same weapons shop as the Joker. This of course happens for no reason at all, because Linaly has actually managed to solve the puzzle of how to gain access to the temple all on her own without her jackass buddy.

Next thing you know Prettz drives the airship through a narrow crack in the surrounding cave and crashes it into the temple. This draws the attention of another person with an equally goofy looking airship by the name of Valkus. Valkus always struck me as the “Cid” character of this show, as not only was he in command of an airship, but he is basically a badass.

As our heroes walk into the room containing the wind crystal, the scene cuts to someone talking in a robotic gibberish voice, talking about how “the other three crystals are in our hands”. This voice seems to be from a female subordinate of some guy sitting on a huge brain in the middle of the room. That’s right I said brain, as in part of our human anatomy, except this time super-sized. He of course spots a few almost sexual sounding villain catchphrases like “my body aches with excitement”, these are all off-putting.

What follows is basically the most awkward thing in this entire series, and a scene that would live in infamy for my friends and me. Linaly grasps the crystal only to have it enter her body through the chest.

She tumbles to the ground looking ill and the camera quickly cuts to her hind-quarters which are now glowing.

Both turn around and stare at her butt as it radiates a warm golden light.

Maybe this is why her dress is so unreasonably short, that way we can see her butt glowing whenever she eats too much Mexican food. This is quite possibly the lamest excuse to have fan-service EVER in an anime, and to make it a plot device!

That’s it for episode one, join me again soon as we gaze into the warm golden light that is episode two…

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A Look at All the Cameos in Tiger Mask W

I’ve recently started watching the winter 2016/7 anime Tiger Mask W, a wrestling anime featuring stars from New Japan Pro Wrestling. New fans might think that all of the colorful characters are from the minds of producers alone, but I’m here to show that a handful of these grapplers are actual people! This has always been something cool when a wrestling anime comes out in Japan, as Jushin Thunder Liger had an anime show, and guys like Terry Funk appeared in Ultimate M.U.S.C.L.E. I’ll eventually review Tiger Mask W, but for right now check out some characters you’ll get to see if you start watching this.

TIGER MASK

Naoto Azuma is the main protagonist of the anime series, which is actually a sequel to a 1968 manga and 1971 anime series. While Naoto is a fictional character made for this show, many people have actually portrayed the character in real life. There have been a handful of wrestling anime characters that have spilled over into the real world, and Tiger Mask is perhaps the longest running.

Tiger Mask I Satoru Sayama
Tiger Mask II Mitsuharu Misawa
Tiger Mask III Koji Kanemoto
Tiger Mask IV Yoshihiro Yamazaki
Tiger Mask V Ikuhisa Minowa
Tiger Mask W Kota Ibushi

TIGER THE DARK

Takuma Fujii is a new character in the anime called “Tiger the Dark”. He is basically this anime’s version of the Black Tiger who has always been a rival of the Tiger Mask character. A lot of famous foreign wrestlers have portrayed “Black Tiger” through the years, even the legendary Eddie Guerrero once held the title! There is currently a version of the actual character of “Tiger the Dark” currently in NJPW and is feuding with the real life Tiger Mask W.

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SPRING TIGER

Haruna Takaoka aka Spring Tiger is the female protagonist of the series. Like the previous two, she is a made up character, but is not wholly based on fiction. A female Tiger Mask iteration, called Tiger Dream, was played by female wrestler Candy Okutsu in the mid-1990s. unfortunately, Okutsu being injury-prone and having to take several sabbaticals from the ring, the character was easily forgotten by the fans and eventually abandoned.

KAZUCHIKA OKADA

Kazuchika Okada is based on the real-life professional wrestler of the same name. Okada joins Naoto in his fight against GWM. In real life Okada is a very accomplished wrestler who has held the IWGP Heavyweight title on four occasions as well as a ton of other accomplishments. He did have a breif, and largely forgettable run in america in TNA (Total Nonstop Action) Wrestling.

HIROSHI TANAHASHI

Hiroshi Tanahashi is based on the real-life professional wrestler of the same name. A wrestling ace who helps Naoto in training. In real life, he is a former seven-time IWGP Heavyweight Champion, one-time IWGP Intercontinental Champion, two-time IWGP Tag Team Champion and two-time NEVER Openweight 6-Man Tag Team Champion. Tanahashi holds the record for most reigns as the IWGP Heavyweight Champion, while his fifth reign holds the record for most successful defenses, with eleven.

YUJI NAGATA

Yuji Nagata is based on the real-life professional wrestler of the same name. Aside of wrestling, he’s also involved with the management of NJPW. Most American fans will recognize him for his tenure in World Championship Wrestling in 1997-8 during the height of the Monday Night Wars.

TOGI MAKABE

Togi Makabe is based on the real-life professional wrestler of the same name. In the show, he has a sweet tooth and hosts a famous blog about sweets, being so obsessed with them that he can lack motivation without sweets. One cool tidbit – The character is voiced by the real Togi Makabe.

KIMIHIKO OZAKI

Kimihiko Ozaki is based on a real-life ring announcer in NJPW.

TOMOAKI HONMA

Tomoaki Honma is based on the real-life professional wrestler of the same name. He is currently working for New Japan Pro Wrestling (NJPW). He is a former one-time IWGP Tag Team Champion and a two-time World Tag League winner with Togi Makabe.

TOMOHIRO ISHII

Tomohiro Ishii is based on the real-life professional wrestler of the same name.Though pushed for most of his career as an undercarder without any major championship wins, Ishii gathered a cult following, until he was too popular to ignore. Since then he has gained tag championships, singles titles and even the ROH Television title.

YOSHI-HASHI

Yoshi-Hashi is based on the real-life professional wrestler of the same name. While he was almost an enhancement talent of sorts in real life, he has slowly started to win occasional matches. a feat that earned him a PWI ranking of 314 of the top 500 singles wrestlers in the PWI 500 in 2016.

BILLY THE KIDMAN

Billy the Kidman is a fictional character in Tiger Mask W, but it’s funny to not that there is a real-life wrestler from the late 90’s – 2000’s named Billy Kidman.

BULLET CLUB

Tama Tonga and Bad Luck Fale are real life members of the gaijin (foreigner) heel stable “The Bullet Club”. Also represented is Kenny Omega who is the current stable leader. Previous members of the group include WWE’s Anderson and Gallows, Finn Balor and AJ Styles.

QUEEN ELIZABETH AND PAYNE FOX

While not a direct cameo, Queen Elizabeth and Payne Fox are obviously modeled after WWE women’s champions Charlotte Flair (daughter of Ric Flair) and Becky Lynch.

TETSUYA NAITO

Tetsuya Naito is based on the real-life professional wrestler of the same name. Naito is currently in his first reign as the IWGP Intercontinental Champion, while also being a former IWGP Heavyweight and NEVER Openweight Champion as well as IWGP Tag Team and IWGP Junior Heavyweight Tag Team Champion with former partner Yujiro Takahashi, with whom he teamed as No Limit. In addition to those, Naito is also a one-time winner of NJPW’s premier singles tournament, the G1 Climax, having won it in 2013, and the New Japan Cup, winning it in 2016. In 2016, Tokyo Sports named Naito the wrestler of the year.

BLACKOUT

Blackout is a robot (sure why not) from the Tiger’s Den, he serves as the gatekeeper of the Hell in the Hole match being the last challenge to face. He bares more than a passing resemblance to WWE’s wrestler The Undertaker.

METAL BROTHERS

Metal Brothers I & II are a couple of masked wrestlers that make an appearance. They bare a resemblance to the WWE’s legends the Road Warriors.

FUKUWARA MASK

Fukuwara Mask isn’t a real character, but his “gimmick” is very similar to a number of clownish wrestlers from Osaka Pro like Ebessan, Kikutaro and Kuishinbo Kamen. He dresses with a Hyottoko mask and common clothes, giving him a ridiculous appearance. Fukuwara Mask’s focus is in providing laughs and serving as a comic-relief by deliberately acting like a fool in his matches, which the audience enjoys.

And More!

There are other references and mentions like Jushin Thunder Liger, Captain New Japan, Toru Yano, and members of Los Ingobernables de Japon such as Evil and Bushi. Here’s hoping they do more of this show, as I would love to see a lot of of the real life wrestlers from NJPW! Stay tuned for a full review of this show soon, I still need to finish it up and I’ll let you know what I thought!

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My Forays into Anime Cel and Original Art Collecting, a lost Otaku Hobby.

Back in around 2001 or 2002, I was poking around an internet forum and discovered the hobby of animation cel collecting. At that time, you could get some cels super cheap online so I jumped in and snagged a few. Cels (or celluloids) are paintings on transparent plastic sheeting used to create an animation. Each cel is one “frame”, and they are filmed and then put behind one another to give the illusion of a continuous motion. Since it takes hundreds of these to do a few seconds worth of film, there are ones that are similar out there, but no two are exactly alike. The cool thing (to me at least) with these was that they are all unique and original, and I that I got to own a piece of my favorite films or TV shows!

I honestly didn’t collect a ton of these because they can be pretty expensive and sometimes VERY rare. Certain shows did not keep their cels to sell; in fact, many of these cels ONLY exist on the secondary market because people fished around in studio dumpsters and hauled huge armloads out to safety. This was also the way people were able to obtain cels for bootleg Korean animation projects that I might review on here as well. At pretty much that exact same time period that I started buying these, animation had really shifted away from animation cels and into digital animation – now I know you can get digital scan sheets used in much the same way as some of the coloring sheets you are about to see, but I haven’t followed up on this, and don’t know the lingo.

Anyway here’s a few I’d like to share with you guys!

These first two are for Mobile Suit Gundam Wing (1995). Notice that have pencil drawings for each. These are called “Douga” and are sometimes stuck to the cels they accompanied. Thankfully these are separated.

Note: these are crap pictures I took with my phone, my apologies.

This one is from one of the Tenchi Muyo animes, probably Pretty Sammy (1995)

These are from Great Teacher Onizuka (1999) – The one of Tomoko in the talent contest is actually multiple cels and a background, that is unfortunately stuck together. sometimes the paint from the cels acts like glue, and trying to force it could ruin the artwork.

This one is in rough shape, but it’s from Galaxy Express 999 (1978), sadly the cel is stuck to the douga, and the black lines appear brown, meaning that the color was probably sun-bleached. All I’m concerned with is that I have it!

Akira (1988) This is my prized cel! it appears to be a “key cel” of Kei since the number is circled, but I’m no expert in these things.

I also have a few pieces of original artwork by two manga creators. These are in marker on white Shikishi Boards.

Leiji Matsumoto

Toohru Fujisawa

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ACCA: 13-Territory Inspection Department – Mid-Season Thoughts

Every year it seems like a billion anime TV shows get released, and with each season having upwards of 50 shows, one can safely assume most of those are mediocre at best. I work a LOT, so I can’t watch everything I would like to, and truthfully, it’s very easy to burn out of anime fandom if one tries to be a completionist of any sort. I have to be VERY selective of what I watch, and usually I go for off-the-wall stuff that strays from the mainstream shonen fighting shows and paranormal adventure shows that everyone seems to absolutely love.

This year I decided to re-subscribe to Crunchyroll in order to watch the relatively recent live action Great Teacher Onizuka show, and have found a few gems from the “simulcast” section of the app. I’m not sure of it was the eye-catching art style, or the fact that it may very well have been the first thing on the list, but I decided to give ACCA: 13-Territory Inspection Department a try, and I’m very glad that I did.

Based on a popular Japanese manga series written and illustrated by Natsume Ono, ACCA (as I will refer to it from now on) tells the story of Jean Otus, who acts as the second-in-command of the ACCA inspection agency. Jean’s job is to travel to the various major cities within the Kingdom of Dowa (which is, itself divided into 13 districts) and visit other ACCA offices to look for corruption, government waste, and other things that may destabilize the Kingdom. ACCA had been created over one hundred years in the past, during a lengthy period of unrest, in order to bring order to the masses. Many feel that ACCA is no longer relevant, but murmurs of revolution seem to be in the air. Small hints of possible revolution have been cropping up, such as scenes where various people start remarking on the increasing number of fires that have been occurring.

I jokingly told my wife (after viewing episode one) that this show could be summed up as “office politics – the anime” which was perhaps a bit flippant considering the way the show has progressed these past few episodes. To some, ACCA might seem slow – as it is free of the ridiculous exposition dumps and false world building that a lot of modern anime seems to be comprised of. Instead, the story is left to breathe while the viewer is allowed to see some sites, and understand the culture of the various districts within Dowa. This almost makes it a animated travel show ala Anthony Bourdain. Jean travels to places, buys gifts for his co-workers and sister, and samples the local cuisine. Food, in particular, takes such a large role in some episodes that one wants to sample the exotic sandwich breads and pastries that everyone seems to be obsessed with.

I think the main reason this show has endeared itself to me so much, is that it reminds me a LOT of a few other shows from a number of years ago that had a similar traveling theme – Kino’s Journey, and Mushishi. Kino’s Journey was a philosophical show that saw the titular hero visiting various towns that all seemed to be examples of philosophical conundrums, and example being a town where everything was handled by majority vote to the conclusion of there being one person left alive in the entire city. Kino would go to these places and observe the issues these people have and rarely take action to alter the path that fate was going to take. Mushishi was a bit different but involved a traveling apothecary / exorcist as he went from town to town saving people from paranormal creatures and other bad things.

ACCA is very similar in the way Jean interacts with the other districts, he’s there to inspect these towns, not to do anything to alter them in any way. in some cases, he is even witness to an attempted rebellion, and decides that preserving the status quo is better than reporting this to his superiors. One of my favorite “visits” is Jean’s trip to a city that is full of gigantic people that eat enormous food. It’s never made abundantly clear why this is the case, but I’ll pretend that the produce all has growth hormone in it or something, because nothing else makes much sense. it’s obviously a slight softened jab at America from an outsider’s perspective, but it still gave me quite a few chuckles. Seeing Jean and company try to eat strawberries the size of basketballs and sandwiches that would make that guy from Man Vs. Food blush.

Jean soon finds himself to be the object of a persistent rumor, one that places himself at the forefront of a suspected Coup d’état that he has no knowledge of. It seems that many feel he is in some way an information broker for coup leaders, and that his travels are actually a cover for bad things that he may be doing. People think he is rich, and privileged due to his large house and his smoking habits (smoking seems to be very scarce and an extreme luxury) so him being some sort of spy makes sense to many. Sure, he has heard the same murmurs from around his office, ones of fires and killings, but has no clue why he is suspected, or why the rumor is so specific. Many see him as non-caring or naive about this situation, but Jean is pretty stoic and street smart. something like a baseless rumor isn’t going to rattle him.

I won’t actually spoil anything here, but episode seven delivers a huge bombshell in the plot department, one that will likely move the narrative to the season finale and hopefully beyond. I have not read the manga or kept up with ratings, so I have no idea how much story is left or how cost effective more would be, but I really hope the show continues for a while instead of stopping at episode twelve. assuming the ending is good, ACCA: 13-Territory Inspection Department could end up being a personal classic of mine – an anime that may not be the next Dragonball Z or Naruto, but I will end up remembering for a long time. Here’s hoping it stays this way as we move into the back half of the series!

Stay tuned for my thoughts on the entire show in a few months!

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Queen Emeraldas Volume 1

I am so glad to finally read this! I’m a big fan of Leiji Matsumoto, so I was pretty disappointed with a now defunct anime company called ADV only releasing half of the OVA animated series that was loosely based on this original 1978 manga. That was like a decade ago, and there wasn’t really a good way to get the rest of the story legally. Flash forward to 2016 and not only can you buy things like a legit copy of Captain Harlock on DVD, but one can also buy this original manga in a beautiful hardcover edition!

If you like space operas, I’d definitely recommend checking out some of Leiji Matsumoto’s works if you are unfamiliar. He is, perhaps, most well-known (by a casual audience) for inspiring the fabulous animated music videos for the French House music duo Daft Punk during their Discovery era. These videos were later collected into a film called Interstella 5555. Older fans may, no doubt, recognize his other works such as Star Blazers (Yamato) or Captain Harlock – it’s all the same guy.

Black

Matsumoto has woven a fine tapestry of interconnected stories with stoic characters that anyone can love; unfortunately, most younger anime fans ignore classics and he has somewhat fallen out of the mainstream as of late. I was assuming that some of his older comics would never come out here, until I read a recent news article from Publisher’s Weekly, touting VERY strong sales of older comic titles at Anime Expo such as pre-orders for this very book!

“At the Kodansha Comics panel on Saturday, Ben Applegate, director of publishing for Kodansha Comics, cheered the ongoing rebound in manga print sales. “You’re probably seeing all the industry people here smiling, so you know that the manga industry is doing really well,” he said. “This resurgence of manga is allowing us to take chances on different series we wouldn’t usually in the past.” […] An example of a title that, in the past, Kodansha might have thought was too risky to publish in English is Leiji Matsumoto’s Queen Emeraldas, which the publisher is releasing in August. An older, classic SF adventure, the advance hardcovers of the book were sold out by weekend’s end.”

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As for the book itself, the story surrounds a boy named Hiroshi Umino, who strives to be a powerful star captain so that he can live by his own rules and sail the “sea of stars” like his heroes. His run in with Emeraldas changes his life forever, as she slowly becomes his mentor (of sorts). Emeraldas is basically like Xena in this book, a total badass that kicks booty and takes names. You often see supposedly feminist comic characters that end up being some sort of fetishistic dominatrix-style sexual wish-fulfilment trope, but that’s not how Emeraldas rolls. I wouldn’t name my very own cat after a character with skeevy undertones like that! We see Hiroshi and Emeraldas sharing eerily parallel origin stories until they meet again later on.

If you are also a huge fan of Matsumoto’s works, or are familiar with stories like the aforementioned Captain Harlock, Galaxy Express 999, Galaxy Railways, Arcadia of my youth or Maetel legend, you will absolutely love this. This story adds more substance to a somewhat overlooked character that constantly shows up in various shows as a background character. Otherwise, this book stands on it’s own well, and acts as an introduction to a character that thankfully appears in a ton of material. If you become a fan you will want to branch out and see more. And hopefully, if this book ends up selling well Kodansha will release more Matsumoto manga!

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Update Your iPods! Check Out These Awesome Anime-inspired tracks from Peter Zimmerman

One thing that often confuses folks about my musical tastes, is that I am huge into both metal music and 80’s New Wave music. I might wear metal shirts and a patch vest to concerts, but I almost entirely listen to Sirius XM 1st Wave in the car commuting to work. These are two genres that seem to clash a lot, but I can always make it work in my head, and that’s all that matters. In the past few years, I have been blown away by a “new genre” that goes by many names – some call it Outrun, Others Retrowave, or even Synth-wave. I would consider Retrowave (my preferred term) to be the logical conclusion of 80’s synth music if acoustic guitars and grunge rock hadn’t nearly sent the electronic synthesizer to music heaven alongside the harpsichord and lute. This isn’t merely a nostalgia kick like some regressive genres can be, yeah it’s there but a lot of this never really sounded the same way in the 80’s, and thankfully that’s not what it’s going for.

I plan to cover more Retrowave stuff in the future, so if you like this keep your eyes peeled!

So, the topic at hand is one artist I have particularly fallen in love with – a German musician named Peter Zimmerman. In particular, I absolutely love his re-toolings of anime themes, some that have been so drastically altered to be entirely different songs than before, and usually it’s for the better somehow. One of my absolute favorites (which I will drop the video below) is a remix of one of the songs from Akira (Kaneda’s theme) turned into an Italo Disco song. Akira has an amazing soundtrack on it’s own, performed by a huge musical collective called Geinoh Yamashirogumi. Utilizing percussion instruments like marimbas and xylophones, there really isn’t anything else out there like it unless you get some actually tribal music of some sort. Zimmerman has taken this track and altered it ever so much into one of the best things I’ve heard all year!

Another favorite of mine is this gem, a remake of the opening them for an old school anime called City Hunter. dubbed Mikkori Chan, this new version is very energetic.

Next up is a track using a song made up of a few different samples, but I believe the majority of it is also from City Hunter Despite the Bubblegum Crisis video here.

And I could keep posting these, but I’ll do just one more. This track is comprised of one of the themes for Megazone 23 merged with another from Venus Wars.

If you want more, check out the following links:

Peter Zimmerman on Sound Cloud

Peter Zimmerman on Bandcamp

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Here’s an Interesting Thing From The New Yamato 2202 Trailer

A brand-spanking-new trailer for Uchū Senkan Yamato 2202 (Space Battleship Yamato / Star Blazers) just went up, and it looks pretty great. I confess that I have yet to finish the previous Yamato 2199 series as I was holding out hope that the American rights holders would eventually release everything over here eventually. Instead, they seem to be doing a Harmony Gold-styled rights squatting and have all but abandoned the project, but alas I’m used to going to weird lengths to watch my obscure anime that I enjoy.

I have no idea what this trailer says in Japanese, but one thing sticks out to me – that bad guy looks exactly like The Earl de Darkwood, the main antagonist from Daft Punk and Leiji Matsumoto’s Interstella 5555. Granted Matsumoto has common design tropes that he (or the directors using his ideas) use in every property – like a character that always is a waif thin woman with blonde hair (Maetel clones), or a man with a scar across his face (Harlock clones). But seriously check this out:

Gamilas bad guy dude

The Earl de Darkwood

Unless the Earl has Hulk powers, I think it’s safe to say it’s a coincidence, but I’d be floored if they somehow had something to do with eachother.

Top Ten Most Over-used Japanese RPG Cliches

…Or “Let’s create the most generic RPG out There!”

If one has played a number of Japanese role playing games, definite tropes come to mind for the genre. In the last twenty years or so, the medium has become further and further specified to the point that many of these tropes have left the realm of patterns and themes to full-blown clichés. The following is a list of the top ten most over-used Japanese RPG clichés, in no particular order. To aid in the fun, I have decided to present the list in the form of a plot synopsis for a fictitious game just to show how easily these can be applied.

Youth in Revolt

It seems that every RPG from “The Land of the Rising Sun” uses the same rule that giant robot anime seems to have: “Every hero must be a whiny prepubescent male with goofy hair.” This was fine with characters such as Cloud (and even Squall to a degree) when these games first started to get big over here, then all of the sudden every RPG starred a similar main character. After playing a number of RPGs I always long for a war-hardened old grizzled curmudgeon to be the main protagonist of any game I play. Not because I have a fetish for that sort of thing, but because it might spice up an otherwise bland aspect of these games.

For our game, I’ve come up with an effeminate 13 year old pacifist, because who could be more annoying than a teenager who thinks we need to hear about his political beliefs. I even drew up a picture using an online character generator program.

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Now we need a sappy name, one that has both a biblical sounding quality and a character trait hidden deep within it. One could substitute a meteorological term for the biblical name (i.e Cloud, Squall , Lightning), but I think the former will come out better. For the sake of our demonstration, our hero is named Cherubish Bleak. This name not only implies that Cherubish has some sort of angelic quality about him, but that he has a depressing demeanor. Bonus points if he actually is an angel of some sort!

Burn Baby Burn!

So now that we have the whiny main character sorted and ready to go, we need some sort of motivation for him to actually go out and interact with other characters, as well as adventure. This could go any way really, including a plot that makes the character’s actual profession to be that of an adventurer, but that’s just plain boring. What we need is some sort of plot device that FORCES the character to step out there and whine all the way to the final boss.

burning-house

I’ve got it, let’s have the bad guys march into his hometown while he is off collecting magical quail eggs or some other random stuff, and burn his home down. Points will be awarded for every single mother, orphaned sister, or family pet that gets mowed down in the crossfire.

Wolf in Sheep’s Clothing

There has to be an obligatory segment where our character meets an older and somewhat more menacing rival-type character in some way, usually in the woods. This character is usually the defender for another, usually female, character and is leading her on some sort of pilgrimage, escort mission, or trying to protect her. Our main character will almost immediately fall in love with the female character and insist on tagging along much to the dismay of our rival. Once in battle our Rival character, which has a creepy foreboding name like “Seraphimatos”, shows great prowess in magical arts and swordsmanship. He’s so “badass” that he can dispatch even the darkest of all villains in one mighty sword swipe. He is usually level 60 or so when our party is only more battle worthy than an acorn, and carries each battle for this segment of the game.

rpg-top-ten_1289107554

Suddenly, a swerve in the plot appears, our buddy Seraphimatos isn’t a good guy at all (GASP!), he’s actually an agent for the higher evil power (or secretly IS the evil power!) and is trying to kidnap the girl as a blood sacrifice. You now have to fight him in a futile battle where your entire party dies, but it’s okay because this is a storyline death. He spits on your supposedly dead corpse and wanders off pretty girl in tow.

The Luddite Rule

Now that we have not only a quest, but an antagonist to fight; we need some sort of back-story. You see, in this world technology is bad and everyone in the world resents it. They insist on living in a manner reminiscent of the Middle Ages due to some sort of past calamity that wiped out the whole world. This calamity was brought on by an over-use of technology and could be anything from a nuclear holocaust to a robot uprising. No matter what though, characters don’t talk about what caused the end of the world, they only allude to it in the vaguest of terms.

terminator

In correlation to this, the Evil Empire that you are undoubtedly against is a huge booming technological wonder and stands anachronistically against all other towns in the world. The hero will have to fight all manner of robot, tank, flying machine, and mech suit until the end of the game.

Laurel and Hardy

Once you are actually adventuring, our character needs a “buddy character” to latch onto. Since our main character is whiny tormented guy, a character that exists solely as the direct opposite of him needs to pop up. What we need is a “Chris Tucker” to his “Jackie Chan”, if you will.

rpg-top-ten_1289107553

This character will be insanely goofy, never take anything seriously, and dress like a total imbecile for seemingly no reason at all. Later in the game you will come to hear some sort of depressing back-story that reveals the character’s bumbling attitude is a facade he puts on to keep out memories of sadness, for example the death of his family

Public Storage

One of the more minor clichés, but a cliché none-the-less will always exist in that everyone in the whole world is so trusting of outsiders that they will let them into their homes at any moment of time at all. To repay their hospitality, our party will repay them by robbing them blindly and slipping out into the darkness. If anyone has the sense to actually hide any of their belongings, most will settle for stashing them in inconspicuous clay pots or barrels right outside their house.

jar of coins

Maybe these folks would move up a station in life, and not exist as poor commoners if they learned how to hold onto wealth!

Unorthodox travel method

As our party progresses through the game, a situation will occur that makes traveling through a particular area difficult. Maybe there is a tough monster that attacks those that travel by foot, or a huge desert that takes days to pass, whatever the reason the party eventually needs some sort of “beast of burden” to ride on. Horses? Like we’d put any filthy horses in our game; what we need is some sort of cute cuddly animal like a huge baby chicken or a bunny to ride on. I’ve got it – Ferrets – everyone loves ferrets. In our game people commute by way of giant ferret.

ferret

Persistent Miniboss

As we continue through the game, the Evil Empire will start sending some sort of mercenary after you. This guy exists as a stereotypical “cool anti-hero” type of guy. He smokes cigarettes, uses some sort of “cool” weapon such as a revolver or a butterfly knife, and pops up just about every five seconds from here on out. That is until….

green power ranger

Green Ranger Rule

Remember that show The Mighty Morphin’ Power Rangers? In the first few seasons there was a character called the “Green Ranger” that existed as a misunderstood evil analog to the heroes. Suddenly he had a change of heart and became a good guy out of nowhere. Our Miniboss character will suddenly do this at some point. This could be for many reasons, such as finding out the true intentions of the Empire, a show of mercy from our heroes, or even a “truce” so that he may fight the main character “for real” at some point. This could also be called “The Vegeta Rule”.

Final Boss

So now we come to the end of our hypothetical game, and things are looking bad. Our party seems to have overtaken Seraphimatos just in time for him to spout something vaguely biblical and turn into an angel-like monster with multiple wings and choir music accompaniment. A good way to find source material would be for us to get drunk and watch a documentary on a mystical ancient religion such as Gnosticism or Kabbalah and choose buzzwords to allude to.

cherubim

In fact naming a multitude of other monsters, weapons, attacks, cities, and even characters after people and deities from all manner of world religions is a must.

The party has beaten the huge angelic monstrosity, and we are now blessed with the end credits. And just like many RPGs out today, the gamer will have a distinct feeling of “meh” on their mind. The bad thing is that many have played a game that follows a similar pattern.

Disclaimer: A version of this article was originally produced for a now-defunct video game website that I worked for in the past. I have decided to rescue some of this stuff so it doesn’t disappear from the internet forever. If you enjoy this, let me know and I might just do more!

The Return of Classic Anime?

galaxy-express-999

The following is a summation of 20 or so years of anime fandom, past and possibly the future. Anime has gone through rough times these past few years, but news of things like Makoto Shinkai’s latest film, Your Name, dominating the box office worldwide gives me hope. Not only are things looking up for creators (as long as your not a young animator) but fandom seems to be healthier than ever. Is it sustainable? Who knows, everyone seems to thing the entire industry is in a bubble yet again, but one thing is definitely making me happy – classic anime is finally getting some love.

I’ve been an anime fan for nearly all my life, granted, it wasn’t for several years that I knew of the term “anime” and recognized it as a wholly separate entity from normal old cartoons that cluttered up many a Saturday morning. Like most kids of my generation, I used to watch stuff like Robotech and Voltron, but it was not until I was visiting a friend’s house in third grade where I fell in love with it. This kid I was hanging around with had a nerdy father that had rented Akira, and even though we were unable to watch the entire film (not appropriate for our age back then) it became a new thing to look for anytime we had a few extra bucks laying around. This became my favorite time to be an anime fan, because every trip to the video store was like a treasure hunt – even the worst amine that we rented (Final Fantasy Legend of the Crystals comes to mind) was an almost alien experience and very exciting. We were like film connoisseurs looking for obscure films at a Blockbuster Video, part of a secret club that not many knew about.

While in college, it was easy to spot a generational shift in anime fandom. Gone were the days of pirated unlicensed VHS copies of anime lugged to club meetings in milk crates – everything was starting to be readily available 24/7 on the internet, and even for a time, Cable Television. A lot of the younger fans that were attending had zero interest in “classic anime” or trying anything that wasn’t already popular. The term “classic” is extremely vague and carries the baggage of a general correlation to the age of the subject. To some, it could even be a sort of a pejorative term as many regard older media as inferior and “not cool”. I remember several anime club meetings where certain members would whine about having to sit through anything “old”. This disregard for the history of the medium that we all love highlighted a division between fans, and one that I feel nearly led to the demise of the medium.

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This “Toonami Generation” led directly into the “fad generation” of anime fans, this may be an unpopular opinion, but this was a generation of fans that did not like anime as much as the anime culture that started to appear in the mid 2000’s. I stopped going to anime conventions in around 2006 because the viewing rooms were empty and playing ancient ADV releases from five years prior that many had long since bought on DVD and sold back to their local video store. Panels were empty, and the merch was starting to no longer contain any novelty items from Japan, it was all retail stores desperately trying to unload boxed sets of stuff that nobody was going to buy. Want volume 1 of Bleach on DVD? “Step Right up!” Want An animation cel from Macross Do You Remember Love? “what’s a Macross?” People were there to hang out, which is cool, but the reason for the con itself seemed to be a total afterthought.

So what happened?

In 2000 digital animation became the norm, and traditional animal cels went the way of the dodo. Suddenly, anime hit somewhat of a “fad” and became a mainstream medium thanks to high DVD sales of these flashy new cheap digital shows. Best Buy suddenly had an anime section, Hollywood actors were doing voice over work, and popular TV shows had anime parodies or actual continuations like Supernatural and Marvel comic properties. Hell, I think there was even a Twilight Manga at some point. At least 10 TV channels (some completely gone at this point, or restructured) had entire blocks devoted to anime, something that I assume was more-or-less bought by DVD companies to promote back-catalog items, but also because everyone wanted their own Adult Swim.

Even Tech TV (merged into G4 a long time ago) had an anime Block, miss that channel a lot. — Even Tech TV (merged into G4 a long time ago, even G4 is dead now) had an anime Block, miss that channel a lot.

Just like when anything gets popular, a counter faction sprang up to often deride anything that had a tinge of being made in Japan. Some of these were bitter former fans, ones that saw what they enjoyed being taken over by so-called “weaboos” a pejorative term for anime fans that sprang up a decade ago. Others were people that saw this con-culture of the Fad Generation, found it annoying, and decided to hate on it as a whole. I liken this to what happened to professional wrestling fandom about the time that UFC and other mixed martial arts groups got popular at around the same time.

Then the bubble burst. Many fans were ignorant of the issues plaguing the Japanese industry, but things weren’t good. Sales were going down, merchandising was flat and the once lucrative option to sell to the west was drying up due to tastes changing and popularity dying. Stores were stuck with mountains of stuff nobody wanted, companies started to close, and anime looked to be on it’s deathbed.

An interesting graph from an Asahi Shimbun article reporting that industry insiders are claiming that the “anime bubble has burst”. The top part with the red line shows the number of new works of anime produced each year since 2000. The bottom part shows total sales for the anime industry, with the darker blue section of each bar representing anime aimed at a general audience and the lighter colored section representing anime for kids. Both graphs show a decline since 2006.

I think the biggest thing that signaled this crisis was the collapse of ADV in 2009. At their peak they were a great company, having the rights to some of anime’s biggest shows like Neon genesis Evangelion. after seeming basically untouchable, they decided to have a TV network, a magazine, a manga line, etc until they were hemorrhaging money. They did this so they could say arrogant press-lines like “we’re the biggest animation company besides Disney”. They thought they were a huge media conglomerate instead of what they really were: a successful anime dub-house.

At the last few A-Kons I went to (anime con in Texas) most companies would show off maybe 2 new licenses, then you would walk by ADV’s table and they would have 20 new acquisitions, mostly containing shows of questionable subject matter, and no fan base whatsoever, and shows that utterly flopped in Japan. granted, they got these deals for pennies on the dollar, but it costs money to dub and produce anime….money they didn’t have. They got funding by some corporation in Japan, that started a hostile takeover, and it crashed them…

Thankfully, this blog post isn’t the history of anime’s demise, but the above is a nice way to illustrate what the anime market looks like now and why the title is “The Return of Classic Anime?”. I used to have to go to ridiculous lengths to try to find some obscure anime and manga that I like, still keeping that treasure hunting mindset that was solidified in my youth. I have bootlegs that I either created or purchased of shows that I assumed would never have a chance of coming out over here, things Like Leiji Matsumoto’s Starzinger and Danguard Ace, manga for decades old Gundam side-stories and other stuff that was annoying to acquire.

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I recall years of articles in magazines and on sites like Anime News Network where people would ask things like “Why hasn’t X been licensed yet?” to be met with a reply of something like “it’s old and there is no market for it”. It can be argued that any recent success the anime market has had could be chalked up to yet another bubble that is due to burst, but one thing is evident – there IS a market for that older stuff. Anime now has older fans that want stuff akin to the way Criterion sells old films – I’ll call it the Premium Market.

Fans in this market are willing to pay a lot more and are excited about old stuff or long dead licenses. They actually still buy physical media, and aren’t just looking to get a ton of stuff for cheap. These are the fans that anime companies have needed for a while, and they are the ones driving sales for things like the hardback editions of Gundam: The Origin from Vertical publishing, or just about anything from Discotek Media. These are basically the vinyl collectors that are breathing life back into the music industry for the anime industry, a fanbase that was pushed away as a weird novelty before finally getting their due.

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I started really thinking about this while listening to a recent podcast from Anime News Network in which they interviewed somebody about anime expo 2016, and it seemed like these fans were the talk of the town. Take this recent Publisher’s weekly article discussing the convention in which this new trend was discussed:

At the Kodansha Comics panel on Saturday, Ben Applegate, director of publishing for Kodansha Comics, cheered the ongoing rebound in manga print sales. “You’re probably seeing all the industry people here smiling, so you know that the manga industry is doing really well,” he said. “This resurgence of manga is allowing us to take chances on different series we wouldn’t usually in the past.”

The exact topic being discussed was a release of the 1970’s Queen Emeraldas Manga, and the astonishing way that it SOLD OUT pre-order-wise at this very convention. without skipping a beat, a recent manga publisher called Seven Seas recently announced that they were publishing a Captain Harlock manga in the west, and Legend of the Galactic Heroes is currently being released in novel form, and soon in anime form. had you mentioned any of this to me a decade ago, I would have laughed.

Anime companies, in the United States at least, are finally starting to see that there are ways to sell older stuff, and simply making it a cheap bargain bin item is a good way NOT to sell something. Making deluxe sets with collectors and connoisseurs in mind has breathed life back into a once though of as dead market, and has made classic anime something not to be reviled, but something honored.

The Akira Remake Just Keeps Looking Worse…

One of my biggest pet peeves regarding Hollywood is not the tired “they have no new ideas” complaint, a complaint that is bolstered by dozens of films based on other movies, books, toys, and cartoons filling the cinemas. Mine is a broader concern that they have no regard for the fans when it comes to such adapted works. I don’t mind Hollywood remakes and sequels of stuff I enjoy, but what I don’t want to see is adaptation for the sake of itself, and missing the point of the source material.

A while back, Michael Bay summoned a veritable crap-storm of nerd rage when a script for his new Ninja Turtles film leaked to the masses. The story, characters, and general spirit of the original had been all scrapped in favor of something that was essentially the same plot of his Transformers franchise. Mr. Bay yelled at fans on Twitter, whined in interviews that he was misunderstood, pretended the script was fake, and eventually delayed the movie for some reason “totally not related to the backlash…seriously you guys.”

Luckily, it seems like the film is back on track, but the whole situation is almost baffling. Why would a film studio take something fairly popular amongst a very hardcore and vocal fan base and alter it to an unrecognizable state? Why not actually make a NEW franchise with nothing to do with an established franchise? It’s almost like this happens behind closed doors:

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“Hey guys, thanks for meeting me here today! The purpose of this meeting is that I have a GREAT idea, no not an original one of course, (chuckles) that would be difficult and my head hurts from all that blow I did earlier! So here’s what’s gonna happen….We gonna take something that already exists and we remake it. This is cutting edge stuff guys, nobody has ever thought of re-doing classic films before!! Here’s the catch about us remaking it though, we don’t! (everyone in room gasps!) This is the clever part guys, we throw away everything that made the original popular! We change everything about it, because despite the popularity and reverence for the original we know better than the original creators. It’s a stroke of genius, I know.”

This attitude seems to plague all of Hollywood, a place that has increasingly replaced artistic vision for dollar signs. There’s no wonder most “talent” is flocking to television, as that format seems to have more freedom for just about everyone. That isn’t to say they aren’t without their issues as well. I remember reading about a San Diego Comic Con years ago where a group of execs slipped into a screening of the US remake of the popular UK science fiction drama Life on Mars, only to be horrified by the bad reception it was getting. Supposedly, they had no idea that the show had fans over here, and immediately re-shot the pilot with a new cast attempting to re-create the show exactly.

Japanese Anime and Manga seem to be the new hotbed for film licensing, and it has been pretty bleak. Executives seem to understand which are the popular franchises, but miss the entire point of why said franchises are popular. It’s like they assume that fans will see things based on name only, and will gladly accept massive changes to all aspects of a production. We thankfully dodged a Keanu Reeves Cowboy Bebop Film, a Zac Efron Full Metal Panic film, and even a Evangelion film that was supposed to be all action, and none of that pesky plot from the original. Sadly, we were “blessed” with atrocities such as the Fox Dragonball: Evolution film, so it hasn’t been perfect. Each time this happens, the possible directors of these franchises in the making, seem bewildered that there is so much outcry.

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The property that I am the most worried about in regards to this situation happens to be Akira, one of my most beloved science fiction stories. I basically have Akira to thank for getting me into anime, because I was completely oblivious that there was an entire industry devoted to “cartoons” that weren’t necessarily meant for children. I’m not going to pretend I understood the film when I first watched it over at a friend’s house back in 1992, but the mix of violence, psychological storytelling, and amazing visuals simply blew me away. I eventually bought all of the manga, animation cells, and even action figures related to it.

For about ten years now I have been hearing about a possible “American remake” of Akira being in the works, but they never get off the ground. Fans flip out about proposed changes, and each one dies a quiet death shortly after. The newest version of this project seems to be one helmed by a director named Jaume Collett-Serra. This name may be familiar because he’s been talking this project up for years now, and it seems perpetually stalled because he feels that he needs to drastically alter everything about it. In an interview with Coming Soon, the would be director had the following to say:

“I hope that I can bring strong characters. In the original source material, I don’t think the main characters are the protagonists. What I’m hoping is to bring characters.

Nobody’s interesting. Tetsuo’s interesting because weird sh*t happens to him, and Kaneda is so two-dimensional. That’s part of the Japanese culture, they never have strong characters. They’re used as a way to move the other philosophy forward.

Yeah. So hopefully in my version that will be strong, and you’ll have a story that happens in that world that will show you a little bit of the mystery. Then, if you’re interested, they’ll make “Akira 2 & 3” then you can get deeper into it. I love the world, a lot of people love that world, so why wouldn’t we indulge in it a little bit and see how it would be if it was real? Like you say I don’t have to explain everything, but wouldn’t you like to spend two-hours in a world of “Akira” and follow a character and be like, “that’s cool”? That’s all I want to offer, is two-hours in a world you can actually feel. We’re working on it.”

So there you have it, get ready for the American Akira that nobody wants!

Check Out Dirk Loechel’s Impressive Spaceship Size Chart

Ever wanted to compare a Star Destroyer‘s size to that of the Independence Day UFOs? How about The Super Dimensional Fortress Macross and The Planet Spaceball? Well, look no further than this crazy chart! It’s a work in progress, but the sheer amount of stuff on here already is crazy. a High Res version can be found HERE.

What Would Doctor Who Look Like as a 1970’s/80’s Japanese Action Show?

Cyber City Oedo 808 (1990) OVA

It wasn’t too long ago that most saw the science fiction sub-genre of “Cyberpunk” as a dying format. Yeah, The Matrix was a huge movie, but that was made almost fifteen years ago, and little else came of its popularity (aside from two somewhat questionable sequels). Pretty soon, things like 9/11 took all of the fun out of life, and anything that could possibly be seen as a commentary on the decay of society and runaway governments was a big “No-No”. In this climate. science fiction and fantasy media turned into escapist Hollywood CGI-fests and lost their subversive souls in the transition. We all watched endless reality shows and procedural police dramas all decade, wore stupid clothes, and listened to terrible music – man the “noughties” were awful! Their version of the future seemed to be that of excess and world domination through “democracy”. Too bad the bubble burst and we all came to our senses.

Let’s flash forward to today: People fear a global takeover by a prominent Asian country, a government agency has been caught hoarding tons of personal information on just about every one on earth, mega-corporations control world governments, and cyber-crime is on the rise around the world. If I didn’t know any better, people like William Gibson predicted the future and we didn’t even realize it! Every day, we edge closer and closer to the 1980’s view of the near future made flesh, largely due to societal and economic turmoil in the present. The one good thing coming out of this new cynical age is that our speculative fiction is cool again, and it seems cyberpunk media is coming back as a result. Fox has a new TV show called Almost Human that thrives on just about every trope the genre has ever laid out, there have been movies like Dredd, Elysium, and a new Ghost in the Shell series hitting the scene, and even Cyberpunk video games like Deus Ex hitting the shelves – Cyberpunk is back Baby!

With all this new material out there, it’s fun to go back and watch one of the seminal Cyberpunk anime productions of the past – Cyber City Oedo 808. This show isn’t just a classic, it’s pretty damn influential for anime of the time, and one can see its fingerprints on just about everything that came after – even Ghost in the Shell. Today I feel like Cyber City Oedo 808 is becoming a forgotten gem, much like loads of other eighties anime, and people really need to get the word out on great classic shows.

Released as a three episode OVA way back in 1990, Cyber City Oedo 808 is just a tad longer than a feature film, so it’s not like a huge time investment is needed. One of the more endearing things about this show is that it reeks of late 80’s cheese. Everyone has big silly hair, garish clothing, one of them is essentially a cross-dresser, and the sounds of what could essentially be considered “hair metal” is everywhere.

It’s the year 2808 and the booming megalopolis of Oedo (Tokyo of the future) is desperate to curb the rising tide of technology-based “cyber-crime”. The city’s governing body decides to follow the old adage of “it takes a thief to catch a thief” and brings in a group of criminals in a new initiative to take on the problem. Serving ridiculous 300+ year sentences for various crimes, Sengoku, Gogol and Benten are less than enthusiastic to be talking to their captors.

They end up being offered relief from their orbital penitentiary cells, but only if they take a deal from the Cyber Police. They are given a pathway to redemption in that each criminal brought to justice results in a shortened sentence, so theoretically they could attain freedom once again. In order to keep the trio in line, each reformed convict is outfitted with an explosive collar that would detonate if they do a poor job or try to escape their duties.

For the purposes of this review, I actually watched this episode twice, once in the original Japanese (with what I assumed were fansubs), and a second time in English via the UK version. The reason I wanted to see the UK version is that it has an alternate musical track that is not present in either the American or Japanese releases, and to me it’s the superior version.

Manga UK hired a man named Rory McFarlane to compose a more intense soundtrack for their release, and to me the riff-laden guitar sound-scape is far more fitting to the setting than the original soundtrack. That’s not a jab at the original soundtrack by any means, but it just seems somewhat bland in comparison. The other gem from the English localization that stands out is the quality of the dubbing. I know this is a hot topic of debate for anime fans, but I base my opinions of dubs or subs on the actual quality of the product rather than the country of origin. Not all Japanese language tracks are God’s gift to mankind, and in fact I felt the script and voice acting was both more energetic, and fleshed out in the English Version.

Speaking of the English dub, Cyber City Oedo is one of those anime titles from the early-mid 90’s that really stepped up its game with coarse language. I would even say that it’s basically hilarious in the way it weaves its vulgar tapestry. I enjoy the cursing because these characters are supposed to be anti-social former convicts, and let’s face it most people on the outskirts of society probably talk in a similar manner. Well….that, and it’s funny in a juvenile way, and in a similar vein to why Malcolm Tucker as played by Peter Capaldi is funny. Pardon my french here, but I wanted to showcase one of the most hysterical lines in the show just to get the point across as to why I loved it. This is from episode three:

“Get lost. You wouldn’t recognize a goddamn vampire if one jumped up and bit you on the end of your fucking dick. So just get off my back.”

The dialog is full of stuff like that, people swear even if it’s completely unnecessary to what they are saying. The whole thing reminds me of why I like the movie Shoot ‘Em Up starring Clive Owen. The movie is so unnatural, so over the the top that it becomes completely hilarious for all the right reasons.

The English dub also does a great job of filling in quiet spots within the dialog. Sometimes there are long stretches of silence going on in the Japanese version, and the English dub fills this in with extra material. Even when a camera was silently panning off-screen in the original, the new version might include two characters conversing with dialog that acts as world building or character development dialog. I’m usually pretty critical of stuff like this considering I felt the “extra dialog” injected into Tekkaman Blade generally made the show cheesy and more childish, but here it really works. How else would we get a lecture from the Cyber Police liaison robot (Varsus) to Sengoku on his misuse of the word “fuck”? Outside of such a fun dub.

Cyber City Oedo 808 was directed by Yoshiaki Kawajiri, who happens to be one of my favorite 90’s anime directors. If that name doesn’t ring a bell, his works should. Kawajiri is the guy behind Wicked City, Ninja Scroll, Vampire Hunter D: Bloodlust, Highlander, The Deadshot segment of Batman: Gotham Knight, and even Demon City Shinjuku. Don’t forget his name, because the material he directed was essentially what got me into anime back in the nineties. Don’t be surprised if most of my posts on here have something to do with his works! There is really no other director that captured the American Market like Kawajiri, and his films were staples of many Blockbuster video stores around the country. Granted this is generally because his shows are all pretty violent, full of action, and other things teenage boys thought were awesome back then.

I mentioned the characters of Sengoku, Gogol and Benten earlier, but did not say much other than the fact that they are foul-mouthed former convicts. Sengoku is essentially the main character of the show, although each episode is a character piece where each one gets the spotlight. He’s your typical hot-headed badass that doesn’t take any sass from anyone. Whether it be his boss, the robot assigned to watch over him, or fellow teammates, Sengoku is usually snarking at somebody. In the English dub he is especially hot-headed but likable in a weird way.

Gogol is a huge intimating computer hacker with a red mohawk and scars all over his face. I was pleasantly surprised by his character, as one would assume he would be the one-dimensional brute of the team, but he’s really the brains of the operation. Benten is an androgynous martial arts master that fights using mono-filament wire and acts pretty sadistic towards people he is fighting. Of the three, Benten is the least likable simply because he comes across sort of creepy. He does end up fighting a vampire though, so there’s points there!

My long-winded introduction was basically laying out Cyber City Oedo 808 as a classic Cyberpunk show, but one might wonder how much it has in common with notable literary cyberpunk stories. Cyberpunk, as a genre, deals with the conventions of post-humanism, technology running amok, and the collapse of society, or as a notable anonymous article once put it [cyberpunk is the story of] “high tech and low life.” The world of Oedo is a very dark one, and it seems to run in a similar manner to the universe of the 2000AD books that Judge Dredd eventually came from.

It’s hard to piece together the societal structure the series is based in, but one can see that it is presented as very high-tech, and yet VERY fascist. In the first OVA episode, for example, a man under pressure confesses to a murder that is responsible for a horrible crisis that Sengoku is attempting to unravel. This is enough for Hasegawa (their boss) to order Sengoku to kill the man there and then without so much as a trial. When Sengoku fails to do so he is reprimanded and his sentence is increased due to insubordination.

Sengoku shares the sort of philosophical leaning that many cyberpunk heroes deal with. He seems to resent what the world has become, and especially the over-use of technology in Oedo. A notable scene from the Japanese version shows a little bit of dialog that really sums his stance up: “What a Joke…We built a monstrous city, then we put the computers in charge…we rely too much on you damn machines, don’t we, junkpile? ” The English edition is basically the same just with more “F-bombs”.

If you are a fan of cyberpunk and have yet to see Cyber City Oedo 808 do yourself a favor and take a trip over to YouTube and watch the UK versions of it. It may be old, and the dub is unintentionally hilarious, but this is definitely a style of anime that really isn’t done anymore. Robots, Cyborgs, and Vampires all rolled into one, it sounds like my idea of a great way to spend a snowed in winter day!

Kick Heart (2013) Short Film

As promised, I’m going to review a newer anime today rather than sticking to the decade of my birth like my last few entries. This short film is one that many people have probably not heard of before, as it was created via a “crowd funding” project. About a year ago, I found a film called Kick Heart by Masaki Yuasa and Production I.G. on Kickstarter. Mr. Yuasa is of course the man behind the surreal (and pretty much awesome) short film Cat Soup, so I knew I just HAD to back the project. It doesn’t hurt that I’m also a huge pro wrestling fan either! It eventually made it’s required money, but missed it’s “stretch goals” which would have potentially moved the project into a feature length film, but what we got was pretty awesome none-the-less.

The story follows a man named Romeo Maki as he tries to get by with a fairly surprising dual life. Romeo works as both a masked professional wrestler and the CEO of a rundown orphanage. He funds with orphanage via proceeds from his night job, but things aren’t looking good. Lately the roof has been leaking non-stop, and it appears that a large snake has taken the children’s restroom as his home. In desperation, Romeo enters a $50,000 “winner takes all” contest against another masked wrestler named Lady S, but things get weird real quick. Lady S “gets off” by inflicting pain on her opponents, and Maskman M (Romeo) get’s the same pleasure from receiving pain. I know this sounds like the makings of an adult film, but don’t worry, Kick Heart is pretty much PG-13. Oh yeah, I forgot to mention that Lady S also works at the orphanage as a quiet young nun named Juliet, but Romeo doesn’t realize this.

The animation in this film is pretty nice, and resembles those old Bill Plympton cartoons more than any anime I’ve ever seen. Everything is sort of “sketchy” and VERY brightly colored, which really helps this film have an “edgy” or “underground” feeling to it. It’s almost like something that would have aired on MTV’s ancient Liquid Television show really late at night. I enjoyed the fact that you never got to see Romeo’s face completely, this was mostly because he lived most of his life as a masked wrestler, and tradition generally goes that such performers are never to be seen in public without their masks on. Romeo, in businessman mode, always has a black censorship bar over his eyes, a little touch that gives this film something different that really makes it stand out.

The character designs are pretty awesome and some are even borderline grotesque. Lady S’s tag team partner, in particular, is a giant of a woman that is so large that she crushes a portion of the audience when she is defeated in one of their bouts. The cool thing is that because of this, no two characters look the same, and are “larger than life” just like how pro wrestling characters generally are.

I love what Kickstarter and other crowd funding services could potentially bring to the anime market. Films like this or the recent Bubblegum Crisis Blu-Ray release are products that most likely would not have been produced in the current anime market, so pre-ordering these projects beforehand really lessen the risk of the project being unsuccessful, and guarantees the releases. Eventually I want to see more experimental films like this, and maybe older anime getting put up. It really could change the landscape of the whole industry.

Here is a trailer:

Animated Short Film: ‘Oru Burus’ (disinfo.com)
Animated Short Film: ‘Oru Burus’ (rinf.com)
Short Films Review (kaz021.wordpress.com)
Short Film: Windmills (geeknative.com)
Indian short film Kush among 10 Oscar hopefuls (kings4group.wordpress.com)
The Battle of Short Films: Signs vs. Paperman (brandsandfilms.com)
Short Film: Short, but powerful (chunkylife.wordpress.com)
Short film: Lil Guardian Pyro (geeknative.com)
Short Film Reviews (karanpalsingh.wordpress.com)
Top 10 Career Starting Short Films (kiriyama23.wordpress.com)

Black Magic M-66 (1987) OVA

Science fiction stories, and more specifically cyberpunk stories, are by far my favorite type of anime and manga; and one of the grandmasters of the genre would have to be Masamune Shirow. Not only did he unleash the beast that was the Ghost in the Shell franchise to our defenseless eyes, but also brought a helping of Dominion Tank Police, Gundress and even Appleseed. Rest assured, as this blog continues, I will be posting more of his stuff than you can handle.

So, what makes Shirow’s work stand out so much? Despite his foray into erotic pin-up art for the last decade or so, Shirow’s work was essentially the formula that most 80’sand 90’s cyberpunk anime followed. His productions were characterized by sexy leading ladies, philosophical plots, and a procedural police drama flavor. On top of all of this, Shirow is known for his highly detailed level of world building; this is seen most notably in his vehicles, mecha, firearms, and cybernetics.

Before Ghost in The Shell or even Apleseed, Shirow penned a science fiction manga simply called Black Magic. Bandai eventually got the rights, and produced a short OVA (original video animation) based loosely on a small portion of the comic. Hiroyuki Kitakubo also co-directed this piece, and later went on to work on such films as Akira, Gundam: Char’s Counterattack, and Roujin Z usually as a key animator or storyboard director. So here we go – let’s look at Black Magic M-66, one of Shirow’s earliest works!

Black Magic M-66 is the story of a hard-as-nails and usually scantily-clad journalist named Sybil out for the scoop of her career. She learns about a crashed military transport and two lethal combat androids on-board. She assumes that the military is going to battle a “violent, armored thing on the road”, but little does she know, it’s worse. Perhaps because of the crash, or a fault in programming, these mechanical murderers get loose and set out to kill the granddaughter of their own creator. Sybil has a choice, if she wants her big payday, she better protect the girl from the bots.

The plot essentially boils down to a prolonged chase scene that somewhat reminded me of the first Arnold Schwarzenegger Terminator film. M-66 is like the Terminator and has been programmed to kill Ferris (Sarah Conner) who is only safe because she is being protected by Sybil (Kyle). Yeah, it lacks the time travel plot and other aspects, but the similarity is there. I wish that Black Magic M-66 could have been a tad longer, because the plot really gets rolling about 10-15 minutes into the movie, and rushed to the ending from then on. To me, It needs a bit more breathing room.

This video has a lot of what I like to call “the pervy side of Shirow”. I mentioned earlier, that Shirow basically exclusively produces erotic pin up art ever since he completed his manga Ghost in the Shell II: Man Machine Interface. People thinking that this career turn is a new thing, need to go back and watch Black Magic M-66. Not only is Sybil’s very first scene one where she is not wearing any clothes, but other characters seem to be border-line nudists as well. Ferris, The aforementioned granddaughter in question, walks around in what I can best describe as her underwear with shoes on for a good chunk of her early scenes.

A special nod goes out to the way the android M-66s are designed and their “fighting style”. When they finally are spotted by the military and engaged, the inhuman,near animalistic way in which they move is almost unsettling. The “male” M-66, which meets a grizzly end by way of military might towards the beginning of the feature, is vaguely monkey like and sticks to the ground, whereas the “female” M-66 lumbers around shooting things with laser eyes and retracting knives as fingers. These monstrosities really bring this film into it’s own,and keep the whole thing full of “on the edge of your seat moments”.

Before I sat down to write this, I had never actually seen this anime for some reason. I think this boils down to the scarcity of the older Manga Entertainment DVD when I used to work at a retail store, and my unwillingness to spend large amounts of money on it. I believe the older DVD was released in 2001, and it wasn’t until a few months ago that a new company, Maiden Japan, re-released it minus any English dubbing. If in a pinch, I bet you could find it on any popular video sharing site, but I don’t condone that due to an actual American license, but whatever floats your boat.

In conclusion, Black Magic M-66 is not as polished as later works from Masamune Shirow, but it still retains a lot of his trademark style. You have the procedural cop drama trope with the military guys, the mecha, the androids, and even the sexy female lead. All it’s missing is the philosophical treatment with the plot. If anything, it’s always fun to see where a director honed his chops.

Ghost in the Shell (artificialintelligence2013.wordpress.com)
Ghost in the Shell (veronicadunbar.typepad.com)
Ghost in the Shell ARISE Border: 2 Gets New Trailer (awesome-robo.com)
5 Video Games Featuring Japanese Animation (einschewtoy.wordpress.com)
REEL ANIME Review: 009 Re:Cyborg (remotewanderings.wordpress.com)
Devilman Vol.2 OVA – The Demon Bird Review (theeradicatorreviews.com)
Anime Review: Plastic Little – The Adventures of Captain Tita (pastimeviewpoints.wordpress.com)
Death Battle part 1: Lina Inverse Analysis (fullmetalnarcissist.wordpress.com)
So, What Do I Mean by “Classic Anime”? (classicanimeblog.wordpress.com)
Directors In Focus: Hideaki Anno (pixcelation.com)

Here’s Some Other Stuff I’m Working On

I have a lot of diverse hobbies that do not fit into the topic of UK science fiction, and as such I have dabbled with a sister blog to this one. I recently started up “Classic Anime Blog” for your old school anime needs. If you like anime, and especially the more obscure stuff, feel free to drop a like!

(Click Image Below)

I also have RSS feeds from this, the podcast I do, and my work for WWE’s JBL on the sidebar, check those out as well!

Thanks for letting me get my commercial out of the way, and stay tuned for more sci-fi goodness!

So, What Do I Mean by “Classic Anime”? (classicanimeblog.wordpress.com)

August 2017
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28	29	30	31

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TIGER THE DARK

SPRING TIGER

KAZUCHIKA OKADA

HIROSHI TANAHASHI

YUJI NAGATA

TOGI MAKABE

KIMIHIKO OZAKI

TOMOAKI HONMA

TOMOHIRO ISHII

YOSHI-HASHI

BILLY THE KIDMAN

BULLET CLUB

QUEEN ELIZABETH AND PAYNE FOX

TETSUYA NAITO

BLACKOUT

METAL BROTHERS

FUKUWARA MASK

And More!

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