It’s difficult to express the disappointment I felt when I learnt of Satoshi Kon‘s passing last week. Since then, many heart-felt tributes have been published and half-way through writing this, I started wondering whether it was worth posting at all. Alas, what is blogging if not personal? I liked his films and, at the risk of merely adding to the white noise, I just wanted to bid farewell to Satoshi Kon in my own way; on this blog.
As such, I humbly present these following, short impressions of his 5 films, written and screen-capped after I (re)watched them all last week.
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Posted in Anime, Editorials, Reviews
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Tagged drama, dreams, magnetic rose, millennium actress, Movies, paprika, perfect blue, psychological, rest in peace, satoshi kon, tokyo godfathers
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Frankly, I lack the words to talk about Satoshi Kon’s passing; there are others who have said and will say things more eloquently. Instead, I offer you a diversion: FLCL.
I meant to write this post a while back, but never go around to it. Somehow, it’s been a very long, and a little bit of a crazy summer. Without many noticing, the 10th anniversary of a certain anime came and went in late April. You probably know it by one of it’s many names – FLCL; Furi Kuri; Fooly Cooly. I love FLCL. I’ve watched it so many times over the last decade that I’ve lost track.
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There were times when I considered dropping Naruto.
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Before I start, a preamble: One Piece is a great anime. Ever since our little agreement a month back I’ve been tackling the series, from 229 onwards at a pace of about 3 or so episodes a day. Unlike the other One Piece addict around here, however, I must admit the plot and characters aren’t the focus of the experience for me. Rather, I was interested in how One Piece transitioned from manga to anime, particularly in light of some of the other Shounen Jump adaptations that came out in the neighboring years.
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Although the vast majority of my recent scribblings concern mostly older series, I am (and have been) keeping up with some newer anime, too.
Densetsu no Yuusha no Densetsu is a name that suggests parody, but this new fantasy series is surprisingly serious, with magic, monsters and adventure. 4 episodes in, it’s difficult to see whether or not it’ll follow through with its potential, but at least the characters are interesting. I picked this up because it’s referred to as Berserk-lite elsewhere and, indeed, it has a very Griffith esque destined-to-go-wrong personality in the smooth-talking, crazy ambitious Sion Astal. I’m holding out for some fascinating character arcs in the future, but it could fast devolve into light-hearted, generic monster-slashing too. Patience is the key, I guess. Continue reading →
What is the ending of Cowboy Bebop trying to say? It feels like such a waste. Spike doesn’t have face Vicious, he could just stay with Faye and Jet, leave Mars and fly away, but he doesn’t. Continue reading →
Occult Academy, you’ve made a fan out of me.
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Let’s take this Dai Sato discussion for another spin, shall we?
The above image is from the film My Beautiful Girl Mari. It was released in 2001, and is being distributed in the US by ADV films. Moreover, you can stream it for free courtesy of the Anime News Network. It centers around a dream the protagonist has, as a young boy, while staring at a cat’s eye marble. The film is atomospheric, intense, visually pleasing in the extreme and experimental.
If you didn’t notice already, it’s also Korean.
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If you haven’t already, I urge you to read this recent discussion with anime “storywriter” Dai Sato. He’s pissed off with the current state of anime and you should care because he created Eureka Seven and Ergo Proxy, as well as contributing to, amongst others, Cowboy Bebop, Samurai Champloo, Wolf’s Rain and Ghost in the Shell: Stand Alone Complex.
Sato‘s complaints hone in on two separate areas, the first of which concerns how the production of anime is being increasingly out-sourced to cheap labour in neighbouring Asian countries, but more fascinating to me are his latter comments on the quality of story-telling in anime (or, indeed, the lack there-of.)
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Does Masashi Kishimoto think about how children are depicted in Naruto? Ninja are tools of war, after all, and Konoha trains its children to become ninja; isn’t that wrong? On a base, moral level? Of course, Naruto is intended as entertainment and, as such, there’s a certain amount of distance one feels between it and the real world, but to compare it to another boys-orientated action anime, like One Piece, reveals just how dark a world Kishimoto’s characters are born into, a place where children are trained to fight almost as soon as they can walk.
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If there’s one thing I’ve learned about anime over the past year, it’s that these Anime no Chikara projects start out strong, only to have me lose interest after four episodes.
When faced with the latest offering in the project, Occult Academy, I was determined not to be sucked in. I would watch it, but the cool-looking opening wouldn’t sway me, nor would the conversation with the cab driver in its opening minutes pique my interest. I was a woman not scorned, but bored – and I would not have it happen again. I sat on my throne of good taste, and prepared to get back to waxing poetic about The Tatami Galaxy.
Then the female lead decked her father’s corpse with a chair, wrestler-style, and all of a sudden, I was more than willing to give things a second chance.
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One Piece. Oh, man. Where do I start.
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Posted in Anime, Reviews
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Tagged luffy, One Piece
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After tackling time travel in The Girl Who Leapt Through Time, Mamoru Hosoda returns in Summer Wars to the more provincial and realistic world of the Internet. Luckily the Internet here is not the boring, text heavy internet of our time, but a more garish and interesting Internet of a not-too-distant future. Pastel colored avatars, corporate headquarters and shopping centers dominate the internet world of OZ.
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If you haven’t done yourself the favour of reading the original Sailor Moon manga, I suggest you drop whatever stigmas or preconceptions you have of the series and find yourself a copy. Naturally, it suffers from the cliches it helped to establish: baddies-of-the-moment, elaborately named attacks, and a penchant for all the bad parts of 80s women’s fashion. Coupled with the toxic sweetness of Mamoru and Usagi’s relationship, if you go in expecting anything less than the crown jewel of the magical girl genre, you’ll be going in horrendously underprepared. That said, the manga has its merits, and Sailor Moon is definitely one of those “read the manga, skip the anime” type affairs. Any fan of really, really well-drawn and well-paced manga should read Sailor Moon.
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One Piece begins with the execution of the Pirate King, Gol D. Roger. His death was intended to symbolize the power of the World Government, but had the opposite effect instead, conceiving the Golden Age of Pirates!
One Piece is full of mythology. What happened in the Void Century, anyway? What about the meaning behind the Poneglyphs? Gol D. Roger plays a massive role in this same mythology and is regarded more as a deity than as the fallible man he actually was. His first mate (Silvers Rayleigh, in episode 400 of the anime) provides us with a differing account of the Pirate King, a perspective not as much concerned with the legend as the man himself.
We learn that Gol D. Roger was dying of an untreatable disease at the time of his execution. He wasn’t caught in the prime of his life, but rather, just wanted to go out with a bang, in the words of Rayleigh, “In the last moment of his life, he (Gol D. Roger) turned his fading “flame of life” into a huge fire that enveloped the world.”
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Watching anime for a long time (I’m talking years, really,) one can fall into certain patterns of viewing. I’ve grown accustomed to knowing what I like, and what I don’t, and picking the anime I watch according to my own tastes. There’s nothing wrong with this, it fundamentally makes sense, but it also leads one to miss out on certain shows that don’t immediately conform to my personal set of ‘requirements’; not every series is as easy to dismiss as I would like to believe (thank god,) therefore, I have devised a cunning plan.
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The thing is like a wolf.
The thing is a wolf.
Thus, it is a thing to be banished.
I’ve been an anime fan for a long time. At 22, the portion of my life in which I’ve been a fan is already half of that; and the period of time in which I’d been exposed to anime is closer to three-quarters that timespan. As such, good titles often fall by the wayside.Such was the case with Jin-Roh: The Wolf Brigade. Produced in 1998, it was relatively new when I was first getting regular access to anime. Needless to say, at 11, dubs of Sailor Moon and Pokemon were infinitely more interesting. And so, without ever making it onto so much as a To-watch list, Jin-Roh left my consciousness for the next nine years. And like all good things, it was not only worth the wait, but indeed, a wait I needed. I don’t think I could have appreciated the movie to the extent that I did even five years ago, let alone ten.
Though he had little to do besides write the screenplay, Mamoru Oshii‘s touch is evident throughout Jin-Roh: The Wolf Brigade. The movie continually threatens to pull the rug out from under your feet, all while providing a structure as organized as latticework. Directed by Oshii’s right-hand man and key animator, Hiroyuki Okiura (after he apparently kicked up a fuss about Oishii‘s handling of some scenes during Ghost in the Shell!) the film begins with a death: a “little red riding hood” delivering bombs to a resistance faction. What follows is a multifaceted account of a country, a man, and an organization. Jin-Roh is a dark film, but one continually punctuated by the light from molotov cocktails. Something’s better than nothing, I suppose.
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Posted in Anime, Reviews
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Tagged action, atmospheric, dark, ghost in the shell, Jin-Roh: The Wolf Brigade, little red riding hood, mamoru oshii, rewatching, riot, seinen
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