Kill la Kill defies comparison. It’s from the writer and director duo that brought us the beloved Gurren Lagann and it reads a lot like the classic Revolutionary Girl Utena but come into Kill la Kill expecting a series like those two and you’ll be disappointed. It’s its own animal, albeit with a twist of parental DNA from Hiroyuki Imaishi, but even still, part of the fun is in starting each episode thinking I know what’s coming, only to have all of those expectations shoved back down my throat.
“If you were stronger, I don’t know how this would have ended. But I know one thing. That woman would be dead. Those who gain power must pay a price, something in exchange. If you seek to be stronger than others you may have to lose what you value above all else. Remember this well.” –Giichi, Blade of the Immortal
In Blade of the Immortal, being strong means everything. When Rin loses her parents, looking on as they are humiliated and butchered right in front of her, she vows to avenge them, but talk is cheap. When your enemy’s strong, you’ll need to be that much stronger, but what does it mean to be strong, anyway? If it weren’t for what happened to Rin’s parents, she’d have just been another normal kid. Timid, likes sweets, curious about boys. Instead, she’s now walking this dangerous road with Manji.
In another life, I may have been a vegetarian, but in this day and age of supermarkets and their aisles of prepared meat, it’s hard to imagine something as generic as a chicken breast once belonging to a living animal. Don’t get me wrong, I’m well aware that it does, but having been divorced from the source of my food for the whole of my lifetime, eating meat is something that I do because I’m hungry and it’s food. There’s no moral quandary for me because, for the most part, I never think to question where any of it came from. If it tastes alright, I’m fine with it.
At the same time, I’m an animal lover. I have a cat (bad-boy Boris) and a dog (wimpy Splash) and to see them in pain is akin to injuring myself. It’s not just pets either, because if I can avoid stepping on something as tiny as an ant, I will.
As the summer season waxes and wanes, Silver Spoon (Gin no Saji) is one of the two new anime (the other being Sunday without God,) that I’ve managed to keep up with. Created by Hiromu Arakawa (Fullmetal Alchemist,) it’s the story of Hachiken’s tentative entry into the world of Japanese agriculture. Fresh from his suburban school life but desperate to escape the claustrophobia of conventional academia, he enrols at a farming college far and away from his old school and like me, has something of a sheltered exposure to food production in-tow.
by dengar (Phil) · July 31, 2013 · 7 · 0
This article is my third attempt at writing a piece about crowd funding and anime, each time I’ve tried to do so another development forced me to re-write it, illustrating just how quickly crowdsourcing is reshaping the anime industry. Kick-Heart, the anime kickstarter by Production IG, was the first big crowd funding success. It proved the crowdfunding concept, where anyone can pledge from $1 to thousands of dollars to a project, generally in exchange for some type of reward, was workable for an anime project. Not only was it an effective means of funding anime, but it was something traditionally conservative Japanese companies could embrace under the right circumstances. Kick-Heart was followed by Pied Piper’s Time of Eve and Studio Trigger’s Little Witch Academia 2 projects, both of which met and exceeded their goals. Even Animesols, a crowdfunding site mostly for older anime, has found success, first with a campaign to make a DVD set of the magical girl show Creamy Mami and now hopefully (if enough of you pledge in the next day or so) with a campaign to release a DVD of the first season of Black Jack TV. Does that mean that the revolution has succeeded and the age of crowdfunding is nigh? Hardly. But with the success of the Kick-Heart, Time of Eve and Little Witch projects, it’s looking like crowdfunding is one of the best and most rewarding ways to get anime today.
I spent two days reading up to the latest releases of Oyasumi Punpun. I spent two days kicking myself for not reading Inio Asano’s longest-running work sooner; assuming it would be inferior to the tight, refined narratives of his one shots. I spent two days crying over the fact that no-one picked up the English-language publishing licenses when Tokyopop folded (goddamnit, just take my money, I’m begging you!)
Of all the new anime that I’ve seen this season, it’s probably WataMote that has left me with the strongest impression, to the point where I went ahead and started reading the manga straight after watching it. With its English title of No Matter How I Look At It, It’s You Guys’ Fault I’m Unpopular! you can guess what it’s about, but to summarise, it’s the story of the unpopular high-school girl Tomoko and her titanic struggle to be not so.
That may sound like the beginning of any given high-school anime (which is, let’s face it, almost every anime,) but the twist to WataMote is that there’s no external salvation for her. No-one notices her, she doesn’t join the light music club, she’s not infatuated with her brother, she’s a dedicated fujoshi, but for all of her hundreds of hours of “training” through dating sims, in the end no real boy so much as looks her way. As the title alludes, her problem isn’t that she’s unpopular, but that she’s blaming everyone else for it, and therein lies the harsh truth that under pins this series. Tomoko’s so clearly denying reality. No one has bullied her to make her this way, she’s just an introverted, really shy girl, and her unpopularity is of her own making.