Having stumbled across the passionate rants and pretty pictures over at the Star Crossed anime blog, I decided I’d take a chance on a magical girl anime called Mahou Shoujotai (also known as Tweeny Witches or Magic-Girl Squad – Alice).
Up until checking out Mahou Shoujotai, my only other experiences of the traditional magical girl anime had been Pretear (surprisingly watchable, if ever so gay) and Sailor Moon (something about a doom tree; I couldn’t get past two episodes without falling into the clutches of apathetic depression).
Despite my concerns that with this being a kid’s anime and all it would be laying on the morals a little thick, it turns out that Mahou Shoujotai is an enchanting fantasy adventure, conjuring up such an inventive, colourful feeling of excitement without ever pandering to the imposed squeaky clean innocence of Western children’s cartoons. Sometimes dark, but always fun and passionate, Mahou Shoujotai never loses its attractive sense of humour amidst a punky visual style and overwhelming fantastical adventure.
The story is- just like Alice in Wonderland- about a girl (called Alice, actually) who somehow falls into a world of magic where witches and warlocks are apparently at war. This is merely the beginning of the story (I’ve only seen up to episode 16 myself) but Alice’s journey, amidst much broom flying, odd creatures and magic spells- is an emotional rollercoaster of forming friendships and dealing with the reality of broken homes.
One of my favourite anime houses Studio 4°C is the primary driving force behind the look and feel of Mahou Shoujotai and their crazy, experimental style works perfectly within the boundless confines of Alice’s strange new world; truly everything looks weird and colourful and fun in ways rarely seen outside of anime produced by Studio Ghibli. It’s rare to find a children’s anime that evokes such a free wheeling, awe inspiring sense of adventure and fun. Mahou Shoujotai is magical in every way.
There are many ways to settle a score and none better than an old fashioned dust up; I think this qualifies as the first time I’ve ever seen two women literally beat the shit out of each other with their bare knuckles. None of this pulling hair and scratching with their nails nonsense; if Black Lagoon is going to have a face-off between the two toughest women in the world, you better expect more than a few pinches.
So episode 10 marks the end of the “Unstoppable Maid” arc; emotionally it added nothing to the series, but I’ll be damned if I come across another couple of anime episodes this year that look as red hot as this was. While firmly tongue in cheek and more than willing to poke fun at its own absurdity, I love that knowing wink Black Lagoon makes at the viewer. That and the slick homages to any number of classic Hollywood pop-corn movies- this time Terminator 2 being the obvious influence behind Ms. Roberta and her unstoppable quest.
Usually I can’t stand girls-with-guns anime, but Black Lagoon ditches any hint of dainty beauty and replaces it with a big fat “fuck you!”
Sato meets with young Misaki to talk about her “how to take the hikomori out of Sato” project. Though with his trademark destructive hiko-nature, Sato immediately tries to deny his shut-in ways by proving to Misaki that he does have a part to play in society after all. In embarking on this mission, he ends up getting involved with his crazy-otaku neighbour and by the end of the episode; they are planning on developing, as a means of doing something (anything) with their lives, their very own porn game… It’s a start, I guess?!?
Despite lacking in the more surreal, vivid moments that so punctuated the first episode, NHK – 2 was still an impressive follow up with just enough self depreciating wicked humour and melancholy reflection on (missing) life to be entertaining without crossing the line into out right depressing. Sato has chosen the wrong neighbour to work with though- after all if you are looking for a helping hand in life, the last person you need advise from is a perverted otaku; I wonder if he has an anime blog?!
The rocky soundtrack is still one of my favourite aspects of this show. The opening five minutes were great just because they are backed by this acoustic band music- such refined sounds can add so much more impact to a scene and NHK! has got this important balance between emotional, sad and crazy music spot on.
The Alabasta Arc of One Piece sees this fine series at the top of its game, juggling dynamic character drama, explosive political upheaval and some eccentric body twisting action. Despite falling into a few classic Shounen Jump cliches (not least of all a super villain in Crocodile who unwittingly reveals his devious plans to his then captured arch enemies) the sheer scale of the Alabasta rebellion unfolding before my eyes was a spine tingling, gut wrenching sight to behold.
There was a lot that I came to love about Alabasta; from the endless sand dunes of its harsh deserts to its mythological architecture. The final battle set in Alubarna combined this giant, compelling feeling of a country at war with such a beautiful collection of rocky, warm and timeless landscapes. The animation- and particularly Luffy’s final battle with Crocodile was earth shatteringly fluid, completely encapsulating a Devil’s Fruit battle with its gravity defying, unnatural sense of power and movement.
Ultimately though, it’s the characters that really made this arc. Be it through Pell’s heroic sacrifice or Vivi’s painful cries for peace, I often felt completely immersed in it all. The tragedy, the philosophy and essentially, the friendship that wins out in the end was touching and heavily emotional.
Neon Genesis Evangelion is considered by many critics to be a “classic” anime series. Loved and loathed in equal measure, its polarising reputation for invoking a distinct reaction from its viewers endures (inside and outside fandom) even today- an impressive feat being as it is a decade on from its Japanese TV debut. But what defines “classic” anime? Why is Evangelion still as relevant today as it was back in 1995?
“Classic” art direction
Art direction and animation fluidity are two separate entities. Neon Genesis Evangelion never had a huge animation budget, but its unique visual style still strikes a profound chord with its viewers. Unique and iconic, the colour scheme is exciting and suits the raging mood perfectly, strange bio-mecha designs and (if albeit redundant) religious symbolism top off a visceral presentation that instantly burns itself into memory.
Emotive characterization, world-wide accessibility and relevance
People either empathise with or passionately denounce Evangelion’s main character, Shinji Ikari. He is the ultimate “average” kid from a broken home, frustratingly shy and painfully reluctant. He isn’t a hero, just an awkward geek. The other characters are all breaking down in their own personal ways; Asuka’s fear of rejection and Misato’s desperate loneliness. These are close to the bone universal human emotions, characterised in realistic, painful circumstances and directed with an almost sadistic lack of warmth, relevant to every generation.
Sophisticated, controversial story teller
Under a slicker director, Evangelion would be another RahXephon; efficient, exciting and romantic but ultimately lacking any true sparks of originality. Hideaki Anno put his heart and soul into these characters and placed them within the confines of a mysterious plot to end the world, refusing to compromise on showing the unpredictable uglier sides of human nature. We’ve all been unhappy with ourselves or others at some point in our lives and what if at this exact moment, you were given the chance to save the world. Would it be “OK! Let’s do it!” or “Why me? Feck off!”.
Although I don’t consider Neon Genesis Evangelion a personal favourite, I accept it as a classic anime series. It took the formulaic mecha genre and transformed itself into an extremely potent mix of visceral art, controversial drama and symbolic science fiction. From what I’ve learnt, a “classic” movie or TV series is defined by global accessibility, (current) relevance and sheer impact; Evangelion is as popular today as it was 11 years ago.
In a village where humans are literally rusting away and being physically covered in (ever worsening) scabby brown marks, only this one girl (Shigure) appears to be immune from the disease. The bitter villagers blame Shigure for their ill-health, curse her existence and treat her as an outcast, and for her part, racked with the guilt of causing such misery, Shigure stopped speaking (to anyone) years ago. As ever, it’s down to Ginko to get the bottom of the mystery of the “Sound of Rust”.
Despite being a relatively straight forward episode by Mushishi’s standards, I still enjoyed the Sound of Rust for its typically emotive human drama. I liked how despite living years of her life in the shadows, ridiculed and insulted, Shigure wants for nothing but to attone for her vindictive neighbours suffering, granting them happiness and peace. It’s often the people who are constantly savaged by such strong hatred that turn out to be the thoroughly good hearted ones. I suppose when you have nothing left to lose, you have nothing left to cry about either.
Sound (as the title of this episode suggests) plays a big part here and Shigure’s voice; or more specifically- her multilayered scream, is suitably creepy and disquieting. Given this spooky sensation, the ending is almost too happy to believe; everything turns out okay (even the villagers are cured) and frankly I’m shocked by just how positively down-the-middle Ginko fixes it all. A refreshing change to get a traditional Hollywood ending for once! Unpredictable as ever, Mushishi.
The ever reliable ICv2 recently posted up a list of the “ten most powerful people in the North American anime industry“. The run down makes for interesting (if a little predictable) reading and sitting at the top is Gonzo’s bestest buddy Gen Fukunaga (of FUNimation), who managed to visciously kill off any competition with his company’s swelling ranks of mediocre action anime to become “the one” (or should I say, Jyu-Oh).
This got me thinking about the people who have had the most influence on my development as an anime fan, or more specifically; which sick bastards transformed me into the hardened anime junkie I am today?
The list of shame
4. Yoko Kanno – Cowboy Bebop
Soundtracks play a great part in my love of anime and no one does it better than Yoko Kanno. I first heard her work in Cowboy Bebop and have since been totally and utterly defeated by her varied tunage and heart wrenching, nostalgic stylings.
3. Chika Umino – Honey & Clover
At a time when I was feeling seriously jaded about anime (I couldn’t even make it through the first 3 minutes of Gonzo’s Black Cat), along came a funny slice of life series called Honey & Clover that completely refreshed my enthusiasm for the genre. This was a geniuenly funny, life affirming drama with colorful, original animation and a wonderful soundtrack to boot. Chika Umino wrote this story, so deserves credit first and foremost, but irregardless of that, everything about Honey & Clover is brilliant.
2. Kentarou Miura – Berserk
Berserk was the first anime I fell head over heels in love with and Kentarou Miura is the genius behind it all. In combining though-provoking philosophy with an extremely violent, complex cast of characters, Miura will forever be the brilliant mind behind my favourite anime of all time.
1. Masashi Kishimoto – Naruto / Shonen Jump
Although it is with something of a guity conscience, I simply wouldn’t be watching anime today if it wasn’t for Masashi Kishimoto’s Naruto. This was the first ever fansubbed series I got my mits on and to this very day I still remember the nerve-wracking, sweat-inducing climax of the Zabuza story arc. After sitting through around 50 episodes of Naruto, I realised I had to check out more anime. And furthermore, I realized subtitles should always be the way to go with foreign film and TV.