Tag Archives: fantasy

Shadow of the Colossus

Unless you count my yearly flings with Football Manager, I’ve never been much of a gamer. Even still, I bought myself a Playstation 3 in December.

Stepping into today’s world of consoles is intimidating at first. I’d been divorced from the culture for nearly a decade and knowing how deeply some are into it, it’s easy to get cold feet.

I had to try, though. I wanted to play Shadow of the Colossus.

After stumbling over a review of it one day at work, I made the impulsive (and, obviously, expensive) decision there and then to buy the game so as to have a proper look.

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On Wolf’s Rain

I first watched Wolf’s Rain in 2003, just as I was beginning to ramp up my interest in anime. I remember a few things about it: being absolutely traumatised by its ending and being spell-bound by Yoko Kanno’s music. Following on from the similarly fondly remembered RahXephon, it made a fan of Studio Bones out of me, too. Which is to say, Wolf’s Rain became one of my favourites and just last week, nearly 10 years on(!), I finally re-watched it.

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We offer up our heart’s blood: Courage and spirit in Shingeki no Kyojin

Since writing my first post on the manga series Shingeki no Kyojin (the official English title is apparently Attack on Titan,) it’s been licensed for an English-language release by Kodansha USA, whilst a Japanese live-action movie has also been announced for 2013. With the inevitably small film-budget it’ll receive, I’m not convinced it’ll look good enough , but then again, it still sounds better than the forthcoming Akira film!

Last night I finally caught up to volume 5 of the series and, man, I just want to keep going. For those that haven’t read my first post on it, Shingeki no Kyojin is a large-scale survival-horror manga about a future-Earth dominated by man-eating giants (known in the series as Titans.) With humanity on the brink and walled up in one last city, the series begins as the Titans break through the city’s first line of defence.

Imagine any zombie film you’ve ever seen, and then replace the zombies with giants. Mankind’s fucked, right? It’s lucky then that the main character, Eren, can transform into a Titan, too!

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5 Comments Posted in Manga, Reviews | Tagged , , , , , ,

Quantum is .hack as it should have been, albeit now too late

.hack//SIGN was one of the first anime shown by Cartoon Network and it left a lasting, negative impression on me: an otherwise brilliant show with a plot that went nowhere.  .Hack//Quantum is the latest iteration of the series.  It is .hack//SIGN as it should have been.  It’s not a remake, just a three episode version with a similar story.  It’s not perfect, but if it had come out eight years ago it could have provided a foundation for subsequent stories.  But this late in the game it is underwhelming.

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I couldn’t help myself: Mawaru Penguindrum and a feast for the eyes

Much has already been written about the first episode of Mawaru Penguindrum, the latest from Kunihiko Ikuhara (he of Revolutionary Girl Utena.) Like most, I really liked this first episode, but I’ve never been one to bother discussing plot details, rather, I just want to talk about art and post some pretty pictures, and like Madoka, Panty & Stocking and The Tatami Galaxy before it, Mawaru Penguindrum is an intricately-drawn feast for the eyes. I just couldn’t help myself.

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Eaten by giants!!

Apparently, Shingeki no Kyojin can be translated to ‘Advancing Giants’. It’s a new-ish, still on-going manga (began serialisation in 2009) that I started reading at the weekend. In it, humanity has been brought to the brink of extinction by an unstoppable wave of man-eating giants. Where did they come from? Nobody knows! And why do they eat only humans? Again, nobody knows! The giants don’t feed on us for sustinance, they do it because they can!

Mankind somehow survives by sealing itself within a city, surrounded by 50 metre-high walls to keep everything else out. 100 years later, it’s an era of relative peace, but suddenly, this guy appears… More than double the size of any giant ever seen before, he (literally) kicks a hole in the city’s previously impregnable defences and unleashes the horrors outside waiting to get in.

And so, the real story of (the award-winning) Shingeki no Kyojin begins.

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The heavens are angered

The Twelve Kingdoms feels very much like a shoujo anime, but it’s more akin to Utena and Toward the Terra than Escaflowne, and by that what I mean to say is, while there are no melodramatic love triangles here, The Twelve Kingdoms is all about exploring and externalising the feelings of its characters; that’s girly stuff, right?

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Shoujo fantasy Gurren Lagann: Sense of Wonder by Akemi Hayashi

Shoujo fantasy can be the genre of the story-lover, so filled it is with sweeping, emotive images. I can’t help but think that Revolutionary Girl Utena and Princess Tutu could be stripped of their dialogue and remain just as coherent, such is the overflow of feeling trapped within their every frame; every side-long glance, tentative posture and concealed desire.

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The harsh beauty of Tsutomu Nihei’s Biomega

Looking out on Tsutomu Nihei's new world

Happy new year, everyone! Time sure flies and it’s now looking likely that this blog will live to see it’s fourth anniversary on the 4th of March, which is just… surreal!

This time of year also provides me with the rare opportunity to immerse in some new worlds of fiction. Last year I fell under the spell of Legend of the Galactic Heroes, but this time it was to be Tsutomu Nihei and his six volume Biomega that caught my eye.

Nihei is probably my favourite mangaka. It’s not like I’ve read a lot of manga, but this guy has held my admiration for a long time, ever since I stumbled over his first series, Blame!, where the dialogue is sparse, action is rapid and landscapes are wide, sprawling stretches of textured emptiness.

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The snowy nights and racing trains of Fullmetal Alchemist: Brotherhood

Scar and Kimbley face off

Choosing the best anime of 2009 is no contest for me, Fullmetal Alchemist: Brotherhood wins it hands down every time, but we’re past any stabs I could make at being objective about this, the show has everything I look for in anime, yet still manages to keep getting better, so much so that earlier today I even started comparing it to Legend of the Galactic Heroes! I mean, what the hell?! All this was again brought to the surface by episodes 32 and 33.

Firstly there is the unending expansion of mangaka Hiromu Arakawa‘s story into newer countries and climates. She achieves the sheer sense of distance usually exclusive to great fantasy, of creating a living, breathing world, which is why I’m now comparing it to Legend of the Galactic Heroes, because even though it’s now over half way through, FMA continues to introduce exciting new characters into the mix.

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Free skies, and endless land

Akiyuki facing off against a Humanform hundreds of miles in the air

The problem with writing an anime blog for any length of time is that I’m prone to repeating myself. I’ve had this ache to write about something, anything, over the last month or so, but there are only so many times I can say “this is good, that is bad” without feeling as though I’m running in circles, writing about anime for the sake of being an anime blogger. I don’t want to go down that road, I want this to be like a natural impulse, something that I’m compelled to do by an honest desire to share my enthusiasm with you. Nothing else.

That is why this post exists. I haven’t stopped watching anime, or anything as dramatic as that, it’s just that my mind has been blank. I’ve been waiting for something to shake me out of that apathy, and it turns out that that something is Xam’d: Lost Memories.

Nakiami

It’s not just that the animation is superb, or that the soundtrack is evocative, or even that the characters are great. It’s everything. The world-building, the whimsical adventure, the sudden bursts of brutality. I adore it because it reminds me of Eureka Seven and Nausicaa, that it makes clear nods towards Miyazaki’s synthesis of nature and fantasy, the sweeping landscapes and complex technologies of a strange new world. It’s so nostalgic for me; a story I can’t help but treasure dearly.

I’ve spent this last week navigating my way through all 26 episodes, and even then, I must admit, it has been difficult to follow. Considering its strange terminologies and complex foreign cultures, this has to be the hardest fantasy anime I’ve seen since Seirei no Moribito, and without ever pausing for reflection, it forges ahead breathlessly with the story. There is little time wasted on explanation or flashback, we’re just dropped right in to the centre of a world war and expected to keep up. In its slower moments, characters dream of their past adventures, regret old battles and wistfully sigh over lost loves, but all we have to go on are painful scars, a name or a place. That’s the thing about Xam’d, really, almost as if it has invented its own language, it speaks in riddles and poetry, and like the best of fantasies, it feels deep. One might compare it to a glass of vintage wine, a subtle taste nurtured over years of careful fermentation. Xam’d is a story in a bottle, a history fermented over thousands of years, a bitter-sweet taste.

It’s bitter because there is no easy way to save the world. Things like religion get in the way. Racism, child soldiers and suicide bombings. All of these things lead to tragedy. There is no escaping the fact that a lot of people die in this show; they inflict horrible wounds on each other and die in gruesome ways, and for 26 episodes straight, there is no end to it. Friends become enemies for stupid, petty reasons. Resentment and hatred boil to the surface. There is no logical reason for it, and only chaos that follows it.

Yet, it’s sweet because there are still people around with the heart to smile. Against all the odds, Akiyuki and Haru fall in love and are reunited, while, time and time again, Nakiami throws herself in harms way so that others may live. This one particular scene is stunning; Akiyuki’s mother runs and runs down the street, scraping her bare feet on the pavement, desperate to catch one last glimpse of her departing son.

Akiyuki and Haru: a fairy tale

There’s so much hatred in Xam’d, but so much love too. It’s vibrant and full of life, just look at how it has been drawn, it’s beautiful. Pretty like a fairy tale.

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Can you see those stars, Felix? Or are you just drunk with blood-colored dreams?

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During the very last scene of Legend of the Galactic Heroes, baby Felix gazes up at the night sky and grasps at the stars. “That might be an action that’s been repeated endlessly in any era, in any world,” the narrator poetically explains, adding that “Humans always pursue things that they can’t reach”, yet the knowing expression on Mittermeyer’s face is almost heart-breaking, “Felix, you too…?” This is, perhaps, the most emotional moment of the entire series, expressing everything that there is to love about Legend of the Galactic Heroes in a matter of seconds.

Alas, that isn’t enough. There is still so much more to say, so much more to explore. Hoping that more people may discover this fine series, and, perhaps, to dip myself into this story for one last time, I have carefully composed this (chronological) list of highlights from the series, but be warned, it contains massive spoilers.

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1. Fall of Marquise Benemunde

As the Goldenbaum imperial court looks on with heartless disdain, the screaming Marquise Benemunde is restrained by the Emperor’s guard and forced to drink from a glass of deadly poison. Her bitter end was the result of her desperation to reclaim the love of the Emperor, which she had lost forever to the beautiful (and much younger) Annerose, Reinhard’s beloved older sister.

The sheer indignity of this scene, combined with the casual formality of the court’s impeccably dressed on-lookers, is so pointlessly cruel and chillingly orchestrated that one is left in little doubt as to the morality lurking within the aging Goldenbaum ranks.

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2. Westerland nuke

Due to a small rebel uprising, Prince Braunschweig launches a massive nuclear strike at planet Westerland, intending to incinerate millions of innocent people. Reinhard’s immediate response is to intercept it, but his war-time adviser, Oberstein, suggests that he should just let it happen, as the public’s reaction to such an atrocity will swing the empire’s popular support in Reinhard’s favor, exposing the Prince and his allies as irredeemable villains. Reluctantly, Reinhard agrees and Westerland is decimated. Millions die as a means to an end.

This is the kind of political versus moral quandary that has no right answer. If Reinhard had stopped the strike, he could be dragged into a war of attrition which could claim millions of soldiers over a period of months (and even years, perhaps), but by allowing it, his rise to power is swift, albeit, forever tainted with the blood of Westerland. Neither is an easy choice to make, and for exactly that reason, we have a thrilling tête à tête between leaders, who, very literally, can forsake or save the lives of millions with one word.

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3. Kircheis’ death

One of most shocking moments in Legend of the Galactic Heroes is the sudden death of Siegfried Kircheis, Reinhard’s dearest (and perhaps, only) friend. Up until this moment, he was one of the main characters, an uncommonly benevolent military commander who had spent his childhood with Reinhard. They dreamt of a better future together and were devoted to toppling the corrupt Goldenbaum dynasty, so his demise is tragic and ill-timed.

He is killed by Prince Braunschweig’s chief retainer, Ansbach, who pulls a giant weapon from within the Prince’s dead body but misses his main target, Reinhard. Kircheis tries to restrain Ansbach and is mortally wounded by the assassin’s then-concealed laser ring. Within minutes, he has bled to death. A stunned Reinhard is unable to accept what has just happened, and it scars him for life, as well as delivering a massive blow to his sister, Annerose, who had been secretly in-love with Kircheis this whole time. It’s a moment that Reinhard regrets for the rest of his life and drastically alters the complexion of the story.

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4. Geiersburg fortress vs Iserlohn fortress

There is something innately thrilling within the sheer spectacle of seeing two planet-sized, Death Star-esque fortresses, Geiersburg and Iserlohn, do battle. Credit is due for the audacious imagination required to even consider moving Geiersburg within seeing-distance of Iserlohn, while the battle itself is gob-smacking. Between the tomahawk-wielding Rosen-Ritter skiing across Iserlohn’s liquid surface, ripping apart Imperial soldiers as they do, and tactician Yang Wen-li’s brilliant trump card, leading to the destruction of Geiersburg via Iserlohn’s lightning strike, a.k.a Thor hammer, one can only conclude that this is epic anime, and it is awesome. Just think, this is what Star Wars could have been.

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5. The Battle of Vermillion

The defining moment between Reinhard’s Imperial rise and Yang Wen-li’s democratic Alliance is in the Battle of Vermillion.

Having blasted his way though line after line of Imperial defenses, Yang’s fleet has finally trapped Reinhard’s ship, the Brunhilde, but at this most critical of moments, Yang receives an order from his superiors (millions of miles away on his home planet of Heinessen) to surrender and, to the horror of many, he calmly acquiesces.

Thus, despite everything that he (and his Alliance) stands to gain from killing Reinhard, he won’t allow his command to override his government’s order. Walter Von Schenkopp urges him to fire and think later, to consider the history of the universe, Yang could even pretend to not have received the message in time, but he steadfastly refuses because to create such a precedent in history would forever undermine the strength of democracy in the future. Hence, many more lives are lost because Reinhard survives, but Yang’s loyalty to his political system is admirable. He isn’t at fault; it’s just bad luck that his government happens to be incompetent.

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6. The Battle of Marr-Adetta: Bucock’s end

At the Battle of Marr-Adetta, Old Admiral Bucock meets his maker. Battle-weary, yet too old to do anything but fight, he evacuates his remaining soldiers before rejecting Reinhard’s offer of mercy, instead choosing to go down with his ship. His final speech to Reinhard blazes with the kind-of respect and pride one can only feel for a man who has seen it all. He closes with a toast to democracy, composed as he tastes the last wine of his life, completely and utterly unshakable in his belief. It is a brave man’s end.

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7. Miracle Yang became Bloody Yang

For such an influential person, the irony of Miracle Yang’s death is that it’s not glamorous in the slightest. His luck merely runs out, as, having been shot through the leg by an unnamed terrorist, he bleeds to death in some dark corridor, alone. This is such a tragic and lonely way to die, but even still, his last words are an apology; all this time he has carried guilt for every life lost under his command.

His departure affects friends and enemies alike. Reinhard loses his last reason to fight and decides to retreat from battle, while Julian Minci, Yang’s dearest student, flies into a bloody rage before eventually helping to establish the Iserlohn Republic Government, leading their military in The Magician’s shadow.

Yang Wen-li’s presence constituted one half this story, his life, his love and his brilliance is documented through out the first three seasons and, like Kircheis’ sudden death, his shocking exit monumentally shifts the tone and direction of Legend of the Galactic Heroes.

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8. Reuental’s rebellion

In the words of his best friend, Wolfgang Mittermeyer, Oskar von Reuenthal was “drunk with blood-colored dreams”. Somewhat carelessly, he rebels against Reinhard as if it was always his destiny, the very purpose of his life, but he loses the battle and dies.

Reuenthal was born with a rare eye condition called heterochromia iridum (both eyes are a different colour), which was used as proof that his mother was an adulterer. She committed suicide, but not before attempting to violently gauge out one of her son’s eyes! His father started drinking and blamed the young boy for everything that had transpired. Reuenthal never escaped this past and developed a taste for self-loathing; particularly strange was his relationship with Elfriede von Kohlrausch, who superficially hated him, despite carrying his child. His rebellion, and ultimately, his death, were all linked to this sad story. Reuenthal always wanted to be loathed, to be the villain.

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9. One final battle

Many great characters die in this final battle, Merkatz and Schenkopp amongst them. They sacrifice everything to create such a tiny opportunity for Julian to meet with Kaiser Reinhard face to face. Overwhelmingly, this feels like a battle of despair and hopelessness, with an almost suicidal agenda, every passing minute heaping on yet more death and grief, but finally, his moment arrives. Julian staggers forth into Reinhard’s quarters, barely able to stand from fatigue, covered with the blood of dear friends and hated enemies alike. And then they talk. This is a scene of quiet wonder.

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10. Reinhard’s death; a sword has no reason to exist but as a sword?

Reinhard von Lohengramm is the Edmond Dantès of Legend of the Galactic Heroes, a peerless avenger and prideful leader of men. He dies from a terminal illness, just two years into his reign as Kaiser, aged 25, said to have burnt away his life to fight. The end of his life marks the end of this great story.

Joined at his death bed by his beloved sister Annerose, she whispers “You haven’t had your fill of dreams, Reinhard?” “No,” he replies, “I had plenty that no one had ever seen before.” One can’t help but wonder, what could they possibly contain?

Reinhard’s greatness lies in the guilt he feels over Westerland, the regret that marks his every move after the death of his dearest friend, Kircheis, and the loneliness and vulnerability that eventually sweeps him into the arms of Hilda Mariendorf, with all the delightful romantic naivety that follows. He is a great character and, more importantly, a likable person.

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Turn off your mind, unwind and see how high the cloudy sky. Xam’d, naturally.

Should I say Xam’d: Lost Memories is good? It’s better than good, and I know it’s not enough to say just that, but I have to be careful. Because I’m about ready to explode. Yes, there’s too much to say. This is what anime is capable of; it’s why I’m writing an anime blog. Ironically, I’m on the brink of incoherence, but I need order, I need someone to understand something; that Xam’d: Lost Memories is good and that I think you might like it too. But that’s still not enough.

Where to begin? How about the trailer. I’ve been admiring this series since reading the trailer’s subtitle of “A nostalgic SF by Studio Bones”. Of course, a lot of anime is nostalgic, but it’s typically nostalgia for youth, for young love. Xam’d is nostalgic for science fiction. Our heroine Nakiami recalls both the rural appearance of Nausicaä (of Nausicaä and the Valley of Wind) and the emotional ambivalence of Eureka (of Eureka Seven). So, right off the bat, those are two of my favourite anime. It seems I was fated to adore this show.

The direction has an air of confidence, the narrative flows naturally, the plot is slow-building and consistent, the characters are light hearted and funny, some concealing their insecurity with a spunky attitude, others with sarcasm, none of it feeling artificial or calculated, just natural, normal. By the time the action kicks in, about three quarters of the way through the first episode, I was immersed, lost in the fantasy, in the characters, their lives about to be torn apart.

The school bus explodes, it’s a suicide bombing. Terrorism. Fear spreads. The twisted wreckage of what’s left behind is more like an open ribcage, bloodied, facing skyward. The seats have a bubbling, organic texture. Strange flying machines float high over-head, launching their organ-like pods of insectiod attackers into the city below. Akiyuki’s arm swells and twists with a strange, alien infection, his trembling body is no longer his own.
It’s a shock to transition so violently from this sleepy, easy-going slice of life into a terrible, chaotic war, a situation that reflects our own fears of terrorism and paranoia of aggression that is indiscriminate and seemingly aimless.

Akiyuki’s mum is a part of an ensemble of likable and interesting personalities. Her marriage is falling apart, but she maintains a strength of character, humour and dignity that’s really quite admirable. Akiyuki’s dad is a workaholic; a popular doctor with time for his patients but none for those most important to him, his family. They both care deeply for their son, but show it in different ways. When he goes missing, they both go looking for him, but at different times. They understand each other, but pretend not to, neither willing to compromise with the other. Little do they know, Akiyuki has embarked on a nostalgic adventure.

Flying high in purple skies, I’m happy just watching this story unfold, like some long lost fable, it’s beautifully drawn, sometimes poetically so, dream-like and awe-inspiring, a world worth exploring, with its many strange cultures, creatures and technologies. It is a fantasy in the truest sense of the word, a world of fantastic imagination, dark and light, nostalgic and exciting, would be perfect if there wasn’t so much rust in the water.

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First impressions of Kaiba: big surprise, I loved it

Apologies, I know things have been quiet around here of late. While everyone gets so excited about all this new anime airing in Japan, I just get tired of it. There’s too much to watch, too much to read and too much to say. It tires me out just thinking about it, so, despite having downloaded first episodes of 9 different anime last week, I’ve watched merely two. One was Code Geass, which, true to form, was great, stupid fun, and the other was Kaiba, a show I’ve been anticipating since, well… forever. But wait, Kaiba hasn’t been fansubbed (yet), right? Such enthusiasm forced me into yesterday’s impulsive decision; I decided to watch it raw. For the record, my understanding of Japanese is next to nothing and never before have I bothered to watch anime untranslated, but, at this point, I may as well just quit anime blogging if not inspired by something like Kaiba, something that’s so completely new. Code Geass R2 isn’t new; it’s just the same old collection of genres with a different lick of paint. Mecha, shonen, shojo, moe, harem, sports, we’ve seen it all before, but let me tell you this, you’ve seen nothing like Kaiba. Asked to describe the story, director Masaaki Yuasa mentioned suspense, romance, science fiction, comedy and action, and depending on your perception, it’s all of that, or nothing, but at least it’s new.

I won’t bother with an extended episode synopsis, as aside from my noted lack of comprehension regarding the Japanese language, Owen and BluWacky have recently posted some fine coverage on their blogs too. All I really want to say is that I liked it, a lot. With an aesthetic that’s part Astro Boy-era Tekuza, part Flintstones, it certainly looks different. It’s nothing like Yuasa’s previous work, Kemonozume, where the characters were grungy, gritty and blue (in the greasy, erotic sense). Here, the designs are clear and bright, as if lacking sophistication, an obvious ploy to violently contrast a playful, child-like aesthetic with a disturbing reality tainted with memory-stealing and body swapping. I’m reminded of Roald Dahl’s twisted style of storytelling, especially The BFG; all the excitement of Sophie’s wide-eyed adventure into a hidden world of friendly giants, offset when she discovers that they munch on humans.

The evocative visuals are well-matched by a soundtrack that’s ambient, electronic and artificial, yet emphasizes the fantasy and excitement on screen. In truth, it’s wonderfully apt for Kaiba, as a story so removed from reality shouldn’t sound familiar or contemporary; in particular, the opening and ending sequences are beautifully presented; setting the tone for what is an escape into a dream-like, distant plain of imagination.

People might think I’m talking this up because it’s different, because it looks weird. If that were the case, I wouldn’t be writing this now. It’s true that it’s unconventional, you won’t immediately feel empathy for the characters, or understand their feelings. You have to be prepared to submerge yourself in Kaiba, to accept things that might be unrealistic and weird. In this sense, it’s absolutely authentic animation; the product of boundless imagination, and it works because, despite everything, it still feels human; funny, weird and sad. I hope you like it!

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Reflections on Seirei no Moribito: dull or delightful?

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As any fans of Evangelion will attest, it’s rare to finish an anime series and find ourselves contented enough to walk away knowing “everything is tied up into a neat little package”, yet that is the case with the recently concluded Guardian of the Sacred Spirit (a.k.a Seirei no Moribito). An (evil) part of me will always demand an epic train-wreck, a sensational massacre of violence, death and angst, but deep down, I always knew it would never happen with straight-laced Seirei no Moribito – it was certainly predictable; morally as straight as an arrow, and that’s not necessarily a bad thing. Continue reading

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The hyperbole of Mononoke

“Specter; spirit; ghost. Mononoke is a very old word, now rarely used, that describes spirits who actively haunt or pursue a person or place. Though the spirit need not be evil, it does have somewhat of a dangerous connotation.”

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Though it borders on pretentious, I’ve always wanted to kick-off an article with a word definition. Aside from its traditional Japanese meaning, "Mononoke” is a word synomonous with a certain Hayao Miyazaki blockbuster from 1997; immediately it recalls images of feudal Japan – an era when a fading mother nature was still capable of retaining her sense of mystery and magic. And so begins the 2007 series “Mononoke” with its distinctively Japanese take on supernatural folk-law.

For those who don’t read Wikipedia, “Mononoke” is a spin-off from the self-contained “Bake Neko” segment of 2006′s 11-episode 3-story anthology “Ayakashi”. Though I started watching fansubs of Ayakashi, the prolonged melodramatics and thick cultural references of the first segment (“Yotsuya Kaidan”) wrought such a soul-destroying apathy on my enthusiasm for the series that by the time I was aware of the striking visual style of “Bake Neko”; my fleeting interest in “Ayakashi” had all but expired. Jump forward to July 2007 and “Mononoke” started its run on Japanese TV. Having been seduced by its eccentric visual style and the positive word-of-mouth, this past weekend was spent haplessly indulging in seven episodes of Mononoke’s surreal feast. To you, I present these humble findings. Continue reading

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Digimon Adventure (Movie 1) – Believe me, it really is that good!

It’s brilliant to be in this position. The last thing I expected to be writing about is Digimon, but that’s just typical of life; ever twisting, ever unpredictable. So this morning I was reading about Mamoru Hosoda – a rising star of anime who is just now making an international impact with “The Girl Who Leapt Through Time” (having previously quit Howl’s Moving Castle). Anyone who has seen that or the frankly disturbing “One Piece Movie 6: Baron Omatsuri and the Secret Island” will know that Hosoda is the real deal; a genuine and unique talent.

The excellent (repeat: excellent) AniPages Daily has an informative article on him and raves at length about his name-making directorial debut on the first two Digimon movies. All I thought I knew about Digimon was that it was another of those annoying Pokemon “gotta buy ‘em all!” clones, but in truth, I really knew nothing about the franchise at all, and so I sat down to watch Digimon Adventure (Movie 1) with a clean slate. Besides, the movie is only 20 minutes long, so basically, I had nothing to lose.

Put simply, it’s wonderful. The plot goes something like this; one evening, Taichi’s baby sister Hikari discovers an odd looking egg (it magically drops out of the computer monitor). Taichi’s just a young boy himself, but still, he’s spending the whole day at home looking after his little sister. Suddenly the egg hatches and an odd black shape emerges; it’s a monster! They try to catch it but it hides under Hikari’s bed – she blows her favourite whistle and the monster blows back bubbles, they feed it cat food and it poops on the floor. Over the day, the monster completely changes shape; eventually becoming a small tyrannosaurus rex-like animal called “Koromon”. Not before long, it’s storming through a Japanese city, launching fireballs at passing buses and impressing on-looking kids!

The beauty of Digimon Adventure lies in the way the children interact with Koromon. It feels a lot like a Studio Ghibli production because it captures that rare essence of childhood, where almost everything feels like an enchanting dream; so overwhelmingly full of fluffy fun and adventure. The kids almost immediately befriend the monster, despite the fact that it’s gradually transforming into a fearsome looking fanged beast! A particularly brilliant scene comes when Koromon lumbers outside for the first time; he walks through the street with the baby Hikari stuck to his back, ripping up vending machines and nearly getting smashed by oncoming cars. Hikari tries to clean up the damage but it’s an impossible task.

The message is friendship, but it’s not without a sense of sacrifice and loss too. All in all, this is a magical kids movie that inspires and feels like trip into a colourful imagination. Yes, it’s Digimon, but look past that and I promise you will be impressed.

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It’s theEnd of the world! Reflecting on Eureka Seven!

It’s taken me two or three months, but today I finally finished watching Eureka Seven. Like whenever I finish reading a book or watching a long TV series, I feel like I’ve accomplished something big, but at the same time, I’ve grown attached to the Gekko-go and I’m not ready to wave good-bye. I adore Eureka Seven, but alas, I must accept this psalm of planets has come to an end — and by the way, consider that an advanced spoiler warning.

Dewey and Holland

One of the more interesting villains, Dewey was not as much driven by his often stated ambition to "take back" the Earth as he was simply unhinged and jealous of his younger brother. Dewey wanted to take back his father’s affection from the favoured brother Holland and when that became impossible, he lost meaning in his life, forever consigned to being a reject. It’s interesting that the he chose the target of his hatred to be the apparently "vicious" coralians; the “invaders” of Earth — after all, baby Holland "invaded" Dewey’s childhood. Even as he put that gun to his head, he was fighting the demons from his past.

Holland’s reaction to Dewey’s suicide revealed that no doubt, despite everything that happened, they still thought of each other as brothers. The look on Holland’s face and his subsequent mutterings suggested that he felt Dewey was not yet beyond salvation; his death was that of a lonely and deluded child, stabbing at the heart of a world that rejected him.

Eureka and Renton

The close bond shared by Eureka and Renton is carried through from the first episode to the fiftieth. It never felt forced or artificial; there was a real sense that they loved each other. By the end, their relationship had transcended physical attraction — after all, Eureka wasn’t even human. Through-out the series, she was battered, bruised, scarred and burnt — she wasn’t stunning to look at, but Renton still loved her just as much. They struggle through insecurity, embarrassment and unknown territory, yet still emerged from the series as utterly likable and heroic characters. It’s impossible not to root for them; they are the glue that holds it all together.

Allegory

In a few of my previous posts, I’ve passed comment on the allegorical content of Eureka Seven. Indeed, it’s simply a story that, while based in pure fantasy, echoes the past and present follies of mankind. For a moment, let’s look at the conflict between the humans and the coralians — this could be taken as a parallel of the Japanese struggling to accept the increasing foreign population in their country. So basically, Eureka Seven could be seen as an allegorical tale of xenophobia; about how you should try to talk with, rather than attack, the "aliens". Someone like Dewey will manipulate the media, stir up fear and incite violence, but the "enemies" are invariably the same as us; afraid to live and afraid to die.

Unite

By the end of the series, it’s implied that Renton and Eureka are to unite, to blaze a trail forwards for the future of mankind and all life in the known universe. I wonder if this was an intentionally vague way of ending the series — when they talk of becoming one, are they literally talking about physically combining as one being? Or rather, is it hint that they are to start a new family — after all, Eureka and Renton conceiving a child will lead to a true combination of both beings.

Favourite opening theme

I adored all four opening themes enough to rock out to them in my car, however, if pushed; I have to say that the punky third opening wins out for combining some wonderfully fluid and atmospheric animation with a straight forward, balls to the wall j-rock anthem. It’s just the iconic image of Renton and Eureka falling through the sky, hand in hand, dodging falling scrap metal and breaking Anemone’s lonely heart.

Soundtrack itself

I’ve talked about how great some of these characters are, and how interesting the story is, but ultimately Eureka Seven will stand the test of time because of its superlative combination of bright, colourful animation with a varied and outstanding soundtrack; it’s like the series was born as an idea when listening to particularly good song, such is the deep intermingling of musical influence with the narrative. Bands like Joy Division are regularly referenced, but, fittingly for a series that contains an impromptu rave scene, the one major point of influence is the varied genres of dance music. Two tracks in particular stand out, "Rainbow" and "GET IT BY YOUR HANDS" — both are energy generating, heart beating tunes which lace together the viewer and the burning emotion at the core of Eureka Seven’s world-effecting journey.

theEND, or bateszi=out

These are my last few sentences on Eureka Seven; I’ve had a lot of fun writing about it, but most of all, I want to recommend it. It’s not a formulaic mecha series, it’s not about battles-of-the-week; it values life, has a positive message and blossoms into a particularly gut-wrenching and epic tribute to love; not love on a superficial level, it’s hardly a "physical" series at all, rather it’s just brimming with feeling, the idea that peace is possible and that enlightenment is attainable. It borders on trippy and loses much sense of comprehensible realism, but this is pure animation, the boundless freedom and the feelings of artists conveyed through the power of a blank page and colour. I love that Renton can dive from an air-ship and surf through the clouds, just as I love that Eureka gradually sprouts wings and can fly like a butterfly.

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