Tag Archives: studio bones

Darker than Black is the new black

Darker than Black is an enigma. The more I watch it, the less I understand how I feel about it. I wanted to write an article extolling its virtues, for example its deep characters and beautiful art. Then I went back and re-watched season 1 and did a double take, was this the same show I remembered? It was like I was back in the 90s when it was okay for a main character to waste half an episode being introspective instead of advancing the plot. I’d still recommend that people watch it, but be aware that this isn’t the second coming of Cowboy Bebop.

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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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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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Trying to get back into anime movies / Sword of the Stranger

Action from Sword of the Stranger

Writing this now is probably a bit old hat, but I finally got around to watching Sword of the Stranger at the weekend!

Why the delay? I’ve developed a strained relationship with anime movies; having become so used to watching anime in the 20-min TV format, the mere suggestion of watching anything even slightly longer than normal isn’t attractive at all! I might have been institutionalized by TV!

As such, I’ve avoided many of the most important releases of recent years. I still haven’t seen Mind Game, The Sky Crawlers and Howl’s Moving Castle, and I’m embarrassed to admit I still haven’t seen Paprika, either.

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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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I’m one of his twenty faces too

When its first episode finished, I suspect a lot of people probably dropped their interest in The Daughter of Twenty Faces (a.k.a Nijuu Mensou no Musume) right there and then. Going off of first impressions, it’s not flashy at all. The colour palette is subdued, there’s no sensational fan-service and no eccentric personality winking at the camera, it was just a rather straight-up crime-caper that’s a lot like Lupin III. At that point in the series, I suppose I can understand why people might have said that it was dull, cheesy and nostalgic of an era that they have long since lost interest in. I felt much the same way, but something caught my eye (or should I say, my heart?); her name was Chiko, the titular daughter.

The first episode is merely the beginning of her journey. She’s vulnerable, fragile and sensitive, kind-hearted and eager to learn. At the end of that episode, I really felt happy for her, that she deserved this new family, this new adventure. That’s so important for me; nice animation is fine, blazing action is a bonus, but all I really need is that empathy, that desire to cheer on a character or two, and I found that in Chiko. Once you’ve formed that connection, the rest will often fall into place, and now, six episodes in, I’m about ready to say that The Daughter of Twenty Faces (along with Kaiba) is probably the best (and no doubt, most underrated) anime of the spring season.

For Chiko , it’s irrelevant that Twenty Faces is a world-famous thief, because she sees him, first and foremost, as a surrogate father and her savior. It’s a lot like how One Piece‘s Straw Hats are so bound together by Luffy’s charisma; he might be an idiot, but he cares deeply about his friends. Similarly, everything that Chiko’s beloved “comrades” do is for each other, and I can really understand that desire; that contentment shared by the closest of friends is so precious.

We reach an early crescendo in episode 6, as Chiko’s dream-like adventure ends as abruptly as it began, when the harsh reality of living as wanted criminals catches up with her merry band of brothers. It’s a stunning episode, so unpredictable and shocking. Having moments before been sharing their carefree adventures, we’re suddenly dealing with their mortality, watching people, Chiko’s family, die in front of us. As the action explodes within the elegantly painted compartments of a speeding train, the claustrophobia is palpable and I can’t help but think of Baccano!.

To their credit, Studio Bones have done a good job with the production side of things. They absolutely nail Chiko’s agility; her deft movements designed to have all the elegance and poety of a feather in the wind. Depictions of buildings, landscapes and weather are warmly realistic and evocative of a by-gone era; it’s a moody presentation that you can really dive into, almost taste.

Chiko begins the series as a naive 11 year old, innocent, optimistic, trying to grow up too fast. By the sixth episode, she is already 13, having developed into a thoughtful, confident girl with some exceptional physical skill. Seeing her transform into an adult, hampered by emotion, living for and chasing after her friends, is an undeniably compelling experience. She is a nice, convincing person and a character that I want to see smile.

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Past, present and future

To quote rubbish rockers Staind, it’s been a while. Of course I haven’t stopped watching anime, I just don’t have much to say. I could write boring episode reviews, but you know, that’s boring! More than anything I seem to rely on inspiration to write and the feeling now is that I’m either burnt out or just couldn’t care less.

Death Note was great, but it’s fast becoming a weak parody of itself; Light and L locked together – it’s like some stupid sitcom. Code Geass is superficially exciting and features some colourful animation, but it’s mostly just absurd, camp trash; a retooled Gundam for the motaku generation.

Red Garden is one of the few shining lights to emerge from the horrendous winter season. A novelty for TV anime these days; it has a story to tell, it has female characters with integrity and it doesn’t look like it was animated for pedophiles. Score!

Eyes then turn to the spring ’07 season and hope springs anew. I better not be the only one looking forward to Bokurano; imagine an alternate version of Evangelion where Shinji and his giant robot accidentally squish Father Ikari (and his car) underfoot, while Asuka’s a child prostitute and after every victorious mecha mash up, the pilot curls up and dies. As long as the production values are up to scratch (we’re depending on GONZO here, so it’s a flip of a coin really), Bokurano will stun, surprise and shock anime fans not prepared for such cold, hard brutality.

It’s nice to see a couple more TV shows from Studio BONES are gearing up for launch too. I do enjoy dark science fiction and as far as I can see, Studio BONES are up there with the best. “Darker than Black” (with a Yoko Kanno soundtrack!) and “The Skull Man” may sound corny, but coming from the brilliant animation house behind the likes of Wolf’s Rain and Kurau Phantom Memory, expectations are sky high.

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Jyu-Oh-Sei – 10 to 11 – Die, Die My Darling

By becoming the Jyu-Oh, Thor transcends the planet of Chimera in search of the bloody truth hidden beneath the bodies of his murdered parents; after years of waiting, he gets his answers, though it’s not the happy ending he had wished for, and with the thin veil of reality now utterly torn from his shattered grasp, he faces a hopeful future without heritage, without family.

I’m not sure what I expected from the finale of Jyu-Oh-Sei, but given the way this show has slowly fallen from grace, I suppose I was expecting to be under whelmed. That didn’t happen. Unlike other anime, Jyu-Oh-Sei is evidently unafraid of killing off its beloved cast of pretty men and sexy women; indeed, even I was shocked to see Third put a gun to his head and splatter suicide over a bunch of toothy plants.

The last episode was especially exciting and even shocking; as if Tiz romantically dying (for Zagi of all people!) wasn’t enough to throw me out of my comfort zone; I was just as shocked to see that Earth had been destroyed years previous by a giant asteroid. There are some nice concepts hidden within the bevy of bishounen fan-service, not least of all the idea of a planet defending itself against disaster.

As is the case with the rest of Jyu-Oh-Sei, the final curtain suffers from a pure and simple lack of characterization. Although I enjoyed this series, I couldn’t care less about Tiz or Third, and when they inevitably meet the grim reaper, my ambivalence was merely dulled by the fantastic animation; only now do I realize that honestly, I doubt I’ll watch Jyu-Oh-Sei again.

This was a series with such great potential, but its fractured time jumps and quick-fire melodramatic adventures appear to have robbed Jyu-Oh-Sei of any true compassion and impact. Rabid fan-girls should lap this up, but given the complexity of Chimera and the superlative animation from BONES, I can only mark down Jyu-Oh-Sei as superficial eye candy and ultimately, a missed opportunity.

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Jyu-Oh-Sei – 7 to 9 – Blinded from the truth

It’s taken a while, but I’m finally starting to twig that Jyu-Oh-Sei has an absolutely stellar voice cast. Young Thor was played by Minami Takayama, whose best work comes in the form of the insane, eccentric Dilandau of Escaflowne. Thor’s love interest Karin is handled by none other than Romi Paku- in other words, the show stealing voice of Edward Elric from Full Metal Alchemist, and even the heartless Zagi is brought to life by a household name; Kazuya Nakai- the brooding, strong presence behind the likes of Roronoa Zoro (One Piece) and Karasu (Noein). It’s the kind of ensemble cast stitched together only by the deep pockets of Hollywood, so for once, it’s nice to see an anime series with such a well matched, proven acting pedigree.

We’re now almost at the end of Jyu-Oh-Sei and for what it’s worth, I’ve really enjoyed it so far, even if it does feel like a guilty pleasure. There is something about it that is shallow and nonsensical; it’s probably Thor- I just can’t buy him as the “Jyu-Oh”, he doesn’t look tough, he is too trusting and appears to lack the commanding charisma needed to become a true leader. Zagi was a much more interesting personality (strong yet conflicted, passionate yet cold) but having just watched episode 9, I guess that’s him on the sidelines now. I’m getting bored of Third’s antics too, is it supposed to be obvious that he killed Karin? Third’s dark intentions have been clear since the first episode, so why bother with the mystery. A lot of Jyu-Oh-Sei is quite predictable and without the added depth of a few more character-driven episodes, the drama is always struggling against falling completely flat.

Along with the consistently attractive animation, Hajime Mizoguchi’s soundtrack is perhaps the reason why I enjoy watching each and every episode. I was a big fan of the compelling industrial, electronic ambience he contributed to Texhnolyze and here his music is just as immersive; driving the drama forward with heartful acoustics and overflowing strings.

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Jyu-Oh-Sei – 5 through 6 – Lost Love

To my frank and utter bemusement, we are now over half way through the 11 episodes of Jyu-Oh-Sei and although a part of me is glad to see every episode crammed full with so much story and character development, I can’t help but lament a narrative which is clearly moving a bit too fast for its own good, not least of all Thor’s transition from talented kid to Ochre Ring’s respected Top in a measly two episodes.

It is a shame because the rest of this show is outstanding. The planet of Chimera strikes me as a colourful, vast and dangerous place to live, the main characters convey and conceal their ambitions admirably and the story drives ever onwards with themes of love, betrayal, conspiracy and strength. Watching the likes of Thor and Tiz grow into adults adds a real sense of the depth to their personalities and if only we had 26 episodes to play with, the interwoven character relationships could have crushed us with their climaxes; in particular, it would have been great to see a few more scenes devoted to fleshing out such an inevitably tragic heroine like Chen.

Jyu-Oh-Sei is an exciting and immersive experience, but now I’m doubtful it can become a real classic.

Fan-girl translation of the above:

I love Jyu-Oh-Sei! Not that I seen all the episodes in the anime nor read the manga but it makes me really happy to watch how cute they all are 2gether! yay! And aww, Third are sooooo cute!!! Why aren’t boys in the “real” as cute as him? mwihihi ^^
well to everyone who reads this, just watch the anime it’s worth it!!!

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Jyu-Oh-Sei – 3 through 4 – Nature bites back

Again I get my hit of Jyu-Oh-Sei in double dosage, and again I’m left feeling completely intoxicated by it. It’s the story that I love; so thick with detail, almost every scene contributes something new or shocking, continuously building on the already heavy narrative with yet more helpings of tribal politics, social commentary and romantic entanglement.

The only real problem with Jyu-Oh-Sei is the intense homoerotic undercurrent. Consider Thor’s skimpy clothes and Third’s “friendly” personality and clearly this is a show perfect for the ladies’ Noitamina animation block in Japan (having previously aired Paradise Kiss amongst others). I’m not a lady though, so I’d rather Thor put on some trousers and get a haircut- and undoubtedly, it’s this very camp aesthetic style that has made it easier for people to write off Jyu-Oh-Sei- their loss, really.

By episode four, the story is moving into high gear; Third’s gradually showing his hand as both a callous manipulator and devious liar while Thor’s quest for his return home has only worsened after discovering that his space-dwelling life is limited to but a mere 8 or 9 more years; a side-effect of having been brought up in a space colony and then suddenly dumped on a foreign planet. Conspiracies and back stabbings are all being promised, and don’t be surprised if it turns out that Third’s behind it all.

Animation-wise Jyu-Oh-Sei rivals Black Lagoon for some of the most electrifying action scenes of the spring season. Watching Thor take down an ugly insect-like carnivorous plant was a particularly exciting moment; this was a scene full of kinetic motion, painful collision and gravity-defying ass-whoopery of the highest order that was very reminiscent of Miyazaki’s ground-breaking movie Nausicaa and The Valley of Wind.

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Studio BONES’ Jyu-Oh-Sei: First impressions

Of all the new anime debuting this season, the one I was most anticipating was always Jyu-Oh-Sei. I’m basically a massive fan of Studio BONES, and despite a few less than stellar exceptions (Ouran, Kenran); I’m worryingly in love everything they churn out. I could cite Full Metal Alchemist or Wolf’s Rain as my favourite series of theirs, but I’ll take the obscure route for now and say their best work is KURAU: Phantom Memory. If you haven’t heard of KURAU, it’s probably because ADV pre-licensed it back in 2004 and have since failed to release it over the ensuing YEARS.

Jyu-Oh-Sei translates into English as Planet of the Beast King. Imagine a cross between Battle Royale and LOST and you’ll be half way to understanding the story. Two twins get unceremoniously dumped on a deserted planet with nothing but brutal criminals and carnivorous plants for company.

The first two episodes are by far and away the best I’ve seen this spring season; the setting is gigantic, colourful and genuinely alive and the story has a strong pace and direction. Said identical twins ((Rai) one a weakling, the other (Thor) a badass) want to get off the planet but must first face a few home truths- in a land where survival of the fittest rules, it’s either kill or be killed. Thor wastes no time killing those who threaten his life, he’s almost talented at it, but Rai is weak and lacks conviction. It’s suggested that Rai is eaten alive by a particularly violent plant, and Thor even assumes he’s dead, but the fact we see no proof of this death is a big hint that Rai will return in later episodes- and in badass mode too.

We’re slowly introduced to the planet Chimaera and the fascinating ways in which it’s governed. People are just dumped there and there is a shortage of water, so fighting for whatever resources are left plays a big part. Tribes have formed based on skin colour (there are four separate groups) and there is a shortage of women too, so rather than romance being allowed to develop naturally, woman are allowed to pick and choose their husbands; the men have no say in this whole process.

To keep this review to a short enough length, I’ll conclude by adding that the artwork; full of expansive, varied alien landscapes is brilliant. If you haven’t started watching Jyu-Oh-Sei yet and you enjoy a good yarn, then look no further, this is show you’ve been waiting for.

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