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.
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.
If just because there’s something exciting about proving yourself wrong every now and then, I’m trying to watch a bunch of recent series that I’ve snubbed or otherwise ignored in past. This all started when, on a whim, I began watching the kendo anime Bamboo Blade and felt stupid for ignoring it for so long.
Ga-Rei -Zero- is another amongst those I’d passed over in recent years, and, well, it’s a violent story about monsters and stuff, too! If nothing else, I knew I’d get to see some weird creatures breathing fire and crushing people underfoot!
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.
Senkou no Night Raid is at a glance a show with great potential, beginning with its unique setting: Shanghai, 1931. Japanese occupied China showcases the height of Japan’s imperialist power and ambition. However, the show cries out for an in-depth commentary on Japan as an imperialist power. Such a narrative would provide a window into how people in Japan currently feel about the period. The Japanese are clearly still very sensitive and defensive. Even 60 years after the end of WW2, whenever China or Korea reflects on an embarrassing colonial issue, like Korean “comfort women”, the Japanese forcefully deny official government involvement.
(Important notice: This post contains spoilers for the end of Zeta Gundam.)