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Column by Scott Green
Anime Spotlight: 009-1 Volume 2 Released by ADV Films
Shotaro Ishinomori is best known as the creator of a number of the influential Ultraman-like live action tokusatsu works, including Kamen Rider and the bi-chromatic hippy robot Kikaider, as well as the anime/manga franchise Cyborg 009. Like the work of his mentor Osamu Tezuka, he introduced heavier subjects into what were children's works. Cyborg 009 famously ended with its hero sacrificing himself in a fall through the atmosphere in order to bring an end to a war provoking arms-dealer (though the character and franchise received a Sherlock Holmes style reprieve from death.) Ishinomori 's 009-1 or ku-no-ichi, a pun on kunoichi (ninja woman) isn't a younger audience title. It's a sex and spies, kiss-kiss, bang-bang affair written for an adult-male seinen audience, with the original manga running from 1967-1970 in Weekly Manga Action, home of Lone Wolf and Cub and Lupin III. The first episode of 009-1 was a spectacle of anime meets Connery Bond era action that had to be seen to be believed: parachuting out off exploding rockets, breasts bouncing in every cut, and generally sex and violence played to stylish excess. After that, the anime settled down to some degree, but began mixing an intelligent approach to politics with the bananas retro-future super-espionage. Even if she's modest about using them, it is fun to have a heroine with breast machine guns. You don't have to be a fan of the fact that the anime utilizes both bullets AND ray guns and differentiates between them to thrill at the heroine using an Adam West-style Batmobile to cause a trailer to jack-knife in order to shake pursuers; unarmed, taking out a hit team by elbowing the first, grabbing one and using him to launch a spin kick, before cracking the held guy's neck; or an laser pistil duel against a female Terminator stand-in. As modest and well dressed as the protagonist is, the anime still indulges in scenes like a psychedelic sexual espionage indoctrination. Yes, this has been sent up by the likes of Austin Powers, but 009-1's old-school verve is still fun to watch episode after episode. Created in 2006, the 009-1 anime had to deal with dragging a Cold War story into the terrorism age. It's a hurtle akin to digging up Bond for a new decade, or more appropriately, the Bionic Woman. Part of that process was acknowledging that we've moved well past le CarrÈ and Graham Greene. Any assertion that espionage ain't nice, cool or sexy is going to be met with a sarcastic "no really!?" As with Bourne, 009-1 is comfortable with the fact that it can't present this as a revelation. So, it is not phrased as a discussion. The anime opens with the lead killing a man who she just slept with. Later, she sleeps with a woman for information. And after that she bonds with, then lies to and kills a would-be nemesis. Yet, a star council of old men still insist that despite her skills, this is a dangerously compassionate asset. 009-1 is set in an East Germany/West Germany stand-in conflict that is entrenched in an extended Cold War. The states are different, but not necessarily morally distinct. The east harvests those born mutant abilities. The west hunts down and kills the mutants. People in the east are denied everything, People in the west live with a chasm between the have's and the have not's. Cormac McCarthy's No Country For Old Men was published in 2005 and presented a story set in 1980 in which the shadow of the Vietnam War still informed events. No reader had to be sold on that significance. As it depicts a beautiful spy performing ugly work, 009-1 knows that history has shaded grays into the Cold War conflict. With that generally excepted, it can push into the specifics and intricacies. In North America, 009-1 is bound to fall victim to the "looks old" syndrome, in which works that fit into or revisit a previous stage in the evolution of popular design style are dismissed. However, even if decades old fairy tales come to mind looking at the Betty Boop eyes and simple abstraction, the dissonance between the depiction and the events is represent unironically. This design style has a direct lineage to Disney's, and as such the connotation is that at worst, in the third act Bambi's mother will die. Yet, this is not far off from the style that Osamu Tezuka employed for his haunting, morally complex manga Adolf, the story of Adolf Kamil, a Jewish boy living in Japan, and Adolf Kaufmann, a German/Japanese boy as Tezuka followed the pair through World War II and into the latter 20th century. That was published in the weekly magazine Shukan Bunshun, but even when the style was employed for children stories, Tezuka was using it to directly address subjects like Vietnam. This is most keenly evident when the heroine is sent to address an intel courier that is passing information through a port town. She runs into a boy who looks like a classic Disney version of South Park's Pip, who has a dog that looks seconds away from talking, and a "grandpa" who might be drunk, but looks like a cartoon salty dog. Yet, it is apparent that this town is painfully, economically depressed, stripped of all industry except for its use as a military staging base. As the extent to which this boy has been used as a pawn of a compassionless scheme is reveal, the humanity of the story is acutely painful. Yet, the anime is not using the cuteness of these characters ironically, or ripping it apart. It is a tribute to the style employed by Ishinomori, and though it is not what might be expected by a modern audience, it is emotive and serious enough to convey what the story is to trying tell effectively.
Anime Preview: Xenosaga - The Animation Volume 1 To be released by ADV Films September 11, 2007
If you haven't gone through Monolith Soft/Namco's series of Playstation RPGs, Xenosaga is still coherent. Anyone steeped in sci-fi lore can spot a space marine or surmise what's going on with the artificial organisms known as Realians. And as video game to anime adaptation go, this is not one of the slip shot, glorified montages. Yet, even with some context being established, it does seemed staged to excite those who have already played the game. Even ignoring the referential title, from its choral opening with fades of a large cast's faces to an antagonist that seems like the type of irritating foe you'd be itching to personally defeat, the anime has the markings of its role as a game's one-off. The anime looks like it is a valid representation of the games, and if that is the case, Xenosaga looks tailored to the fans who would write philosophy papers on Final Fantasy VII, or to dredge up a dicey bit of game lore, Xenogears. The metaphysical touch points of what defines humanity and the significance of experience, especially pain are broached quickly and directly. This is latched onto a complex cosmology of governments, fleets of alien beings, mega-corperations, and thought-to-be-vanished secret societies. And, on top of that, there are 2001 artifacts with post-Evangelion religious allusions in the form of monoliths, with the kabbalistic name "Zohar". The 12 episode adaptation of Xenosaga: Der wille zur macht could have been unbearably pretentious, but even with its pontifications and notes of operatic music, it feels like it has acknowledged that it is offering a Cliffs Notes version. Large events and large players swap in an out with an "and THEN..." approach to the narrative. With the limited space afforded by the format, the appeal of the anime incarnation would seem to point to the opportunity to see blue haired battle-bot chick KOS-MOS taking out fleets of the alien Gnosis. Director Shigeyasu Yamauchi worked on many of the Dragon Ball movies, episode 16 of Cowboy Bebop (Black Dog Serenade: Jet's back-story), and the Street Fighter Alpha movie. Watching the swarms of Gnosis phase in is excitingly reminiscent of a cross between the "Space Monsters" of Gunbuster and the Shadows of Babylon 5. His choreography here is respectable too. KOS-MOS looks like a competitive martial artist when she's kicking Gnosis mecha and there's a discernible power to the sequences of her blasting foes with her transforming gun-arm. However, the anime runs into trouble with flat production values from Toei. A mech will walk to a victim, lift the person it in pinchers and start squeezing, but from the animation, there is no hint that the machine is doing anything other than picking the person up. The CGI work used for fleets and specific ships is similarly workable at best. While the sheer numbers of the Gnosis establish them as a threat, when a specific ship is intended to be impressive, the notion is strictly conveyed through the dialog.
Kurau Phantom Memory Volumes 2 and 3 Released by ADV Films
Watching Kurau Phantom Memory is like listening to a hard musician singing about their kid. It's not exactly possible to hold the sentimentality against them, but you'd wish they'd kept the baby picture thoughts in their mental wallet. The anime started out in a frantic pace for its first episode. Set a century in the future, a researcher takes his daughter, Kurau to his lab. Given that this is sci-fi, of course there's an accident, and her consciousness is replaced by that of a binary, energy based organism known as a Rynax. The anime jumps forward a decade and Kurau has become a field agent for hire, whose special Rynax based abilities and longing for her paired half have made her a restless thrill seeker. Yet, the anime does not spend much time with the adult, agent Kurau either, because as soon as the it demonstrates this, she finds her other half: a girl who looks like herself at age 12, who she names Christmas. After another brief interval in which Kurau and Christmas live a calm, domestic life, which in Kurau tries to refuse dangerous work, government officials begin hunting down Rynax and the pair are on the run. Episode one introduced the Rynax, and that looked like it had the potential to be conceptual sci-fi worthy of some exploration. It also made the spectacle of Kurau in action significant. The use of yellow light was just enough emphasis to make flight, phasing through solid space and feats of strength something fantastic and not just the work of yet another super powered action hero. As the anime shifted into the stable formula of episodic Fugitive stories, the animation of Kurau's action scenes remained remarkable, but her abilities, and the sci-fi concepts disappointingly became plot devices. Though, to be fair, it was not exactly a Masamune Shirow work to begin with. It's a BONES production, and that studio has covered plenty of themes in their relatively short existence. It's written by Aya Yoshinaga, who worked on Speak Like a Child, the Faye betamax episode of Cowboy Bebop, some Fullmetal Alchemist, some Wolf's Rain, some of the Azumanga Daioh anime and the anime/manga of Crest of the Stars. The opening starts with an early twenty-something woman and what looks like her younger sister dressed like they are playing out Little Women on a sci-fi landscape, and in retrospect, that doesn't exactly scream out: science and violence to come. Even if, looking back, it is apparent that families struggling to reconcile changes and tragedies has been the theme of the anime since its first episode, it is disappointing to see the anime not continue to develop as a heady sci-fi. At best, the Rynax concept is acting as a metaphor in stories about a young kid who is jealous of his baby sister or couple where the husband feels guilt and betrayal by his wife who went away to work and came back in a coma. But, the notion that Kurau and Christmas are binary energy beings neither illuminates those matters or makes them more compelling. The human drama has not benefited the sci-fi and the sci-fi has not benefited the human drama. As Kurau, Christmas and the rest of the ensemble run from spot to spot, where they solve or cause a problem, then move on, too many of the players have too little depth beyond their role in the routine. Ultimately, all these smaller problems and stop-off's have begun to look like little more than construct to offer the characters something to do. In addition to just beyond realistic action, director Yasuhiro Irie handles the principal characters impressively. Working with character designer Tomomi Ozaki (Le Chevalier D'Eon), the anime is consistently convincing in the visual depiction of characters. Kurau in particular comes across as something new in anime. Lean and muscular, she doesn't fall into the traditional busty or faux-sexless mold of anime heroines. At the same time, she is always convincing as she runs through a wide range of emotions from fearless, to content, to annoyed to physically and emotionally wounded. If anything, the anime is too fond of how well it handles her flexibility and occasionally plays dress-up with the character, such as putting her into a frilly outfit for a brief stint waitressing, or a NASCAR jump suit for a briefer stint as a competitive combat robot pilot. Unfortunately, Irie is also a very blatant storyteller. The series itself might be heading for a swerve, and it is too mid-process to know whether the whole arc does anything noteworthy. The problem is in the specifics. Events are predictable to begin with, and Irie is guilty of not accounting for the likelihood that the viewer will anticipate what is coming up. Rather than accept that and play to the eventuality with atmosphere, the direction is illuminated with neon signs, and the forgone conclusion is anticlimactically arrived at. Kurau and Christmas are invited to lunch with a short time employer who gives Kurau a strangely light briefcase to deliver. By employing the familiar stage for a set-up without suggesting that the viewer should feel a sense of tension,the lead is damaged. Kurau comes out looking like a dunce. Rynax invulnerability or not, this a character who made her living as a freelance special agent, and did, initially display some critical thinking. Telegraphed scenes constantly plague the series. A hard police investigator learns the name of Kurau's associate and flashes back to her own Christmases past. She's the daughter of a high ranking police official; she's in a nice house with large windows; she sees it has starting to snow; she runs out, up the hill behind the house where she has a perfect view of the family. If at some point in this process you haven't guess that a massacre is coming up, you probably do not consume much media. Irie executes the scene as if the conclusion will be a shock. By failing to acknowledge that the event was apparent long before it took place, by the time that character runs back to the site of the tragedy and slips on blood, it had already become farce. In cases like this, you don't feel smart or even jaded that you guessed what's going to happen. Instead, it looks like Irie missed something by not guessing that you'd guess what's about to happen.
Manga Spotlight: Space Pinchy by Tony Takezaki Released by Dark Horse Manga
Most manga is entertaining, but disposable. 10 years down the road, if you were moving, how much of your collection would you keep? Then, there's "bookshelf manga": the Osamu Tezuka classics, Akira; things that stand as testaments to the significance of the medium, which you'd like to personally preserve in some way. Then, there's bathroom manga: titles that are perfectly turned to thumb through for a couple pages worth of amusement. Dragon Ball creator's Dr Slump is ideal bathroom manga, and not just because it's often scatological humor. Space Pinchy is ideal bathroom manga, and not because it is spank material. Rather than titillating, Tony Takezaki's full color 3D, CG is so awesomely inane that it can't be glanced at without a smirk. Space Pinchy is special in the least PC sense of the word. Pinchy herself is a pink haired Barbie doll who flies around space in a ship that looks like a sex toy, accompanied by her blue imp sidekick Audrey Q, who really does little beyond sexually harassing the protagonist. Like Galaxy Angel, Pinchy is cruising space search for the relic of a lost civilization, but unlike that case (at least in the anime of Galaxy Angel), Space Pinchy goes strictly for kitsch rather than cleverness. There is no mistaking Space Pinchy for anything other than what it is, and in acknowledging that it's explicitly unintelligent, the manga largely leaves the irony in the hands of the reader. Despite a pair of classic pulp science-adventurers, a block-headed robot that looks like a wind up toy, and various other red and blue foes that look like nods to the classic cyborg Kikkaider, the joke is not that this is a parody. The brilliance of Space Pinchy is its absence of brilliance. The point of each 15 page story is to put Pinchy in some peril that necessitates that she activate her, pinchian anti-pinch gene, in which her body transforms into what ever is needed to deal with the particular crisis. For example, in the first story, she hulks up Dragon Ball Z style, with her space suit shredding and hair (including pubic hair) spiking out. Most of these situations suggest some sort of fetish: Pinchy in a teacher's glasses and with pointer, bound up in some wacky contraption, painted gold, groped by tentacles or the like. The meta fun is not so much in leering at the buxom pink haired lass as it is gawking at the manga itself in the contortions that it undergoes to flaunt this character and its crude sense of humor. There is not much call to own more than one volume of the manga, but, fortunately, that's al there is.
Live Action DBZ To Start Shooting
The Montreal Gazette reports that 20th Century Fox is excepted to shoot three big budget movies in Montreal, including the long awaited Dragonball Z live action, Night at the Museum sequel Another Night and a remake of Fantastic Voyage. The budget is expected to be over $100 million.
Tezuka's Dororo Schedule for North American Release
Anime News Service notes that Amazon lists that Vertical will be releasing Osamu Tezuka's Dororo in April 2008. The manga follows a boy whose father sold his son's to a host of 48 demons. The worm like infant was them sent to float down a river, where upon he was discovered by a doctor who created an artificial body, which the boy used to fight the demons and regain pieces of his original form. The manga was recently adapted into a live action film starring Kou Shibasaki and Satoshi Tsumabuki.
20th Century Boys to Become Live Action
Twitch reports that Urasawa Naoki's (Monster) 20th Century Boys will be adapted into a live action film (originally reported to be an anime). The suspense drama follows a would-be rocker turned convenience store works who discovers that a terrorist cult is acting out the imaginary games he played as a child. The film is scheduled to open in early 2008. The manga is scheduled to be released in North America by VIZ Media when Naoki's Monster completes its run.
Evangelion Movie
Heisei Democracy interviews the Rebuild of Evangelion movie here. Memento has impression here. Anime News Network has a run-down of the new characters and mecha showcased in the "next episode preview" at the end of the Evangelion movie here. Some preview images are online here Canned Notes notes the human sized Spear of Longinus spiraled auction into funny numbers over 10 Billion yen.
Afro Samurai on iTunes
FUNimation will begin offering Afro Samurai on iTines starting on September fourth. A promotional contest at here is giving away custom iPods with art by the creator of the original Afro Samurai manga, Takashi Okazaki.
Upcoming Ghost in the Shell Releases
Anime on DVD lists that Bandai Entertainment/Manga Entertainment will be releasing the Ghost in the Shell: Stand Alone Complex Season 2 Set on October 18th for $99.98. The Ghost in the Shell: Stand Alone Complex 2nd Gig: Individual 11 compilation movie will be released on December 18th for $24.98. Bandai Entertainment will be premiering the war documentary-style anime Flag on November 6thh.
Production I.G Talks News OVA
According to Production I.G's English language page, the studio has teamed with BMG Japan to produce a two-volume OVA (direct-to-video) animation entitled Tokyo Marble Chocolate. The OVA, based on Production I.G's original story, celebrates the 20th anniversary of BMG Japan. The DVD release in Japan is set for December 2007. "A pure love story, colorful and sweet, yet a bit bitter. Just like a piece of chocolate." The two videos revolve around a love story told from the different viewpoint of the two young lovers, a girl named Chizuru and a boy called Yudai. The first episode is seen through Chizuru's eyes, and is inspired by SEAMO's song Mata Aimasyou (See You Again), describing the mixed feelings just before the anticipated separation from the loved one. The second episode follows the story from Yudai's perspective, and is inspired by SUKIMASWITCH's song Zenryoku Syounen (Full Powered Boy) that portrays a young boy who breaks his defensive shell open and runs for the future. Staff includes Director: Naoyoshi Shiotani Screenplay: Masaya Ozaki Character Designer: Fumiko Tanikawa Character Designer / Animation Director: Kyoji Asano Color Setting: Idumi Hirose Art Director: Shichiro Kobayashi 3D CGI: Atsushi Sato Director of Photography: Keisuke Sasagawa Songs: "Mata Aimasyou" (See You Again) by SEAMO "Zenryoku Syounen" (Full Powered Boy) by SUKIMASWITCH The official Japanese site is online www.tokyomarble.com
Anime Games US Bound?
Gamasutra has interviewed Ken Koyama from the US office of game company Yukes, who indicates an interest in releasing Votoms and Berserk games in North American. In Japan, you guys have done some anime-licensed games like Berserk and Armored Trooper Votoms. Are those the kinds of things that you're thinking about bringing out here? KK: Exactly. We're trying to see what we can do and what we can bring over. There's a lot of IPs that are out there that we haven't brought over yet, and that's one main reason why we have Yuke's Company of America. As a property, Berserk has a really hardcore fanbase. Maybe not very big in the U.S., but they're very into it. KK: Right.
Live Action News
From Canned Dogs The live action Higurashi/When They Cry movie will only adapt the first part of the story(Onikakushi-hen/ the first four episodes) New cast a announcements include Sugimoto Tetta as Ooishi,Kawahara Ayako as Takano Miyo, Tanaka Koutarou as Irie Kyousuke and Taniguchi Masashi as Tomitake Jirou. A brief looks at the Higurashi follow-up Umineko no naku koro ni is online here The live action of teenage wizard school action comedy Negima will feature 13 year of Kashiwa Yukina as Negi (a female playing a male role), and Hiroshi and Aikawa Nao as Takamichi and Shizuna Creator Ken Akamatsu blogged that the live action drama will run two seasons.
Tezuka Manga Adapted into Play
According to Anime News Network, playwright Natsu Onoda is writing and directing "Trees and Ghosts", a play based on Osamu Tezuka short manga. "Daishogun Mori e Yuku" (The Great General Goes to the Forest), "Sei Naru Hiroba" (Sacred Plaza), and "Tenteke March." According to Onoda, all three are "modern folk tales" that interweave motifs from traditional Japanese mythology with the reality and memory of World War II. The play will premiere on November 8 at the Gonda Theatre, on the campus of Georgetown University in Washington, DC. Performances will be held until November 17 for tickets, see here
