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Column by Scott Green

Worth Checking Out...

There's a wealth of great material on the internet this week, so I'm moving it above the news for this column...

Deb Aoki's About.com:Manga has scored an interview with graphic designer, author and comics connoisseur Chip Kidd, fellow collector Saul Ferris about Bat Manga! The Secret History of Batman in Japan. The book, scheduled to be released by Pantheon Books in October, looks at DC Comics and Shonen King's manga incarnation of Batman. About:Manga also has a preview of the book.

The PsychommuSlamFest Zine has a brilliant look on the building blocks of anime's success in North America and why it can be recreated through the vehicles that brought it to prominence in the past.

Tangentially, let's anime on anime zines of the late 80s

Roland Kelts SOFT POWER, HARD TRUTHS / Manga magnate aims to redraw San Francisco

also, on Pop Japan Travel

(Keiko) Takemiya the teacher

Danielle Leigh's Manga Before Flowers - “Manga for Adults”, be sure to read the comments.

Production I.G posted a Q&A with Le Chevalier D'Eon assistent producer George Wada

Via Anime Nation, Papo de Budega has an English translated interview with general administration director of Toei Animation Kaz Yamashita

A look at the experiencing of purchasing FUNimation's download-to-own anime.

From Patrick Macias Koakuma ageha – The P & I tapes

'Jin-roh' and the problem of depicting history and politics in anime/manga

ANNtv's new Anime Jump Show<, in which Mike Toole talks Galaxy Angel

Matt Alt's BEST ALL-ENGLISH ANIME THEME SONGS DAY

Via Cartoon Brew, 1930’s wartime Japanese cartoon

Via Twitch, giant police robots in Morav

Anime Spotlight: Vexille
To be released in DVD by FUNimation May 20, 2008

Vexille promised the pairing of an updated version of the cell-shaded 3D animation technology used on 2004's Appleseed with direction by Fumihiko Sori, who was nominated by the Japanese Academy Awards for his directorial debut on the live action Ping Pong. Elements of the resulting movie are brilliant. There is a brilliant sci-fi high concept: in reaction to the UN condemnation of android technology, Japan began a new era of isolation. Given the unique Japanese cultural connection humanoid androids (read the Astro Boy Essays for some interesting insight), if the nation began building an economic/social platform around new technology in that direction, compared to the breath of suggestions made by sci-fi, this decade long separation from the rest of the world is not a wholly outrageous conceit. At first glance the movie doesn't suggest that this has yielded the radically divergent development that might be expected as a result of erecting a high tech wall around a nation in the throws of inventing revolutionary, controversial new technology. Though culture and information exchange ended, Diawa, Japan's leading zaibatsu conglomerate continued importing materials and exporting technology; meaning that for the most part, external nations had access to the "things" produced by Japan's technological leaps. Except, the "What is the Matrix?" twist reveals a more provocative idea behind this cover story. The modern personal isolation of everyone behind their own computer screen plays as a nicely ironic counterpoint to what is ultimately revealed about Vexille's Japan. And, the movie works with some brilliant tech design. The workings of the electro magnetic wall around Japan and its functionality as a cloaking/filtering plot device for a sci-fi movie is clever and interesting to learn about. As an obstacle for an action movie, it offers a smart, innovative take on the typical shut down the perimeter wall challenge. For an audience with a properly geeky disposition, the talk of technologies like cyber-viruses and bio-metal should be encouragement enough to stick with the movie.

Unfortunately, once Vexille has to work these ideas into a two hour movie, with characters, motivations, and pacing, it develops into something akin to a sci-fi novel wrapped in a video game, wrapped in a wanna be blockbuster action movie. Chalk it up as another entry in the litany of audacious anime movies that never coalesce into entirely satisfying films. Like X, Metroplis, Spriggan, Tree of Palme or Appleseed, specific components offer the kind of bold, imaginative imagery you would want from an anime movie. And, like those other movies, it lacks a coherent, well structured script and lacks a solid perch to get a handle on what exactly is going on, from which a personal investment could be made in the action.

While the movie leaps for high spots regularly, it is at its most astonishing in a 15 minute, pre-opening credits action sequence. At that point, there are no discernable characters and no expectations placed on the plot. As the parties gather for a meeting between a Japanese representative and various international dignitaries, the tableau is over familiar, the people are broad stereotypes, but the scene affords an opportunity to marvel at the movie's design and technique. The comprehensible use and consideration evidenced in gadgets like a projected, floating keyboard and the reality of the location, such as the snow clogging the mountain road all sell the potential of this direction of animation. For a sci-fi action movie, this more objective look is shown to be an asset in establishing the right mood and tactile impression. As the fire fight ignites, and representatives of the American piece keeping force SWORD are launched in via helicopter exo-suit drop, any robot-on-robot, military sci-fi action fan will be grinning ear to ear. One of nice touches, particular to this action sequence are the infiltrator droids: shot out of the helicopter like ping pong balls, landing in the snow, then seen spider-walking over hardware floors of the meeting spots. The sheen and details might have a distracting "look what we can do" quality, but it certainly looks cutting edge.

With the largely out of context mecha shoot em up out of the way, the movie has to start introducing the Vexille character herself, a Masamune Shirow style commando agent woman, and it has to start directing this SWORD team into the heart of the walled off Japan. The tragic irony of what's to come is that while this movie concerns itself with the enduring spirit of humanity, it's fatally light on that very quality.

Fumihiko Sori comes from a background in digital animation, with work on Titanic as the pre-Ping Pong mile stone on his resume. Yet, what made his work on Ping Pong so powerful was his use of those techniques to capture human perspective. The movie wasn't a Shaolin Soccer goof. He was using those digital techniques to capture the experience of trying to return a full speed ping pong serve. It was people sweating, knowing that they have to react with near instantaneous quickness; knowing they have to calculatingly redirect the attack. The result of seeing through the eyes of those competitors was that you might not have had a high regard of ping pong going into the movie, but going out, you had to respect the sport.

Here, Sori's work feels like one of the Hong Kong movie directors' Hollywood efforts: here and there a trade-mark flourish, but generally stripped of much of what made it significant. As great as the speed and spectacle might be, Vexille is marked by case after case of underachievement. Too much of what happens just doesn't resonate forcefully enough. During a count down scene, the only acknowledgement of the tension is in the pitched music. Particularly after Ping Pong, Sori must have had more in his directorial arsenal? The movie's heavy dismembers himself in the opening engagement. Yet, that proves to be a mistake. Considering that the most hardcore damage that this enforcer does is to himself, and without anything really effectual on his resume, he never has any presence or threatening aura.
Having only seen the English dub of the movie, it seemed like the localization voice actors had to work to make the movie more natural: trying to inject informality into plot-feeding lines, making it sound less action movie over-structured.

Much of the trouble starts with the character design. Current generation video games are often more ambitious than this. Vexille's feathered hair is something of an eye-grabbing look, especially animated in this 3D cell shaded style. But the generic space marine looking guys of her squad, the men in black, the fat politicians, the gray haired general, it's all too stock for a movie that needs an individualistic handle to grasp.

Post Ghost in the Shell, especially the Stand Alone Complex series, anime sci-fi fans have a point of reference for the potential for using technology and politics to construct high tension situations that leverage the introduced concepts. Vexille disappointingly fails in this regard. At most, the concepts in the movie, such as the EM wall around Japan, are motivations for taking action: talking for the mission statement, the ordinary plot devices. Some of those technical discussions are interesting, and some of the designs or manifestations are amazing to look at, but rather than parlay what's unique and engaging about the movie into new situations, it brings back all of the old challenges: break in; evade; jump the gap; make it past three closing doors. This is a movie that already has a look that suggests "video game." For it to then utilize challenges familiar from video game design only reinforces that impression.

Ultimately, it's baffling how many unsmoothed edges there are in the movie. It's full of "Really?!" moment, where the decision to include something is staggering enough to provoke a separation from the narrative

You’re going to sample M.I.A in a market scene? Great music, but isn't it a bit obtrusive here?
You’re going to use "I hate machines, but it's people like you that really piss me off" as the final blow off line?
You’re going to launch a run through the closing gates race after a video game cut scene style mission debriefing?
You’re going to cut to a blood spattered copy of Romeo and Juliet after a tragic death scene?

Vexille's faults stem from areas in which it isn’t what it could have been. The ideas, the creative talent, and the technique all could have yielded a better movie. For some reason, the archetecture of the movie didn't receive the same precise tuning as its surface. The endeavor of animating a work like Vexille is so labor intensive, and so much effort is expended on perfecting images that maybe if you don't have a good narrative guide involved, that aspect falls by the wayside. For what it attempts, and for what it does offer, Vexille is a movie that fans of anime and/or sci-fi should see, even if it might not be a work that receives much thought after it has aged a few years.

Anime Spotlight:
Witchblade
Volumes 2-4
Release by FUNimation

Witchblade has proven to be the Rumble Roses of anime; basically the medium's equivalent of virtual women's wrestling, in that it is drama with chesty women punctuated by women who are naked except for regions of colorful ornamentation that look like gloves, boots, and patches over their particularly explicit bits, grappling and stabbing with blade-appendages. Maybe this is kindof handled with knowing irony, in that these women literally bleed silicon before turning into crystal and crumbling into dust when they receive a fatal wound. In the anime's favor, it's able to present exaggeratedly endowed female characters without completely turning into something of Eiken level grotesque proportions. Then again, a couple of Shonen Jump series, namely Bleach and One Piece, might give Witchblade a serious challenge in that regard. However, if you find a very chest gazing concious work objectionable, because it runs against your feminist views and/or you find that mode of presentation condescending, there is a lot to get agitated about in Witchblade.

In the near future, Japan was wracked by a catastrophic event. At its epicenter, the authorities found Masane Amaha, a young woman with no memory, clutching a newborn baby. Though she initially had no feeling for the infant, eventually the pair bonded and became a family. Six years later, Masane returns to Tokyo, where she is hounded by authorities looking to put her daughter into more stable care.

The other consequence of the event was that Masane became the wielder of the Witchblade, a sought-after object of power (introduced in the like-named American comic) that allows its possessor to unleash various lethal bio-metallic blades. With the Witchblade and the child, she finds herself as the center of a conflict between various corporate entities and powers-that-be, hoping to produce weapons based on the Witchblade, namely, a series of bio-engineered women Clone-Blades (how much of a fan or a Whedon term does "Clone-Blade" sound.)

Maybe the anime incarnation of Witchblade is more interesting for a less jaded audience. As far as putting together a high concept goes, the central premise of a mother, intensely driven to protect her daughter, coupled with the American superhero comic background of a weapon entity that blesses/curses the woman wearing it it intriguingly unconventional. And if you haven't seen too much anime and aren't too familiar with the tradition of misunderstood characters laboring to protect loved ones, it might be interesting to see that dynamic exercised.

But for someone who has seen too many points of comparison, the actions of this mother don't seem too far removed from various teenage males in anime/manga, burdened with super powers and the need to protect their family. Ultimately, it might be the case that the series shouldn't be severely faulted because its 26 year old principal character doesn't act like a 20-something in a way that a 20-something audience would appreciate. The series has faults worth illuminating, but maybe as an older fan, this reviewer shouldn't ream the series because the character isn't a Bride or Ellen Ripley who has their business together AND is a mother lion. Suffice to say, the dramatic sturm und drang often resolves into Pretty Woman, the analytical woman who breaks down when she can't explain or emotions or other copy/paste exercise in storytelling.

The series' running plot meets with about as much success as the mother issues. Admirablely, in the tradition of various fan-favorite anime series, the series is always pushing a running plot forward. The speed and force of this push wavers. There's a black tie-affair turned drinking contest episode that's pretty laughable, almost in a good way, and a beach outing episode, but in either case there's something that is moving events and relationships along. With the series moving through its mid-way point, it has hit several major revelations. Some times surprisingly, it has been smart enough to contend with what an attentive viewer is thinking. It actively acknowledges what the viewer has probably figured out or been asking. Similarly, it never keeps a mystery running too long. This engagement with the viewer has been smart, or at least smart enough to give the viewer credit, but, unfortunately, at the same time, the results are never particularly brilliant.

Director Yoshimitsu Ohashi and writer Yasuko Kobayashi previously worked together on the surprisingly charming comedy sci-fi Galaxy Angel. Working off Makoto Uno's (Gavion, Angel Blade, Dragonaut - The Resonance, for something less chesty Stellvia) colorful, bouncy character design, the reunited pair are able to build some winsome moments out of the characters' eccentricities. Like Galaxy Angel, there is a considerable comedy routine quotient to these quieter, safer moments of this series. It doesn't fit as naturally into the world of Witchblade, and these periods run into some difficulty holding to Uno's models, but given the strengths of the creative staff involved, these are the high points of the production.

For someone who has worked on animating notable action anime, such as Macross Plus, BAOH, and Fatal Fury: The Motion Picture, Ohashi proves to be a disappointing action director. There's little evidence that he has a grasp of fight choreography, his consisting mostly of disconnected leaps and lunges. And there is less evidence that he has a grasp of what's exiting to watch.

Witchblade is FAR from terrible, far from the worst action you've seen in anime. It doesn't fall into the trap of using short hand, such as employing a blinding, bright flash to settle a fight. Instead, Ohashi's problem is that he over essentializes hyper-kinetic anime tussles. Despite the occasional, nasty knee at close range, there's little attention paid to the combatants interacting with each other.

His mind might be elsewhere. Back to the wrestling comparisons, emphasis is on calling attention to the female figure. There's plenty of positioning the bodies, posturing, plenty of orgasmic expressions, all of which sexualizes the fights. If you look at an anime like Airmaster, its easy to imagine what could be accomplished by a dynamically choreographed Witchblade fight.

Taking a step back, Ohashi misses many opportunities to build to more exciting fights. Repeatedly, without reason, potentially good stare-downs simply do not happen. At one point, a character sends out a large deployment of cannon fodder to force another party to back down. The situation is resolved without even a satisfying look at the two sides sizing each other up. Similarly, there is a situation where, with the Witchblade and two Clone Blades involved three, mutually antagonistic parties almost square (triangle?) off. For a minute, it seems like a captivating fight configuration is about to happen. Unfortunately, that's denied when one of the parties arrives too late. Back to the wrestling analogy again, if you don't want these people fighting together, either don't tease that it could happen, or put them face to face, then push one guy out of the ring and write one of the parties out of the fight. Wishing that Masane was a more adult character is one thing. Evaluating Witchblade on its own terms, not doing fighting or fight presentation in more than a perfunctory way is a real problem for the series.

Witchblade is colorful enough, the animation is sufficiently solid that it's a watchable title. If super heroes, especially super heroes with an element of sex appeal are your thing, it might turn out to be compelling. Yet, it is disappointing that it didn't do all it could do with the medium.

Anime Spotlight: Flag
Volume 2
Released by Bandai Entertainment

Especially in light of the world's news, whether it is Kosovo or Kurdistan, an anime that takes a sober, ground level look at the conflicts provoked by a nation trying to define itself and the international reaction to that movement, has to rate as one of the most significant titles to watch. At the same time, that anime sets itself up for high expectations.

Flag is a singular work of anime that employs a unique metaphor for its storytelling. It shows legitimate concern for and interest in its subject matter. For both of these reasons, and for the fact that titles like Flag and Mushishi are signs that there is still some breath in the North American anime industry, and some ability to release anime that isn't just a highly commercialized product, Flag is an anime title that should be seen. Yet, Flag does fall short on some of those high expectations.

Moving past the half way mark of the 13 episode anime series, its concept of telling a realistic war story through the lens of photojournalism is a compelling one, and director Ryousuke Takahashi (VOTOMS, Gasaraki) is practiced at establishing plausibility in the martial mechanisms of his work. While the camera lens view of the action still doesn't come across as a gimmick, other elements introduce a sense of artificiality that has began to erode at the message. Too much exociticism in its portrayal of a fictional, central Asian country, and too much philosophizing in poetic meter during the narration inject a poisonous air of fiction into what is suppose to represent reportage. All of the effort spent carefully framing shots through a camera's point of view, and the illusion is broken by insistent symbolism. Not symbolism introduced by an in-context film editor, but omnisciently selected images that remind you that an external anime director is picking the shots.

In the midst of Uddiyana's factional turmoil, young Japanese photographer Saeko Shirasu took the picture of the "Flag" being raised, and that iconic image became a unifying inspiration. However, conflict flairs up again once the flag has been stolen by an insurgent group. With time tables ticking down, the UN sends a Special Developmental Command unit to retrieve the flag, with Shirasu as the embedded chronicler.

The military geek aspect of Flag is implemented brilliantly. As in cases like Zipang, if there are sufficient details and the portrayed conflict looks right, someone who doesn't know military hardware will be able to accept what they are being shown. Personally, as someone who has a good head for discerning the difference between a unarmed combat that at least nods towards reality from complete movie-fu, but has no real grasp of firearms or military hardware, I can say that Flag entirely conforms to my understanding of how things work.
Takahashi has expressed ambivalence toward working with bipedal robots in modern warfare stories. He handled them intelligently in Gasaraki. And again in Flag, there is a hard won victory in constructing and presenting a weapons system that might have a battlefield advantage. All of the pieces fit together in constructing a coherent scheme for mecha in modern asymmetric warfare. Takahashi's work is thorough in how it develops the concept of these robots. There's a full system for how the machines arrive at the point of engagement, and how they handle in varied situations. While he demonstrates what advantage they bring to bear, he also illustrates how they are not invincible and what liabilities they have.

Beyond the military porn, Flag excels at getting into the heads of people doing their jobs on the battlefield. Shirasu's efforts in chronicling the work of the UN special forces team and how that mission reflectively captures who she is, offers compelling character work with a cast that is not made up of familiar anime types. The multi-national team neither offers a monolithic view of "soldiers," "commanders," and "specialists" or a row of stereotypes. This is well served by the journalistic view of the anime. Characters can be explicit, stating how they view the world through interviews. Or, the anime can take a more subtle approach, through superb character animation, full of meaningful expressions and significant postures.

The camera/mech view of the anime is fed into this discussion, and just imagining the storyboarding work needed to create the effect of telling this story through cameras and cockpits is amazing. There's a component of what Flag is saying that is concerned with seeing/engaging in this sort of conflict, and there's a component of seeing it through the lens of a camera or the displays of a weapons system. The disassociative distance of seeing war through a screen, and the convergence of how war looks in a video game and how war looks to some soldiers in some capacities is given room to develop and assert itself.

Unfortunately, this work is undermined by too much plot, too many pronouncements and too much pontification from a specific character and not enough naturalism for everything that surrounds Shirasu and the soldiers that she's filming.
As relevant and important as the anime's message is, the narrative embellishments make this discussion ignorable. As real as it tries to make the details of war, as good as it is at dealing with people who are trying to get a job gone, what they bring to the work and the cost of the experience, the broader, sociological underpinnings ring false. While its soldiers might not be angst-ridden kids, its view of war turns very Gundam. When dealing with ideology or people driven by ideology, nothing is credible enough to separate from fictional conceit. The UN General who brushes aside casualty concerns might reflect the reality of the situation from the reporter's vantage point, but Flag, is too quick to utilize it as a perfect catalyst for righteous anger. If that General appeared less callous or honestly trying to complete work that he felt was justified and not a straw man target, then the discussion would be far more powerful. On the opposite side of the conflict, the anime desperately needs to get around to humanizing the insurgent provocateurs. Keeping them as an "assassin cult" would really leave an inappropriate Temple of Doom shroud over the anime.

Treatment of ideology hooks into the narrative more closely when the center of focus volleys between Shirasu and her mentor, also on the ground, scoop hunting in Uddiyana. The litany of conclusion, conclusion, conclusion from this veteran war reporter gets tiring quickly, yet it's ceaseless. There have been some nods to the ego of journalists in Flag, with scenes of them filming/interviewing each other. If this pontification on how journalists react to war, and how this specific person sees it, is building on the ego narrative, then that facet of the discussion is being painfully over emphasized. But, that doesn't seem to be the case. This reporter seems to be the mouthpiece of the anime's authors.

If the anime was going to speak through a journalist, it would be useful and appropriate if the subject got to the facts, explained and explored. If there's going to be that much talking, let it be used to fill out the background and context of the Uddiyana conflict. Spell out the implications. Noir PI style ruminations of the war reporters lot in life, and "damn the UN and their bombs" sentiment, articulated by this character add little.

Where the anime needs details and informed insight, it offers platitudes. It is wonderful to see anime take a serious look at the price that the people on the ground pay when they country becomes a battlefield and the effect on the people who make a living watching and capturing images. When it's done by Flag through Shirasu and her lens, it's compelling. When it's done in Flag through other means, it's heavy handed and ignorable.

Applseed 2 Screening Announced

Shinji Aramaki's John Woo produced cg sci-fi action Appleseed: Ex Machina will be playing at 9:45pm on Wednesday, March 05, 2008 at Dallas' Alamo Drafthouse Cinema
See here for tickets

The film will be released on DVD DVD/HD DVD and Blu Ray by Warner Home Video on Mar 11, 2008

Black Lagoon Hits Starz

Starz will start running Black Lagoon Tuesday, February 26 , 12 a.m. on Starz Edge. The gun action anime was released in North America by Geneon USA before the company ceased marketing and distributing anime. The unreleased second season of the anime, Second Barrage, has been running on G4TechTV Canada.

Viz Goes Oceanic

VIZ Media has announced that the next stage of their global expansion is marked by a a new distribution agreement with Madman Entertainment to offer a wide variety of Shueisha manga (graphic novel) series to the burgeoning market in Australia and New Zealand. Shueisha Inc., is one of Japan’s largest publishers and is a parent company of VIZ Media.

Some initial VIZ Media titles to be published will include smash hit properties like NARUTO, set to debut in March, BLEACH, scheduled to launch in April, and DEATH NOTE, which will be introduced in May. Several popular shojo series such as THE GENTLEMEN'S ALLIANCE †, FULL MOON, LOVE*COM and NANA are also set for publication this year along with action favorites that include ONE PIECE, D. GRAY MAN, BLACK CAT and CLAYMORE.

FUNimation Merchandising Announcements

Tokyo-based Toei Animation Co., Ltd. has appointed FUNimation Entertainment, as Agent, to act on its behalf in North American licensing and merchandising activities for one if its signature series: One Piece.

In addition to managing home entertainment and theatrical distribution for the animated pirate adventure series and its films, FUNimation Entertainment is currently securing major partners within all key categories of licensing, including toys and games and collectible figures based on the characters and styling of the series.

The first FUNimation released One Piece DVD hits shelves during Toy Fair. Following an exclusive run in 98 theatres nationwide, One Piece Movie 8 -- the Desert Princess and the Pirates Adventures in Alabasta will be available on DVD on February 19th. The first FUNimation dubbed television series episodes will be released on DVD in May.

Toy Vault, Inc. announced that it signed a licensing agreement with FUNimation Entertainment to create high quality plush, and plush accessories based on “Shin chan,” a Japanese anime series based on the manga written by Yoshito Usui.

Toy Vault plans to launch products that showcase the intriguing personalities of the unique characters encompassed by the property. In addition to standard plush, talking variations, and plush accessories such as slippers, pillows, and puppets will also be made available. The line will ship to retail for summer 2008.

Horn Talks Manga

Via Mecha Mecha Media, Dark Horse editor/manga guru Carl Horn will be giving the talk "The Buisness of Adapting Japanese Comics for the US Market" on March 13, at Portland State University.

Upcoming Bandai Visual Releases

ToonZone notes that Right Stuf lists the fourth and fifth volumes of Super Robot Wars: The Original Generation: The Divine Wars have been announced by Bandai Visual. Volume 4 will be released on 3/25/08 for $49.99, and runs 72 minutes. Volume 5 will be released on 4/22/08 for the same price and running time.

BV has confirmed to Anime News Network that despite the collapse of the HD DVD platform, OVA Freedom will continue to be released on Hybrid DVD/HD DVD disc through www.dot-anime.us

Upcoming CMX Manga Releases

FLAT EARTH EXCHANGE VOL.1
Written and Illustrated by Toshimi Nigoshi
In a world where humans and androids co-exist, the human population is rapidly declining. As part of a plan to help preserve the species, High School student Kotaro Shiga is placed into a state of suspended animation. Waking up a century later, he finds a very changed world where androids are in charge and humans are very scarce. The Androids, whose memories only extend back 22 years, have rewritten history and believe it is they who created humans. With the help of an exiled human prince and an android distressed by his own limited memory, Kotaro is out to awaken his fellow "sleepers" and teach the world its true history.
on sale July 2 o 5" x 7.375" o 210 pg, B&W $9.99 US o TEEN

STEEL FIST RIKU VOL.1
Written and Illustrated
by Jyutaroh Nishino
CMX/FLEX COMIX. A teenage girl, skilled in the martial arts and with fists as strong as steel, defends the people of her village from criminals and bullies. Riku lives with her adoptive father, Rocky, who has trained her in the martial arts. In Riku's world, humans
co-exist with human-like animals, so there's nothing alarming about a "Pig Man" showing up in the neighborhood one day. But this Pig Man is out to shake down a local merchant…and Riku is not about to let that happen. The ensuing battle sets off a whole series of events that reconnect Rocky to his shady past. Follow Riku's adventures as she dispenses justice and keeps everyone on the straight and narrow path!
on sale July 2 o 5" x 7.375" o 162 pg, B&W $9.99 US o TEEN +

TERU TERU X SHONEN VOL. 2
Written and illustrated by Shigeru Takao
on sale June 11 o 5" x 7.375" o 192 pg, B&W $9.99 US o TEEN +

GO GO HEAVEN!! VOL. 6
Written and Illustrated by Keiko Yamada
on sale June 11 o 5" x 7.375" o 192 pg, B&W $9.99 US o TEEN

FROM EROICA WITH LOVE VOL. 13
Written and Illustrated by Yasuko Aoike
on sale June 18 o 5" x 7.375" o 200 pg, B&W $9.99 US o TEEN

MUSASHI #9 VOL. 15
Written and Illustrated by Miyuki Takahashi
on sale June 18 o 5" x 7.375" o 192 pg, B&W $9.99 US o TEEN

MOON CHILD VOL. 11
Written and Illustrated by Reiko Shimizu
on sale June 25 o 5" x 7.375" o 192 pg, B&W $9.99 US o TEEN

YOUNG MAGICIAN VOL. 12
Written and Illustrated by Yuri Narushima
on sale June 25 o 5" x 7.375" o 200 pg, B&W $9.99 US o MATURE READERS

TOWER OF THE FUTURE VOL. 11
Written and Illustrated by Saki Hiwatari
Final volume.
on sale June 25 o 5" x 7.375" o 192 pg, B&W $9.99 US o TEEN

CRAYON SHINCHAN VOL. 3
Written and Illustrated by Yoshito Usui
on sale July 2 o 5" x 7.375" o 128 pg, B&W $7.99 US o MATURE READERS

AME-COMI: ZATANNA PVC FIGURE
DESIGNED BY UDON STUDIOS EKOMS RAEPPA!!
DC's mystical magician casts a spell on the world of Ame-Comi as she becomes the latest addition to this stellar line!
The ZATANNA PVC statue is a limited-edition, hand-painted piece in 9" scale. This non-articulated plastic display figure comes with a base, is packaged in a 4-color window box with J-hook and is manufactured to order. MAZAKALA!
on sale October 15, 2008 * Statue * $49.99 US

AME-COMI: DONNA TROY PVC FIGURE
DESIGNED BY DUSTIN NGUYEN
Wonder Woman's magical doppelganger sibling joins the Ame-Comi sisterhood, in all her cosmic beauty! The DONNA TROY PVC statue is a limited-edition, hand-painted piece in 9" scale. This non-articulated plastic display figure comes with a base, is packaged in a 4-color window box with J-hook and is manufactured to order.
on sale October 15, 2008
Statue * $49.99 US

Speaking of the big two, it's not manga, but Marvel is releasing European comic Sky Doll

SKY DOLL #1 (of 3)
Written by BARBARA CANEPA
Art & Cover by ALESSANDRO BARBUCCI
(Exclusive U.S. ONLY Variant also available)
The internationally acclaimed best-seller is now finally presented in English! Meet Noa, a so-called Sky Doll; a life-like female android without rights, who exists only to serve the State's needs and desires. But when Noa meets two so-called "missionaries" who aid in her escape from her tyrannical master, all hell breaks loose for our cyborg siren as she uncovers clues that she may be much more than just a robotic toy. The first release in a new partnership between Marvel and cutting-edge French publisher Soleil!
64 PGS./Mature Content …$5.99

Miyazaki on Blu-Ray

Ghibli World reports that two of Hayao Miyazaki’s and Isao Takahata (Studio Ghibli's other primary director) pre-Ghibli pieces will release on Blu ray in Japan on July 25th. Plans include Miyazaki’s 1984 Sherlock Hound Theatrical Releas and Takahata’s 1981 Chie the Brat. Both have been given a new High Definition Telecine transfer and will be released on Blu Ray with a mono PCM-track, together with a 16-page full color booklet.

Miyazaki’s pre-Ghibli TV series Mirai Shonen Konan (Future Boy Conan) that was released last month

From From New York Toy Fair

Dark Horse's Toy Fair 2008 announcements included:
Domo
Set for spring release, merchandise based on the popular Japanese NHK mascot Domo. The product line includes a unique self-mailer stationery set, a sculpted refrigerator magnet, an embroidered patch, two separate journals, and a flocked vinyl Domo in four variations. The stationery, photo journal, and patch will release in April, followed by the flocked journal, sculpted magnet, and the limited-edition flocked vinyl figures in June

Classic Brown—Limited Edition

Royal Blue—Limited to 500

Fabulous Fuchsia—Limited to 500
Polar White—Limited to 250

The Spirit

In celebration of Will Eisner’s 1940s classic creation, and the summer ‘09 release of the film directed by comics-to-film savant Frank Miller, Dark Horse will be releasing two separate lines of products based on The Spirit. Spring releases include statues, busts, PVC sets, sculpted magnets, and more based on the classic comics. Soon to follow will be a line of products based on the film adaptation.

MINDstyle
Dark Horse has signed an agreement to act as exclusive sales agent for the entire program of licensed products for MINDstyle—a California-based company which has recently emerged as a leading manufacturer of high-end collectible figures. The initial offerings, slated for release beginning in April 2008, will include deluxe limited-edition vinyl figures and specialty products based on the classic Jim Henson film The Dark Crystal, comics artist Frank Cho’s Liberty Meadows, and award-winning painter Brom’s acclaimed book The Plucker.

Hellboy
Dark Horse Comics is bringing forward a new presentation of some classic merchandise based on the award-winning graphic novels by Mike Mignola. Hellboy, Abe Sapien, and Lobster Johnson will be boxed as a three-pack of PVC figures. The Hellboy PVC figure will also be available in a new book-and-figure boxed set that will include a special new edition of the graphic novel that started it all, Seed of Destruction, with new cover art by Mike Mignola. Additionally in June, a Hellboy ceramic coffee mug is on its way, with a brand-new Mignola design in full color. Dark Horse is currently working with Mignola on a new series of art-based T-shirt designs, which should also be available this spring.

Doctor Who

From Weta Collectibles, the first statue, Dalek’s Destruction, is from the episode titled “Dalek,” from the ninth Doctor Who series, starring Christopher Eccleston. The second piece, The Cybercontroller, is from the “Age of Steel” episode from the tenth series (new series 2006, Part 2 of a two-part story), starring David Tennant as the Doctor. Both statues will be available in May 2008. Also on the horizon is a Sontaran Helmet, with edition size and pricing still to be determined.

Weta Originals Victorious Mongoose 1902a Ray Pistol

The fourth installment of the revered Weta Originals Raygun series will be available in March ’08.

Lenore
Based on original art from Roman Dirge, the latest Lenore PVC set is morbidly charming. Depicting Taxidermy in his chair, looming with his empty-eyed stare, The Spam Witch on her broom with cat and dog in tow, and Lenore in her cute little bunny suit with a knife AND a mallet. The second Lenore PVC set by Dark Horse Deluxe will be available in March 2008.

Vampire Hunter D PVC Set
Based on the illustrations of Yoshitaka Amano, this is the first in a line of upcoming Vampire Hunter D products. Featuring D, Doris, and Magnus, sculpted and painted by Tim Bruckner. The Vampire Hunter D PVC set will be available July 2008.

Serenity
In conjunction with the launch of the new Serenity: Better Days series in March, Dark Horse will be releasing a pair of lunch boxes. Featuring the traditional Serenity logo. The second lunch box spotlights the anime-style art from Mark Brooks and Peter Gilstrap’s Fruity Oaty Bar commercial.

Kull Bust
Following the release of Conan in December, the Kull bust will be available this June.

Samurai Champloo Mini-busts
Busts of Mugen, Jin, and Fuu. The three mini-busts will be sold separately and will be available this July.

Classic Comic Book Characters #8–#12

Dark Horse continues their ongoing Classic Comic Book Characters line with six new “Syroco-style” statuettes releasing in 2008. Slated for a March release, Classic Comic Book Character #8: Grendel will be the first this year, followed by Cutter in April, Green Lama and Ghost in May, The Goon in June, and The Rocketeer in July. Inspired by the "Syroco" statues of the 1940s and sculpted by Yoe

From Figures.com
Koto's prototype for the Nero ARTFX statue

DC Unlimited's Afro Samurai scheduled to be released in March

Toynami's VOLTRON Collectibles

Bandai's Dragon Ball Z

Bandai's Blue Dragon

From CollectionDX

Bandai's Blue Dragon

Bandai's Digimon

Bandai's Dragon Ball

Bandai's Power Rangers

Hasbro Cloverfield

Hasbro Transformers

Funko Sid and Marty Kroft TV

Kotobukiya (Devil May Cry, Front Mission, Patlabor, Super Robot Wars, Evangelion, Shunya Yamashita, Dead or Alive)

Mattel's Speed Racer

Mattel's Kung Fu Panda

Toynami (Robotech/Macross, Voltron, Naruto)

Mindstyle

NECA Shaw Brothers

Yamato

More Drinky Crow For Adult Swim

ICV2 reports that Cartoon Network has ordered ten episodes of The Drinky Crow Show adaptation of Tony Millionaire's The Maakies comic strip. Millionaire and Eric Kaplan, whose credits include Futurama and The David Letterman Show, created an 11-minute pilot, which aired on Adult Swim last March.

Oban Star-Racers Vol. 1 on DVD April 22, 2008

Shout! Factory will be releasing a two DVD, 13 episode set of Oban Star-Racers on April 22 for $19.99
Special features include
30-min. Behind-the-Scenes Featurette
Interview With Creator Savin Yeatman-Eiffel
Star-Racer Profiles
Rare, Original Concept Art
Trailers

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