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updated 09.15.06
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New Evangelion Anime Confirmed
The upcoming October issue of Japan's Newtype Magazine contains a confirmation that Gainax has plans to produce a series of four new Neon Genesis Evangelion motion pictures. The four movies will be an alternate re-telling of the television series story. The new films will be designed to be more accessible and more easily comprehensible to average viewers and viewers not familiar with the original TV series. The first new Evangelion film will be released in Japan next summer.The Japanese "Rebuild of Evangelion" fan site hosts an image of the Newtype Magazine announcement.
Source: Anime News Service and Rakuga Kidou
'Voltron' Blows Away 'Invader Zim'
New Record Seller for Media Blasters
September 15, 2006The first Voltron release from Media Blasters, Voltron Collectors Tin One ("Media Blasters Gets Voltron: Defender of the Universe"), is selling ahead of projections and will be the company's new first month top seller, according to Barbara Herman, Senior Vice President of Sales and Marketing at Media Blasters. "The first two days are trending at 115% of initial estimates and we expect even better news this weekend," she said. "We are certainly looking at a new release sales record for Media Blasters, surpassing our current first month top seller, Nickelodeon's Invader Zim."
Best Buy has a two-week exclusive window on Voltron Collectors Tin One; the release date for its window was September 12th. Wal-Mart has the regular edition. The "account wide" street date is September 26th.
Media Blasters has shipped its second run of product, and is "pushing to get more manufactured as quickly as possible."
Best Buy has the $39.95 MSRP set listed on its Website at $22.99, but is sold out online. The set is widely available in Best Buy brick and mortar stores, however.
Trans World has a two week exclusive window on Voltron Collectors Set Two, which will be released in November.
There are eight Voltron DVD SKUs in all: five Voltron Collectors Sets, and three in the Vehicle series.
Toynami has a beautiful $150 transforming Voltron Lion Masterpiece in the "book-style" box, in addition to other Voltron figures.
Two Devils Due Voltron trade paperbacks are in print; a third is unavailable.
CPM Offers Commercial Downloads on Google
Central Park Media now offers a selection of its Japanese anime and live action titles for commercial download on Google Video.Source: Anime News Network
New Goro Miyazaki Interview Available
Ghibli World has published a spoiler-free review of Studio Ghibli's latest film, Gedo Senki, and an exclusive interview with its director, Goro Miyazaki.Ask John - What Can Fans Expect From Rebuild of Evangelion?
With the announcement of not one but four Evangelion movies in the works, what do you feel they will try to accomplish with them? It is obvious that profit is the main reason. But do you think they will make a clear-cut, happy ending to make it more accessible to the masses? Or do you feel they will keep all the symbolism and abstractness the original series and movies had?
Industry Superstars to Lecture During UCI's New Anime Course
The University of California Irvine Extension has announced a new course titled, "Manga & Anime Explosion: What, Why, How & Wow!" The course's guest speakers will include Gonzo representative Eric Calderon, Head of Production I.G. USA Maki Terashim-Furuta, Bang Zoom! Entertainment president Eric P. Sherman, Digital Manga, Inc. founder Hikaru Sasahara, and many other equally luminary industry figures.The class will meet Tuesday evenings from 7:00 to 10:00 p.m. from September 26 through October 24 and is open to the public. The cost for the program is $185. To register for the course, or for more information, visit www.unex.uci.edu, or call (949) 824-5414.
Anime Today/ rightstuf.com
Podcast FAQ
DH PUBLISHING, Inc.
Tokyo - Los Angeles - London
HIDESHI HINO WINS AWARD FOR HORROR
International Horror Guild Recognizes Japanese Manga Artist
For Achievement in Horror/Dark Fantasy“Bug Boy,” a graphic novel by Hideshi Hino, has been named the best
Illustrated Narrative for 2004 by the International Horror Guild. The
presentation was made at the World Fantasy Convention held in Madison
Wisconsin on November 3, 2005.
Hideshi Hino is known internationally for his terrifying and grotesque
images, both in graphic novels (or “manga”) and in film. In addition to
hundreds of horror manga books, Hino also wrote, directed and starred in
the infamous Guinea Pig horror movies.
Hino’s vision draws upon the horrific events of his early life. His
family was forced to flee China because of anti-Japanese feelings at the
end of World War II. Throughout his life, he vividly remembered the
violence and terror that surrounded his family’s flight to safety. Many
of his manga stories draw from these grim events of his early childhood.
DH Publishing is the exclusive publisher of Hino’s manga in the English
language. Over a dozen titles are available under the cocoro books
imprint in addition to “Bug Boy.” DHP, based in Tokyo, offers a variety
of stunning, visual collections that bring Japan’s vibrant pop culture
to a global audience.
The International Horror Guild (originally the International Horror
Critics Guild) was created in 1995 as a way to recognize the
achievements of those who create in the field of Horror and Dark
Fantasy. Although a juried award, the IHG judges ask that the public
make recommendations through e-mail to help them in their search for the
most meritorious works in the genre.
Howl’s Moving Castle
I haven't seen it either. MH was great and I was glad to see it in a theatre. But I can't bring myself to do dubbed again. At 04:49 PM 6/20/2005, you wrote: Have you seen Howl's? Naw wasn't worth my time. Miyazaki was losing it when he did SA, but now he's completely gone. Not to mention his attitude when I saw him interviewed at the LA premiere of SA, and the way he refused to fix the problem on the Japanese release of the SA DVD. So, all the people who have made him the success he is all these years he basically said, “screw you” by refusing to replace the discs. It got so bad that some individual citizens had to bring a lawsuit against GHIBLI, but I don't believe they won. Of course, none of this comments on Howl, but I was so bored with it and once again all the re-use of imagery (off hand, male lead who can transform into a flying creature, dragon/bird, and gets wounded badly; tarry amoebas used now for the third time since their first appearance in Mononoke) for the third movie in a row now, the simplistic war is bad message, weak Hisashi score again and more cheap laughs from comic relief characters fire god and dog, like hamster baby/ little bird in SA, just killed me.
Ghost in the Shell: Innocence
I felt like this film was made for me:
Not since Amelie have I been so excited about a film. I mean I expected it to be at least good. But this thing hit me in my SF, Japanese, Oshii-fan soul, err, I mean ghost, in the same way a first date that leads to great sex on the very first night, or in a more comparable analogy, the same way S99/WHO/EVA/Leone/Zatoichi did. I love the first GITS, but this, this thing went beyond words for me.
For whatever reason(s), this film hit me deep personally.
Loved the opening and the continuity it kept with the original with the doll/gynoid manufacturing process; And of course K. Kawai’s once again amazing musical score, following in the same style as the first with the high-pitched female Japanese choir and taiko drums, and the brief segue into a part of the first films theme was a wonderful touch (He also repeated this technique during the final gynoid battle at the end by dropping in a couple of bars from the tank fight scene from the end of the first GITS. Brilliant).
I also loved the theme with the dolls (and I also loved the way Oshii utilized that ball and socket design style from the surrealist Belman, Helmer or whatever his name was) and humanity’s obsession with creating robots with humanoid features. I mean, outside of a humanoid shape, which is just practicality in order to work in a human environment, why a human face? As a kid I always hated it when the robots of fiction had human faces (Data), and loved the Robby the robot/Lost in Space and even C-3PO.R2D2 variety. I like how Oshii explored this idea.
And his use of the basset hound went beyond the usual cameo indulgences this time to actually serving as a nice connection to Bateau’s attempts to stay in contact with his humanity.
The way Bateau reacted to the Yakuza was classic fantastic! None of this insults/threats back and forth cliché buildup before the big shootout: As soon as they react threateningly, he starts blasting away. That hard cut from them pulling out their weapons to the muzzle flash from his gun was great! And the way Oshii filmed/handled the action was truly satisfying. He did the same thing with the way the gynoids (love that term) fight: instead of the usual martial arts, they flail their limbs around in all directions very fast like, well, like limp dolls, which was visually very unnerving. Made even more so by having the dolls with beautiful bisque female faces whose expression did not change. I liked the detail of the Major only being able to download part of her self into the doll because of space limitations. Nice touch.
I loved that the story was centered on Bateau, always one of my favorite characters. And I liked how not only he, but also all the regular GITS crew looked older, and in Bateau’s case, wearier, with his sense of humour almost non-existent, a sense that time and his job had taken its toll on him. The scenes of him at home with his dog, the discussions of “dry vs. wet” dog food were wonderful. This movie really put Bateau up there with my favorite fictional characters of all time like The Doctor/Avon/No. 6/Zatoichi etc.
The scene of him and Togusa in the forensics lab, the dialogue with Harraway about dolls, children etc, teamed with K.K.’s wonderfully eerie music and Oshii’s great images was excellent. I find these kinds of scenes far more exciting and engaging than any gunfight, chase or battle. Those static, distorted close-ups of Togusa/Bateau while Harraway was talking were great. I know these kind of scenes drive the anti-anime fascists crazy because there is no movement, which too many critics use as a criticism against any anime. Oshii had the budget to make these characters flop around like Will Smith as a fish, but he chose not to for dramatic effect. And like I said, it was wonderful. These critics will never learn. Either that, or like I said they have something against anime (Roeper), unless it conforms mostly to their preconceptions of how a “cartoon” should be, perhaps accounting for Spirited Away’s success in this country.
This approach of course will kill the fan boys going for action more action, fan service and a quicker pace (which of course, the first didn’t have much of anyway, so I’ve always been surprised by its popularity with the trolls.) Less action, no fan service, more philosophical, more moody, more atmospheric. But then again, Oshii has always done this: In his first film version of a popular series/manga, he does pretty much a straightforward movie version of the original source material. But with the second film in the series (Urusei Yatsura 2/Patlabor 2/Innocence), it’s to hell with the fans as Oshii explores his own interests and obsessions. But he does so still within the context of the original series (Though with GITS it’s arguable that he had already started straying from the source material. Which I, personally am glad of, as by this time, with both GITS films and his influence on the TV series, he is as responsible for it’s popular image as Masamune Shirow).
I love how in Innocence Oshii has his characters throw out random quotes at each other on occasion in a kind of verbal tennis match between the characters. Some reviewers couldn't get over this, even though on at least two times the characters make light of it themselves. My favorite was Bateau's "What, poetics now? We're running out of ammo!!!" I guess critics of these types of interchanges forget that since these characters have complete access to the entire net that they can pull these quotes straight out of the air, as opposed to trying to sit there and come up with something clever themselves.
All the Oshii trademarks are at a highpoint here: His wonderful "travelogue" scenes he does so well
(Actually there's two in Innocence, or more like 1 1/2, kind of like a mini-one before the big one); his attention to detail and fetishism of weaponry and flying vehicles, etc (The opening with the “mono-copter” and the cityscape was wonderful.). I also absolutely loved the scene in the conbini store, but not because of the shootout/action, but rather because of the wonderful tactile quality and textural elements present in the scene; from the texture on the wood to the electronic characters scrolling across the windows to the detail and coloring of the entire store and the items stocking its shelves. Wonderful, and made all the more so by Kawai’s eerie synth humming in the background.
The anti-hacking intrusion scenes at the end were brilliant. They could be total BS as far as I know, but were so well visualized by Oshii’s graphics team, in such minute detail (capturing the essence of the later part of the GITS2 manga from Shirow, in fact. Although here it was much more interesting because of the visuals, whereas in the manga it was an incomprehensible visual mess), that you could’ve fooled me.
So, you ask, was there anything I didn’t like? Yes, but it was minor: that refugee from Battle Angel/Spriggan/name-your-generic-anime with the red mohawk goggles and scissors arm. Where the hell, who the hell, did that come from/designed? Didn’t fit with the other character designs.
This is a film for fans of the GITS universe, primarily Oshii’s GITS and not Shirow’s nor even the SAC TV series (although I have to say that since Oshii became “creative supervisor” for the 2nd gig of the series that it has improved according to my tastes. In other words, it’s less Show-esque action and fan-service and more contemplative and moody. He’s even put her in more realistic clothes as opposed to that thong she wore throughout the 1st series). It should also appeal to those who take SF literature and cinema seriously.
Oshii hasn’t forgotten the importance of silence and stillness (as mentioned previously in the forensics lab scene, but he employs it throughout the film) which have been a hallmark of Japanese films from the very beginning.
Oh, and I liked the sense of hope at the end when the major tells Bateau “Whenever you access the net, I’ll be there with you” or something to that effect.
And, he ended it all on a perfect note with the image of Bateau and the basset looking at Togusa and his daughter, and then at the doll the girl is holding. And then the fadeout with Bateau and the dog, with the city at night in the background, with no words or music, only thoughts of what he must be thinking.
Wonderful. Truly wonderful. It was a great pleasure to be able to re-visit Oshii’s GITS universe again after all these (9?) years.
I couldn’t believe this film could single handedly raise me up out of the muck and bullshit coma of Hollywood SF I’ve been raving against for all these years: A pure, individual SF vision with no concessions; no comedy relief, no repetitive, unnecessary action sequences and genre clichés either avoided or approached differently. Instead we get a serious, philosophical exploration of the theme at hand told by a master visualist, coming together in a experience that is almost extinct outside the realm of literature.
It's cool that in the continuing EVA manga that artist-writer Sadamoto (EVA/FLCL character designer) is taking it in his own direction, instead of just doing a dry novelization of the anime.
He eliminates (for instance, "Magma Diver" never happened, and I think he might have dropped "Jet Alone" as well) some episodes, rearranges and combines others ("Asuka Strikes!")
So far he's added new scenes, for instance a scene where Shinji and the gang run into Asuka at an arcade where she ends up beating up some teen thugs; another concerning a conversation betwen Shinji and Kaji where Kaji spills the beans to Shinji about when he was his age (this scene occurs in the manga just as the cow-turtle Angel is boring through into NERV HQ and Shinji's just returned after leaving because of the Toji affair. Oh, how could I forget: in the manga Toji actually dies from that encounter!). See attachment for "Who the hell are those kids?" cover. The one standing on the side with the hat is the young Kaji.
Gainax has given Sadamoto free range to tell his version of the EVA saga as opoosed to the Anno one, and I think that's just great.
And while he has done what I've outlined above, he still hasn't changed the focus or feel of the overall arc/theme. For instance there's no new Angels and he hasn't left out or changed any important story elements.
But it's still a work in progress. In the manga, he's up to episode 19 in the anime, which was just released last Dec. 2001.
And word has leaked out that the ending will be different than Anno's, so, to say the least, that should be very interesting and something to look forward to (even though I was completely satisfied with Anno's)!
I could accept where I am much easier if I was where I wanted to be.
gits some
Ghost in the Shell Stand Alone Complex TV 1-4.
Stealing a page from Hairy Knowles review style, let me give the background of how this viewing came to be (I promise I'll be brief):
While perusing the new art books at Asahiya in LT and knowing quite well I couldn't afford to buy any of them, I ran into a former customer from my Animate days. We get to talking about new shows we've seen, and GITS:sac comes up. He mentions that a small unofficial animeclub he hangs out with in Irvine is going to be showing the first FOUR episodes subtitled! (this was a couple of weeks ago, and the viewing occured last week). Now, I immediately drop the book I'm looking at when he asks if I'd like to join them. Unfortunately, Irvine is miles and miles from here, and it's on a Thursday night. But, as events below prove, I did indeed risk tiredness and traffic for the event (and I brought along a small notebook to scribble down everything thing I saw and felt, so I apologize for the huge tome to follow, loosely transcribed from my scribblings finally)!
Let me preface this ramble by first stating that, unlike most people, when I am looking forward to a film/tv series, I approach it very suspiciously with a "prove your worthy" attitude.
If it is something I allready adore, say an EVA movie or a GITS tv series, times that standard by ten. Because those things I'm allready impressed by have something huge to live up to.
So, while of course I'm excited and looking forward to something like a Gits tv series, let it be known that this is no biased Trek or Star Wars fan going in with "This is going to be great!"
If anything at all, as I noted above, it's really gonna have to be extraordinary to be worthy of my time, and I'll actually be looking at it with even more of a critical eye.
Anyway, enough of that and onto the show...
There are two opening credit sequences so far. It changes with the third episode. Neither is very interesting: the first consisting almost entirely of clips from the episodes themselves, with almost no new animation at all, which is not the norm with most programs. This is very boring but perhaps was due to time limitations and the first broadcast date. But, the new opening with completely new original animation is terrible! For some reason they've used a very retro-cgi look/style that just utterly fails in my opinion and basically comes across looking like cheap video game animation! It's just terrible and I don't know what they were thinking here. Especially as the series itself is not done in this cgi style (although some of the cgi elements actually in the show, like moving cars, don't look that great either, it must be said)
The TV series achieves a perfect balance between the manga and the film.
The first impressive thing is that the entire original voice cast is back! It was so great to hear Kusanagi's voice again after all these years.
Something I noticed though was that Kusanagi is more bitchier, colder and often cruel (and not just to the bad guys, which I like, but to just about everybody) here, as opposed to the film. I don't like it. She's not like an unlikeable likeable character like, say, Avon from B7. She's just unsympathetic so far. Kind of weird, not sure what they're trying for here. Togusa and Bateau remain the same as in the film. I should also point out how well done little character bits are done here, everything from Ishikawa and another guy (Pazu?) discussing Bateau's new exercise equipment he just bought and why a cyborg needs to work out, to a scene where Togusa's examining some photographs, one of which contains a picture of an attractive young lady in her underwear on a bed, holding up her butt and kicking her legs in the air. Togusa looks at it and comments "My wife does that sometimes."
Just great little great throwaway scenes that really develop/define characters subtley, naturally and skillfully, as opposed to a wasted hour like an American series would do to show character development (STNG anyone?)
Also, Section 9 now has 4 new regular members.
The design continues the brillant still-the-best-cyberpunk-visualizations-in-film from the movie version: weaponry (actually more intersting than the film, which simply adapted existing weapons from today for the most part), hardware/tech, planes, 'copters, rooms and even the seats in the cars are just great to look at!
Action fans will be pleased by an opening confrontation with cyborg geisha in episode #1 that is quite well staged. Unfortunately, the rest of the story just rushes by too quickly to a resolution. Whether that was because of the 20-something running time or lack of story I'm not sure, but it definitely just began and ended too quickly without too much of anything really happening in between. Although the conversation between the Major and Togusa at the shooting range was nice.
I sincerely hope GITS:sac doesn't fall into that bane of police series: the incident/investigation/resolution routine that's plagued everything from Columbo to the X-Files. Admittedly GITS:sac has some intriguing cyber-ideas to play around with, but if stuck in that format rut, I'm afraid it will severly impact the potential for good story telling.
Negatives: Two.
My biggest dislike, and my only concern before having even seen the series, was the Yoko Kanno soundtrack. Neither the opening/ending themes or the soundtrack itself were impressive, although by the fourth episode the opening was starting to grow on me.
The music in the show itself often relied too heavily on the tired cliche (read too Western) of too much heavy metal wah-wah guitar like the Matrix or other American films use for cyber films for some reason.
Also, the music is often out of place, and clashes with the visuals. The end theme seems like something more suited for Bebop, and she just doesn't seem to be able to grasp the cyberpunk concept beyond the cliches. I mean, she doen't have to copy Kawaii, but I would hope she would at least draw some influence from his masterful work on the original film, which was such an important part of it's success. Kenji Kawaii is sorely missed.
I really wish that they would have used Shiro from EVA or the composer of the Kenshin OAV's or Mizoguchi from Jin-Roh instead.
Fan comments: "I don't know what to make from the music in gits:sac. Some tracks are great and add to the mood, some are just plain silly. I don't like the idea of a song with lyrics during a conversation, it kind of clashes, and makes it harder to follow. And the end credit song is just plain bad. It's like a million songs I've heard before, and doesn't fit the gits atmosphere. Mr Kawai would've been a better choise, I guess;" "She's done some great things, but some of her work is just plain bad. I know it's difficult arguing about one's musical taste, but in my opinion, Kawai's music is more present in his anime's, more part of the package."
The Major's outfit is a typical Shirow otaku-wet dream, but comes off as ridiculous when she wears this lingerie-looking thingy around ALL the time, even when she's standing before her boss in his office. It's just too much and takes away from the seriousness of the rest of the show. And the ass shots get to be just over the top and ridiculous, again impacting the seriousness of the piece (ep #2 is particularly noteworthy for a "beyond Gainax" service shot that is destined for infamy. This is the service shot to end all!). The thing is I.G has never really been into this sort of thing, and now that they are, they just don't handle the fan-service stuff as well or know when and when not to use it like the masters at Gainax do. But then again, it has to be acknowledged that this is faithful to Shirow's original source material (the manga).
Fan comments: "It's gotta serve the story. All flash and no substance isn't worthwhile. For example...that UBER-gratuitous fanservice shot of Makoto's ass when she's getting out of the tachikoma (ep 2). That was just BAD. Just like in good movies, CG, sex, violence, cussing should be used for a purpose, not just randomly thrown in there;" "I wish they'd just do away with that outfit, or at least give Kusangi pants, it is totally out of place for the feel of the rest of the series. If one is to take this anime seriously, little stupid things like that will turn a lot of people off. Unfortinely based on the comments from Ghostwriter (I believe might have also been Dwight, or SamuraiNYC) Kamiyama is sticking with it. I do think it makes Kusangi look like she is getting ready to do a porn flick, instead of being a serious investigator and cop."
Much like the re-inclusion of the fuchikomas, and their little comedy relief bits. While I could do without the silly little voices of the machines, once again this is right out of the manga and much more true to Shirow's vision (then again, they've changed the design and name of the little spider mechas (from fuchikomas to tachikomas !?), so...). For my tastes I prefer Oshii's more somber, serious take on things but I don't think nary a fanboy will complain about either of these two issues, as once again they are faithful to the original source material.
But I have to admit also that as far as comic-relief characters go, I was starting to grow fond of the little squeakingbuggers...
Episode #2 is again one for the action fans, as it is basically one long chase scene (a bunch of the little blue tachikoma's chasing/fighting a big tank mecha down a highway). Of course, this being Gits and anime and Production I.G and Japanese it's incredibly well done, exciting and even touching! This is also the only episode so far where I've actually liked a bit of Kanno's music, and one of the few times where the music doesn't seem out of place or cliche. I don't know what it is: perhaps her style is too Western, and where this fits something like Bebop or Macross, here she just seems almost completely out of her element. Call me paranoid, but I have this nagging feeling the inclusion of her in the production had more than a bit to do with GITS popularity over here, and was another "name they could add into the advertising campaign: "with music by Yoko Kanno (like they did with Arjuna), composer of Cowboy Bebop and M! across Plus!!"
Now, usually an episode like this would bore me to tears, but underlying the reason for this tank chase is a very melancholy, kinda sad, reason that gets very emotional by the end of the show and is actually very moving. This is a very good episode.
Episode 3 is the weakest of the lot, with a good underlying idea that isn't really explored/developed and ends up going nowhere. However, the ending with Kusanagi/Bateau sitting talking at a bar is what the series needs more of so far: Subtle character development that isn't forced or wasted (but rather occurs naturally within a story/series) on a entire episode (again, the infamous American approach of writing "Worf" episodes). We even get to meet Togusa's wife, which was cool, but fortunately it's brief and doesn't get turned into a "Worf" episode.
Episode 4 features Togusa more so than usual, and will be a treat for both Yamadera fans and people like myself who really liked his character in the film and wanted to see more of him. And it's also the best in the series so far, as I don't even remember there being an action sequence in this one, as it's completely story driven! This episode's not going to fly with the American audience very well, as opposed to the first two.
Also of note is the notation at the episode title screen of every episode: "Complex" or "Stand alone," notating whether a story is a stand alone or part of a continuing arc. So far only the fourth (and best) has been a "complex."
I guess here I really should stress how fantastic the animation is, and that is almost reaches the quality of the film at times, and takes away the crown from Bebop for best tv animation. And that's no easy feat!
To sum up the first 4 episodes of Gits:sac, while none of these shows are near the overall quality (outside the actual animation) of an EVA, lain or Bebop at their best (especially storywise), the sheer strength of the animation combined with collating the best (and worst, but your mileage may vary: ass shots/tachikoma comic relief) elements of both the manga and the film still make Gits:Sac a very good series indeed. And if they continue to bring the level of the writing up and the level of action down a bit, it's potentially one of the very best anime series ever.
And for me, it's just great to be back in the GITS world.
Now, if they can get some really good SF writing going to match their visual/action setpieces...
Of course the biggest negative side-effect of Gits continuing popularity is that hellywood will allready be working on their live-action version, no doubt starring Halle Berry as Motoko, the Rock as Bateau and Owen Wilson as Togusa. And of course this fabulous production will be under the fine guidance of Devlin and Emmerich.
Any bets?
"Oh, my friend, how can I make poems if this hord of barbarians comes invading my home, with their hairs greased with filth, to drink my wine and scare me to near death?" - A roman poet after the 1st fall of Rome at the hands of the barbarians.
Questions and Answers:
Have you looked at EVA: Platinum edition yet? I wonder if I should rebuy or not.
Yes. Nice artbox, amazingly cleaned up picture and colors, no more of that "jerky jump" between scenes and most importantly a NERV parking decal!! An the booklet is really nice as it has comments from the Japanese staff.
Paranoia Agent?
Satoshi Kon's (Perfect Blue/Millenium Actress/Tokyo Godfathers) first series. Brilliant. More in the lain/Texhnolyze vein of things. Buy now, do not wait.
New GITS vs. old GITS?
Well, Oshii's GITS universe bears little resemblance to either the TV version or Shirow's manga, that's why alot of people hate the movies but love the series and the manga.
I thought the first series varied from good to very good (especially in the last 8 episodes or so, it got really fantastic. And I love the Tachikomas;
what could have been disastrous comic relief characters are really played out very nicely on both the humorous and serious fronts), and so far the 2nd Gig is even better as it has a slower, more Oshii approach.The show where the lone Tachi goes off on his own and meets the little girl and finds the movie directors brain box was brillant.
And the one where they are consigned to the scrap heap.
But their surprise return near the end was excellent and well handled.
I wonder how far Jake has seen into the series?
I though WHR took a while, almost halfway through, to get interesting as every story was the same generic witch event-investigate-conclusion scenario. What kept me going though was the fantastic art design (love the cafe and their headquaters), character design and characterizations, color design and the music.
Manga's EVA: DEATH/REBIRTH
After watching the subtitled side of Manga's EVA: Death/Rebirth, I wanted to see the production notes that are only available on the flip side of the disc. Unfortunately, while you're watching the film on the second side you only have a choice of the English dub or a commentary track by some of the American production team.
Choosing the lesser of two...(Why the notes aren't available on the sub side or why subs are not available on the notes side...only Manga knows...in their wisdom)
Oh my god. Oh my god. Now, let me say that the the way the production notes themselves are handled is very nice. Every and anytime anything fictional or relevant to the story/series is on-screen, you get notes! And it's just great. Very informative and well researched.
But, the 3 commentators: one guy is a voice actor, and his comments were ok. The other guy is described as an EVA expert, and he's actually good and interesting. But the boat sinker is thsi woman who is a voice actress and English adaptation writer for the movie, and maybe even the director for the American version.
Oh my god. Oh my god. Oh my god. Oh my god.
She's giggling and guffawing and talking herself up everytime, especially when she gets all excited and points out how it was her idea to put in the "squishy" sound effect in the scene where Misato shoots the last of Shinji's executioners in the head. Yes, that's right, there was no such goofy sound effect in the Japanese version, but she's "improved" the scene with this addition. At least she thinks so. Sometimes the guys with her seem like their just barely restraining themselves as she giggles at her "brillance." There'll be this awkward silence during which you can just imagine them looking over at her appalled.
Anyway, the much touted improved American-version sound effect basically sounded like a sound from the 3 Stooges where Curly would accidently squirt mustard all over Moe or something like that.
And then there's that brief scene during the begining of the invasion of the Geo-Front (Pop-up note!) where the JSSDF trooper sare firing the flame thrower into the elevator car. In the original, there was just the sound of screaming and the gun firing.
Here she inserted a couple of lines from one of the troopers. And it's not that big of a deal in this case actually, unlike the afore mentioned scene. Didn't need to be there, but I digest... But the way she starts hyperventilating about how she came up with this new line for that scene and starts yelling and carrying on...
And I'm barely 20 minutes into it!!!
Recommended: Witch Hunter Robin
While story wise the earlier episodes definitely suffer from the "Columbo Syndrome" that has afflicted everything from said series to the X-FILES (incident/investigate/resolve), and the basic concept is the old Vampire Hunter D/Blood/Hellsing thing done with witches instead of vampires, just on sheer mood, style and design alone this series is worth a look.
Fortunately, by episode 5 and again around #8 they start to mix things up, and by 13 things really take off!
The visual look is, if you will, a sort of gothic sepia tone that is very pleasing to my eye. The visual pallette is an autumnal brown-black-grey approach that just looks great.
The mood is very interesting as well. It's not as much depressing, or necessarily dark or eerie as it is, um, hard to explain, but like that feeling you get when it's a dark and cloudy day right before it starts raining/storming. That kind of feeling. Kind of a textural thing.The character designs are also very nice, and Robin particulary appealing, (sort of looks like a young Nicole Kidman, done anime-style, if you will, with cooler hair) and the gals will go crazy over the lead male, Amon. The guys will go crazy over the neat guns, too. They're very cool.
The backgrounds are amazing as well, and this show looks completely cel, but I know that can't be true, but they hide the cgi very well for the most part. But the production design here, all the way from the guns, to their coats and especially the inside of their headquarters and a cafe they hang out is outstanding! I just love looking at the characters standing around in the "sets!"
The music is pretty good, not great and I wouldn't buy the cd, but nice nonetheless. The opening theme is not bad.
Something refreshing about it also is the fact that so far no fan service (attention GITS:SAC director)!
But the best thing so far besides the art direction and character design are the characters and their relationships. This is truly a character-driven series, the best characters since Bebop. Even the cafe owner is cool!
Fan comments: "Witch Hunter Robin" on DVD
"Sigh. I really want to like this show, but it makes it so hard. Pluses: great character design (Robin, Amon), great music, detailed CG backgrounds, wonderful sinister, dark, gothic mood. Gorgeous,
evocative OP music and animation.Minuses: dull character design (everyone except Robin and Amon), horrible clash between cel-type characters and detailed CG backgrounds, highly episodic hunt-the-witch-of-the-week plot from ep 2 through about 15, and a backstory that seems to be short on content. Even episodes after 15, when what appears to be the main plot kicks in, are too diffuse, repetitive, and unenlightening about what kind of world the characters live in, and what drives the organization they work for.
It looks like the show's creators went into this project with a lot more ideas about style and mood than they did about plot and theme, and that's too bad."
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"The series has rightfully been called "stylish" by many viewers. There is a certain restraint that pervades the timing, characterization and dialog, that tied in with an evocative sound track and the muted colors of most of the scenes, results in dreamlike mix of fantasy, film noir and mundane matters. To a good extent, the story feels like some of the "psionics" stories from authors like James Schmitz and Frederik Pohl in the 1950's Galaxy sci-fi magazine.
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"I see WHR more as a dystopian "Patlabor" with magic instead of robots. Like Patlabor, the interest is in the interactions of the characters. The "witch hunters" are somewhat dysfunctional team, each with strengths and weaknesses, and it is interesting to watch them play off each other. I can even imagine some correspondences:
o Robin - Noa.
o STN's chief - Gotoh.
o Otah - the a**hole middle manager with the small moustache.
o Amon - Kanuka Clancy?Unlike Patlabor, however, "WHR"'s world is a dreary place, filled with browns and greys, poverty and homeless people. The "Babylon Project" would seem absurdly extravagant here. So far each episode has a self- contained "foreplot", but there's a building tension about what is really going on. "
Hoshi no Koe: Voices of a Distant Star
The amateur, one-man-produced anime masterpiece that took Japan by storm will finally get a chance to impress American viewers with its sci-fi story of separation, hope, and love that crosses time and space. Excellent.
King of Bandit Jing -- Ah, no. Kind of generic, with nice animation. Probably will appeal to kids/young teens who watch Cartoon Network.
Neoranga -- NAhhh. Some nice design from the publicity artwork, but the show itself turned out to be very generic looking/animated and kind of silly. More potential Cartoon Network fodder.
Noir -- This was pretty good. But got generic after a while. Stopped after #15. Wouldn't mind seeing the rest, but don't want to have to pay to do so!
Oh! Super Milk-chan -- This was funny, I liked it. But, like Neko Jiru-so, not so much like anime but more like Ren and Stimpy.
RahXephon: Hailed by some as the next Evangelion. Tried too hard to be the next EVA, instead of taking inspiration from it and doing it's own thing instead of trying to be the new EVA. An impossible task anyway. Fantastic production design, very nice character design and great action scenes, though. Worth looking at, at least, the first few episodes.
Argentosoma -- Started out interesting, but went nowhere by episode 10 so I gave up. Another wanna-be EVA, but not as much as RahX.
Ghost in the Shell: Stand Alone Complex -- Well, goes without saying THE series of the year, and probably next as well.
Nekojiru-So -- I like this, but can't really recommended it, as it really isn't anime in the way everything else here on this list is. More of the kind of thing you'd see in a 21st International Tournee of Animation festival as the entry from Poland. Imagine a moving Salvador Dali painting.
Millennium Actress -- Highest recommendation possible.
Kaidomaru -- Unfortunately, the first Production I.G project I didn't like. The animation style chosen was very sloppy and unattractive.
Read or Die -- Excellent. Highly recommended
WXIII Patlabor -- Good, but is it a Patlabor movie?
