tag:blogger.com,1999:blog-54551086713649922972024-03-05T00:58:54.869-08:00The Golden Ani-Versary of Anime (1963-2013)50 years since the debut of the Tetsuwan Atomu anime and still going strong. This blog will cover each year in chronological order and highlight the important changes and landmarks to the anime industry since then.Geoffhttp://www.blogger.com/profile/02385629483209026981noreply@blogger.comBlogger61125tag:blogger.com,1999:blog-5455108671364992297.post-3014165591143811812013-12-28T16:43:00.000-08:002013-12-28T16:44:27.521-08:002012: O Brother, Where Art Thou?<div class="MsoNormal" style="line-height: normal; margin: 0in 0in 7.5pt; mso-layout-grid-align: none; text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span style="color: #2e2e2e; font-family: 'Constantia','serif'; mso-bidi-font-family: Constantia; mso-bidi-font-size: 12.0pt; mso-fareast-language: JA;"></span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVoBnciDVbmSTthldEyC78Une3UytvWoryGO1djZPso7hGRiVVzb5yS7ADHp165PmM9RNv8sftbtxi2mEesSsEYDB0ZpWq9wo5XNNzz5TuzsMO2K1k25w32aGQwUcriCs78BBQYjqzHUQ/s1600/printing.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="100" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVoBnciDVbmSTthldEyC78Une3UytvWoryGO1djZPso7hGRiVVzb5yS7ADHp165PmM9RNv8sftbtxi2mEesSsEYDB0ZpWq9wo5XNNzz5TuzsMO2K1k25w32aGQwUcriCs78BBQYjqzHUQ/s200/printing.jpg" width="100" /></a></div>
<i>The author is a life-long fan of anime. The author first acquired a taste for anime at the tender young age of five and has never looked back. The author spends far too much time treading back and forth between Japan―their homeland―and the United States, where they currently reside. (Apologies for the anonymity, but it was requested by the author. - Ed.)</i><br />
<br />
<hr />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0ql5UPhbo19PKFi0iy53YU1yt52Z7adRGEsIkgAbQFw_u3GFho7LgIwII7kOQMNBEHZYpB65lPC0wX2Ba6CQVmuPoP7nQbTcbd8Erev3t1dApjZrEJM0lw93RvtL7c5DJ9cbeR-DUpVo/s1600/imouto.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0ql5UPhbo19PKFi0iy53YU1yt52Z7adRGEsIkgAbQFw_u3GFho7LgIwII7kOQMNBEHZYpB65lPC0wX2Ba6CQVmuPoP7nQbTcbd8Erev3t1dApjZrEJM0lw93RvtL7c5DJ9cbeR-DUpVo/s320/imouto.jpg" width="213" /></a></div>
On December 31st, 2012, I walked out of the Mandarake in Akihabara into the chilly Tokyo night. After three days at Comiket, I was beat, but not beat enough to forgo the chance to pick up some last-minute goods before retiring for the night. On my way out, I saw a sign on the shop's door:<br />
<br />
"The word of the year is '<i>i</i><em>mouto</em>'."<br />
<br />
So here we are, nearly fifty years after <em>Tetsuwan Atomu</em>. Our long, meandering journey through the history of anime leads us to this pithy little sign posted outside on of Tokyo's largest otaku interest shops, and the word of the year is "<i>imouto</i>". In one simple, elegant sentence, the staff of Mandarake evoked the zeitgeist of a generation: a generation who worships archetypes, not characters; a generation sensitive to trending words and phrases; a generation who revels in the predictability of industrially-produced plot lines and personages. There is no lament in the sentence, "The word of the year is '<em>imouto</em>'." Only glee. In Dostoevsky's immortal words, from universal reason, we have arrived at universal madness. <br />
<br />
<a name='more'></a><b>The Challenge of Recent History</b><br />
<br />
In the not-so-distant past, anime was dominated by a few good shows. Their names are familiar to us even today: <em>Space Battleship Yamato</em>, <em>Mobile Suit Gundam</em>, <em>Slam Dunk</em>, <em>Neon Genesis Evangelion</em>. These mammoths of anime crushed everything around it and obliterated them from our memory. It's tempting to tell the history of anime as the history of seminal, groundbreaking, and massively popular works. The passage of time and the power of hindsight helps writers separate the winners from the losers.<br />
<br />
Unfortunately, I am writing about events which occurred less than a year ago. Time and hindsight are not on my side.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/icfylmVyGlE" width="420"></iframe></center>
<br />
Was there anything truly groundbreaking in 2012 to begin with? Not really. We had nothing approaching the level of <em>Space Battleship Yamato</em>. We didn't even have anything that could draw attention away from the dominance of <em>Puella Magi Madoka Magica</em>, really. The most-talked about show of the year was a series which many may have found daft and shallow: <em>Sword Art Online</em>. I'm not saying that 2012 was a sea of mediocrity, but to claim that shows like <em><b>Joshiraku</b></em>, <em>Jinrui wa Suitai Shimashita</em> ("Humanity has Declined"), or even the televised series for <em>Jojo's Bizarre Adventure</em> was groundbreaking...that's grasping at straws.<br />
<br />
What do we find in the calm seas of 2012, then? There was a lot to love: from the aforementioned triad of wickedly funny shows (that all seem to start with J) to strange love in the form of <em>Mysterious Girlfriend X</em> and <em>Sankarea</em>, 2012 dished out its fair share of contenders.<br />
<br />
Oh, and, of course, we musn't forget the slew of <i>imouto</i> characters.<br />
<br />
Mandarake was right when it deemed "<em>imouto</em>" ("younger sister") the word of the year in 2012. The little-sister sorts practically invaded our airwaves. There was <em>Onii-chan dakedo Ai sae areba Kankei Nai yo Ne! </em>(<i>OniAi</i>). There was <em>Kono naka ni hitori, Imouto ga iru! </em>(<i>NAKAIMO</i>). There was <em>Papa no Iu Koto wo Kikinasai! </em>(<i>PapaKiki</i>), which, if we're not going to split semantic hairs, was totally an <i>imouto</i> show...just with higher stakes. Finally, let's not forget about the one <i>imouto</i> show that garnered the most controversy, <em><b>Nisemonogatari</b></em>. (You can't hide behind your faux-fine-art facade, Shinbo.)<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/Xzcr93Ng1QQ" width="420"></iframe></center>
<br />
Deny it or not, the Little Sisters have inherited the Earth.<br />
<br />
<b>The Road to Madness is Paved with Characters that All Look the Same</b><br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXfm7uWdFVUcpHUvcIAu-LybKqO5r0NMqrhobYYRKG-6J2RNLICqTelVS3_QZrd9QGjg0a7YkQnrQ0sO4Rh9yuVVxWF2wuBK4_qxKDFlaV285klLJ1SqM5tTKYvgmLf-r-cnl1WBViKHE/s1600/Picture+2.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXfm7uWdFVUcpHUvcIAu-LybKqO5r0NMqrhobYYRKG-6J2RNLICqTelVS3_QZrd9QGjg0a7YkQnrQ0sO4Rh9yuVVxWF2wuBK4_qxKDFlaV285klLJ1SqM5tTKYvgmLf-r-cnl1WBViKHE/s200/Picture+2.png" width="195" /></a>How did we get here? Let me take you back to a conversation I had in the winter of 2008. Picture a small, smoke-filled karaoke box in Ueno, filled with ten or so 30- to 40-year old Japanese men celebrating the end of both Comiket 75 and the year itself. I'm sitting across a small table from Tomo Kataoka, author of <em>Narcissu</em>, one of the most highly regarded visual novels ever made, and head of "Neko Neko Soft", one of Japan's oldest and most highly-regarded <i>eroge</i> production outfits. Tomo's been writing text-and-sex adventures before most of us even knew how to pronounce anime correctly, a true veteran.<br />
<br />
He takes a drag from his cigarette, looks at me, and says, "Look, I'm glad you're really into <em>eroge</em> now. I really am. We need more young people playing our games. But you young people..." He pulls another drag. "...are all the same. You start playing <em>eroge</em> when you're 18 or 19. You're really into it. You love the sex. The romance. The girls. The art. The voice acting. The music...everything. By the time you're 22, you've seen it all. It doesn't interest you anymore. You're out. You move on to better things." He snuffs out his cigarette.<br />
<br />
"But..." I say.<br />
<br />
"Or," he says, lighting another cigarette, "you become one of them."<br />
<br />
He tilts his head, indicating the other men sitting around the table. They nod their heads in agreement. "These guys have been playing <em>eroge</em> longer than most people in the industry today have been making them. The girls are all the same to them now. When they play, they look for a certain type of girl. I bet you one of these guys sitting here with us today is really, really into <em>tsundere</em>."<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsn9uVowksAJbgJcjc8Bf7zkcdda56FS92hvwSWW6cjegZAEJ9U6i549UVCWcl7yzMLdl0_89NgO84RucGhqawChAF5KdrfJoMs1pUH4z-6g_39XH7Ly_1ES3U_woLKg00YB7s1c5Qwdw/s1600/Picture+3.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsn9uVowksAJbgJcjc8Bf7zkcdda56FS92hvwSWW6cjegZAEJ9U6i549UVCWcl7yzMLdl0_89NgO84RucGhqawChAF5KdrfJoMs1pUH4z-6g_39XH7Ly_1ES3U_woLKg00YB7s1c5Qwdw/s200/Picture+3.png" width="198" /></a>A mousy, bespectacled man with messy hair raises his hand. "Yup," he says, "That's me." And so on, and so forth. A different man claimed dominion over each different archetype.<br />
<br />
"You see?" Tomo says, smiling at me. "It's not about the characters. It's about the archetype. When you've seen 100 <em>tsunderes</em>, you know what's up already. You know what you're getting yourself into. You like it. That's why you haven't moved on yet. That's why you're still playing <em>eroge</em> at 35. Everyone else figures it out, gets bored of it, packs up, and goes home."<br />
<br />
That was four years ago.<br />
<br />
Fast forward to 2012. When was the last time a singular character stood out in the minds of anime viewers everywhere? Probably Haruhi. Maybe you didn't like the <em>Haruhi Suzumiya</em> franchise, but you damn well knew who she was. These days, the spotlight's shared between a handful of characters: the girls of <em>K-On!</em>, the girls of <em>Railgun</em>, the girls of <em>Madoka Magica</em>, the girls (and guys) of <em>Steins;Gate</em>, et cetera. It's telling that every character in the final four of "Saimoe 2012" was from <em>Saki</em> (which saw its second series roll out in 2012). It speaks to the lack of strong single characters in anime today.<br />
<br />
The reason for this dearth of memorable characters is simple: archetypes. Kataoka claimed that archetypes drive anime. The truly hardcore don't play <i>eroge</i> and watch anime for single characters. They want a repeatable, familiar, winning formula that can be applied season after season, year after year. <br />
<br />
What was the most popular show in 2012?<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/C8Jl_-b7ju0" width="420"></iframe></center>
<div style="margin: 0px;">
<br />
Answer: <i><b>Sword Art Online</b></i>. Its popularity was dominating. <i>Sword Art Online</i> crushed every other light novel sold that year. Asuna Yuki's countenance graced row after row at Comiket 83. People can (and will) debate about <i>SAO</i>'s merits and demerits, but to deny its popularity is lethargic at best, delusional at worst. <i>(And let's not forget that SAO had its own sort of awkward imouto situation. - Ed.)</i><br />
<br /></div>
Despite her runaway popularity, 2012 was not the year of Asuna Yuki. It wasn't even the year of <i>SAO</i>. Nay, it was the year of the <i>imouto</i>―a character trope that doesn't even figure significantly in <i>SAO</i>, the clear winner for most popular show of the year. The conversation at large can no longer be dominated by a single show. Gone are the years of the Leviathan, a show so ridiculously popular, it obliterates everything else that aired concurrently from popular memory. (<i>Neon Genesis Evangelion</i>, anyone?)<br />
<br />
By the mid-2000s, the anime industry expanded to such a state that blockbusters needed to share the spotlight and contend with each other for a spot in people's memories. Even <i>The Melancholy of Haruhi Suzumiya</i> had to contend with <i>Higurashi</i>―and no show since <i>Haruhi</i> has ever come close to dominating conversation in the ani-sphere. Sure, we can talk about <i>Madoka Magica </i>all we want, but Madoka had to share the spotlight with other heavy hitters such as <i>Steins;Gate</i> and <i>The iDOLM@STER</i> (or, I suppose, if you're the kind of person that knows the difference between whiskey and whisky, <i>Mawaru-Penguindrum</i>). Plus, Madoka doesn't come close to touching Haruhi in terms of popular culture penetration.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/L_E57Hmy_KA" width="420"></iframe></center>
<br />
If a single show can't dominate the conversation in 2012, can a single character? Again, never since Haruhi have we seen a leading woman (or man, for that matter) so new, so unique, and so memorable that s/he dominates conversation. Characters like Asuna did not dominate any, and neither did any of the other charismatic (and quite unique, might I add) leading women of 2012: Mikoto Urabe (<i><b>Mysterious Girlfriend X</b></i>), Rea Sanka (<i>Sankarea</i>), Rikka Takanashi (<i>Chuunibyou Demo Koi ga Shitai!</i>), and the sort. <br />
<br />
This is significant. Despite the best effort of creatives to create new, interesting, memorable characters for the public, none of them seem to be able to dominate the conversation in the same way that Haruhi did. Instead, the year went to the <i>imouto</i>―not a character, but a concept. A set of minimum requirements (articulated best by the acronym BMW: Blood, Memories and Wonii-chan love) needed to create a certain kind of character. In the eyes of the Mandarake staff, it is the dominance of this trope, this set of rules, which constituted the story of the year. I'd obviously agree.<br />
<br />
<b>(Little) Sister Act</b><br />
<br />
I'm not going to trace the development of the <i>imouto</i> archetype. Suffice to say that it's been around forever and always will be around. There's nothing more titillating than forbidden romance, and incest is the ultimate forbidden fruit. There's no denying the <i>imouto</i> archetype experienced a renaissance in 2012. <i>OniAi</i>, <i>NakaImo</i>, <i>PapaKiki</i>―that's three high-profile <i>imouto</i>-centered shows in three separate seasons. Did I mention <i>Nisemonogatari</i>? Shinbo can't deny that <i>Nisemonogatari</i> is totally a show about little sisters. Throughout 2012, viewers were bombarded with <i>imouto</i>. (I got <i>OniAi</i> and <i>NakaImo</i> tangled up so many times in the second half of the year because they aired one after another. I'd totally forgotten they were completely different shows.)<br />
<br />
The <i>imouto</i> figures had gotten popular in 2012. The question is why. It's not an easy one to answer, and I'll make no attempt to back up my claim here, so apologies in advance for my lethargic and lackadaisical effort in answering my own rhetorical question.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicyFku22o9sfexDvCvNrEC-jdKYGBsTc7SFlfG5pyh-GAPB_1b8bPUIhPJeU0kTs6smPS775I0WTpjKw1jh3YjlBXsDbsf3PPPWKDkT8xrKUMJehVMAudXLjCipfhn3TTWSgMIrJGPf8w/s1600/Picture+5.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicyFku22o9sfexDvCvNrEC-jdKYGBsTc7SFlfG5pyh-GAPB_1b8bPUIhPJeU0kTs6smPS775I0WTpjKw1jh3YjlBXsDbsf3PPPWKDkT8xrKUMJehVMAudXLjCipfhn3TTWSgMIrJGPf8w/s400/Picture+5.png" width="400" /></a></div>
<br />
<div>
Much of it has to do with <i>OreImo</i>, which certainly dominated the conversation for a few brief months in the fall and winter of 2010. Kirino Kousaka finally brought the <i>imouto</i> back into the spotlight. Before that point, from 2006 to 2010, the <i>tsundere</i> ruled the day. (Don't believe me? Just take a look at Rie Kugimiya's voice roles during that four-year span.) Kirino was the gap between <i>tsundere </i>and the newly-resurgent <i>imouto</i> genre. She epitomized the transition of power from one trope to the other. In 2011, we started seeing some variations on the <i>tsundere-imouto</i> hybrid. 2001's <i>OniiSuki</i> was a (poor) attempt at creating a new paradigm for the <i>imouto</i> archetype: neither the subservient, caring version of yesteryear, nor the reprehensible-yet-unreasonably-attractive blend embodied by Kirino. <i>OniiSuki</i>'s Nao wanted her big brother. Aggressively.<br />
<br />
By 2012, we're seeing all kinds of <i>imouto </i>forms. The classic version was always a quiet figure, someone who yearned for her "<i>onii-chan</i>" but respectfully stayed her distance. Her appeal was a direct result of the restraint she displayed. She was, at best, a quieter, more respectable childhood friend. No longer. We have the aggressively salacious <i>imouto</i>, embodied by <i><b>OniAi</b></i>'s Akiko Himenokoji, the logical conclusion of the character type embodied by <i>OniiSuki</i>'s Nao. We have the aggressive, <i>tsundere</i> <i>imouto</i> coming out in droves, spearheaded by Kirino. Hell, we even have a story not about <i>imouto</i>, but one man's quest to find his <i>imouto</i>. The variety is insane.</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2cwTnB1QNxxmIW6t_uSTZelKeVqapHQjiaf8YIehEunMR-b0FBTLfK633pPnqCES2G9FOnhQ6yAyuJPoYrNnAlBJJPlwM_9_45EDD3_V5SjszQmEWlX0IP5whj_zim7Pjf1sW9KvPeV8/s1600/ONIAI.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" gua="true" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2cwTnB1QNxxmIW6t_uSTZelKeVqapHQjiaf8YIehEunMR-b0FBTLfK633pPnqCES2G9FOnhQ6yAyuJPoYrNnAlBJJPlwM_9_45EDD3_V5SjszQmEWlX0IP5whj_zim7Pjf1sW9KvPeV8/s400/ONIAI.jpg" width="400" /></a></div>
<br />
There's probably a parallel to draw here between what happened to the <i>imouto</i> in 2012 and what happened to the <i>tsundere</i> in the late 2000s. The second <i>Lucky☆Star</i> objected to the use of the word <i>tsundere</i> to describe a variety of different passive-aggressive-bipolar-whatever-you-want-to-call-it girls, the archetype began to fragment. <i>Cooldere</i>. <i>Yandere</i>. A different <i>*dere</i> to describe every different kind of bipolarity under heaven. The splintering of the <i>tsundere</i> archetype into a million different pieces perhaps opened up a space in the popular imagination for something else to invade. <br />
<br />
There was one man who saw this coming a mile away: Yutaka "Yamakan" Yamamoto, that hated, despised pariah of the anime world. After the success of <i>Kannagi</i>, he predicted that anime would become more and more fragmentary, saying that shows would rely on inside jokes to draw laughs, and as time went on, these jokes would become discernible to an ever-shrinking group of insiders. Character archetypes would fragment infinitely, creating smaller and smaller niches catering to smaller and smaller portions of the population. Anime would become largely inaccessible to the general public, who do not understand the in-jokes and specific linguistic quirks of seasoned anime veterans. Again, that was four years ago.<br />
<br />
Just like Kataoka, Yamakan was right―anime has become more insular, more reliant upon its core crowd. The story of the year, therefore, really isn't about <i>imouto</i>, specifically―it's about a slow, sustained retreat of the anime industry away from the general public. Instead of expanding and reaching out to the masses, the industry adopted a "patronage" model, catering to the interests of a small, aggressively-spending demographic. It's no wonder <i>the imouto</i> is back in vogue. Think about how unnatural <i>imouto-moe</i> would be to a first-time viewer of anime.<br />
<br />
<b>Looking In</b><br />
<br />
Think about this for a second: In the past five years, anime has become more and more self-aware. There weren't many overtly otaku characters in anime five years ago. There was <i>Genshiken</i>, but we remember it because it was groundbreaking. These days, there's nary a season that goes by without there being a major character involved in anime or manga somehow. Kirino from <i>OreImo</i> embodies the self-aware, self-serving character created by otaku to serve an otaku fantasy. Sena Kashiwazaki from <i>Haganai</i> represents another example. Even shows like <i>Jintai</i> and <i>Joshiraku</i> can't resist poking fun at the absurdities of otaku culture.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/PPZkbm7Zj8A" width="420"></iframe></center>
<br />
Even a show like <i><b>Chuunibyou Demo Koi ga Shitai!</b></i> became painfully self-aware at times during 2012. The whole show was a meta-commentary on <i><a href="http://www.urbandictionary.com/define.php?term=Chuunibyou" target="_blank">chuunibyou</a></i> as a cultural phenomenon. Have we forgotten that <i>chuunibyou</i> wasn't even really a thing until <i>A Certain Magical Index</i> and <i>A Certain Scientific Railgun</i> catapulted it into the minds and hearts of otaku everywhere? Within three years, <i>Steins;Gate</i> tore apart the grand vision of <i>Index</i> and its aesthetic. The noir of <i>Raildex</i> was replaced with the goofy, out-of-touch characters we see in <i>Steins;Gate</i> and <i>Chuunibyou</i>. Anime's become very adept indeed at self-parody within the past few years.<br />
<br />
It's hard to see where all this self-referential humor is going to go. There are so many shows on the otaku meta-commentary bus these days. The general life cycle of every archetype seems to go something like this:<br />
<br />
<ol>
<li>A groundbreaking show introduces a new twist on an archetype or concept.</li>
<li>Other shows begin to copy it in a mad grab for revenue and viewership.</li>
<li>Some cynical wiseass decides they've had enough and decides to parody the hell out of it.</li>
<li>People realize what's up and move on to the next best thing―or they decide they really like the archetype or concept anyways and it becomes an entrenched niche.</li>
</ol>
<br />
But where do we go from here? What's going to happen to anime if this is what happens? I would say that patronage is no model to run a multi-billion dollar industry, but then again, fine art has been around since the beginning of time. Plus, this trend only applies to the <i>moe</i> subsegment of anime. There'll always be <i>Shonen Jump</i>-inspired shows, as well as shows which don't care at all to be included with prevalent trends in the industry.<br />
<br />
<b>In Toto</b><br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2HHEXfuvFgt6-W1HuqvIjTIcrOM9YQNjQItz3Y8oGaiVWqLgXhyNi2nuYFK8OPMiZ-KkoZdkUHDpIWYKooLyKvb31fAGqM2aa8oB-P63kFxqPy0S-SsC1bUKFkRCscdkoN5KW7AzmDdk/s1600/Picture+1.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2HHEXfuvFgt6-W1HuqvIjTIcrOM9YQNjQItz3Y8oGaiVWqLgXhyNi2nuYFK8OPMiZ-KkoZdkUHDpIWYKooLyKvb31fAGqM2aa8oB-P63kFxqPy0S-SsC1bUKFkRCscdkoN5KW7AzmDdk/s320/Picture+1.png" width="230" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Don't forget; Atomu had an <i>imouto</i>, too!</td></tr>
</tbody></table>
The industry will continue raising new archetypes and shatter them into a million little pieces, creating again-and-again an endless kaleidoscope of characters which all look vaguely similar to one another. In time, these characters will lose their popularity. Years after, some young, aspiring light novel will go into his dim workshop, pick up the pieces of character lying around him and meticulously, carefully, glue them back together into a beautiful corpse, resurrected and ready for consumption by the next generation.<br />
<br />
We often think that the highest-quality shows every year―the masterpieces―define it. I challenge that wisdom. If you wanted to watch something good made in 2012, watch any of the shows I named earlier in this article, but to me, they don't encapsulate what 2012 was all about. If you want to watch a show that truly places 2012 in greater conversation with broader trends in recent history, watch the four <i>imouto</i> powerhouses I had mentioned. Perhaps there's something to be said about the lack of popularity of shows which are genuinely decent, but that's a different story.<br />
<br />
<b>Next time: We've come to the end of this arduous journey! Hello, 2013 and beyond!</b>Geoffhttp://www.blogger.com/profile/02385629483209026981noreply@blogger.com50tag:blogger.com,1999:blog-5455108671364992297.post-75748998267850536642013-12-14T14:31:00.000-08:002013-12-14T14:31:19.712-08:002011: The Year of the 'Dokes<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFqMMDCJtz-n8-rNuwpdzIlYFBVL7LxwMovr_OPKdmVCoD5ZU-6qdMLQ-pqWiokJdXb9gzsvPj7KS63vZ0Gl5FVUT_VfBO91pMbU9PYhZIBd84_Osf0Axcq4SAcGKXkC8l8TfRqGYM3eE/s1600/New+Picture+(1).bmp" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" dua="true" height="111" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFqMMDCJtz-n8-rNuwpdzIlYFBVL7LxwMovr_OPKdmVCoD5ZU-6qdMLQ-pqWiokJdXb9gzsvPj7KS63vZ0Gl5FVUT_VfBO91pMbU9PYhZIBd84_Osf0Axcq4SAcGKXkC8l8TfRqGYM3eE/s200/New+Picture+(1).bmp" width="200" /></a></div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<em>Patrick George Jones (@</em><a href="http://twitter.com/Whats_Ur_Name" target="_blank"><em>Whats_Ur_Name</em></a><em>) is just another guy on the planet Earth living in the Milky Way. He puts the "Pat" in "Psychopath" every time he spits hot truths into the microphone on his podcast called "Oh Great! Another Podcast" (</em><a href="http://ogap.tv/"><em>ogap.tv</em></a><em> if you're feeling dangerous). He also runs a website called <a href="http://garbagereviews.wordpress.com/" target="_blank">THE WORST REVIEW SITE </a><a href="http://garbagereviews.wordpress.com/" target="_blank">EEEEVAR</a>,</em><em> so clearly he is qualified to write reviews.</em></div>
<br />
<hr />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzuwYmlArWms1eHAYhnjOqbU5Elf5WDasXZcvWywvm_YSYWWQhsphyphenhyphenI9Cz6aeFd5ahK3bTxTBsOxYQQsymNFL2Jxl61Lj55vs23YLR9NIuwfEnkzawLJvTKgmHKxkyknDHulCBZBLtfpU/s1600/MP.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" closure_lm_397250="null" dua="true" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzuwYmlArWms1eHAYhnjOqbU5Elf5WDasXZcvWywvm_YSYWWQhsphyphenhyphenI9Cz6aeFd5ahK3bTxTBsOxYQQsymNFL2Jxl61Lj55vs23YLR9NIuwfEnkzawLJvTKgmHKxkyknDHulCBZBLtfpU/s320/MP.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This photo describes 2011 as well as ALL OF ANIME.</td></tr>
</tbody></table>
As questionable as this phrase may sound, 2011 shook up the anime industry.<o:p></o:p><br />
<br />
This is the year that Akiyuki Shinbo struck gold and lightning. This is the year that someone finally freed Kunihiko Ikuhara from his cage to make another anime. Most importantly, this was the year Japan was rocked with one of its worst earthquakes. That <em>Tokyo Magnitude 8.0</em> anime that came out a while back about a "what-if" worst case scenario is now the reality we face.<o:p></o:p><br />
<br />
<a name='more'></a><div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGgAITEMfiPr96xi79ckTBDsoRa_Stg2pDrRfQDe1741zAKMws6Erka5tgtKaGA5Heri3l6JONQz3ivSlKlaXccXb21KoB01iIzl3UjJ4uTfNUFbKEquYMHiXILqOhIVO-7boBkHdGkm8/s1600/2011.png" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" closure_lm_397250="null" dua="true" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGgAITEMfiPr96xi79ckTBDsoRa_Stg2pDrRfQDe1741zAKMws6Erka5tgtKaGA5Heri3l6JONQz3ivSlKlaXccXb21KoB01iIzl3UjJ4uTfNUFbKEquYMHiXILqOhIVO-7boBkHdGkm8/s400/2011.png" width="170" /></a></div>
As we get closer and closer to the present day, some of these titles might invoke recent memories or PTSD flashbacks. Shows from year 2011 include: <em>Haganai</em> (<em>Boku wa Tomodachi ga Sukunai</em>, literally "I Have Few Friends"); <em><strong>Steins;Gate</strong></em>, a new twist on time travel; CLAMP's return to anime in <em>BLOOD-C;</em> the superhero-cum-buddy-flick show, <em>Tiger & Bunny</em>; <em>karuta</em> drama <em><strong>Chihayafuru</strong></em>; the sharp-nosed follow-up to <em>Gambling Apocalypse Kaiji</em>; a bunch of noitaminA shows to fill the crevices (<em><strong>AnoHana</strong></em>, <em>Bunny Drop</em>, <em>C-Control</em>, <em>Guilty Crown</em>); and terror-by-cellphone horror story <em><strong>Future Diary</strong></em>. <br />
<br />
While this year had its share of manga and light-novel adaptations about Japanese high schoolers who look like white people engaging in wacky hijinks, that was not all the year had to offer. This year saw an excellent crop of original anime not adapted from other sources. Original anime is incredibly essential to the health of the industry, since original anime takes advantage of its format far more than stories that come from other mediums. It also gives anime studios a chance to do something other than adapt some dude's light novel and keeps animators from getting frustrated from constantly doing someone else's work. Without animators, you have no show, so it's important for these animators to make their own thing; otherwise, they'll go into other industries such as video games. <o:p></o:p><br />
<br />
When creators and anime studios do their own thing, it can result in some amazing anime franchises such as <em>Neon Genesis Evangelion</em>, <em>Macross</em>, <em>Space Battleship Yamato</em>, and <em>Mobile Suit Gundam</em>. If it wasn't for these original shows, the industry would be in a much different place, and that place would be a wasteland.<o:p></o:p><br />
<br />
2011 added at least two new additions to this pantheon of instant classics, the more notable one being <em><strong>Puella Magi Madoka Magica</strong></em>. Much has been said about the <em>Puella Magi</em> cyclone and much more will continue to be said--its interesting, if problematic, deconstruction of the "magical-girl" genre, the way it compares to <em>Evangelion</em>, or that it ran around the time of the Japanese earthquake (<a href="http://madokamagica.livejournal.com/32943.html?thread=243119#t243119"><span style="color: blue;">causing a bunch of people to complain that a national tragedy was stopping them from getting their Japanese cartoons</span></a>).<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/6CTHwEZK2JA" width="420"></iframe></center>
<br />
This show set the Internet ablaze when heads started to roll, when the dark twist erupted out of the cute dolls' mouth. It's hard to believe it now, but when this show was coming out, the public perception was that this was another late-night otaku pandering magical girl show. A lot of people were turned off by the art style and supposedly generic premise, but (SPOILERS!) <span style="background-color: black;">only a few episodes in, the show dropped the facade and callously killed off one of the shows main characters</span>. That one moment threw out the rulebook and sprung forth one of the cleverest narrative hooks in anime history. From that point onward, the Internet anime fandom exploded.<o:p></o:p><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_H40dH8v8GfOsKU9NQOcYdway7adiz9lhTeLtTWNZCxZfeErnsusIpKifjSWlr57Nn_Nt1sa0MsPlhfaI9mxBapgPvuSjEo4QFZAKujJMcPRpIPvLhbGU_VS0nPTwEeyieZ3Q1y6x-QQ/s1600/MM.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" dua="true" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_H40dH8v8GfOsKU9NQOcYdway7adiz9lhTeLtTWNZCxZfeErnsusIpKifjSWlr57Nn_Nt1sa0MsPlhfaI9mxBapgPvuSjEo4QFZAKujJMcPRpIPvLhbGU_VS0nPTwEeyieZ3Q1y6x-QQ/s200/MM.jpg" width="180" /></a></div>
Shortly after that fateful episode aired, several <a href="http://wiki.puella-magi.net/Main_Page"><span style="color: blue;">Wiki websites</span></a> were formed, forums were stuffed with reactionary posts and speculation, and a whole bunch of people who initially dismissed this show were caught with their pants down and had to reconsider the entire show ("Hey, guys, I was drunk on vodka when I wrote that preview entry"). Looking back on those first few episodes, the signs were there the whole time. From the LCD nightmare designs of Gekidan INU Curry's Witch Barriers and the resume of Akiyuki Shinbo, who directed the 2004 magical-girl show <em>Magical Girl Lyrical Nanoha</em>, which was unconventional in its own right, this supposedly similar show seemed different than the others when you looked under the hood.<o:p></o:p><br />
<br />
But the part that gave it away was the writer, Gen Urobuchi (or as his fans calls him, "Urobucher".) This man was infamous in the visual novel scene for creating insanely disturbing stories and killing off major characters for little to no reason. For example, before <em>Madoka Magica</em>, Urobuchi's most famous work was <em>Song of Saya</em>, a visual novel about a guy who has suffered brain damage and now sees the world as a literal meatspace filled with disgusting organs and monsters. That kind of resume would spoil the surprise head trauma of Episode 3, so the production studio Digital@SHAFT initially tried to hide his name in the credits <a href="http://myanimelist.net/forum/?topicid=281994"><span style="color: blue;">until the cat got out of the bag</span></a>. <br />
<br />
Perhaps this was for the best, since <em>Madoka Magica</em> was the turning point in Urobuchi's career. He would go on to write for several other original shows such as <em>Fate/Zero</em>, <em>PSYCHO-PASS</em>, <em>Gargantia on the Verdurous Planet</em> and the upcoming movie <em>Expelled from Paradise</em>. <em>Madoka Magica</em> was also the launchpad for studio SHAFT; <em>Madoka Magica</em> was not their first show, but it was their first original anime, all other shows adaptations of other source material (see NisioIsin's <em>Monogatari</em> series.) With this original anime, SHAFT proved it has what it takes to be one of the best anime studios.<o:p></o:p><br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgANWdiyXF8b7XbJiClXPUyOH8Nlmo9NwWOYgCtLDK4Dadbxj6Bms24DaxlT_xEXxJ2Oh64KPB-Qmiu8QHVgm3mHmxWBaMXB4CUzqo5ExWS-GhMUw553IOFA7rNPaV35fFUjio9IACyfUo/s1600/QB.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" dua="true" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgANWdiyXF8b7XbJiClXPUyOH8Nlmo9NwWOYgCtLDK4Dadbxj6Bms24DaxlT_xEXxJ2Oh64KPB-Qmiu8QHVgm3mHmxWBaMXB4CUzqo5ExWS-GhMUw553IOFA7rNPaV35fFUjio9IACyfUo/s320/QB.gif" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
To this day, even though it's been only two short years, in this age of "here today, gone today", <em>Madoka Magica</em> is still talked being talked about. Shortly after the show came out in North America, just about any anime convention had <em>Madoka Magica</em> cosplayers and several panels that talked about its themes and ending. The anime would go on to spawn various manga adaptations covering other magical girls of the same sort, a rouge-like PSP game, and a trilogy of movies (with only one that is a true sequel which hasn't come out at the time of this writing).<o:p></o:p><br />
<br />
While nowadays we are all used to streaming new anime the day they air in Japan, the sad truth is that the "Dokes" wasn't being simulcasted in America. <a href="http://www.animenewsnetwork.com/news/2011-06-21/1-million-stream-free-madoka-magica-in-japan-taiwan"><span style="color: blue;">Although the Japanese got a one time Nico Nico livestream of the entire series</span></a>, for some reason no one picked it up for same-day streaming in the West. No one except the licensers knows for sure why this was the case, especially since many other shows were being simulcasted at that time. (Perhaps the show fooled even the licensers with its cuteness.)<o:p></o:p><br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/ZBAT61UOvDA" width="420"></iframe></center>
<br />
While this year featured an increase of simulcasted shows, there were several times when simulcasters dropped the ball this year, having not yet learned the complete craft. It's a shame too, since several of the shows that didn't get picked up were some of the year's best titles. In 2011, American audiences had no legal way to watch <em>Madoka Magica</em>, as well as other shows that would later appear on Crunchyroll. (In addition, <em>AnoHana</em> and Season 2 of <em><strong>Kaiji</strong></em>, two other popular 2011 shows, were not licensed until 2012 and 2013, respectively. If only people in 2011 knew about "Gambling Apocalypse Kaiji: Against All Rules," maybe more people would have watched that show.) While these shows weren't streaming during the day they aired, it's a moot point now, since all of these shows are now legally available in English, but it was during this year that anime became more like American TV watching culture. With video sites, comments, forums and columns dedicated to being an internet water cooler, anime could now be watched and enjoyed on the same level as American TV. The only difference being is that instead of a water cooler, you had flame wars.<o:p></o:p><br />
<br />
Much like the above three shows mentioned in the last paragraph, <em><strong>Mawaru-Penguindrum</strong></em> debuted in Japan and wouldn't get to see the light of legal streaming and distribution until Sentai Filmworks licensed it for release in 2012. The 24-episode TV series done by Brains Base marked the return of Kunihiko Ikuhara, the man who did <em>Sailor Moon R</em> and <em>Revolutionary Girl Utena</em>. He also did the surreal <em>Revolutionary Girl Utena</em> movie, after which he was figuratively barred from doing anime ever again (save for some work on <em>Nodame Cantabile</em> in 2007 and <em>Aoi Hana</em> in 2009). That is, of course, until Brains Base let him out of his prison cell to make <em>Mawaru-Penguindrum</em>.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/Nsqk9WLP0dw" width="420"></iframe></center>
<br />
Describing what exactly <em>Penguindrum</em> is about is nearly impossible, there have entire podcasts that barley describe what <em>Penguindrum</em> is really about. It is a difficult thing to write about, since the show has a lot of moving parts, but to break it down to its bare minimum, the show is about apples, stars, fate, sacrifice, holes in the sky, trains, brothers, sisters, incest, stalkers, exploding bears, gas attacks, terrorism, parents, love, DESTINY, FABULOUS MAX, SURVIVAL STRATEGY...and love potions made by frogs excreting on a teenager's back. Perhaps due to this random mix, even though the show has been out for a few years, there are still things that we don't know about <em>Penguindrum</em>. What does the eyecatch in the middle of the episode really mean? (What the hell are those branching paths?). The ultimate testament to <em>Penguindrum</em>'s quality is this mystery--that no one knows for sure what it's about and that everyone can have multiple interpretations on what they think it's about.<o:p></o:p><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQQ_AO20HmjFOutKzr4q6S9i8hMdUZtrzQIVDqgfLOfp5hJeWTI5neY8GDSfwryl2kKGVy7aPyCcqe_cKUfSAM5glsUdW8cF58pnRbBZ-QK00_PHEZcd_p-AfJpYgrGtaprQoCLqeiLbg/s1600/mawaru-penguindrum.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" closure_lm_817042="null" dua="true" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQQ_AO20HmjFOutKzr4q6S9i8hMdUZtrzQIVDqgfLOfp5hJeWTI5neY8GDSfwryl2kKGVy7aPyCcqe_cKUfSAM5glsUdW8cF58pnRbBZ-QK00_PHEZcd_p-AfJpYgrGtaprQoCLqeiLbg/s320/mawaru-penguindrum.jpg" width="320" /></a></div>
<br />
This is one of the strong points of original anime, this mystery surrounding it. Since there is no light novel or manga that came before it, there is no way for anime fans to spoil the show for other people. However, even though <em>Penguindrum</em> and <em>Madoka Magica</em> weren't legally available for U.S. residents, they still were able to cultivate a fan base due to the power of Bit Torrent. (There's not much reason to use Bit Torrent nowadays, since the legal option is far convenient than downloading several video codecs, a torrent client and hoping to GOD that someone seeded that 5-month old fansub.) While 2011 was a good year for anime fans that were willing to get their hands dirty to watch overlooked anime, it made it hard for people who only used the legal option, especially when it came to the year-end awards. <a href="http://www.animenewsnetwork.com/feature/2012-01-05"><span style="color: blue;">Naming the best anime of the year, but not being able to nominate <em>Madoka</em> or <em>Penguindrum</em> is like the Oscars not being able to nominate <em>The Godfather</em>.</span></a> (However, they still had good things to choose from, such as <em>Tiger & Bunny</em>, <em>Steins;Gate</em> and <em>Chihayafuru</em> to name a few.) <br />
<br />
<hr />
<br />
It was a great year to be an anime fan in America. However, it wasn't particularly a great year to be an anime fan in Japan, or an anime studio, or really any person in Japan. 2011 was, of course, the year the Great East Japan Earthquake shook the nation, <a href="http://www.nytimes.com/2011/03/14/world/asia/14seismic.html?_r=0"><span style="color: blue;">causing the Honshu Island to move 2.4m east and the Earth's axis by about 10cm</span></a>. The resulting tsunami that followed shortly afterward and the nuclear meltdown that happened at Fukushima completed the triple whammy, delivering a demoralizing blow to Japan, the true impact of we won't know for years. This national tragedy did unite the world in helping Japan and even though Japan went through so much that short time frame, they have endured and survived this nightmare disaster. As for the impact that this had on the anime industry, <a href="http://www.animenewsnetwork.com/news/2011-03-15/anime/manga-releases-delayed-cancelled-after-quake"><span style="color: blue;">several anime and manga that were running during the time of the 3.11 Earthquake took an extended time off</span></a>, including <a href="http://www.animenewsnetwork.com/news/2011-03-23/madoka-magica-airing-streaming-delayed-for-now"><span style="color: blue;"><em>Puella Magi Madoka Magica</em>, which took a month long break</span></a> and wrapped with final episodes that dealt with a situation unsettlingly similar to the Japan earthquake.<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA5SjeiH9tn1HD_Lf4OEXm5NGmAk87-UxhSBsFdcjUdpp0EOXg4FXz7BPQCKEwRx_Qz-XqABrGj8WJxjZYrTcjfGaCM0GwI5YKy_YC73fO_ouhMu8OdXKwahiH1MomRAm_Vt7Tp6ZgkOA/s1600/Tokyo-Magnitude-8-0.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" dua="true" height="127" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA5SjeiH9tn1HD_Lf4OEXm5NGmAk87-UxhSBsFdcjUdpp0EOXg4FXz7BPQCKEwRx_Qz-XqABrGj8WJxjZYrTcjfGaCM0GwI5YKy_YC73fO_ouhMu8OdXKwahiH1MomRAm_Vt7Tp6ZgkOA/s200/Tokyo-Magnitude-8-0.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tokyo Magnitude 8.0, an 2009 anime<br />
whose 2011 rerun was cancelled</td></tr>
</tbody></table>
Considering all that happened, it is surprising that the animation industry in Japan was able to push onward after this tragedy. While the industry suffered some obvious setbacks, the animators soldered on and continued to work on anime. There were even some studios like <a href="http://www.hulu.com/watch/234327#details=expand"><span style="color: blue;">Tatsunoko Production that promised that the earthquake wouldn't discourage them</span></a>. It is amazing just how resilient these people are and also kind of crazy that they can return to business as usual after something like the <a href="http://www.cbsnews.com/stories/2011/03/14/501364/main20043126.shtml"><span style="color: blue;">fourth most powerful recorded earthquake of all time</span></a>.<o:p></o:p> <br />
<br />
As such, anime will continue to move on. There may be changes, there may be setbacks, but anime will live on in some form or another, whether it's 2D or 3D, hand drawn or computer graphics, adaptations or original properties. There is some hope in the animation industry; the amazing success of <em>Madoka Magica</em> reminded everybody that original intellectual properties can be successful. This year also put Aniplex USA on the map as the company to eventually license <em>Madoka Magica</em>. The popularity of shows that Aniplex produces would become the core of their business model of selling popular anime for high prices. While Aniplex has been able to succeed where other companies have failed, the trend will be streaming anime for little to no cost.<o:p></o:p><br />
<br />
Whether streaming anime will be the start of a golden era, no one can say for sure. The true impact that 2011 had on anime won't be known for years. Will the earthquake have a lasting effect on the anime industry? Will streaming be the go-to method for watching anime so that we don't have to buy $90 Blu-rays with 2 episodes on a disc? Only time will tell...I guess we should check back in another 50 years.<br />
<br />
<strong>Next time: The time machine is running out of fuel! Quick! Back to 2007!</strong>Geoffhttp://www.blogger.com/profile/02385629483209026981noreply@blogger.com3tag:blogger.com,1999:blog-5455108671364992297.post-37627355708899178402013-10-24T17:29:00.000-07:002013-10-24T17:29:31.046-07:002010: ANIME IS DEAD, LONG LIVE ANIME<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg21ontb2aziWOhEcbtWkZ-9a913xcZIauZU4fxt03nV4SVMW__Cci7ZGz_KidAIErqt-vNxzuctjeClYsFfKLBIZ1GHou61gjXbhOI5q2dHFkzYAh2N-BATI26eaVNSLV935tNnbSZl-o/s1600/otou.png" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="100" isa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg21ontb2aziWOhEcbtWkZ-9a913xcZIauZU4fxt03nV4SVMW__Cci7ZGz_KidAIErqt-vNxzuctjeClYsFfKLBIZ1GHou61gjXbhOI5q2dHFkzYAh2N-BATI26eaVNSLV935tNnbSZl-o/s200/otou.png" width="100" /></a></div>
<em>Mike (@<a href="https://twitter.com/cinco_bajeena" target="_blank">cinco_bajeena</a>), a lapsed anime blogger, has the same origin story as plenty of other fans of a certain geography and age: a cloudy mix of Vampire Hunter D, Ghost in the Shell, Akira, and Macross Plus. You can occasionally find the telltale byline otou-san at </em><a href="http://altairandvega.wordpress.com/"><em>Altair & Vega</em></a><em> and </em><a href="http://www.seaslugteam.com/"><em>Sea Slugs</em></a><em> until </em><a href="http://www.shamefulotakusecret.com/"><em>his own blog</em></a><em> returns from the deep again, as it probably will someday.</em><br />
<br />
<hr />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
One of the calling cards of the aging anime fan, a relatively new species in the West, is his insistence that they just don't make 'em like they used to. And in the 21st century, a case could definitely be made for that. While the OVAs of the late 80s and early 90s heralded an anything-goes era of experimentation where the spectacular outweighed the sensical, anime in the post-industry-collapse world is increasingly marked by formula and safety: works that guarantee a hardcore otaku audience yet alienate other potential consumers.<br />
<div>
</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5xYUYxf6n6YriyjekI22fCnTOWyd0HObZ8EJAYK0Gby5mLGTDMzhG6bHfvmxxq3TuUeUukBZfBD8UiDNLajD9xOC1Vlr_fViaPTAoQ6Cc9cNnfBiHR5UYDbsMaMGg3MnLlw15pmml1WY/s1600/PSG.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" isa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5xYUYxf6n6YriyjekI22fCnTOWyd0HObZ8EJAYK0Gby5mLGTDMzhG6bHfvmxxq3TuUeUukBZfBD8UiDNLajD9xOC1Vlr_fViaPTAoQ6Cc9cNnfBiHR5UYDbsMaMGg3MnLlw15pmml1WY/s400/PSG.jpg" width="400" /></a></div>
<br />
But we've heard all that before. Years as recent as 2010 give us plenty of reason to believe this is the case — there's always hope.<br />
<br />
Right?<br />
<br />
<a name='more'></a><strong>Television's Conservative Cash Cows</strong><br />
<div>
</div>
<br />
Established TV anime franchises, both kid- and otaku-focused fare, saw a boom of theatrical films beyond the usual OVA releases: from <em>Naruto</em> to <em>Nanoha</em>, <em>Crayon Shin-Chan</em> to <em>Gundam 00</em>, extensions and retellings milked a few more bucks from parents and fans. Most notable among those are the sprawling and surprisingly ambitious <em>The Disappearance of Haruhi Suzumiya</em> and the 30-years-later <em>Space Battleship Yamato</em> CG flick, the second-highest grossing domestic animated film behind Ghibli's <em>Borrower Arietty</em>. <br />
<br />
Far safer than movie spinoffs, sequel seasons extended TV series' conservative runs of 12 to 24 episodes. <em>A Certain Magical Index</em>, <em>Strike Witches</em>, <em>Arakawa Under The Bridge</em>, and <em>Hidamari Sketch</em> all continued respectably (and three years later, <em>Index</em>'s franchise is still going) as moe juggernaut <em>K-ON!</em>'s second season steamrolled the charts while drinking tea and eating cake. <em><strong>K-ON!!</strong></em> (more snacks = more exclamation points, I guess) shone even brighter in its second season, and it cemented its place with a wider audience—even girls! The girls of Houkago Tea Time were even recruited <a href="http://www.alafista.com/2010/10/03/k-on-girls-encourage-everyone-to-participate-in-population-census/" target="_blank">by the government of Kyoto to promote the census</a>.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/ZuP-LL3Xe3A" width="420"></iframe></center>
<br />
While <em>Yamato</em> or <em>K-ON!!</em> may have gotten the pundits pontificating on the re-emergence of mainstream anime appeal, late-night television anime seemed dead set on proving that the world of Japanese cartoons has crawled comfortably up the collective posterior of the otaku mega-buyer.<br />
<div>
</div>
At least, there's plenty to support you if you want to see it that way:<br />
<ul>
<li>Panty-obssessed "sudden magical girlfriend" clunker <em>Heaven's Lost Property</em> (<em>Sora no Otoshimono</em>)</li>
<li>Breast-fest <em>Qwaser of Stigmata</em></li>
<li>Space catgirl caper <em>Asobi Ni Ikuyo!</em></li>
<li>Chaste-perverse <em>eroge</em> harem <em>Amagami SS</em></li>
<li>Middle-school underwear infomercial <em>Chu-Bra!</em></li>
<li>Supernatural harem demo <em>Demon King Daimao</em></li>
<li>Abominable incest "comedy" <em>KissXSis</em></li>
<li>Sex-joke 4-panel adaptation <em>B Gata H Kei</em></li>
<li><em>Sgt. Frog</em>-goes-<em>moe</em> comedy <em>Squid Girl</em> (<em>Shinryaku! Ika-Musume</em>)</li>
<li>Generic <em>tsundere</em> fairytale saga <em>Ookami-San</em></li>
<li>The unremarkable first anime entry in the <em>Super Robot Wars</em> videogame franchise</li>
<li>Obligatory Sengoku comedy short <em>Tono to Issho</em></li>
<li>Anime version of the mega-harem manga that puts Ken Akamatsu to shame, <em>The World God Only Knows </em></li>
</ul>
Most of those offer little to talk about. Don't get me wrong; among them there is certainly some redeeming and enjoyable content. <em>Asobi Ni Ikuyo!</em> in particular featured moments of great animation and a few very clever episodes. <em>B Gata H Kei</em> was charming and even funny at times, provided you can enjoy a sex comedy that possesses a child's understanding of the dirty deed. <em>Squid Girl</em> and <em>Tono to Issho</em> both provided some laughs, and even <em>Chu-Bra!</em> had its unlikely fans. However, at the same time, despite their numbers (<em>Heaven's Lost Property</em>, <em>Amagami SS</em> and <em><strong>The World God Only Knows</strong></em> especially sold quite well and inspired second seasons), most of these likely won't weather the eroding winds of constant new anime for long.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/GjafuChw3bI" width="420"></iframe></center>
<br />
(These Kana Hanazawa-driven scenes notwithstanding)<br />
<br />
<strong>The Age of the Light Novel</strong><br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkqQmfMk01u3Jet9WrOFncJk1ZZWKcnjiWP5OrB4uPcYqBEPajVtDQRzhhOacBVuGVsQ1diXsxbCnw5dq7j77815hH5X8c1gXAlrixhnw6QylesiuH8yMz7quoNG_VhuxeTM2f8hYW3xE/s1600/Oreimo_BD_volume_1_cover.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" closure_lm_233076="null" height="320" isa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkqQmfMk01u3Jet9WrOFncJk1ZZWKcnjiWP5OrB4uPcYqBEPajVtDQRzhhOacBVuGVsQ1diXsxbCnw5dq7j77815hH5X8c1gXAlrixhnw6QylesiuH8yMz7quoNG_VhuxeTM2f8hYW3xE/s320/Oreimo_BD_volume_1_cover.jpg" width="239" /></a></div>
Some traces of the previous decade's domination by visual novel adaptations remained visible in 2010 (such as <em>Amagami</em> or the <em>Fate</em> movie), but the reign of tears by the <em>nakige</em> (Japanese for "crying game", where the goal was to induce emotional response in the viewer) was over. Jun Maeda and NaGa of <em>nakige</em> colossus studio Key even tried their hands at guns and rock'n'roll in an anime-original, <em>Angel Beats!</em>, ironically with enough success to transform the story into a visual novel.<br />
<br />
But as it remains 3 years later, light novels owned our TVs. The "<em>Raildex</em>" franchise for instance was in its third series, now a mainstay. The complete-sentence-titles and other light novel clichés were ripe for a playful skewering in otaku's favorite brand of humor (self-referential) by the surprisingly clever light novel adaptation <em>Ore no Imōto ga Konna ni Kawaii Wake ga Nai</em> (<em><strong>OreImo</strong></em>). While online pundits are currently arguing that the maligned second season fell to the depths of becoming exactly what it joked about, the canny <em>OreImo</em> may yet prove to be an unlikely high water mark of the light novel era.<br />
<br />
<strong>NOITAMINA (and its Competition)</strong><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeu6fodRGqOAvtWfT_zfMXV7ujEae_oavlXum0Epj_PpAPlgkXSBf2P0wVb6O2vjcR_QyS2nqbkuZxv-XlBtukhxakJvQ31LBOH45Fk2ArW1p61o_vjlQylXYx76ZgBEkt-O3tnZxvMoU/s1600/shiki.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" isa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeu6fodRGqOAvtWfT_zfMXV7ujEae_oavlXum0Epj_PpAPlgkXSBf2P0wVb6O2vjcR_QyS2nqbkuZxv-XlBtukhxakJvQ31LBOH45Fk2ArW1p61o_vjlQylXYx76ZgBEkt-O3tnZxvMoU/s400/shiki.jpg" width="400" /></a></div>
<br />
Fuji Television's "noitaminA" programming block was in its fifth year, and one of its better ones by most accounts. <em>Josei</em> manga <em>Princess Jellyfish</em> gave us an enjoyable and occasionally embarrassing tale of dropouts, geeks, cross-dressers and other assorted misfits, told from a perspective that made its awkward protagonist an endearing and empathetic character to both female and male viewers.<br />
<br />
On the flip side, <em><strong>Shiki</strong></em> is a tale of moral ambiguity that wants its viewers to examine whether vampires preying on humans is any worse than us eating a cow. It's a fairly well-written, taut and thrilling mystery more than a horror story, with a splash of BL that would make Anne Rice proud and some truly ridiculous hairstyles straight out of a '90s action title.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/GpctdMcHhUw" width="420"></iframe></center>
<br />
Perhaps most notable, a novel of college mishaps called (roughly) <em><strong>The Tatami Galaxy</strong></em> received a surreally hilarious take by one of TV anime's few auteurs, Masaaki Yuasa. The fast talking and over-the-top visual style (for more on that, as always <a href="http://www.pelleas.net/aniTOP/index.php/yojouhan-shinwa-taikei/">Anipages</a> has a great breakdown) didn't work for everyone, but the inventive visuals made it the first TV anime to win the grand prize for animation at the Japan Media Arts Festival.<br />
<br />
Fuji TV and Aniplex tried—perhaps unsuccessfully—to launch something akin to noitaminA with their all-original block "Anime No Chikara" at the beginning of the year. Aniplex president Koichiro Natsume may not consider the project a rousing success, but he does credit it as a learning experience that paved the way to later original projects both with their A1 Pictures and outside studios: successful shows like <em>Madoka Magica</em>, <em>AnoHana</em>, and <em>Guilty Crown</em> (with the last two, ironically, as noitaminA titles).<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEsCI50LRwAR6y7PemzYC_8Gxtkfetl5FAWvzytm4HgNLx5Q3LNv5YpwI4Yymz9sz9ZtyJYpp6AFRtDu3DXghsguwjCarIlk4V6tEkWTcSFdmJcs_pmSGurUfrbPh42IYlSOat6y42jCc/s1600/occult.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" isa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEsCI50LRwAR6y7PemzYC_8Gxtkfetl5FAWvzytm4HgNLx5Q3LNv5YpwI4Yymz9sz9ZtyJYpp6AFRtDu3DXghsguwjCarIlk4V6tEkWTcSFdmJcs_pmSGurUfrbPh42IYlSOat6y42jCc/s400/occult.jpg" width="400" /></a></div>
<br />
Still, at least two out of three Anime No Chikara titles were enjoyable: <em>Sound of the Sky</em>, which successfully fused a dreamy postapocalyptic <em><a href="http://en.wikipedia.org/wiki/Mono_no_aware" target="_blank">mono no aware</a></em> with modern <em>moe</em>, and <em><strong>Occult Academy</strong></em>, a classic adventure romp in a <em>Scooby-Doo</em> vein starring a fairly badass thigh-high-clad heroine who, somewhat progressively, didn't really need a man. (I didn't watch <em>Night Raid 1931</em>, so I can't tell you just how revisionist the spy story's history of Sino-Japanese relations was, but I have a guess.)<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5rjzi-Bc4X1Eqwe4LyPf0-d-n9P6cM5pAVuHbYTm5ycasVrgd2zyQWWmjV6oi6776_QJF7ijaJfGEGU-Sr2XWofrtREu163zI2S61NRepjQbkWkhPqjqTi1JM1ni0u4ttKQEs4NMr5dc/s1600/Cobra.jpg" imageanchor="1" style="clear: left; cssfloat: right; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" closure_lm_233076="null" height="320" isa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5rjzi-Bc4X1Eqwe4LyPf0-d-n9P6cM5pAVuHbYTm5ycasVrgd2zyQWWmjV6oi6776_QJF7ijaJfGEGU-Sr2XWofrtREu163zI2S61NRepjQbkWkhPqjqTi1JM1ni0u4ttKQEs4NMr5dc/s320/Cobra.jpg" width="224" /></a></div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<strong>Rolling Back the Clock and Moving Forward</strong></div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br /></div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
For every <em>Evangelion</em>, there are plenty of <em>Gundam Wing</em>s (low blow, I know), so it's important that when we talk about how anime is in a terrible state of generic panty-a-thons that we also remember to look at the best of the year—or at least the stuff that most resembles what the old guard used to call anime.</div>
<br />
That of course means <em><strong><a href="http://www.youtube.com/embed/7Zt9DvZ-zHA?rel=0" target="_blank">Cobra the Animation</a></strong></em>, a relic of the 80s dug up and shot back out into space with a cigar in his mouth and a woman (usually her derrière) in his embrace. From what I've seen, <em>Cobra</em>'s TV run didn't strike me as drastically different from the Osamu-Dezaki-helmed 1982 flick, <em>Space Adventure Cobra</em>, or any of the manga's other small-screen iterations. It may not quite be the "<em>Lupin</em> in Space" that it promises, but it provides some of that good old-school misogynistic anime fun to which modern <em>moe</em> misogyny can't hold a candle.<br />
<br />
<em>Highschool of the Dead</em>, while pulled from a much newer manga, is rife with the kinds of things that we loved about 90s OVAs: ultraviolence, giant breasts barely concealed under battle-torn clothes, unlikely action sequences with unlikelier guns, and gratuitous Western media references. Whether or not any of that's "good" in this case is up for debate, but it does squash the notion of "Cute Girls Doing Cute Things" having completely taken over the world. A notable calling card of the 2000s: we're guaranteed an otaku character these days, and he won't be sniveling and worthless the entire time—he might even get a girl.<br />
<br />
(This video clip for <em>Highschool of the Dead</em> <a href="http://www.youtube.com/watch?v=eRTugqDo1WM" target="_blank">may be considered NSFW</a>.)<br />
<br />
For fans of <em>Baccano!,</em> one of the first hugely successful light novel adaptations of the 2000s, Ryohgo Narita's <em>Durarara!!</em> getting an anime was some of the year's best news. The Guy-Ritchie-esque bizarro crime caper didn't disappoint from either a critical or sales front, with its fandom spanning genders and oceans alike (the English dub aired the next year on Adult Swim in the US and <em>DRRR!</em> cosplay remains popular at cons).<br />
<br />
<em>Revolutionary Girl Utena</em> and <em>FLCL</em> writer Yoji Enokido, fresh off cinematic hand-drawn adrenaline fest <em>Redline</em>, returned to TV with his <em>Ouran High School Host Club</em> director Takuya Igarashi for something of an <em>Utena</em> inversion in BONES's <em>Star Driver</em>. While <em>Star Driver</em> retained the ritualistic repetition and cross-gender appeal of that series (and the sexual undertones of all his work), the pair added flamboyant super robots and dialed up the goofy humor for a horned-up Saturday morning cartoon feel.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/c6iOHL9lkfY" width="420"></iframe></center>
<br />
Speaking of which, the now-well-established <em>Pretty Cure</em> franchise entered its 10th year in style with the acclaimed installment <em><strong>Heartcatch Precure!</strong></em>. Consistently strong execution and a unique look for the franchise (thanks largely to highly dynamic character designs by Yoshihiko Umakoshi) made <em>Heartcatch</em> a yardstick for future <em>Precure</em> series, second only to the original. Its uncompromising action sequences and charming leads also helped cement <em>Pretty Cure</em>'s popularity with demographics outside elementary school girls.<br />
<br />
If pointing and laughing at the <em>moe</em> set is more your style, then <em><a href="http://%3ciframe%20width=%22420%22%20height=%22236%22%20src=%22//www.youtube.com/embed/qYwXvWDqOaE%22%20frameborder=%220%22%20allowfullscreen%3E%3C/iframe%3E" target="_blank">Detective Opera Milky Holmes</a></em> provided a convenient "kick me" sign. The now-classic archetype of the cute-klutzy <em><a href="http://tvtropes.org/pmwiki/pmwiki.php/Main/Dojikko" target="_blank">dojikko</a></em> received a thorough battering without the usual insiders' celebration that comes with insular otaku comedy; the series is, at times, just plain mean to its characters and what they symbolize. It's also raucously funny when it works, which admittedly isn't always, but those moments are worth the weaker parts. <em>Milky Holmes</em> may have been missed by fans who wrote it off as the very thing it ridiculed (hi), but it does function surprisingly well from both sides of the coin, like <em>OreImo</em>. It was also popular enough to warrant two additional seasons, an OVA, live tours (by <em>seiyuu</em> who rarely appear out of costume) and lots of figures.<br />
<br />
This year also gave us a love letter to Western cartoons, a last hurrah for a fan-favorite studio team, and a unique TV anime experiment. Hiroyuki Imaishi and the gang at Gainax put some unlikely ingredients in a blender: <em>Dirty Pair</em>, magical girls, <em>Transformers</em>, <em>The Powerpuff Girls</em>, <em>Drawn Together</em>, <em>Ren & Stimpy</em>, and the art of Jhonen Vasquez, among others. They mixed the mess just slightly so the chunks were still visible, filled it with crude and immature jokes, and called it <em><strong>Panty & Stocking with Garterbelt</strong>.</em><br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/qYwXvWDqOaE" width="420"></iframe></center>
<br />
Every episode features different styles, visuals, fart jokes, directors and animators, and none hold back for a second. Domestic sales were certainly not spectacular—it's a title bound to be divisive—but time will tell whether its influence will be felt in younger animators emboldened by its crazed free spirit (a <a href="http://music.hyperreal.org/artists/brian_eno/interviews/musn82.htm">Velvet Underground of anime?</a>)<br />
<br />
<strong>OVAs and ONAs</strong><br />
<br />
The era of the original OVA may have passed, but some do still get made in the form of "original net animations". In the "<a href="http://en.wikipedia.org/wiki/Original_net_animation" target="_blank">ONA</a>-turned-OVA" department, the thoroughly bizarre <em>Cat Shit One</em> manga received a CG anime this year. It's not for everybody, but if you ever want to see hyperreal military combat by cute and fluffy CG bunnies, by all means please watch it.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDOKGnjA26zjOSbdBiqZWXfYqFN2HT970Ym83pvvY92bIj_kWT6mxB6nkhHIP_-nItVRS46Tfe5s3oQ5cjlxfW1xKkgosU4MqZv88xrQw6X-W_KejykLzlEskZzIasWeBHWJZHF28FYZ8/s1600/brs.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" isa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDOKGnjA26zjOSbdBiqZWXfYqFN2HT970Ym83pvvY92bIj_kWT6mxB6nkhHIP_-nItVRS46Tfe5s3oQ5cjlxfW1xKkgosU4MqZv88xrQw6X-W_KejykLzlEskZzIasWeBHWJZHF28FYZ8/s320/brs.jpg" width="256" /></a></div>
A 2010 OVA by erstwhile Kyoto Animation staffer Yutaka "Yamakan" Yamamoto's Ordet studio has one of the more bizarre origin stories in recent history. Popular illustrator and character designer <a href="http://huke.blog.shinobi.jp/">huke</a> (<em>Steins;Gate</em>) posted a picture of a girl with cool jacket and a blue glowing eye to his Pixiv account that was apparently so compelling that Nico Nico DIY music star Ryo, mastermind of "doujin group" Supercell created a song based on it. Thanks to Supercell's online following and the <em>Vocaloid</em>/Miku Hatsune fandom (Ryo uses the <em>Vocaloid</em> software for Supercell's vocals), the character of <em>Black Rock Shooter </em>became something of an internet/otaku icon. More character designs followed, then this OVA, and eventually a noitaminA TV series in 2012. It's not what you'd call an amazing piece of anime—though it's plenty inventive in both narrative and visual styles—but its legacy as an internet success story inextricably tied to the heavily participatory <em>Vocaloid</em> fandom makes it unique, and arguably one of the most important events of the year.<br />
<br />
<center>
* * * * *</center>
<br />
So...is 2010 the start to the death knell of anime? Doom and woe? Or is it the same old song and dance for a different year? While the insipid, the irritating, and the just plain icky can seem to dominate if your glass is half empty, Golden-Ani has shown us that the pattern is the same as most years: among the dreck are a few standout titles, some of which will remain deservingly in our memories among the ranks of anime's best.<br />
<br />
<strong>Next Time: One more trip back to 2007 before we wind things up...</strong>Geoffhttp://www.blogger.com/profile/02385629483209026981noreply@blogger.com4tag:blogger.com,1999:blog-5455108671364992297.post-43433612945943252562013-10-20T16:41:00.000-07:002013-10-20T16:41:23.876-07:002007, Part 2: Seven for Seven: Two for Love<em>Having covered </em><a href="http://goldenani.blogspot.com/2013/08/2007-part-1-seven-for-seven-three-robot.html" target="_blank"><em>three tales of technology</em></a><em> for 2007, Part 2 from Owen (Twitter handle @</em><a href="http://twitter.com/riajuunibyou" target="_blank"><em>riajuunibyou</em></a><em>) covers the human side of anime in two forms, one from a digital distribution and another from the more traditional means.</em><br />
<br />
<hr />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRXWpvVnr4TQI7P_ljownyNLbK8SIAB-B47ebmKtCxCcC3tTGTG4_gTjDrhruRkbRp0B01Mvk4IOyIw4NLQYEINPQnAiivQXyV1lT-i09OH-kivhZ-Z7NaNHHEGImN6sMo6zBtw-Xc6zM/s1600/The-Girl-Who-Leapt-Through-Time.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" closure_lm_869299="null" esa="true" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRXWpvVnr4TQI7P_ljownyNLbK8SIAB-B47ebmKtCxCcC3tTGTG4_gTjDrhruRkbRp0B01Mvk4IOyIw4NLQYEINPQnAiivQXyV1lT-i09OH-kivhZ-Z7NaNHHEGImN6sMo6zBtw-Xc6zM/s320/The-Girl-Who-Leapt-Through-Time.jpg" width="231" /></a></div>
More often than not, stories about love inevitably turn into stories about time. Whether it's the aftershocks of a breakup, a long, hard look at loves past, or even new love budding in the present, the lens of love is always there to colour matters. With each new relationship, the examination of the past is all but certain—we look to the past to think about the future.<br />
<br />
Consider 2006's <em>The Girl Who Leapt Through Time</em>. It uses time travel not as an escape or an afterthought, but as a way of underscoring the pinning of love and how obdurate such feelings can be; it uses time travel as a means to emphasise, through repetition, how even the most fervent attempts to undo time cannot undo hearts. Love, it decides, is inevitable—just a matter of time.<br />
<br />
The two anime covered this time as we embrace the shows from 2007 have no scientific or fantastic aspirations, yet in themselves do contain that dimensionality with their nuanced take on a subject well explored. It's unavoidable, after all, that the sum of one's here and now is but the result of every year, every day, every second that we've lived, and it's this that we bring to each relationship, new or old.<br />
<br />
Love is like time travel in that regard. Romance stories in such a vein take the long route, an introspective that starts then and ends now; as much as it is about the feelings and hopes and dreams that two individuals bring together, it's also the way in which so many of us are shaped by what we've gone through and those we've loved, and how that affects those we're now in love with.<br />
<br />
<a name='more'></a><strong><em><a href="http://www.animenewsnetwork.com/encyclopedia/anime.php?id=8372" target="_blank">Tokyo Marble Chocolate</a></em></strong> is a bittersweet mouthful, an acquired but ageless taste.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/UdicRlhDCw8" width="420"></iframe></center>
<br />
The story is presented as an OVA in two parts—the girl's half, <em>Mata Aimashou</em> ("Let's Meet Again") and the guy's half, <em>Zenryoku Shounen</em> ("Youth in Full Throttle"). While the episodes are symmetrical and can be viewed in any order, the recommended sequence is the one listed, if only because the former ends on a down note that's complemented by the latter's uplifting one.<br />
<br />
The first few minutes of each episode is painfully frank in a way that belies the sunny optimism afforded its peers. Separately, yet in parallel, the protagonists Chizuru and Yuudai convey a sense of inevitability and resignation in their opening monologues that sets the tone for the next 52 minutes, simultaneously reconciling the outcome of their relationship to the viewer in a way other works fail to do with twice the runtime—we want to cheer this couple on. We want them to make up. We want them to succeed.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWk9-BWM0xYlnAqlMtmZaeo7QdijcN1ehGXKVEt5Gnllgy_3hw8ystllmQ4T7xHwGmixqF0I7v4HL3nFbUtjbE76m1UfgCfN2sqoK3ktimKzX-PJ3AjBGk3twu4CyzoCLhnhfgDgPnsJw/s1600/Tokyo_Marble_Chocolate_part1_Mata_Aimashou2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" esa="true" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWk9-BWM0xYlnAqlMtmZaeo7QdijcN1ehGXKVEt5Gnllgy_3hw8ystllmQ4T7xHwGmixqF0I7v4HL3nFbUtjbE76m1UfgCfN2sqoK3ktimKzX-PJ3AjBGk3twu4CyzoCLhnhfgDgPnsJw/s400/Tokyo_Marble_Chocolate_part1_Mata_Aimashou2.png" width="400" /></a></div>
<br />
But who hasn't been there? The very broken halves that make up this couple are nothing short of comedic in their mutual tragedy: Failure condensed thickly, a series of relationships that, when seen through the strained lens of self-deprecating memory, seems to have been nothing more than a futile struggle. A pattern starts to emerge, and reasoning with it: if I've met this many people and failed to maintain a relationship, it reasons, might I just not be desirable enough, not good enough, not deserving enough of love?<br />
<br />
The events that transpire following the setup are nothing short of slapstick, immaculately arranged yet earnestly contrived into a microcosm of Why Lovers Fight, that to laugh at them is to also wince in the same breath; to root for them isn't so much in moral support of a fictional couple as it is cheering love on, believing in it enough for it to complete the final lap before it collapses in a broken heap at the finish line. Everyone loves an underdog story, and this one is no exception<br />
<br />
While you'd be hard-pressed for symbolism in a genre like this, it's to <em>Tokyo Marble Chocolate</em>'s credit that it weaves such accoutrements into its fabric, revealing itself to only the most observant. The rogue mini donkey that makes its appearance halfway is nothing short of a show-stealer, with its garish looks making it endearing and intimidating in the same way that discovering someone anew is; a frightful experience that you can't bear to look at, but which you can't bear to look away from either.<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7SMAvWbjaoAbzpV2AD0mUTpsAr7ujXXUVOID1uZK5YlyA5jgI4i9bg1pimyH1CNJurkU7j1OVsiT1APR95CjSBEHikT5S9BoiqQbb6BSvApUHzvvaV-6v-zpPTPLqenvukhJtTkHv1X8/s1600/Tokyo_Marble_Chocolate_part1_Mata_Aimashou.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" esa="true" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7SMAvWbjaoAbzpV2AD0mUTpsAr7ujXXUVOID1uZK5YlyA5jgI4i9bg1pimyH1CNJurkU7j1OVsiT1APR95CjSBEHikT5S9BoiqQbb6BSvApUHzvvaV-6v-zpPTPLqenvukhJtTkHv1X8/s400/Tokyo_Marble_Chocolate_part1_Mata_Aimashou.png" width="400" /></a></div>
<br />
There is a Japanese idiom called "Jumping off the stage at Kiyomizu Temple" that corresponds to "Taking the plunge" in English. The stage at Kiyomizu-dera itself is 13 meters tall, and it was believed that those who would survive the fall would have their wish granted—here, it is Yuudai and Chizuru's figurative leap of faith that encapsulates their shared ordeal; the idea that we are so much more than what we make ourselves out to be to others, and only those who accept us as we are, warts and all, that are worthy of reciprocation.<br />
<br />
<em>Tokyo Marble Chocolate</em> examines an age-old trope with modern tools, its contemporary urban setting a bleak and superficial experience that it rejects in favour of something else. More than that, it acknowledges the nihilism with which relationships in this day and age can be reduced to, ad absurdum, but not before tempering it with a healthy dose of hope. It postulates that relationships are a gambler's trap that favours the house, with feelings used for collateral. Inherently destined for failure, it takes a small push to turn a simple interaction into a formidable obstacle, with separation on the cards.<br />
<br />
Similarly, the foil to this downward spiral is deceptively simple: Rather than struggling against the idealistic image of a partner and the gap that informs the real thing, love here is a state of acceptance. In acknowledging the song and dance that is two individuals trying to understand each other, it comes full circle with the adage of loving yourself before you love others. There are no perfect relationships, but it accepts the feelings that result from striving to such a standard all the same. <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZfzL_ZLVgP8LXAIJYdh-4vIZrwjlT9hczPoTLgsQ-I47yp3GRLYuuQcJdg3zYe-YeIxbpY5eT4pBdcaxibK2_zOcnWI71XnT58rhibRnqOl-HLaFwmVD865v3_EdFQgSmGsFSww5DDGs/s1600/Tokyo_Marble_Chocolate_part2_Zenryoku_Shounen.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" esa="true" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZfzL_ZLVgP8LXAIJYdh-4vIZrwjlT9hczPoTLgsQ-I47yp3GRLYuuQcJdg3zYe-YeIxbpY5eT4pBdcaxibK2_zOcnWI71XnT58rhibRnqOl-HLaFwmVD865v3_EdFQgSmGsFSww5DDGs/s400/Tokyo_Marble_Chocolate_part2_Zenryoku_Shounen.png" width="400" /></a></div>
<br />
Initially, my reaction to the title was to google it in English, which was a mistake; Rather than referring to marbled chocolate, it was "Marble Chocolate" all along—a brand of candy from Meiji, the Japanese equivalent of M&Ms in all but name. As colourful and varied as the confection it references, <em>Tokyo Marble Chocolate</em> has never sounded more apt.<br />
<br />
<em><strong><a href="http://www.crunchyroll.com/5-centimeters-per-second" target="_blank">5 Centimeters per Second</a></strong></em> is love as a monologue, in love with love itself.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/wdM7athAem0" width="420"></iframe></center>
<br />
It's hard to not refer to Makoto Shinkai's previous works, namely the entirely self-made <em>Voices of a Distant Star</em> and his first feature-length film, <em>The Place Promised in Our Early Days</em>, when writing about <em>5 Centimeters per Second</em>. It is, after all, his third major work to return to his theme <em>du jour</em>: distance.<br />
<br />
A month before its theatre premiere, the first third of <em>5 Centimeters per Second</em> was streamed on Yahoo! Japan. 2007 was a year when NicoNicoDouga was taking its first steps, and Crunchyroll had yet to stream anime legally. As it had been three years since his last film aired, the internet, naturally, took notice. Web rips surfaced and with it makeshift subs, but it wouldn't be until much later that slightly better copies of the film would surface. (<em>5cm's appearance online may have also been the leak that led to the flood of online streaming, which is why it's included as a "TV" anime. - Ed.</em>)<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW0NWaXp5Ew-cw3tIJUYQDrAmH0iENqVNWfmsYmOdGib21cHE6pxTOtf70C0p5Rhr1HW3xjbLUazjp7Q_LGwZCx2M8tdh0AmqVOO59uhZyDXOo_aswj3fzppduvkUs2JENfG0N3nXt-1c/s1600/5cm4.bmp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" esa="true" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW0NWaXp5Ew-cw3tIJUYQDrAmH0iENqVNWfmsYmOdGib21cHE6pxTOtf70C0p5Rhr1HW3xjbLUazjp7Q_LGwZCx2M8tdh0AmqVOO59uhZyDXOo_aswj3fzppduvkUs2JENfG0N3nXt-1c/s400/5cm4.bmp" width="400" /></a></div>
<br />
Was it worth the wait? Shinkai's emphasis on it being grounded in reality was notable at the time, although I couldn't put my finger on it then. Having seen it countless times since, it only seems natural to wonder if his desire to not be typecast into the role of "director who does sf/f anime about a boy and a girl separated by distance" was showing.<br />
<br />
At the very least, his desire to depict the real world served to solidify his reputation as an up-and-coming director. While it was, fundamentally, not so different from his previous works—in that it was about a boy and a girl, and the distance between them—the way in which this was presented testified to Shinkai's versatility, if not flexibility, with what seemed to be his comfort zone.<br />
<br />
The title, a reference to the speed with which <em>sakura</em> petals fall, immediately makes the subject matter clear to its native audience. As a motif with long-standing traditions in Japanese storytelling, <em>sakura</em> blossoms are said to embody the ephemerality with which they come and go; a relationship presented in such a context is flagged as being short-lived, ultimately destined for separation. Previously having explored the concept of distances spatial (<em>Voices</em>) and temporal (<em>Place Promised</em>), <em>5 Centimeters per Second</em> encompasses them both while adding a third facet to it, the emotional. <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMAyoM4nZkuMyMBTFAZgNfA58Z0W5r3vQLMvPDJY4SC6FWgwWbiO5bUkb2jpm5oHsiXETGQS322oEce_prAemgF5cZi_OgGXtNS7ChCjkmp0yF9lR29Z77kFXvilxUr-o9XebJ9E0HTeA/s1600/5cm3.bmp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" esa="true" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMAyoM4nZkuMyMBTFAZgNfA58Z0W5r3vQLMvPDJY4SC6FWgwWbiO5bUkb2jpm5oHsiXETGQS322oEce_prAemgF5cZi_OgGXtNS7ChCjkmp0yF9lR29Z77kFXvilxUr-o9XebJ9E0HTeA/s400/5cm3.bmp" width="400" /></a></div>
<br />
Told in three acts, the first part, <em>Okashou</em> ("Cherry Blossoms"), is the longest and acts as a framing device for the other two. Takaki and Akari are elementary school students, brought together by a shared status as transfer students and their mutual love for books. The second act, <em>Cosmonaut</em>, focuses on a girl called Kanae who nurses unrequited feelings for the now-adolescent Takaki, while the titular third act looks at the adult Takaki and Akari, who seemingly pass each other by at a train crossing one day.<br />
<br />
The result is an incredibly personal and cohesive examination of how the greatest distance of them all can be self-inflicted. It posits that while time and space can seem to be insurmountable, there is nothing greater than the distance that results from inaction, be it through a hopelessly idealised image of someone or sheer teenage infatuation. How often do we let opportunities pass by as a result of sheer passivity? The panacea of regret is no panacea at all, and thinking about what might have been has stronger allure than wanting to make sure it doesn't happen again.<br />
<br />
Shinkai has been compared to Hayao Miyazaki in recent years, yet such finely tuned emotional sensibilities seem to channel Haruki Murakami more than anything. The latter's short story, <em><a href="http://www.spaldinghigh.lincs.sch.uk/media/Haruki%20Murakami.pdf" target="_blank">On Seeing the 100% Perfect Girl One Beautiful April Morning</a></em>, bears a familial resemblance to the third act. More montage than story, it's shown to the tune of Masayoshi Yamazaki's "One more time, One more chance". Both uplifting and crushing, it's with a bitter smile that we see Takaki finally moving on. The ennui he feels throughout the film is unquestioningly self-inflicted, yet perfectly understandable, for what-ifs and maybes can be paralysing in small amounts, intoxicating in large ones. <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhesBBi1Hd1KkoXCDgxfoFaObWxJbObPacBkiX5onejYX2pbRenY_BYNQvH24hua-7BnotX54M_KT74KYPrR2Sh8l4hRCjaluOTWv6RQmsuYoU__rkindF8K4KIPRzhjwGg1Dd-uh7Oz2c/s1600/5cm2.bmp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" esa="true" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhesBBi1Hd1KkoXCDgxfoFaObWxJbObPacBkiX5onejYX2pbRenY_BYNQvH24hua-7BnotX54M_KT74KYPrR2Sh8l4hRCjaluOTWv6RQmsuYoU__rkindF8K4KIPRzhjwGg1Dd-uh7Oz2c/s400/5cm2.bmp" width="400" /></a></div>
<br />
There is an official English subtitle that can be seen on the promotional materials for <em>5 Centimeters per Second</em>, the curiously phrased "a chain of short stories about their distance." While "chain" seems like an unconventional choice, it seems obvious on hindsight. The way in which chains are linked to each other and their use for restraint and shackling is indicative of how this isn't a love story by any conventional measure—just the idea of love itself.<br />
<br />
<strong>Next time: Part 3 remains, but let's take a peek at recent memories in the year 2010 first!</strong>Geoffhttp://www.blogger.com/profile/02385629483209026981noreply@blogger.com3tag:blogger.com,1999:blog-5455108671364992297.post-26329420577294618562013-10-19T08:37:00.000-07:002013-10-19T08:37:02.952-07:00ZA SHAZAI (Our Apologies)<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/pqZcEwHBAk8" width="420"></iframe></center>
<br />
I humbly prostrate myself before your feet, Milord.<br />
<br />
As editor and curator of the <em>Golden Ani-Versary of Anime</em>, I desperately ask for your forgiveness. Choose one of the above formats for a proper apology.<br />
<br />
Yes, we have just under 4 years left to cover in this year-long worship of the past five centuries of anime (four years that have taken for<strong>EVER</strong>, Editor-san), but due to circumstances beyond control (a temporary three-month dispatch to places unknown and a few conventions to see), the ball has been dropped. That's not to say that interest has waned; there's just so much mental energy that the editor can devote to this project that every weekend became either a recharging moment or a trip back to the apartment to make sure nothing went up in flames.<br />
<br />
Perhaps this may have resulted for the best, as it gave our final contributors some time to process and the editor some time to contemplate how to proceed from here. Some terrific ideas have been tossed around, including a possible convention run, another project for next year, the rumored "Hall of Fame" vote, and even a printed publication. Most, if not all, of those ideas will likely be tabled to the beginning of 2014, but stay tuned for information!<br />
<br />
Meanwhile, we have a few weeks of publications to catch up with until we hit the end of our mad trip through time. The time machine is repaired, and with an "<a href="http://www.youtube.com/watch?v=DOFORtYZzfY" target="_blank">El Psy Congroo</a>!" we will be returning to our journey, but not before we stop back at 2007 to pick up something we forgot (Part 2).<br />
<br />
Until then, please accept our deepest groveling "orz" in the cutest manner we could find for free online.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisY_8Ga3k2J9dQdGXsEwT6ch34HuNLOKXTzr-E6_RJk2Am6witwoNI-RTOGuJ2jNBWEc9CrIBIYDn_yCs5cWzzrHcppQAeKsHIEcfweiuovAkp5zN11QonIejF2TAofK-kNyMyJ9rVkIs/s1600/ShinryakuShazai.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" esa="true" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisY_8Ga3k2J9dQdGXsEwT6ch34HuNLOKXTzr-E6_RJk2Am6witwoNI-RTOGuJ2jNBWEc9CrIBIYDn_yCs5cWzzrHcppQAeKsHIEcfweiuovAkp5zN11QonIejF2TAofK-kNyMyJ9rVkIs/s400/ShinryakuShazai.jpg" width="400" /></a></div>
<br />
There. That should do it. Thanks for your patience.Geoffhttp://www.blogger.com/profile/02385629483209026981noreply@blogger.com2tag:blogger.com,1999:blog-5455108671364992297.post-16735390802721119542013-09-27T15:25:00.000-07:002013-12-26T13:13:30.176-08:002009: The Internet Finally Takes Over<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAmmxDvYErw23q-vEsFEbdVQeeMiUk6umZbqT_OC2_o0uMpmhkUnPbvw2msJgID7yeAgW_yni9xCzfp84PIL-03o1gsm3ciOtZfcY8_EJTV_nmOMIH4ccHpoY3mZJ184lYXKuO2fe8DSY/s1600/raindropsanddaydreamstop.png" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="119" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAmmxDvYErw23q-vEsFEbdVQeeMiUk6umZbqT_OC2_o0uMpmhkUnPbvw2msJgID7yeAgW_yni9xCzfp84PIL-03o1gsm3ciOtZfcY8_EJTV_nmOMIH4ccHpoY3mZJ184lYXKuO2fe8DSY/s200/raindropsanddaydreamstop.png" width="200" ysa="true" /></a></div>
<em>Feeling rather humbled by participating in the project, Raindrops (@<a href="http://twitter.com/DaydreamsUK" target="_blank">DaydreamsUK</a>) is a relatively new blogger from the UK who has been a fan since the early nineties. She spends most of her free time watching anime and speculating furiously about the future of the industry overseas. Choosing 2009 was originally a thinly-veiled excuse to mention her favorite show, and you can follow all those opinions on her blog, <a href="http://www.raindropsanddaydreams.co.uk/" target="_blank">Raindrops and Daydreams</a>.</em><br />
<br />
<hr />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ64TVjtk7-YkdSMszyCELAA1q9xwYSlOn8xGqFqvs1XXYepKyW6asoLaNPUuB7n2kC-g25iUKR8YA81XugyOjJu3GA7pArKThFHdRjcalIGrKHSnGX37fqXLOiHhLlT-qtbzNa3g3IPw/s1600/bakemonogatari.png" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" closure_lm_385500="null" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ64TVjtk7-YkdSMszyCELAA1q9xwYSlOn8xGqFqvs1XXYepKyW6asoLaNPUuB7n2kC-g25iUKR8YA81XugyOjJu3GA7pArKThFHdRjcalIGrKHSnGX37fqXLOiHhLlT-qtbzNa3g3IPw/s320/bakemonogatari.png" width="239" ysa="true" /></a></div>
As we draw closer to the fifty-year milestone for anime on television, we've seen the medium moving from monochrome to color and from cel animation to digital. Along the way, it's inspired a vast global audience and survived several new home video formats. 2009 ended up being a year bursting with the same rich innovation as anime continued to explore new approaches both on screen and behind the scenes. While I'm not sure whether any will end up as future classics, there were so many interesting projects on offer that I was forced to make some tough choices in selecting the series I wanted to introduce.<br />
<br />
The first title on my list, however, should surprise nobody who was active in the fan community four years ago. Its sequels are still selling well today, its theme songs have become anthems and the script was often rumored to be "untranslatable" by fans trying to rationalize the length of time it took to appear in the US. The series I'm talking about is Shaft's <strong><em>Bakemonogatari</em></strong>.<br />
<br />
<a name='more'></a><strong>Takes and introductions</strong><br />
<br />
The premise for <em>Bakemonogatari</em> is almost as generic as it gets: a Japanese schoolboy has a brush with vampirism and ends up befriending a selection of impossibly cute young girls, each of whom need his help with a supernatural problem of some kind. In the hands of lesser creators the series would have been a typically forgettable harem adventure. Instead, it made selling tens of thousands of discs look easy.<br />
<br />
Naturally, <em>Bakemonogatari</em> fever was more a carefully-calculated commercial exercise than a happy accident. Prolific author NisiOisiN had already earned a reputation for his quirky writing style steeped in pop culture references; pairing his story with Shaft's eccentric director Akiyuki Shinbo turned out to be a match made in heaven. Talented names were drafted for every aspect of the production to bring the original light novel's simple formula to life in a feast of adventurous visual storytelling and sharp dialogue. Even the fan service had an unusually artistic flair, making <em>Bakemonogatari</em> a joy to watch for viewers who loved the genre--and those who hated it.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/X63_YYZjKxA" width="420"></iframe></center>
<br />
At the time it was airing on television, <em>Bakemonogatari</em> was infamous for its endless struggles with deadlines and incomplete animation during some important scenes. This would end up working to the creators' advantage as the (delayed) home video releases were snapped up by fans eager to see the finished work. In addition, more episodes were created than could be broadcast in a standard anime block. There was a great deal of fanfare when the last three episodes were eventually posted online as ONAs (original net animations) to complete the final arc.<br />
<br />
<em>Bakemonogatari</em> wasn't the only hit that year to dabble in the emerging net anime format. Originally planned as a television series, <em><strong>Hetalia Axis Powers</strong></em> was forced to fall back on online distribution when there was a media outcry from overseas against the content of the show. <em>Hetalia</em> uses cute characters based on national stereotypes to present a comedic retelling of world history, often from the World War II period. Although most viewers could see that no harm was meant and creator Hidekaz Himaruya pokes fun at Japan just as much as every other country, it's not surprising that it caused some friction once word got out.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/NSJ8B_MNS30" width="420"></iframe></center>
<br />
Fortunately, the change in formats didn't seem to harm <em>Hetalia</em>'s popularity; after all, it had originated as a web comic rather than taking a more traditional route to mainstream success. The anime's blend of humor, real world historical trivia and charming male leads swiftly became a phenomenon in the <em>fujoshi</em> community. Its simple format and lack of ongoing narrative meant that the world of <em>Hetalia</em> has been able to expand over time to incorporate an increasingly large cast of characters.<br />
<br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV2VEKjpc4c0mzribQmBWoQa_bxxKxKQ0ycBfzRtRIybJx3IySKe60lGMub0RrkZnSoxz6mHep_r7eUAY-EaNSX6bL6jcyvtbVPKFFsdwTCQsjMm0Lo2grBLCZIaCfRki5lRrhyphenhyphenMCWhFU/s1600/sengokubasara.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" closure_lm_965164="null" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV2VEKjpc4c0mzribQmBWoQa_bxxKxKQ0ycBfzRtRIybJx3IySKe60lGMub0RrkZnSoxz6mHep_r7eUAY-EaNSX6bL6jcyvtbVPKFFsdwTCQsjMm0Lo2grBLCZIaCfRki5lRrhyphenhyphenMCWhFU/s320/sengokubasara.jpg" width="225" ysa="true" /></a>Another series which particularly struck a chord with the female audience was Production I.G.'s <em><strong>Sengoku BASARA</strong></em>. Unlike the other picks in my list, <em>Sengoku BASARA</em> is based on a series of video games rather than a manga or book--the perfect source material for Production I.G.'s fabulous, action-packed anime adaptation.</div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br /></div>
Like <em>Hetalia</em>, there was a historical flair to its setting, this time looking back on Japan's "Warring States" period. The <em>Sengoku BASARA</em> television series followed famous warriors from Japanese history as they fought to end the reign of one of anime's favorite recurring villains, the terrifying Nobunaga Oda. What set it apart from countless other feudal adventures was the way the show embraced its over-the-top origins. Real samurai armor from the Sengoku period was used as inspiration for some of the most flamboyant costumes in anime, then fused with colorful pyrotechnics, dancing soldiers, demonic powers, a giant robot and dialogue so crazy that it could be mistaken for a parody script. Simply put, <em>Sengoku BASARA</em> should not be taken too seriously.<br />
<br />
In recent times there has been a rise in awareness of a subset of female fans unflatteringly dubbed "<em>rekijo</em>", women with a genuine interest in history who tend to gravitate towards anime, games and manga titles based around the Sengoku and Bakumatsu periods. It wasn't long before the industry realized that there was money to be made in catering to their hobbies and a flood of commercial tie-ins soon followed. <em>Sengoku BASARA</em> arrived at the perfect time to capitalize on this; unwilling to stop at the usual soundtrack CDs, t-shirts and figurines, the series would come to inspire regional snacks, condiments, drinks and eyewear. It would also promote local festivals, castles, theme parks and museums across the country, as well as being used to advertise local elections and law enforcement campaigns. Official tours were arranged to the battlegrounds from the series and the voice cast recorded themed travel CDs to entice fans to make their own <em>Sengoku BASARA</em> pilgrimages across the country. Capcom had never been strangers to exploiting opportunities to raise the profile of the original game series in the first place; once the anime had started to gain momentum with a wider audience their marketing department became an unstoppable force.<br />
<br />
Not bad for a gratuitously over-the-top action romp with a plot that can be found in any high school history textbook.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/y_3X70NaHUs" width="420"></iframe></center>
<br />
If it hadn't been for <em>Bakemonogatari</em>, the series which headlined my article might have been <em><strong>K-On!</strong></em>, a gentle comedy about a group of girls who join their school's "Light Music" Club. Kyoto Animation's loving adaptation of this simple, niche-sounding concept generated a flurry of promotional activity, capturing the imagination of fans who rushed to buy as much merchandise as possible, many going as far as joining lead character Yui in her journey to master the guitar. The <em>K-On!</em> girls even crossed over to the real world, making music history when their character song CD topped Japan's weekly Oricon chart. At the height of its popularity <em>K-On!</em> was everywhere.<br />
<br />
There are many explanations for its success, ranging from being accessible to a wide demographic to what sounds almost like the opposite, appealing to otaku who wanted to watch cute girls messing around without being distracted by too much plot. Whatever the case, the series definitely tapped into a thirst viewers had for a rose-tinted view of school life. The Light Music Club was the idealized group people wished they'd been able to participate in back when they were still at school.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbqJsw0HYpwax0EwsrwpVrNe07-kTc3ah78TAgCUZrxsy4MjEfnK9DpQ1diyOafkh64lQTfh73LsegrJUOGhuRtrrpdrzyr8Qp1dExVp3j_GNaTmtU3kBhQM25h_b0nLClvrq_4T4tSkQ/s1600/denoftheeast.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbqJsw0HYpwax0EwsrwpVrNe07-kTc3ah78TAgCUZrxsy4MjEfnK9DpQ1diyOafkh64lQTfh73LsegrJUOGhuRtrrpdrzyr8Qp1dExVp3j_GNaTmtU3kBhQM25h_b0nLClvrq_4T4tSkQ/s320/denoftheeast.jpg" width="320" ysa="true" /></a></div>
<br />
While the other shows I've described so far weren't intrinsically tied to the time of their debut, the noitaminA title <em><strong>Eden of the East</strong></em> probably best captures the spirit of the era itself. It's an odd beast, both inviting enough to entertain a general audience and geeky enough to keep hardened fans on their toes at the same time. <em>Eden of the East</em>'s themes of isolation, conspiracy and disenfranchisement crop up in an increasing number of productions these days, yet here that bleakness is used to tell a more uplifting kind of modern fairytale. The plot is driven by believable technologies from the near future and plentiful references (and tributes) to western movies. I'd love to know what the next generation make of this slice of early 21st century social commentary.<br />
<br />
<strong>Retakes and reintroductions</strong><br />
<br />
Of course, not every memorable series in 2009 was destined to leave a lasting impression for the right reasons. Despite being a strong seller and talking point, the only sequel on my list is also the most controversial: <em>The Melancholy of Haruhi Suzumiya</em>. The original had been well received back in 2006 and hopes were perhaps unreasonably high when it was revealed that Kyoto Animation would be slipping some new episodes into its rebroadcast three years later.<br />
<br />
<strong>WARNING: The next section contains mild spoilers for the television series <em>The Melancholy of Haruhi Suzumiya</em>.</strong><br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/yBS0AGgGTnQ" width="420"></iframe></center>
<br />
The reaction to the new episodes was mixed, to say the least. The first went down very well, only to be followed by what was termed the "Endless Eight" arc. Eight consecutive episodes, spanning almost two months in broadcast terms, were devoted to showing the same events about the characters being trapped in a Groundhog Day scenario over and over again. There was a desperate atmosphere of disbelief in the fan community which grew more intense every time a new episode aired; would it finally resolve the story, or would the producers really keep going?<br />
<br />
It should be noted that the "Endless Eight" episodes weren't exact copies of each other. New dialogue was recorded, scenes were shot from different angles and some parts of the story would be changed occasionally, gradually revealing more of the plot over time. Hardcore fans swallowed their disappointment over the missed opportunity and embraced the experiment, noting that the audience were made to feel as trapped and confused as the characters within the show. The reaction elsewhere was more one-sided. For several months any mention of <em>The Melancholy of Haruhi Suzumiya</em> was met with almost unanimous disgust on many Internet forums.<br />
<br />
There was one other prominent trend during the year 2009: remakes. The most surprising of these was Studio Bones' return to the popular <em>Fullmetal Alchemist</em> series, starting over from scratch with a retelling titled <em><strong>Fullmetal Alchemist: Brotherhood</strong></em>. It seemed like an extraordinary thing to do when the original television series had been so popular only a few years earlier.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/I8TvsnfZZ-c" width="420"></iframe></center>
<br />
The new adaptation replaced some of the voice actors and followed Hiromu Arakawa's original manga much more closely. It wasn't long before the plot of <em>Fullmetal Alchemist: Brotherhood</em> justified the remake's existence by heading into unknown territory and making the earlier adaptation feel utterly redundant. Having never read the manga myself, I was shocked to discover just how much had been shuffled around or removed by the anime producers the first time around.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvWXC1N9Gd4ofKXTiaRSJV5ihp1b-bcPDiST0eU8rRq-2BEq0uokG2IhsK3jOybpwMTaQl1T7uy3evcTkLafj5MKl69zled8txRGB0ortO53Qw_nvCjt2ESTRIe3Y3bLZp02S6ngFBa9Q/s1600/New+Picture+(3).bmp" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" closure_lm_965164="null" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvWXC1N9Gd4ofKXTiaRSJV5ihp1b-bcPDiST0eU8rRq-2BEq0uokG2IhsK3jOybpwMTaQl1T7uy3evcTkLafj5MKl69zled8txRGB0ortO53Qw_nvCjt2ESTRIe3Y3bLZp02S6ngFBa9Q/s1600/New+Picture+(3).bmp" ysa="true" /></a></div>
<em>Fullmetal Alchemist</em> wasn't the only high profile series to take a look back at its roots that year. <em>Dragonball Z Kai</em> was a reworking of the beloved action classic to remove most of the filler episodes and clean up the overall presentation. <em>Inuyasha: The Final Act</em> provided an long-overdue finale to an older hit, and the <em>Lupin III vs Detective Conan</em> TV special brought one of anime's most infamous thieves face to face with the genius pint-sized detective in a rare official crossover outing. In the cinema, <em>Space Battleship Yamato: Resurrection</em> provided a dose of old school science fiction while <em>Neon Genesis Evangelion</em>'s ongoing "rebuild" project continued with the explosively successful <em>Evangelion 2.0: You Can (Not) Advance</em>, shocking fans of the series with its new take on familiar material after its less adventurous predecessor had lulled them into a false sense of security.<br />
<br />
It could be argued that anime producers were playing things safe by reviving older projects with ready-made audiences instead of taking risks. It was fortunate, then, that the sheer quality of the new titles battling for attention alongside them prevented the rush of nostalgia taking over completely.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4xAhgeeo4QqI7MN_kLt3lAsU5c9GUu09UBKsFZt482NHzj-xmyiJVJgqpdGBIuxCB5tKdk2p0Igu6ZT8r7PSAhnX52BhGZUKPgT6EPEokchUdjhzuDz8oBVa5yK9u1J4Z_FDoulNrx-w/s1600/crunchyroll_logo_tagline.png" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" closure_lm_965164="null" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4xAhgeeo4QqI7MN_kLt3lAsU5c9GUu09UBKsFZt482NHzj-xmyiJVJgqpdGBIuxCB5tKdk2p0Igu6ZT8r7PSAhnX52BhGZUKPgT6EPEokchUdjhzuDz8oBVa5yK9u1J4Z_FDoulNrx-w/s320/crunchyroll_logo_tagline.png" width="320" ysa="true" /></a></div>
<strong>Televised anime goes global</strong><br />
<br />
2009 was great for anime if you lived in Japan. What made it even better was that it would turn out to be a revolutionary year for anime distribution elsewhere, too. The biggest development was the emergence of streaming site Crunchyroll as a major player in the digital delivery field. They'd been dabbling in legal streaming the year before, but it was at the start of this year that they launched their ambitious project to bring long-running properties <em>Naruto Shippuuden</em> and <em>Gintama</em> to fans around the world. Crunchyroll's more global focus made this a significant leap forward, as did their new payment model: users could choose to pay a small subscription fee and view episodes the day they aired in Japan, or pay nothing and watch the same content a week later with advertisements. <br />
<br />
As a foreigner used to US-only initiatives and unfair region locking, it felt as though Japanese television anime was finally coming overseas. At last, fans in the west could provide solid viewing figures for their favorite shows directly to the production companies in Japan and their distributors. Although Crunchyroll's platform has continued to go from strength to strength in the years since, competitors have stumbled in providing anything close to its quality.<br />
<br />
It's worth mentioning that the same year most of the world was treated to its very first anime simulcasts was also the year the format hit its first major snag outside its country of origin. Someone illegally distributed content from FUNimation's region-locked <em>One Piece</em> stream before its scheduled Japanese broadcast, causing damage to the reputation of the Japanese licensor and endangering their critical relationship with the show's advertising partners. There was a danger that the <em>One Piece</em> stream would be cancelled permanently in the wake of this incident; worse still, it was possible that the backlash would spread to other streaming projects. It wasn't until the series returned to FUNimation's site three months later that the panic died down.<br />
<div style="text-align: center;">
<br />
*****</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjpIHQXwoDDrIsqnOm_vUx_o0Ex24VjcgatEr7QKoansXUSH_6LUbdt7q94Ozj12916IDPArxIl8Z3wO1VxtcdIbjcn72qSbdtH9nOrRQ27Z7tfGGS16foRxDwL-0sVnI3TSiJqH2W3uM/s1600/ToAruMajutsunlIndex.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjpIHQXwoDDrIsqnOm_vUx_o0Ex24VjcgatEr7QKoansXUSH_6LUbdt7q94Ozj12916IDPArxIl8Z3wO1VxtcdIbjcn72qSbdtH9nOrRQ27Z7tfGGS16foRxDwL-0sVnI3TSiJqH2W3uM/s200/ToAruMajutsunlIndex.jpg" width="148" ysa="true" /></a></div>
Anime has come a long way since <em>Tetsuwan Atomu</em> launched back in 1963. The majority of the titles I've mentioned have been made available in the US in some form, with fewer series each year missing out on some kind of streaming deal. One of the most exciting things about covering a recent year for the Golden Ani-Versary project is being able to look back on the solid foundation built by the classics which came previously without too much knowledge about what comes next.<br />
<br />
Decades from now, will fans still consider <em>Bakemonogatari</em> a must-watch, or will one of the shows I passed over like <em>A Certain Magical Index</em> be considered 2009's lasting legacy? Which of this year's celebrated creators will go on to achieve even greater things in the future? Will people ever forgive the team behind <em>The Melancholy of Haruhi Suzumiya</em> for "Endless Eight"? I can't wait to find out! <br />
<br />
<strong>Next time: Put on the brakes! We forgot something back in 2007! We have to go back!</strong>Geoffhttp://www.blogger.com/profile/02385629483209026981noreply@blogger.com2tag:blogger.com,1999:blog-5455108671364992297.post-64568835152831836762013-09-08T15:00:00.001-07:002013-09-08T15:05:12.473-07:002008: A Briton's Guide to Anime<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioV0POgdynTMqBWW0LrwSzZSTrn__7Yol8O80_lEigEOcdvpW-E8wqqrelONyijv3XZKprvnrLh1DXl7tAPvvQ6KKJmc8Gz48dBDczTB2pORdq2jBfr-9uFn3FUdwUc4nFgSrUnhP6qkM/s1600/New+Picture+(1).bmp" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="112" psa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioV0POgdynTMqBWW0LrwSzZSTrn__7Yol8O80_lEigEOcdvpW-E8wqqrelONyijv3XZKprvnrLh1DXl7tAPvvQ6KKJmc8Gz48dBDczTB2pORdq2jBfr-9uFn3FUdwUc4nFgSrUnhP6qkM/s200/New+Picture+(1).bmp" width="200" /></a></div>
<em>@</em><a href="https://twitter.com/ianwolf"><em>IanWolf</em></a><em> writes manga reviews and features for </em><a href="http://www.mymags.net/"><em>MyM Magazine</em></a><em>, anime and manga reviews for </em><a href="http://www.animeuknews.net/"><em>Anime UK News</em></a><em>, and a "Beginner's Guide to Anime" for </em><a href="http://channelhopping.onthebox.com/author/ian-wolf/"><em>On The Box</em></a><em>. He has a degree in Media Studies from Teesside University, where his love of anime really flourished. He also works for his local anime convention, </em><a href="http://www.onecon.co.uk/www.onecon.co.uk/ONECon___Home.html"><em>ONECon</em></a><em> in Middlesbrough. His main ambition is to boost the reputation of anime in Britain, which is not always good in the eyes of the media and general public.</em><br />
<br />
<hr />
<br />
In this article, I will be mainly be talking about the anime industry in the United Kingdom, but for those of you from outside of the UK, don't worry; there will still be plenty of interest. Plenty of anime will be covered--some fantasy, some sci-fi, some historical and some romantic.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWzq-9c2ekBaminHnzzXCA3KWC1Geb0ead9Cefdklo2l7SYTOg9cQVuR-dNW3-2X4QfVoFj9et6qLSkmI281Aby24nHDjOCqcRs0bDEDmhtiVrcWwZ9Rr5TEfiLwOkSpqPSs90KqjTt8M/s1600/k-on.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" psa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWzq-9c2ekBaminHnzzXCA3KWC1Geb0ead9Cefdklo2l7SYTOg9cQVuR-dNW3-2X4QfVoFj9et6qLSkmI281Aby24nHDjOCqcRs0bDEDmhtiVrcWwZ9Rr5TEfiLwOkSpqPSs90KqjTt8M/s320/k-on.jpg" width="219" /></a></div>
The thing people have to understand about anime in the UK, however, is that it has never really had a good reputation. This first occurred with the video release of the tentacle-rape themed <em>Urotsukidōji: Legend of the Overfiend</em> back in the 1990s. When it came out, the newspapers attacked it, saying how horrible and violent Japanese cartoons were, as all cartoons for the British were for kids. Attacks came from both the left-wing and right-wing presses. However, in the end the moral panic it stirred up backfired, as <em>Urotsukidōji</em> accidentally received all this free publicity in a country where the anime market at the time was very small. Sales of the video boomed.<br />
<br />
Conditions were also not helped by the fact that many anime distributors in the UK at the time practiced something called "fifteening". Companies wanted anime to be seen as something different, edgy and controversial, so they insisted that their video releases should be no less than a "15" rating, ideally an "18". Therefore, if a release was likely to be given a "12" rating, they would add excessive swearing when they dubbed it into English so the censors would give the release a "15". <em>(Editor's note: this practice isn't strictly a UK practice; remember <a href="http://en.wikipedia.org/wiki/Editing_of_anime_in_American_distribution#Fifteening" target="_blank">the original Appleseed OVA?</a>)</em><br />
<br />
In terms of anime shown on British TV today, there is hardly any broadcast at all, and just about all of it is shown on digital channels. The only anime that really gets shown are <em>Pokemon</em> and the Studio Ghibli films. Recently the rather small Sony Movie Channel announced it would start showing the Bleach films late at night in August 2013, but that's still a small piece of the pie. DVDs and Blu-Rays are also relatively slow in coming over to Britain. For example, <em>One Piece</em>, arguably the most popular anime of them all, was first broadcast in Japan in 1999. It came out on DVD in America in 2006, but in Britain, it was not released until May 2013. Also, many releases get delayed or are faulty in production.<br />
<br />
<a name='more'></a><center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/13u8AVdO4Zk" width="420"></iframe></center>
<br />
The year 2008 is rather an appropriate year to cover in terms of Britain and anime, because there are a few series set in the country. These are mainly period pieces, one of which is <em><strong>Black Butler</strong></em>, set in Victorian Britain, complete with Japanese ideas of what children wore at the time. The animators seem to be keen on their Lolita fashion, with young hero Ceil Phantomhive constantly seen in his shorts and sock suspenders. In the series Ceil, an earl, businessman and investigator into threats to Queen Victoria, is accompanied Sebastian Michaels, a man who is one hell of a butler, in more ways than one. The series is rather fun, and has a jolly mix of characters, although as many fans point out, it is not a faithful adaptation of the original manga and thus disapproved by many people.<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjBFExMXyuZRaFlrE_h5LHuOmPxIhndoivIQ6ioGu2w0mltF7E-JfhPT8E8XvVpvU-Q31q-VL8qvcRSkvP8NU-COEqY2ASzGEBriJGfc6JzxJX_7q1ok5miQcoCL0wU2SJDMegPHgOkF0/s1600/strike_witcheslarge_super.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" psa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjBFExMXyuZRaFlrE_h5LHuOmPxIhndoivIQ6ioGu2w0mltF7E-JfhPT8E8XvVpvU-Q31q-VL8qvcRSkvP8NU-COEqY2ASzGEBriJGfc6JzxJX_7q1ok5miQcoCL0wU2SJDMegPHgOkF0/s200/strike_witcheslarge_super.jpg" width="160" /></a></div>
Another anime that came out in 2008 is also set in Britain...or rather Britannia. The fan-service-filled <em><strong>Strike Witches</strong></em>, is set in a world where an alien invasion took place just before World War II, but it would be an anime series that would not be shown in Britain. Firstly, if you told people that the Japanese created an anime series set during the war, the vast majority of people would probably reply with: "What? Who won the bloody war?! Sod your cartoons!"<br />
<br />
Once you've got that reaction, it would probably not be advisable to tell them that in <em>Strike Witches</em>, the girls are magical, and this magic is boosted by the use of devices strapped to their legs. You certainly shouldn't say that because of this girls don't wear trousers or skirts so they go around all over the place with their panties in public view. (If you did, the reaction would probably be ugly.) One would have to understand that the British hate sex offenders more than anything else, with the possible exception of the French, the EU, politicians, Piers Morgan and anyone who beats a Brit in a major sporting tournament.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizPTG4-UuKf9WOXuq5uxLYi3pAuExckFfMu0xXWL15kjs2JV_AnYBTZZiWXbuMluhOPktkKpA2ZHJI-_nZaNDjL3eoWfPpwWtmvTKhIQC1Ya9q8w6ylQVAuuHmPI4IEXJH04tW6qz9rqw/s1600/soul-eater.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="251" psa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizPTG4-UuKf9WOXuq5uxLYi3pAuExckFfMu0xXWL15kjs2JV_AnYBTZZiWXbuMluhOPktkKpA2ZHJI-_nZaNDjL3eoWfPpwWtmvTKhIQC1Ya9q8w6ylQVAuuHmPI4IEXJH04tW6qz9rqw/s400/soul-eater.jpg" width="400" /></a></div>
<br />
But moving away from Britain, there are still plenty of anime series from 2008 worthy of note. There were plenty of popular manga series that got their anime adaptation, but the problem was that most of these were of manga that had not finished, which like <em>Black Butler</em>, ended up with the fans complaining about their adaptation being lacklustre. Probably the biggest series to be adapted was <em><strong>Soul Eater</strong></em>. The adaptation began in April 2008 and ended in March 2009, being broadcast over 51 episodes. The characters are all enjoyable and all have their odd little quirks, from screw-turning teacher Dr. Franken Stein, to egotistical Black Star, to symmetry obsessed Death the Kid. There is, of course, the British character in the show: Excalibur, the most powerful, and indeed the most obnoxious and egotistical weapon ever created. He is wonderfully funny, but the fans of the series were still infuriated at the way the series ended, as it deviated somewhat from the original manga.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcGzByZkvqjuZicvFhp_jb4fn_j8VDhw9p42vRipTLZGDVZ6VBQaf4Ns84yKUesvGHpJLocIn9O_FyoyLIxp_c8zJQmvQj_60tEFQF_Be1tSfnkDjfKt3U312zZNoPxh_0Iwxik0bG_t8/s1600/VampireKnight-Grp2.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" psa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcGzByZkvqjuZicvFhp_jb4fn_j8VDhw9p42vRipTLZGDVZ6VBQaf4Ns84yKUesvGHpJLocIn9O_FyoyLIxp_c8zJQmvQj_60tEFQF_Be1tSfnkDjfKt3U312zZNoPxh_0Iwxik0bG_t8/s320/VampireKnight-Grp2.jpg" width="230" /></a></div>
Another 2008 anime, <em><strong>Vampire Knight</strong></em>, did not deviate as much from its original plot and conveniently ended at a rather suitable point in the manga, although the manga only ended in May this year. This is a series which rather appropriately sums up a pet theory of mine: that meme theory–the concept that ideas themselves have a life of their own and can be transmitted from one mind to another, thus one idea may occur in one place and a very similar one occurs somewhere else–occurs between anime and western fiction. For example, <em>Vampire Knight</em>, a story about a doomed love triangle between a young girl, a vampire and a vampire hunter (who it turns out is also a vampire) came out in late 2004. Meanwhile, the novel <em>Twilight</em>, which covers a doomed love triangle between a young girl, a vampire and a werewolf, came out in late 2005. <em>Vampire Knight</em>'s anime came out in April 2008, while the <em>Twilight</em> film came out in November 2008. It is interesting to think that two such similar ideas were made at around the same time, but were so far apart geographically.<br />
<br />
(All things otherworldly seemed to be a recurring theme in 2008. There was the graphic <em>Corpse Princess</em> which features the undead, as well as the supernatural <em>Ga-Rei Zero</em>, a prequel to the manga <em>Ga-Rei</em> which annoyingly has never been published in English.)<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/P-zhIImKP5k" width="420"></iframe></center>
<br />
However, my personal favourite of all these series, and indeed my personal favourite anime of 2008, were the two <em><strong>Clannad</strong></em> series. The first series began in 2007 and ended in 2008, while the second, <em>Clannad After Story</em> began in 2008 and ended in 2009. It has been described as a harem anime, fantasy, romance, but for me personally it is tragicomic in its content. It is the only anime series to make you laugh as much as it makes you cry. Just everything about it is wonderful: the plot, the characters, the art, the soundtrack. Youhei, the best friend of the main character Tomoya, is a brilliant comic foil and, when tragedy strikes, it does want to make you cry. At the risk of sounding controversial, I would say the tragedy in this is better than in the critically acclaimed <em>Puella Magi Madoka Magica</em> released in 2011, because the tragedy in this is much more believable.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Y8OCmgKHL_JwdKhyhcjE3JSCdAH-l4IH8jV__i4K95BwdUxppeqGFHj06mm3Wp-_LN8_4TWuhyqeHx8Gfz0BjeitrP8hz9rVnl65sUCdUtYObZ5AhL_dTqxJQ9wuDajNAK0P7qbrZcI/s1600/junjou.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" psa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Y8OCmgKHL_JwdKhyhcjE3JSCdAH-l4IH8jV__i4K95BwdUxppeqGFHj06mm3Wp-_LN8_4TWuhyqeHx8Gfz0BjeitrP8hz9rVnl65sUCdUtYObZ5AhL_dTqxJQ9wuDajNAK0P7qbrZcI/s320/junjou.jpg" width="225" /></a></div>
There is one other anime I would like to give special mention to. One anime genre that has not really been given much attention during the course of the "Golden Ani-versary" is <em>yaoi</em>. For any <em>fujoshi</em> out there, they will be glad to know that one of the most famous and popular <em>yaoi</em> series, the romantic comedy <em><strong>Junjo Romantica</strong></em>, was animated in 2008. I know that many people dislike <em>yaoi</em>, but this is one of the better shows with plenty of humorous moments (mostly seeming to involve teddy bears) and a relationship between the main leads, Misaki and Akihiko as a charming, fun and cute one. Admittedly, the fact that the action switches to other couples can be a bit infuriating, but other than that it is rather enjoyable.<br />
<br />
(<em>Junjo Romantica</em> is released by the company Right Stuf, who don't have any of their licenced works released in Britain. There's another thing to peeve us UK otaku, especially when you consider the fact the same company licences the original <em>Astro Boy</em>.)<br />
<br />
In terms of summing up, it seems that Japan has a fondness for Britain's past and indeed the past of Europe. Period anime seems to be very popular, whether it is Victorian Britain like <i style="mso-bidi-font-style: normal;">Black Butler</i>, or the war like <i style="mso-bidi-font-style: normal;">Strike Witches</i>. You can expand this to other series like <i style="mso-bidi-font-style: normal;">Hetalia</i>, and other period pieces like the classic <i style="mso-bidi-font-style: normal;">The Rose of Versailles </i>set in 18th century France. It seems that this romanticised period of history is one that is rich for picking.<o:p></o:p><br />
<br />
Looking at the British relationship to anime, some of these series mentioned might be of interest, but there is one thing that could increase the appeal of anime. One other thing the British seem to have a fondness for doing is complaining about there being too many repeats on the TV, especially the BBC. Recently the BBC has had success importing foreign language shows. They broadcast <i style="mso-bidi-font-style: normal;">The Killing </i>and <i style="mso-bidi-font-style: normal;">Inspector Montalbano</i> for example. So why not import some anime? It is at least worth a go.<br />
<br />
<strong>Next time: The future is finally here! Welcome to 2009.</strong>Geoffhttp://www.blogger.com/profile/02385629483209026981noreply@blogger.com3tag:blogger.com,1999:blog-5455108671364992297.post-60540655865923277972013-08-25T12:51:00.001-07:002013-08-25T12:53:18.860-07:002007, Part 1: Seven for Seven: Three Robot Tales<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgocnbA0E9oP-bmy0cQB1M5B1IHPBLgNc3-wBIV0mHwijC8LjfC29NpJREBAtgQZRDN1QsBRs4Jud3hTt5kcIayF_BghXEuUTN9TFadobCL7UC8-A2ecSTimTI75OpJEIVlbiqPbz8etRM/s1600/New+Picture+%25281%2529.bmp" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="113" qsa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgocnbA0E9oP-bmy0cQB1M5B1IHPBLgNc3-wBIV0mHwijC8LjfC29NpJREBAtgQZRDN1QsBRs4Jud3hTt5kcIayF_BghXEuUTN9TFadobCL7UC8-A2ecSTimTI75OpJEIVlbiqPbz8etRM/s200/New+Picture+%25281%2529.bmp" width="200" /></a></div>
<em>Owen writes copy for a living, and has been known to occasionally extend that ability to anime, although it's a while since he did so. When he's not attempting to finish his backlog of games on <a href="http://steamcommunity.com/id/eninrutas/" target="_blank">Steam</a>, he can be usually found on <a href="https://twitter.com/riajuunibyou" target="_blank">Twitter</a>, trying to break language 140 characters at a time.</em><br />
<hr />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
Everyone knows how this list ends. It's the beginning, however, that makes the most of what it really is: an unbridled look at nostalgia barely six years old. That's kindergarten age! How do you tell Nostalgia that they have to get out of the house, put on a uniform, and play nice with the others? One week at a time, I think.<br />
<br />
For this year, I decided to focus on seven original, made-for-anime works. No adaptations, please; we try to keep the riff-raff out. The emphasis on "made for anime" here was a no-brainer; the problem with adaptations, inevitably, lies in how the original's vision has to be molded to fit into the target medium, and in this case anime. In this the premise of an adaptation is usually flawed; the arcs in a manga are either ignored or overtly drawn out, the sparse text of a light novel becomes a plodding 25-minute exercise in animated dramas, and the less said about visual novel adaptations, the better.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkP6MJF8qpgAKPbmzRs-7042lRN0LXJXs3PVjglQrTmDhbeeW24yeex5aOxTYSI7MuWxM5MqUjkw69jXWRuOP9z85tPnLE413Dp42b86NH0q76UwQPtRFn6RFGlItQvgqU28AOiGqN3dk/s1600/New+Picture.bmp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="215" qsa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkP6MJF8qpgAKPbmzRs-7042lRN0LXJXs3PVjglQrTmDhbeeW24yeex5aOxTYSI7MuWxM5MqUjkw69jXWRuOP9z85tPnLE413Dp42b86NH0q76UwQPtRFn6RFGlItQvgqU28AOiGqN3dk/s400/New+Picture.bmp" width="400" /></a></div>
<br />
"Original", of course, tends to be usually tenuous, but was defined here simply as "a story that did not exist in any form or medium prior to the anime." Filtering with this criterion was mindboggling--there was no <em>Baccano</em>, for instance. No <em>Bamboo Blade</em>. Not even <em>Gakuen Utopia Manabi High</em>, which, to my surprise, actually existed as a manga by ufotable before it was an anime.<br />
<br />
By the time I was finished, there was one problem: the ones that were original weren't good, and the ones that were good weren't original. <em>Shigurui</em>? A straight-up adaptation; possibly one of the best around, but an adaptation nonetheless. <em>Dennou Coil</em>? Didn't sit well. <em>Towards the Terra</em> was a manga, albeit one decades old and entirely changed from its origin, as were <em>Bokurano</em>, <em>Hitohira</em>, and <em>Hidamari Sketch</em>. <em>Gigantic Formula</em> felt too mecha-heavy by way of visual references and homages, while <em>Sky Girls</em> was relatively simplistic.<br />
<br />
In the end, I decided to separate the seven works by the tentatively fragile genre trappings they employed: mecha, romance, and vignettes. Mecha, of course, deserved no further explanation. Romance explored the age-old question of love, and all its trappings. Vignettes told short stories that explored a greater whole.<br />
<br />
This week is dedicated to exploring the first of the three: Mecha. Because everyone loves a giant robot or ten.<br />
<br />
<a name='more'></a><center>
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/zmgZn_-MulQ" width="420"></iframe></center>
<br />
<em><strong><a href="http://www.youtube.com/playlist?list=ELsiCcPl-eJLg" target="_blank">Heroic Age</a></strong></em> is a clever pun. There's the obvious reference to what is the sum of its phrase, a heroic age, and then there's Age himself, human and a unwitting party to one of the Tribe of Heroes--a gargantuan, organic, distinctly mecha people of which there were five--and it all unravels from then on out rather rapidly, like a kitten on a fraying carpet. Most certainly heroic in deed if not in feat, the labyrinth-esque way in which the author chose the title lends itself to wordplay for good reason.<br />
<br />
And what an author! Tow Ubukata, long-time novelist and author of anime-friendly works such as <em>Mardock Scramble</em>, <em>Soukyuu no Fafner</em>, and <em>Le Chevalier D'Eon</em>, shows off his writing chops with his handling of original work Heroic Age. It's the simple touches and care for which he builds this world where psychics, espers, and clairvoyants vy for the same space as spaceship bridges, organic mecha, and elaborate galactic battles--where the aptly named "psycholine" comes to rest, an aptronymic interfacing of astral projection-cum-clairvoyance-cum-empath with the ship's system.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxdx7smBl96DIBVgBgBwo35aAfPenq3ZndbgaGd1mKWa449Tyh4km6DkYDdeftav3Bu1OMp7xkRMFVfXa6xLrahRTNVPaL7xbbshfhVrnG6o1tiHTRps-frwDyjIrhCokU881WowxLsyg/s1600/%5BCoalgirls%5D_Heroic_Age_02_(1280x720_Blu-Ray_FLAC)_%5BBC3DEF53%5D_mkv_snapshot_21_58_%5B2013_08_25_21_58_41%5D.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" qsa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxdx7smBl96DIBVgBgBwo35aAfPenq3ZndbgaGd1mKWa449Tyh4km6DkYDdeftav3Bu1OMp7xkRMFVfXa6xLrahRTNVPaL7xbbshfhVrnG6o1tiHTRps-frwDyjIrhCokU881WowxLsyg/s400/%5BCoalgirls%5D_Heroic_Age_02_(1280x720_Blu-Ray_FLAC)_%5BBC3DEF53%5D_mkv_snapshot_21_58_%5B2013_08_25_21_58_41%5D.png" width="400" /></a></div>
<br />
<em>The Hyperion Cantos</em> comes to mind. A tetralogy comprised of the novels <em>Hyperion</em>, <em>Fall of Hyperion</em>, <em>Endymion</em>, and <em>Rise of Endymion</em>, those with any familiarity with Dan Simmons' beleaguered tome of a series will find swift comfort in <em>Heroic Age</em>, and with good reason. Unlike anything a straight-up adaptation could constrain within the medium, Tow reassures you that you're in good hands. The conflict is swift, merciless, and ever escalating. The genres lie between space opera, mecha, and soft science fiction, with a wealth of reference to Greek mythology if you care for it.<br />
<br />
The story itself is majestic, within reason and given the constraints afforded it. I like to think that the bulk of <em>Heroic Age</em> is carried, as it were, by the music. It's a score of triumph, the epic, the wreck and clash of beauty in war, the hideousness of destruction and defeat. There's a leitmotif you'll come to recognise with time, a familiar theme you'll learn to anticipate and dread in equal measure. There is much cause for rejoicing. There is hope.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR3moTAWcUalENJrkcVQgfcuwg5dUs3nKMmQT40eNJ-uSuBFKPKYtvFxDMpA4-5DyIRWk0T5GK9wiFUReSABakNniAKIp5wZ6fd20_IOyMphDXleSuIQ8A6EjTWr7nYQhn4mGM83RPaWM/s1600/HA.bmp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" qsa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR3moTAWcUalENJrkcVQgfcuwg5dUs3nKMmQT40eNJ-uSuBFKPKYtvFxDMpA4-5DyIRWk0T5GK9wiFUReSABakNniAKIp5wZ6fd20_IOyMphDXleSuIQ8A6EjTWr7nYQhn4mGM83RPaWM/s400/HA.bmp" width="400" /></a></div>
<br />
Naoki Sato, composer for works such as <em>Blood-C</em> and <em>Eureka Seven</em>, handles it with finesse and a certain degree of restraint. If you happen to be hearing impaired, it's unfortunate, but there's a slice of it you'll never be able to grasp, watching it--while it isn't essential to the understanding of this galactic legacy, this heroic age that the Iron Tribe has been compelled to grasp with both hands, it definitely is detrimental to your enjoyment of it.<br />
<br />
Of note was the incredibly emotive debut of one Yui Ishikawa, who voiced Princess Dhianeila. Languishing for a couple of years in mid-tier works, she would (ironically) go on to voice the grimmer, much less emotive Mikasa Ackerman from <em>Attack on Titan</em> six years later, but that's a story for another day.<br />
<br />
There is Age, and he is of the Heroic Tribe, and he is heroic. That's as close as you're getting to a complete and accurate description of <em>Heroic Age</em>, and I wouldn't have it any other way. It was, after all, a heroic age.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/akH8OQY0OxI" width="420"></iframe></center>
<br />
<em><strong>Gundam 00</strong></em> is, aptly, <em>Gundam </em>for the 2000s. Even discounting the existence of <em>Gundam Seed</em> (and <em>Gundam Seed Destiny</em>), it was the first <em>Gundam</em> in the series to be aired in widescreen and high-definition, and suitably, it was my introduction to the series, a modern mecha for a modern age.<br />
<br />
What a first that was. For someone to whom terms such as "Even my father never hit me!" "Red makes you go three times faster." "This is no Zaku, boy! No Zaku." meant nothing, <em>Gundam</em> was a mystery, a private joke the rest of the mecha fandom was in on that I had no clue about. (That cipher would unravel later, as I blazed through most of pre-<em>Zeta UC</em>). Oblivious as I was then, barely clued in to its long-standing tradition of war, and the mobile suits with which it used to express said theme--it didn't matter.<br />
<br />
You see, it had <u>giant robots</u>, which appealed to my 21-year-old self then just for being cool.<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM0aa7idMxruPXqboS_E2UqBWCoXceFZy3Cp-J9FUWfxFPugYxFPKY20SMlRAqOIhMf41WjGb3lwuYvANGRnGC68MrbzEsYDNHBmybJgpXJSSwwB-yaYnNUB6AHWxRr3X-KFn7CW37H8c/s1600/%5BOZC-EZ8%5D_Mobile_Suit_Gundam_00_S1_-_Ep_02_'Gundam_Meisters'_%5B720p_v2%5D_mkv_snapshot_21_53_%5B2013_08_26_00_01_23%5D.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" qsa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM0aa7idMxruPXqboS_E2UqBWCoXceFZy3Cp-J9FUWfxFPugYxFPKY20SMlRAqOIhMf41WjGb3lwuYvANGRnGC68MrbzEsYDNHBmybJgpXJSSwwB-yaYnNUB6AHWxRr3X-KFn7CW37H8c/s400/%5BOZC-EZ8%5D_Mobile_Suit_Gundam_00_S1_-_Ep_02_'Gundam_Meisters'_%5B720p_v2%5D_mkv_snapshot_21_53_%5B2013_08_26_00_01_23%5D.png" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
It also had the added bonus of not being related to the Universal Century timeline which comprises the majority of <em>Gundam</em> to date. It had no baggage lore-wise, and it even used a real-world name, AD, or Anno Domini. But what's a baptism by fire? The mecha anime I had consumed up till this point were all mildly irrelevant, if not consumed with a purity of vision, hilariously unaware of the tradition that had started with White Base and Amuro Ray. <br />
<br />
<em>Gundam 00</em> was about making <em>Gundam</em> relevant again; on an intellectual level, with its almost three decades of consistently conceptualising stories about giant robots with finesse, it now made such themes both approachable and accessible to the newer generation of fans; the net generation, my generation. Undoubtedly it had possibly done so with <em>Seed</em> and <em>Seed Destiny</em> the years before, but if that was what Sunrise had set out to do, it passed with flying colours.<br />
<br />
(On a utilitarian level, cynically espoused by long-time fans, huge bores, or even both, <em>Gundam</em>'s bottom line never changes: <u>Sell more plastic toys!</u> I'm sure that factors into the business side of things at some point, even if it makes for dull writing, but I digress.)<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzG-3NLxPqFcfO2MyQDsHDRYqmxwH32q7dn5TlX1ZyuLzeCTdjRBGfyz9tz9HT3c-g3WlNPDqd_JdkvI-X8oxDvjw93SU7WKPOyjMi8o-dvFKTaAePW3mRv6isF08I0bJkUFjAux8OhC8/s1600/%255BOZC-EZ8%255D_Mobile_Suit_Gundam_00_S1_-_Ep_07_%2527Unrewarded_Souls%2527_%255B720p_v2%255D_mkv_snapshot_17_36_%255B2013_08_26_00_35_50%255D.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" qsa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzG-3NLxPqFcfO2MyQDsHDRYqmxwH32q7dn5TlX1ZyuLzeCTdjRBGfyz9tz9HT3c-g3WlNPDqd_JdkvI-X8oxDvjw93SU7WKPOyjMi8o-dvFKTaAePW3mRv6isF08I0bJkUFjAux8OhC8/s400/%255BOZC-EZ8%255D_Mobile_Suit_Gundam_00_S1_-_Ep_07_%2527Unrewarded_Souls%2527_%255B720p_v2%255D_mkv_snapshot_17_36_%255B2013_08_26_00_35_50%255D.png" width="400" /></a></div>
<br />
If it wasn't the visual palette that was revamped and given a masterful coat of paint, it was the animation, with its elaborate space dogfights previously impossible with the original <em>Gundam</em>. Internecine worldwide armed conflict never looked so good. When the Gundam Meisters weren't in a cockpit, they were being human (although this statement is debatable post-hoc), and painfully so. Rather than focalise the viewer through the eyes of a singular protagonist, the four incredibly flawed and human protagonists with their otherworldly code names--Setsuna F. Seiei, Lockon Stratos, Allelujah Haptism, and Tieria Erde--felt instantly relatable.<br />
<br />
Nevermind the battles that they were fighting on the field--oh so many of them--or how the odds were stacked against them and kept on increasing until several timely boosts on their end appeared; it was the battles within themselves, the battles in their hearts and with the hearts of others that captured what it felt like to be them, even if being "them" meant being a supersoldier experiment with a split personality disorder, or a distant figure orphaned by terrorist bombings.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0NlIEGNcPoowOkAO-ZTkIuRVx9nxoQ4l2xrMgwmhXXmKRIk9l3RTJiYeK3tiUmpaX2FHTttqCgrwyt5CvFB7-QTUEigwr7uixvn0d-vDvKbNpKYqxeYsChwnMib9JR5NCKgCuoEqZAU4/s1600/%255BOZC-EZ8%255D_Mobile_Suit_Gundam_00_S1_-_Ep_15_%2527Broken_Wings%2527_%255B720p%255D_mkv_snapshot_22_11_%255B2013_08_26_01_43_21%255D.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" qsa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0NlIEGNcPoowOkAO-ZTkIuRVx9nxoQ4l2xrMgwmhXXmKRIk9l3RTJiYeK3tiUmpaX2FHTttqCgrwyt5CvFB7-QTUEigwr7uixvn0d-vDvKbNpKYqxeYsChwnMib9JR5NCKgCuoEqZAU4/s400/%255BOZC-EZ8%255D_Mobile_Suit_Gundam_00_S1_-_Ep_15_%2527Broken_Wings%2527_%255B720p%255D_mkv_snapshot_22_11_%255B2013_08_26_01_43_21%255D.png" width="400" /></a></div>
<br />
More importantly, <em>Gundam 00</em> speaks a language of terror and destruction all too familiar for anyone who's old enough to have seen the world change after 9/11. That the main character was couched in undoubtedly Middle Eastern terms, albeit in the fictional nation of Krugis Republic, didn't matter. His jihadist-esque beliefs that formed his dark past was something immediately recognisable to anyone familiar with post-9/11 narratives--it was just that, this time, we got to see it from the other side, from behind the seat of a mobile suit.<br />
<br />
<em>Gundam 00</em> may have screwed the pooch with some of its storytelling decisions in its second season (Surprise! A twin brother that looks, sounds, and fills the same role as him!), but it was <em>Gundam</em> all modern, shiny, and exciting once again, a <em>Gundam</em> for the new millennium.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/oXkkMhCuCMg" width="420"></iframe></center>
<br />
<em><strong>Tengen Toppa Gurren Lagann</strong></em>, which translates to "Heaven Piercing Gurren Lagann", remains one of the highlights of 2007. It charts the rise and fall (and rise again) of a nation and a people, all thanks to a drill.<br />
<br />
So it's as high-concept as one gets: there is a drill, and it is a metaphor for everything in the show. Exploring the journey of one such individual called Simon, a lowly digger underground who drills each day, you could of course shoehorn the plot into that Western storytelling device otherwise known as "The Hero's Journey"--such things are rife within academia, or so I'm told--but that would be missing the point. This was no hero's journey.<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiir_GRZGOYCYIjQf0QKw4pcH_OmlFyIB_OF6NcRnuUdvh-UqFR5Ebl6kwlwJDWLJcQ7gvXIE49uWG70g1qB39vffQMcuYb-GC1olY2u0ePUIw0qlJ18GgCus6ov9ExMUPzfODFWbktld8/s1600/%5BEG%5DGurren_Lagann_08%5BBC85E60D%5D_mkv_snapshot_09_04_%5B2013_08_26_01_51_20%5D.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="223" qsa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiir_GRZGOYCYIjQf0QKw4pcH_OmlFyIB_OF6NcRnuUdvh-UqFR5Ebl6kwlwJDWLJcQ7gvXIE49uWG70g1qB39vffQMcuYb-GC1olY2u0ePUIw0qlJ18GgCus6ov9ExMUPzfODFWbktld8/s400/%5BEG%5DGurren_Lagann_08%5BBC85E60D%5D_mkv_snapshot_09_04_%5B2013_08_26_01_51_20%5D.png" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
Enter Taku Iwasaki, stage left. An established composer, he has arranged music for over a decade at this point, having works such as the two <em>Rurouni Kenshin</em> OVAs, <em>Read or Die</em>, and <em>Witch Hunter Robin</em> under his belt. Six years later, he will set to work on the second half of <em>Jojo's Bizzare Adventure</em>, and he will be bitter, expressing his frustration on Twitter at how much music he wrote that just <u>wasn't used</u>; for now, here he is, fulfilling orders on the sound menu for Gurren Lagann. It's an original work, another mecha by Gainax. He has no idea what he's getting into, but that's fine.<br />
<br />
He writes some music; a rousing track rapturously titled "There's No Way Around It! I'll Flirt With You For 1 Minute and 20 Seconds!" followed by smoky, saxophone-led jazz tune brimming with nostalgia, then a simple piano chord played over and over, layered with electronic beats, and strings to finish. He garnishes with nu-metal. He pens a triumphant leitmotif. He dials it up to eleven, with a full-length rap song that repeats said leitmotif. He finishes with the same rap song, played <u>over an honest to goodness opera</u>. <br />
<br />
In the end, Iwasaki didn't so much write music for <em>Gurren Lagann</em> as he did co-author it, making magic in the recording booth even as Gainax was animating their own.<br />
<br />
One of the most significant soundtracks this side of the 2000's, it's a heart-pounding, stadium-rousing symphony of electronica, hip-hop, neo-classical, and rock. It's a work I listen to when I need to get things done, when procrastination's a-knocking and deadlines are threatening to break the door. It's a soundtrack of mighty gains and sobering loss, and the quiet things in-between. It lends you a glimpse of the overlooking view for a moment, a breathtaking one--the simultaneous sunset and moonrise--it helps you remember:<br />
<br />
This isn't a hero's journey.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiGMHBnV7-7q1lptpPKcIiG-8oj4Y0EGN5iu2T0vDSMlpkuy0IjbAt4wadgigmUoCNPyoGLVQZJtxJO_56uFBJNZMoq275wJRJ_9DzFoQWs6_Cpnz3RZbr3Wzvuv86uv7-ND_XXEBn6Tk/s1600/%255BBSS%255DGurren_Lagann_26_DVD%255BBF51B9E3%255D_mkv_snapshot_02_17_%255B2013_08_26_02_51_55%255D.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="223" qsa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiGMHBnV7-7q1lptpPKcIiG-8oj4Y0EGN5iu2T0vDSMlpkuy0IjbAt4wadgigmUoCNPyoGLVQZJtxJO_56uFBJNZMoq275wJRJ_9DzFoQWs6_Cpnz3RZbr3Wzvuv86uv7-ND_XXEBn6Tk/s400/%255BBSS%255DGurren_Lagann_26_DVD%255BBF51B9E3%255D_mkv_snapshot_02_17_%255B2013_08_26_02_51_55%255D.png" width="400" /></a></div>
<br />
While the first half of Simon's journey follows a narrative familiar to all, the second half answers the unbidden, urgent question: What happens? What happens after the happy ending? What happens when you defeat the god-emperor, what happens when you're now leading a nation a million strong, what happens when you're about to propose marriage to his daughter who's now helping you run things...<br />
<br />
…what happens? Like a gospel call-and-response, the antagonists react accordingly. Traps locked into place decades ago are set into motion. It exacts a heavy toll on all, and then it ends, but not before humanity makes its final stand. Dead people remain so, with nary a god from a machine to help, though Simon wields the power of one. The ending happens the way it did simply because that's how things were set up to be in the beginning. It was inevitable.<br />
<br />
What I love about <em>Gurren Lagann</em> is how it manages to conjure up a plethora of feelings and emotions, each of them powerfully distinct. All I have to do is remember, and I am transported back to the first death, and the second. Between these deaths Simon grows up into his own, under the shadow of those before him; it’s a mantle he takes on reluctantly, and we feel it. There are the explosions, the transformations, and the breakneck pace with which the conflict ever escalates. There's the lotus eater's dream, the final temptation: "When the hell did you get taller than me?" "Looks like I was having a sappy dream too." Then there's the wedding's denouement, hope laced with sadness.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggDLyj-56QfbxV_K5vVM9PKldI0pwvXsPnMANpywLCY6jlXlLPG-OLh4gMPYxQhexSrNamlTVCE4Ic_UXXJ75O2eOhfrFZhxV6rAYvGlTQYekukOYzcdBW87HyEQxDcvR6b7vXmgCoB9Y/s1600/%255BBSS%255DGurren_Lagann_24_DVD%255B200C416E%255D_mkv_snapshot_01_50_%255B2013_08_26_02_44_46%255D.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="223" qsa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggDLyj-56QfbxV_K5vVM9PKldI0pwvXsPnMANpywLCY6jlXlLPG-OLh4gMPYxQhexSrNamlTVCE4Ic_UXXJ75O2eOhfrFZhxV6rAYvGlTQYekukOYzcdBW87HyEQxDcvR6b7vXmgCoB9Y/s400/%255BBSS%255DGurren_Lagann_24_DVD%255B200C416E%255D_mkv_snapshot_01_50_%255B2013_08_26_02_44_46%255D.png" width="400" /></a></div>
<br />
It isn't a hero's journey for many reasons. Unlike <em>Heroic Age</em>, there isn't much to Simon by way of heroism that's never echoed in the benevolent dictatorship of Lordgenome. Decisions are never so simple. Characters are never dichotomously good or evil, and amidst the cartoonish yet punishing violence of what was a Sunday morning timeslot, it's a balanced grey that we see eventually.<br />
<br />
Throughout it all, there's a sense of immensity that threatens to eclipse everything else. It's a sense of scale, of being caught up in something larger than expected and being at a loss for words to describe it. Humanity, after all, has to reach for the stars, and--surprise, surprise--spiral galaxies resemble a drill. <em>Gurren Lagann</em> goes from low fantasy mecha to intergalactic space opera in the span of twenty-seven episodes, and it isn't a hero's journey you explore. <br />
<br />
It's yours.<br />
<br />
<div style="text-align: left;">
<strong>Our next installment for 2007: Two for Love.</strong></div>
Geoffhttp://www.blogger.com/profile/02385629483209026981noreply@blogger.com0tag:blogger.com,1999:blog-5455108671364992297.post-91596351940595303522013-07-30T20:26:00.000-07:002013-12-23T10:37:52.004-08:002006: Welcome to the Next Level<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilmcByC4QtK6IO4eJdD78-ZnicbA_H46AIUMxveU1m6V4VPFo3bJw4rdAg-OMLTtmo6X5CCmykWRAFj-OpaGrPuWOcWXjdN5DO4qXDHNn3LZLKib617Y1QEFfk-v5OtISqP3aHZy8j1WE/s1600/GPress.jpeg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img bba="true" border="0" height="128" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilmcByC4QtK6IO4eJdD78-ZnicbA_H46AIUMxveU1m6V4VPFo3bJw4rdAg-OMLTtmo6X5CCmykWRAFj-OpaGrPuWOcWXjdN5DO4qXDHNn3LZLKib617Y1QEFfk-v5OtISqP3aHZy8j1WE/s200/GPress.jpeg" width="200" /></a></div>
<em>Serdar Yegulalp, a tech journalist by day, is also the Site Guide for <a href="http://anime.about.com/">Anime.About.com</a>. He also runs his own science-fiction-and-fantasy imprint, <a href="http://www.genjipress.com/" target="_blank">Genji Press</a>, where he blogs about SF, movies, creativity, the complexities of self-publishing, the Sun Ra and Skinny Puppy back catalogs, and most everything else that catches his attention. He also occasionally sticks his neck out on Twitter (@<a href="http://twitter.com/genjipress" target="_blank">genjipress</a>).</em><br />
<br />
<hr />
<br />
Back when I started curating <a href="http://anime.about.com/">Anime.About.com</a>, one of the first feature articles I put together was a four-parter which involved a number of anime at different "course levels." An anime that required no understanding of Japanese culture or Japan to begin with was a "100-level" anime. Another that was still easy to get into but would be best appreciated with a little foreknowledge was a "200-level" anime. A show pitched mainly for Japanese audiences, or which one wasn't likely to find accessible unless you were already steeped in the tropes and quirks of anime generally was a "300-level" anime. (I later refined the categories a little, but the basic concept remains intact.)<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE2qfXZ5NNGv_s3xHkWVvT4bbdbfaTX1DMcP0naXN7cXn_UTripFvFAMDyloUZ81aNEZsEH7BxRR9PXCGhbu_-rVrlglJjn3VDxQ3Fe4Z9GLmbkjrnRyS76pb46r92v7RzLIRcAlcMEwE/s1600/blacklagoon.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" dba="true" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE2qfXZ5NNGv_s3xHkWVvT4bbdbfaTX1DMcP0naXN7cXn_UTripFvFAMDyloUZ81aNEZsEH7BxRR9PXCGhbu_-rVrlglJjn3VDxQ3Fe4Z9GLmbkjrnRyS76pb46r92v7RzLIRcAlcMEwE/s320/blacklagoon.jpg" width="233" /></a></div>
I now wonder if listing <em><strong>Black Lagoon</strong></em> as a 100-level anime was such a good idea.<br />
<br />
For the average adult (most likely male) Western audience member, <em>Black Lagoon</em> actually isn't difficult to get into at all—provided they don’t mind being dropped into the middle of the most violent, raunchiest, most foul-mouthed, cynically-scripted story this side of, well, every 1980s-era Chow Yun-Fat action vehicle and every 1990s Michael Bay production. <em>Black Lagoon</em> was created in homage to and for the audiences of exactly those things, and like a lot of anime itself, you either eat this stuff up or you run like hell.<br />
<br />
But if <em>Black Lagoon</em> the anime is like that, it's only because <em>Black Lagoon</em> the manga, the source material—which started hitting shelves in 2002—is also like that. Form is merely following function, and <em>Black Lagoon</em>'s function is to dance right on the line between being entertaining and being repugnant.<br />
<br />
<a name='more'></a><center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/bYZY6G8i8f8" width="420"></iframe></center>
<br />
<em>Lagoon</em> involves a hapless corporate drone, Rokuro, who finds himself being given up by his employers (who have shady dealings in the area) to the crew of a pirate ship, the titular <em>Black Lagoon</em>. They're an unhinged bunch—the black heavy Dutch, the tinkerer and hacker Benny, and the completely insane gun-bunny Revy—but Rokuro, or "Rock" as they dub him, turns out to have a germ of craziness himself, and soon becomes a crewmember as they navigate the criminal underworld of the Southeast Asian seas. Rock is not as inherently violent as the others, and so becomes their negotiator—often becoming the only person to be able to talk down not only their enemies but some of their own allies (like the cold-blooded, queenly Russian ex-army officer, Balalaika).<br />
<br />
It's not hard to see why <em>Black Lagoon</em> has a following on both sides of the Pacific. It is terrifically entertaining, even if some of that is despite and not just because of what happens. There's no denying the craft that went into making it, or the impact it has had on subsequent shows with similar levels of daring or similar settings (<em>Michiko to Hatchin</em>, for instance, or <em>Jormungand</em>). However, there's also no ignoring the amazingly mean-spirited material that finds its way into some episodes; for example, a nasty plot involving a pair of orphaned Romanian twins ("Hansel and Gretel", no less) who are cold-blooded murderers is particularly hard to sit through. Likewise, there's an early storyline involving a buffoonish bunch of neo-Nazis, one which gave me some idea of why Steven Spielberg vowed to no longer use such characters as stock villains: it's too easy to be lazy with them.<br />
<br />
What saves <em>Black Lagoon</em> from being merely vulgar is how, in the long run, it's clearly been put together by people who do understand the larger implications of the material they're touching on. The show is designed to push Rock to his limits, to tempt him into doing terrible things, but it's also designed to push other people to meet him halfway—to remind them that the way you make a terrible world that much less terrible is by being that much less terrible, and that sometimes that's not naïveté but wisdom.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwo052BhRY-gvpUpy05nNAxVzq5-L68koJn6-JpXilSFvK_weGYWTTy_uxRmFZ-rNxEZgS0LE6Zt8whR6vKh1NVJwGjMUc8sdGsxBYp2YjDqItbue7awZ4lof9qd_lD0ncY4oqOqpbzWs/s1600/death_note.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" dba="true" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwo052BhRY-gvpUpy05nNAxVzq5-L68koJn6-JpXilSFvK_weGYWTTy_uxRmFZ-rNxEZgS0LE6Zt8whR6vKh1NVJwGjMUc8sdGsxBYp2YjDqItbue7awZ4lof9qd_lD0ncY4oqOqpbzWs/s400/death_note.jpg" width="400" /></a></div>
<br />
<em>Black Lagoon</em> earned a spot as a 100-level anime because it hewed close to things familiar to Western audiences. <em><strong>Death Note</strong></em>, another major 2006 debut, might well have been a 100- or a 200-level production, depending on how you pitch it to an audience—small wonder a number of Hollywood folks, not least among them <em>Lethal Weapon</em> writer and <em>Iron Man 3</em> writer/director Shane Black, have eyed the whole franchise from its manga on up as a possible Western live-action vehicle.<br />
<br />
It's not hard to see why. At its core, though, is a premise that is quite accessible—and twisted enough that Hitchcock, or at the very least Rod Serling, would have applauded. An otherworldly death deity, Ryuk, accidentally (yeah, right) drops his "Death Note" into the human world. Inscribe the name of a human being into this artifact, and that person dies. The notebook falls into the hands of Light, an idealistic young law student—maybe too idealistic, because as soon as he discovers the notebook works, he goes on a killing spree to purge the world of everyone he sees as being undeserving of life. The story is just cynical (or maybe realistic) enough to see this behavior as garnering him a cult following under his pseudonym of "Kira", while in real life he continues to maintain his goody-two-shoes façade: Everyone's All-Japanese.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/PkXw1iBgzoY" width="420"></iframe></center>
<br />
What with people dying in droves, soon the hapless governments of the world turn to the reclusive "L", a twitchy kid-genius detective of the unorthodox-problems-need-equally-unorthodox-solutions stripe. L's answer is to insinuate himself into Light's life and employ him as one of the very assets needed to find Kira. Fans of noir may recognize this twist: it was most memorably first employed in Kenneth Fearing's 1946 noir thriller <em>The Big Clock</em>. What follows from there is L and Light trying to outsmart each other, sometimes outsmarting themselves for good measure, with the rules of the Death Note (oh, by the way, who said there was only one of them floating around?) being exploited for some remarkable double-reverses.<br />
<br />
Dark detective stories have a long history in Japan, with Edogawa Rampo's work having embodied much of the flavor of this sort of thing from the 1920s on forward. <em>Death Note</em> works best if you see it as being in that tradition, one where why things happen isn't as important (or interesting) as the gymnastics needed to either get there or prevent the wrong people from finding out about it. It shies away from really exploring the consequences of living in a world ruled by fear of supernatural reprisal—maybe for the best, because a show like that would be an emotional battering, and a totally different genre of show besides. What it does provide, though, aside from a fun ride, is a great example of how anime is not itself a genre but often produces things that sit comfortably at the intersections of multiple genres—in this case, Stephen King Street and Conan Doyle Avenue.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPtyGiKijrB_rC0evyCeQf_h2_boGQCJ_uIzu7vjQ145pxYRxSEKCOG8F672jXHs1-6oxIZFkc9kPlM9I7tBHtD8lNK2G-SKMAwrFQCnTxA30b9Hst3comSvXYX_P3V32Aa3w9dBirSf0/s1600/nhk.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" dba="true" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPtyGiKijrB_rC0evyCeQf_h2_boGQCJ_uIzu7vjQ145pxYRxSEKCOG8F672jXHs1-6oxIZFkc9kPlM9I7tBHtD8lNK2G-SKMAwrFQCnTxA30b9Hst3comSvXYX_P3V32Aa3w9dBirSf0/s400/nhk.jpg" width="400" /></a></div>
<br />
Another 2006 anime I knew couldn't exist anywhere but in the 300-400 category is <em><strong>Welcome to the NHK</strong></em>, one of a growing number of anime that deal with social dysfunction. Here, it's the <em>hikikomori</em> phenomenon, where a sizable percentage of Japanese youth isolate themselves in their rooms, live parasitically off their parents, engage with the world only through their phones or the Internet, and generally expend a lot of effort to remain as withdrawn as possible from a world that doesn't seem to want them much around anyway. (Around one in ten people of both sexes in Japan under the age of 24 are unemployed.)<br />
<br />
Most Western audiences would expect a heavy subject like this to be treated in soppy Movie-of-the-Week fashion. <em>NHK</em>, though, is to social isolation as <em>Dr. Strangelove</em> was to nuclear war: it uses the material for the blackest and most irreverent of comedy, and in doing so finds a surprising amount of wormy truth about its subject matter. The hero and narrator, Tatsuhiro, is ostensibly a college student, but instead of attending classes, he's cracking. He's spent months in isolation, growing paranoid, entertaining delusions about how the NHK (Japan's national broadcasting company) is secretly conspiring to keep people his age deluded and isolated.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/hHs5AjAvFoA" width="420"></iframe></center>
<br />
Two people enter Tatsuhiro's life, each with a different galvanizing effect on him. First is his next-door neighbor, Kaoru, a former school chum, with whom he enters into a thoroughly absurd plan to create a best-selling video game as a way to bootstrap both of them out of poverty. (It should be noted that the whole way Tatsuhiro does this is by boasting that he's a game designer as a way to not have to own up to being a <a href="http://en.wikipedia.org/wiki/NEET" target="_blank">NEET</a>.) The other is a girl, Misaki, who claims she can "cure" Tatsuhiro of his <em>hikikomori</em>-ness, and enters into a contract with him to tease him out of his shell—e.g., he has to spend a certain amount of time with her a day outside of his apartment, lest his appliances all begin to speak to him. (This happens more than once.)<br />
<br />
Several things about <em>NHK</em> stand out, not least of which being how the show is as funny as most anything in recent memory. Funnier, perhaps, since at its core it actually has the nerve to be about something, although a lot of its loudest laughs do come from the way it knowingly ribs otaku culture. At one point Tatsuhiro and Kaoru brainstorm the heroine for their game, and end up with a horrific amalgam of every erotic-game cliché imaginable. In a less ambitious show, that sort of thing would just come off as having one's <em>ecchi</em> cake and eating it too. But here, it works, in big part because such fan-winking is counterbalanced by far more serious material—e.g., a grim subplot where Tatsuhiro ends up being part of an online suicide pact group—and how the whole show.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxla15c0SegsZ2Esv7K6Lkqy-1rjkt2Kf1DA99ZXLGqCUyvNLGWRw_IMFf7nYFcxIpZSwPoTqb_ZimxdESIIr0xAdfR4jZs604LK6YakV_m7DdFdHREtvK49X8sZ6P6EwvHUcUy-Nuy8o/s1600/New+Picture+(6).bmp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" dba="true" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxla15c0SegsZ2Esv7K6Lkqy-1rjkt2Kf1DA99ZXLGqCUyvNLGWRw_IMFf7nYFcxIpZSwPoTqb_ZimxdESIIr0xAdfR4jZs604LK6YakV_m7DdFdHREtvK49X8sZ6P6EwvHUcUy-Nuy8o/s400/New+Picture+(6).bmp" width="400" /></a></div>
<br />
Another significant 2006 show was hard to forget, but even harder to parse in the first place. It ended up in the 300-level category not because of its anime-ness or Japan-ness, but simply because it would give any audience fits: <em><strong>Ergo Proxy</strong></em>.<br />
<br />
<em>Proxy</em> is a rare example of SF-themed anime that isn't a mecha show (<em>Macross</em>, <em>Gundam</em>, etc.) or one where the SF just is a thin veneer sprayed over a high-school drama or some other obvious genre. It hearkens back to the gloomy dystopias of the 1970s , both literary and cinematic, where what's left of humanity has retreated to the safety of giant domed cities, and where everyone lives (in the words of Richard Brautigan) all watched over by machines of loving grace. Here the machines are called AutoREIVs, polite AIs in humaniform bodies that not only do the laundry but can even substitute as children for those who have earned it. The worm eating away at this particular apple, because there always is such a worm in a dystopia, is a computer virus, "Cogito". AutoREIVs infected with it go berserk and try to leave the safety of the city for the presumably-unsafe outside world. Re-L Mayer, the daughter of one of the city's administrators, pokes her nose where it doesn't belong and finds she, too, will have to leave the city to learn the truth about—well, everything. (Every dystopian story involves, at some point, everything the characters know being wrong.)<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/55346kFpAvY" width="420"></iframe></center>
<br />
Anime fans in Japan are quick to criticize productions they see as being devised mainly to cater to the overseas market. <em>Ergo Proxy</em> is not difficult to see as being guilty of this—it was, after all, co-written by the screenwriter (Dai Sato) for another show (<em>Ghost in the Shell: Stand Alone Complex</em>) whose fanbase overseas is far larger, and far more responsible for the show's marketability, than its native Japanese fanbase. Consequently, <em>Ergo Proxy</em> feels remarkably unlike other SF-themed anime, both for the better and the worse. The better is in the tone and texture of the whole thing; it is half dark futurism and half surreal black comedy, and it remembers to poke fun at itself as a leavener for its overall darkness. This it does more than a few times, especially in an inexplicable episode where everyone ends up on a quiz show, or another episode where the main characters believe they have switched bodies (and even after it's explained, it still doesn't make any sense).<br />
<br />
The worse, however, is in how inconsistent the final product is. The show feels like four different writers and directors worked on it in shifts, with none of the teams allowed to pass notes between each other, and with the whole thing ending on an obligatory note of universal destruction. It works best when invoking an atmosphere of psychological disintegration, or when paying knowing homage to its influences—e.g., a sequence that's a nod to both <em>The Untouchables</em> and <em>Battleship Potemkin</em> (the latter having influenced the former) at the same time.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix6qdmGWCx0H476Ha-uq6Xbu7gKuzbHgrQJ17wx_AYsL_7JFhyphenhyphenGNPa3zG86oE_jv3zEXyEb2PBLhhYLc8yHmv79HXy8aywrJCGKbbs5KggjLm-d4s_9u20crRtC_Opfoi4Qw_7SjT9WSI/s1600/Haruhi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" dba="true" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix6qdmGWCx0H476Ha-uq6Xbu7gKuzbHgrQJ17wx_AYsL_7JFhyphenhyphenGNPa3zG86oE_jv3zEXyEb2PBLhhYLc8yHmv79HXy8aywrJCGKbbs5KggjLm-d4s_9u20crRtC_Opfoi4Qw_7SjT9WSI/s400/Haruhi.jpg" width="400" /></a></div>
<br />
Another 300 to 400 level production for 2006, and one that sheds light on the way anime has become merely one of many formats for a given property: <em><b>The Melancholy of Haruhi Suzumiya</b></em>. The <em>Suzumiya</em> books were originally a successful light novel series, so their success all but guaranteed being adapted into another format. Whether anime, manga, audio drama, video game, four-panel comic, or even live-action film (which in this case hasn't happened yet, but I say give it time), it scarcely mattered, as long as each of those formats guaranteed to attract at least some measure of an audience that the others didn't.<br />
<br />
The anime of <em>Suzumiya</em> has gathered more than its fair share of attention both in Japan and elsewhere, though, and for good reason: once you get past its oddball premise (a common anime stumbling block for the uninitiated), it's quite engaging. Cynical and acerbic Kyon has his high-school life upended when his restless classmate Haruhi drafts him into her club—one where she investigates "espers, aliens, and time travelers", all of which are things Kyon is, to put it mildly, dubious about. Other club members show up—the shrinking violet Mikuru; the silent Yuki, her nose always in a book; and Itsuki, the transfer student whose friendly demeanor just makes Kyon all the more suspicious of him.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/G2w_W9jiaYM" width="420"></iframe></center>
<br />
That's the setup, which from the outside has been preparing us for a fairly standard-issue high school comedy. Then the show drops a bombshell of a revelation on the audience: Haruhi is actually a being of godlike power whose boredom and restlessness have brought into existence the very things she's been searching for. Worse, Kyon is now tasked with making sure her power doesnt rave completely out of control—a tough assignment given Haruhi's millisecond attention span and her knack for either attracting or creating trouble. <br />
<br />
The original story was written as a way for author Nagaru Tanigawa to explore concepts like parallel universes, and the <em>Suzumiya</em> is one of the few light-novel-to-anime adaptations to have both its source material and its anime released in English. This has happened before—<em>The Slayers</em>, <em>Scrapped Princess</em>—but the books inevitably appeared in far smaller printings than the anime did, and disappeared from print for keeps after their licenses lapsed. <em>Suzumiya</em>, on the other hand, had its novels issued in English by a joint effort between manga publisher Yen Press and the young adult imprint of publisher Little, Brown. To broaden the prospective sales for such a project, the books were marketed less to existing anime fans (although it was impossible for them not to know) and more to a general audience of young readers. The approach seems to have worked: all eleven of the books are scheduled to be released in English as of November 2013.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghqNz_BYaRyOVtMcqIcqscXLq-NvDVf_31wc0vI9fDAag9ZmRPE-UDTZPpv1r9UbbKRA6Ov-ukSgaYjD9Ht9jZ-RyQNnKYo1p43E8Ydz7bK2GM26iK47eyIPsI4drQDaaN6Wy6VZskmNY/s1600/Gintama.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" dba="true" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghqNz_BYaRyOVtMcqIcqscXLq-NvDVf_31wc0vI9fDAag9ZmRPE-UDTZPpv1r9UbbKRA6Ov-ukSgaYjD9Ht9jZ-RyQNnKYo1p43E8Ydz7bK2GM26iK47eyIPsI4drQDaaN6Wy6VZskmNY/s400/Gintama.jpg" width="400" /></a></div>
<br />
Some other releases of 2006 also deserve mention. <em><strong>Ouran High School Host Club</strong></em> (200-level) brought a popular comedic <em>shojo</em> manga to the TV screen, but with way-above average writing and storytelling, and some grandly funny visual direction. (The first episode alone is rife with gags that deserve immortalizing.) <em><strong>Gin Tama</strong></em>, another manga adaptation, was a massive hit in Japan but garnered only a modest cult following abroad—in big part because the show both satirized and invoked the sort of stiff-upper-lip samurai spirit that's normally the stock-in-trade for live-action <em>jidai geki</em>.<br />
<br />
<em><strong>Witchblade</strong></em> (100- to 200-level) was an unusual project—an anime retelling of the successful <em>Top Cow</em> comic with many of the same concepts but its own storyline and cast of characters. The results are better than they have any right to be, especially as the show works towards an unexpectedly touching climax. The show also was yet another example of a growing number of what could be called "mid-Pacific" productions—close collaborations between Japanese studios and Western creative houses, with each half bringing something vital to the table.<br />
<br />
Another major release which was entirely a Japanese production, but attracted a massive outside fanbase, was <em><strong>Hellsing</strong></em> (100-level), a faithful adaptation of the ultra-violent vampires vs. Nazis manga of the same name. Unfortunately, <em>Hellsing</em> also ended up as a poster child for the dysfunctionality of its releasing company, Geneon, which closed its doors a year later and underwent restructuring. <em>Hellsing</em> was one of a number of titles that not only went out of print but was still in production at the time, although the pieces have since been picked up by FUNimation.<br />
<br />
I wonder now if creating the course-level system was such a good idea. Anime is by definition a niche—in some cases, a niche of a niche—and anything that reinforces such niche-ness might well work against it in the long run. But then we look at shows like <em>Haruhi Suzumiya</em>, which work because they are so defiantly the product of a completely different cultural mainstream at work. Maybe the point of singling out such things is not to put a fence around them to keep people out, but rather to celebrate what it is about them that makes them worth the effort. And given how anime as of late has become all the more timid and confined by demographics, it helps to remember how things can be different.<br />
<br />
<strong>Next time: 2007, the year where anime distribution and retail found itself at a crossroads.</strong>Geoffhttp://www.blogger.com/profile/02385629483209026981noreply@blogger.com4tag:blogger.com,1999:blog-5455108671364992297.post-68762684820491898642013-07-24T18:06:00.001-07:002013-07-24T18:06:24.914-07:002005: In A Silent Way<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAx05s7wuZRAOHZ51DKEBn91lJmBdKCSkHz7DzTyQC1hy5YdmhT2JNobdA1GAeQdVjYPV8FTgzze0Eq2e52E-FiX0pIVoVlr6mkt0HHtr_u5ZC_GM7fVPunn3Uv4XHMMIJT9e3bFxRkQk/s1600/New+Picture.bmp" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img bba="true" border="0" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAx05s7wuZRAOHZ51DKEBn91lJmBdKCSkHz7DzTyQC1hy5YdmhT2JNobdA1GAeQdVjYPV8FTgzze0Eq2e52E-FiX0pIVoVlr6mkt0HHtr_u5ZC_GM7fVPunn3Uv4XHMMIJT9e3bFxRkQk/s200/New+Picture.bmp" width="200" /></a></div>
<em>@<a href="http://twitter.com/QX20XX" target="_blank">QX20XX</a> does not have a Ph.D. in cultural studies, is not featured in any magazines or books, and only writes for <a href="http://anigamers.com/">anigamers.com</a>. Once deemed "a great example of cognitive dissonance in action," QX started writing about anime as a joke, but that joke stopped being funny over a year ago. QX likes hamburgers, probably enjoys your least favorite anime, prefers Asuka over Rei, and dreams of designing a video game you will regret letting your children play. </em><br />
<br />
<hr />
<br />
Ask anyone for post-2000 anime recommendations and you're guaranteed to receive at least one of the following responses.<br />
<br />
"You should watch <em>Aria</em>."<br />
<br />
"I definitely recommend <em>Aria</em>."<br />
<br />
"What do you mean you haven't seen <em>Aria</em>?"<br />
<br />
If I said <em>Mars of Destruction</em> was the only anime I had seen from the year 2005, I wouldn't be lying except that <em>Akagi</em> also happened to air in 2005.<br />
<br />
What do you mean you haven't seen <em>Mars of Destruction</em>?<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2kFwpW81VyfYmJrOi5iZfvKEp_M4pRY_YDcr2Om0Mp3Q_rIlBXAs5N9hFuXHrjqE5vI0s5yYEHKt_4j6L9ZkQdQ4X2xGQ_5fYIii3l1vf44uAeMBsUkcUg-WYzM0arTn3Pm6uzvYj4tQ/s1600/01_md01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img bba="true" border="0" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2kFwpW81VyfYmJrOi5iZfvKEp_M4pRY_YDcr2Om0Mp3Q_rIlBXAs5N9hFuXHrjqE5vI0s5yYEHKt_4j6L9ZkQdQ4X2xGQ_5fYIii3l1vf44uAeMBsUkcUg-WYzM0arTn3Pm6uzvYj4tQ/s400/01_md01.jpg" width="400" /></a></div>
<br />
Best known for its extensive catalog of <em>otome</em> games, video game publishing company and development studio Idea Factory occasionally produces anime series and OVAs based on their properties. In 2005, Idea Factory produced a twenty-minute OVA for a visual novel they developed for the PlayStation 2, <em>Hametsu no Mars</em>, or <em>Mars of Destruction</em>. As best as I can commit it to words, <em>Mars of Destruction</em> is a sci-fi story about a virus from Mars that arrives on Earth, infecting people in Tokyo and turning them into "Ancients". This woeful cartoon has the distinction of being one of, if not, the worst rated anime on both MyAnimeList and AniDB. For such a minor blip in the grand scheme of things, how does <em>Mars of Destruction</em> get one over (under?) other legendarily awful productions such as <em>M.D. Geist</em> and <em>Garzey's Wing</em>?<br />
<br />
Despite the game's rapid descent into obscurity, the tie-in anime that was destined from inception as a throwaway extra stands out as such a blinding example of terrible, it refuses to be forgotten long after the game proper was buried in a bargain bin. In a succinct twenty minutes, <em>Mars</em> features a nonsensical story rife with clichés, regrettable acting and dialogue, thoughtless direction, amateurish animation, shameless parallels to <em>Evangelion</em>, evisceration of generic anime girls, and the vocal talents of a young Chihara Minori (Yuki Nagato from <em>The Melancholy of Haruhi Suzumiya</em>) who couldn't have known better. Being a mere promotional video attached to a low tier game release, <em>Mars of Destruction</em> may not have been so disastrous as to shutter Idea Factory or force a renowned creator into early retirement, but it is exceptional in how immediate and aggressive it is in being bad. Thanks to its short run time and dubious interest from the rights holders, the anime is easily found on YouTube for the benefit of future generations of anime viewers.<br />
<br />
I am aware I am being facetious. Since even I'm not comfortable saying <em>Mars of Destruction</em> defines anime in 2005, let's talk about <em>Aria</em>.<br />
<br />
<a name='more'></a>2005 appears to serve as another intermission year for the medium, biding its time for the coming storm of major titles that would change the game. Although 2005 is relatively subdued in comparison to 2006, the quiet can be read as the earliest signs of a new direction anime was set to take in the upcoming years. What began with <em>Yokohama Shopping Log</em> would blossom in full earnest with the arrival of <em><strong>Aria the Animation</strong></em>.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpqE6QNXuGGOjHFivurifLR3CeaJBEh6jz4yoUpKrmf6Ho79-flp4imIl2klz0_Kzr9UM-GIeZSqdI6PKanVIjpsxkqxdyCbsgGbCJGpINtN1nb8xbS3XQmin3lycCx04nYNnr1XQ_8ZA/s1600/02_aria0201.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img bba="true" border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpqE6QNXuGGOjHFivurifLR3CeaJBEh6jz4yoUpKrmf6Ho79-flp4imIl2klz0_Kzr9UM-GIeZSqdI6PKanVIjpsxkqxdyCbsgGbCJGpINtN1nb8xbS3XQmin3lycCx04nYNnr1XQ_8ZA/s400/02_aria0201.jpg" width="400" /></a></div>
<br />
"Slice-of-Life" is a phrase many like to use in reference to anything and everything taking place in conflict-free settings populated by charming teenage girls leading pleasant lives. In this case, <em>Aria</em> indeed hits all the alleged characterizations of a true "Slice-of-Life" anime. Based on a manga by Kozoe Amano, <em>Aria</em> depicts the daily life of gondolier-in-training Akari. While slice-of-life stories are often pigeonholed into Japanese school settings, <em>Aria</em> bucks the trend before it was even widely established by taking the audience to Neo-Venezia on the terraformed planet of Aqua, formerly known as Mars. In complete contrast with the vengeful Martian menace in <em>Mars of Destruction</em>, <em>Aria</em> features humanity prospering on this newly-aquatic Mars.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/NraaWUZxWZw" width="420"></iframe></center>
<br />
What is immediately striking about <em>Aria</em> is the richly detailed world, modeled after the real-life Venice. However, <em>Aria</em> is most concerned with crafting its unique atmosphere via the day-to-day experiences of Akari, revealing finer details of the setting as it goes along. The slow pacing invites viewers to relax and take in the sights, while the dialogue presents such an optimistic view of humanity and the exploration of new frontiers that perhaps someone might actually be led to believe that humans will peacefully settle on Mars by the 24th century. In place of conflict, <em>Aria</em>'s episodic format presents Akari with certain tasks, such as befriending rival gondoliers and undergoing intensive training on a secluded beach. As Akari grows into a practiced gondolier, <em>Aria</em> offers bits of wisdom that encourages viewers to better themselves through hard work and a positive attitude. Aqua may be an unreachable utopia but it hopes to impart the mentality to improve to the audience, to live a fulfilling life wherever they may be.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5AeazQObqaAHZKzR7JNICI6EmKH8e_-BQpzd81G6Bttnax1aIfozDFaY9QgwK2uP4-EoBCM2myu9OpaD8oI0ncfxgRN29cDClwL_bHOPgHXZuYt02BVnzcpeLBBfunh-fBgHnC8DiLVw/s1600/New+Picture+(1).bmp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img bba="true" border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5AeazQObqaAHZKzR7JNICI6EmKH8e_-BQpzd81G6Bttnax1aIfozDFaY9QgwK2uP4-EoBCM2myu9OpaD8oI0ncfxgRN29cDClwL_bHOPgHXZuYt02BVnzcpeLBBfunh-fBgHnC8DiLVw/s400/New+Picture+(1).bmp" width="400" /></a></div>
<br />
For a slice-of-life show closer to that familiar school setting, <em><strong>Kamichu!</strong></em> may fit the bill. The story of "the first middle school girl god in Japan," <em>Kamichu!</em> stands out for its beautiful production values, featuring such exhaustive attention to detail that it has been justly described as Ghibli-esque in its presentation. After declaring herself a god, Yurie Hitotsubashi is worked to the ground by Matsuri Saegusa to save her family shrine after the local god runs off. At first, Yurie appears to have none of the powers expected of a god, but as she continues performing actions that can only be considered miracles, more people begin accepting her as a god and her fame spreads across the country.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/A6-HFlwvQic" width="420"></iframe></center>
<br />
Being a god is hard work but the atmosphere of <em>Kamichu!</em> suggests it's not such a bad life. The Ghibli comparison is apt when innumerable gods emerge throughout the town, dwelling on rooftops and in neglected alleys unbeknownst to the regular townsfolk. Only Yurie and a few others can perceive their existence and the effect these gods have on the town of Onomichi. The fantastical has a pervasive presence, yet much time is devoted to Yurie's life as a normal schoolgirl, getting through summer homework and approaching the boy she likes. <em>Kamichu!</em> has that right magical touch that elevates the mundane into something to be appreciated, something so many lesser slice-of-life anime fail to understand; that real life is being reflected and it should be celebrated with sincerity.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSGrU4xxUI04JjwTqvaem4uR0gMtBUKq7Jy1J39ILacANu03qsW_FP-BR7GwjipTT6aT4aD3GZVVE8V0y0mb2Qjx1whRy_yHQsFR4ip6zDGwDRh8e5MI4dV1xO0imgAMBY7GIGIJ5wO6c/s1600/04_emma0401.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img bba="true" border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSGrU4xxUI04JjwTqvaem4uR0gMtBUKq7Jy1J39ILacANu03qsW_FP-BR7GwjipTT6aT4aD3GZVVE8V0y0mb2Qjx1whRy_yHQsFR4ip6zDGwDRh8e5MI4dV1xO0imgAMBY7GIGIJ5wO6c/s400/04_emma0401.jpg" width="400" /></a></div>
<br />
One exemplary anime from 2005 with a steadfast commitment to setting is <em><strong>Emma: A Victorian Romance</strong></em>. Very much a romance story and very much set in Victorian England, <em>Emma</em> is a rare title that gets as far away from modern-day Tokyo without having to go into space or some other fantasy locale. Adapted from a manga by Kaoru Mori, <em>Emma</em> tells the story of a working class maid and a man from a wealthy merchant family who meet and fall in love. Of course, class distinctions get in the way and it seems the two are not meant to be together. Despite an Indian prince's arrival on the back of an elephant, <em>Emma</em> is grounded in realism, doing away with typical anime shorthand to convey the situations and emotions behind them. The audience doesn't need exaggerated expressions and deformed characters shouting at each other to get the embarrassment and anxieties of the characters across, allowing the circumstances to speak for themselves. The effort involved in maintaining the authenticity of <em>Emma</em>'s London, at the cost of all stylistic shortcuts, deserves much praise.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/Z-U4pzJi0Xg" width="420"></iframe></center>
<br />
From 2005 onward, "atmosphere" becomes one of those recurring terms when talking about modern anime. In our confusion to label anime that fails to give us a taut plot and heated battles, we've compartmentalized these shows under "slice-of-life" without really thinking about what it means and its relation to atmosphere. Another term, <em><a href="http://tvtropes.org/pmwiki/pmwiki.php/Main/Iyashikei" target="_blank">iyashikei</a></em>, came about to incorporate both atmosphere and the transient healing quality of certain shows that have fallen under the slice-of-life category. With very little knowledge about 2005 prior to this writing, I've had to overlook plenty of other noteworthy shows, such as Kyoto Animation's first visual novel adaptation <em>Air</em> and the highly-regarded <em>Mushishi</em>, an excellent example of atmosphere that I unfortunately could not include in time. Despite my repeated use of the term "slice-of-life," there is no easy catch-all phrase for this mellow breed of anime. <br />
<br />
<div align="left" class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXvf7jInHUzyogwEzQ5gb9gzGehChiPkToZvK05JK5-eFc_Wbm_5S9tWVh_R9HJPDgNPe_7aqueAyd_02CVBtqgNNTQgfg0Yjab9BncW-qzE3sXwp0fFHEqg711GBHgd62iiMNEV9xKiA/s1600/New+Picture+(3).bmp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img bba="true" border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXvf7jInHUzyogwEzQ5gb9gzGehChiPkToZvK05JK5-eFc_Wbm_5S9tWVh_R9HJPDgNPe_7aqueAyd_02CVBtqgNNTQgfg0Yjab9BncW-qzE3sXwp0fFHEqg711GBHgd62iiMNEV9xKiA/s400/New+Picture+(3).bmp" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
Then again, whether it's "slice-of-life," <em>iyashikei</em>, or "shows with zero giant robots," whatever you like to use to describe this kind of anime, none of that matters since 2005 is the year that <em>Mars of Destruction</em> happened, among other things. Let's just say that 2005 was keeping anime incubated for a stronger year.</div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
<strong>Next time: 2006, the year when we needed to establish a new level in anime.</strong></div>
Geoffhttp://www.blogger.com/profile/02385629483209026981noreply@blogger.com0tag:blogger.com,1999:blog-5455108671364992297.post-42024026546187362082013-07-20T16:30:00.001-07:002013-07-20T16:30:04.618-07:002004, Part 2: Respectful, Yet Rebellious<em>Over 130 new anime shows debuted in 2004 on Japanese television, a number in magnitude that would be the norm for the next decade. Naturally, George J. Horvath from <a href="http://landofobscusion.blogspot.com/" target="_blank">The Land of Obscusion</a> needed just a little more space for his coverage on what shows made 2004 what it was. If you need a refresher on the first half, click <a href="http://goldenani.blogspot.com/2013/07/2004-part-1-rebellious-yet-respectful.html" target="_blank">here</a>.</em><br />
<br />
<hr />
<br />
<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;">
</div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br /></div>
It could have been easy to give a simple mention of each of these titles and get this year covered in one post, but as the essay titles indicated this year had to be covered in more detail, respecting the reader and the blog while also bucking tradition and giving more. Luckily, the latter half of 2004 felt the same way...<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJIcRJ9ZiyXQnQmefUBZdFRov34LuHNwQcwAQd2ua87KDPrEy3p1aZLlMAUW_i2kqFGCqiDLb1YxVb4w483F94_6MEZgNornkjd3bwuqxzlGQp0oMyjWaK8Eq_K3dXErB2bN_09FbMTEo/s1600/gankutsuou.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="155" iya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJIcRJ9ZiyXQnQmefUBZdFRov34LuHNwQcwAQd2ua87KDPrEy3p1aZLlMAUW_i2kqFGCqiDLb1YxVb4w483F94_6MEZgNornkjd3bwuqxzlGQp0oMyjWaK8Eq_K3dXErB2bN_09FbMTEo/s400/gankutsuou.jpg" width="400" /></a></div>
<br />
Being a visual medium anime has to do something to really catch viewers' interests at times and while the year had a few worthy contenders, like <em>Windy Tales</em> and <em>Tweeny Witches</em>, no anime from 2004 did that as well as <strong><em>Gankutsuou–The Count of Monte Cristo</em></strong>. Based on the legendary novel <em>The Count of Monte Cristo</em> by Alexander Dumas, Gonzo took the story and put it a new spin on it, while also giving the entire show a look that, to this day, is still one-of-a-kind.<br />
<br />
Simply from a storytelling perspective <em>Gankutsuou</em> took the tale and put it into the far-future year of 5053, even having the titular Count live on Luna, a colony on the Moon that houses the worst criminals. After saving Viscount Albert de Morcerf from certain death at the hands of Luna's bandits he finds the opportunity to make his way to Earth, Paris in particular, so as to enact the revenge that he's wanted to do, much like the original novel. While the story stuck to the novel's original time period, specifically in terms of social classification and general attire, the show also fully embraced its futuristic shift, with the poor people living a world of dirty pipes and grunge, while the rich live in a seeming-utopia, and grand battles are dealt with by way of giant robots that are piloted by the duelists when the need arises. The idea that the rich are in fact the ones who are caged like birds was indeed brought up and it helped push the thought that these people were truly living in their own fantasies.<br />
<br />
<a name='more'></a><br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/PKf-iDPYIdU" width="420"></iframe></center>
<br />
While it could have simply relied on its mix of sci-fi and renaissance and delivered just on that, <em>Gankutsuou</em> went above and beyond by also delivering a vision that at first confuses but quickly becomes the key element that makes the show visually memorable. While the characters themselves were traditionally animated, the backgrounds were rendered in 3D, but the craziest and most-memorable element came in the form of how the characters were dressed. Every major character's shirt, jacket, pants, shoes, and even hair were simply Photoshop textures that the characters animated over. In concept it's absolutely ludicrous, simple, and could have easily gone horribly wrong, but <em>Gankutsuou</em> managed to not only make it work but it became the aspect that easily defined the show the most. Add in a masterful soundtrack by Jean-Jacques Burnel, bassist for the UK band The Stranglers, and Kouji Kasamatsu, and this alternate telling of Dumas' literary classic would definitely stay in the minds of anime aficionados as long as they could "Bide their time, and hold out hope!" Luckily, <a href="http://www.crunchyroll.com/gankutsuou" target="_blank"><em>Gankutsuou</em> is still streaming as of this essay</a> and can be had on DVD for cheap.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuEIa80qxI-RSKPTXi3v8YPpnfy2waEVPUAR5hgDVL-NdmIY1fgLYu9DYpd0NQWTeQvV6ei3paL5UyIjxjJE01daC1djoV8Yk91Z1P3VGS54QQlJ4vSE-sWKq7KbGL-GipaZVjngWrVm0/s1600/Ring_ni_Kakero_1.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" iya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuEIa80qxI-RSKPTXi3v8YPpnfy2waEVPUAR5hgDVL-NdmIY1fgLYu9DYpd0NQWTeQvV6ei3paL5UyIjxjJE01daC1djoV8Yk91Z1P3VGS54QQlJ4vSE-sWKq7KbGL-GipaZVjngWrVm0/s320/Ring_ni_Kakero_1.jpg" width="225" /></a></div>
In 2004 the "old guard" of anime was back in fashion with many of the classics seeing new productions, such as <em>New Getter Robo</em>, <em>Gunbuster 2</em>, <em>Re: Cutie Honey</em>, <em>Tetsujin 28</em> and TV versions of <em>Area 88</em> and <em>Black Jack</em>. It was also the year some manga of the past received their first ever anime series, such as <em>Major</em> and <em>Dan Doh!!</em>, but this year in particular featured a long-overdue adaptation of a title that had set the standard for much of <em>shonen</em> manga during its original serialization from 1977-1981. Saint Seiya may be the man's worldwide success, but <em><strong>Ring ni Kakero 1</strong></em> was the title that started Masami Kurumada's legacy and set into motion <em>Shueisha</em>'s eventual dominance of the <em>shonen</em> manga industry from roughly 1983-1996, a.k.a. "The Golden Age of <em>Weekly Shonen Jump</em>".<br />
<br />
Combining the character drama of <em>Ashita no Joe</em> with the fantastical and outrageous imagery of baseball manga <em>Astro Kyudan</em>, along with a seasoning of the "<em>bishonen</em>" look of <em>The Rose of Versailles</em>, <em>Ring ni Kakero</em> introduced a fast-paced, action-packed, and visually-accentuated style to <em>shonen</em> fighting, let alone boxing, manga that laid the groundwork that <em>Fist of the North Star</em> would then bring into a non-sports environment, forever changing the way <em>shonen</em> manga would be seen by not only Japan but the world at large.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/mpX0Fct30X0" width="420"></iframe></center>
<br />
<em>Ring ni Kakero 1</em> followed Ryuji Takane, the son of a deceased boxer, and his journey of making his way up the junior boxing ladder with hopes of one day going pro, becoming world champion, and beating his ultimate rival/friend, the prodigy Jun Kenzaki. This first season (of four, most recently in 2011) focused on the Champion Carnival, where Ryuji fights his fellow regional champions to see who will make up Team Japan in the upcoming Jr. Boxing World Tournament. With the likes of Toei doing the animation, Yosuke Kuroda adapting the story, Shingo Araki and Michi Himeno doing the character designs, and Susumu Ueda making the music sound old-school but not "old", the anime maintained an excellent production quality to it, even if the animation itself went "cheap" at times; having an masterful voice cast was simply icing.<br />
<br />
<em>RnK1</em>'s greatest asset, though, aside from its simple but highly memorable characters, was its pacing. Whereas <em>shonen</em> is now infamous for its slow pace and never-ending battles, <em>RnK1</em> had a great pace and the battles tended to be short; only two fights in this season go beyond one episode. Still, <em>Ring ni Kakero 1</em>'s blueprint would completely change the world of <em>shonen</em> and is still followed to this day, influencing the likes of Yasuhiro Imagawa's <em>G Gundam</em>, Sunrise's <em>GaoGaiGar</em>, SNK's <em>The King of Fighters</em>, and many others. Unfortunately, this show has never been licensed for North American release and has no official English translation, so one has to reply on "dubious methods" to see this show at the moment.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYCiYT4k3C4qKEFEB0HoxUmUdYCOUt1Tu5rhanDerRYY231Jv5TKHU_C1CR2xUN6ZkupSzj706S1MofUBnQwfbhrkrLoH8n_nXWhdm0JMYAuzXQr8L5ZzZTWyOFQLCexWeUZ-LAXGhB0A/s1600/genshiken.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" iya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYCiYT4k3C4qKEFEB0HoxUmUdYCOUt1Tu5rhanDerRYY231Jv5TKHU_C1CR2xUN6ZkupSzj706S1MofUBnQwfbhrkrLoH8n_nXWhdm0JMYAuzXQr8L5ZzZTWyOFQLCexWeUZ-LAXGhB0A/s200/genshiken.jpg" width="181" /></a></div>
The "otaku' has been a big part of the anime industry for a long time, and GAINAX's <em>Otaku no Video</em> from 1990 was essentially the best look at the otaku culture, even if it was both exaggerating and becoming outdated as time went on. Fourteen years later, though, an anime was made that took a more updated and (somewhat) realistic look at what the culture is like now. Adapting the manga of the same name by Kio Shimoku, <em><strong>Genshiken–The Society for the Study of Modern Visual Culture</strong></em> at first looks like an anime about otaku for otaku. Everything that one might commonly associate with the lifestyle, from figure/model collecting to video game obsession to surviving the crowds in the dealers' room of the infamous Comiket, was covered by <em>Genshiken</em>, and all with a sharp eye at poking fun at the very things otaku can relate to. Whereas <em>Otaku no Video</em> wasn't exactly the most positive expression of otaku culture, <em>Genshiken</em> essentially said, "It's okay if you're just like one or more of these people...but, let's be honest, we're all a silly group of wackos, aren't we?"<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/sf53StOqIBA" width="420"></iframe></center>
<br />
Like where many anime fans first meet up en masse, <em>Genshiken</em> took place in a university which houses both an anime and manga club, but the "Genshiken" itself was a club about more than just those two hobbies. It's essentially an "Otaku Club", where fans of all sorts can gather and relate to each other. That relation and expansiveness was what made <em>Genshiken</em> work, because each character had a love/fetish to him/her, whether it's gaming, cosplay, model building, or even being the "hardcore otaku" who is willing to risk living expenses and even physical health to get a precious item.<br />
<br />
What made the show relatable to all, though, was the inclusion of Saki, a girl who only joins the club because her boyfriend Kohsaka is an otaku (well, there's also the blackmail). Saki is at first dismissive of these otaku and their lifestyles, but simply by being around them and seeing their openness in regards to others and themselves she eventually comes to accept these people as her friends and even finds minor aspects of otaku culture that she can relate to. She never becomes an all-out otaku like the others, but through Saki the show's loving nature towards the idea of the "otaku" came in full force, showing that everyone has a bit of that crazed fanatic in them.<br />
<br />
One could argue that the show might be too forgiving and even romanticizing of the culture, but <em>Genshiken</em> showed why some people take pride in calling themselves "otaku". For most people, though, the truth is somewhere in the middle, between <em>Otaku no Video</em>'s criticism and <em>Genshiken</em>'s love, and it's up to everyone to find where they fit. The show, as well as its second season, is still in print and available for purchase as of this essay, plus there is a new show that follows the "<a href="http://www.crunchyroll.com/genshiken-second-season" target="_blank">next generation</a>" of the <em>Genshiken</em> airing right now!<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_zi4HE6gmvCj37X_ujhFDpc2d4ANQgElu1QYAgZq2UE1RQy7aYHqfSoxGp8hbheMdCwmjcPGZMkL6PhAil9J-SYfsQU3ImUZt5UIcwYNce2bYAd467oMmd841eYYU2GwGwhcc83Ztd20/s1600/Samurai-Champloo.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" iya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_zi4HE6gmvCj37X_ujhFDpc2d4ANQgElu1QYAgZq2UE1RQy7aYHqfSoxGp8hbheMdCwmjcPGZMkL6PhAil9J-SYfsQU3ImUZt5UIcwYNce2bYAd467oMmd841eYYU2GwGwhcc83Ztd20/s320/Samurai-Champloo.jpg" width="227" /></a></div>
Shinichiro Watanabe's <em>Cowboy Bebop</em> may not have set Japan video sales on fire like it did around the world, but its mix of jazz, blues, and sci-fi still made it a title that was its own creation and could not be duplicated. So for Watanabe's second course he went with a different-yet-similar direction. Combining the swordplay of chambara with the beats of hip-hop, plus other anachronistic fun, <strong><em>Samurai Champloo</em></strong> was able to stand beside its jazzy older brother in terms of execution yet still be recognized as its own amazing creation.<br />
<br />
The story of a young girl, Fuu, who inadvertently travels with two <em>ronin</em>, Mugen and Jin, during her search for a mysterious "Man Who Smells of Sunflowers" was simply a framework that Watanabe used to explain why these three kept getting into all sorts of trouble. While there is an overarching story to <em>Champloo</em>, the show followed <em>Bebop</em>'s lead by making it all about the journey itself and what it entailed rather than what the end result of it all was. Truly, some of the best episodes were one-offs that relied more on the anachronistic environment than anything else; watch the series' baseball episode for an excellent example of what made the show work.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/4OuRajFzMYI" width="420"></iframe></center>
<br />
The mix of "traditional" chambara elements like the time period and swordplay with more modern elements like clothing styles and even graffiti resulted in a Japan that was unlike most other adaptations of the country out there at the time, and the use of both hard-hitting hip-hop beats, featuring Fat Jon and the late Nujabes, as well as slower R&B tunes resulted in possibly the most "rebellious" anime series of the year. Its 2005 airing on [adult swim] took the hip-hop style even further, replacing traditional censor "beeps" with DJ-style “scratches”. Unfortunately, like its older brother, that rebellious nature did hurt the series slightly, as low ratings resulted in the show getting canceled on its original Fuji TV time slot in September after 17 episodes; after a four month hiatus the last nine episodes started airing the following January on the same channel. While it may not have become the "scion" that <em>Cowboy Bebop</em> is considered now, <em><a href="http://www.youtube.com/show/samuraichamploo" target="_blank">Samurai Champloo</a></em> still blazed its own path by having its elements compose a magnum opus and can still easily be scored to this day, no rap battles needed.<br />
<br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<strong>An Exuberance of Anime</strong></div>
</div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br /></div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYgcSxVGO-damSZNcXDH537uIpVhV1hQbUb9zje_ebCPi104GamaK0NlM5AMYhYO4dyE7I8yO2kwcjK_oBb6iMnsw9d-Y8jzsxyemOpl2388g9jerLOpjS7h_V8RHQlRgfLOp9VvcnIZk/s1600/An_Exuberance_of_Anime.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" iya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYgcSxVGO-damSZNcXDH537uIpVhV1hQbUb9zje_ebCPi104GamaK0NlM5AMYhYO4dyE7I8yO2kwcjK_oBb6iMnsw9d-Y8jzsxyemOpl2388g9jerLOpjS7h_V8RHQlRgfLOp9VvcnIZk/s320/An_Exuberance_of_Anime.jpg" width="319" /></a></div>
</div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br /></div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
Even with so much covered, there were still lots of anime from 2004 that's worth at least a mention. <em>Bleach</em> ran for slightly over seven years filled with supernatural action, and <em>Sgt. Frog</em> did similarly with referential humor. <em>Elfen Lied</em> shocked viewers by mixing innocent-looking character designs with bloodshed that had not been seen on TV since <em>Berserk</em> and <em>Hellsing</em>, while <em>Gantz</em> went even further with the violence without shame. <em>Madlax</em> marked the return of Koichi Mashimo's "Girls with Guns", whereas <em>Ghost in the Shell</em> had a "2nd Gig" on TV, as well as a movie sequel to the original classic. <em>Samurai 7</em> gave an Akira Kurosawa standard a new look, while <em>Fafner</em> mixed giant robots with elements of Richard Wagner's <em>Ring Cycle</em>. Finally, highly loved franchises such as <em>Maria Watches Over Us</em>, <em>Magical Girl Lyrical Nanoha</em>, and <em>Rozen Maiden</em> also saw their debuts in this year. As one can see the popular titles of the 2004 were definitely varied both in concept as well as execution; there was literally something for everyone.</div>
</div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br />
Not to be outdone by the myriad of popular titles, though, were the rarely-seen ideas, like <em>Zipang</em>'s tale of time-traveling navy men, <em>Monkey Turn</em>'s look at the world of <em><a href="http://en.wikipedia.org/wiki/Ky%C5%8Dtei" target="_blank">kyotei</a></em> racing, or <em>BECK: Mongolian Chop Squad</em>'s journey of rock n' roll. There was even <em>Agatha Christie no Meitantei Poirot to Marple</em>, based on the works of the famous mystery novelist! On the flip side, 2004 also marked the end of <em><a href="https://en.wikipedia.org/wiki/Kochira_Katsushika-ku_Kameari_K%C5%8Den-mae_Hashutsujo" target="_blank">Kochikame</a></em>'s 8.5 years on television, ending at 373 episodes and 2 movies; the manga is still running to this day ever since its debut in 1976. Of course, there were also the noteworthy duds, like <em>Gundam SEED Destiny</em>, <em>Cosprayers</em>, and <em>Girls Bravo</em>.<br />
<br />
2004 brought about some of anime's most well-regarded modern-day classics, celebrated the innovators and originators of its past, and even had some gems hidden inside if one was willing to look deep enough, all while going against the trends of the industry and adjusting to a changing landscape. Part of the fun of being an anime fan is the fact that there's so much to look for and watch, and 2004 was a great year that went anywhere and everywhere it could. Unfortunately, it is impossible to cover the entire year, which is where it's up to the anime fan to start discovering. It's never good to forget the past; looking back while moving forward can never hurt, it can only remind.<br />
<br />
<strong>Next Time: Having unearthed undiscovered roots and laying out new ones, anime enters a new phase in 2005.</strong></div>
Geoffhttp://www.blogger.com/profile/02385629483209026981noreply@blogger.com3tag:blogger.com,1999:blog-5455108671364992297.post-19156829408306607662013-07-16T16:39:00.002-07:002013-07-16T16:39:51.830-07:002004, Part 1: Rebellious, Yet Respectful<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlraLdRHve6nHhqbccUIfuDP0vNWdBz_xrYSi0bzdzrc9mz-fI90gmuQLa3ij5t884-TtM6LapfgV1hJmecNNnN97FTOCc2JF1KvyRCt0aCaC1H246eL1QZyomdIPI_CdwsQgiooGHngo/s1600/New+Picture.bmp" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="117" iya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlraLdRHve6nHhqbccUIfuDP0vNWdBz_xrYSi0bzdzrc9mz-fI90gmuQLa3ij5t884-TtM6LapfgV1hJmecNNnN97FTOCc2JF1KvyRCt0aCaC1H246eL1QZyomdIPI_CdwsQgiooGHngo/s200/New+Picture.bmp" width="200" /></a></div>
<em>George J. Horvath had been a fan of Toonami's airing of G Gundam and Rurouni Kenshin as well as Fox's airing of Digimon and Escaflowne before being an "anime fan", but in 2004 he went into the medium full-bore, always looking for what came from the past while also seeing what the future would bring. After writing a </em><a href="http://www.gamespot.com/features/gamespotting-shareware-edition-6089727/?page=8"><em>Guestspotting article</em></a><em> for GameSpot and two reviews for </em><a href="http://www.sega-16.com/author/lordgeo/"><em>Sega-16</em></a><em>, though, he decided to take use his B.A.-quality education in Journalism and Media Studies from Rutgers University and start reviewing, on his own, the obscure and forgotten anime and manga of the past (and present). He now runs </em><a href="http://landofobscusion.blogspot.com/"><em>The Land of Obscusion</em></a><em>, talking about anime you may or may not have heard of, and posts semi-randomly over at </em><a href="https://twitter.com/LandofObscusion"><em>Twitter</em></a><em>.</em><br />
<br />
<hr />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrDzdz4N_9T95n6VQl8IOChyey7nzeSbVys0NuABDel5ywm-CqN_Ze_aKJxbF1vdQsb_dlWM3cxcmP7tPpb1Ziw4mEhYG6-Ni-2OU1N1O4PmsISCH77EjkB1ZuZ5xSnlbtHOMBu4XlAg4/s1600/PrettyCureS1_3206.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" nya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrDzdz4N_9T95n6VQl8IOChyey7nzeSbVys0NuABDel5ywm-CqN_Ze_aKJxbF1vdQsb_dlWM3cxcmP7tPpb1Ziw4mEhYG6-Ni-2OU1N1O4PmsISCH77EjkB1ZuZ5xSnlbtHOMBu4XlAg4/s320/PrettyCureS1_3206.jpg" width="222" /></a></div>
When it comes to the history of anime, 2004 was a great showing of how the industry was changing. More titles debuted in letterbox format instead of the usual "full screen". Digital animation was replacing cels. Late-night anime was hitting just about every major TV station in Japan after its slow, growing presence was felt starting from the late 90's. Most importantly though, chances were being taken on all sorts of genres and ideas while also celebrating the history that had already been made. To truly understand how diverse the year was for anime one must look deep into the jungle and see what titles defined themselves among others. Among a list of some of the most well-known titles to have come and gone were shows that dared to be different and change the way we viewed anime. In the first half of the year they managed to not only respect the past and even the viewer but some also challenged tradition and made the viewer think of anime in brand new ways.<br />
<br />
Before 2004 the last real vestige of the magical girl genre was <em>Sailor Moon</em>, which finished back in the late-90s. There were titles like <em>Magical Doremi</em> (<em>Ojamajo Doremi</em> in Japan) in between that span of years, but none of them truly broke through that glass ceiling and became major hits, even if they had multiple season runs. Toei, though, didn't just rest on their laurels, and in this year they debuted <em>Futari wa PreCure</em>, also known simply as <em><strong>Pretty Cure</strong></em>. On the surface the show's plot about two girls with completely different ways of life who end up becoming guardians of good against the powers of darkness wasn't anything original, but what made people tune in was the execution.<br />
<br />
<a name='more'></a><center>
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/NC-S058DCGo" width="420"></iframe></center>
<br />
<em>Sailor Moon</em> was a big hit, but if there was one aspect that was copied often it was the fact that the heroines relied on their magical abilities. <em>Pretty Cure</em> decided to buck this tradition and actually have their leads engage their enemies in physical combat. Sure, Nagisa/Cure Black and Honoka/Cure White had a finishing attack, the Marble Screw, which was technically a magical spell, but even that move had the look and feel of a <em>DBZ</em>-style energy blast...and that's not surprising when one realizes that the man who directed <em>Pretty Cure</em>, Daisuke Nishio, was also the man who directed <em>Dragon Ball Z</em>. Nishio made sure that these girls were able to bring the fight to their foes, making it appeal to both girls and boys.<br />
<br />
Needless to say, <em>Pretty Cure</em> became a gigantic hit, and there's no doubt that this duo likely gave the positive message that a girl can be just as tough as any boy, if not tougher. Successive entries in the franchise, which is still running to this day, would switch between a focus on physical combat and return to the magical roots of the genre, but the original show almost singlehandedly revitalized and revolutionized a genre that had lost its luster in the years since <em>Sailor Moon</em>; one could even argue it has surpassed its "big sister". Luckily, the original show is available online legally with English subtitles, so there's little to stop one from watching.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq8Cy7FWWPy073eIFk13CEebXh3_k0CMsU2c8Iyp43jOJb_a0k6P2x2tsgErvb1B86b6up5lzFA8ZokZCxb33yxnfBBBZ_aE3gxwv6T1DSnAvWsjwQX_zZqvKkbF4IUX78u72S415W8Jc/s1600/paranoia1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" nya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq8Cy7FWWPy073eIFk13CEebXh3_k0CMsU2c8Iyp43jOJb_a0k6P2x2tsgErvb1B86b6up5lzFA8ZokZCxb33yxnfBBBZ_aE3gxwv6T1DSnAvWsjwQX_zZqvKkbF4IUX78u72S415W8Jc/s400/paranoia1.jpg" width="400" /></a></div>
<br />
Satoshi Kon was a man who was ahead of his time, always willing to look deep into the human psyche and reveal its darker side in movies like <em>Perfect Blue</em> and <em>Millennium Actress</em>. Unfortunately, movies only allowed Kon to utilize so many of his ideas at one time, so he teamed with MADHOUSE to create a TV series that allowed him to tell all sorts of stories. The result was <em><strong>Paranoia Agent</strong></em>, a title that delved into the paranoia humans feel and showed how horrible we all can be, with the mysterious "Lil' Slugger/Shonen Bat", a baseball cap-wearing boy wielding a bent golden bat, being the potential savior (?) from it all.<br />
<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/0nttSKBJ38k" width="420"></iframe></center>
<br />
<em>Paranoia Agent</em>, like all of Kon's creations, had no qualms at doing anything that can come off as uncomfortable; even the opening footage aimed to do just that, showcasing all of the leads smiling and laughing in front of horrible scenes of destruction and potential death while a happy-sounding theme by Susumu Hirasawa, who also did the entire soundtrack, plays. It also played with viewers' imaginations by sometimes giving hints as to certain events that may or may not have happened, but Kon knew that the viewer would normally expect the worst, making moments come off as even worse simply because he left the gap up to the viewers' minds.<br />
<br />
The greatest part of the show, though, was the way it always managed to keep the viewer guessing. Every time the viewer would have a handle on the truth, Kon would make a sudden left turn in the story, revealing that what once looked like a simple flat puzzle was in fact multi-faceted, complete with new sides that needed solving. Even up to the last episode the truth was hidden behind a dark screen, with the viewer having to cut through the crazy imagery to find the answers. Sick, twisted, and uncomfortable, yet also unpredictable, compelling, and even funny (sometimes in the face of absolute depravity), <em>Paranoia Agent</em> was a show not to be missed, though as of this essay the show is out-of-print and highly expensive with no legal stream to view.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhkvV-hfBtxAneqx6e2cF2fh4L8m3WcfDm5dX12Gd1NY2IGuLELbBzgC82o_cTUtEDCz3bXj9H7FPayBB-A7gio5DRk4SV-ak-WweWSicN_blvIy6ph7gmJIJVtv_FvV6OaKrt-65-S0o/s1600/Yugo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="283" nya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhkvV-hfBtxAneqx6e2cF2fh4L8m3WcfDm5dX12Gd1NY2IGuLELbBzgC82o_cTUtEDCz3bXj9H7FPayBB-A7gio5DRk4SV-ak-WweWSicN_blvIy6ph7gmJIJVtv_FvV6OaKrt-65-S0o/s400/Yugo.jpg" width="400" /></a></div>
<br />
Normally an anime is created by one studio and one set of staff, with other studios helping out with smaller details like backgrounds, CG, and the like. <em><strong>Yugo the Negotiator</strong></em>, the anime adaptation of Shinji Makari and Shu Akana's story of a master international crisis negotiator, bucked tradition and completely went in its own direction. The <em>Yugo</em> anime utilized two separate animation studios and staffs, with only the voice of Yugo Beppu, the producers, and music composer Susumu Ueda being used throughout the entire show. This allowed the two story arcs the anime adapted, one taking place in Pakistan (done by G&G Direction) and the other in Russia (done by Artland), to be completely different in style and execution; even the opening and ending themes changed somewhat between arcs, with the Russia Arc utilizing remixed versions of the Pakistan Arc's themes.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/FMcYiLsdbb0" width="420"></iframe></center>
<br />
This blatant disregard for "tradition" resulted in the two stories being not only different in style and delivery, but also in execution from a production standpoint. The Pakistan Arc had a real slow burn feel to it, with each episode leading into the next until everything reached a boiling point, while the Russia Arc utilized a cat-and-mouse game steeped in trickery and deception from both Yugo and his adversaries. Production-wise the change became even more pronounced, with G&G Direction going against in the grain in nearly every way possible (realistic character designs, a muted color palette, and even saving the episode title splash for the end rather than the beginning), while Artland went for a more traditional route (a slight "<em>bishonen</em>" look, higher-budget and colorful animation, and more traditional episode title placement, for example). The end result was a TV series that had two identities to it, allowing each story to be its own world rather than feeling like two parts of the same world. Taken alone each half of <em>Yugo the Negotiator</em> was amazing, but taken together it became a memorable series with a one-of-a-kind execution. Although it's out-of-print, it still isn't expensive to purchase on DVD.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidVn_pjCuaoWkm-Rze3Hq6NfySfMWnoFVU-l02zzqImAQGjWoxKM_v2fNpJke4zD02N3cJDxCc9fYogmQrPBn9KpfTx5KMatKDnc0R2S962TFDsN80WlPHwHmnjC0YrB9LnMpe50Gi9oI/s1600/Monster_VIZ_Media.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" nya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidVn_pjCuaoWkm-Rze3Hq6NfySfMWnoFVU-l02zzqImAQGjWoxKM_v2fNpJke4zD02N3cJDxCc9fYogmQrPBn9KpfTx5KMatKDnc0R2S962TFDsN80WlPHwHmnjC0YrB9LnMpe50Gi9oI/s320/Monster_VIZ_Media.jpg" width="115" /></a></div>
Naoki Urasawa was no stranger to having his manga adapted into anime; <em>Yawara! A Fashionable Judo Girl</em> was made back in the early 90's, and <em>Master Keaton</em> had its anime at the end of the same decade. In this year his mystery thriller manga <em><strong>Monster</strong></em> was adapted into anime, lasting 75 episodes and becoming the last anime to air anywhere near that many episodes in a row in a late-night slot. The story of Dr. Kenzo Tenma, a renowned doctor who chose saving the life of a child over that of an influential politician, and his journey to stop the very person he saved from being the "monster" that he has become years later is fraught with suspense and twists that it makes for intensely addictive television.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/t7N43hM925M" width="420"></iframe></center>
<br />
<em>Monster</em> was a title that's all about slowly building characters up and letting the mood take control. There's no way to quickly get through the show, as that would kill the build-up and intrigue. Urasawa was a master at purposefully keeping the reader (or viewer, in this case) at bay when it comes to knowing everything that's important, only letting info out in small bits and pieces in order to keep his audience interested, like a hunter laying a trail of small food to lure the prey into capture instead of leaving behind a giant piece. When the time is ready the trap is sprung, and Urasawa did the same with his audience, waiting for the right moment to spring a big reveal. There is no way <em>Monster</em> could have worked as a series of small 12-13 episode shows with breaks in between each season, because it would have destroyed the pacing and suspense. <em>Monster</em>'s year-plus run was the last of its kind in late-night, and with its end came a change in the way anime is seen in this niche timeslot. Unfortunately, though it did have a complete TV airing in North America, this show only had its first fifth released on DVD as of this essay; it is fully viewable online legally.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_7-tnQgz9t9Ci1SXvGojpYRFEjgdj2jp12c18bTsHrqevsUMCmI39Sz6p_qhsRLb5DfjcEp9xN1OONWO12eHeZ5lz7P2RX7ZmFYfCfRr5ps-XdQJSVYobjo0vYgfu2IeAGm8iW0YSniM/s1600/Fantastic_Children.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" nya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_7-tnQgz9t9Ci1SXvGojpYRFEjgdj2jp12c18bTsHrqevsUMCmI39Sz6p_qhsRLb5DfjcEp9xN1OONWO12eHeZ5lz7P2RX7ZmFYfCfRr5ps-XdQJSVYobjo0vYgfu2IeAGm8iW0YSniM/s200/Fantastic_Children.jpg" width="146" /></a></div>
Every year there are titles that simply fall through the cracks that the big names and anticipated titles leave behind, and 2004 was not any different. Titles like <em>Desert Punk</em>, <em>Yakitate!! Ja-Pan</em>, and <em>Otogi Zoshi</em> all debuted this year yet were not given anywhere near the talk of the more popular shows of the year, but the best example of this need to look deeper was <em><strong>Fantastic Children</strong></em>. Right from its epic and operatic opening theme <em>Fantastic Children</em> showed that, admittedly, it was deeper than its "kiddy" look might first give off. The story of Thoma, and his friends Helga and Chitto, and how they get involved with the mystery of the "Children of Béfort" bestowed a seriousness and grandeur that any who have seen its journey through to the end agree is simply amazing and well worth the adage of "Don't judge a book by its cover."<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/aVWf9zMBwZs" width="420"></iframe></center>
<br />
The show was purposefully old-school in almost every way one can think of. The character designs reminded one of the 60's with simpler faces and an overall sense of youth, even for the adults, the mood mixed levity into a very serious world, and the pacing didn't bend to the faster-paced world that anime was entering. In a landscape that had only been speeding up, <em>Fantastic Children</em> decided to slow it back down and simply tell a story...an ambitious story involving concepts like reincarnation, the dark side of science, mystery, romance, and adventure. Though it could have been told in fewer episodes, creator and director Takashi Nakamura's vision would have been crushed under its grand ambition. While calling the show "fantastic" would be correct, it would also be downplaying how magnificent and beautiful it truly is. The show can still be had for a good price on DVD, but it is technically out-of-print, so don't wait!<br />
<br />
<strong>Next time: The first half of 2004 gives way to the second half, including a return of one of the inventors of the "Cool".</strong>Geoffhttp://www.blogger.com/profile/02385629483209026981noreply@blogger.com1tag:blogger.com,1999:blog-5455108671364992297.post-34747481617981615582013-07-13T15:40:00.000-07:002013-07-13T16:49:43.872-07:002003, Part 3: Ten More for the Road<em>Last time, Bradley talked about some of the most notable series that aired in 2003. This time, he concludes by talking about some of the more obscure series you might have missed, and closing with a comparison of anime in 2003 and anime a decade later.<br /><br />And now, our exciting conclusion...</em><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUzw7C0wkA5XUDRFwb4UltsiZRelFUUXwLZtAsa5egIVxesBiFsfPJzk4CmGBwkFjqGURLbc7a05blibexLFn6GtT8gvahdMC_rf8pZ0l50kxQjnQdVG2imlBXzNc1m4ImNFaNeqYOjLw/s1600/KJ.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="140" nya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUzw7C0wkA5XUDRFwb4UltsiZRelFUUXwLZtAsa5egIVxesBiFsfPJzk4CmGBwkFjqGURLbc7a05blibexLFn6GtT8gvahdMC_rf8pZ0l50kxQjnQdVG2imlBXzNc1m4ImNFaNeqYOjLw/s200/KJ.jpg" width="200" /></a></div>
So in addition to stalwart anime subject matter like giant robots and bouncing breasts, 2003 also had plenty of weird, out-there stories. <em><strong><a href="http://www.theanimenetwork.com/Anime/Kino-s-Journey/Info" target="_blank">Kino's Journey</a></strong></em> is one such anime, based on an adaptation of some unconventional material, this time from a light novel series telling the tale of a boy and his talking motorcycle who travel a world with an incredible variety of cultures and wildlife. Kino's stories often bloom into short, poignant observations about life that echo many of Aesop's Fables. Combined with a muted but very pretty animation style, this is a series that really earns its moments of emotional resonance with a little bit of fairy tale magic and a lot of earnestness.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkOZkGb0smCKusg2KEyqnLMD_sf67JN7a7nWCeWKKxJHZTE0LlEfI7giji1YHZUKbTVV2d36QLE0u8MKc4pE4b7z0Wvl3KPOEG9JFNjFzBE7pruEMv-LpvPUoHGL7bHAAjtS-TwcvihvI/s1600/New+Picture+(2).bmp" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="152" nya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkOZkGb0smCKusg2KEyqnLMD_sf67JN7a7nWCeWKKxJHZTE0LlEfI7giji1YHZUKbTVV2d36QLE0u8MKc4pE4b7z0Wvl3KPOEG9JFNjFzBE7pruEMv-LpvPUoHGL7bHAAjtS-TwcvihvI/s200/New+Picture+(2).bmp" width="200" /></a></div>
Also weird but a lot more pretentious was the follow-up to the depressing and beautiful <em>Haibane Renmei</em> from writer Chiaki J. Kanaka and character designer Yoshitoshi ABe: <strong><em>Texhnolyze</em></strong>. The two created a vibrant yet depressing cyberpunk world with underground fights between cyborgs and social strife that become gang wars. It's an utterly surreal watch, but difficult to penetrate. Partly this is because the story is non-linear, but also because the pacing is really slow, which doesn't quite fit the action that the DVD cover promises with an angry kid with a metal arm looking like he's ready to punch someone.<br />
<br />
<a name='more'></a>Another haunting series drew from more traditional sources. The literal translation of the title is <em>Natsuhiko Kyogoku's Hundred Stories</em>, but here in America we know it by the generic <em><strong>Requiem from the Darkness</strong></em>. Most folks missed this series in the flood of the DVDs that came out in the mid-Aughts, which is a shame, because this is a horror series with some serious bite. You probably heard about the "Gathering of One Hundred Supernatural Tales", known as the <span dir="auto"><em>Hyakumonogatari Kaidankai</em>,</span> from other anime, normally with school children sitting around in a circle and telling each other ghost stories, one for each of the hundred candles they've lit. As each tale is told, another light is extinguished, and when the last light is gone, it's believed that horrifying spirits will visit in the darkness summoned by the participant's tales of terror. <br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/-BwvUTVCLHA" width="420"></iframe></center>
<br />
<em>Requiem from the Darkness</em> draws on this tradition by bringing it back to its origins in the Edo period, making the writing of these hundred horror tales the ambition of a medieval Japanese author. His sources for these stories are a group of strange detectives who he accompanies on bizarre and frightening adventures, the implication being that, as he continues to gather more stories to reach his goal of 100, he risks something horrible happening. This is another one of those series that really deserves a little more love, even though it's out of print and difficult to find.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidWF-znxk5VyVKI1QyBBCZeJFp13BIcnbDB0aj8mBnImq5gL1h92T2xaKtdr0tClS4Pl9LQ0efeqJ6T0SVX04fyrXZfATnVXkdk6PwLNgAVefT8CBhOvQlPHI8s5Z1YPAkKVc0CHF_Y-o/s1600/GunG.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="111" nya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidWF-znxk5VyVKI1QyBBCZeJFp13BIcnbDB0aj8mBnImq5gL1h92T2xaKtdr0tClS4Pl9LQ0efeqJ6T0SVX04fyrXZfATnVXkdk6PwLNgAVefT8CBhOvQlPHI8s5Z1YPAkKVc0CHF_Y-o/s200/GunG.jpg" width="200" /></a></div>
<em><strong>Gungrave</strong></em> was another dark anime series that was probably overlooked by most fans, despite its connections to character designer Yasuhiro Nightow (<em>Trigun</em>), because it looked fairly generic and was based on a pretty awful video game. When are video game anime any good? Well, it probably helps that <em>Gungrave</em> went way off the path beaten in the video game, opting instead for the meat of the series to be contained in a lengthy flashback arc that, at its heart, is a familiar <em>yakuza</em> tale of love and betrayal done with lots style.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi33ZtlpFN1epJnEdS-g575yRtcERiswo_MFJkLefbS3tTBdaV_fYF_wMx631jQPzbaprzNkJH4O7BYewCGqVBfG4sS9m5_OeYxs5vnTSCBlgRXHZF_gWLqTgk3Wlvxvn9vjWV_YYWoxig/s1600/New+Picture+%25281%2529.bmp" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="152" nya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi33ZtlpFN1epJnEdS-g575yRtcERiswo_MFJkLefbS3tTBdaV_fYF_wMx631jQPzbaprzNkJH4O7BYewCGqVBfG4sS9m5_OeYxs5vnTSCBlgRXHZF_gWLqTgk3Wlvxvn9vjWV_YYWoxig/s200/New+Picture+%25281%2529.bmp" width="200" /></a></div>
Speaking of style, <em><strong>Wolf's Rain</strong></em> is a series that left an impression on a lot of fans, some of whom would probably be upset if I didn't mention the series even though I'm not a big fan of it myself. But it's not like I don't see the appeal--it's a thoroughly mystical series, set in a post-apocalypse where wolves fool humans into thinking that they are extinct through illusionary magic that makes them look human. A strong sense of myth and post-apocalyptic imagery helps make the series memorable, and at times, it has real narrative punch that does a lot to humanize its characters and their quest for a paradise that may or may not exist. Supported by plenty of great visuals from Studio Bones, the series is typically notorious for a combination of a really long recap arc that unfortunately followed one the conclusion of one of the series' tensest story arcs, and a controversial ending that still generates discussion today. My mixed feelings about the series aside, it's certainly still worth watching if only for its visuals.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/fe7kMlgCqLw" width="420"></iframe></center>
<br />
But let's stop talking about glum series and talk about <strong><em>Sakigake! Cromartie High School</em></strong>, a show guaranteed to get you and a group of your friends in stitches with its bizarre, snappy humor. You don't even need much context to love it- sure, it helps to know that the series is a parody of the classic <em>yankii</em> stereotype, but heck, the series will straight up admit at times that the gag it just made probably doesn’t make a lot of sense unless you read the manga. Context doesn't matter. You know what matters? Tough guys eating pencils! Gorilla chefs! Freddie Mercury parodies! Norio Wakamoto as a <em>yankii</em> robot! This anime has its priorities straight!<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQQ16E8GIDFfmphIodNZVYKdnC3Q7575db5paIKRJgvhNEXrJ24PgsFrxy_ywfMTHk4gzv6jaXfUKG7b247fU2z0HRH2TEymnUVzE2kOMk_RbLTTHDKrASTJdVRGYuJUPknINStMK50P4/s1600/nadja.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" nya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQQ16E8GIDFfmphIodNZVYKdnC3Q7575db5paIKRJgvhNEXrJ24PgsFrxy_ywfMTHk4gzv6jaXfUKG7b247fU2z0HRH2TEymnUVzE2kOMk_RbLTTHDKrASTJdVRGYuJUPknINStMK50P4/s200/nadja.jpg" width="152" /></a></div>
<span style="font-size: 12pt; line-height: 115%;"></span>2003 was a year oddly lacking in traditional magical girl anime. Why that is I don't know, but we were only a year away from Toei providing the world a yearly supply of good magical girl cartoons in the form of Pretty Cure, so you could think of this as the calm before the storm. <em><strong>Ashita no Nadja</strong></em> aired in the slot traditionally reserved for those kind of cartoons, even though it had more in common with NHK's old <em>World Masterpiece Theater</em> adaptations, so some of the magical girl influence still shines through in its girlish charm, like a <em>3,000 Leagues in Search of Mother</em> crossed with <em>Sailor Moon</em>. What I've seen of it was fantastic, and while at 50 episodes it's a hefty commitment, it's certainly an anime I'd like to finish sometime soon.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtfI0piBNTdi33MZNdeG0TU6Bv5l5zQ5pW5J86109YAuIy9zY6cgdezn9YTwmhx9Dwd8MpkKH9En3D_5jfIQI2Fe4c0FqdDqTdZWnCdKOLaFTANIB-icmLtBpjsAUM9Lt5K1QtJhlvN94/s1600/kaleido.bmp" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" nya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtfI0piBNTdi33MZNdeG0TU6Bv5l5zQ5pW5J86109YAuIy9zY6cgdezn9YTwmhx9Dwd8MpkKH9En3D_5jfIQI2Fe4c0FqdDqTdZWnCdKOLaFTANIB-icmLtBpjsAUM9Lt5K1QtJhlvN94/s200/kaleido.bmp" width="143" /></a></div>
Junichi Sato is an underappreciated workhorse in television anime. He first made a name for himself as the director of the first season and change of <em>Sailor Moon</em>, and since then he's consistently turned in solid to amazing work, especially with <em>shojo</em> and <em>iyashikei</em> anime. Following up on his amazing fairy tale deconstruction of magical girls, <em>Princess Tutu</em>, he headed a much bigger and more traditional <em>shojo</em> project set in an American circus. Buoyed by a sunny attitude and a sense of adventure that would soon define some of Sato's future work, <em><strong>Kaleido Star</strong></em> tells the story of a young Japanese acrobat named Sora who dreams of performing on the world's circus stage, the Kaleido Stage. Making that dream happen isn't easy, though, not only because she's an immigrant in a foreign country, but also because of her many rivals, including an acrobat she idolized as child. It seems worth noting here that this story often reflects a familiar genre in 2013: idol anime. Fans of that genre would certainly do well to watch <em>Kaleido Star</em>, which is still easily and cheaply available on DVD.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://oishiianime.com/wp-content/uploads/2010/02/Shadow-Star-Narutaru-e1267141915665.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="151" nya="true" src="http://oishiianime.com/wp-content/uploads/2010/02/Shadow-Star-Narutaru-e1267141915665.jpg" width="200" /></a></div>
While <em><strong>Shadow Star Narutaru</strong></em> may also look like a bright, easy watch at first, it becomes clear later it has more in common with <em>Gunslinger Girl</em> or even more appropriately, <em>Alien Nine</em>, as an anime where innocence meets pure malevolence. <em>Shadow Star</em> is probably the most unsettling of the lot, though, as its languid has no problem easing its audience before springing extreme violence on them. In a way, it's kind of the anti-magical girl, with a below-average child discovering an alien that, instead of giving her superpowers, makes her life even more miserable. Again, this is another series that has lost its audience, if it ever found it to begin with, and deserves to be rediscovered.<br />
<br />
There's plenty more anime to talk about, and I'll probably talk about them on my blog later, but I wanted to close with one of my favorites: <strong><em>Planetes</em></strong>. I've heard this series described as "<em>Patlabor</em> in space," and in many respects the comparison makes a lot of sense. <em>Planetes</em> is a science-fiction workplace comedy about the garbage men of space, because even when we're finally blasting to other planets and moons on a regular basis, someone still needs to pick up the garbage we leave lying around. <em>Planetes</em> deglamorizes the stars as humanity's new home, noting that pressing Earth problems like vast economic equality, terrorism, environmental destruction and corporate malfeasance. We can't leave these problems behind us--instead, they'll follow us into space, and possibly get worse.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/CZ-OyT4ivkM" width="420"></iframe></center>
<br />
Now this isn't anything new anime--the animators and <em>mangaka</em> of the generation that had survived World War II and its aftermath wrote and drew plenty of excellent pulp sci-fi for boys informed by a mature social consciousness that recognized the fallibility of being human. But <em>Planetes</em> takes this social conscious one step further with gentle humanity by recognizing the small problems that really inform and shape us as people: disappointing love lives, a boring job, petty managers, unresolved dreams. There is a palpable, convincing humanity at the core of <em>Planetes</em> that really sets it apart from nearly every other anime that aired in 2003 and would ever air afterwards. It takes something as vaunted as space travel and makes it earthy. If I had to pick an anime from 2003 that everyone should see. It resonates in the way the best television dramas hope to do.<br />
<br />
<hr />
<br />
<div>
So that was twenty series from 2003! I personally think it was one of the best years for television anime, with a lot of variety and plenty of quality series. While I feel like I covered most of it here, if I have more to say (I always have more to say) you can find it over at the blog. Before I finish up, I thought I'd make a few observations about what was different about anime from a decade ago compared to what is airing today:<br />
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiy4ks3UdsP2GdU3vBAVUVuMbpehQU-aJ_3henffBiUfmiWUnHKnwrLpNGwKO5JHwGfbafIR7SxJDuNzRTbyLaKnlhItOeVBn3a0C6ETz6u2lp0DB8ssYMDSlikztfhoDpJoxX0horiDc/s1600/20031.png" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="640" nya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiy4ks3UdsP2GdU3vBAVUVuMbpehQU-aJ_3henffBiUfmiWUnHKnwrLpNGwKO5JHwGfbafIR7SxJDuNzRTbyLaKnlhItOeVBn3a0C6ETz6u2lp0DB8ssYMDSlikztfhoDpJoxX0horiDc/s640/20031.png" width="234" /></a></div>
<em><u>Anime in 2003 had a broader visual aesthetic.</u></em> Just a glance over a new season chart and a list of what aired in 2003 bears this out. It's a striking difference and it probably also reflected a broader intended audience.<br />
<br />
<em><u>Fewer anime for children.</u></em> Most anime fans don't think much about it, but the ramp up in the quantity of new television anime would also mean more anime for children. Some of the increase could also probably also be contributed to the success of new franchises like <em>Pretty Cure</em>, while many older franchises like <em>Detective Conan</em> never really left.<br />
<br />
<em><u>Fewer new giant robot and magical girl anime.</u></em> You'd be forgiven for not thinking that was true considering how huge <em>Evangelion</em> and <em>Gundam SEED</em> was that year. This also ties into my first point: more studios and production committees were willing to take risks with stories that weren't established in familiar genres. We see less of that now.<br />
<br />
<em><u>Animation didn't look as good.</u></em> 2003 was just an awkward year for animation in Japan because of the ongoing transition to digital and using new tools like CGi, and while there are certainly plenty of fantastic examples of great animation that year, the median quality has risen since then. Some of it is because the industry has a better understanding on how to use their tools, some of it is improving technology, and some of it is because of the tightening of the labor pool post-Great Recession, leaving a smaller number of primarily veteran animators doing a lot of the work.<br />
<br />
<em><u>Overall quality was generally much better.</u></em> This is obviously subjective, but I would rather watch a randomly selected anime from 2003 than a randomly selected one from 2013. That seems worth saying.<br />
<br />
Helluva year, huh? If you ask me, overall you were pretty "Cool, Japan".<br />
<br />
<strong>Next time: Television gets hammered by new anime shows in 2004, drawing a famous director in the process.</strong>Geoffhttp://www.blogger.com/profile/02385629483209026981noreply@blogger.com1tag:blogger.com,1999:blog-5455108671364992297.post-40046375152721847042013-07-10T16:55:00.000-07:002013-07-10T16:55:24.359-07:002003, Part 2: Fullmetal and Full Frontal<i>Last time in our thrilling exploration of 2003 anime and what Cool Japan meant then, Bradley Meek talked about how the true test of whether anime was going to continue to be perceived as cool would be made or broken on TV. And how did that pan out? Read on...</i><br />
<br />
Okay, never mind what I said last time; let's start by talking about <em><a href="https://www.youtube.com/playlist?list=ELzyM4ujU5frc" target="_blank">Fullmetal Alchemist</a></em>. <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-LiQOzbpNKrK6oHG6CyKVOXdBEWmQyGyP4ImOhTM_i26LvedUYhyChK_qhvDnN3z0VzDE9e-VPkRTeDUkXVf5m5rxTQJ8seFmc8ncksUpJGgLN7STIj76Y95HM55ODExF8Xt1Cc2zO58/s1600/Fullmetal_Alchemist.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="197" nya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-LiQOzbpNKrK6oHG6CyKVOXdBEWmQyGyP4ImOhTM_i26LvedUYhyChK_qhvDnN3z0VzDE9e-VPkRTeDUkXVf5m5rxTQJ8seFmc8ncksUpJGgLN7STIj76Y95HM55ODExF8Xt1Cc2zO58/s320/Fullmetal_Alchemist.jpg" width="320" /></a></div>
<br />
This anime has become one of those cartoons that you can be fairly certain many of your classmates have seen or heard of, at least a few of your coworkers and possibly your boss have watched a bit of, and has roughly a 30% success rate as way of striking up a conversation at a bar, which puts it in the vaunted realm of success somewhere between college hockey games and American professional soccer. It's often mentioned in the same breath as <i>Sailor Moon</i>, <i>Cowboy Bebop</i>, and other near-mainstream successes. It was many fans' first anime, and for some, it would be the only they would ever want to watch. When describing the recent success of <i>Attack on Titan</i> on an episode of ANNCast, Funimation reps described it as potentially a new "Fullmetal" for them, and it's telling that they didn't have to clarify which of their two successful licenses that starts with "Fullmetal" they meant. This was, and in some ways still is, a really popular anime, and it seems the only thing that took some of the shine off it in popular opinion was when Studio Bones went back and made a bigger, better "Fullmetal" in <i>Fullmetal Alchemist: Brotherhood</i>.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/S1t70AiH4CA" width="420"></iframe></center>
<br />
Which raises an interesting question: is there any reason left to watch this, now that <i>Brotherhood </i>is as easily available as its predecessor on home media and does a better job retelling much of the same story? Does nutjob screenwriter Shou Aikawa's bizarre ending still hold up all these years later? I remember loving it at the time, but I'm not sure now. Can we still forgive those short bursts of filler in its early and latter episodes? Is the Lupin parody episode as great as I remember? The answer is probably easy, because when asked, I have always recommended people watch <em>Brotherhood</em> instead. But I kind of wish it was more difficult.<br />
<br />
<a name='more'></a><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc970OojescSFywYeRFTsIRe5jl-iLbY4fhPi1wIwBEkC0MNbZl3RpnqYL7LNrQJgk3efjXlajDfiSBN0AQbeKYx7Tjwe3BhyphenhyphenxRMlPZDckKvH_vM5RPFCetqo8ssiWK7d3eEIe7LnJa-4/s1600/New+Picture.bmp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="219" nya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc970OojescSFywYeRFTsIRe5jl-iLbY4fhPi1wIwBEkC0MNbZl3RpnqYL7LNrQJgk3efjXlajDfiSBN0AQbeKYx7Tjwe3BhyphenhyphenxRMlPZDckKvH_vM5RPFCetqo8ssiWK7d3eEIe7LnJa-4/s320/New+Picture.bmp" width="320" /></a></div>
<br />
Rumiko Takahashi was an unassailable icon in Japanese pop culture, and her success was closely tied to the success of anime adaptations of her work. <i>Inuyasha</i> was huge in Japan and soon to be big in America too, and since it was still ongoing in 2003, that year would actually see three Takahashi manga adapted into new anime. Since <i>Inuyasha</i> was my first anime, and <i>Urusei Yatsura</i> is my default reply when people ask what my favorite anime is, I've always had a fondness for any adaptation of her work, even the obscure or disreputable stuff. <a href="http://www.furinkan.com/rumictheater/"><b><i>Rumic Theater</i></b></a> is certainly not the latter, though--while most of her work could be fairly boxed in as "romantic comedy" or "romantic fantasy," <em>Rumic Theater</em> was based on a collection of short manga one shots, and contained a variety of genres that, combined, was closer to "romantic magical realism." It's a charming, solid set of adult fairy tales grounded in the real world, with concerns like angry land ladies, lost pets or unresolved crushes. Viewed today, it's sure to hold charms even for those who find <i>Ranma 1/2</i> or <i>Inuyasha</i> grating.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIPrQeLRyA3kDDVl2LuMXoRpa1xQ1-e2cHUa_F78EnxicOrCrvmsq4nWxk64ICj7_KIRG_A4P_LBT1UQy1CZaFGvnbZ6zrTQ7pb78kLRZV6xDJaRQrE0ky-8jiWxwWCAOs8lXQMAkvY8I/s1600/51G0VVV56EL.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" nya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIPrQeLRyA3kDDVl2LuMXoRpa1xQ1-e2cHUa_F78EnxicOrCrvmsq4nWxk64ICj7_KIRG_A4P_LBT1UQy1CZaFGvnbZ6zrTQ7pb78kLRZV6xDJaRQrE0ky-8jiWxwWCAOs8lXQMAkvY8I/s200/51G0VVV56EL.jpg" width="141" /></a></div>
Another revered icon of Japanese pop culture got a new anime based on his manga with the first series of Leiji Matsumoto's <i><b>Galaxy Railways</b></i>. While not an adaptation of any particular manga he wrote, it is an unmistakable Leiji-verse anime that riffs on the iconic world that houses <i>Galaxy Express 999</i>, <i>Captain Herlock</i> and <i>Queen Esmeralda</i>. It's also very accessible: the series doesn’t have as much Leiji-verse baggage as many older series from the 80's and 90's do, with their complicated family trees and alternate realities that Matsumoto insists are not, in fact, alternate realities at all, and it all makes for an intimidating sub-fandom of anime. So an accessible Leiji-verse anime was probably exactly what was needed in 2003. I've barely seen any Leiji Matsumoto anime myself, though I've always suspected I would love it, with its swashbuckling atmosphere and romantic boy's adventures. What I saw of <i>Galaxy Railway</i>, though, looked absolutely solid, and seems like a great entry point into Matsumoto's massive universe, especially if any of the reportedly excellent movies or OVAs look too dated to you.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWvcDd0bNpYB_g4LLHo5jR1SKtWff6WGzksN9LL3SYjJmoCnTv3IHMG_K402oqIDEHIIhrjHR0NT6g-144P-aV0eq4My8ht9D7GJuVpTYw7x5z04pnxIvfTyWXDxkwClwXczUhxupQZIY/s1600/tsukihimeanime6_cover.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" nya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWvcDd0bNpYB_g4LLHo5jR1SKtWff6WGzksN9LL3SYjJmoCnTv3IHMG_K402oqIDEHIIhrjHR0NT6g-144P-aV0eq4My8ht9D7GJuVpTYw7x5z04pnxIvfTyWXDxkwClwXczUhxupQZIY/s200/tsukihimeanime6_cover.jpg" width="141" /></a></div>
Another, more recent, sub-fandom of anime that can intimidate outsiders with its complexity and scale is the Type Moon fandom. Mostly famous for <i>Fate/Stay Night</i> and its hit prequel, <i>Fate/Zero</i>, Type Moon started as another doujin visual novel circle under author Kiniko Nasu, of the titular Nasu-verse, where all of Type Moon's anime are set. <i><b>Tsukihime</b></i> was the visual novel that first made him famous, with its neat twists on the vampire mythos made back before neat twists on vampires was cool. In addition to sharing the same setting, all Type Moon stories, and the anime they're based on, take place in fantasy-realist settings in modern Japan, with quirky, likable characters and complicated magic systems and family backstories that fans can and do spend years learning about. <i>Tsukihime</i> would be Type Moon's first anime outing, and it's largely regarded as a stinker today. The great weakness of Type Moon adaptations tend to be that they're also harem anime, and the harem is consistently the story's weakest, least interesting aspect. Just get to the awesome fighting and magical intrigue already! That <em>Fate/Zero</em> didn't have a whiff of harem in it (unless, like me, you like to pretend there was a love triangle between Saber, Irisviel and Emiya) was probably a major reason it was such a success. There are rumors that we're due a new anime adaptation of <i>Tsukihime</i> in the near future, and if so, let's hope that this incarnation is more successful.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwD3UhQNBD9WZzGQCvmRQTulTyFgbY0LlzuSnGI8i3oxKCD6vBj54GXdZocWeIkugLMiv1c9A8LKEzM3r0tgRBJ_-W1o8h6VYx4A46hsFqliiGerZWEO796QHnxNhLbictEUJWvgGLqTA/s1600/Read20or20Die01000.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" nya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwD3UhQNBD9WZzGQCvmRQTulTyFgbY0LlzuSnGI8i3oxKCD6vBj54GXdZocWeIkugLMiv1c9A8LKEzM3r0tgRBJ_-W1o8h6VYx4A46hsFqliiGerZWEO796QHnxNhLbictEUJWvgGLqTA/s200/Read20or20Die01000.jpg" width="143" /></a></div>
The original <i>Read or Die</i> OVA is one of the most reliable things I know of to show potential fans to get them interested in anime. It's a fantastic mix of spy antics and crazy super powers wedded to an emotional, involving storyline of friendship and love, and even though I've seen well over ten times at this point, I still enjoy it. When the new inductee to the fandom excitedly tells me, "That was great! What else is there like that?" what Idon't say is, "Well, there was also a 26 episode TV sequel," because <a href="http://www.crunchyroll.com/rod"><i><b>R.O.D. the TV</b></i></a> was a mixed bag. It has its good points, but it's definitely not a good next step for any new fan, because they're too green to discover that there's no great idea JC Staff can't make a lot less interesting. (See also: <i>Tsukihime</i>) But every <i>Read or Die</i> fan should eventually watch it, if only for that fantastic first episode featuring a commercial airplane being hijacked by terrorists before the Paper Sisters, with powers similar to OVA heroine Yomiko, save the day spectacularly.<br />
<br />
Up next, <i>Godannar<b></b></i> which was...<br />
<br />
Wait, wait, hang on, let me try that again. This anime's full title is so awesome I have to give you the whole thing, in all caps, so you can experience the impact.<br />
<br />
<b>Up next, MARRIAGE OF GOD AND SOUL GODANNAR!!</b><br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/7NLVTFL1rvU" width="420"></iframe></center>
<br />
Much better.<br />
<br />
So I'm not entirely sure when giant robots went from being made for boys to being for men, but it was probably somewhere around the time it became common to deal with themes like war, the energy crisis and terrorism. <i>Godannar</i> is about marriage so it's definitely for adults, but it's mostly for adults who have never forgotten their horny inner 14-year-old. Combining robots have been a conceit in super robot shows for a long time; this takes it to the next level by having pilots Goh and Dannar--hence the name--be a married couple as well as a pair of pilots who combine their robots to make a bigger, better robot. This anime doesn't really do subtext, which is fine because it's a big, loud cartoon with lots of rockin' robot violence on giant monsters. If you've heard of this anime before but never in relation to the premise, that's probably because it's mostly famous for its absurd, campy fanservice, which extends to bullet breasts and copious jiggle on every woman in its cast, including the women robots. There's a kind of giddiness to it all that keeps it from getting too creepy, which is damn near a virtue compared to most other <em>ecchi</em> anime. <em>Godannar</em> seems primed for some renewed appreciation since I hear more people talking about wanting "hot blooded action" anime more often now, but perhaps that's just the circle of anime fans I hang out with on the Internet.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxn3mshNlrAPd3Qd62l75iP9Rj71y-nOvz5yq1ihxLpSSL1txbWpRpPHqgNSX_rjoSsQb9PzlyUDVzaSCay8DC3ltvoTsbeb4vJul90ID7YJp8_hyMLIuVLYx4zoY4EwTjmQUSnIlk7R4/s1600/BPS.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" nya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxn3mshNlrAPd3Qd62l75iP9Rj71y-nOvz5yq1ihxLpSSL1txbWpRpPHqgNSX_rjoSsQb9PzlyUDVzaSCay8DC3ltvoTsbeb4vJul90ID7YJp8_hyMLIuVLYx4zoY4EwTjmQUSnIlk7R4/s200/BPS.jpg" width="153" /></a></div>
If <i>Godannar</i>'s fanservice was campy and fun, <i><b>Battle Programmer Shirase</b></i>'s was the exact opposite of that: a thoroughly, completely vile cartoon. And somehow it continues to get a pass for that, possibly because its creepy subtext isn't supplemented by any creepy lolicon visuals. So let's recap what this is about: a programmer with near-supernatural hacking abilities lives an easy life in a cheap apartment next to his very young cousin. Most of the gags focus on his world-saving hacks, but another recurring gag is about how his cousin wants to get into his pants, which makes for awkward social engagements. But the best--or worst--part is that every person who catches Shirase with, say, his head in his elementary age cousin's crotch, immediately excuses the obvious crime they see because they are all clients who so desperately need his services, so they can't call the cops on him. Shirase is something of an aspirational character, and when part of that aspiration includes a loli who teases him about seeing her in her swimsuit, you've got a vile cartoon. Anime is often direct to a fault, but sometimes, it's the subtext that makes something downright awful.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw1i_zkkwkwiuMdJMsnRDxT_0SnhRBKTiwzbJQ-dj7oZs_ScPEDYQZSRj8rMqVWMpGDY0Oduu47Vh9iXR-_WuCIdTrOFUl2gVugZI9i5XEZlhTkP1n_iBUnCn42N9kMZaswg65sIKZm6k/s1600/airmaster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" nya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw1i_zkkwkwiuMdJMsnRDxT_0SnhRBKTiwzbJQ-dj7oZs_ScPEDYQZSRj8rMqVWMpGDY0Oduu47Vh9iXR-_WuCIdTrOFUl2gVugZI9i5XEZlhTkP1n_iBUnCn42N9kMZaswg65sIKZm6k/s320/airmaster.jpg" width="320" /></a></div>
<br />
Like <i>Ikki Tousen</i>, <i><b>Air Master</b></i> is also an <i>ecchi</i> "fighting girls" anime, but this is the one with a good reputation. A lot of that should probably be credited to director Daisuke Nishio (director for <i>Dragonball</i>), who knows a thing or two about directing fluid hand to hand combat. He gives heroine Maki's high flying acrobatics some real oomph, and some of the fights are still a highlight in the long lustrous history of flying cartoon fists. What makes or breaks the anime for most people is the comic relief, embodied by a screeching gang of schoolgirls with loud personalities who befriend Maki and, in one case, even crush on her. Some people find them to be a turnoff, and others think they're great, but either way, they're too loud to ignore. The best thing is that the series is easily available streaming basically everywhere for free, so you can make up your own damn mind about it at no cost to you. You should at least try it to see Maki's aerial combat style in the first episode--it's kinda awesome.<br />
<br />
<i><b>Gunslinger Girl</b></i> seems to be largely remembered as moody anime whose creepy subtext either helped or hurt its story, depending on who you asked. I'm in the former camp, if only because I've seen the sequel that aired about five years later, and its straightforwardness made me appreciate Madhouse's take more. It also looks great, especially the guns, which have such detail you feel you could stroke them and feel every bump of metal from your laptop screen. This is also notable for introducing a lot of anime fans to the fantastic gloomy Scottish rock band The Delgados, whose ironically majestic "The Light Before We Land" is a perfect match for the tone of the story. I suspect that this is a series whose story is almost entirely lifted on the back of Madhouse's stellar production. Hey Editor, can I get a video of that opening? <i>("Why, sure!", the Editor responded in the third person.)</i><br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/xj3L_nduKdo" width="420"></iframe></center>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihhlcJQ_qwjUaEDoDFzAlDoQb0T2-q8cJgu2oIbSLCvsNpE5bwseErH98vzP0XKtBlHKXTplsLZTniwTmsZsEa7CzrKLJHlhQw4nIaR7isd49yHvlXBVPh4vrgSsUz3Aetvpz7u9BmHvM/s1600/Fumoffu.bmp" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" nya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihhlcJQ_qwjUaEDoDFzAlDoQb0T2-q8cJgu2oIbSLCvsNpE5bwseErH98vzP0XKtBlHKXTplsLZTniwTmsZsEa7CzrKLJHlhQw4nIaR7isd49yHvlXBVPh4vrgSsUz3Aetvpz7u9BmHvM/s200/Fumoffu.bmp" width="136" /></a></div>
<b><i>Full Metal Panic? Fumoffu!</i></b> is where Kyoto Animation got their start, after spending years working as an studio that assisted other studios in TV projects, Kadokawa finally gave them one of their own, handing them the rights to <i>Full Metal Panic</i> after Gonzo's successful but kinda dull adaptation. Given that fat pitch, KyoAni hit it out of the park with a bracingly funny anime that completely removed the first season's drama in favor of relentless slapstick and ever-escalating gags. It looked so damned good too--even in their first outing, KyoAni looked like they were animating heads and tails above everyone else. The animation gave the slapstick more kick, and everything came together to make for a fantastic series that wasn't quite the sequel fans wanted, but was definitely welcomed.<br />
<br />
I’ve been going so long my editor is threatening to kick me out the door, so join us next time when I talk about everything else that aired on television in 2003! <i>(Editor's Note: No, you will not.)</i>Geoffhttp://www.blogger.com/profile/02385629483209026981noreply@blogger.com3tag:blogger.com,1999:blog-5455108671364992297.post-71035130344294933112013-07-07T19:23:00.000-07:002013-07-07T19:28:00.644-07:002003, Part 1: The Cresting Wave of Cool Japan<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2Yq5CdhLx_7NPMSvS96s2bpSHsiBMjyJ1NOPUztBeMtmOTSB9VPRCyPpqh1itXctWHg3hDS_ZiLJV3Z7yPe5cD_5rLcaQunxxekSmkkFPnWUm4dyOAbQ19fc7fjXtIjkEL9sWHYtJ-A0/s1600/New+Picture+(1).bmp" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="111" oya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2Yq5CdhLx_7NPMSvS96s2bpSHsiBMjyJ1NOPUztBeMtmOTSB9VPRCyPpqh1itXctWHg3hDS_ZiLJV3Z7yPe5cD_5rLcaQunxxekSmkkFPnWUm4dyOAbQ19fc7fjXtIjkEL9sWHYtJ-A0/s200/New+Picture+(1).bmp" width="200" /></a></div>
<em>When Bradley Meek is not coding, sleeping, reading or playing Dota 2, he's watching every kind of anime he can get his hands on. At times, this means he subconsciously channels Madarame from Genshiken, which is known to frighten away women and small puppies. Sometimes he writes on his blog, <a href="http://thosedamncartoons.wordpress.com/" target="_blank">Those Damn Cartoons</a>, but to be honest, he would usually rather watch anime than write about it. You can find him opining about cartoons over on Twitter (@<a href="http://twitter.com/bradleycmeek" target="_blank">BradleyCMeek</a>).</em><br />
<br />
<hr />
<br />
Do you remember superflat?<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUn9mLt1kilg-LRcqbS9ZMH8JAu_XBWUaY0TNAfyYgkh7CV9SNyUwc9fgB7WRiJy45QoYLFW7j0N6FSn-SXj4ilji39msLxwCl4buQ8DCMqsjrHQRL15jmRih0qC52EZrchIjW6Vkvp2A/s1600/Murakami.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="167" oya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUn9mLt1kilg-LRcqbS9ZMH8JAu_XBWUaY0TNAfyYgkh7CV9SNyUwc9fgB7WRiJy45QoYLFW7j0N6FSn-SXj4ilji39msLxwCl4buQ8DCMqsjrHQRL15jmRih0qC52EZrchIjW6Vkvp2A/s200/Murakami.jpg" width="200" /></a></div>
That bizarro pop art movement of the early 2000's where Andy Warhol, street graffiti, <em>ukiyo-e</em> and thirty-plus years of anime and manga were dropped into a blender, dished out onto canvases and sculptures, and then served to the world of high art in Tokyo, New York, Paris and London? It featured art that was a cheery mix of <em>kawaii</em> mascots and apocalyptic imagery, with dollops of a potent mixture of sexiness and child-like innocence familiar to anime fans. It was a grab-bag of forty years of Japanese culture informed by much older, more traditional Japanese art styles, and it was, by all accounts, a big success. One of the short-lived movement's primary authors, Takashi Murakami, <a href="http://www.nytimes.com/2005/04/03/magazine/03MURAKAMI.html">was profiled in the New York Times in 2005</a>, and it's an instructive read. <br />
<br />
Murakami was an <em>otaku</em> throughout the 80's and 90's, and that meant grappling with the destructive legacy of serial killer Tsutomu Miyazaki, who embedded a nasty impression of <em>otaku</em> on a culture that was already suspicious of them. As the article recounts:<br />
<blockquote class="tr_bq">
"When Miyazaki's room was revealed to the public, the mass media announced that it was <em>otaku</em> space,'' Murakami once told an interviewer. ''However, it was just like my room. Actually, my mother was very surprised to see his room and said: 'His room is like yours. Are you O.K.?' Of course, I was O.K. In fact, all of my friends' rooms were similar to his, too.'' Murakami added that Miyazaki was only ''different from us'' because he ''videotaped dead bodies of little girls he killed.''<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
</blockquote>
Miyazaki's murders were a dark cloud that hung over <em>otaku</em>, and superflat was part of Murakami's attempt to wrestle with that legacy and contextualize it in Japan's larger cultural struggles to define itself. Riding a wave of renewed interest in Japanese culture, he found international success and inspired others who would make similar work.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaR2XgS2lBdkqAg_hjz-VibiV7A3Ix6h2ybCagErBXRgm0_HYcZ9ODuIHoeAtQjjFwJCGQT6lOnTbS6MjPFATNaHNt-bLSc_SMoIKy1-VfvxCMEMBQug6k70CQELXTRamkG9qM3gk1pU8/s1600/superflt.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" oya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaR2XgS2lBdkqAg_hjz-VibiV7A3Ix6h2ybCagErBXRgm0_HYcZ9ODuIHoeAtQjjFwJCGQT6lOnTbS6MjPFATNaHNt-bLSc_SMoIKy1-VfvxCMEMBQug6k70CQELXTRamkG9qM3gk1pU8/s200/superflt.jpg" width="200" /></a></div>
What interests me about superflat isn't so much what it was, but what it represented to anime fans in Japan and elsewhere: legitimacy. Here was the world of high art writing flattering profiles and gallery reviews of art that was inspired by anime and its culture, and in the same way that Roger Ebert's enthusiastic reviews of Ghibli movies galvanized and inspired fans, the renewed interest in Japanese culture gave fans who had been around for years reason to hope that more mainstream recognition was soon to follow. And the growing popularity of superflat in high art was reflecting a trend elsewhere: anime was becoming exponentially more popular, with growing fan convention attendance in the US and bigger and bigger sales of home media and merchandise in Japan. Anime and its fandom really left behind the long shadow of Miyazaki and other basement-dwelling creeps and was coming into its own as a medium to be recognized by even the most mainstream and highbrow of cultural critics and consumers.<br />
<br />
<a name='more'></a><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAEJ8voCCQ1NRt23MJJ2l2uelktUbfMIqHMfSwlV7Lf-7unkenRI2-UDra9WVvD8aOT5tVLwbEX7-VgJoB2LcAgy2gfXErXf-wwQqXu1G3sUZogpwlktXu6do1Ak1-aJqsXOPFNufyxyM/s1600/CoolJapan.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="199" oya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAEJ8voCCQ1NRt23MJJ2l2uelktUbfMIqHMfSwlV7Lf-7unkenRI2-UDra9WVvD8aOT5tVLwbEX7-VgJoB2LcAgy2gfXErXf-wwQqXu1G3sUZogpwlktXu6do1Ak1-aJqsXOPFNufyxyM/s200/CoolJapan.jpg" width="200" /></a></div>
There's 2003 as a summation of what anime was out at that moment, what was popular and watched by people in Japan and elsewhere, and then there's 2003 as a feeling, a summation of the excitement that was growing over Japan and Japanese culture, here in the US and elsewhere. I'll get to the former in my next article, but I think it's important to set the stage here and explain why, a decade ago, the biggest difference between anime in 2003 and 2013 wasn't so much what was on TV as it was the excitement that surrounded it and similar hobbies, an excitement that's increasingly hard to find now even though, just as an issue of numbers, anime is more popular and has more mainstream penetration. <br />
<br />
In the early Aughts, that renewed interest in Japanese fashion, music, food and art was given a name in <a href="http://www.foreignpolicy.com/articles/2002/05/01/japans_gross_national_cool">Douglas McGray's December 2002 Foreign Policy article</a>: "Cool Japan." While often appropriated by people looking to make a buck off a "brand," in 2003 "Cool Japan" meant something more, especially to the Japanese. Being a cultural powerhouse looked like a promising way to stimulate the still-flagging economy. Japanese culture and entertainment was something that, by definition, the growing economies of China and Korea couldn't undercut with cheaper labor like what happened with Japan's much vaunted electronics industry. It also meant recognition in the rest of the world for things other than World War II, efficient factory management or supposedly bizarre foods and cultural mores. And, arguably even more importantly, it was something for the Japanese to be proud of, and in the midst of a seemingly endless stagnation, they needed that. <br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixeG-9HYieDGJNL90YQsuPWWYViGtGhsyMzip7tT5bRWNQNBaWAPQj-euGilg5XgoV38_2jOvIJBGrb_HR7YATmNWVBWdI8bJ0hKV21K35jc9fbCDXB0OeRu82DvEOPurqkPIG8O-afts/s1600/f0208737_8474880.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" oya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixeG-9HYieDGJNL90YQsuPWWYViGtGhsyMzip7tT5bRWNQNBaWAPQj-euGilg5XgoV38_2jOvIJBGrb_HR7YATmNWVBWdI8bJ0hKV21K35jc9fbCDXB0OeRu82DvEOPurqkPIG8O-afts/s200/f0208737_8474880.jpg" width="140" /></a><span style="color: #444444; font-family: 'Calibri','sans-serif'; font-size: 11.5pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: EN-US;"></span>The first half of the Aughts was that attitude growing to a crescendo, and 2003 was in the middle of it all. And even though general interest in Japanese culture has waned significantly since then, this attitude still animates government policy. The Japanese still spend millions of yen every year on projects to boost various cultural products and entertainment, including anime, with the long term goal of quadrupling their share of the world's entertainment economy. Things like the Young Animator Training Project, which gives grants to studios to create short anime projects for the training of the next generation of animators and directors, would probably not exist without the idea of Cool Japan to motivate the government to set up the program for the long-term health of industry. While Cool Japan can feel like a hollow, self-serving idea today, it will probably turn out to be a net good for the industry and its fans in the long run.<br />
<br />
But more than any government program, article or brochure, the anime that aired on TV in this swirl of excitement and renewed interest would be what really shaped what Cool Japan meant to fans and newcomers. It was there that the idea, at least how it related to anime, would be made or broken. 2003 was a busy year, with lots of new anime airing that would eventually become revered in American fandom and a few others that would become notorious. We'll talk about those more broadly in the next part, but first I want to dwell on one series in particular that stood out. It was almost certainly animated by the idea of anime as a cultural powerhouse in Japan and elsewhere, focusing on one of its most beloved characters and looking to create a series with a grandeur that reflected how popular he was, and how far the industry had come since his iconic television anime debut in 1963.</div>
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/qvmasX-rdRY" width="420"></iframe></center>
<br />
Astro Boy (or more accurately, Atomu the robot, not <strong><em>Tetsuwan Atomu</em></strong> the show) was born on April 7th in the far-off year of 2003, and in the real world, he was reborn in a new television series by Tezuka Productions. Much like how a world's fair gives a nation a chance to flex its technological and cultural might, to entertain as well as make a statement, <em>Astro Boy</em> was to be the grandest anime ever made, a flexing of Japan's growing might as a cultural powerhouse. Backed by the deep pockets of Sony, the series would not only celebrate one of anime's biggest icons, but also reintroduce the rest of the world to the character. So Tezuka Production made sure The Mighty Atom looked his best. The series was lavishly animated, clearly the product of a lot of time, thought and love from Tezuka Pro. Today, its massive budget and festive animation gives it the feel of a milestone, one of the apexes of Japanese animation, a true prestige series...and if you're like me, you'll probably never finish watching it.<br />
<br />
One of the challenges and frustrations of being an anime fan is that many of the series that were milestones for the medium--the kind of anime that should be featured on this very blog!--are either very difficult to find in English or outright impossible. Some, like <em>Ashita no Joe</em>, <em>Doraemon</em>, many of NHK's <em>World Masterpiece Theater</em> series or <em>Star of the Giants</em>, have for various reasons never seen a licensed release and have never been fully fansubbed, if at all. Some have been released on VHS and DVD, or even fansubbed, but are now either gone for good or just hard to find. Most anime that fit this description happen to be very old, so it seems bizarre that that the same is true for a 2003 series based on a popular property, airing in the time when English-language fansubs were booming in popularity.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy7RkEgWZdnOQJfFvPtdOhTPk5nv52p5d6_3f4RSCTWgbOO9eQZBiPSfX3deE56zcp7l7nlxX9hN1_WkRICFmX3Zw-ODDWzBjH4hrlCmilbFIrBOylilg4VVuqZoPATR_zCPRW-i53_gU/s1600/astro.bmp" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" oya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy7RkEgWZdnOQJfFvPtdOhTPk5nv52p5d6_3f4RSCTWgbOO9eQZBiPSfX3deE56zcp7l7nlxX9hN1_WkRICFmX3Zw-ODDWzBjH4hrlCmilbFIrBOylilg4VVuqZoPATR_zCPRW-i53_gU/s200/astro.bmp" width="200" /></a></div>
Sony has released their dub-only localization on DVD and it's easily available on Hulu, Crackle and Netflix, but it's notorious for several reasons. The original's grand orchestral soundtrack was replaced with grating techno, the dub was badly bungled, some episodes aired out of order or were simply removed from TV and home video, never to be seen in America. The dub also changed much of the story, obscuring Atom's complicated relationship with his father and softening some of the darker aspects of famous storylines. Though I recommend that everyone should see at least the first few episodes of Sony's release, it's not an easy watch, and not just because of a bad dub. It's haunted by the grander series it could have been. <br />
<br />
To be fair, it seems that the adaptation wasn't the only misstep. Tezuka fans were reportedly also unhappy with how the series changed several iconic storylines, or how its tone was darker than seemed appropriate for an <em>Astro Boy</em> adaptation. Other countries got an uncut release, and while the series was better received elsewhere than in the US, it doesn't seem well remembered or liked now. And thus, what should have been an iconic iteration of one of anime's greatest characters, the climax of the story of a franchise that has been a common thread connecting many GoldenAni entries together from the beginning, comes to a sad end for its television run.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcjUh1WG0ZWFvRA8x6p130E1yGbmwMLElgq1RJquXw2GYndiGU47pl9KTzZrBWb8KC-NzVyTOisoItmbKw1lZmYmibvllWxaLKGpsMzAuVbtp5RG9mf9nEL_dkdGUTqqfpEmesNu0jQSs/s1600/zatch.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" oya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcjUh1WG0ZWFvRA8x6p130E1yGbmwMLElgq1RJquXw2GYndiGU47pl9KTzZrBWb8KC-NzVyTOisoItmbKw1lZmYmibvllWxaLKGpsMzAuVbtp5RG9mf9nEL_dkdGUTqqfpEmesNu0jQSs/s320/zatch.jpg" width="233" /></a></div>
Even before <em>Astro Boy</em>, anime fandom in America has almost always a contentious relationship with localized anime. We would almost certainly not be here without the work of adapters like Fred Patten and Carl Macek on shows like the original <em>Astro Boy</em> and or the chimera that was Robotech, but today and even in 2003 to an extent, many fans will take issue with any anime being edited for content and time so it can air on TV, potentially introducing the medium to more fans. We see less of this now, in part because fans hate it so much, but also because most networks see anime as a really inefficient use of a timeslot. Now they want to air their own properties, where they can retain the home media and merchandising rights. Only a small handful of 2003 anime would be licensed for children's TV here in the US, including the bizarre parody <em><strong>Bobobo-bo Bo-bobo</strong></em> (that title is impossible to write without Googling), the <em>Shonen Sunday</em> property <em><strong>Zatch Bell</strong></em> (which is largely remembered for airing in a block on Cartoon Network with the much more popular <em>One Piece</em> and <em>Naruto</em> properties), and <em><strong>Sonic X</strong></em> (which took a bizarre, long path to get to TV as it was tangled up in licensing issues and 4Kids' financial problems.)<br />
<br />
In an age where the Internet has granted synchronous access to what's airing in Japan at this very moment, talking about anime being licensed for American TV makes me feel like I'm talking about ancient history, simply because television is such a small part of how I and every other fan I know interact with anime. It's all online now, and it’s probably there to stay. While I don't mind that the present and future of introducing anime to kids will be entirely online, I do get a little sad when I think about how, say, every American <em>Danball Senki</em> and<em> Pretty Cure</em> fan in the US are adults like myself. On top of that, the difficulty of getting anime on American TV really undercuts the idea of Cool Japan, because television still has an air of prestige that simply being online doesn’t carry, no matter how expensive the production or how large the audience that watches it. If you can't get on TV like a real television series, then what good are you?<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/lVg3ExRFUbE" width="420"></iframe></center>
<br />
2003 television also had two other trends that would soon undercut the idea of Cool Japan, one still fairly new and the other originating that year. The latter is a familiar mainstay now: fanservice fighting girl anime, in the form of the popular adaptation that started it all, <em><strong>Ikki Tousen</strong></em> aka<em> Battle Vixens</em> (aka That Series That Did Really Well on DVD in the U.S. But I Sure As Hell Can't Find Anyone Willing to Admit That They Watched It). The series has a gloriously dirt simple appeal: buxom cartoon schoolgirls in short skirts and tight shirts fight each other in a softcore pornography adaptation of the <em>Three Kingdoms</em> saga. We'll see this idea inspiring the premises for similar series like <em>Sekirei</em>, <em>Ben-To</em>, <em>Queen's Blade</em> and <em>Kampfer</em>, and we seem to get at least few similar series every year.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHfcOa6ak7QYAsrCvqOPlNtElBM4qguY1W6FrlRNCE-RhkzVrkamOAJ5SBqZjA3aRurCoHS70TdgBTih0ccKnJFx-JJPNM7-HfKiainDJtlWKNGN_sjs7lp-Fha0YS0B9r5padaZ0dpw0/s1600/Ikkitousen2.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="228" oya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHfcOa6ak7QYAsrCvqOPlNtElBM4qguY1W6FrlRNCE-RhkzVrkamOAJ5SBqZjA3aRurCoHS70TdgBTih0ccKnJFx-JJPNM7-HfKiainDJtlWKNGN_sjs7lp-Fha0YS0B9r5padaZ0dpw0/s320/Ikkitousen2.jpg" width="320" /></a></div>
I happen to think it's a great premise for a cartoon, but <em>Ikki Tousen</em> was also emblematic of nearly every similar cartoon that came after in that, creepy fanservice aside, it was hard to enjoy because it was so boring. Many of these series have aired on obscure cable channels and are produced by small studios with tiny budgets, so in the grand scheme of what's airing at any given moment they don't matter much, but they're so popular on DVD and streaming here in the States that they can be hard to ignore. Even though most anime writers and critics would archly dismiss them as "pandering" (and it can be hard to strike up a conversation with a fellow fan because no one will admit to liking these kinds of things), this particular kind of <em>ecchi</em> series endures. People end up noticing that and mark another notch against the idea of Cool Japan.<br />
<br />
But you and I both know that the biggest marks against the idea of anime being cool and hip are the <em>moe otaku</em> series, and in 2003, they looked especially dire. While I haven't seen any series from 2003 that fit that peculiar genre--well, there was <strong><em>Di Gi Charat</em></strong>, but we'll talk about that later--I have seen and remember plenty of other anime from around that time period. Visually, this kind of anime looked terrible to seemingly everyone except its fans, featuring grotesquely large eyes lodged into big heads stacked on top of small bodies, making for a mix of childishness and sexiness that creeps most folks out. That particular kind of character design is dead and gone, though, and good riddance to it. I've enjoyed watching plenty of <em>moe</em> shows myself, and have watched the genre change a lot over the last seven years or so. In 2003, it was a small but clearly growing part of anime on TV, and this period could be considered its awkward teenage years. <em>Moe</em>- and <em>otaku</em>-centric anime would become more sophisticated and popular in the near future, but for now, it was largely obscure.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0g6AvtUf5yVp3KNGwIrbcBcvxw7TageGtdAZbQxUCatt-dtuKFvEhIqMzPJdZJjuUUcH9v7YOTtiEwakR-nWzSD5TuOfQe62DF1rXJxHjJu5HVm6wdoeVqhFjdgfBPy1Qp40sdttFzZI/s1600/DGCh.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="178" oya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0g6AvtUf5yVp3KNGwIrbcBcvxw7TageGtdAZbQxUCatt-dtuKFvEhIqMzPJdZJjuUUcH9v7YOTtiEwakR-nWzSD5TuOfQe62DF1rXJxHjJu5HVm6wdoeVqhFjdgfBPy1Qp40sdttFzZI/s200/DGCh.jpg" width="200" /></a></div>
To be honest, I think the best thing that came out of <em>moe</em> series from 2003 is how many would eventually become great fodder for entertainingly scathing reviews from sites like Anime Jump. Shows like <em>Happy Lesson</em> and <em>Ikki Tousen</em> were a turn off for casual and potential fans, because most people don't really make nuanced distinctions between different genres of anime, it's all just anime to them. However, both of those series would do well enough where it really mattered: they were profitable, and in an industry that runs very tight budgets and needs every reliable yen it could count on, that meant a lot, and it meant making more like them.<br />
<br />
So there you go, the dizzying promise of Cool Japan and three troubling trends that would undercut it, all of which is almost as good a summation of the narrative of Japanese animated television in 2003 and its effect on the fandom everywhere else. However, this is incomplete, because a lot of anime that aired that year was actually really cool, and some of it would take off worldwide and create new fans, while others would be missed or forgotten but are still worth watching today. Tellingly, that part of my series promises to take twice as long as this one, so next time, so we'll see if I can go another 2,000 words without mentioning <em>Fullmetal Alchemist</em>. <br />
<br />
<strong>Next time: Part 2 of our analysis on 2003, as we examine the shows in more detail.</strong>Geoffhttp://www.blogger.com/profile/02385629483209026981noreply@blogger.com2tag:blogger.com,1999:blog-5455108671364992297.post-82764673036660114062013-07-04T09:10:00.000-07:002013-07-04T09:12:02.890-07:002002: Anime Rising to the Top - Believe it!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx2N0awpgNf2HwIISlAieGnUPh-UoG4bz4hhYEhHWFuNAhWh3Eeohaqf8RlE7yAKmxOiOkvp-NexQz_zxfJ29DIR4dfsLkwtzc3k5r8Q2dV0Lq8QqndgWl_LWqC_j1zylSNIZUo6YzFF8/s995/New+Picture.bmp" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="120" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx2N0awpgNf2HwIISlAieGnUPh-UoG4bz4hhYEhHWFuNAhWh3Eeohaqf8RlE7yAKmxOiOkvp-NexQz_zxfJ29DIR4dfsLkwtzc3k5r8Q2dV0Lq8QqndgWl_LWqC_j1zylSNIZUo6YzFF8/s200/New+Picture.bmp" xya="true" /></a></div>
<em>Savanna Smith, more commonly known around the net as "lostty", has been into anime for over five years. Although she is currently stuck in summer school along with a job that takes up too much of her time, she still considers her full time passion to be procrastinating. One of her many pastimes is analysing anime like Evangelion in way too much detail. She runs a blog known as </em><a href="http://animeprincess.kokidokom.net/"><em>Anime Princess</em></a><em> where she tries to update when time permits, and you can follow her daily rantings on </em><a href="https://twitter.com/lostty"><em>Twitter</em></a><em>.</em><br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br /></div>
<hr />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLX_P97UXq5SWo6NeaLDVYOqEQP_HUVtk3nRagqgkD3GzJ3ByHI3oRadDlInP9Nky-FYU0MUQxS0sHJ8CZqSgzhJZdYQMHybng0UCDug7MrKnUFbwDTwIJ4N5usiTT-RfUd8bmYYdXEyY/s400/azumanga-daioh.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="159" oya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLX_P97UXq5SWo6NeaLDVYOqEQP_HUVtk3nRagqgkD3GzJ3ByHI3oRadDlInP9Nky-FYU0MUQxS0sHJ8CZqSgzhJZdYQMHybng0UCDug7MrKnUFbwDTwIJ4N5usiTT-RfUd8bmYYdXEyY/s200/azumanga-daioh.jpg" width="200" /></a></div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
When choosing 2002, I did so without much thought into what had actually aired. Back in these days I was pretty much a youngin' who hadn't yet discovered anime outside of the things that had made its way to North American television. 2002 was a year that anime really started to thrive in the West with <em>Spirited Away</em> even winning the Oscar for Best Animated Film, but as for Japan? I wasn't really sure how it was shaping out there, but what I ended up discovering was that it was a year filled with some of the most popular series out there that new and old anime fans still turn to watch today.</div>
<br />
<a name='more'></a><center>
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/oBU5EUoW6q0" width="420"></iframe></center>
<br />
<strong><em>Azumanga Daioh</em></strong> is one of those series that brought laughter to all and created an eccentric cast of characters that really brought to life the <a href="http://en.wikipedia.org/wiki/Yonkoma" target="_blank">4-koma manga format</a>. Due this series' success, it isn't too much of a stretch to say it no doubt inspired many other series of its kind that came afterwards. (<em>Shows such as Hidamari Sketch and the recent Yuyushiki come to mind. - Ed.</em>) In contrast to other 4-koma adaptations, when this one was airing from April to September, it would be broadcasted every day of the week in short five minute segments, only to be compiled into one episode for the weekend on the format we are more accustomed to. Nonetheless, the daily high school lives of Chiyo and her friends skyrocketed in sales and proved that a cat for a dad and one hell of a creepy teacher was enough to entertain thousands!<br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9CLI_wV_cgKFsxL3_LnxxsfPXGrFOCCmB5sFWLnf2lCLRqS0dap4icWAJnBr6CTtm_lO_rDZzrnqUyhXjpOeXRAFJPJaqRJTsKYJ9i4A_PFiIsPx_Egq9hjIMxgsgIraRDYzm2h0opyY/s600/Mobile_Suit_Gundam_SEED.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" oya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9CLI_wV_cgKFsxL3_LnxxsfPXGrFOCCmB5sFWLnf2lCLRqS0dap4icWAJnBr6CTtm_lO_rDZzrnqUyhXjpOeXRAFJPJaqRJTsKYJ9i4A_PFiIsPx_Egq9hjIMxgsgIraRDYzm2h0opyY/s200/Mobile_Suit_Gundam_SEED.jpg" width="200" /></a></div>
As the school girl comedy was warming the hearts of thousands, so was the revamp of the "Real Robot" genre with <em><strong>Mobile Suit Gundam Seed</strong></em>. It began its run late in October, but its story, one that was more or less much like other <em>Gundam series</em>, convinced audiences once more why they should keep an eye on the genre. However, it wasn't just <em>Gundam Seed</em> that did the trick; this is the year that <em><strong><a href="http://www.funimation.com/full-metal-panic" target="_blank">Full Metal Panic!</a></strong></em> also graced the screens of Japan. This is a mecha series that really knew how to balance its school life elements with its action. It brought on a new generation of fans who would talk more about the characters than any of the action. </div>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG8G0I99sIBIqmUBo-iSDgylnOq9ney6QIehwhMARpUvNUxRA_u6WV66vdQTlTTfxk0eIQyX6-JiqRiiv1k3oWa99hLWaEC_Vxkl8As7ZBtsCHPCg0rNFveY9E1dg8qeDPu-56Zu8wKiU/s640/Rahxephon.JPG" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" oya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG8G0I99sIBIqmUBo-iSDgylnOq9ney6QIehwhMARpUvNUxRA_u6WV66vdQTlTTfxk0eIQyX6-JiqRiiv1k3oWa99hLWaEC_Vxkl8As7ZBtsCHPCg0rNFveY9E1dg8qeDPu-56Zu8wKiU/s200/Rahxephon.JPG" width="200" /></a></div>
That wasn't all for the mecha genre of 2002, <em><strong>RahXephon</strong></em> also rode the wave to release a series that would later be constantly debated as an original series or one that was simply a little too inspired off <em>Neon Genesis Evangeleon</em>. Nonetheless, it still managed to succeed and show off the ability that Studio Bones held. This was their third production as a studio (<em>Hiwou War Chronicles</em>, <em>Angelic Layer</em>) and their first popular hit. Although there was still some action throughout, it was a series more about the characters and their development instead of the fighting, yet it still brought in the viewers. <br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/BmIafz_leAA" width="420"></iframe></center>
<br />
This change from the usual focus is also seen in another anime of 2002 with <strong><em>.hack//Sign</em></strong>. The series is the first of its kind with the characters being trapped in a video game, a concept not too far from more modern shows (<em>Sword Art Online</em>, <em>Ixion Saga DT</em>). Despite that, our hero Tsukasa doesn't rise to the bar and instead becomes someone who avoids the company of others, cynical towards everyone around them for a good deal of the time. It has a slow pacing and doesn't even have much action in it at all, on account of that. and although many do applaud it for its creativity, others criticize it for being a difficult watch. The debate towards its worth is something people still question today. <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnRAq751bKG-xdWZ9efanTrS5Tj4YYzdWfQA4_8vOm8BWCI_UFnoBmNwqFSGFXVvwy_GFjVgUaFK9WFXb9aw8h_sQ50qxWBYQ4_fZE3rji6rHCaVoMCy81-ke4tH3gYMRNfeIVQ0xeS08/s509/Princess_tutu.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" oya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnRAq751bKG-xdWZ9efanTrS5Tj4YYzdWfQA4_8vOm8BWCI_UFnoBmNwqFSGFXVvwy_GFjVgUaFK9WFXb9aw8h_sQ50qxWBYQ4_fZE3rji6rHCaVoMCy81-ke4tH3gYMRNfeIVQ0xeS08/s200/Princess_tutu.jpg" width="200" /></a></div>
Another rather misunderstood series of 2002 is <strong><em>Princess Tutu</em></strong>. This was another series that had an unusual airing format where, although it is now considered to be only one complete series, it was originally aired as two separate seasons--its second half would air in 12 minute chunks, which was a decision made to allow it to be able to fit the timeslot the network gave it. <em>Tutu</em> is a series that takes a unique approach to the magical-girl genre, along with a fondness to ballet. It is a story about a duck who wants to become human. Although many were uninterested because at a glance it may seem unappealing, it continues to be an underrated gem that tells a thrilling tale that encompasses several classical stage stories. <br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/xFqhyUHicQU" width="420"></iframe></center>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
This is also the year that <em>Ghost in the Shell</em> made its way back onto the screen since the 1995 film with <strong><em><a href="http://www.ghostintheshell.tv/" target="_blank">Ghost in the Shell: Stand Alone Complex</a></em></strong>. The classic villain, "The Laughing Man", intrigued many and along with composer Yoko Kanno this turned into one heck of a fantastic series. It heavily utilized computer generating animation to help with a lower budget, but the setting and story helped to make it have a more natural look. The success of this season allowed this series to keep living on with a sequel (and the current <em>Ghost in the Shell: ARISE </em>OVA series) and several accompanying specials. <br />
<br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<div class="separator" style="clear: both; text-align: center;">
</div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJMa_OM6r5FMt8GFD8dVtz_0O2qceLApsYVhTKp5D7e9cGfLiOOZ2COWaVkj1W7ppSArFmMx-Bt0ImcYj7JMhf9R_xOWD1sN3Ea07wsRbxrYy5FW8-8tlaohykcPe5oIVjA9Bcy0MMDxA/s640/Naruto.JPG" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" oya="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJMa_OM6r5FMt8GFD8dVtz_0O2qceLApsYVhTKp5D7e9cGfLiOOZ2COWaVkj1W7ppSArFmMx-Bt0ImcYj7JMhf9R_xOWD1sN3Ea07wsRbxrYy5FW8-8tlaohykcPe5oIVjA9Bcy0MMDxA/s200/Naruto.JPG" width="200" /></a></div>
Last, but certainly not least, one of the most notable titles of this year was <strong><em><a href="http://www.crunchyroll.com/naruto" target="_blank">Naruto</a></em></strong>, the instant <em>Shonen Jump</em> hit about a boy who really wants to be the best ninja out there. Just recently I had finished this series myself, and the beginning actually does manage to be surprisingly good. Not to mention, the beginning of the series instead chose to just deliver a direct adaptation, instead of a filler filled mess it ended up being remembered for. The series manages to shine in creating both villains and heroes worth cheering for, along with an interesting world for them to live in. The anime aired near the end of 2002 in October and went on to create one of the biggest anime followings out there that stretches across the globe. The first few episodes of this series also had probably the most memorable theme from the whole franchise with Akeboshi's debut single "Wind". </div>
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/yG8_tTImLdM" width="420"></iframe><br /></center>
</div>
<br />
To conclude, 2002 was a year that started more than a few of the most popular anime fandoms of today. Japan was testing the waters with unlikely heroes and bringing back some favourites. It was also the year where one of the most popular studios finally made their big break into the business. On account of series like <em>Gundam Seed</em> and <em>Azumanga Daioh</em>, anime in Japan finally made some really big sales for the new millennium, which helped to prove that from here on out, anime would only grow to become bigger and bigger!<br />
<br />
<strong>Next time: Four decades down, one decade to go! Here comes 2003!</strong>Geoffhttp://www.blogger.com/profile/02385629483209026981noreply@blogger.com2tag:blogger.com,1999:blog-5455108671364992297.post-81507751665695121002013-06-26T17:52:00.002-07:002013-06-26T17:52:47.808-07:002001: 21st-Century Digital Toys<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzHSn5OL9NDEpVjqXZAmeSOrFU97OSAfWvGA1_e_GXKzw1Pb2E5K_8ESn0PN2ATYErg6XW2U9GNb9_HNgt-GBWePYjuhjHZ-xKO_p_7tWrc_pKer9-ZMl2aS-uWR9tSRpqQCVpgvCcENg/s1600/hkng.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzHSn5OL9NDEpVjqXZAmeSOrFU97OSAfWvGA1_e_GXKzw1Pb2E5K_8ESn0PN2ATYErg6XW2U9GNb9_HNgt-GBWePYjuhjHZ-xKO_p_7tWrc_pKer9-ZMl2aS-uWR9tSRpqQCVpgvCcENg/s200/hkng.jpg" width="150" xya="true" /></a><em>Alexandra Roedder is finishing her Ph.D. in musicology at the University of California, Los Angeles, writing about Joe Hisaishi's Ghibli soundtracks. She first encountered anime on her TV in the form of Sailor Moon, but didn't recognize it as anime until years later when a friend who was really into anime had her watch Spirited Away, Grave of the Fireflies, and then the first few episodes of Ergo Proxy, all in one night. Since then, she's never turned back. When she's done with her degree she plans to write a few books about anime music aimed at closing the gap between academics and fans. She also plays cello professionally. You can find her personal blog (<a href="http://blog.alexandra-roedder.net/">blog.alexandra-roedder.net</a>) and her Twitter account at on @<a href="http://twitter.com/alexandramuses" target="_blank">alexandramuses</a>.</em></div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br /></div>
<hr />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br /></div>
2001 was a year mostly notable for its anime films: <em>Spirited Away</em> is probably best known, but there was also Studio 4ºC's <em>Princess Arete</em>, the <em>gekijouban</em> presentation of <em>Cowboy Bebop: Knockin' on Heaven's Door</em>, and the epic <em>Metropolis</em> based on Tezuka's manga. However, television also had its gems from the year, surprisingly enduring shows on surprising subjects, each of which showed sensitivity and depth and tried to turn away from many of the stereotypes which 1990s anime had developed. Below I will discuss three shows I feel to be representative of the year: <em>Mahoromatic</em>, <em>Hikaru no Go</em>, and <em>Angelic Layer</em>.<br />
<br />
<a name='more'></a><em><strong>Mahoromatic</strong></em><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY_kP6ZPPQZjKf5gb-zx4yVRxow7K4kBDFZE2sQgh7w8K87_VTZr-ADpz9fKAsdgpGTgOKWwMKpOnmz_9zgsYlvFYaO9S1LVHdV2KDiliKb_zKPvligiLIdymFkoq9kY9Qsgvo5HT4FI4/s1600/polished-Mahoromatic-06-BD-720p22D66BC2_May-15-2013-10_28_51-AM-1024x576.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY_kP6ZPPQZjKf5gb-zx4yVRxow7K4kBDFZE2sQgh7w8K87_VTZr-ADpz9fKAsdgpGTgOKWwMKpOnmz_9zgsYlvFYaO9S1LVHdV2KDiliKb_zKPvligiLIdymFkoq9kY9Qsgvo5HT4FI4/s400/polished-Mahoromatic-06-BD-720p22D66BC2_May-15-2013-10_28_51-AM-1024x576.png" width="400" wya="true" /></a></div>
<br />
There's something about <em>Mahoromatic</em> that, when you watch it twelve years later, feels as if it should be outdated. The characters all teeter on the verge of cliches, from Mahoro the battle-android-turned-maid to her young employer Suguru, from the oversexed teacher to the bland mix of sidekick schoolmates.<br />
<br />
But it never quite goes there in the first season: Mahoro as a maid is perfectly capable and socially literate, and Suguru's feelings for his maid are set up in the very first episode as mother/son, not girlfriend/boyfriend. The side characters are less well developed, but because of that very underdevelopment they seem more like normal people than anime stereotypes. If the show had been developed ten years later, Mahoro would have been either perfectly competent as a maid but socially problematic, or more likely for an <em>ecchi</em> show, completely incompetent to the point of constantly spilling any conveniently white, sticky substance all over her front. Suguru's mild daydreams about a cute maid waking him up would have continued past the first episode, and there would be a lot more violent retribution for accidental infringement.<br />
<br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWldWskLYFpd6kAvUI3L65Kn3ExvfVuP1s4hKUa4YnBuA55_fNGYCmpc9ab2ya1JjKCV1Bn6wCslGA9EscJAhtWGdxMtiC96OYYCuN-_aWgr8ZntHFN1_owy-AmxT8kNK-Erch2aJPOHk/s1600/polished-Mahoromatic-06-BD-720p22D66BC2_May-15-2013-10_28_08-AM-1024x576.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWldWskLYFpd6kAvUI3L65Kn3ExvfVuP1s4hKUa4YnBuA55_fNGYCmpc9ab2ya1JjKCV1Bn6wCslGA9EscJAhtWGdxMtiC96OYYCuN-_aWgr8ZntHFN1_owy-AmxT8kNK-Erch2aJPOHk/s400/polished-Mahoromatic-06-BD-720p22D66BC2_May-15-2013-10_28_08-AM-1024x576.png" width="400" xya="true" /></a></div>
<br /></div>
But for me the best part of <em>Mahoromatic</em> is its juxtaposition of <em>ecchi</em> humor and serious questions of human emotion. In the first season, every episode includes, at the end of the main action and before the ending theme, a reminder of how long Mahoro will continue to function before her system shuts down:<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_Rr7kQA9RDBXneQ-AR88ARZ2PtepAZE6KcDblzbSz2cS31uQSPs8pOrArVDpBxbcAJWEgYQauUo5IFaHy8FwSv70bz9Dh3hCs67sZWceuIzrJuhuY4Ln12zj4NKMBrGLw6ylt5EEnUGo/s1600/polished-Mahoromatic-05-BD-720pE9A8B00B_May-15-2013-10_22_53-AM-1024x576.png" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_Rr7kQA9RDBXneQ-AR88ARZ2PtepAZE6KcDblzbSz2cS31uQSPs8pOrArVDpBxbcAJWEgYQauUo5IFaHy8FwSv70bz9Dh3hCs67sZWceuIzrJuhuY4Ln12zj4NKMBrGLw6ylt5EEnUGo/s400/polished-Mahoromatic-05-BD-720pE9A8B00B_May-15-2013-10_22_53-AM-1024x576.png" width="400" wya="true" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(from Episode 5)</td></tr>
</tbody></table>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
This constantly reminds us that, like Mitsuki in <em>Full Moon wo Sagashite</em> in 2002, the main female lead is facing likely death at the end of the series. As Mahoro becomes more and more a part of the family of characters, and particularly as she and Suguru become closer, the prospect of her death becomes more and more painful. It's probably for that reason that the second season in 2002 devolves into slice-of-life stories and slapstick <em>ecchi</em> comedy frequently lacking the weight of the first season. While it does conclude the main plot line eventually, it takes several episodes of lightweight comedy before returning to the story of Mahoro's fight for existence.</div>
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="//www.youtube.com/embed/u1d8hl-onJ0" width="420"></iframe></center>
<br />
Best of all, despite the setup that invites nothing but boob jokes and face plants into character's pelvises, the background plot of aliens invading the earth and of two conflicting human responses to that invasion is handled with grace and complexity. It's no wonder that the production team, a mix of people from Studio Gainax and Shaft, turns out to have been peppered with people who had worked on <em>Evangelion</em>: Hiroyuki Yamaga, Masahiko Otsuka, and Hideaki Anno (though he only worked on the opening of <em>Mahoromatic</em>). While I could continue on to a game of spot-the-reference with similarities between the two shows (religious overtones, mecha design, Suguru's eventual emotional paralysis), I'll leave that to more dedicated viewers.<br />
<br />
<em><strong>Hikaru no Go</strong></em><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXH-Z2r5krZfTxKNGmoOv9KNO__qPVSErZSZUUJmPaN9s77okI3sIYaEbJc1DSXBm07dGGBPLngd9zvUxduoieW81lQxwj2sHVgdtPqCf3YW2ad44acRrGHZsjmcIJCMpYmCWs4RjdBfA/s1600/hikago_187.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXH-Z2r5krZfTxKNGmoOv9KNO__qPVSErZSZUUJmPaN9s77okI3sIYaEbJc1DSXBm07dGGBPLngd9zvUxduoieW81lQxwj2sHVgdtPqCf3YW2ad44acRrGHZsjmcIJCMpYmCWs4RjdBfA/s320/hikago_187.jpg" width="320" wya="true" /></a></div>
<br />
The second show from 2001 which set a new standard was <em>Hikaru no Go</em>. Other shows before it had taken an obscure sport and done the <em>shonen</em>-style tournament anime, but <em>Hikaru no Go</em> managed to do it with the classic strategy game of <a href="http://www.usgo.org/" target="_blank">g<em>o</em></a>. Seriously, <em>go</em>!? As anyone who's actually played the game is probably aware, <em>go</em> is about as interesting as chess: fascinating to those who play it and are of the particular mindset which enjoys the mental feinting of thinking ahead fifty moves, but sadly to the rest of us whose minds are a lot more suited to checkers, staggeringly boring to watch. However, because of the fantastic acting, character design, and soundtrack, <em>Hikaru no Go</em> manages to be fascinating nonstop.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1dm_zdGBDmiA55imEpFPVu42jUH3xnWd3_m-DUGCegZf_QHDCaM_HHBcCoH1WwvkNoiVU_h0WjqmSLAlZ_6KW-M4TJHu_FwVhxCgE6AMEeMppfK9hMiHW66LiGhy62y7J7iHOAqrUJ6s/s1600/hikago_05951.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1dm_zdGBDmiA55imEpFPVu42jUH3xnWd3_m-DUGCegZf_QHDCaM_HHBcCoH1WwvkNoiVU_h0WjqmSLAlZ_6KW-M4TJHu_FwVhxCgE6AMEeMppfK9hMiHW66LiGhy62y7J7iHOAqrUJ6s/s400/hikago_05951.jpg" width="400" xya="true" /></a></div>
<br />The premise is thus: Hikaru, a middle school student, is rummaging around his grandfather's attic for something to sell for pocket money when he and a friend see an old <em>go</em> board. Hikaru can see a bloody stain on it, but his friend can't, and as the viewer realizes that only Hikaru can see the stain, a ghost comes out of the board and possesses Hikaru, declaring that he, Sai, will turn Hikaru into the best <em>go</em> player of his generation. Hikaru does his best to reject the ghost: he wants to be a normal kid, and moreover finds <em>go</em> to be terribly boring. But when Sai gets depressed about this, his grief causes Hikaru to be violently ill, so Hikaru has no choice but to occasionally let Sai play <em>go</em> through him.<br />
<br />
Things get complicated when Hikaru beats a boy his own age, Akira, who knew himself to be the top player of his generation. Akira tells his father, also one of Japan's top players, and the father insists on seeing how well Hikaru plays. Hikaru is fascinated by the way Akira's father holds his stones, in contrast to his own clumsy fingers, and tries to make the stones clack properly on the board. In the moment when he discovers that his hands, too, are capable of creating the graceful and powerful movements of a professional <em>go</em> player, he feels the passion of wanting to do something for the first time in his life.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiljBuzGsMliLZPsMfPTIW2Np3jn846Y3F6fakYKUkXRy7OXRo3dc3eX0v1t2i7szVRGmsu4oFaOPJ5vD200QxPanPn7Um7GYZKYha81hXfJ0rQJXqgWzBjySGKJXFtWQyU2RYNF76-6uo/s1600/hikago_099.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiljBuzGsMliLZPsMfPTIW2Np3jn846Y3F6fakYKUkXRy7OXRo3dc3eX0v1t2i7szVRGmsu4oFaOPJ5vD200QxPanPn7Um7GYZKYha81hXfJ0rQJXqgWzBjySGKJXFtWQyU2RYNF76-6uo/s400/hikago_099.jpg" width="400" xya="true" /></a></div>
<br />
<em>Hikaru no Go</em> is about more than just two middle school boys growing up to be high-schoolers and eternal rivals at a particular activity: it's about choosing your own path and following it with passion. It's about what happens when that path takes you away from the normalities of childhood—as when Hikaru realizes that entering the school for potential pro players means he can no longer play with his school club. Hikaru learns that people drift away, that grief doesn't mean you have to stop, and that there are many ways of following a path. Hikaru is shown growing up, going from a sixth grader to a ninth grader, from a boy with no direction at all in his life to one passionately pursuing an unusual occupation.<br />
<br />
Of course there were sports anime well before <em>Hikaru no Go</em>, but shows featuring a nonphysical game as the main conflict appear to have been rare, if not nonexistent. Hikaru gets into no fistfights; the worst conflicts that occur are not even between rival players but between a player and his or her own confidence. Additionally, there's no love interest side story, unless you count the friendship of Akari, who has a one-sided crush on Hikaru and is badly neglected by both him and the plot. By the end of the series, she's content to simply keep him company, and one can easily imagine them growing up to get married, with Akari being the dutiful wife to a husband obsessed with his professional rivalries. However, the anime's focus is on the relationships between Hikaru and other players: his resident ghost Sai, his rival Akira, his fellow professional-level students, and a string of clubmates. Even the conflict between Hikaru and his mother over whether he can pursue a professional career is nothing compared with the thorny problem of keeping Sai secret.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/1_WMa42spAs" width="420"></iframe></center>
<br />
Interestingly, <em>Hikaru no Go</em> was broadcast alongside another great tournament series from <em>Weekly Shonen Jump</em>: <em>The Prince of Tennis</em>. <em>Hikaru no Go</em> was shown on TV Tokyo bewteen 7:27 and 7:55pm on Wednesdays, right after <em>Prince of Tennis</em> and right before <em>Eyeshield 21</em>, also a sports anime. What a lineup! While <em>Prince of Tennis</em> followed the more formulaic boy-prodigy-surprises-everyone setup, introducing new rivals every week over the course of increasingly complicated tournaments, the setup in <em>Hikaru no Go</em> of a complete beginner being in control of a master a thousand years older than himself is a nice twist. <em>Hikaru no Go</em> would eventually inspire other game competition shows like 2009's <em>Saki</em>, the <em>yuri</em>-flavored girl's high-school <em>mahjong</em> club anime.<br />
<br />
<em><strong>Angelic Layer</strong></em><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzw_W3VJ6zfY8KDD-6kLtadtReP1tHGpW-ZUNvJXhhyhG72XjOw-GZgPLcOCsKM5raLjjasewO3Qpu71qkmYf45D31spk9pEJqCHRRKrN-azQz5HnWrQqT7c4yUnGWxahkt9NHTevgU-o/s1600/angelic004.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzw_W3VJ6zfY8KDD-6kLtadtReP1tHGpW-ZUNvJXhhyhG72XjOw-GZgPLcOCsKM5raLjjasewO3Qpu71qkmYf45D31spk9pEJqCHRRKrN-azQz5HnWrQqT7c4yUnGWxahkt9NHTevgU-o/s400/angelic004.jpg" width="400" wya="true" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="text-align: center;">
(wallpaper from <a href="http://anipaper.narod.ru/angelic.html"><span style="color: #3d97c2;">here</span></a>)</div>
</td></tr>
</tbody></table>
While there are tons of other fun, interesting, and worthy shows from 2001 (<em>Galaxy Angel</em>, <em>Cyborg 009</em>, <em>Onegai Teacher!</em>, and <em>Fruits Basket</em> among others), I want to spend the rest of this blog post talking about <em>Angelic Layer</em>. Based on a manga by CLAMP which began in 1999, <em>Angelic Laye</em>r was animated by Bones and broadcast on TV Tokyo. I'm a sucker for a great soundtrack, and <em>Angelic Layer</em> bubbles over with a characteristically brilliant fully orchestral score by veteran composer Kouhei Tanaka who is still yearly composing for both TV and anime films (such as <em>One Piec</em>e and last year's KyoAni show <em>Hyouka</em>). The staff involved in this huge production included director Hiroshi Nishikori, who in 2002 would direct <em>Azumanga Daioh</em> and in 2012 directed the big-budget anime movie <em>Magic Tree House</em>. It was broadcast on Sunday early evenings and was followed by <em>Captain Tsubasa</em>, a classic soccer anime which had its first run in 1983 and was being revived in a 2001 version.<br />
<br />
<em>Angelic Layer</em> follows middle-schooler Misaki Suzuhara upon her move to Tokyo. Her first act upon arriving in the big city is to get mixed up inside a train station and accidentally exit—an easy mistake to make if you've ever been in one of Tokyo's large transfer stations. Coming out into the square, she sees a battle between two "Angels"," small robot dolls controlled mentally by their handlers and used for competitive tournament fights all the way up to a national level. What Misaki doesn't know, and what we only learn late into the series, is that she's watching her own mother's doll, and that her mother is the reason the dolls exist. Misaki's mother has multiple sclerosis, and the doll technology was designed to help her move prosthetic limbs. Though she still can't walk, she's become the national champion. Misaki, who hasn't seen her mother in several years, thinks her mother is busy with work in Tokyo, and only later learns that she's unable to walk and has been hiding from her own daughter. While Misaki's mother keeps herself mostly hidden out of society and is pigeonholed into the sweet mother type, the show at least acknowledges the existence of disability and provides her an outlet for expressing her strength. This is especially interesting considering that the manga does not show her mother as disabled.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDoq4O3PaMKRZ240cwjTgS68T_i89pmFf6-XtEl2w9JjgUadR2GOjRj7fQ-LtgUev_V_N4kENyhyXY2Aa7PTvHLT22COsZRBlcVqQyvW61nxI1HkRc4zow_s885J5zU5G20WIyz-NufN4/s1600/al25_239.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDoq4O3PaMKRZ240cwjTgS68T_i89pmFf6-XtEl2w9JjgUadR2GOjRj7fQ-LtgUev_V_N4kENyhyXY2Aa7PTvHLT22COsZRBlcVqQyvW61nxI1HkRc4zow_s885J5zU5G20WIyz-NufN4/s400/al25_239.jpg" width="400" wya="true" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="text-align: center;">
The awkward reunion.</div>
</td></tr>
</tbody></table>
The gentleness of the story is a characteristic of CLAMP: recall <em>Cardcaptor Sakura</em>, where we learn the truth behind Sakura's final foes. Similarly, Misaki faces opponents, but is never in true physical danger. Her battles are all the psychological type, where she must fight friends or face a gender-based challenge. Throughout all of her battles, whether she wins or loses, she always learns something important, either for future battles or for personal growth. In episode 8, Misaki wins against a boy who directly challenges her, and though the win takes work it shoots down assumptions about girls and boys needing to compete in different brackets and makes the question of winning about strength and experience.<br />
<br />
The fights are between proxy dolls, but they are still fights between human forms created by their owners, not between premade proxy types, which separates <em>Angelic Layer</em> from collectible monster shows. Misaki's doll, Hikaru, is a small, lightweight type relying on speed, agility, and tactics, instead of a heavyweight fighter relying on brute strength. The message of self-confidence is clear: even the underdog can win. There's nothing really new about this, except that this is a fighting show about mixed gender groups with a female protagonist. Misaki realizes toward the end of the series that fighting can be a form of expression.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/58kB5hk_tuM" width="420"></iframe></center>
<br />
<em>Angelic Layer</em> has been mostly well received. It was awarded the Kobe Animation TV Feature Award for 2001, an honor also bestowed upon <em>Evangelion</em> in 1996, <em>Revolutionary Girl Utena</em> in 1997, and later <em>The Melancholy of Haruhi Suzumiya </em>in 2006, so it's in good company there! The series only spans 26 episodes, unlike the longer-running <em>Hikaru no Go</em> and <em>Prince of Tennis</em>, and there were no movies, OVAs, or other spinoffs. Also unlike what one would expect nowadays from a series based around physical items—like <em>Cardfight! Vanguard</em> or <em>Pokemon</em>—there was no massive production line of collectible toys. There were a few posters and cards, but no figurines and of course, because the technology doesn't exist, no way of making your own doll.<br />
<br />
In conclusion, 2001 was an amazing year for anime, from TV to film to OVA (the original <em>Read or Die</em> began that year). 2001 saw an increase in the use of digital paint and 3D modeling, too. Anime could have gone the way of 3D CG at this time, and indeed <em>Run=Dim</em>, a post-apocalyptic mecha show that is really, truly horrible, attempted to make it work, but anime was already set on the 2D look, and all technologies used in the production of anime have continued to serve that look.<br />
<br />
<strong>Next time: 2002! Anime's 40th year since <em>Tetsuwan Atomu</em> and its televised invasion.</strong>Geoffhttp://www.blogger.com/profile/02385629483209026981noreply@blogger.com1tag:blogger.com,1999:blog-5455108671364992297.post-24240917534283696452013-06-22T14:26:00.001-07:002013-06-22T14:26:54.161-07:002000, Part 2: Retrospect Before Passage<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyxHyIWAgnCMb1O3DNIGxfmW5Tub60vxa9DcP8C3SEFwuKIEecFS67FkyqD0BMWGc68l6s54Ux5eTBrLXjzeI6KTxaGUc-3iUm2Ag0G3wns1eUF55_1wu3lmFHq5JrmvVJAlP9tF5VWt0/s1600/y2k.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyxHyIWAgnCMb1O3DNIGxfmW5Tub60vxa9DcP8C3SEFwuKIEecFS67FkyqD0BMWGc68l6s54Ux5eTBrLXjzeI6KTxaGUc-3iUm2Ag0G3wns1eUF55_1wu3lmFHq5JrmvVJAlP9tF5VWt0/s200/y2k.jpg" width="200" wya="true" /></a></div>
<em>Happy 2000 (all over again!)</em><br />
<br />
<em>At the rollover of the 1990s into the 00s, fandom was digesting the collectability of Pokemon, Yu-Gi-Oh!, and Digimon in Japan, while America was awash in the competition between the likes of ADV Films, Viz, Bandai Entertainment, CPM, Media Blasters, and Pioneer. Perhaps due to the thickness of the market, <a href="http://goldenani.blogspot.com/2013/06/2000-part-1-this-side-of-millennium.html" target="_blank">Patrick Stoeckel's analysis on the biggest shows from the last year of the last millennium</a> was just so big that he decided to give us a glimpse on the lesser-known shows of 2000 that were lost in all the kerfuffle.</em><br />
<br />
<hr />
<br />
As I look at more animated output for the year, I'm struck by the connections to the past. As the 20th century drew to a close, anime studios had a great opportunity to examine Japan's history and see where the country's headed. John Coltrane's 1942 rendition of "<a href="http://www.youtube.com/watch?v=pOGX46Do95o" target="_blank">I'm Old Fashioned</a>" makes for a good piece to listen to while writing this article; as the years pass by, being old-fashioned isn't so bad when you have someone to be old-fashioned with. The approach of a new millennium provides ample opportunity to see the history of a society, and where to go from here. <br />
<br />
<a name='more'></a><em><strong>Legendary Gambler Tetsuya</strong></em>, a Toei production based on the manga by Fuumei Sai and Yasushi Hoshino, debuted in October. The story is based on autobiographical novels written by Takehiro Irokawa, who actually participated in <em>mahjong</em> gambling. The story takes place in the immediate postwar period, during the Occupation era. Gambling has a storied history in Japan; strict bans on the practice existed during the Meiji period and World War II, but after the war, Japan experienced a resurgence in gambling. The Occupation government installed gambling machines, and Tokyo's downtown became an American nightspot.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="http://www.youtube.com/embed/yLAunPDTeYA" width="420"></iframe></center>
<br />
Like <em>Inuyasha</em>, <em>Legendary Gambler Tetsuya</em> examines Japan's past, although its setting is far more recent. The Occupation after World War II remains a rather touchy subject in Japan, as the American forces brought with them some rather seedy aspects, including nightclubs and gambling dens. Japan at the time experienced great starvation, and gambling became a means of escaping that harsh reality. <em>Legendary Gambler Tetsuya</em> offers a window into this heady climate.<br />
<br />
The protagonist, Tetsuya Asada, lives in a world of neon and ramshackle buildings–the world of prostitutes and gamblers. The black market thrives here, as citizens desperately seek to recover from the devastation of war. Recovery is slow, but historically, Japan would rebound by the 1950s. The anime begins with people living in poverty; most can only afford soup to eat. However, Tetsuya, the "legendary gambler," can afford sushi with his <em>mahjong</em> winnings. He lives in Shijuku, which appears as a shell of its former self; it doesn't resemble the entertainment center we see it as today. Instead, Shinjuku houses numerous <em>mahjong</em> parlors and a thriving black market, where people go to find basic necessities. The <em>mahjong</em> parlors literally exist below street level, away from the prying eyes of the general public–and the police. One must know where to look in order to locate these smoke-filled rooms, where salarymen gather to gamble. Money speaks here, as people want cold hard cash. <em>Mahjong</em> parlors still have the public image of a seedy nightlife, and <em>Legendary Gambler Tetsuya</em> presents them as no less disreputable.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/VE3LBtgUHjg" width="420"></iframe></center>
<br />
<em><strong><a href="http://www.youtube.com/watch?v=3L-awRSfPlI" target="_blank">Boys Be...</a></strong></em> follows the romantic relationships of three couples through the course of a year. The anime has four three-episode divisions, each division representing a season, with a final thirteenth episode rounding the story out. This work remains Masahiro Itabashi's most famous work–he's written <em>A Girls</em> and <em>The Piano Doctor</em> since then, but <em>Boys Be</em> represents his magnum opus. Separating the series by season parallels the story's romantic development.<br />
<br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZUdj0_vXuT0Lgx4GNk3aPW0qRf5i2mhajiGy1Q9_w-xURDbvWFWDL4zAywJUtmbRYjAvXE4B2ZrA9y4WdFVB_vtKloRAXQtaKL0l-p6t8dNEuTgiIss4THFAiUCHOA_W9L3Nw4MBgXug/s1600/boysbetv.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZUdj0_vXuT0Lgx4GNk3aPW0qRf5i2mhajiGy1Q9_w-xURDbvWFWDL4zAywJUtmbRYjAvXE4B2ZrA9y4WdFVB_vtKloRAXQtaKL0l-p6t8dNEuTgiIss4THFAiUCHOA_W9L3Nw4MBgXug/s320/boysbetv.jpg" width="224" wya="true" /></a></div>
Each season represents a different aspect of teenage love–spring being the first throes of romance, for example, and winter being the time of the ultimate decision. Kyouichi, the main male protagonist, eventually retreats from his relationship with Chiharu and goes to Hokkaido in order to gain perspective. Summer saw the two separate romantically when Kyouichi caught Chiharu kissing another boy, and their potential reconciliation becomes a focus. Of course, Kyouchi doesn't follow through on this (he left for Hokkaido, after all), and without this moment of reconciliation, we're left wondering if Kyouchi can learn to love again. His Hokkaido trip offers him the opportunity to reflect on the nature of love, and how easily one can enter (and subsequently leave) a relationship. The world is a maddening place, filled with troubling emotions that people have great difficulty understanding. Kyouichi wants to figure out what it means to be in love, and whether he can maintain a relationship. Chiharu's experiences parallels Kyouichi's–she wants to understand love as well, and she wants to give Kyouichi a chance at the end.</div>
<br />
<em>Boys Be</em>'s soft colors complement the story. Experiencing romance as a teenager is its own roller-coaster ride, and the series provides some nice, soft tones for it. When the series winds down, and Kyouichi leaves to re-discover himself, the characters all have their own stories to tell, and Kyouchi discovers his hesitance–he can't seem to forgive himself more than anything. The penultimate episode's title is "End to Beginning," and the quote that bookmarks it refers to a sense of renewal. The New Year brings with it a sense of renewal; things must end, but with every ending, a new beginning arrives. Even though the previous year had its romantic turbulence, life moves on, and the characters will as well.<br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br /></div>
When <em><strong><a href="http://www.imdb.com/video/screenplay/vi1941766425/" target="_blank">Ayashi no Ceres</a></strong></em> debuted in April of 2000, <em>mangaka</em> Yuu Watase had already established herself with <em>Fushigi Yuugi</em>, which also received an anime adaptation. However, <em>Ayashi no Ceres</em> garnered the <em>Shogakukan</em> Manga Award for <em>shoujo</em>, her first award for her work. The story deals with Aya Mikage and her twin brother; on her sixteenth birthday, Aya discovers that she's the reincarnation of Ceres, a powerful maiden–a theme that it shares with <em>Inuyasha</em>. The legend of Ceres, however, is a tragedy–Ceres seeks revenge upon the Mikage family for stealing her <em>hagoromo</em>, which prevents her from re-entering heaven. This connects the series to a mystical element, specifically, the <em>tennyo</em>, female beings who wear beautiful kimonos and typically carry the lotus blossom.<br />
<br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilZU9mgt_cCPcqWU-fwai93LYLJrWHWhH49EG89eU_BK_GOHIFguMqDMF17m7BJpLgy6_NBwKybdo6Ja2Xm1ba5VhhDf9h56VfBAFtBBiwb9MBiLwWWCnXm_VBkGzMdKZhHc9kNfrw_AA/s1600/ayashinoceres1.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilZU9mgt_cCPcqWU-fwai93LYLJrWHWhH49EG89eU_BK_GOHIFguMqDMF17m7BJpLgy6_NBwKybdo6Ja2Xm1ba5VhhDf9h56VfBAFtBBiwb9MBiLwWWCnXm_VBkGzMdKZhHc9kNfrw_AA/s320/ayashinoceres1.jpg" width="320" wya="true" /></a>Aya's future has already been determined in the first episode, when a fortune teller informs her of an encroaching darkness. This lingering shadow arrives with her status as Ceres's reincarnation, with its attendant bitterness and family strife. Aya must now fight her own family, who doesn't want to return Ceres's <em>hagoromo</em>. The conflict transcends humanity and involves the supernatural. The series also includes commentary on genetic engineering; Yuu Watase sees technology as something that shouldn’t be abused, and the character Kagami reflects her concept on how people should not act.</div>
<br />
<em>Ayashi no Ceres</em>'s story also served as the basis for a Noh play and inspired Osamu Tezuka's <em>Phoenix</em>. The Noh play in question, <em>Hagoromo</em>, remains one of the most popular and rehearsed among the repertoire. Although traditionally attributed to Zeami, this play actually predates him. <em>Ayashi no Ceres</em> thus combines a classic tale with commentary on technology; by infusing a legend with insight on how technology can be abused, the anime presents a cautionary tale of how such technological advances can lead to ruin, a more recent example of the "dangers of society" parable examined by such films as <em>Gojira</em>. <em>Ghost in the Shell</em> tackled the subject before, in the vein of a philosophical examination of man's relation to his own creations; what makes someone human in a society defined by an enormous electronic network where someone can upload his consciousness into a mechanical frame? With <em>Ayashi no Ceres</em>, the focus is on genetic "perfection," and how the very human product of genetic engineering relates to the world around her.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/xp84Fri4xBM" width="420"></iframe></center>
<br />
Among the other shows that debuted in 2000 was <em><strong>Hajime no Ippo</strong></em>, one of a long line of anime about boxing. <em>Ashita no Joe</em> set the standard for the genre in the 1970's; that anime featured a roaming man without a true calling and prone to violent confrontations. Here, we have Ippo, a shy individual with a great boxing potential that gets recognized by a professional boxer who rescues him from a beating by thugs on the street. Unlike <em>Ashita no Joe</em> (which featured a destitute environment), <em>Hajime no Ippo</em> takes place in a moderately less severe setting; Ippo plies his trade at his family's fishing store, and his introduction to boxing takes down a road to self-reliance and self-confidence. His training begins with a simply exercise: catching leaves as quickly as possible as they fall from a tree. Ippo realizes how difficult this is, but he perseveres.<br />
<br />
<em><strong><a href="https://www.youtube.com/show/boogiepopphantom" target="_blank">Boogiepop Phantom</a></strong></em> rounds out this article. Part of the <em>Boogiepop</em> series (which began with <em>Boogiepop and Others</em>), this series continues the story of the legendary "Boogiepop", a supposed <em><a href="http://en.wikipedia.org/wiki/Shinigami" target="_blank">shinigami</a></em>. The anime provides a non-linear narrative, with a vignette aesthetic style, looking into a society where "evolved" humans and the Towa organization are at odds. The central character, Boogiepop, has a habit of whistling "Die Meistersinger von Nümberg", a three-part opera by Wagner and speaking in an archaic manner. Students see Boogiepop as a legend, but she's very much real–and operating among them. The story's fractured narrative focuses on the effects of a Manticore drug, a mysterious beam of light and a serial killer, with the Towa Organization at the center of it all.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/b5mvW9-nyOo" width="420"></iframe></center>
<br />
Keeping up with the story as it unfolds is a task unto itself, thanks to the aforementioned narrative structure, but it's not terribly difficult. The central character, Dr. Makiko Kisugi injects several people with an experimental drug (starting with herself) that causes heightened awareness of people's fears; the drug unfortunately has a terrible consequence–Kisugi becomes a serial killer after obtaining a taste for fear, especially from strong-willed people, and targeted girls. The fragmented narrative allows the mystery to slowly reveal itself.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfzu89yL3821tEYUtzbEqtu6_IrL4T0TLcMozaCE1di6rEP2Zbj5jJUzIjc1dCQlOZWKiSs_vh2A143EEJXMsR3QvHM4YICfsuKof-1imney4oAmz7O4WT-8HyKngMeNOEaZCXxfXWKsk/s1600/Niea.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfzu89yL3821tEYUtzbEqtu6_IrL4T0TLcMozaCE1di6rEP2Zbj5jJUzIjc1dCQlOZWKiSs_vh2A143EEJXMsR3QvHM4YICfsuKof-1imney4oAmz7O4WT-8HyKngMeNOEaZCXxfXWKsk/s200/Niea.jpg" width="200" wya="true" /></a></div>
As a means of wrapping up here, 2000 also saw the release of <em><strong><a href="https://www.youtube.com/watch?v=B6zM_jcnkWA" target="_blank">NieA_7</a></strong></em>. Based on a <em>doujinshi</em> by Yoshitoshi ABe (who created <em>Serial Experiments Lain</em> and <em>Haibane Renmei</em>), <em>NieA_7</em> features Mayuko, an introverted scrounger trying to make a honest living away from her family, and the eponymous "NieA", a free-loading alien living with the aforementioned human. NieA has faced discrimination amongst her fellow aliens, resulting in her accusing discrimination among humans who treat her somewhat poorly.<br />
<br />
<hr />
<br />
2000 marked the last year of the second millennium, a perfect time for retrospection. Japan experienced quite a bit, and the latter half of the 20th century was a hectic time for both the country and the world. Japanese studios examined the country's past, from struggle and hegemony during the Sengoku and Edo periods (<em>Inuyasha</em>) to a post-World War II recovery (<em>Legendary Gambler Tetsuya</em>). With a new millennium on the way, studios could examine Japan's storied history and have it connect with the modern day. In the case of <em>Inuyasha</em>, this connection becomes literal–a well becomes a portal between eras, one side being the present (at least, the present of the show), the other being a heady past inhabited by miko and monsters. With <em>Tetsuya</em>, we have a glimpse into the immediate post-war period, where Japan must recover from a crushing defeat at the hands of the Allied forces. The central figure of Tetsuya brings us into the realm of underground gambling, a "floating world" echoing those scenes found in <em>ukiyo-e</em> prints.<br />
<br />
<strong>Next time: we officially enter the 21st century! What was awaiting us in 2001?</strong><br />
<br />
<strong>Further Reading:</strong><br />
<br />
Sacred Texts page on <em>Hagoromo</em>: <a href="http://www.sacred-texts.com/shi/npj/npj30.html">http://www.sacred-texts.com/shi/npj/npj30.html</a><br />
<br />
<em>Boogiepop</em>: The Ultimate Guide: <a href="http://www.gomanga.com/news/boogiepop_02.php">http://www.gomanga.com/news/boogiepop_02.php</a>Geoffhttp://www.blogger.com/profile/02385629483209026981noreply@blogger.com1tag:blogger.com,1999:blog-5455108671364992297.post-81021695190403992762013-06-19T18:22:00.001-07:002013-06-22T08:46:05.622-07:002000, Part 1: Last Stop of the Millennium<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbXO9FaHk8ZVVSQQTzeTFHVpHkA39HbAYwLMd2MYf6DLbUb7RH5AQz3sqZjh-1HKRZdOlFCDP86gdxkUxfyIMtopTHEA-TIXmuHZd0oHuYaf6aAxl_-vgBpQqtT6IfauFQ1P0uESUCf_w/s1600/New+Picture+(1).bmp" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" cya="true" height="111" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbXO9FaHk8ZVVSQQTzeTFHVpHkA39HbAYwLMd2MYf6DLbUb7RH5AQz3sqZjh-1HKRZdOlFCDP86gdxkUxfyIMtopTHEA-TIXmuHZd0oHuYaf6aAxl_-vgBpQqtT6IfauFQ1P0uESUCf_w/s200/New+Picture+(1).bmp" width="200" /></a></div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<em>Patrick Stoeckel began his anime life with the Toonami line-up, then moved on to the unedited DVDs. After that, it's been a steady stream of writing about it (via </em><a href="http://leaderofbrigands.blogspot.com/" target="_blank"><em>The Anime Discussion Corner</em></a><em> before moving the blog to </em><a href="http://animecommentary.wordpress.com/" target="_blank"><em>Anime Commentary</em></a><em>) and occasionally teaching an informal class on the subject. His passion for anime runs deep, and his blog is his outlet for commentary. You can also find his commentary on Twitter at, appropriately, @<a href="http://twitter.com/animecommentary" target="_blank">AnimeCommentary</a>.</em></div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br /></div>
<hr />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br />
I chose the year 2000 primarily because it lay within my early years of anime-watching (and, to be honest, it was one of the few remaining years available that I had any real knowledge of). My first real exposure to anime came through the significantly edited broadcasts of shows like <em>Sailor Moon</em> that made the rounds on Cartoon Network back in the day. That first experience got me hooked, and I began purchasing DVDs when I could. The unedited DVD releases of these shows informed me of how diverse Japan's animated fare could be, and I remained a fan ever since.</div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br />
<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIRaV-cd5ZtZP6wKApXoviwJXe9vSspPtAZpOocnOpyaQEECYDM6I1W7JSuoDJrn2EhUvYHttIPY5XqEe7At9zTP6CPdxApiSg1txXO-1WYdZ9ZluuINsNbzwXBGa0g12-G4W9Ksnt6Nc/s1600/tumblr_mfrqlasOLe1s1azqjo1_500.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" cya="true" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIRaV-cd5ZtZP6wKApXoviwJXe9vSspPtAZpOocnOpyaQEECYDM6I1W7JSuoDJrn2EhUvYHttIPY5XqEe7At9zTP6CPdxApiSg1txXO-1WYdZ9ZluuINsNbzwXBGa0g12-G4W9Ksnt6Nc/s320/tumblr_mfrqlasOLe1s1azqjo1_500.jpg" width="229" /></a></div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
2000 was an interesting year for anime. Toonami still broadcast edited versions of shows that remained popular; the debut of [adult swim] the following year will change the broadcast dynamic for Cartoon Network. With Toonami, it would broadcast old favorites (such as <em>Rurouni Kenshin</em> and <em>G Gundam</em>) throughout the upcoming decade. As should be noted, <em>Pokemon</em>'s popularity in the 1990s saw the emergence of the controversial 4Kids releases–controversial because of the "Americanization" and censoring elements prevalent in their broadcasts.</div>
</div>
<br />
The dawn of the 21st century (and the new millennium) marked a surge of popularity in the <em>Dragon Ball</em> franchise, as well as other titles such as the various <em>Gundam</em> shows and <em>Pokemon</em> (all of which remain major pulls). The U.S. market proved very receptive to anime, ever since the previous decade, and the upcoming decade would see more shows being released (particularly on the Adult Swim block). As far as television in general goes, a few live-action dramas debuted (including <em>Ikebukuro West Gate Park</em>, which received a manga adaptation), and TV viewing had been astounding from the 1980s onward. But what did the anime scene look like in that year?<br />
<br />
Well, that's what we're going to examine with this article. Sit back and enjoy; 2000 had some great releases, and this article looks at three.<br />
<br />
<a name='more'></a><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieg-4itZnzGJFpmnVCoH0coff6YVBVF50zoa1goj9PluFQ-I6UTEjTbg6v-c8rsl6Npc8D3vrKzvsAfmHoo9d4DxH2Ct-D09sb9rOZIAGSNYkRGe3Sj7mqH7NkW8wtYiHr5xNYLLC_EuI/s1600/inuyasha.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" cya="true" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieg-4itZnzGJFpmnVCoH0coff6YVBVF50zoa1goj9PluFQ-I6UTEjTbg6v-c8rsl6Npc8D3vrKzvsAfmHoo9d4DxH2Ct-D09sb9rOZIAGSNYkRGe3Sj7mqH7NkW8wtYiHr5xNYLLC_EuI/s200/inuyasha.jpg" width="200" /></a></div>
A graduate of <a href="http://en.wikipedia.org/wiki/Gekiga" target="_blank">Gekiga Sonjuku</a>, Rumiko Takahashi received the <em>Shogakkan</em> New Comic award in 1978 for the one-shot manga <em>Katte no Yatsura</em>, a science-fiction tale where a young boy unwittingly has small nuclear devices implanted in him. Those responsible realize their mistake, as their bumbling could cause the destruction of the universe. However, as they cannot remove the devices, they're forced to protect the boy as he delivers newspapers. Nowadays, Rumiko is one of the wealthiest <em>mangaka</em> currently working, and success began with her first serialized work, <em>Urusei Yatsura</em>.<br />
<br />
In 1996, <em><strong><a href="http://neonalley.com/shows" target="_blank">Inuyasha</a></strong></em>'s first chapter appeared among the pages of <em>Weekly Shōnen Sunday</em>. Nearly four years later, the manga received an anime adaptation. The manga is darker in tone than <em>Urusei Yatsura</em> and <em>Maison Ikkoku</em>, with life, death and reincarnation being major themes. This darker presentation extends to the anime, where Inuyasha and Kagome must locate the fragments of the "Shikon no Tama" in a hostile environment inhabited by yōkai. In the anime, Inuyasha begins as a self-serving individual, troubled by his half-yōkai identity; he searches for the Shikon no Tama in order to become a full yōkai. The series delves into a crisis of identity; Inuyasha feels inadequate, due to his human blood, but he retains fond memories of his mother. His half-brother, Sesshomaru, looks down upon him for his human heritage; for yōkai, humans are scum of the earth, and only so much means to an end. This mentality appears throughout, with antagonists like Naraku pursuing great power.<br />
<br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
The presence of Shinto shrines and Buddhist concepts make Inuyasha complex, and a full analysis of this would likely take more space that I give it here. Nevertheless, the two religions infuse the anime. Reincarnation, a key tenet of Buddhism, surfaces with Kagome. As the reincarnation of Kikyo, Kagome holds Kikyo's powers, and she can keep Inuyasha at bay with a single word. Naraku carries the heart of Onigumo, a human bandit who traded his body to demons in order to retain his strength. Thus, reincarnation becomes a means of social continuity, both for good and evil.</div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br /></div>
<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOu9RL9R3RgXVGfWyZjqyP9e5ASPL2xJh8LFjsU47jo5C-86LrIsSTwcLWl2Npho9RIDR6Nt6FuH3xHyWdS0pPgrLKJ1KAmLRyq_JzgLdD84R2GWK9NiJbZDMWiPaTmt7lp31pLFAxKxI/s1600/inuyasha2.bmp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" cya="true" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOu9RL9R3RgXVGfWyZjqyP9e5ASPL2xJh8LFjsU47jo5C-86LrIsSTwcLWl2Npho9RIDR6Nt6FuH3xHyWdS0pPgrLKJ1KAmLRyq_JzgLdD84R2GWK9NiJbZDMWiPaTmt7lp31pLFAxKxI/s320/inuyasha2.bmp" width="320" /></a></div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br /></div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
Buddhism sees reality as being divided into three worlds: Desire, Form and Formless. Collectively known as <em>trailoyka</em>, the Three Worlds presents reality in terms of an ambiguous blending of three spheres of existence. These three spheres, separated into several different planes, return us to reincarnation–where one resides depends on one's actions in a previous life. Humanity occupies the world of desire, along with preta and ghosts. Arūpaloka, the highest of the three worlds, contains the superior beings with no physical body. Inuyasha deals primarily with the two lower worlds, especially the world of desire, where emotion can corrupt creatures and have them stray from the path of enlightenment. Sesshomaru and Naraku show the possibility of corruption quite clear; their desire for power blinds them to the path of rebirth into a high plane. Inuyasha, on the other hand, gradually comes to realize his love for Kikyo and Kagome, and he can derive true strength from his friends and loved ones.</div>
<br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<a href="http://24.media.tumblr.com/tumblr_ljq1gg4pac1qelcifo1_400.gif" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" cya="true" height="150" src="http://24.media.tumblr.com/tumblr_ljq1gg4pac1qelcifo1_400.gif" width="200" /></a>A note should be made of Sunrise, the studio behind the anime. Sunrise began in 1972, by former employees of Mushi Production, Tezuka Osamu's own production studio. Sunrise has numerous studios to its credit, with Studio 1 being responsible for the enormously influential <em>Mobile Suit Gundam</em> franchise. <em>Inuyasha</em> marked the first anime adaptation of a Takahashi work not overseen by Kitty TV, and Takahashi took an active role in the casting of the series. Michiko Suwa, the producer, stated in interview that he saw <em>Inuyasha</em> as a perfect show for the new millennium, a time for Japan to forge ahead to the future, but also an opportunity to look at its past. Suwa himself had established himself as a major producer; his credits include <em>Detective Conan</em> and <em>Magic Knight Rayearth</em>. <em>Inuyasha</em> carries with it the distinction of being the first of the Takahashi-based shows to debut on American television when it crossed the Pacific.</div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br /></div>
<em>Inuyasha</em> had two directors throughout its 167-episode run. Masashi Ikeda served in the capacity for the first forty-four; he would go on to work as director for Cluster Edge. He previously acted as director for <em>Gundam Wing</em> and worked on numerous other anime prior to this (including <em>Yoroiden Samurai Troopers</em> and some storyboard work for <em>Infinite Ryvius</em>). When he helmed this anime, the production team was concerned about adapting the dark elements that typify the series. Takahashi wanted to express Kikyo's passion and emotional release; this emphasis on Kikyo became an integral part of the story.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigqWXDqU4OzzNwmMRTz7UlyOn5LkkEjq-m46p6dcgStwGcgyGdZqsUVzrf02gZ1iTWjL-kFiAg3zn76OlYqkUJGiKZIMFu-A_Pqb_JiNYIfG9pEcUT_Oor7i55F7y2RgSMfiZ5bKnEyZU/s1600/flcl_.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" cya="true" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigqWXDqU4OzzNwmMRTz7UlyOn5LkkEjq-m46p6dcgStwGcgyGdZqsUVzrf02gZ1iTWjL-kFiAg3zn76OlYqkUJGiKZIMFu-A_Pqb_JiNYIfG9pEcUT_Oor7i55F7y2RgSMfiZ5bKnEyZU/s320/flcl_.jpg" width="215" /></a></div>
Although it did not originate as a televised anime, <em><strong><a href="https://www.youtube.com/show/flcl" target="_blank">FLCL</a></strong></em> remains one of the most popular OVAs. The first episode alone contains plenty of innuendo about sexual maturity–Naota's "horns" represent sexual awareness, and Haruko comments that it derives from "trying too hard." This open sexual communication and playfulness makes <em>FLCL</em> unique–anime can examine human urges with both facetiousness and seriousness. Naota's reactions to the world around him show his awkwardness, as he doesn't quite know how to handle an emerging sexual consciousness. Such awareness coincides with Naota's age; he's at that awkward transition from childhood to adolescence, and his body responds in new and mysterious ways. The show presents his ordeal as the result of an alien encounter, but his reactions ring true with many teenagers struggling with life on a "new frontier" as they age. Naota's "empty head" (as seen through an X-ray) in episode two provides viewers with a glimpse into his formative state; Canti represents the "opening" of his mind to the world, and his first steps into adulthood.<br />
<br />
The characters in <em>FLCL</em> interact in various ways, and these relationships drive the plot. Continuing the theme of sexual maturity, Canti (a robotic entity) is the result of Haruko and Naota's collision. Canti acts as a sort of mediator and guardian for Naota, and his appearance belies the technological age he inhabits. Technology becomes an extension of the world at large; viewers are bombarded with images of robots, vehicles, video games and advanced extraterrestrial electronics. Naota's entering a new world, filled with symbolic representations of the maturity he will soon receive. Haruko is the instigator of all this, an alien "force of nature" who forcefully triggers Naota's troubles. She thus represents Naota's first real exposure to sexual feelings.<br />
<br />
Mamimi, former girlfriend to Naota's brother (whose presence is primarily spoken of), has the interesting position of being a high school student who commits a series of arsons after playing the fictional game Firestarter. Technology's pervasiveness in the show trickles down to her, who becomes so fascinated with Firestarter that she is willing to start fires herself. Since she was influenced by a video game, this gives technology a rather sinister edge; it's an extension of people's lives, and can influence them to do strange things. Going back to symbolism, Mamimi's perception of Canti as a god shows that technology can be advanced enough to make people see robots as supernatural entities. She sees technology as a stand-in for her former boyfriend, who has moved on; with nowhere else to turn, Mamimi vents through video games.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="http://www.youtube.com/embed/hNBBY8JWWkw" width="420"></iframe></center>
<br />
The series shifts art styles regularly, even within an episode. The story feels disjointed at times, but it contains the overarching narrative of a boy coming to terms with his own identity and dealing with the world around him. This variation in aesthetics has a minor American analogue in <em>Ren & Stimpy</em>. The production team behind <em>Ren & Stimpy</em> purposefully went off-model to allow the characters a wider range of emotional expression; they can distort their faces in ways live actors cannot. With <em>FLCL</em>, the director went with a music-video approach to the series; throughout the episodes, one can notice numerous divergent art styles used throughout, including a shout-out to <em>South Park</em>. This off-beat approach to animation gives <em>FLCL</em> a great flair, showing that a studio does not have to rely on a single aesthetic for one production. The show also provides another unique aesthetic choice–the primarily rock-driven soundtrack, provided by The Pillows. Major scenes, in particular have their own songs to underscore the mood; unlike <em>Inuyasha</em> (and many shows before it), <em>FLCL</em>'s soundtrack includes rock music as a means of emotional and artistic expression.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6bkJsg33TpSoEzio5g2inoH4Lv_p6lX7L8yZha139t7v-1jJTKWR3854S2avfMLwig_5fm3zg5H1yUTFV6R-8ZMUmSHEDqZZEHiJWCAH6iswj_o2Q4pWawCTOuLy9WZ7SN7XReYfCTJg/s1600/LH.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" cya="true" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6bkJsg33TpSoEzio5g2inoH4Lv_p6lX7L8yZha139t7v-1jJTKWR3854S2avfMLwig_5fm3zg5H1yUTFV6R-8ZMUmSHEDqZZEHiJWCAH6iswj_o2Q4pWawCTOuLy9WZ7SN7XReYfCTJg/s320/LH.jpg" width="320" /></a></div>
<br />
Ken Akamatsu began his career at Comiket, where he gained fame as an illustrator. Before long, he won the 50th Freshman Manga Award for <em>Hito Natsu no Kids Game</em>, which he worked on during his college days. This manga foreshadows <em><strong>Love Hina</strong></em>, the work that would establish him as a major <em>mangaka</em>. <em>Love Hina</em> revolves around hapless college aspirant Keitarō Urashima , who wants to enter the very prestigious Tokyo University due to a promise he made with a girl years ago. He becomes the newest inhabitant of his grandmother's inn, which (to his surprise) had been converted to an all-female dormitory. As he tries to settle in, the other, female residents develop a like/hate relationship with him, especially Naru Narusegawa.<br />
<br />
Akamatsu's career really took off with the manga, and the anime adaptation soon followed. The show contains a good amount of fanservice, but with Naru, we see a rather self-assured (if flawed) character. She's not willing to accept Keitarō into the inn, as she knows him from school; the two are almost polar opposites on the academic achievement scale. Naru, being one of the most intelligent in her class, easily out-competes Keitarō academically, but she eventually accepts him for his faults.<br />
<br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmZ33rsR0rrYG3QsSp3tKn6pWotHQzhWOB6ENWQPq55ahyphenhyphen_iHXceRTi6w5jczYzVknkAH-Kdfxa66IHb0HBUXcfDmsoxLowM-r49bAqrmu1jM31CuTiBf741_1Y8vZKKZZGL-oytyF1y8/s1600/LH2.png" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" cya="true" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmZ33rsR0rrYG3QsSp3tKn6pWotHQzhWOB6ENWQPq55ahyphenhyphen_iHXceRTi6w5jczYzVknkAH-Kdfxa66IHb0HBUXcfDmsoxLowM-r49bAqrmu1jM31CuTiBf741_1Y8vZKKZZGL-oytyF1y8/s200/LH2.png" width="170" /></a>Unlike <em>Inuyasha</em> or <em>FLCL</em>, <em>Love Hina</em> doesn't quite provide great achievements in storytelling, but the anime’s wonderfully-paced narrative makes it a nice series to watch. Keitarō's helpless bumbling at the beginning of the series sets the stages for his development into a more confident individual. The anime and the manga diverge pretty significantly–for example, at one point in the manga, Keitarō and Naru are stranded on an island, and the former displays his survival skills. This scene doesn't occur in the anime, which focuses solely on the shenanigans of the Hinata Inn. The director of the anime, Yoshiaki Iwasaki, would go on to other projects, including <em>Gokujo Seitokai</em> and <em>Ōkami-san and Her Seven Companions</em>. Influenced by <em>Mobile Suit Gundam</em> to go into animation, Iwasaki helmed <em>Love Hina</em> after he worked on <em>Turn A Gundam</em>. Also for <em>Love Hina</em>, the production used digital animation, a practice that began in the 1990s.</div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br /></div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
As far as characters go, Keitarō presents the classic "awkward male" forced into a new environment. His life at Hinata Inn proves life-altering, and he eventually develops the self-confidence to express his love to Naru, whom he discovers to be the very girl he made the promise to. This leads into the ideal of validating a childhood dream–plenty of people had their childish goals of attaining something incredible, but growing up shows how difficult pursuing that dream may be. When that dream is realized, however, we feel great about ourselves; even when we feel like giving up and leaving the past behind, life gives you an opportunity to achieve what you've wanted for years. Childhood memories bring us back to a time when we didn’t have much to worry about, and our aspirations for adulthood were based on juvenile interest.</div>
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/5UbUEfmogu0" width="420"></iframe></center>
<br />
In this regard, <em>Love Hina</em> shares the coming-of-age angle with <em>FLCL</em>; both show a critical moment in a character's time, where he not only has to address new feelings and experiences, but also love. Keitarō, being older than Naota, already experienced sexual maturity, but his awkward and self-conscious personality prevented him from looking for a girlfriend. His first real encounter with love came as a child; when he meets Naru again, and realizes who she is, he now has the chance to feel love once again.<br />
<br />
<strong>Next time: It's time to cover 2...what? You want more coverage of 2000? YOU GOT IT.</strong><br />
<br />
<strong>Further Reading:</strong><br />
Inuyasha Companion on the show:<br />
<a href="http://www.furinkan.com/iycompanion/anime/about.html">http://www.furinkan.com/iycompanion/anime/about.html</a><br />
<br />
Guitars, Drinks and Eyebrows: FLCL Symbols With Deeper Meanings?: <a href="https://wiki.rit.edu/display/05052130220101/Guitars,+Drinks,+and+Eyebrows+-+FLCL+Symbols+With+Deeper+Meanings">https://wiki.rit.edu/display/05052130220101/Guitars,+Drinks,+and+Eyebrows+-+FLCL+Symbols+With+Deeper+Meanings</a><br />
<br />
Interview with Yoshiaki Iwasaki: <a href="http://en.wikipedia.org/wiki/User:Highwind888/Interview_with_Yoshiaki_Iwasaki_script">http://en.wikipedia.org/wiki/User:Highwind888/Interview_with_Yoshiaki_Iwasaki_script</a><br />
<br />
FLCL World analysis: <a href="http://www.flclw.com/analysis/">http://www.flclw.com/analysis/</a><br />
<br />
Interview with Masashi Ikeda, Yoshihito Hishinuma and Shigemi Ikeda: <a href="http://www.furinkan.com/features/interviews/iystaff.html">http://www.furinkan.com/features/interviews/iystaff.html</a>Geoffhttp://www.blogger.com/profile/02385629483209026981noreply@blogger.com5tag:blogger.com,1999:blog-5455108671364992297.post-56088284475185459432013-06-16T12:56:00.001-07:002013-06-16T12:56:34.241-07:001999: Towards A New Era<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaplc0boB4w7jlMc_PZQoprnsoP26pBqJLaHxH1BT4rO2SmhAfKu6UrBdH-A1BA4EoaErojIW46N-mYQT5uqTy0t2M0JMZ7QXWAE7W-ScRsRUaNHpIiYT7ec3eSp5eLDaMxl9xjTVseh4/s1600/New+Picture+(2).bmp" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" cya="true" height="135" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaplc0boB4w7jlMc_PZQoprnsoP26pBqJLaHxH1BT4rO2SmhAfKu6UrBdH-A1BA4EoaErojIW46N-mYQT5uqTy0t2M0JMZ7QXWAE7W-ScRsRUaNHpIiYT7ec3eSp5eLDaMxl9xjTVseh4/s200/New+Picture+(2).bmp" width="200" /></a></div>
<em>In middle school, Naru appreciated anime, fanfiction, and pretty guys just as much as the next internet-surfing pre-teen, but it was actually in her high school years when she began to discover what was so "special" regarding the former. On a whim, she created her main blog <a href="http://oromywhat.wordpress.com/" target="_blank">Oromywhat</a> where you can occasionally find her explaining or rambling endlessly about the Japanese pop culture and its secrets unknown to outsiders. If she ever disappears from her blog, you'll easily find her at <a href="http://organizationasg.kokidokom.net/" target="_blank">Organization Anti-Social Genuises</a> as an anime/manga reviewer or ranting on <a href="https://twitter.com/Naru_Milkshake" target="_blank">Twitter</a>. </em><br />
<br />
<hr />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZegH36imTjYLOasm3Y71ZAH1xVK4BIQ5R_mSy3uRQiI6e9uf4R82K3NIE8z-diHvzzlpmo4aLIRR-Ki-nwouMHhOOpK9aNEFLEmedaqHEur8dO_dSA6GP11tRoRNnkbUxBvQjbR-92i4/s1600/nzbwereld_org.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" cya="true" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZegH36imTjYLOasm3Y71ZAH1xVK4BIQ5R_mSy3uRQiI6e9uf4R82K3NIE8z-diHvzzlpmo4aLIRR-Ki-nwouMHhOOpK9aNEFLEmedaqHEur8dO_dSA6GP11tRoRNnkbUxBvQjbR-92i4/s320/nzbwereld_org.jpg" width="300" /></a></div>
Before we begin focusing on the quiet year of 1999, I believe I should be honest with you all and straight out say 1999 was a year I personally did not know much about until I made the decision to participate in this project. Between the end of the 90's and the beginning of the 2000's, my little self was rather occupied with <em>shonen</em> anime being aired in my country at the time–<em>Yu Yu Hakusho</em>, <em>Gundam</em>, and the like–which aided and formed me into the grumpy hard-to-please anime appreciator that I am today. <br />
<br />
However, it is until just recently that I've taken the time to search around the deepest parts of the dark hole that is the Internet to find out that, while 1999 isn't the most memorable year for some of us, it certainly wasn't an uneventful year. Heck, the year 1999 gave birth to cult anime adaptations that are still present in the minds of old fans, and now to new fans of the current generation. <br />
<br />
<a name='more'></a><strong>Ghibli takes a step forward</strong><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwOxSKGUc7dKKQf6-g5BKmEu4x4tFzrNBPi-aeySZ8TcneO2by-GjG7QLONdO895AKBaVSovmrtE2ugyzIZyhHOJi5Lz7wbOLj6qVwxHyDdDPq3ycCkShuaFVigBJw2BHvB4re0cctFsU/s1600/Yama.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" cya="true" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwOxSKGUc7dKKQf6-g5BKmEu4x4tFzrNBPi-aeySZ8TcneO2by-GjG7QLONdO895AKBaVSovmrtE2ugyzIZyhHOJi5Lz7wbOLj6qVwxHyDdDPq3ycCkShuaFVigBJw2BHvB4re0cctFsU/s320/Yama.jpg" width="320" /></a></div>
<br />
After the mind-blowing success of <em>Princess Mononoke</em> in 1997 which sky-rocketed Hayao Miyazaki's and Studio Ghibli's names to an international level, Isao Takahata decided to try out a new style of animation different from what the studios had done before and used the way of the computer to adapt <em><strong>My Neighbors the Yamadas</strong></em> which was released in national theaters on August 17th, 1999.<br />
<br />
What differed <em>My Neighbors the Yamadas</em> from Studio Ghibli's past productions was the structure of the plot. While generally movies–and in this case, Ghibi's movies–have been known to follow one plot from the beginning to the end, <em>My Neighbors the Yamadas</em> remained faithful to its original work by adapting the comic strip manga into separate stories in the movie, each story touching a particular subject regarding the Yamada Family.<br />
<br />
Even if the movie received an Excellence Award for animation at the Japan Media Arts Festival, its recognition however did not reflect its low results in the box office. <br />
<br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<strong>The Greatest Teacher of All Time</strong></div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br /></div>
<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiLUDU0ReG9K-C6fXo9rV91U4TCeCF7cHOOQtpNgl43KKlff4W_Z3nPJFKCXgxNXK5T7zJZaeqiSKCD5EQNhlzNJeBAccw9RaqWMerG1R037gb0AD4Lvrg_4yQcKVMzy82cToHpVY_6zI/s1600/GTO.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" cya="true" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiLUDU0ReG9K-C6fXo9rV91U4TCeCF7cHOOQtpNgl43KKlff4W_Z3nPJFKCXgxNXK5T7zJZaeqiSKCD5EQNhlzNJeBAccw9RaqWMerG1R037gb0AD4Lvrg_4yQcKVMzy82cToHpVY_6zI/s200/GTO.jpg" width="200" /></a></div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
Believe it or not, 1999 was also the year Studio Pierrot adapted the misadventures of Japan's craziest teacher, Eikichi Onizuka. Fourteen years? Honestly?! And to say that I was watching a rerun on TV today and imagining myself back in 2007! I already feel old at such a young age.</div>
<br />
<em><strong>GTO</strong></em> (<em>Great Teacher Onizuka</em>)'s story as simple as it comes. Twenty-two year old Eikichi Onizuka is an ex-yankee (whose teenage adventures were already covered in the <em><a href="http://www.animenewsnetwork.com/encyclopedia/anime.php?id=6577" target="_blank">Shonan Jun'ai Gumi</a></em> manga and OVA) who aims to become a teacher simply because he believes it would greatly rise his chances of having girls fall for him. Needless to say that once he receives his teacher's license and finds himself in charge of one of the most chaotic classes in his school, our Onizuka learns the painful gap between fantasy and reality.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/x25GNNmjFhI" width="420"></iframe></center>
<br />
Regardless of the poor budget Studio Pierrot had at the time to animate the series, the 1998-1999 period was luckily one where the <em>GTO</em>-mania was very present in Japanese media. Followed by the rapid popularity of the manga, the first <em>GTO</em> drama, movie, and anime surfed on the same waves of success as the original work to the point the <em>oeuvre</em> today remains as appreciated and well-known as it was fourteen years ago. (And how well was <em>GTO</em> appreciated? The live-action drama actually came first in 1998 and garnered a remake in 2012, while the manga resurfaced in the pages of <em>Shonen Weekly Magazine</em> in 2009 for a short-lived two-year sequel.)<br />
<br />
<strong>Birth of the New <em>Shonen</em> Leaders</strong><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv58ZhfEswdnx6JxaBePdcreJAZJlGZPdWpWkNFQWiB12kk6rM3Ohu3-NeVVT0X05_u0mdnvTLjd86D-vt_7pNzxYa9ThzY_gcKWQLNHQCcu2ZtdKfKnC8hDkFLWQFoxpw28vvdX231U4/s1600/OnePiece.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" cya="true" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv58ZhfEswdnx6JxaBePdcreJAZJlGZPdWpWkNFQWiB12kk6rM3Ohu3-NeVVT0X05_u0mdnvTLjd86D-vt_7pNzxYa9ThzY_gcKWQLNHQCcu2ZtdKfKnC8hDkFLWQFoxpw28vvdX231U4/s320/OnePiece.jpg" width="320" /></a></div>
<br />
1999 can also be known as a transition year, seeing as how extremely popular <em>shonen</em> anime of today began popping up starting from there.<br />
<br />
The one anime about pirates everyone loves to hate or defend, <em><strong>One Piece</strong></em>, began on the 20th of October and since then has released more than 600 episodes to this day. Whether you want to admit it or not, <em>One Piece</em> is currently the franchise you can find anywhere; from Japan to your home country, Luffy and his pirate crew appear in all forms of objects for you to buy. I am not sure if it is the case in other Western countries, but in France, an anime hasn't experienced a popularity boom this big since <em>Dragonball Z</em>. Today, <em>One Piece</em> movies are watchable in theaters months after their releases in Japan and also companies are fighting each other only to have the name affiliated with their own.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="http://www.youtube.com/embed/ZwXKz2CeHwY" width="420"></iframe></center>
<br />
The possible explanation for this boom can be that <em>One Piece</em> compared to other anime touches a large number of different audiences, such as <em>Dragonball</em> once did in the past. Instead of seeing only children into <em>One Piece</em>, teenagers, young adults, and even parents show their interest for this anime.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://shonenjump.viz.com/sites/sjalpha.com/files/styles/medium/public/field/image/HxH_splsh-img.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" cya="true" height="163" src="http://shonenjump.viz.com/sites/sjalpha.com/files/styles/medium/public/field/image/HxH_splsh-img.jpg" width="320" /></a></div>
<br />
Ah, <em><strong>Hunter X Hunter</strong></em>. While I will always prefer your big and more mature brother over you (<em>Yu Yu Hakusho</em>), let I remind you that you hold a special place in my heart. While <em>Yu Yu Hakusho</em> covers underworld detectives and <em>yokai</em> creatures, <em>Hunter X Hunter</em> concerns…Hunters. More precisely, the plot revolves around a twelve-year-old boy named Gon who–cue drama–has been abandoned by his Hunter of a father, Ging. Dying to know what brought his father to prefer the life of a Hunter over the life of being a father, Gon decides to enter the very challenging and perilous Hunter exam.<br />
<br />
Unless you guys have been living under a rock for the past year, <em>Hunter X Hunter</em> has been given a golden chance we (perhaps) all wish would happen to our favorite productions–a remake–and of good quality, should I add. The only notable difference I have realized so far between the anime of 1999 produced by the now very quiet Nippon Animation and the new one made by Madhouse is the censure of extremely violent scenes, which are pretty current during the Hunter Exam arc.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/hANaSlH9wpw" width="420"></iframe></center>
<br />
Like countless anime today, <em>Hunter X Hunter</em> was inspired by the great <em>shonen</em> shows of the late 80's and 90's: <em>Dragonball Z</em> for the action, <em>Jojo's Bizarre Adventure</em> for the characters, and I guess you can imagine the rest of the list. <br />
<br />
By revisiting the classics of <em>shonen</em> from the past and mixing it up into its own sauce, anime like <em>GTO</em>, <em>Hunter X Hunter</em>, and more recently <em>One Piece</em> are taking place as the big names of the <em>shonen</em> genre until the arrival of the next generation.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<strong>One More Look Behind</strong></div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br /></div>
<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9PnxWKPP3p07_MYVHji_PSIuZHRi2-2Bi1A4nkJfPdOQKoD0VjwdIyWKC-CV497EH1V5wS8wETzIEoG85s54b9OImHs3w-5k7SXiN7lQD-kx8hJj3DK_RV8UZy2jKKDsyIZ_SOPkox74/s1600/Kensh.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" cya="true" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9PnxWKPP3p07_MYVHji_PSIuZHRi2-2Bi1A4nkJfPdOQKoD0VjwdIyWKC-CV497EH1V5wS8wETzIEoG85s54b9OImHs3w-5k7SXiN7lQD-kx8hJj3DK_RV8UZy2jKKDsyIZ_SOPkox74/s320/Kensh.jpg" width="225" /></a></div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
After taking a good look at the OVAs released in 1999–and there really weren't many titles left being released as straight-to-video titles–there was only one out of the entire list that rings a familiar bell: an OVA focused on a certain red-haired samurai's past, <em><strong>Rurouni Kenshin: Trust & Betrayal</strong></em>, more commonly known to western fans under the name of <em>Samurai X: Trust and Betrayal</em>.<br />
<br />
To critics and fans who have followed the adventures of the ex-<em>battosai</em> Kenshin, the <em>Trust & Betrayal</em> OVA was seen, and is still considered today, as a masterpiece. Some would go as far as to say it was the best OVA ever created. The story itself gave much more focus to the drama and tragedy behind the entire <em>Rurouni Kenshin</em> saga, aided by the change to a more human element in artwork, character design led by Masahide Yanagizawa (<em>ToHeart</em>). The comedy from the 1996 television series is completely gone, as the story covers Kenshin's beginnings as a fighter and the touching and turbulent relationship he develops with Tomoe, Kenshin's former lover and a figure who played a much larger role in the manga than the anime.<br />
<br />
Produced by the director Kazuhiro Furubashi, responsible for the great works of <em>Urusei Yatsura</em>, <em>Ranma 1/2</em>, and the 1999 version of the previously-mentioned <em>Hunter X Hunter</em>, with the great composer Taku Iwasaki at his side, whose tunes you may have heard in <em>Black Cat</em>, <em>Get Backers</em>, and <em>Jojo’s Bizarre Adventure</em> (2012), <em>Trust & Betrayal</em> truly was a beautiful and first-rate homage to Nobuhiro Watsuki's original work. (Well, that is if you can forget the other <em>Samurai X</em> OVA that was released in 2000, one that even Watsuki couldn't express his approval for.)</div>
<br />
So yes, although 1999 gave us <em>One Piece</em>, <em>Samurai X</em> and other remarkable works, it was a silent year in comparison to what we've seen before. With the 21st century up ahead and promising a new beginning for the anime industry that has suffered due to the end of the Japanese economic bubble, anime was surely preparing to make a "comeback of comebacks" for the year 2000. <br />
<br />
<strong>Next time: Welcome to the new millennium! What did the year 2000 bring us?</strong>Geoffhttp://www.blogger.com/profile/02385629483209026981noreply@blogger.com0tag:blogger.com,1999:blog-5455108671364992297.post-8869784639693726582013-06-11T18:15:00.004-07:002013-06-11T18:15:49.212-07:001998: The Birth of the Cool<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS137OUI2b4FozbssxOYuud9l4u2hGLAQgsuJGs__N5HE6ooQqkV0QK9gcvPSe7p_zE95Fqj3y-84Tlgrv3S9Mh4EtjI5KSGNZ4-Xb3sIxRW_0NiNdlOeXVR-EK1-_lhUj-cBJkVbRNFQ/s1600/image.png" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="130" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS137OUI2b4FozbssxOYuud9l4u2hGLAQgsuJGs__N5HE6ooQqkV0QK9gcvPSe7p_zE95Fqj3y-84Tlgrv3S9Mh4EtjI5KSGNZ4-Xb3sIxRW_0NiNdlOeXVR-EK1-_lhUj-cBJkVbRNFQ/s200/image.png" width="200" yya="true" /></a></div>
<em>Evan Minto, also known as Vampt Vo, went from wide-eyed newbie anime fan to hardened cynic in just over ten years in the game. Nowadays he serves as the editor-in-chief of anime, manga, and video game blog <a href="http://www.anigamers.com/" target="_blank">Ani-Gamers</a>, writes reviews for <a href="http://www.otakuusamagazine.com/Main/Home.aspx" target="_blank">Otaku USA Magazine</a>, and goes to a heckuva lot of conventions (he was even Con Chair for Genericon 2013). If you can handle an overdose of bad puns and nerd snark, go ahead and follow his exploits on Twitter @<a href="http://twitter.com/vamptvo" target="_blank">VamptVo</a>.</em><br />
<br />
<hr />
<br />
If I may be so bold, I'd like to suggest for a moment that 1998 is the most important year in the 1990s—at least in terms of its effect on American anime fandom. Sure, 1992 introduced <em>Sailor Moon</em>, and 1995 brought us game-changers like <em>Evangelion</em> and <em>Ghost in the Shell</em>, but 1998 is notable for something other than just its spectacular list of memorable series (and boy oh boy, is it a spectacular list).<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2rrCvsaB0uA89dWCrk9N40vyfB3XfKrDBuuLHRZl3dSomwdIG4H7nHBVG9iLOpq7TyjnGOIMIyLF1o9CyU9gMzDZZpi7MfnH4t49G__mOvXnExqr0HdTu7yeiNPQor8wArurpUtERXkg/s1600/Cowboy_Bebop_57.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2rrCvsaB0uA89dWCrk9N40vyfB3XfKrDBuuLHRZl3dSomwdIG4H7nHBVG9iLOpq7TyjnGOIMIyLF1o9CyU9gMzDZZpi7MfnH4t49G__mOvXnExqr0HdTu7yeiNPQor8wArurpUtERXkg/s400/Cowboy_Bebop_57.jpg" width="400" yya="true" /></a></div>
<br />
That's because in 1998, anime was finally cool. The only problem was that Japanese otaku didn't know it yet.<br />
<br />
<a name='more'></a><strong>Space is the Place</strong><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcQXVGzMlDPlrJcbOKtQ8YoZsVjlXIOVGGG7Yn95-C19Cbj8HalE05oU2-5uh5V6vInoO8Hz-6uGvY2R8TitLTryqnknh5jiEwwd51bEvSBAfTFRBTuM6rZ4tookGvnoNQ7Mmeh09oNLU/s1600/outlaw.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcQXVGzMlDPlrJcbOKtQ8YoZsVjlXIOVGGG7Yn95-C19Cbj8HalE05oU2-5uh5V6vInoO8Hz-6uGvY2R8TitLTryqnknh5jiEwwd51bEvSBAfTFRBTuM6rZ4tookGvnoNQ7Mmeh09oNLU/s320/outlaw.jpg" width="320" yya="true" /></a></div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br /></div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
If we're going to talk "Cool Japan"—the idea coined in 2002 that Japanese pop culture has an inherent "cool factor" that makes it internationally marketable—there's only one place to start. In 1998, studio Sunrise (<em>Gundam</em>) noticed a fan interest in "space adventure" series, specifically something we might call the "Space Western". These stories took the free-spirited lifestyle of the Wild West and shot it up into the vastness of space. After all, space is the final frontier, right?</div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br /></div>
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="http://www.youtube.com/embed/9jIvQ0EX4VA" width="420"></iframe></center>
<br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
In January 1998, Sunrise took their first big stab at the genre with a series called <em>Outlaw Star</em>, fondly remembered by my generation of <em>Toonami</em>-fed anime fans for its unique mix of sci-fi action and magic gunfighting, and dismissively referenced by older fans as "that show where the spaceship has robot arms". But despite <em>Outlaw Star</em>'s star status (I couldn't help it) among <em>Toonami</em> fans, the anime was virtually forgotten in Japan, with a late-night timeslot and very modest ratings. This is in contrast to the original manga, written by Takehiko Itō, as its first print run in Japan sold out nationwide.<br />
<br />
But Sunrise weren't the only ones looking to cash in on what they hoped would be a Space Western craze. Madhouse jumped in that April with another manga adaptation, this time of Yasuhiro Nightow's <em>Trigun</em>, the story of a pacifistic gunslinger who may or may not be one of the most dangerous men on the desert planet Gunsmoke. (I can't seem to find any data on <em>Trigun</em>'s commercial reception. Sorry!)</div>
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/SSX58TglZRs" width="420"></iframe></center>
<br />
Just two days later, Sunrise put out their follow-up to <em>Outlaw Star</em>. This time, though, it wasn't a manga adaptation. The studio had high hopes for their newest original creation, drawing on an all-star team of creators including director Shinichiro Watanabe, writer Keiko Nobumoto, character designer Toshihiro Kawamoto, and composer Yōko Kanno, all of whom made a name for themselves most recently on the 1994 OVA <em>Macross Plus</em>. This dream team put together a series that is almost universally considered to be one of the greatest anime of all time. That's right; 1998 is undoubtedly the Year of <em><a href="http://video.adultswim.com/cowboy-bebop/" target="_blank">Cowboy Bebop</a></em>.<br />
<br />
Even so, <em>Cowboy Bebop</em> was hardly an overnight success story. Inspired by the perennial adventures of that rascally thief Lupin the 3rd, Watanabe envisioned a show about space bounty hunters that would tackle issues of crime and punishment with a mature eye, not shying away from adult subjects when they fit the story. Unfortunately for the censors at TV Tokyo, that meant that the violent, racy <em>Cowboy Bebop</em>, with all its drugs and other illicit activity, was just TOO HOT for its 6:00 PM prime time slot. As a result, only 13 of its 26 episodes aired on TV Tokyo, and the series had to be re-aired on satellite channel WOWOW from October 1998 to April 1999.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="http://www.youtube.com/embed/PTETY8Db07k" width="420"></iframe></center>
<br />
<em>Cowboy Bebop</em> has garnered worldwide acclaim for its undeniably cool atmosphere, infused with a mish-mash of American film influences, unique mechanical designs, and Kanno's brilliant original score (its bombastic instrumental opening song is perhaps the most iconic opener in anime). Thanks to these elements, as well as Nobumoto's script—equal parts forlorn cowboy drama and swashbuckling adventure—and Watanabe's surefooted directorial <em>work</em>, Bebop would go on to be one of the most popular series on Cartoon Network's late-night <em>Adult Swim</em> block and a defining series in anime history.<br />
<br />
<strong>Close the world, Open the nExt</strong><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBxBJpzw4_ZgBqVsx7ms5uoJowtiKf7SP1bXbN8bZWH_lRtdTgWm4G1Ed4M61YDOq0IlMww-k67_H6uEhEj7V-zn2XZBhKvGe0Ki2n3e4NfG145n-XYfIu9Tt9b-__-u2TLamGmUEqtcc/s1600/lain.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBxBJpzw4_ZgBqVsx7ms5uoJowtiKf7SP1bXbN8bZWH_lRtdTgWm4G1Ed4M61YDOq0IlMww-k67_H6uEhEj7V-zn2XZBhKvGe0Ki2n3e4NfG145n-XYfIu9Tt9b-__-u2TLamGmUEqtcc/s320/lain.jpg" width="320" yya="true" /></a></div>
<br />
While Sunrise and Madhouse experimented with the Space Western genre to varying degrees of success, another team was experimenting with something a little closer to home. Home computers, that is.<br />
<br />
Producer Yasuyuki Ueda, who would later go on to lead projects like <em>Hellsing</em> and <em>RideBack</em>, handpicked illustrator and character designer Yoshitoshi ABe to help adapt his rough script for a series about the Internet. He rounded out the team with veteran animator and sometimes director Ryutaro Nakamura and screenwriter Chiaki J. Konaka, who hadn't yet done much anime outside of <em>Armitage III</em> and <em>Birdy the Mighty</em>. You'll notice that, unlike <em>Bebop</em>, these creators hadn't really hit it big yet, and the anime they created, <em><a href="http://www.youtube.com/show/serialexperimentslain" target="_blank">Serial Experiments Lain</a></em>, reflects that scrappy attitude.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/t9CXmEUwvgM" width="420"></iframe></center>
<br />
<em>Lain</em> is a startlingly experimental series about a middle school girl and her exploration of "The Wired," a ubiquitous fictionalized Internet that seems to be connecting the dead to the living in mysterious ways. Fans around the world recognized it as an example of the medium's capability for extremely cool imagery wrapped around extremely intelligent social commentary and philosophical musing, as the four creators deftly connected disparate visual elements (including live-action footage and elaborate CG sequences) into a disconcerting piece of experimental animation. If <em>Cowboy Bebop</em> was the suave ladykiller of 1998, <em>Serial Experiments Lain</em> was the awkward but brilliant nerd.<br />
<br />
<strong>Magical Cards for Magical Girls</strong><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfc3x4By6CTZuoxzkp_a1IXvI3NHmBZAf_Kewb3tRA20DjAmY1MyC2lYl__v9Mz0vPYdZY7crfi49yqDyWdAbZM_hqrjmHL1AJvi9uLA538x5YuyVFN65-zN3H0QRL18tKpR8eORyVyzQ/s1600/sakura.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfc3x4By6CTZuoxzkp_a1IXvI3NHmBZAf_Kewb3tRA20DjAmY1MyC2lYl__v9Mz0vPYdZY7crfi49yqDyWdAbZM_hqrjmHL1AJvi9uLA538x5YuyVFN65-zN3H0QRL18tKpR8eORyVyzQ/s200/sakura.jpg" width="149" yya="true" /></a></div>
I know, I know. You're all chomping at the bit to run down to the comments and scream at me for not mentioning 1998's OTHER big show. Yes, it's that smash-hit show about cards, and no, it's not the one with the Egyptian pharaohs and trading card games to the death [see Footnote 1]. You betcha, it's <em>Cardcaptor Sakura</em>, the magical girl hit from <em>shojo</em> manga superstars CLAMP.<br />
<br />
Here's my big anime confession; I've never seen <em>Cardcaptor Sakura</em>. It's not for lack of wanting to, but since I missed the boat on both the '90s anime fan zeitgeist and the American TV version, <em>Cardcaptors</em> (infamously redubbed to change the focus from our hero Sakura to male character Syaoran Li), I never got around to it.<br />
<br />
Anyway, as if you don't already know, <em>Cardcaptor Sakura</em> revolves around a set of magical tarot cards called the "Clow Cards." When ten-year-old girl Sakura accidentally releases the cards, thereby scattering them far and wide, the guardian of the cards, an animal familiar named Cerberus, grants her magical powers to find them and fight their monstrous personifications. While <em>Revolutionary Girl Utena</em> a year earlier was the first major post-<em>Sailor Moon</em> magical girl series, <em>Cardcaptor Sakura</em> is notable for taking the genre back to its roots rather than following in <em>Utena</em>'s more experimental footsteps.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="http://www.youtube.com/embed/VDBSV8DL1lU" width="420"></iframe></center>
<br />
This, of course, isn't all that surprising considering that <em>Sakura</em> started in manga form a year before <em>Utena</em> hit the small screen. But another important part of <em>Cardcaptor Sakura</em>'s popularity was that it sparked a wave of male otaku fans—despite the show's target audience of girls—just as <em>Sailor Moon</em> had just a few years earlier. In <em>CCS</em>, otaku could now find an even younger, more cutesy girl to fawn over, and some people with more expertise in the magical girl genre than me have claimed that <em>Cardcaptor Sakura</em> marks the beginning of the end—that moment when adult male fans of the genre began to slip it out from under the feet of its young girl audience.<br />
<br />
<strong>Beware the Creme Caramel</strong><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFHCHpZEH32JArsRpAaoeDb-lBr23M_Ys6_MGOnFNnJVrihKW1shi7v2kp7mgqkrxDBTvRLn43iyWb5cbYhptw9mnoAzXLyOIlQEBm8xm4dbNAau5r1iR_HKz2K6NRFJQx5mmrR0lSSzM/s1600/Ojarumaru.png" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFHCHpZEH32JArsRpAaoeDb-lBr23M_Ys6_MGOnFNnJVrihKW1shi7v2kp7mgqkrxDBTvRLn43iyWb5cbYhptw9mnoAzXLyOIlQEBm8xm4dbNAau5r1iR_HKz2K6NRFJQx5mmrR0lSSzM/s200/Ojarumaru.png" width="200" yya="true" /></a></div>
Since so many others before me have made a point of talking about things that English-speaking otaku don't care about, I would be remiss to leave out a show called <em>Ojarumaru</em>, known internationally as "Prince Mackaroo". Based on a gag manga series by Rin Inumaru that was alternatively a <em>shojo</em> AND <em>shonen</em> manga (it was originally published in <em>Ciao</em> then moved to <em>Saikyo Jump</em>), <em>Ojarumaru</em> is about a prince from 1,000 years ago transported to the present, where he lives with a modern-day family and apparently copes with a weakness for creme caramel (<em>purin</em> to all of you Japanese gourmands out there.)<br />
<br />
<em>Ojarumaru</em> is notable for two things. First, it's the second-longest-running anime series on NHK, behind only <em>Nintama Rantarō</em>, which began its run in 1993. Second, author Rin Inamaru died in 2006 after throwing herself off of the roof of her condo. Her suicide note read "I'm not good at my job," a statement that surely paralleled the stress facing many overworked artists in the manga industry. <em>Ojarumaru</em> has been dubbed into Spanish, Italian, Arabic, Chinese, Hindi, and Thai, but <a href="http://www.youtube.com/results?search_query=Mack,+ma+che+principe+sei?&oq=Mack,+ma+che+principe+sei?&gs_l=youtube.3..0i19l2.1396.1396.0.1946.1.1.0.0.0.0.74.74.1.1.0...0.0...1ac.2.11.youtube.03794rrdBlg" target="_blank">based on my YouTube searches</a>, its most popular adaptation seems to be the Italian one, called <em><a href="http://www.youtube.com/watch?v=kxgaCRz6yhs" target="_blank">Mack, ma che principe sei?</a></em> or 'Mackaroo the Prince.'<br />
<br />
(Editor's note: Those with a clever eye might find this looks a little familiar. <em>Ojarumaru</em> continues to be directed by Akitaro Daichi, who gave us <em>Poyopoyo Kansatsu Nikki</em> last year.)<br />
<br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<strong>Death of a Hero</strong><br />
<br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<a href="http://images1.wikia.nocookie.net/__cb20101112171621/cyborg009/images/1/17/ShotaroIshinomori.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" cya="true" height="125" src="http://images1.wikia.nocookie.net/__cb20101112171621/cyborg009/images/1/17/ShotaroIshinomori.jpg" width="200" /></a>Not to get too morbid here, but 1998 is notable for a particular death. Shotaro Ishinomori (<em>Cyborg 009</em>, <em>Kikaider</em>) the man who was actually more prolific than Osamu Tezuka (he produced more pages of manga than the God of Manga, though Tezuka had more titles) passed away at the age of 60. Others have already outlined Ishinomori's essential contributions to manga, <a href="http://goldenani.blogspot.com/2013/01/1968-man-and-machine-take-on-world.html" target="_blank">anime</a>, and <em>tokusatsu</em>, so I won't rehash them here.</div>
</div>
<br />
<strong>Fandom Disconnect</strong><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://aniegg.ocnk.net/data/aniegg/product/20121108_513cfd.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://aniegg.ocnk.net/data/aniegg/product/20121108_513cfd.jpg" width="234" yya="true" /></a></div>
I've talked about a few series here, and left out a lot of others (sorry <em>Kare Kano</em>!), but the main takeaway for 1998 is that the series that came out this year were destined for great things outside of Japan. If I can illustrate my point with a personal story...<br />
<br />
The first anime I ever saw was <em>Pokémon</em>, which I saw in first grade (the Ghastly episode, I'll have you know). It was 1998, long after the show had aired in Japan, but we were just getting the series on TV. A few years later, I would fall in love with <em>Toonami</em>'s run of <em>Gundam Wing</em> and <em>Outlaw Star</em>, which, along with <em>Gundam Wing: Endless Waltz</em> (the 1998 OVA follow-up to the TV series), was one of the first two anime series I ever owned. After that came <em>Trigun</em> and <em>Cowboy Bebop</em> marathons, motivated by their popular appearances on <em>Adult Swim</em>. <em>Serial Experiments Lain</em>, which I watched around the same time, is one of my favorite series of all time.<br />
<br />
It was in 1998 that anime laid the seeds for its meteoric rise to kind-of-maybe-mainstream popularity in the early 2000's, but at the time, Japanese otaku had no idea. A glance at <em>Animage</em> and <em>Newtype</em> covers from 1998 show appearances from shows like <em>Lost Universe</em> (the "follow-up" to <em>Slayers</em>), <em>Sorcerous Stabber Orphen</em>, and the <em>Nadesico</em> movie, none of them titles that would light up American fandom. Heck, one <em>Newtype</em> cover features Yoshiyuki Tomino's infamous <em>Brain Powerd</em> (though I guess that's what you get in a magazine called "Newtype")! Sure, they got into <em>Bebop</em> by the time it finished in mid-1999, and they obviously ate up <em>Cardcaptor Sakura</em>, but <em>Trigun</em>, <em>Outlaw Star</em>, and <em>Lain</em> are nowhere to be found.<br />
<br />
This is one of the fundamental problems with the "Cool Japan" idea. The domestic response often diverges wildly from the international one, making it hard to reliably sell the concept of a Japan that inherently makes "cool stuff." Hindsight being 20/20 and all, we can see in 1998 both the fuel for Cool Japan's rise and the reasons for its fall, but all that talk of its fall is, as they say, for another year.<br />
<br />
<center>
*****</center>
<br />
FOOTNOTE 1: Actually, <a href="http://en.wikipedia.org/wiki/Yu-Gi-Oh!_(1998_TV_series)" target="_blank"><em>Yu-Gi-Oh!</em> did have an early anime run in '98</a>, though it wasn't the version with the card game that you're probably familiar with.<br />
<br />
<strong>Next time: 1999. <em>Shonen</em> manga and anime puts its stamp on the 1990's before the decade turns.</strong>Geoffhttp://www.blogger.com/profile/02385629483209026981noreply@blogger.com3tag:blogger.com,1999:blog-5455108671364992297.post-28816268563250148472013-06-03T19:28:00.000-07:002013-06-03T19:28:20.980-07:001997: Take My Evolution<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8_axiLeBC_YQlEGSwf_6vQBrSRy_3LiG7OyuWUusFXvtFJy1Xd70fqol46mRD3xu4osoBwp7sCaZFcBul1_ZQIz4WABMQBqTgQy9Iz7mRpGpba4aWOZgo2YGtowKf6rTtRyuwqdYSmX4/s1600/New+Picture.bmp" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="99" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8_axiLeBC_YQlEGSwf_6vQBrSRy_3LiG7OyuWUusFXvtFJy1Xd70fqol46mRD3xu4osoBwp7sCaZFcBul1_ZQIz4WABMQBqTgQy9Iz7mRpGpba4aWOZgo2YGtowKf6rTtRyuwqdYSmX4/s200/New+Picture.bmp" width="200" yya="true" /></a></div>
<em>Eric McLeod (@</em><a href="http://twitter.com/sweetdurga"><em>SweetDurga</em></a><em>) didn't really know what anime was until high school. His only anime before that point were Pokemon and Yu-Gi-Oh, but after discovering shows like Trigun and Cowboy Bebop, he decided to give this thing called anime a try. He is currently the editor of anime content at <a href="http://thebrokeninfinite.blogspot.com/" target="_blank">TheBrokenInfinite</a>, where he blogs about the current anime season, and is working to become a history teacher when he's not bemoaning the anime fandom on Twitter.</em><br />
<br />
<hr />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlDJ06VYJmwXn9e3KQ4BjqCtUpWsj6gGeiUYsozJGq_LMUcv3MtJYercQf9dFlYUdyKvD7ecCeCqlZGH_blH237mBcUX9pR0_Tn8tsLl6fZR7aIZRJ3HaK_mEUbUf-ucZDux3QrN9Sqcc/s1600/animepaper_net_picture_standard_anime_shoujo_kakumei_utena_cd_cover_5_167139_vornava_preview-9b881c3b.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlDJ06VYJmwXn9e3KQ4BjqCtUpWsj6gGeiUYsozJGq_LMUcv3MtJYercQf9dFlYUdyKvD7ecCeCqlZGH_blH237mBcUX9pR0_Tn8tsLl6fZR7aIZRJ3HaK_mEUbUf-ucZDux3QrN9Sqcc/s200/animepaper_net_picture_standard_anime_shoujo_kakumei_utena_cd_cover_5_167139_vornava_preview-9b881c3b.jpg" width="200" yya="true" /></a></div>
1997 is a prime example of the adage "the more things change, the more they stay the same."<br />
<br />
Many franchises would be born, die, or take a break in 1997. Magical-girl shows were still selling like hot cakes, super robot shows still had a footing in the market, and a little series about taming magical monsters would become one of the biggest things in the world. However, there was a noticeable shift in the content of TV anime this year, and that shift owes <em>Neon Genesis Evangelion</em> a favor.<br />
<br />
Hold your horses. I know we already have an article on <em>Evangelion</em>, and you should go and read it now if you haven't already, but I need to set the tone for this year and the anime I'm about to talk about. Were it not for <em>Evangelion</em> smashing all conceptions of what televised anime was capable of, the anime I am talking about might not have found an audience. This was the year that <em>Evangelion</em> was supposed to end, but its legacy would live on, not only through its massive merchandise franchise, but through the anime trying to recapture its magic.<br />
<br />
<a name='more'></a><strong>Ikuhara's Revolution</strong><br />
<br />
With that said, let's talk about <em>Revolutionary Girl Utena</em>, which has often been called "the <em>shojo</em> version of <em>Evangelion</em>". I'd say that's an unfair comparison for <em>Utena</em>, which while definitely a prime example of the post-<em>EVA</em> era, it takes things a step further and coats it in classic <em>shojo</em> and Takarazuka theatre influences.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNKLEp8ENQlZDcbtflFeXnKnFsk0rPp4G36t7qOXXV1WNXAdV42DqxcoTKQ2fy0RQ-fIyPAa_BK9JC1XEXZyMgGBxVPAEel10l9n0ibSDAFLFQ3yzgjUIz_-3tJNUhpHARCcfVKzxA95o/s1600/Iku.png" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNKLEp8ENQlZDcbtflFeXnKnFsk0rPp4G36t7qOXXV1WNXAdV42DqxcoTKQ2fy0RQ-fIyPAa_BK9JC1XEXZyMgGBxVPAEel10l9n0ibSDAFLFQ3yzgjUIz_-3tJNUhpHARCcfVKzxA95o/s200/Iku.png" width="166" yya="true" /></a></div>
Kunihiko Ikuhara's directorial work on <em>Sailor Moon S</em> in 1994 was well-acclaimed, but he didn't have the creative control he wanted, so after <em>Sailor Moon SuperS</em>, the fourth season of <em>Sailor Moon</em>, he and other artists who had worked on <em>Sailor Moon</em> left to form the creative institution "Be-Papas". Their goal? Create a revolutionary new <em>shojo</em> anime that no one had seen before. Be-Papas consisted of Ikuhara, animator Shinya Hasegawa, screenwriter Yoji Enokido, and mangaka Chiho Saito, though Saito had little to do with the anime and was instead tasked with writing the manga. The former three members have proven themselves to be some of the most talented men in the anime business; Ikuhara recently directed and wrote <em>Mawaru Penguindrum</em>, Enokido wrote for the acclaimed <em>FLCL</em> and <em>Ouran High School Host Club</em> anime, and Hasegawa's been a key animator and character designer on several anime, including the aforementioned <em>Evangelion</em>. Talented as they all are, it's Ikuhara's direction, influences, and attention to imagery that truly make <em>Utena</em> special.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/6BUw5wMWCWc" width="420"></iframe></center>
<br />
<a href="http://www.gwern.net/docs/1997-utena" target="_blank">Ikuhara has stated</a> that "(he had to) make this a show with a special type of visual expression (and) that's the only way people will want it." It did build upon previous anime influences, the most heavy and most-talked-about being Ryoko Ikeda's <em>The Rose of Versailles</em>. From the obvious mention of the revolution (though the revolution in <em>Utena</em> is more on a personal level than the political level <em>Rose of Versailles</em>' revolution would lead to) to the beautiful female protagonist who took on the image of a male role to defend a princess and the imagery that looks like it was taken straight from a fairy tale castle, <em>Utena</em> owes a lot of its visual cues to this show. There's also Ikuhara's well-known proclivity for female relationships, theatricality, and the occasional UFO in the background. Every image is important and serves some multilayered purpose; the floating castle in the sky, the phallic-shaped towers of the school, the constant usage of roses to frame the scenery, and the roar of a car engine all reflect the many themes of the show. That's not to say the show is all "ZOMG deep". The show is certainly aware of how downright silly some of this imagery is, and actively makes fun of itself without being hypocritical or too self-indulgent. As artsy as the show gets, it always remembers who its audience is.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7h50w9CpjEjcSEjSo_ADjhHl9TNeS1S-MfYw0IJ34YGnZsxHVSSorVZlUIoD_qnn7GkM3R7XpuuS08dQ9Wzbd3bEaKKYG7sBrX8ZFcWSbHrJycTjG9_t1wSICdbRWre5J33nxHxzU00A/s1600/Utena.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7h50w9CpjEjcSEjSo_ADjhHl9TNeS1S-MfYw0IJ34YGnZsxHVSSorVZlUIoD_qnn7GkM3R7XpuuS08dQ9Wzbd3bEaKKYG7sBrX8ZFcWSbHrJycTjG9_t1wSICdbRWre5J33nxHxzU00A/s320/Utena.jpg" width="320" yya="true" /></a></div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br /></div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
So what's <em>Revolutionary Girl Utena</em> about? Boy, isn't that the million dollar question? The most obvious answers to that question are "adolescence", "revolution", and "apocalypse", themes that are repeatedly stated throughout the series, but those are such broad concepts, and in its 39-episode run the series takes the time to explore every facet of those concepts and more. There have many different interpretations of what exactly every image in <em>Utena</em> means; the easiest answer would be "It's about sex!" It's certainly a valid interpretation; the motivation of many characters in the series is intrinsically sexual. The main antagonist of the series is a man obsessed with domination, cars, and sleeping with his sister, a textbook example of someone who has given into his desires and places them on others. Actually, stripping <em>Utena</em> of all its imagery and panache and focusing on the characters shows just how human they are. They're all broken and confused in some fashion that we can all relate to despite the magical nature of the series, and much like how <em>Evangelion</em> explored depression, <em>Utena</em> explored just how painful and weird growing up is. It is the most beautiful allegory for adolescence that I've ever seen.</div>
<br />
One could go on for days about <em>Utena</em>. There have been numerous essays devoted to entire episodes (even the extremely silly "Nanami's Egg" episode!), people are still debating whether or not Anthy is a good or evil character, and even its own director would come up with a new interpretation later down the road. Its importance and artistic achievements cannot be understated, but 1997 had other interesting developments as well. <em>Utena</em> wasn't the only show to give a makeover to the <em>shojo</em> genre.<br />
<br />
<strong>CLAMPing Down on Remakes</strong><br />
<br />
Briefly returning to <em>Evangelion</em>, it seems that after the show had shattered the anime scene, everyone was thinking of ways to remake old stories and make them deeper, darker, and more complex than they were before. <em>Revolutionary Girl Utena</em> could be seen as a reinterpretation of the <em>shojo</em> genre as a whole, <em>Evangelion</em> would reinvent its own ending with the film <em>End of Evangelion</em>, but there was an OVA that attempted to retell a story that had been released only three years prior. That OVA is <em>Rayearth</em>, a dark retelling of the <em>Magic Knight Rayearth</em> TV series.<br />
<br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirbIz7J2aGkHOOwyQtHULThPk2WQtyEBUI72j5EpIl1c7nt_E6PVXro_mcm2dHr2ZNsfTiJFMVuGTjf2Y4ZsKDZ95lln14T3rAHmbBc3cUqQPEBOwjsiMKMu_qJ46ZVVnCfeynS5Yg2No/s1600/Rayearth.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirbIz7J2aGkHOOwyQtHULThPk2WQtyEBUI72j5EpIl1c7nt_E6PVXro_mcm2dHr2ZNsfTiJFMVuGTjf2Y4ZsKDZ95lln14T3rAHmbBc3cUqQPEBOwjsiMKMu_qJ46ZVVnCfeynS5Yg2No/s200/Rayearth.jpg" width="186" yya="true" /></a>I liken the original <em>Magic Knight Rayearth</em> as a <em>shojo</em> story with <em>shonen</em> tropes. The original was an early work for the popular manga artist group known as CLAMP, telling the simple story of three girls thrust into a fantasy world who must become knights and save the princess. Oh, and they pilot mechs at the end of the first season. The <em>Rayearth</em> OVA drops the "stuck in a fantasy world" plot altogether, instead having the evil forces of Cephiro invade Tokyo. There's a larger focus on mecha battles and personal relationships; early on the OVA establishes that the girls are moving away from each other and are upset about the separation. </div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br /></div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
Sadly, <em>Rayearth</em> wasn't as successful as one would hope. The animation is good for an OVA of its time, and CLAMP's art looks great, but the story fails to measure up to its most obvious influence. However, it is important to recognize it as one of the earliest anime to try and recapture the magic of <em>Evangelion</em>.</div>
<br />
For as powerful as the <em>Evangelion</em> influence was becoming, 1997 was also the year of the <em>Sailor Moon</em> legacy, as the animated show finally came to an end this year. One can draw obvious comparisons between <em>Sailor Moon</em> and <em>Revolutionary Girl Utena</em> due to crossover of staffs, but there would be another revival in 1997 that would take cues from the popular magical girl franchise. <br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/FMTAhKNTCnw" width="420"></iframe></center>
<br />
<em>Cutey Honey Flash</em> is a remake that goes in a completely different direction from the <em>Rayearth</em> OVA. The original 70's <em>Cutey Honey</em> TV series was geared towards boys, but Go Nagai had originally conceived the series as a <em>shojo</em> title to sell dolls. The plan was scrapped and the show was retooled to appeal to boys, adding fan service and more violence. <em>Cutey Honey Flash</em> shares many of the staff members from <em>Sailor Moon</em>, at least the ones who didn't leave to make <em>Utena</em>; Noriyo Sasaki and Ryoto Yamaguchi had worked on <em>Sailor Moon</em> as an episode director and script writer, respectively, and they were put in charge of the latest version of Go Nagai's transforming vixen. It's not a one-for-one copy of <em>Sailor Moon</em>; the monsters of the week are definitely Go Nagai creations, but the rest of the cast wouldn't look out of place amongst the Sailor Scouts. Honey even has her own Tuxedo Mask in the form of "Twilight Prince". Compared to every other incarnation in the franchise, <em>Flash</em> is an odd duck for toning down the more adult content in favor of young girl appeal , but definitely enjoyable if you can't get enough of magical-girl warriors like the kids in the 90's.<br />
<br />
<strong>Gotta Catch All That Money</strong><br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/fl7BJB3Lm-M" width="420"></iframe></center>
<br />
The <em>shojo</em> anime front was well-covered, but what were the boys watching? The "Brave" series would put out its final and most popular mecha series, <em>King of Braves GaoGaiGar</em>. I personally blame the catchy opening song for why this show caught on, but it was also a fairly solid super robot show to boot. <em>Slayers Try</em>, the third season of the <em>Slayers</em> franchise and the last we would have for a long time, also debuted this year. <em>Slayers Try</em> was basically more of the same <em>Slayers</em> that people know and love, but the franchise was starting run out of steam at this point. Studio Pierrot would try to recapture the magic of <em>Yu Yu Hakusho</em> with <em>Flame of Recca</em> to limited success. While both <em>Slayers</em> and the "Brave" series were popular boy franchises, they were on their last legs at this point, leaving room for a new kids' franchise to emerge and take the anime scene by the balls.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="http://www.youtube.com/embed/qyXTgqJtoGM" width="420"></iframe></center>
<br />
Pokeballs, to be exact. (Sing along, everyone!)<br />
<br />
<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwPYNtw5gI_wEd2tg-5qzmSF4ZRnyGTqA5sjFMwBiPvHmPWHzc0UYZxVwzpfrg41e9hRp-KKQnYH4kIW3us9buSVbLWzCJSe5e7ugR2G8ph0ngkQyUuEs3E-GuKFYfxlWpZFde0i52Vno/s1600/Pokemon.png" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="154" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwPYNtw5gI_wEd2tg-5qzmSF4ZRnyGTqA5sjFMwBiPvHmPWHzc0UYZxVwzpfrg41e9hRp-KKQnYH4kIW3us9buSVbLWzCJSe5e7ugR2G8ph0ngkQyUuEs3E-GuKFYfxlWpZFde0i52Vno/s200/Pokemon.png" width="200" yya="true" /></a></div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
If you've never heard of <em>Pokémon</em>...first of all, welcome to anime, and second, how long were you under that rock? Many Americans know <em>Pokémon</em> as the biggest fad of the late 90's, but the <em>Pokémon</em> games still sell millions of units, and the anime, while never truly progressing in story by keeping Ash Ketchum as the same dumb ten-year-old we all know, is the most successful anime adaptation of a video game franchise, nearing 800 episodes as of the time of this article. Every 90's kid wanted to be a <em>Pokémon</em> trainer, bought every game that came out, and spent our free time crushing on Misty.</div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br /></div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
It's interesting to note that the anime, including the movies that still premiere in Japanese theaters, is still under the direction of Kunihiko Yuyama. The guy was involved in some great anime in the 80's and 90's, including two cult-favorite films, <em>GoShogun: The Time Étranger</em> and <em>Windaria</em>. (Think about that next time you see Ash forget for the billionth time that electric attacks don't work on ground-types.) </div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br /></div>
(It would be remiss to neglect to mention the infamous seizure episode of <em>Pokémon</em> known as "<a href="http://en.wikipedia.org/wiki/Electric_Soldier_Porygon" target="_blank">Electric Soldier Porygon</a>", as it aired in December of this year. Many people know of it, but that's what makes it fascinating: that everyone in the world heard about a cartoon in Japan giving kids seizures. For a brief time, the whole world cared about anime, albeit because it was hospitalizing young kids.)<br />
<br />
<strong>Going Berserk</strong><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLM6b0rA-WgaZ5q5hbhVRTkp7qNbzFHFqkyF7IXdEe0aAL53FdFz_MTLav7xy7UMgN5rRAa_Kmj1I8tP2VJP_QjFXHoonNHZlaloNYN9VRfI0G3-I8OcXptqWLD3GhW9Xfj5E9qbXtwks/s1600/Berserk.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLM6b0rA-WgaZ5q5hbhVRTkp7qNbzFHFqkyF7IXdEe0aAL53FdFz_MTLav7xy7UMgN5rRAa_Kmj1I8tP2VJP_QjFXHoonNHZlaloNYN9VRfI0G3-I8OcXptqWLD3GhW9Xfj5E9qbXtwks/s320/Berserk.jpg" width="221" yya="true" /></a></div>
We're blessed to live in a world where <em>Game of Thrones</em> and Peter Jackson's <em>Lord of the Rings</em> exist. There's no shortage of "mature" fantasy shows now, but for anime in the 90's, the most popular swords and sorcery anime was arguably <em>Slayers</em>, which was a gag comedy with some fantasy action on the side. A fantasy epic with deep characters, complex mythology, and some good ol' gore and sex? Only one such anime comes to mind, and it debuted in 1997 as <em>Berserk</em>.<br />
<br />
Now the <em>Berserk</em> manga had already been around awhile by the time this adaptation of the "Golden Age" arc was animated, having debuted in 1989. The anime doesn't do the visuals of the manga justice; character designs are good, but the limited animation is noticeably poor even among its contemporaries. It almost doesn't matter when the story is this good; everyone loves seeing a dude with a big sword chop up demons, but what people love more is a tragic hero face insurmountable odds.<br />
<br />
Underneath the grisly gore and ghouls, the heart of <em>Berserk</em> is its humanity; the main heroes Guts, Casca, and Griffith all feel like people and not anime stereotypes. In fact, one might say <em>Berserk</em> could have been made almost anywhere; it's a story steeped in European visuals but Greek tragedy. Perhaps this is why <em>Berserk</em> continues to resonate with people to this day; like <em>Utena</em>, we can point to its influences easily, but it's all in the writing for why this series is special. The anime is hurt by shoddy animation and an infamous "read the manga" ending, but it's almost a masterpiece in spite of that. Now, if only we could know for sure the manga will end before the author dies.<br />
<br />
<strong>That's A Wrap</strong><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5ZBTO_13LX_UoBpkop4CEmUg2LBUBnJRXsdnpm44dmtZ-rJnDA8pbPavRhRn105dmjadf8AiZwJd07-PrF8RzUqK1hJFIBKilRtKoyn0pokAKGMPUwtGiu76C7QI_2U6jBg6GiAveHjs/s1600/EoE.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5ZBTO_13LX_UoBpkop4CEmUg2LBUBnJRXsdnpm44dmtZ-rJnDA8pbPavRhRn105dmjadf8AiZwJd07-PrF8RzUqK1hJFIBKilRtKoyn0pokAKGMPUwtGiu76C7QI_2U6jBg6GiAveHjs/s400/EoE.jpg" width="400" yya="true" /></a></div>
<br />
While this blog is devoted to TV anime, I feel it's necessary to briefly mention what anime films debuted this year. I already mentioned <em>End of Evangelion</em>, but Satoshi Kon's <em>Perfect Blue</em> and Hayao Miyazaki's <em>Princess Mononoke</em> also came out. <em>Perfect Blue</em> would be the film that put Kon on the map, while <em>Princess Mononoke</em> is perhaps the pinnacle of Miyazaki's career. All three films are spectacular, making 1997 one of the best years in anime film.<br />
<br />
Cliched as it sounds, the word "revolution" defines this year in anime. It was a year of brand new franchises, attempts to change what anime could be, and proving that there was an audience for shows that took its audience more seriously. It wouldn't even stop with this year; the post-<em>EVA</em> age was just beginning, and there are even more hits to come.<br />
<br />
<strong>Next time: 1998, the year Japan began to export "cool".</strong>Geoffhttp://www.blogger.com/profile/02385629483209026981noreply@blogger.com1tag:blogger.com,1999:blog-5455108671364992297.post-60526993064295127092013-06-02T09:27:00.001-07:002013-06-02T09:30:21.254-07:00Golden-Ani Updates: Future Posts and Hall of Fame Votes<div class="separator" style="clear: both; text-align: center;"><a href="http://www.flickr.com/photos/30193336@N06/8925373721/" target="_blank" style="margin-left: 1em; margin-right: 1em;"><img src="http://farm4.staticflickr.com/3822/8925373721_41f7561132.jpg" id="blogsy-1370190452577.7422" class="aligncenter" alt="" width="500" height="400"></a></div>
<p> For those of you who may have noticed, we have been low on content recently. Part of this is intended, as editing two articles per week has become heavy lifting. (No real complaints here, but it's more taxing than it first appeared!) Part of this is also unintended, as we have had one person back out on us at an inopportune time.</p>
<p>However, that doesn't mean the blog has been left to grow weeds in the intermission. A little brainstorming during a podcast (more on that in another post) and with some fellow bloggers at Anime Boston has led to some ideas that merit some acknowledgement.</p>
<p><strong>The Future of Golden-Ani</strong></p>
<p>First of all, there have been a few people who have wondered if there will be a printed book version of Golden-Ani. At the moment, it would be hard to envision how such a project would come about, but I can picture some sort of print media that could be distributed at a con event in the future. Perhaps it would get people's minds focused on older shows if they were to be given something that required a turn of the page and not the click of a link. It's been on the burner for now, but certainly not ignored.</p>
<p>Second of all, there have been questions about the future of this blog once we do hit 2012. Does it sit here like Stonehenge for visitors to explore? Does it get revamped every year, maybe with a blogger covering a single show into more depth?</p>
<p>What we have been exploring is a better way to cover the decades. Currently, we're exploring the past 50 years as yearly slices of the loaf of bread that is the past half-century of televised anime. If we were to push those slices back together and cut along the grain, perhaps we could envision a study into particular genres (e.g. harem comedy, sports drama, seinen, shônen, shôjo) and how they have evolved over time. We'll be drumming up business for that kind of analysis perhaps around July.</p>
<p><strong>Hall of Fame Voting</strong></p>
<p>Lastly, what has come to mind is some sort of way to analyze all of the shows overall. We've been nailing some of the bigger features, but once this thing is over, there should be some way to pick out the important ones. That's where you, the writer, and you, the reader, come into play.</p>
<p>We will be starting a formal vote for a "Hall of Fame" ranking that stretches over the full 50 years. The plan is to post a generic ballot in the next day or so, then have people send their choices for the best shows of the past 50 years to a generic mail account. This will likely be something akin to the Hall of Fame voting styles used in professional sports, where voters can say yea or nay to shows and are not restricted to having to select a certain amount of shows. (But for sanity's sake, the ballot will likely be capped at twenty selections.)</p>
<p>Once a ballot is composed, it will be posted here on Golden-Ani, so keep your eyes peeled! We'll also be resuming our posts this week, once our emergency replacement has sent the 1997 article. Almost 15 more years to go before the end!</p>
<p> </p><div style="text-align: right; font-size: small; clear: both;" id="blogsy_footer"><a href="http://blogsyapp.com" target="_blank"><img src="http://blogsyapp.com/images/blogsy_footer_icon.png" alt="Posted with Blogsy" style="vertical-align: middle; margin-right: 5px;" width="20" height="20" />Posted with Blogsy</a></div>Geoffhttp://www.blogger.com/profile/02385629483209026981noreply@blogger.com3tag:blogger.com,1999:blog-5455108671364992297.post-1186942372135958822013-05-28T18:52:00.001-07:002013-05-28T18:52:33.877-07:001996: Pivot Point<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqUkanFMREH-ZX30xRx_KN1-qtt15Fh68wMPwyw9UMGFxvDdnuhMFv8WyeS1moc0ZEM0GWXHIA8RKIvoS_28v8eloQYsJT0Mm1ZHKJJ4LTQ7slisXasIFxvzNrUvVNW7-O1WsNuUDjcas/s1600/New+Picture+(1).bmp" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="131" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqUkanFMREH-ZX30xRx_KN1-qtt15Fh68wMPwyw9UMGFxvDdnuhMFv8WyeS1moc0ZEM0GWXHIA8RKIvoS_28v8eloQYsJT0Mm1ZHKJJ4LTQ7slisXasIFxvzNrUvVNW7-O1WsNuUDjcas/s200/New+Picture+(1).bmp" width="200" yya="true" /></a></div>
<em>Kadian1364 grew up with anime since middle school during the Pokemon and Toonami boom in the late 90's, and developed a voracious appetite for Chinese girl cartoons that hasn’t stopped since. Sometimes anime reviewer at <a href="http://www.nihonreview.com/" target="_blank">the Nihon Review</a></em><em>, sometimes content to make his opinion known on other blogs, he spews most of his on the Internet’s soapbox, Twitter (</em><a href="https://twitter.com/kenyaboi1364"><em>https://twitter.com/kenyaboi1364</em></a><em>). He also relishes running weekend Skype calls with friends viewing the best and worst of anime’s history.</em><br />
<br />
<hr />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtq6jFgHlqinlddZACvnB3ss5RBh_tV42TtQ5D9MekSZzDKTVuOkG8jAEyR4KDvrkfPpQyuQ8ngYj8-e9L_9gm-1pzdZGgPtYd77sp9Vxob67gXg5Fvg538Z0ngf_eGUYQFXyb5nZkx_s/s1600/You%2520re%2520Under%2520Arrest-tv-series-online.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtq6jFgHlqinlddZACvnB3ss5RBh_tV42TtQ5D9MekSZzDKTVuOkG8jAEyR4KDvrkfPpQyuQ8ngYj8-e9L_9gm-1pzdZGgPtYd77sp9Vxob67gXg5Fvg538Z0ngf_eGUYQFXyb5nZkx_s/s1600/You%2520re%2520Under%2520Arrest-tv-series-online.jpg" yya="true" /></a></div>
The mid-90's was a time of affirming stylistic and philosophical changes in the anime industry. The recognizable stereotype of popular anime characters folks still associate with the medium–realistic body proportions with large, expressive eyes and youthful facial features–largely developed and matured in these years. It was a hybrid of the cartoonish Disney-like designs Tezuka popularized and the realistically shaped heroes of the gritty science fiction and OVA anime that populated the 80's. It wasn't until a decade later would we see the dawn of a new character design paradigm. At the same time, disruptive titles in recent history like <em>Saint Seiya</em>, <em>Sailor Moon</em>, and <em>Neon Genesis Evangelion</em> made artists and producers think differently about who could be their prospective audience and how to design new works to reach them. Cross-gender pleasing characters were of course a major part of this emerging design philosophy, but the novel combinations of diverse genres was an emerging effort to broaden the demographic appeal of traditionally niche, gender-exclusive brands.<br />
<br />
But before we get to the meat of this article, there are the also-rans worth enumerating. Of course, the second half of <em>Evanglion</em> in early '96, with its psychological complexity, artistic abstraction, and culturally relevant topics, so precisely struck a nerve with an entire generation of viewers that clones and variations would be seen for years to come. <em>Slayers Next</em>, the second of a series of seemingly arbitrarily titled seasons, continued the distinctly 90's-flavored high-fantasy gag-comedy action-adventure franchise. Kosuke Fujishima's <em>You're Under Arrest</em> found a home on TV after its '95 OVA, but instead of fluid car-chase animation, it found pleasant success in low-budget traffic police sitcom fare, spawning three seasons in total through the 90's and 2000's.<br />
<br />
<em>Gundam</em> continued to roll out sequels and spinoffs, with <em>After War Gundam X</em>, an alternate universe TV series in a post-apocalyptic scenario with maximum colony dropping absurdity, and the <em>08th MS Team</em>, an OVA returning to the "One Year War" from the perspective of grunts embroiled in the jungles of Southeast Asia, which earned points with fans for its gritty Vietnam-like take in the favored continuity. And the big traditional <em>shoujo</em> series from the year, <em>Kodomo no Omocha</em> (a.k.a. <em>Kodocha</em>), was the most off-the-wall, dizzyingly hyperactive melodramatic romantic comedy about child actors you'll probably ever see. (<em>And this is just the opening theme! - Ed.</em>)<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/8Ez0zrDxwkY" width="420"></iframe></center>
<br />
While numerous titles deserve their due, a few series are so distinguished for finding trend-setting, audience-broadening combinations of diverse genre elements and their enduring popularity that they justify greater elaboration of critical merit.<br />
<br />
<a name='more'></a><br />
<em><strong>Detective Conan</strong></em><br />
<br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnqrkP_z03RL5rhouYiCUTkCPaXSIfY8Y7Q7PNHkNirkYOjv0W_gebKkeuAogpTIvSEN8MdwhsJ9DDYGYFHWgDK72YvappK7sCzmKRa4xYpL_jgPN_ntBI2Ovta6Y0uroZGslRwtOK8es/s1600/851f0bfd.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnqrkP_z03RL5rhouYiCUTkCPaXSIfY8Y7Q7PNHkNirkYOjv0W_gebKkeuAogpTIvSEN8MdwhsJ9DDYGYFHWgDK72YvappK7sCzmKRa4xYpL_jgPN_ntBI2Ovta6Y0uroZGslRwtOK8es/s200/851f0bfd.jpg" width="200" yya="true" /></a>If a great TV show must stand the test of time, <em>Detective Conan</em> (<em>Meitantei Konan</em>) can claim that honor as much as any anime, being the longest continuously-running anime series Western fans care about. Sure, a reader of this blog will have learned about long-running family-friendly sitcoms like<em> Sazae-san</em> and <em>Doraemon</em>, which are popular with Japanese audiences but for various reasons never translated into domestic success internationally, but you've probably seen or read at least a little bit of <em>Detective Conan</em>, which has material widely available in English (and even briefly saw airtime on Cartoon Network redubbed as <em>Case Closed</em>).</div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<br /></div>
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<em>Shonen Sunday</em>'s popular 1994 manga-turned-anime series follows a genius teen super sleuth who was poisoned into a youth-sized version of himself. Aided by the inventions of his friendly kooky neighborhood scientist (what child hero doesn't have one of these?), and using the office of his teen love interest's private detective dad to access cases, he solves crimes to hopefully, maybe, looks for clues to return to normal. Spoiler: 18 years and still no permanent luck.</div>
<br />
The trick to <em>Detective Conan</em>'s broad appeal among both mainstream Japanese and Western animephiles is combining two genres traditionally aimed at different audiences in accessible ways. The child protagonist Conan with his toy-like devices and mystery-solving adventures with elementary school friends is standard young boy's stuff, but unlike similar youth mystery series, the drama and danger are often amped up and involve grisly murders with outrageous twists Agatha Christie would be proud of. <em>Detective Conan</em> isn't afraid to borrow hard-boiled elements from the noir-detective stories, and the main character's assumed name, Conan Edogawa, references to classic detective literature figures in Arthur Conan Doyle and Edogawa Rampo, adds interest for older audiences. The episodes are structurally predictable and self-contained, where the culprit is dramatically revealed and confronted at the end. Its serial nature also allows viewers to jump in at nearly any point in the series, making <em>Detective Conan</em> both easily compelling and accessible entertainment. With three live-action dramas, numerous video games, and annual animated feature films (not to mention 16 years of uninterrupted weekly episodes), <em>Detective Conan</em> is a long-time staple of the Japanese pop-culture landscape.<br />
<br />
<strong><em>Rurouni Kenshin</em></strong><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgImPMXBot8t_l_vMmKSHlGlDipazYNHAOcELc9lSU58HH6vi3aa6vPoF5vAPKHfe4hqwgx8csPSKeT4oAAfnjwQAPPbNcXhSKR5axrZG94coNtab7QjDReOeZbNp5r4Pc5YOuRgHUPC5E/s1600/Himura.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgImPMXBot8t_l_vMmKSHlGlDipazYNHAOcELc9lSU58HH6vi3aa6vPoF5vAPKHfe4hqwgx8csPSKeT4oAAfnjwQAPPbNcXhSKR5axrZG94coNtab7QjDReOeZbNp5r4Pc5YOuRgHUPC5E/s320/Himura.jpg" width="249" yya="true" /></a></div>
<em>Detective Conan</em> wasn't the only popular 1994 <em>shonen</em> series to make the jump to animation in 1996. From the pages of rival magazine <em>Shonen Jump</em> came <em>Rurouni Kenshin</em>, a tale set in the aftermath of the Meiji Restoration about a wandering master samurai who can't escape the demons of his or Japan's recently violent past. <em>Kenshin</em> has all the hallmarks of popular <em>shonen</em> action series that have come before: a premise that references well-known figures and movements of Japan's history, an eccentric, charismatic cast of heroes and villains (The Shinsengumi! Giants! Mummies!), escalating battles of superhuman feats, and themes of friendship, revenge, victory, and redemption. Hoever, <em>Rurouni Kenshin</em> is also part of the emerging trend of opening up of <em>shonen</em> action to female eyes. Like some of its contemporaries, <em>Yu Yu Hakusho</em> and <em>Gundam Wing</em>, Kenshin's character designs are noticeably more <em>bishonen</em>-like than the young boys' manga of yesteryear. Featuring softer facial attributes and leaner physiques (even Kenshin himself is remarked at within the story for looking like a woman) and storylines with more women in action-oriented roles, this crop of <em>shonen</em> heroes aren't your father's <em>Fist of the North Star</em>.<br />
<br />
All this resulted in great popularity, <a href="http://en.rocketnews24.com/2013/02/26/the-best-of-the-best-of-manga-shonen-jumps-20-best-sellers-of-all-time/" target="_blank">with a cool 55 million total volumes sold to date</a>, joining rare company in the <em>Shonen Jump</em> pantheon. Unfortunately for the anime, its popularity outpaced the manga, resulting in its infamous season of terrible filler episodes, like a looney Kaoru obsessing over an "engagement" ring from Kenshin, the gang spoiling train robbers in a wild west-style heist, and the whole travesty of the Feng Shui arc. Concluding on these episodes unfortunately meant that the last and greatest <em>Kenshin</em> story arc never made it to television, only inadequately adapted in a short OVA later. However, almost 15 years since the manga's conclusion, <em>Kenshin</em> continues to see life, most recently as last year with an OVA remake of the Kyoto arc, a reissue of the manga, and a live action film adaptation, speaking to its enduring popularity across genders and generations.<br />
<br />
<em><strong>Vision of Escaflowne</strong></em><br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/rzZvm3-CTdY" width="420"></iframe></center>
<br />
On the topic of female-friendly attitudes in traditionally male-dominated genres, there's no better series to exemplify this transformation than <em>The Vision of Escaflowne</em>. While <em>Gundam</em> has always had a number of bad boy bishies, and <em>Magic Knight Rayearth</em> featured girls summoning mecha-like familiars in a fantasy setting, what makes <em>Escaflowne</em> unique is how it was originally designed as another show for the boys but turned into a very girl oriented one. Conceived by Shoji Kawamori (of <em>Macross</em> and <em>Aquarion</em> fame) and supposed to be helmed by super robot maestro Yasuhiro Imagawa before he went to instead direct <em>G Gundam</em>, replacement director Kazuki Akane ran with the themes of love, war, and mysticism and redesigned the whole project with more <em>shojo</em> appeal. Leading lady Hitomi was changed from curvy babe to tomboyish everygirl who was magically whisked to a parallel world embroiled in war where knights in giant mobile armors fight for love and honor. Her use of tarot cards was a popular schoolgirl pastime, and the love triangle developing between her and the two leading men was as important a focus as the continent-spanning war and powers of destiny.<br />
<br />
With all this talk of girl this and boy that, let's not forget <em>Escaflowne</em> is a plain good show. In the same way 90's-era <em>Final Fantasy</em> packaged familiar high fantasy and steampunk tropes into an attractive collage of adventure, romance, and supernatural-influenced drama, <em>Escaflowne</em> so too utilizes a nearly identical formula into a compelling, high-paced narrative. Its musical score was the TV anime debut of celebrated composer Yoko Kanno (<a href="http://blog.animeinstrumentality.net/2011/03/composer-of-the-month-yoko-kanno/" target="_blank">you may have heard of her</a>), and it was the breakout role for fan favorite voice actress/singer Maaya Sakamoto (most recently in <em>Rebuild of Evangelion</em> as Mari). The all-around high quality of production made Escaflowne stand out as a unique and long-held favorite anime of fans from that age.<br />
<br />
<em><strong>Martian Successor Nadesico</strong></em><br />
<br />
While <em>Escaflowne</em> captured the age's zeitgeist of broadening appeal, romance, and high fantasy in the form of mecha, no other show as deftly summarizes the history and modes of the mecha genre as <em>Martian Successor Nadesico</em>. Following the exploits of the independent-minded crew of the most advanced space battleship, Nadesico, amidst humanity's war against aggressive Jovian lizards, the series reflects on three eras of giant robot anime in a quasi-dramatic, subversively tongue-in-cheek, commercially <em>otaku</em>-friendly series.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/XphjF-fHZkM" width="420"></iframe></center>
<br />
On its face, this anime is structured like the traditional "real robot" space operas in the vein of <em>Yamato</em> and <em>Mobile Suit Gundam</em>, a form enumerated and refined throughout the 80's. Officers of a lone ship discuss tactics and convey orders on a large bridge while a squadron of mecha pilots sorties against endless enemy swarms, but a major plot-relevant point is that the cast of <em>Nadesico</em> are various levels of anime and <a href="http://en.wikipedia.org/wiki/Gundam_model" target="_blank">gunpla</a> <em>otaku</em>. The big in-universe robot anime, <em>Gekiganger 3</em>, is a parody of 70's-era super robot anime with hot-blooded grandstanding and outrageous robot designs and attacks (particularly referencing <em>Getter Robo</em> with its three different pilots). Many of the characters look to it for inspiration and wisdom, and they even hold a <em>Gekiganger</em> convention on board.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilFFXzrEoIeqJWfMJ7yPXsRSEaE7XuEDp3eCwpmB8jpYqkhx_A0Z0gsKBNEh6HiReUBSUjDOz1Pz2OA89Q87vCprYRSl6aA3oM3GstERMPytnKS_HVvyWGmJq6VdG97zAsdmDpiXLraUc/s1600/rsdvd1268_header.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="141" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilFFXzrEoIeqJWfMJ7yPXsRSEaE7XuEDp3eCwpmB8jpYqkhx_A0Z0gsKBNEh6HiReUBSUjDOz1Pz2OA89Q87vCprYRSl6aA3oM3GstERMPytnKS_HVvyWGmJq6VdG97zAsdmDpiXLraUc/s200/rsdvd1268_header.jpg" width="200" yya="true" /></a></div>
Still, <em>Nadesico</em> is markedly distinct from the mold of robot-anime shows from either the 70's or 80's, looking forward to catering to a new generation of <em>otaku</em>. We now recognize its <em>moe</em> archtypes and harem-like cast composition, featuring <em>bishojo</em> tropes in the captain, officers, ace pilots, and the little genius girl, Ruri, who helped Rei Ayanami popularize a whole cadre of monotone, mysterious white/blue-haired girls. Sometimes the knowing self-aware winks to otaku culture clashes with the dramatics of the war theater, and the plot ends up a hot mess, but no one can deny <em>Nadesico</em>'s prominent position as a herald to both the history and future of a genre that was already beginning to see significant transformation.<br />
<br />
In an interesting twist of history, <em>Nadesico</em>, the once hip fusion of old and new mecha, has been itself copied by 2011's <em>Mobile Suit Gundam AGE</em> concerning major plot elements. And so anime continues to repeat and reference itself.<br />
<br />
<strong>Damn you, Yamato Takeru no Mikoto! (<em>Garzey’s Wing</em>)</strong><br />
<br />
(For my final trick, I have no clever transitions to tie highly regarded and historically relevant anime with the pits of the medium, but bear with me.)<br />
<br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqbjBv3_N8AMrdQtdm4JNVY_k2bx3vACD9OjZ620QfjdSzumjRjMIC3g8RtILDuFPmK3A_OiHVvJNQ85Q2YFhZu-uUbzwF4c4B_tp-bEhfgU6vEn9jZ3mbV-vfvKVlyzarnRCOiC38XxM/s1600/garzey3.png" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqbjBv3_N8AMrdQtdm4JNVY_k2bx3vACD9OjZ620QfjdSzumjRjMIC3g8RtILDuFPmK3A_OiHVvJNQ85Q2YFhZu-uUbzwF4c4B_tp-bEhfgU6vEn9jZ3mbV-vfvKVlyzarnRCOiC38XxM/s200/garzey3.png" width="200" yya="true" /></a>When the blog's editor first announced this project, folks quickly scrambled to claim years with their favorite shows. I too made an early bid only to be late by minutes on my first choice, so I quickly reviewed the titles in some remaining years. 1996 immediately stuck out, not with an enviable slate of fan favorites I've made this elaborate article about, but initially recognizing a slew of universally ridiculed (and in turn, beloved-for-ridiculing) anime titles that folks in the circles I run in like to call "Terribad". Though no TV series have been covered (all of them OVAs), they're too memorable in the anime fandom consciousness not to devote some digital ink to their "greatness".</div>
<br />
<a href="http://www.animenewsnetwork.com/buried-treasure/2007-09-20" target="_blank">Justin Sevakis sums up Terribad nicely</a>; "it must be poorly made, it must be CRAZY, and above all, it must NOT be boring." <em>Garzey's Wing</em> was part of Yoshiyuki Tomino's effort to creatively branch out from the monolithic <em>Gundam</em> franchise he directed for so long, but he probably didn't want to be remembered for this effort. <a href="http://www.youtube.com/watch?v=NWru5o07j_I" target="_blank">Aided by one of the worst English dubs of all time</a>, this convulsing, absurd, ponderous heap of magic geese, parallel dimensions, mutant dinosaurs, garbled terminology, and nonsense one-liners ("Damn you, Yamato Takeru no Mikoto!") is the stuff legends.<br />
<br />
<em>Garzey's Wing</em> headlined a year of OVAs filled with the likes of <em>M.D. Geist 2</em>, <em>Apocalypse Zero</em>, <em>X 1999</em>, and <em>Panzer Dragoon</em>, all colossal audiovisual storytelling disasters by any meaningful critical metric. Yet these bottom-of-the-barrel screw ups are remarkable because they go so far beyond garden variety bad that people like me affectionately call it "Terribad", something "so bad it's good". This too, is an important part of the landscape of anime, which I would be remiss not to mention.<br />
<br />
<strong>Next time: 1997. All good things that must come to an end and have something capable of replacing it.</strong>Geoffhttp://www.blogger.com/profile/02385629483209026981noreply@blogger.com0tag:blogger.com,1999:blog-5455108671364992297.post-59398094386168938132013-05-15T18:03:00.000-07:002013-12-12T17:57:43.147-08:001995: A Year of Old Ideas in New Ways<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinOUi84Cb3gM5bFOfcLejbE50-Wbo3TebKeIdlNyfgwWDIEjnVP_0FW-4uiboiKsGTk3wM0T4Jt9PWhnc1PYRVTSr56IZVWPvd2qTYB2KJimNolFDPaCMuaZDS3rVpZR0FumCT619cN5o/s1600/New+Picture.bmp" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="95" pua="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinOUi84Cb3gM5bFOfcLejbE50-Wbo3TebKeIdlNyfgwWDIEjnVP_0FW-4uiboiKsGTk3wM0T4Jt9PWhnc1PYRVTSr56IZVWPvd2qTYB2KJimNolFDPaCMuaZDS3rVpZR0FumCT619cN5o/s200/New+Picture.bmp" width="200" /></a></div>
<em>Ray (@<a href="http://twitter.com/R042" target="_blank">R042</a>) originally didn't intend to be an anime blogger, but quickly discovered he quite enjoyed it. A big fan of mecha and science-fiction after his first experience of anime were Evangelion and Macross Plus, he writes articles at <a href="http://ideaswithoutend.wordpress.com/" target="_blank">Ideas Without End</a> about a wide range of subjects, and tweets endlessly when he isn't writing blog-posts or novels.</em><br />
<br />
<hr />
<br />
To start looking at a year in anime history, why not start with what the primary audience thought of it?<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlHEwPWOC83A4RFec5DzLbYi_W8ZudcDrQkJ0IJrFolaTdKxxJaLxhDMTnKe9zTWZ8IiCnD3Kbe-PqYZ8LGh_NQ8MY8loaALIKIcYKpOrgC0QLFy_Ldxj91wGEuJskoLEXTPpo6g2hUOg/s1600/Rei_Ayanami.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" pua="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlHEwPWOC83A4RFec5DzLbYi_W8ZudcDrQkJ0IJrFolaTdKxxJaLxhDMTnKe9zTWZ8IiCnD3Kbe-PqYZ8LGh_NQ8MY8loaALIKIcYKpOrgC0QLFy_Ldxj91wGEuJskoLEXTPpo6g2hUOg/s320/Rei_Ayanami.jpg" width="233" /></a></div>
For this, <em>Animage Magazine</em>'s annual poll and review of the year in animation provides one snapshot of what some fans and viewers thought defined 1995. The answer appears to be that 1995 was the year of Megumi Hayashibara, who had already shown her chops as fiery lead characters (Ranma's female side in <em>Ranma 1/2</em>; Ai from <em>Video Girl Ai</em>). Voted "Best Voice Actor/Actress" purely on the basis of fan submissions to the magazine, it is quite possible to argue her immense popularity that year came from one role which provides the perfect place to begin looking at the year's most influential and significant series.<br />
<br />
<em>Neon Genesis Evangelion</em>, winner of the "Best Anime of 1995" award in <em>Animage</em> as well as three entries (#1, #3 and #9) on "Best Female Character", #2 on "Best Male Character" and winner of "Best Song" for its opening "Zankoku na Tenshi no Teeze" ("A Cruel Angel's Thesis"), is a fair candidate for the defining anime of the year. A series that, despite having a fraction of the number of episodes or series of any long-running big-name <em>shonen</em> show, or mecha juggernaut <em>Gundam</em>, has in its own way become a cornerstone of how anime is perceived both in Japan and overseas. Its enduring popularity is as much a result of the controversies and mysteries surrounding it–the prevalent symbolism and imagery are said to be meaningless, while the apparent non-ending of the TV series is resolved much later in <em>End of Evangelion</em>–as its specific merits as a super-robot anime.<br />
<br />
<a name='more'></a>Yet whether the Judeo-Christian imagery is specifically-chosen symbolism or simply picked for aesthetic reasons, <em>Evangelion</em> does have a recognisable visual language which has informed and influenced subsequent anime shows. Its characters are both products of past shows and archetypal prototypes for the classic defining features of super robot and comedy anime–the arrogant <em>tsundere</em>, the reluctant protagonist-pilot, the taciturn and mysterious girl–yet it is <em>Evangelion</em>'s versions of them in Asuka Langley Soryu, Shinji Ikari, and Rei Ayanami, respectively, which have stuck in the pop culture consciousness. Perhaps this is a triumph of marketing and capitalising on the series's divisive reputation, but regardless, it is impossible to mention anime to many fans nowadays without <em>Evangelion</em> cropping up. Indeed, it was (and still is, to a great extent) Rei, thanks to Hayashibara's performance of her, who is the "image" of the series perhaps more than its iconic mecha designs, which usually come to define a super robot anime's legacy. This truly shows how much of an impact the series had on the genre–and perhaps the medium–as a whole.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/qXoIEDYCF-A" width="420"></iframe></center>
<br />
Similarly, to overseas audiences it has an iconic status; the English-language release had an enduring popular dub audio track and was certainly among my–and likely many others'–first exposure to anime. Thus, <em>Evangelion</em>, considered both in the context of how it compared to the rest of 1995's anime shows and in light of its future continued success, was a truly significant series to air. Not only was it specifically the redefinition of the mecha genre that it has come to be held as by fans with the hindsight and capacity to see trends in fiction over a wider scale, but it represented a single series, and indeed a single character, in Rei, who became a pop-culture icon. The volume of <em>Evangelion</em> paraphernalia still produced, from the expected figurines and model kits to more esoteric items with less traditional target markets such as branded razors and more, almost counteracts the controversial audience responses to its multiple endings and repeated retelling; even if no single <em>Evangelion</em> show or movie is held to be universally liked, the whole <em>Evangelion</em> entity, so to speak, has that popularity.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
To continue from here, it is worth mentioning Hayashibara's other huge, franchise-opening role, Lina Inverse from <em>The Slayers</em>. An almost total contrast in role, it began what would become a long-running series of fantasy comedy anime with a protagonist who ultimately, much like <em>Eva</em>'s inimitable figure of Asuka, would embody the aggressive, slapstick violent-girl archetype. <em>The Slayers</em> is a kind of progression from past episodic action-comedy shows in the vein of <em>Dirty Pair</em> and even <em>City Hunter</em>; it takes a recognisable genre (in this case high fantasy) and uses it as a basis for a mixture of non-specific character humour and genre pastiche.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/r6BKRkM41y8" width="420"></iframe></center>
<br />
The first series of <em>The Slayers</em> stands out within its franchise as quite clearly an opening entry in a series that would develop; the show covers less of the cross-genre silliness, such as the tennis episode featured in its 1996 sequel <em>Slayers Next</em>, and many more episodes telling a more traditional fantasy story. In itself, this is interesting; a series like <em>Dirty Pair</em> focused almost entirely on serial-style disparate adventures with the unifying thread being its memorable characters. <em>The Slayers</em> develops this to tell a single story while finding time for individual escapades as a part of it.<br />
<br />
Continuing down <em>Animage</em>'s Top 20, we arrive at <em>New Mobile Report Gundam Wing</em>. The mid-1990s were a time when there was a true glut of <em>Gundam</em> series; prior to Wing was the unique <em>G Gundam</em>, and it was followed in short order in 1996 by <em>Gundam X</em>. This period was actually a time of quite significant experimentation for the franchise; three consecutive shows throwing the "Universal Century" storyline that had kicked it all off out of the window and exploring the same ideas from very different angles. <em>G Gundam</em> had been an attempt to marry the environmentalist, pro-peace themes of late "Universal Century" <em>Gundam</em> with martial arts adventures. <em>Gundam X</em> would be an attempt to tell a story of the failure of the <em>Gundam</em> ideal leaving a post-apocalyptic world of Newtypes and Mobile Suits.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2mDAyqwJ3pRKD5P1cKdoT17eqd2M5kOHdQqq5XjzGi9eGQXCxYbQqlKOuXZqpjWQkYZD5ugdhT0IxbsxwCj_e0DlH5uyYDKQXcD3YTZhiDCGYqjHVq08dxaRTp4kbWEx7X_s79ypzssw/s1600/Gundam_Wing_header.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" pua="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2mDAyqwJ3pRKD5P1cKdoT17eqd2M5kOHdQqq5XjzGi9eGQXCxYbQqlKOuXZqpjWQkYZD5ugdhT0IxbsxwCj_e0DlH5uyYDKQXcD3YTZhiDCGYqjHVq08dxaRTp4kbWEx7X_s79ypzssw/s1600/Gundam_Wing_header.jpg" /></a></div>
<br />
Yet <em>Gundam Wing</em> was something else; it is wholly maligned by some fans of the franchise as a move too far into overblown melodrama and ridiculous contrivance, and indeed it is quite confused in a narrative sense. However, it is ultimately the total, <em>ad extremum</em>, extension of the tropes to the <em>Gundam</em> franchise; a blind obsession with pacifism, a kind of cynical distrust of military authority, and the capacity for man to rule himself and the idea that would become increasingly popular in series like <em>Turn-A Gundam</em> and <em>Gundam SEED</em> that man can have a weapon of peace. These early <em>Gundam</em> alternate universes are thus best considered as a kind of trilogy, coming as they did after the "Universal Century" had been well and truly shut down with <em>Char's Counterattack,</em> the success of the franchise, and the demand for <em>Gundam</em> high, it was now time to explore the ideas from different angles and determine what made it successful.<br />
<br />
What proved to be popular were the characters, the aesthetic and the general tone of <em>Gundam Wing</em>. Its characters took positions #1, #3, #7, and #9 in the "Best Male Characters" poll from <em>Animage</em>, while its opening theme ("Just Communication" by Two-Mix) was #2 in the "Best Song" poll. That it proved so popular while also, although perhaps only with the benefit of hindsight, alienating core fans of the franchise and mecha anime more generally, is perhaps the mark of a successful alternate universe; it introduced to <em>Gundam</em> a new generation of fans from different demographics.<br />
<br />
<center>
<iframe allowfullscreen="" frameborder="0" height="236" src="http://www.youtube.com/embed/V8DeCkZqFQo" width="420"></iframe></center>
<br />
A comment often directed at <em>Gundam Wing</em> is that it was an effort to open the franchise up to a female audience and part of a wider movement to add more <em>shojo</em>-esque elements to the traditionally male-dominated mecha genre. 1995's #3 series according to <em>Animage</em>, <em>Magic Knight Rayearth</em>, was a combination of the more combat-oriented magical-girl genre (as arguably begun in 1993 with <em>Sailor Moon</em>) with elements of the mecha and fantasy genres. Created by renowned <em>shojo</em> manga creators CLAMP, it well-epitomises anime of its time as an attempt to merge successful single genres in new ways in order to broaden their appeal, while, in cases such as <em>Gundam Wing</em> and #5 series <em>Macross 7</em>, staying true to their source franchises. <em>Macross 7</em>, which began airing in October 1994 but mostly aired during 1995, was as divisive a franchise entry in its attempts to redefine what makes a <em>Macross</em> series as its <em>Gundam</em> counterparts in <em>G</em> and <em>Wing</em>.<br />
<br />
Thus, the most popular mecha anime shows of 1995–entries from <em>Gundam</em>, <em>Macross</em>, original entries <em>Evangelion</em> and <em>Rayearth</em>, and the "Yuusha" franchise entry <em><a href="http://www.yusha.net/goldran/" target="_blank">Goldran</a></em>–arguably represent a move away from the traditions of mecha anime towards newer audiences. <em>Goldran</em> was a very light-hearted series which anthropomorphised its mecha far more than most of the others (arguably a continuation of a pattern begun with 1994's <em>J-Decker</em>). Similarly, <em>Macross 7</em>, while being a canonical sequel to the original <em>Macross</em> and OVA <em>Macross Plus</em> (notably released in movie form in the same year), took its story in a different, far more comic direction structured more as an episodic romantic comedy or traditional monster-of-the-week series.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqAvE94wJ5PwGfZuFPwuN9CAYknQOZ0w4ywcuDs3xr3x4NUtWu1Pgqxz8_fKGGCbRxzX7do8Sic2reg3VOsOPlbkvn27aMxKtM7a-vOWv-k4n-e_STW5wnTtdjZdWwVebXkyPhDf-YXsk/s1600/tr_fmovie__41970__1.png" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" pua="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqAvE94wJ5PwGfZuFPwuN9CAYknQOZ0w4ywcuDs3xr3x4NUtWu1Pgqxz8_fKGGCbRxzX7do8Sic2reg3VOsOPlbkvn27aMxKtM7a-vOWv-k4n-e_STW5wnTtdjZdWwVebXkyPhDf-YXsk/s200/tr_fmovie__41970__1.png" width="173" /></a></div>
A side-note here: Mamoru Oshii's adaptation of Masamune Shirow's <em>Ghost in the Shell</em>, released in 1995, would be so important that to not mention it would be strange, yet considered on its own, not as the franchise-opening film it ended up being, it is not his best. Compared to his work on the <em>Patlabor</em> films, which tread similar cyberpunk and corporate-focused SF ground, <em>Ghost in the Shell</em> is a story told in a more stylistic and interesting fashion that would come to define a style (a much more philosophical and pensive approach to science-fiction based on monologues and internal narrative compared to the more character-interaction based approach of <em>Patlabor</em>) that carried into the far more popular and successful <em>Stand Alone Complex</em> series in 2002. <br />
<br />
<div style="text-align: center;">
*****</div>
<br />
While the overly nostalgic anime viewer might see the mid-1990s as a time when there was less "inventiveness" in anime, and the outsider might point to something like <em>Slayers</em> or <em>Tenchi Muyo</em> as a prime example of cliched saucer-eyes, exaggerated actions and cute girls, a look at the response from the primary audience–and the shows which followed–suggests that it was a time when the industry was developing.<br />
<br />
The OVA boom, with its almost limitless potential for experimentation, was arguably over.<br />
<br />
However, what was emerging was a sound knowledge of what worked leading to both continuations of franchises (lower down in <em>Animage</em>'s poll is <em>Sailor Moon SuperS</em>, the fourth series of the franchise) and more inventive series like <em>Evangelion</em>. Anime was ultimately well-established as an ubiquitous form of entertainment and, in order to cement this status and freshen genres that had existed for over 20 years in some cases, the traditional target demographics were being blurred. On top of all this, it was the year when Megumi Hayashibara in essence entered the public eye; between her roles as Rei Ayanami and Lina Inverse, and her work on the songs for <em>Slayers</em>, she emerged as a truly iconic voice actress and much the embodiment of <em>Evangelion</em>'s legacy.<br />
<br />
<strong>Next time: The passage of <em>Evangelion</em> dropped a bombshell on how fandom viewed anime. We open the bomb shelter in 1996 to see how the world had changed.</strong>Geoffhttp://www.blogger.com/profile/02385629483209026981noreply@blogger.com4