iSugoi » Anime Reviews

Little Nemo: Adventures in Slumberland – Review

Miguel Douglas — Fri, 02 Jul 2010 18:04:09 +0000

Welcome to the fantasy world of “Little Nemo,” filled with dreams of enchanted lands and new friends, amazing magic and fun-filled adventure. A place where anything is possible and the only boundaries are those of the imagination. In this major motion picture, Nemo journeys to the Kingdom of Slumberland. The King of Slumberland welcomes Nemo with open arts, making him heir to the throne and giving him a magical key that opens any door in the kingdom. “But I must warn you,” the King says, “there is one door you must never open.” Not heeding the King’s advice, Nemo unlocks the door. With the King kidnapped and the nightmare unleashed upon the kind people of Slumberland, Nemo and his friends must venture into the depths of the Nightmare World in a courageous attempt to make things right. Will they be able to save the King and restore peace to the Kingdom of Slumberland? Only then will Nemo dream happily ever after.

A huge step for Japanese animation within North America, Little Nemo: Adventures in Slumberland was the first Japanese animated feature film to have received a wide release with the North America. With key Japanese animators and directors such as Hayao Miyazaki, Isao Takahata and Yoshifumi Kondo initially onboard to develop the project—but sadly left due to many creative differences—the project went through a variety of turbulent phases before even being released. Given the arousing support and creative talent that still remained behind the production, the film was ultimately considered a box office failure due to its low revenue returns. Despite this, the film regained some prosperity through its home video sales—while still remaining a favorite amongst a majority of viewers and critics alike. The film simply became one of those cases where a following developed after the film’s initial release, and whose prominence has simply grown outside the cinema and more so into the home watching experience.

It’s interesting to note the production of film because of the strenuous amount of effort that went into its construction. For all the obstacles that the film had to endure, one could easily apply the notion of the film simply being ahead of its time. It had all the right elements that young children often experience—imaginative dreams, wondrous adventures and even frightening nightmares—all encompassed within a visually stunning film that could easily be equated to that of a Studio Ghibli or Disney work, it’s simply that technically appropriate. This simplistic approach has often times been lauded as cliché or overdone within other animated films, but here it’s done to an imaginative effect that neither falls flat nor seems too contrived. From joyful scenes featuring impressive and catchy songs, to adventurous ones filled with aerial pursuits and clashes, the film is equally impressive on multiple fronts. Deriving from comic strip by Winsor McCay published in 1905, the transfer from comic strip to celluloid is absolutely fantastic—even if it doesn’t exactly follow the episodic nature presented in the strip. The look of the characters and environments presented within the film are duly captured from the original comic strip, which is already quite alluring to begin with—in other words, the wealth of creativity stemming from the source material certainly helped the film in developing its atmospheric world.

Which brings us to the visual aspect of the film. With fluid and graceful animation presented throughout the film, it certainly captures the high-energy movement only envisioned within the realm of the McCay’s artistry. With the usage of traditional animation, the universe is able to come to life through its dazzling atmosphere and busy scenery—it really is quite stunning. Very Ghibli-esque in its exterior appearance—but still remaining somewhat Westernized with its handling of characters—the film devotes a lot of time to exploring and elaborating on its intricate environments and settings. With it usage of vibrant and colorfully lush displays of imagination, the film conveys a sense of appreciation towards traditional hand drawn animation. Alongside the visual element of the film is the music. Composed by the famous Sherman Brothers, the film’s score was performed by the extraordinary London Symphony Orchestra. This definitely raises the film far beyond the typical animated treatment; its usage simply enhances the film to a substantial degree not often heard in any other but the highest quality of animated films.

The film does have it downsides though. For one, the second arc of the film is rather slow and cumbersome, which slows the narrative down from the very action-oriented first half. The establishment of the villain is prominent during this portion, but it seems rather rushed and imbalanced considering the nature of his confrontation. While the first half within Slumberland was enjoyable, the second arc is definitely a much darker affair. This portion might also be too scary for younger children—which I’ll admit the film is primarily for—but adults should be completely fine with the material showcase during these parts. It’s just that the juxtaposition here seems slightly unfair given the rather lighthearted first half. Secondly, the film doesn’t necessarily follow the comic strip, which might disappoint certain fans expecting the film to strictly adhere to the original source material. Still, these are just minor quibbles compared to the entirety of the product, which for the most part still retains the vibrant atmosphere of fantasy found in McCay’s original comic strip.

Overall, Little Nemo: Adventures in Slumberland ultimately remains an impressive albeit forgotten masterpiece. The reasons for remembrance are many, but the film still remains a pioneering work in many regards, primarily due to it breaking numerous barriers that had existed between both the American and Japanese market in terms of jointly promoting and creating animated feature films. The fact that it’s a film that actually complements the original comic strip is also greatly valued—even if it remains somewhat different in how its story is approached. In a more pragmatic view, the film provides excellent characterization of its cast, an enchanting and memorable soundtrack and a wholesome story that will certainly please both adults and children alike. It’s a story about facing one’s fear and meeting new and interesting characters—all the while being quite imaginative. I believe these are the strongest qualities for any film, whether it is live-action or animated, and Little Nemo: Adventures in Slumberland is one film that encompasses all these qualities to present a triumphant display of animated and cinematic prowess not often viewed in many films today.

Trailer

Little Nemo: Adventures in Slumberland trailer

Musashi: The Dream of the Last Samurai – Review

Miguel Douglas — Thu, 24 Jun 2010 03:29:04 +0000

Original title: 宮本武蔵−双剣に馳せる夢 | Miyamoto Musashi – Soken ni Haseru Yume| Musashi: The Dream of the Last Samurai
Release: 2009
Country: Japan
Director: Mizuho Nishikubo | Mamoru Oshii
Running time: 72 Min.
Written by: Miguel Douglas
Published: 06.23.10

Miyamoto Musashi (1584-1645) was an unrivalled swordsman in the days when internal wars in Japan had virtually ended. Nevertheless, he wrote a master treatise on military strategy, The Book of Five Rings and sought “the way” to enlighten his spirit and cultivate his mind. But could this image have been fabricated by the generations that followed? Mamoru Oshii will take on an unusual portrayal of this legendary and aloof warrior, between spectacular duels and a tragic life in pursuit of greatness.

Films based around mythical or legendary figures have always presented a difficult spot for creators to construct some sort of objective truth regarding them. This is even harder to consider when dealing with a cinematic interpretation of such an individual, and even more difficult when attempting to present a documentary on such. We all have to admit that such exaggeration lends the source material a great depth of creativity, but should this be considered when dealing with historical accounts? Where do we distinguish between fact and fiction? With an original concept by Mamoru Oshii himself, Musashi: The Dream of the Last Samurai attempts to borderline the realm of interpretative history and factual history, which often times presents a very awkward outlook for a film dealing with such a memorable figure within Japanese history. Perhaps it’s best to say that this sort of approach was necessary given the figure at hand, but it will undoubtedly inform, surprise, and even confuse the viewer as to what to make of it.

Caught between showcasing live-action footage, comical narratives, and animated sword battles, the film treats the material at hand with the feel of a documentary. Those looking strictly for a full-length animated feature film will be certainly disappointed, while those looking for a showcasing of historical accounts and elaborate background information regarding the period in which Musashi lived should be pleased. The film is definitely pointed towards acquiring knowledge of Musashi as a mythical and historical figure, and pans out in such a fashion that should be enjoyable for anyone interested in learning such information. Those who have little interest in history in any capacity or regard will probably not enjoy the film as much, mainly because it relies so much on providing information on the historical backing of the era of Musashi, including that of his likings, sword techniques, and even some history on warfare. While all this will certainly appeal to viewers who enjoy learning history through film, it can become somewhat of an arduous task to sit through for the common viewer more accustomed to strictly animated fares that rely on a straight narrative to engage them.

This is not to say that the film is confusing to watch, but it does expound upon the figure of Musashi through various bizarre set pieces—often times with mixed results. What this does is present a unique but ultimately dry look into the life of Musashi—almost methodical in its handling. While the most preferred treatment would be that of a fully animated feature film, Musashi: The Dream of the Last Samurai carefully brushes this aside to focus more on the contextual background of the duels more so than the actual duels themselves. While this is fantastic for those not accustomed to the history, it heavily borders on being too informative and less entertaining a film for viewers already informed of the history—even then, the film only briefly touches on so little of it to begin with. While the trailer amply showed an abundance of animated battle sequences, the actual film sparsely showcases such scenes, only to have a majority of the film’s time dedicated to explaining the historical establishments surrounding such scenes through a collage of live-action scenery, manuscript inserts, and awkward narration.

Besides the rather strenuous amount of information given in the film, it still delivers on providing excellent animated sequences. With animated production by Production I.G., the film highlights many of Musashi’s duels in articulate and exaggerated fashion, which further cements Musashi’s status a both a mythical and historical Japanese figure. This most certainly presents a two-fold though, and the abundant amount of narrative techniques can only stretch so far. While the animated battle sequences are quite nice to view, they are easily outweighed with that of shoddy CG of the main narrator and his companion. Contrasting the rather violent sword duels and battle sequences, the overtly cute scenes that the narrator resides in seems completely out of place given the material explored. This juxtaposition is rather jarring, and easily confuses itself from being taken as a serious account of Musashi the legendary swordsman or as a comical preschool presentation. Those not informed about Musashi in any regard will find some gratification during these informative segments—and they do provide extensive detailing—but many will probably want to just view the next sword duel.

Overall, Musashi: The Dream of the Last Samurai is an equally muddled and absorbing film for what it presents to the viewer. While the detailed historical and mythical look into Musashi Miyamoto as an individual is quite enlightening, one could only imagine a film like this being enjoyed to its furthest extent by history and warfare buffs strictly because the film presents itself more so as a documentary than anything else. Whether this works to benefit the film as being entertaining is entirely subjective to each viewer, and while that logic could be applied to most films, I feel it’s to be highly considered given this particular film’s focus being on such a legendary swordsman. And like any historical analysis, it’s quite difficult to encompass everything within the confinement of a film, let alone a 72-minute one. If you’re looking for a documentary approach on Musashi Miyamoto, look no further—if you’re looking for an animated action extravaganza, you might be disappointed. Still, Musashi: The Dream of the Last Samurai remains an impressive albeit perplexing look into one of Japan’s greatest mythical and historical heroes.

Trailer

Musashi trailer

Pale Cocoon – Review

NGamer3k — Mon, 10 May 2010 06:01:41 +0000

Original title: ペイル・コクーン | Pale Cocoon
Release: 2006
Country: Japan
Director: Yasuhiro Yoshiura
Running time: 23 Min.
Cast: Nakao Michiosu | Minako Kawashima | Hiroka Oyama
Written by: Blake Z.
Published: 5.9.10

In a dystopian future where humans have overpopulated and devastated the surface of the Earth and forced to live deep underground, Ura works in the Excavation Department that uncovers and restores records from the prosperous time that has passed him by. While Ura is fascinated by the past that is unfolded to him daily, his colleagues along with the general population become more and more depressed and disinterested over time. One day, Ura restores a record that motivates him to find out the truth about the world above the surface and attempts to visit the world he had worked for so long to understand.

Pale Cocoon is a short original story that is both simple and mysterious. Both of these traits could be taken as either positives or negatives, but as an overall package—Pale Cocoon fails to deliver the goods. Like many literary short stories, this OVA builds up a plot to an eventual epiphany or discovery by the story’s conclusion. It uses its characters more like set pieces that are driven by the story rather than the other way around. In this regard, the story does well. While not knowing too much about Ura as a character, the viewer feels as though he/she is him—not knowing what lies in the next record and wanting to know more about the lost past just as much as him. However, what Ura and the viewer are supposed to discover throughout the course of the OVA is lost due to some flaws with how the story is presented otherwise. It seems to be confused as to what it wants to say as the story is caught in a number of themes and motifs that were never elaborated or fleshed out.

Ura’s drive for information about the past and knowledge in general is contrasted greatly with every other human being around him. This is materialized in the character of Riko, Ura’s female friend and colleague. She is absent-minded and constantly inquires as to why Ura is so dedicated to his job. Like so many others, she too eventually becomes disinterested in gaining more information and becomes so depressed that she wants to quit her job. However, in a flashback that is seen through a video that Riko recorded, the viewer can see that she was quite lively before and enjoyed her job. This is what the story should have focused on. After all, records that contained images, audio, and video are primary elements within the plot, so it would have been a lot more interesting if the story focused on this seemed forgotten video involving the story’s primary characters and what their relationship had been. Instead, the plot chooses to center around the lack of any hope or faith in the current world. Ura being the only one with any hope left, is the sole person who can bring the story back to anything worth caring about. Unfortunately, the ultimate epiphany Ura has is not as satisfying as it should have been, leaving Pale Cocoon’s plot in a depressed underworld.

The visuals are adequate, but character design is lackluster. Ura and Riko could not look more generic, which kind of reinforces the story, but in the end—just is uninspired. Riko does not look too distinguished even from the second female character introduced late in the plot. The Japanese voice acting is what you would expect for this kind of production with an added bonus of hearing a japanese ballad type song. Like the visuals, the audio is audio is adequate, but nothing too spectacular.

Overall, Pale Cocoon is a story that may appeal to those that find a smidgen of the meaning behind the plot. To the average anime fan, it will feel slow and uninviting.

The Disappearance of Haruhi Suzumiya – Review

Miguel Douglas — Sun, 25 Apr 2010 09:33:52 +0000

Adapted from the fourth Haruhi Suzumiya novel, the story of The Disappearance of Haruhi Suzumiya takes place from December 17 until December 24 a month after the cultural festival. On December 17, everything is normal—the SOS Brigade plans to have a nabe party for Christmas. However on December 18, Kyon arrives at school to find everything has changed—Haruhi Suzumiya is missing, and Ryoko Asakura is a normal student. Kyon is the only one who notices anything different. Nagato is an ordinary human, and Mikuru does not recognize him. The only clue is a bookmark left by the alien version of Nagato, which leads Kyon on a quest back in time, where he interacts with the storyline from “Bamboo Leaf Rhapsody”, trying to sort out the mystery and return to his own time line.

In doubt over whether The Disappearance of Haruhi Suzumiya novel was to be adapted into a television series, many fans were questioning if the end of the animated Haruhi Suzumiya series was nigh. Considering its rather rabid success in both its written and animated formats, the second television season had showcased storyline segments from the second, third and fifth novels, but surprisingly did not show any segments from the fourth novel. This led many to speculate if the fourth novel was to be completely glossed over, or sadly, that the animated series was to end. Finally, at the end of the second re-airing of the second season, it was announced through a teaser trailer that the fourth novel was to be adapted into a feature length film and released in one year. This certainly pleased and surprised many fans, and now the only thing they had to do was wait patiently for its release.

And certainly that patience has been well worth it. The Disappearance of Haruhi Suzumiya is perhaps one of the best book-to-animated film adaptations released thus far, and that’s saying a lot. With an articulate adherence to the original source material, the film presents an emotionally charged plot that brings together all the elements of the original television series albeit presented through a more serious tone. This direction raises the bar significantly in establishing The Disappearance of Haruhi Suzumiya as a film that wasn’t produced solely for entertainment purposes. This is a film—very much like the novel series—that truly cares about its characters and their relationships towards one another. Such passionate detail is invested into these relationships that it slowly develops a strong connection with that of the audience—a connection that allows us to care for them and the decisions they make.

Considering these elements, The Disappearance of Haruhi Suzumiya is definitely a more personal film in the sense of its main character—that of the cynical but always thoughtful Kyon. This is pretty much his film, and the journey he undertakes is one of emotional conviction and devastating frailty. We literally see Kyon at his most tragic and vulnerable state throughout the film, mainly because he has lost everything he took for granted. Kyon’s livelihood of living in a world that is filled to the brim with that of the most bizarre is suddenly replaced with that of one filled with normality—he simply can’t understand nor believe it. He has become so accustomed to hanging with out with Haruhi, Yuki, Itsuki and Mikuru, that be separated from them is to be out of his element. Through the abnormality of the world that he had co-existed with them in, he slowly realizes that to be in a world without them—a more normal environment in every sense of the word—is rather abnormal to him. This makes for a very poignant and intriguing journey into Kyon as an individual character, and truly brings about a newfound appreciation for his relationship with Yuki.

Which brings me to discuss another pivotal character to the plot—that of the shy and timid Yuki. The film presents Yuki in multiple facets, which really sheds light on her as a character and her relationship with Kyon. In the alternate world, she is still very shy, but her attraction towards Kyon is displayed in the subtlest of ways. This is interesting considering her previous connection to him in which she showed no attraction towards, and truly showcases a situation in which Yuki and Kyon could possibly become more than just friends. The film really fleshes her out and having her actually showcase true emotions makes the tale all the more interesting to watch. It’s a great parallel to note that while Kyon is attempting to get it together emotionally throughout the film, Yuki is striving to explore and exhibit her very own emotions. I think this parallel fits perfectly within the context of the plot, and really establishes the direction and message that the film is attempting to convey.

While these two characters are indeed the most opposite of each other, the film ties them together in the most unusual but practical ways. We get to view the loneliness that Yuki faces because of her inability to showcase emotion with the juxtaposition of having Kyon experience a similar inability as she does. Of course, like the novels and television series, this all eventually centers on Haruhi again in some fashion—but that’s the beauty of it; through her intercession, we begin to fully appreciate some of the other characters as well. This attribute rounds out towards the remainder of the cast too, and we finally get to view some of the characters in situations we would’ve never expected to see them in, which makes for some surprising moments throughout the film.

The film is constructed in way that plays to the knowledge of the audience, so it’s important to note that The Disappearance of Haruhi Suzumiya should not be considered a stand-alone film. Viewers who have no prior knowledge of either the novels or television series should stay clear of this film completely until they have some familiarity with the material—and indeed, the film relies heavily on the audience to distinguish characters and recognize plot. Those not familiar with the source material will most certainly find the impact of certain scenes lessened because they don’t know the background of the characters or the history of their relationships, which could displace their overall enjoyment of the film. Granted, while the film does take careful steps to reintroduce the cast of characters in the beginning of the film, it soon develops into a very personal tale that is extrapolated upon through prior knowledge. There are also scenes showcased within the film that intersect with that of the television series, which wouldn’t make much sense to those unfamiliar with them.

Story aside, the animation of the film was done entirely by Kyoto Animation. They also animated the television series and they do a fantastic job with animating the film. The film establishes itself as one of the better-animated films to have been released in Japan this year, and really goes the distance in creating some beautiful sequences. Similar to the television series, the film attempts to have the environment look as realistic as possible—and Kyoto Animation succeeds highly in this regard. From the interior look of North High, to the various exterior environments that the character inhibit—the vivid and lush animation is sure to please fans of aesthetic value. Even the characters themselves have been slightly upgraded, including that of them wearing a variety of different attire—yes, more so than the television series. The film also had various classical pieces dispersed throughout, which really helped the overall effect of the film’s more poignant scenes.

Overall, The Disappearance of Haruhi Suzumiya is a very touching and emotional cinematic experience. It presents a little something for everyone, and isn’t stringent in delivering a diverse plot that encompasses many of the elements that made the original novels and subsequent television series as popular as they are today. The rather serious nature of the film seemed quite warranted given what the actual novel portrays, but somehow it seems that it was the perfect fit to adapt this particular novel into a film—I really couldn’t see it being presented within the context of a television series. The added value of having a higher quality of animation only complements the elements already present within the actual source material itself—that of interesting characters and a fairly intelligent and compelling plot. It’s this culmination of elements that makes The Disappearance of Haruhi Suzumiya stand out as a bold and creative cinematic excursion that further cements the legacy of Haruhi Suzumiya as something that isn’t just a fad, but rather a series that can stand amongst the best of what anime has to offer. This is what the film conveys best—and it’s most certainly aware of its importance.

Trailer

The Disappearance of Haruhi Suzumiya

Trigun: Badlands Rumble – Review

Miguel Douglas — Wed, 07 Apr 2010 07:25:48 +0000

Original title: トライガン Toraigan | Gekijouban Trigun: Badlands Rumble
Release: 2010
Country: Japan
Director: Yasuko Kobayashi
Running time: 95 Min.
Cast: Masaya Onosaka | Hiromi Tsuru | Satsuki Yukino
Written by: Miguel Douglas
Published: 04.07.10

The story is set in Makka, a town surrounded by quicksand. With rumors spreading that the legendary robber Gasback has his sights set on the town, the mayor Kepler has brought together bounty hunters to protect the town. These bounty hunters have been following Gasback from town to town in hopes of bagging the prize. Meryl and Milly have come to town to assess the situation as insurance agents, but are shocked by this turn of events. Moreover, Vash the Stampede is also in town, along with the female bounty hunter Ameria and Nicholas D. Wolfwood.

In development for nearly five years, Trigun: Badlands Rumble is an ode to all the joyous fans fond of the original television series. Taking place within the television series timeline, Badlands Rumble presents all the humorous antics, frenetic battles, and dramatic storylines all present in the series itself, with the obvious higher technical attributes. Right from the beginning, Badlands Rumble pacing is extremely well balanced and calculated, all the while careful to accommodate people who haven’t seen the series. A majority of the cast from the television series returns as well, including two new characters by the name of Gasback and Ameria. Gasback is the main villain in the film who basically wants to steal everything he can, while Ameria is the quiet and reserved bounty hunter with a dark past that is slowly unveiled throughout the course of the film. All these characters cultivate to provide a unique and enjoyable viewing experience for old and new viewers alike, which is quite an accomplishment considering the age of the original television series. It’s nice to see the old cast return in the form of a cinematic film, bringing back all the mannerisms and personalities present within the original.

This definitely lends Badlands Rumble an odd sense of familiarity—a familiarity that will undoubtedly have fans applauding mainly due to the film taking careful steps to purposefully accommodate loyal fans of the original. This is where I think Badlands Rumble could somewhat falter for viewers not familiar with the source material, and could even prove disappointing for certain fans as well. The film closely resembles an episode from the original television series, albeit a longer running time. This can be considered a good or bad thing depending on a viewer’s previous knowledge of the television series, which will inherently divide many viewers into two camps—those that are fans of the original television series, and those who are not. I say this because the film seems like one long lost episode, which again is not necessarily a bad thing; it’s just that it will displace some viewers not familiar with the original series due to its stringent likeliness to it. The nostalgic feeling the film presents is great for the most part, but since it also takes place within the television series timeline, the risk of any of the characters getting killed or significantly injured within the film are non-existent due to this reason alone. This dampens the suspense dramatically, but doesn’t alter the enjoyment of the material showcased at hand—especially for the most loyal of Trigun fans.

And while it’s not entirely original in its execution—some of the back-stories for the newer characters were somewhat contrived—the plot succeeds in incorporating so many elements successfully. Usually this would ultimately result in failure in one of the areas, but the film juggles them rather fairly and doesn’t unnecessarily spend too much on one element or another unless warranted. This made the film surprisingly entertaining and kept the pace from lagging, which is something the original series did so well too.

Studio Madhouse returns to animate Trigun: Badlands Rumble, which is probably the most promising aspect of the film. All the characters are slightly updated visually, as well as the entire film looking great for the most part. The town of Makka is extraordinarily detailed as well as the other environments showcased, which really bring to life the atmosphere that the film thrives on already through its cast. The action sequences are definitely some of the highlights of the film, and the animation ultimately amps these scenes up immensely. The film is entirely broader in scope than the television series was, which garners the film a more realized world in which the characters participate within. The film even utilizes CG, which is integrated well enough and used only sporadically throughout the film.

Overall, Trigun: Badlands Rumble is a film that contains all the elements found in the original television series—comedy, suspense, action, and drama—it’s all there. While it might be bothersome to consider that the film does take place within the timeline of the original series, it doesn’t distract too much from the film standing on its own in providing an excellent return to the Trigun universe many people are fond of. That’s why I actually believe the film succeeds more often than it doesn’t—it’s a film made for fans of the original, a homage to all the elements that made the original that much special for its viewers—while constructed in a way to gain new fans as well. While not perfect, Trigun: Badlands Rumble presents a great example of the tried-and-true saying, “if it isn’t broke, don’t fix it”. This is one film that knows its audience—and does a great job at making sure it lives up to their expectations.

Trailer

Trigun: Badlands Trailer

Eden of the East – Review

Miguel Douglas — Sun, 28 Mar 2010 06:47:18 +0000

On November 22, 2010, ten missiles strike against uninhabited areas of Japan, claiming no victims. This apparent terrorist act is referred to as “Careless Monday” and disregarded by most people. The series begins three months later, with a young Japanese woman named Saki Morimi visiting Washington D.C. as part of her graduation trip. When she gets into trouble, a mysterious Japanese man, who introduces himself as Akira Takizawa, helps her through it. The man appears to have no memory and is completely naked, carrying only a gun and a cell phone charged with 8.2 billion yen in digital money. The cell phone has the phrase, noblesse oblige (“nobility obligates” in English), printed on it. While they are coming back to Japan, they learn that a new missile has hit their country.

From the very first episode, Eden of the East sets out to absorb the viewer into a world of mystery, intrigue, and creative endeavors. For a series that establishes such a high standard for itself through the use of its production values, it’s still able to provide an excellent opportunity to explore such relevant topics thematically surrounding a present day Japan—and in certain aspects, the world—within the confinement of its running time. Issues such as the NEET’s (Not in Employment, Education or Training), societal complacency in times of terrorism, and the abuse of absolute power are all current real-world dilemmas that lend Eden of the East an air of realism and relevancy towards the viewer. This background allows the show to ground itself amidst its plot’s many extraordinary devices and present a relatable atmosphere that doesn’t take itself entirely too serious. Considering that the show is humorous throughout many of its episodes, the series is still very dramatic in its portrayal of national and world events, never afraid to remind the viewer that throughout all the joyous escapades showcased within the series, there is a real world out there that must be acknowledged and taken into account for.

This is where I think Eden of the East succeeds greatly. The direction by Kenji Kamiyama (Ghost in the Shell: Stand Alone Complex) hits full stride here, and he brings about a vividly realized world that exists outside of the one that the main characters reside in. This is no small corner of the world in which the characters inhabit and interact solely between one another—quite the contrary. Eden of the East takes point to provide an encompassing tale that includes the entirety of the world in explaining its story—and how the characters influence it. The broad scope in which the story evolves increasingly becomes more suspenseful the further it progresses. With Kenji Kamiyama taking the helm, he is seemingly unafraid to try creative and unique things in order to explain a rather conventional story in the most unconventional fashion. An underling of Mamoru Oshii himself, Kamiyama establishes Eden of the East as a show unrecognizable in any form to that of an Oshii creation—from the look of the characters, through the fleshing out of their personalities through the use of humor, Kamiyama has definitely presented a series that allows him to stand out as his own personal creation, seemingly devoid of any influences from Oshii himself. This is not to say that influences from Oshii wouldn’t have helped, but it does give Kamiyama room to strive for a more mainstream appeal in terms of story presentation.

All these attributes allow Eden of the East to flourish as a creative series unlike many seen today, but the narrative does get somewhat flustered as the series arrives at its climax. For all the glamorous animation done by Production I.G. team, the series falters under its own ambitions. What we have here is a story that seems massive and engaging at first—and no doubt it appears to be just that—but soon befalls to some rather outlandish circumstances that underplay the original intent of the story. Bizarre and unexplained events transpire that make little to no sense whatsoever, character motivations are lazily explained and never to the extent that we fully understand them as a viewer, and absurd choices made by the characters throughout the series do little-to-nothing to make us care about their fates. This is compounded upon when you take into consideration the abundance of characters that the series introduces throughout—characters that aren’t exactly fleshed out as one would hope and really only serve as superficial devices towards advancing the plot.

These hindrances don’t necessarily dilute the function of the plot to be effectively entertaining, but it does showcase the extreme weaknesses that protrude for a series that is a mere 11 episodes. Considering the dynamic plot in relation to the amount of episodes, this eventually leads to the series showcasing perhaps one of the worse examples when attempting to effectively concluded a plot —it infers to the viewer in the final episode that they must now watch two films to conclude the story. This removes the possibility—and strength—for the series to stand out as a standalone show that could have held its own weight without the complementary addition of the films. While I don’t necessarily blame them considering the length of the series, it doesn’t help the overall appeal of the series to be considered nothing more than an introduction towards the films, and somewhat forces the viewers to now watch them in order to conclude the story. Not to perpetuate any bias against the future films—mainly because I haven’t seen them yet—but it just seems a little agitating to not have them provide at the very least a more conclusive ending to the television series before venturing into creating two films.

Despite many of these hindrances, Eden of the East still remains a fine example of how far Japanese animation series have come in terms of technical prowess. Removing many of the cliché elements showcased in other series, Eden of the East has managed to provide a distinctively rich tale that doesn’t attempt to follow the conventional route in exploring its story—instead diverging from that route in order to find new and creative ways to do so. Considering that one will still need to watch two films to complete the entirety of story, Eden of the East still has the opportunity to remedy many of the problems listed above and ultimately end the series on a solid note. If this can be done, then Eden of the East will be considered one of the best examples of what Japan has to offer in terms of animated projects. Until then, Eden of the East remains a series that is overly ambitious for its own good.

Trailer

Eden of the East trailer

Serial Experiments Lain – Review

Miguel Douglas — Sun, 14 Mar 2010 00:25:36 +0000

Original title: シリアルエクスペリメンツレイン | Serial Experiment Lain
Release: 1998
Country: Japan
Director: Ryutaro Nakamura
Running time: 23 Episodes
Cast: Jun Fukuyama | Takahiro Sakurai | Yukana | Kaori Nazuka | Ami Koshimizu
Written by: Miguel Douglas
Published: 03.13.10

We’re all Connected. The world around us, made of people, tactile sensation, and culture has begun to blur with the wired world inside the computer, of images, personalities, virtual experiences. The day after a classmate commits suicide, Lain, a thirteen year-old girl, discovers how closely the two worlds are linked when she receives an e-mail from the dead girl: “I just abandoned my body. I still live here…”

Serial Experiments Lain is perhaps one of the most intriguing anime series to have come out in the last decade. It’s definitely one of those anime series that will get the viewers to think of the world around them, particularly in how the Internet relates to our real world identities. The blurred line between reality, and what is known as the Wired showcased in the series, is thoroughly questioned as well as vividly explored within Lain, perhaps even to the point of obscurity. Lain is certainly one of those series that will confuse and perplex many viewers, and due to its complexity, will lead many to lose interest in the series. This can most certainly be attributed to the strenuous amount of interpretive measures the series utilizes as it progresses, increasing ever deeper into the chasm of psychological, religious, and modern fears of technology. While all-important factors to consider, most of it will clearly leap over the head of the most causal anime viewer who is not accustomed to thinking outside the conventional sphere.

There are certainly moments showcased within the series that are downright bizarre, but they do have a purpose. The continuity between episodes might seem a little lacking at first, but the overall realization by the viewer is that each episode is masterfully interconnected, which truly evolves the story into something entirely different by its conclusion. Lain doesn’t provide easy answers to the rather complicated themes expressed within its story, which to some will definitely be an interesting aspect related to its core subjects, but this aspect could also be considered a substantial flaw considering the heavy-handed material showcased within the story could potentially turn off viewers looking for your more standard conventional anime fare. The range of topics explored within the series is extraordinary though considering the subject matter at hand; the concept of God, identity, and the connection between reality and the Internet all play into the encompassing world conveyed throughout Lain.

Considering that this series was released in 1998, in astonishing to see that the correlation between technology and identity explored within the series is seemingly more relevant today than when it was released. The mesmerizing journey through the subconscious of not only the title character, but also inner workings of the Wired, brings about this notion of speculation regarding our present technological state and increasing reliance on its usage in regards to identity. This diminishment of true identity is compounded upon through this use of Internet technology, particularly that of the advent of social networking and our own blurred reality between our digital identity and physical identity. Lain seemingly foretold this dilemma and expresses the ramifications of such, but also provides a dualistic approach to understanding and accepting technology and the relationship we share with it.

And it’s this relationship that gives way to Lain exploring the realm of our deepest recesses and fears concerning technology. With the constant buzzing of electrical lines, detachment of human emotion, and exploration of human loneliness, the series is well aware that these factors aren’t inherently natural, but rather artificially replaced through the consideration of technology. The narrative direction the series takes becomes increasingly blurred with each passing episode, showcasing us how the world of reality and the Wired are similarly becoming conjoined as well. This mediation is important to consider concerning the plot, but also allows us to view the infringement of technology onto the real, natural world. The deconstruction between the real world and the Wired are masterfully done, mainly because the series handles the material with such seriousness and respect to not allow it to flounder in its presentation, but rather allows us as viewers to see things we might’ve not considered intellectually before.

Overall, Serial Experiments Lain provides a very interpretive, psychological, and philosophical confrontation into perhaps one of the most crucial dilemmas we face today—the advent of technology and our place within it. It is a series that is highly immersive as it is original, and brings forth perhaps one of the most distinctive anime storylines ever delivered. While presenting a dark, twisted, and strange journey, the series is highly intelligent in its construction, and effectively establishes questions that don’t insult the viewer, but rather allows them to ponder the world around them. Considering all these and the above, Serial Experiments Lain is an important piece of anime history, including standing out as crucial piece of science fiction entertainment. It’s intelligent, thought provoking, and presents a mesmerizing staple of animated fiction—all the more important considering our own time and placement within the ever-increasing technological world.

Serial Experiments Lain anime trailer

Evangelion: 2.0 You Can [Not] Advance – Review

Miguel Douglas — Sat, 13 Feb 2010 09:49:37 +0000

Evangelion: 2.0 You Can (Not) Advance continues the story of Shinji Ikari, who has chosen a path of struggle and combat against the mysterious and awesomely powerful beings known as Angels. Joined by Asuka, Rei and a previously unknown heroine by the name of Mari, the true purpose behind NERV, SEELE, the Angels, and the looming apocalypse begin to be revealed…

Encompassing roughly 14 episodes of the original television series, Evangelion: 2.0 You Can (Not) Advance is the second film in the Rebuild of Evangelion theatrical film tetralogy. Considering that the first film in the series, Evangelion 1.0, You Are (Not) Alone was well-received within the anime community as a nostalgic ode to the original series, many fans felt that it was essentially a retelling of the original without many plot improvements to sufficiently stand on its own. Technical achievements abound, the film was still greatly appreciated by various old and new fans alike. Evangelion 2.0, You Can (Not) Advance makes significant improvements towards the original in practically all aspects, while taking some crucial steps to differentiate from it as well.

Evangelion: 2.0 can be viewed as more impressionistic in it’s retelling than the previous film. While the previous film was an adequate retelling for the most part—save for the extension of certain sequences viewed in the original series—Evangelion: 2.0 truly stands out as a film that can be viewed as a true and distinctive re-imaging of the original. From the very beginning, the viewer is unexpectedly thrust into a world of unfamiliarity—a world with new characters, enemies and surprises. The film isn’t afraid to let viewers know that it’s essentially going to revamp the entire source material from henceforth—it remarkably balances itself between combining previous plot elements with that of new ones, while still teasing the viewer with what is to come in the future. Between elaborate action segments and moments of repose, Evangelion: 2.0 is one film that knows what it has to do in order to establish itself—and isn’t ashamed at all to take the risks to do so. There are some rather surprising moments sporadically laid throughout the film that will truly have fans of the original second guessing themselves, and whether this will have any drastic effect on how new fans perceive the film series is definitely speculative, but that’s what makes it all the more interesting.

Similar to the original series, the film is undoubtedly still about exploring its characters. For all the intense—as well as beautifully animated—battle sequences, the film remains focused more on providing substantial character development and depth. This was always a strong point to be found within the original series, but Evangelion: 2.0 not only gives the viewer that same depth seen before, but also provides us with a reevaluation of sorts—more specifically in how we view these characters now compared to their prior states. It’s this reevaluation that is truly daunting, as well as surprising—especially for fans accustomed to how the characters were portrayed in the original source material. For the most part, all the main characters within the film can be viewed with some familiarity, but containing some drastic differences. The character interactions seem more authentic this time around, allowing for their most natural emotions to blossom on screen.

Unlike the original series and to some extent Evangelion: 1.0, the characters this time around can be viewed as more understanding, sincere and discerning—it’s simple to say they appear more genuine. While the characters of the original were viewed more as isolated cases of people with emotional instability, Evangelion: 2.0 rises above the calling to showcase a group of characters that seemingly want to make an effort to understand one another and break down the walls that entrap them. Some of the most striking examples of this are viewed within the main characters themselves, starting with Shinji—who we find as a more courageous individual this time, willing to sacrifice himself and uphold his loyalty to his friends. Even his relationship with his father is given more consideration and depth in the film, presenting a relationship that is still awkwardly viewed, but also redeemable to a degree. Taking a look at Rei, we view a character previously shown as emotionally inept, unable to perform the simplest acts of human interaction. This time we see her as someone interacting with people on a more natural basis, even developing a social relationship with that of Shinji and her classmates. We can also see significant changes in Asuka, a character who was adamantly opposed to allowing others to see her true emotions. Here she is shown more emotionally open and willing to accept others as friends. Even Gendo—one of the harshest characters in the original—is now shown as a father figure who at the very least showcases some effort to reach out to his son. And while the introduction of a new pilot— Mari Makinami Illustrious—is exceptionally well established as a character with spunk and charisma, she is given little-to-no room to explore personality-wise, which is somewhat disappointing, but she can still be viewed as a worthwhile addition and we should expect to see more of her in the future.

It’s these more subtle changes in attitude that truly elevate Evangelion: 2.0 into an entirely new level on its own. Going along with this realization, the film also presents a warmer atmosphere than the previous film did. While still consisting of moments of utter devastation and revelation, there are equally moments of welcomed humor spread throughout. This coupled with an increase in showcasing the slice-of-life happenings that occur within the universe of Evangelion, provide us with more affectionate moments between the characters—in a sense letting us see their more personable side. From daily classroom gossiping, to the intimate moments within Misato’s apartment—the film spends a majority of its time exploring and developing its characters and their relationships. There’s even one fabulous sequence in which we take a great look at Tokyo-3 as city; complete with towering skyscrapers and an assiduous population—this is one city that is alive and active, providing more insight into why the characters feel the need to protect it, which was something not entirely explored in the original series.

And in promoting the necessary response to protect this city from danger, the action sequences are some of the most visually spectacular set pieces in the film. For fans that remembered the original series for these particular segments, Evangelion: 2.0 doesn’t disappoint. Since the film depicts essentially what is known as the action-arc of the original series, numerous action sequences were expected—and for the most part creatively reconstructed and many invented. And while the battles in the film are exciting and emotionally involving—with some being viewed as extraordinary improvements over the original interpretations—one begins to wonder why they chose to compress 14 episodes into a 108-mintue film without expecting to not leave out elements that made the original series all the more distinctive. Gone is some of the character development heavily explored in the original series, particularly that of the minor characters and even extending to some of the more prominent ones as well. This is not to say that film doesn’t function well without this development, but providing more scenes with certain individuals would’ve allowed the film to truly complement each character that was showcased within the original series. The brisk pacing somewhat hinders this area as well, but it ultimately allows the film to stay on a more focused course, presenting a different view on how certain events transpire.

One thing I must address concerning this particular film is usage of religious symbolism—which is something I believed plagued the original series to a huge extent due to misinterpretation of it. Its supposed implications have led to huge misunderstandings regarding how the original series and The End of Evangelion were to be interpreted and analyzed—essentially a majority of people got caught up in trying to figure out what the religious symbolism meant and forgot to look at the actual true plot. Considering that question, Assistant Director of the original series, Kazuya Tsurumaki, had this to say about the religious symbolism within the series when asked in an interview—“There is no actual Christian meaning to the show, we just thought the visual symbols of Christianity look cool.” This comment can be further qualified by having many of the religious material viewed in the original removed within Evangelion 2.0 in an attempt to provide a more coherent story for some viewers. While there is still religious material hinted at throughout, its handled much more carefully and in many cases actually relevant pertaining to explaining the actual plot—gone are the erroneous ways in which the Kabbalistic understanding of the series/film can taken as a valid argument. Evangelion 2.0 doesn’t allow this to happen, and instead continually focuses on its characters and plot, which will make it hard for people to find any religious symbolism used for any other reason besides being only a superficial element of the plot.

With that aside, I’ll mention perhaps one of the most striking differences between this film and original—the animation. Studio Khara has done yet another amazing job in animating Evangelion 2.0. For the most part, gone are the shot-for-shot scenes reminiscent to those found in Evangelion 1.0, only to be steadily replaced with scenes of artistic prominence. The film is absolutely beautiful to look at, with many scenes integrating elements of CG so well, it’s hard to distinguish at times from it and the usage the traditional animation. This is not say its entirely well implemented—the CG is blatantly noticeable at times—but isn’t viewed as a distraction to the viewer like many other animated projects unfortunately do. Some of the more prominent moments of the film in terms of animation occur during the Angel encounters, but even outside of those, the envisioned world is a delight to view due to its aesthetic values. There is also more natural fluidity seen within the movement of the characters, which again is a significant improvement over the original.

Going along with the visual aspect, even the music is noticeably different this time. Considering the expanded selection of musical freedom heard in this film more so than in original television series, composer Shiro Sagisu has been able to basically bring about an entirely new sound to the Evangelion universe with Evangelion 2.0. With a heavy focus on chorus and powerful orchestrations, Shiro provides a grandiose soundtrack that perfectly encapsulates the atmosphere of the film. Fans of the original television, End of Evangelion, and Evangelion 1.0 soundtracks will find a totally new and refreshing experience when hearing the selections for this film, and the diversity found here is sure to please fans. Unlike the Evangelion 1.0 soundtrack, this soundtrack is filled to the brim with new compositions, with Sagisu obviously aware of the new direction the series is heading, and composes the music accordingly.

Considering all these aspects, Evangelion: 2.0 You Can (Not) Advance doesn’t disappoint. It presents a more focused version of essentially one of the most popular anime series ever produced—which is a powerful testament. While some might disagree with the absence of a few prominent events shown in the original series, the film still showcases incredible talent in everything from its animation quality to its compelling plot twists and alterations, which are upheld to an extraordinary degree. Evangelion: 2.0 You Can (Not) Advance is a special film in this regard, effectively reaffirming Evangelion as a dominant series within the world of Japanese animation.

Evangelion 2.0: You Can [Not] Advance anime trailer

Halo Legends – Review

Miguel Douglas — Wed, 10 Feb 2010 09:48:08 +0000

Animated shorts have been widely used throughout the past decade to further explore elements of American popular culture, perhaps most memorably viewed in both The Animatrix released in 2003 and Batman Gotham Knight released in 2008. Each expanded upon a world already well established through the mediums of comic and film, in many instances going even further to demystify the original source material—in the end, both providing a fresh and unique perspective on material already well absorbed by fans. It’s also worthy to note the significant involvement of Japanese directors and subsequent studios involved in the production of these animated collections, in a sense utilizing Japanese animation to interpret distinctively American concepts—excluding some Asian-centric elements borrowed and use within The Matrix film series—with each being constructed in a way to promote these ideals through use of animation.

We then enter 343 Industries, a Microsoft subsidiary company that was created to oversee the production of the proposed Halo live-action film, which is sadly not expected to come out anytime soon. Considering this reality, what’s a studio to do? If your 343 Industries studio director Frank O’Connor, you utilize the tools and connections you have at your disposal to create something now—in this particular case, a collection of short animation episodes collectively titled Halo Legends. Not only that, but you gather some of the more prominent and established Japanese studios and directors to helm the project to see that it’s in good hands. Apparently O’Connor had wanted to create an anime compilation of the Halo series for quite some time now, so Halo Legends can be viewed as a rather wish-fulfillment for him, as well as getting the 343 Industries and Halo brand to connect with uninitiated throughout the world through Japanese animation.

*In order to effectively review this compilation, I have decided to address each animated episode as a separate piece. The review order is also the episode order.

Origins I & II
Studio: Studio 4°C

In the first installment of the compilation, we begin aboard the Forward Unto Dawn where Cortana and Master Chief were stranded on after the events of Halo 3. Cortana begins by musing of her seven years of existence and that she has learned a great deal more about the Forerunners that was previously known. Cortana then begins to chronicle the history of the Halo universe and how it came to be. For fans of the Halo series, Origins I & II will really provide an insightful look into many of the mysteries that were only briefly mentioned in the Halo video game series and novels. It really expands the universe of Halo, and gives us a similar narrative to the one viewed in The Animatrix’s short, The Second Renaissance. We get en extensive look at how The Flood came to be, what exactly The Forerunners were and their contribution to the universe. We even receive an interesting narration by Cortana on the fallacy of war and its instinctual connection to human nature. With animation by Studio 4°C, the animation was slightly simplistic, but as for presenting a chronicle of the origins of the Halo universe explored throughout the game series, it made for a memorizing watch and perhaps the best storyline to fully complement the Halo series. A lot of things left unturned in the books and games are answered here, and I would have to say this was the most fascinating episode out of the collection, and I’m sure it will please fans of the Halo series.

The Duel
Studio: Studio 4°C
Director: Hiroshi Yamazaki

In the second installment, we follow an Arbiter named Fal who does not want to follow the Covenant religion. One of the Prophets accuses Fal of heresy. Fal will not yield and the Prophet is forced to send another Elite to kill his wife in order to drag him to a trap. This installment is perhaps the most visually striking episode amongst the collection. The short plays out like a Japanese samurai film, including everything from the attire of its characters to its the slow and methodic duels, it makes for an interesting watch. With animation done by Production I.G., it’s interesting to see that the film is animated to appear somewhat like a watercolor painting. This really brought the creative level of the episode up a notch, but the story is considerably lacking in actually creating any emotional attachments to its characters—it does however showcase an great look into the religious aspects of the Covenant religion and it’s oppressive nature towards it followers. This is still an excellent piece showcasing that not every member of the Covenant agrees with the religious duty of his or her kind.

Homecoming
Studio: Production I.G.
Director: Koichi Mashimo | Koji Sawai

Focused on the tragedies involving the Spartan-II recruitment in 2517, and the Spartan’s coming to terms with their origins, Homecoming is a great piece that showcases the rather drastic measures in which individuals were gathered to participate in the SPARTAN-II program. Providing an excellent look into actually providing an exploration of the people before they were inducted into the program, it provides a lot of background concerning how they are detached from their previous livelihood. The episode parallels quite effectively between showcasing the previous lives of those that participated with one particular case of a woman Spartan warrior. It’s quite the sorrowful journey, and really makes one reconsider the absolute nature of what a Spartan warrior truly is. Great episode overall.

Odd One Out
Studio: Toei Animation
Director: Daisuke Nishio

A parody story—which is also the only piece not considered to be actual canon within the collection. It concerns a Spartan warrior who is unlike any stereotype that would entail what a Spartan should be; he’s clumsy, not coordinated and is entirely too cocky it’s almost laughable. His name is also “1337”, which is ironic considering personality-wise, he’s really not that “elite” in terms of what constitutes a Spartan warrior. Due to many of the reasons listed above, Odd One Out is absolutely hilarious and is coupled with good action scenes to boot. Fans of the hit anime series Dragonball Z will notice striking similarities in these particular action sequences—and its no surprise its similar to DBZ considering that director Daisuke Nishio was responsible for directing it! For those unknowing, Nishio directed the popular series Dragonball Z, a series that is undoubtedly one of the most popular anime series known throughout the world. With this in mind, Odd One Out is a light and fun romp that is quite refreshing considering the seriousness of the other pieces, and it’s also great to see some comedic value thrown in as well.

Prototype
Studio: Studio Bones
Director: Tomoko Kyoda | Yasushi Muraki

This story is focused on a Marine who is sent to a distant planet to destroy a prototype-powered armor. Upon his arrival, he finds the planet is still inhabited by humans who are under the control of the Covenant. With the suit the only means for survival for the people the Marine disobeys orders and keeps the suit to be used for the good of the people. An action-packed piece that really amps up the delivery of mecha action, an element not really explored within the Halo franchise, but it works out well here. The battles are fast and furious, with an incredible amount of detail put into them. With animation done by Studio Bones, this is perhaps the best looking traditional animated episode within the collection and this something Prototype does well. While not really adding too much to the overall storyline of Halo, it does showcases a strong code of ethics amongst the marines that are showcased throughout the game series and novels.

The Babysitter
Studio: Studio 4°C
Director: Toshiyuki Kanno

This episode follows a squad of four Orbital Drop Shock Troopers, with the squad being composed of Private O’Brien, Dutch (from Halo 3: ODST), Master Sergeant Cortez, and Corporal Checkman. O’Brien is being replaced as the squad’s sniper by Cal-141, a SPARTAN-II, and is now the backup. The squad is sent into a Covenant zone under the cover of a meteor shower to eliminate a Prophet. The Babysitter showcases the rather awkward relationship that forms between a marine and Spartan warrior, a relationship that is built more through hindsight than anything. Interspersed with moments of action and recollection, The Babysitter provides a great view of the cooperation between the marines and Spartan warriors. With lush animation done by Studio 4°C, this is perhaps one of the better-balanced episodes out of the collection in terms of having an adequate storyline that is quite similar to the one explored within the game series.

The Package
Studio: Casio Entertainment
Director: Shinji Aramaki

This episode takes place during a SPARTAN-II raid on a Covenant CCS-class Battle cruiser using the Booster Frames, and is directed by Shinji Aramaki. Completely done in CGI by Studio Casio, The Package is visually impressive as it is action-packed. From the very beginning, The Package doesn’t let up in its relentless pursuit to shock-and-awe the audience with its visuals and action sequences that go far and beyond what one might expect coming from world of Halo, including an exciting Star Wars-esque space battle. This is a perfect way to finish Halo Legends, and with a bang nonetheless. While more of a showoff episode for the Spartan warriors than anything substantial, action fans will not be disappointed and really showcases the ability of the Spartan warriors to almost absurd lengths, but it makes for a great sendoff.

Final Thoughts

Overall, Halo Legends is an excellent compilation of animated shorts that really bring the Halo universe up to a whole new level. Each episode seems to complement the series in some fashion—some obviously more than others—but it’s awesome to see such imaginative interpretations of one of the most famed video games series. Usually I find these compilations containing only a few good episodes amongst some rather insufficient ones—that’s not the case with Halo Legends. Each episode is engaging to watch and none are too abstract for their own good. Fans and even non-fans alike will find some enjoyment in this release, which is great considering the material at hand. Whether these animated compilations should be viewed more as a trend or not, Halo Legends is an exceptionally well made compilation that not only expands the universe, but provides an intimate look into some of the facets that made the series famous in the first place—343 Indsutries should be proud of what they accomplished. Now all we need is that Halo live-action film announcement…

Trailer

Halo Legends anime trailer

Nasu: Summer in Andalusia – Review

Alryo — Tue, 09 Feb 2010 04:33:22 +0000

Original title: 茄子アンダルシアの夏 | Nasu: Andalusia no Natsu | Nasu: Summer in Andalusia
Release: 2003
Country: Japan
Director: Kitaro Kousaka
Running time: 45 minutes
Cast: Yo Oizumi | Eiko Koike | Minoru Hirano
Written by: A. Alryo
Published: 02.08.10

It’s one September day in Andalusia and the sky is clear. The landscape is desolate with no vegetation except for bushes and cacti. No trees to stop the sandy wind nor provide shade for the unforgiving 113º heat outdoors. This is the stage in the cycling competition known as La Vuelta a España (Tour of Spain). Here Pepe, the film’s protagonist, will be forced to face his past and forge his future.

Nasu: Summer in Andalusia is a surprisingly accurate anime adaptation of a self-contained short story found in Iou Kuroda’s manga, Nasu. It marks Kitaro Kousaka’s directorial debut as well as the first time an anime film is selected for the Canne Film Festival. Kousaka is a long time collaborator of Miyazaki’s and a high caliber animator in Studio Ghibli. Some of his works with Ghibli as animation director includes Whisper of the Heart, Princess Mononoke, Howl’s Moving Castle, Spirited Away, and the recent Ponyo on the Cliff by the Sea. Also, Kousaka has worked as key animator for other outstanding films such as Akira, Angel’s Egg and Metropolis. In this instance Kousaka chose to work with renown Madhouse Studios for his initiation as film director.

Pepe Benengeli, a professional Spanish cyclist, is competing in La Vuelta Ciclista a España (Tour of Spain). One of the three most important Grand Tours of Europe after the Tour de France and the Giro d’ Italia. This particular leg of the race happens to take place in the Iberian region of Andalusia where Pepe’s hometown is located. A place which brings him back unpleasant memories and pressures him to perform his best. Despite of his inner struggle Pepe must keep himself focused on the race and contribute to his team’s victory. His function in the team is to aid the top sprinter, Gilmore, to win the race by strategically positioning himself among the pack during the course of this particular leg. But Gilmore and Pepe don’t get along hurting the PaoPao team success in the competition. The team’s sponsor its aware of this fact and plans to deal with it as soon as the race is over. Pepe’s professional career is all of the sudden hanging in the balance.

The animation work displayed in this film is topnotch as expected from prestigious Madhouse Studios. Cycling is depicted with realism, intensity and fluidity. The landscape portrays the Andalusia region accurately without relying on overly detailed renditions as is common place with Miyazaki’s idealistic artistic approach. Also, it’s refreshing to notice Kousaka’s personal style in the technical aspects of Nasu. For instance, the aerial points of views used to mimic a sport broadcast in order to sell the illusion of realism. Complemented with a brief look into the Spanish culture via a wedding reception showcasing paella and flamenco. On top of that, the intensity of the sport is rendered beautifully by slowly building the excitement to the very end.

The character design keeps some traces of the Ghibli style but aims for a more realistic look. The characters look european and well-defined contrasting the manga’s rough designs. In this film Kousaka’s departure from the Ghibli-look is more evident when portraying the athletes. Characters have muscular frames and proportions that resemble real cyclists.

I was pleasantly surprised by the great potential Kousaka showed directing Nasu. Even though the film is short and the story compact it totally deserves a watch especially from those who look for something different in their anime. Personally, I added this film to my short list of recommended anime for new fans. Don’t forget to check it out, it’s worth the trouble.