Spoiler alert. Continue reading
Spoiler alert. Continue reading
“Dedicated to all pioneers..”
A wink to both the past, and maybe things to come?
It’s a difficult thing, topping what many consider to be a genuine cultural milestone. So many variables to be concerned with as markets feel the pressure for more of the same, but beefed up for the next go-round. One might almost consider it (often have) something of a fool’s errand, an exercise in futility. It’s rare that a well can be revisited, and improved upon with new vision and energy potent enough to become its very own entity. So when we look back, and consider what did exactly happen when the Macross franchise entered the 1990s, we can see both a medium come of age, and a seemingly niche-minded universe find its footing with purpose. The big budget (for its time) Macross Plus OVA series made its debut in August of 1994, featuring the talents of series co-creator, Shoji Kawamori, a young, eager Shinichiro Watanabe, Gainax designer, MASAYUKI, with a screenplay by Keiko Nobumoto. In an era where anime productions for straight-to-video fare were rarely if ever larger than say that of Yasuhiro Imagawa’s Giant Robo, this was something of a creative gauntlet. In an era where budgets for TV anime were beginning to look dire, the OVA was suddenly flirting with grandeur.
Planet Eden. Year: 2040
Brash ace pilot, Isamu Dyson is newly assigned to the hallowed New Edwards base in hopes of keeping the hot headed hotshot from causing UN SPACY further trouble. Upon arrival, he is informed that he is to participate in Project Super Nova, where two upcoming Valkyrie models vie for a spot in the future of aerial mecha combat. Having been an Eden native, Isamu’s return makes for a queasy reunion upon discovery that his competing pilot is none other than his one-time half-Zentraedi best buddy, Guld Goa Bowman. Still fuming after an incident that ruptured this once close bond, tension only rises further upon the arrival of shared childhood friend Myung Fang Lone, now producer to the galaxy’s most beloved idol singer- the virtuoid idol, Sharon Apple. The moment all three are reunited upon Star Hill, it’s very clear that the animosity from days long past is still raw. And despite the once aspiring singer’s position as the digital chanteuse’s producer, the role is closer that of puppet master, controlling Sharon’s performances via her still bruised mind. Further fueling the competition back at the base, the rivalry begins to take on dangerous dimensions as Myung’s scarring memories of those days seem to be creating a bit of a problem. An illegal AI chip has just secretly been installed into the virtual singer’s CPU, making her an interloper of the most terrifying kind.
Echoes of Top Gun aside, what truly sets this entry apart from the classic Macross mold is the eschewing of a star-spanning space war, and a greater focus on the inner lives of the story’s central leads. At the time it was a startling branch away from an already familiar formula, and it makes for what remains the most psychologically complex Macross to date.
In fact, the central theme this time around shifts the needle away from culture, and onto our increasingly tenuous relationship each other, despite all the advancements surrounding us.To best share feelings on this theme, it’s time to share a few thoughts regarding Plus’ central love polygon. (Yes. We have shot well past the classic Macross love triangle, and have landed somewhere altogether new for the time. Needless to say, it get a little..complicated.)
It’s still pretty fascinating to experience a character like Guld in something like this. While he carries with him an often proud stocism, he is also carrying within this need to be redeemed. While he has excelled as a solider and pilot, there is something very dark and unresolved beneath being his well regarded exterior. Indeed, there is a heroism about him. But lest the truth sees itself through, this painful hurdle might never be passed. He could so easily have been written and directed as a one-dimensional obstacle, but instead it’s a dynamic portrayal of rage versus serenity.
As for Myung, we have the first deconstructive Macross lead in the guise of an idol who never shined. The story hinges intensely upon her as one who saw herself become a part of the literal idol machine. Staying far from old friends, playing behind the curtain. Matters come to a head when fate intervenes, pressuring her to reveal more and more of herself before lives are further damaged. And outside of these painful memories, none of it is truly of her doing. She is fallen by way of a most simple, yet wholly destructive secret. And as such, is one of the first truly postmodern anime characters this side of an Ikari.
Cocky, hotheaded, clueless Isamu. What to say about him? Save for him being the ultra-classic Tom Cruise archetype, he is also perhaps one of the best avatars for unbridled arrogance in anime history. Outside of his love of flying, the guy is hopelessly simpleminded. He found his passion at an early age, and not much has evolved since. More than anything, he is less the central character, and more a sounding board whom everyone else bounces off of. More an audience surrogate than an actual character, Mr. Dyson is little more than a likeable fool right out of a 1990s arcade game.
Going to go ahead and admit it. If there is any character I feel the most empathy for in all of Plus, it’s Lucy McMillan. She was just part of the YF-19 research team, doing her part for the betterment of technology, and got herself hung up on an overgrown twelve-year-old fighter jock. No intention of trouble whatsoever. Save for one understandable act of selfishness, there is much to consider regarding this character despite her brief screentime. She merely wanted to care for a guy, and was subsequently dumped for someone who likely was far from ready to pick up from where they left off. Taste in guys notwithstanding, she comes from a more direct place than most of the leads, and learns a harsh lesson as a result. Talk about your collateral damage.
Lastly, what words can best be shared to encapsulate the conceptual leap that is Sharon Apple? Japan and the otaku dream of a virtual singer have shared DNA for quite some time before Hatsune Miku and her kin graced monitors, and car commercials everywhere. In fact, it feels very much like a straight up creative trajectory, like it was destined into existence. Anime had already been tinkering with the idea of a computer generated idol, most notably so in the classic AIC video series, Megazone 23. But when many of the same minds behind Macross and Megazone took the jump into CG enhanced animation, the timing never felt more right to create a character so definitive of her time. From large scale holographic performances, to virtual stalking, Sharon remains one of the most indelible idol characters of all time. And yes, we did just say stalking because for a being created out of code, there is an unprecedented complexity to her that is often overlooked. Long before Spike Jonze’s poetics regarding us and our technology, Sharon represents the glory and the fear of melding our worlds. While she draws us in with her abilities, there is certainly no shortage of disturbing behavior coming out of her. She is a Descartian dream gone south. Such power with such insatiable curiosity, and such a broken sample of a mind to work with. And therein lies the tragic majesty of Sharon Apple-none of it is really her fault. She is but a mere reflection of us.
Combine all the drama with some of the very best mecha and dogfight animation in a medium’s history, and you have a striking, nuanced entry in what has long been seen as an otaku evergreen . With Nobumoto and Watanabe added into the mix, there is a sobriety to the storytelling that was new to the Macross brand. (something only peripherally attempted by Kawamori’s later entry, the often-ignored, Macross Zero) With characters like Isamu, Guld, and Myung fighting amongst themselves, the war is an intimate one with a potential for many affected bystanders by way of some serious hardware (and software?). Like many of the great filmed fantasies, there is a careful blending of grand scale action with complex characterization. And within what is ostensibly a movie-length work, it’s a balancing act that hits far more than misses.
When looking deeper into the unique heart of Macross Plus, one can see a thematic throughline regarding increased connectivity between humans and machines. It could be argued that Plus is more concerned with our own will to allow technology to stand-in for our own crucial decision-making methods. While a great many shows of the time bore a more technophobic slant, there seems to be a greater emphasis on human flaws that allow certain problems to arise. This is emphasized via the character of ace pilot, Guld, who’s half-Zentraedi blood leads to an often violent temper, we witness him downing pills to bring himself back to the tranquil person required to fly an experimental machine. Nobumoto’s script harbors a love for people connecting directly, but an equal fear that equates retreating into realms of the virtual with impending disaster. Almost like a warning as the internet was gathering steam as an information and communications resource in the early 1990s. And considering the unprecedented vision of cultural pluralism on display in this series, it’s a concern that remains as prescient now as it did then. It almost feels like a pointed response to the gap that was inevitably closed in the original series. Now that culture has bound us together, now what? While it isn’t spelled out directly, it is haunting every moment of the OVA.
Closer together. Further apart?
The great concern for tech working as a stand-in for our often broken selves is ever at the human core of Plus. For all the archetypes that tend to populate the Macross universe, this is perhaps the one incarnation that chooses challenging characters with unlikeable traits over your typical romantic heroes and idols. The entire show reminds us that despite the advances happening around the principle characters, the peril of machines is simply that they will not stop where we might. Possibly a dated notion, but a potent one nonetheless. One of many firsts for the franchise.
And speaking of firsts, it even went so far as to be one of the first anime releases to have original soundtrack albums distributed in the US via JVC, which was how I was introduced to the music of one Yoko Kanno. Picked up a copy of this from my local outlet, and was instantly enamored with it. As ambitious as the world Kawamori and Watanabe were aiming to achieve, it’s the musical character of the show that makes for the full range iconography of Plus. For these ears, what makes a truly classic soundtrack is an intrinsic understanding of a film’s world and characters. And there isn’t a single track in all of Plus that feels out of place with the universe, or its leads. It promises a new, more nuanced worldview, and it delivers with a rare sense of playfulness and grandeur. From orchestral, to Badalamenti-esque bits of atmosphere, to experimental electronica of the day, Kanno’s work on Plus is the kind of debut work that could very easily signal a one-and-done scenario. The very best of one’s compositional prowess on display for one big splash, never to be equaled. To this day, it remains something of a major accomplishment for anime music, and a personal favorite.
And yet it was only a mere hint of what was just around the bend..
One of the earliest examples of iconic sell-thru anime on the VHS market, Plus reeks of artistic ambition rare for the format. I fondly remember seeing these Manga Video releases adorn the shelves of Circuit City stores, not to mention your local Sam Goodie locations, and was long a darling of rental outlets such as Blockbuster and Hollywood video. Produced with enough budget and panache to compete with even big movie fare, retailers saw Macross Plus as something of a bright spot in the then just piercing-the-surface American anime market.
It’s very rare when anime squares off beautifully with Hollywood quality storytelling, but it has happened. Through Kawamori and Watanabe, we were able to see what was truly possible. Yearning for something beyond anime’s reputation is always something worth hoping for. And Plus remains a potent, indelible reminder of what can happen when a medium shoots for the stratosphere.
True pioneers aim to do nothing less.
We had the privilege of interviewing longtime animator, character designer, and animation director Hidenori Matsubara. A longtime colleague of Hideaki Anno, he’s worked on most major Gainax projects as well as the recent Evangelion Rebuild movies. His work goes back to the late 1980s and includes titles like Oh My Goddess, Steamboy, and the upcoming film At the Corner of the World.
This transcript is based on the on-site translation, and has been edited for clarity.
Computers have changed the animation process a lot. What are some of the benefits of using digital and what was it like using a computer to do animation for the first time?
[With digital processing,] I guess there is less deterioation in the final processing. Before, when art was transferred to a cel, there would be some decay. That’s the best part [of using digital]: there is no more shifting of the art when it’s transferred to celluloid. There’s no more dust, no more scratching. Before, there used to be this gigantic camera that takes a picture of the cel, but with computers there’s a lot more freedom of expression.
As for modern techniques, it’s more like I didn’t have a choice, so I just went along with it. One day in 2000-2001, when doing illustrations for magazines, I was given the company’s final celluloid. That was it for cels; there was just no choice.
Has the use of digital processing changed his own day to day work greatly?
It hasn’t really changed. For me, it’s still pencil and paper. Some people work on tablets and with the computer, but I haven’t. I never tried it, so I don’t even know if it it’s easier or not.
Do you think one man animation projects like Makoto Shinkai’s Voices of a Distant Star are where things are headed in animation? Or is this a temporary thing?
That type of person and production exists, but there’s a variety of productions out there too. [After all], Shinkai works on regular anime now. Everyone’s different; like, Shinkai is really into doing backgrounds himself, whereas [Hideaki] Anno likes doing the layouts himself. Each director has a way of doing things. It’s not like a self-animation would be the only thing out there.
Speaking of Anno, you’ve worked with him for a long time. How has Anno changed or stayed the same over the years?
Nothing’s really changed. He’s like a big shot now, but basically nothing’s changed.
What was it like working for Gainax in its early days?
I started [at Gainax] on Wings of Honneamise; I was a total newbie back then. Then I was an in-betweener, and promoted to key animator for Gunbuster—which was Anno’s first directorial work. After that there was Nadia: Secret of Blue Water, where I became an animation director for the first time. And after that was Otaku no Video.
Since Nadia was a TV series, I was one of many animation directors. But for Otaku no Video, there was only 2 animation directors, so I was happy to be chosen for that one. As for the Evangelion TV series, I was busy with a lot of other things, so I only contributed to a part of it, but I did have a lot of fun.
So just how accurate was Otaku no Video as a depiction of Gainax then?
It’s not wrong! Maybe it softened up our image a little. [Gainax] basically started as people in their early 20s in a nameless company making a movie, and all those people are basically big shots now, so that’s impressive.
You mentioned in an earlier interview about how courageous Wings of Honneamise was and how perhaps a project like that wouldn’t have been greenlit now. Do you think courage plays a large role in the creation of anime?
It’s really up to the individual, to personal feeling. Maybe I did have courage back then, but when you’re young, you just don’t think about things like that.
Six hours ago, ALTIMA made a daring promise. The Japanese pop trio, responding to a question of whether they would ever cover a Run DMC song, boldly urged members of the press and public to attend their evening Otakon concert.
One hour ago, they delivered.
Full of power, grace, and confidence, ALTIMA put on a dynamic performance – flitting about the stage, posing with each other, and swapping keyboards for guitars. They stopped at nothing to please the audience – dancing, strutting, jumping, and thrilling Baltimore with rousing renditions of Run DMC’s ‘Walk This Way’ and Joan Jett’s ‘I Love Rock n Roll.’ The audience responded with adulation – jumping out of their seats, waving colored glow sticks, and even running in place as Motsu trotted out Japanese dances for them to attempt.
Everything was on the mark: the sound technicians, the lighting, the beat, and the cavorting performers. There was one time when a sound tech did not make an instantaneous adjustment, but it meant nothing next to the sheer energy and raw enthusiasm displayed by Motsu and Maon, set against the backdrop of digital pop provided by Sat.
There are times in live performances where the human element falters, rendering the result less than a recording, and there are times when humanity rises to all challenges and creates a work of true beauty and matchless wonder. At the end of the concert, Maon cried out that she would remember it for the rest of her life. This was no exaggeration.
ALTIMA are a digital J-pop group widely known for making the Shakugan no Shana ED. They are:
Motsu, you put the band together. Could you tell us why you felt compelled to work with these artists?
Motsu – At first . . . ? I love J-pop – and my old band, m.o.v.e., starting doing less digital J-pop. I found on YouTube that I could do digital J-pop with Sat, and we just needed a vocalist who was into it. We found her, and we were set!
Any funny or inspiring stories from the road?
Maon – In Thailand and in HK, the crowd had memorized the songs and sang with us! I felt that music connects us, even across distance, borders, and cultures.
Motsu – I love how loud the fans get in the US! It’s the best feeling, being cheered on like that.
Sat – We visited many places for the music videos and had a lot of experiences. It’s a real honor to be in the US.
You are each from different musical traditions. What is the concept of ALTIMA?
Sat – What we aim at is digital J-pop. I don’t know if you’d say digital pop exists elsewhere in the world, but digital J-pop is exactly what we want to do.
What artists inspired you?
Sat – Motsu~! (Grins across.)
Motsu – (Laughs.) (Pauses.) For me, as a rapper . . . Beastie Boys, 2Unlimited, house music . . .
Sat – Run DMC, Walk this Way!
Maon – For me, actually, a lot of anime artists! Minami Kuribayashi, Mizuki Nana, JAM Project – I found this style of music most interesting and I want to tell the world how wonderful it is!
Sat – I also manage FripSide . . . we were successful and I had the chance to work with Omura Tetsuya. I said, “I did it!” It really felt like a milestone in my life.
Maon – I also really respect Hamasaki Ayumi.
Sat – Hey Motsu – you’re in the same company as her, aren’t you? (laughter)
How do you deal with creative differences?
Motsu – Janken! (laughter)
Maon – Jan! Ken! Pon! (makes hand motions)
[Editor’s note: This is Rock, Paper, Scissors, which is ubiquitous in Japan.]
Sat – Seriously, though, we’re all in different age groups – 20s, 30s, 40s. We don’t really argue and we have no problem talking things over.
What are the greatest challenges you’ve faced in your music careers?
Motsu – Starting up this group, actually. Three years ago, not everyone was sold on this idea. We faced a lot of opposition. It was worth it though – we’re here now!
Sat – I likewise feel the greatest challenge was putting this group together. But I was a huge fan of Motsu already, so I knew I wanted to work with him!
Motsu – (Embarrassed) Oh, thank you. Thank you.
Maon – My own greatest challenge? Actually, it was stepping up and singing! I am really the introverted type; I love being inside playing dating simulation games, but when I discovered the world of anime music, I became passionate about sharing it with everyone. So stepping into the light was my biggest challenge.
You mentioned that Run DMC influenced you. Is there any chance we’ll see a Run DMC cover some time?
Motsu – Yes. Come to our concert tonight!
What’s your favorite swear word?
Maon – English or Japanese?
Motsu – Jikusho!
Bonus question: Where’d you get your shades? They’re very distinctive.
Motsu – It’s my own brand! Ghetto Blaster. So we could say I made them myself.
You move so fluidly! Did you have dance training, Motsu?
Motsu – I started out as a dancer.
Do you have a message for your US fans?
Motsu – You guys give us huge greetings when we come to the US. It’s great to have you cheering us on!
Sat – As the producer, let me say – we try for an unconventional style. I really want to see how fans react to it!
Maon – Even in Japan, it’s a rare opportunity to do everything raw. Here in the US, it’s an especially rare opportunity to bring you our raw sound, our raw voices . . . I’m looking forward to it!
Sat – I really hope we can spread exposure across the country to those who are looking for our sound. So I hope you guys can write good articles and convey our spirit to the world!
Reinterpretation can often be an exciting, yet dicey thing, especially in regards to classic characters. And upon first catching the often breathtaking teasers for Shinji Aramaki’s opulent computer animated incarnation of Leiji Matsumoto’s ultimate superhero, there was already a sense that a die had been cast. That viewers were soon to be host to a darker, more action-oriented take on the revered space outlaw. And since many icons of comics past have recently seen themselves reflected upon through more challenging lenses, it seemed time to explore this spirit in a new, potentially exciting way. Which makes it all the more troubling to say that Space Pirate Captain Harlock is an ambitious, yet spectacular failure that never finds itself comfortable with this new sheen. It’s the very model of what some may dub as forced corporate tinkering, featuring the best money can buy. A souped up show vehicle with no real engine inside.
Set generations after humankind has left the cradle of Earth, and have long existed on planetary colonies elsewhere which have inevitably dried up. This inexplicable phenomenon leads to what historians call The Homecoming War, a conflict that saw millions of would-be returners unable to return to Earth. One hundred years after this costly war against the installed Communion leadership, Harlock and the crew of his legendary battleship, Arcadia have been fighting to return to Earth, even if it means to merely die there. The secrets of which lie in those fighting days, and perhaps will serve to undo the sins of the past. Meanwhile, the outer colonies dwindle as they are informed by Communion that Earth is seen as sacred ground, and cannot be repopulated.
The tale follows a pair of brothers, swearing an oath to bring down the seemingly immortal space pirate by way of sneaking one of them onto the legendary Arcadia. With the elder brother confined to a wheelchair, and connected directly to Communion’s high officials, it is up to fair-haired Yama(Haruma Miura) to take on the mission. And what he discovers upon becoming a crew member , are Harlock’s vast plans which include altering the now dwindling dominion of humanity in space, and resetting the clock to a time when all was not so lost. This “Genesis Clock” can almost instantly be interpreted as a means of nostalgia, whereas the fanatical high command seek to keep everything business as usual. These two brothers now see themselves at a crossroads as to where humankind could go. And boy, does the film never grant us any good reason for any of these choices. With a forced plot such as all resources outside of Earth are reaching dangerous lows, and a collective need to return should work poetically, but it never stops feeling forced.
Upon the Arcadia, Yama’s encounters with Harlock’s crew offer up reasons as to their defiance of his home government, which never convinces. Upon meeting crew members such as Kei Yuki(Miyuki Sawashiro), and Yattaran(Arata Furuta), we never feel the full breadth of what this means to anyone. Posturing precludes reason throughout Harutoshi Fukui and Kiyoto Takeuchi’s script, and it never becomes any clearer. Even the classic “outsider” in the ethereal alien, Miime (Yu Aoi) never grants us any better a picture as to what is at stake. In fact, the film’s title character, never gets more than a few moments to grant us something cool to look at, and never addresses what makes him so cool. It is completely unearned, and pretty much smugs all over the screen without any support. There is an almost passive aggressiveness being doled out with the character here, and it never works beyond a “deal with it” attitude. – Which is the worst thing one can do with such an icon.
We could talk all day about the film’s lack of plot clarity, and all the shifting regarding the story’s end game, and what it means for our characters. But the crucial problem that continuously dogs Harlock, is a severe dearth of character clarity. While some may adhere to what they know about the classic Matsumoto character, it is vital that any iteration retain such clarity for the ultimate story to uphold, revere, or even reflect upon him. And a great deal of the film immediately assumes that the audience requires less of this, and more an iconographic interpretation. Meaning that the imagery would sell him. And that this alone (that he is an operatic, brooding, romantic figure) is enough to carry an audience’s sympathy and support. What might have worked better here, is to use the world building as a means of winning us back into understanding Harlock’s tragic burden. But here we have a film where the title character never gets any real juice. And for a character as simple, this is a tragic mistake.
Having seen and loved many of Harlock’s adventures on film over the decades, it isn’t difficult at all to ascertain the kind of noble spirit he can be. So why is it that his big budget CG incarnation lacks any of his simple charm or sense of heroism? The film just plunks him down like an object, and we are expected to follow – no question.
As the film plods along, we are granted closer looks at the reasons behind the brothers’ mission, and how this run in with the Arcadia reshapes their views. And while this could easily have made for an interesting story, we are so bogged down by this lack of character clarity, and emphasis of plot rugby, that it never compels. After a while, all we can ascertain from these characters is that one looks like a young Harlock, while the dignitary brother is an ill-conceived sociopath. So much angst on display, and no real human drama driving it. It is so much that nearly everything outside of the mechanical design work of Atsushi Takeuchi feels overworked, and leaden. The film wants so badly to be taken seriously, but it garners none of the wistful charms nor emotional highs that adorned films such as Arcadia Of My Youth(1982), or the first Galaxy Express 999 features.
After a decade plus of productions like these, and one cannot help but come out and state that Japanese producers perhaps lack a certain grasp of balancing story with grand scale 3D computer animated projects. Unsure as to whether it happens due to a lack of proper prep time, or if they make creative decisions on the fly. Whatever the case, it is a trend that seems to allow so many of these films to be buried under the weight of their own self importance. They never seem to live beyond a need to be taken seriously via their heavy textures, and three dimensional panoramas. There is a deep need to justify the expense, and it often is the visual team’s cross to bear, as writing often takes a tragic backseat. Something that should never be the case with any production of this size. What seems to have happened here in particular, was a need to overwrite, to overemphasize. It is to the point that the film lumbers instead of soars. Baffles, instead of inspires. Too moody to be fun, and too self-conscious to be interesting. Space opera can be complex, but this is overcooked to the nth degree. You cannot Dark Knight such a romantic character unless he comes complete with morally complex baggage. Throwing it on just because that is what big films are doing today, is missing the point entirely.
It’s funny to think of this being released in the same year as a moody Superman reboot. In many ways, one can easily regard the classic Harlock as the Superman of japanese comics. And as such, he seems to have suffered a similar fate this time around. It’s a real shame, as his indomitable spirit should endure. Harlock is at his best when he sails the seas of freedom. Adding more to such simplicity just feels tacked-on. (not to mention dishonest)
The Joneses are simply not worth the backbreaking effort.
It’s the year 2206, and a bright pink spacecraft has made an unauthorized launch from Pluto Space Base #17, and is sporting its hyper rocket engines with intense haste. As authorities seek to control, and perhaps even down the runaway craft, a crucial baseball drama is unfolding. With perhaps the Tigers’ 200+ year losing streak at an end, their winning play is thwarted as the troublesome pink streak fouls up the game, rendering a mob of spacefaring fans ready, and eager to destroy the speeding interloper. Not even the denizens of Macross, or Yamato can stop this intergalactic bullet from causing all amounts of nuisance to all in her path. Seriously, she’s a real pain.
Such is the life of headband wearing, pendant-sporting Micchi, pilot of the Pink Shock. Her mission is not very complicated. And it isn’t concerned with your space wars, your losing streak, your culture. She’s having none of it. She’s seventeen years old, and speeds on for love. And not you, nor any militaristic regime can do anything to stop her from reclaiming it.
How is this hard for your to understand?
OVAs in the 1980s are pretty much a wasteland of VHS nonsense, often highlighted by your random Bubblegum Crises, or Megazone 23s, and offer very little in the way of viable historical context. Even in Japan’s anime on home video heyday, these were the shelf stocker equivalent to today’s Asylum Pictures release. They were a dime a dozen, and often made on the quick and cheap. New studios opening, and new studios closing. It was a new market, and something rife with mental images of airborne yen signs just itching for a slice of this new home entertainment pie. So why in the world do we want to talk about 1986′s Cosmos Pink Shock?
Quite frankly, because despite everything in it that is typical, there is also a potent, and perhaps even frightening sliver of prophecy embedded within. From the wet-wafer thin nature of the aforementioned “plot”, there is both a reverence for the era’s legendary love of space war tales, as well as the burgeoning of that now all too worn concept of moé. The show makes every effort imaginable to play into the fetish, and does everything possible to justify its existence. In fact, the entire point of Cosmos Pink Shock, is just that: “Space Wars are annoying, this is the era of the cute girl-STEP OFF.” It has no compunctions saying that the space heroes of the past will have to make way for all the petulant cuteness, as if the show itself were Noah’s dream of a flooded planet, and we had to prepare for the inevitable.
It even goes so far as to introduce a possible foil in the form of woman hating, Gatsupi. A handsome ball of noble whom the ladies like for his looks, but are constantly rebuffed by his declaration of disinterest. Even when the assumption is that of a slashfic narrative, he contends this isn’t the case. Yes, even fangirls of the 1980s were quick to assume this guy to be prime fantasy material. But this Sho Hayami-voiced character holds within a simple reason for his standoffish ways. Perhaps leave it to the newly captured Micchi, to weave her tale of woe, thereby thaw Gatsupi’s frozen heart?
You see, Micchi’s one true love, a boy she was fond of at AGE 4, was abducted by a UFO during the night of the matsuri. Yes. And noone seemed to remember who he was, nor was motivated at all to find him. So naturally, she stowed away on a space shuttle in hopes of finding him. Again. How is this not getting through? Are you just being stubborn?
Looking back at it now, it feels like this was a sentiment that had long been festering until it finally saw a ray of legitimacy with the original Superdimension Fortress Macross series. And from that point on, it became standard practice to keep that element as an integral part of the space war genre. That is until the conditions were right. Cosmos Pink Shock feels like a light handed back slap against the decade preceding it in all its need for hard edged militarism and samurai propriety. Featuring some neat character design work by the always terrific Toshihiro Hirano (of Fight! Iczer One & Vampire Princess Miyu fame), and some impressive animation direction by Keisuke Matsumoto & Yasuo Hasegawa, there is some visual charm happening here. Especially worthy of note are the scenes involving hardsuit armor and even a robot baseball game. There is much to see as mere distraction in Cosmos, that many may see as your typical benign japan toon, but there is just enough moxy, and outright raspberrying to all things Gundam and Yamato, to make it into something of a manifesto. A harbinger of the future.
A future that was barreling closer toward us.
Whether we wanted it..or not. Get out of the way.
Oh yes, and it features quite a nod to fans of the Hanshin Tigers, granting it a Kansai aura that must have been bubbling in lieu of their once rumored “cursed” state. A running gag that screams “you had to be there”, but is mildly chuckle-inducing regardless.
Ami Koshimizu and Ryoka Yuzuki–the voices behind Ryuko Matoi and Satsuki Kiryuin from Kill La Kill, respectively–took the stage at their fan panel at Anime Expo 2014 and gave a highly entertaining, energetic look at their work. We captured most of the panel on video!
Ryoka Yuzuki was especially lively, gladly doing her Satsuki voice as well as other characters such as Neco Arc from Carnival Phantasm. Most infamously, she repeated her “pigs in human clothing” line from Kill La Kill to the delight of masochistic otakus everywhere:
She also obliged a fan who always wanted to know what Satsuki would sound like if she had Neco Arc’s voice:
Ami Koshimizu, in turn, was also the voice of Maou in Maoyuu Maou Yuusha, and she happily provided her voice for a fan:
Here are some more things we captured–like Yuzuki declaring she likes doing it “soft and hard”:
And a couple of clips, one in which they declare that they woud like to see a Gurren Lagann and Kill La Kill crossover:
We had the privilege of interviewing anime screenwriter Yoshiki Sakurai at Anime Expo 2014! Sakurai is perhaps best known for being one of the screenwriters for Ghost in the Shell: Stand Alone Complex, but he’s also done work for many other Production I.G. titles such as Seirei no Moribito and xxxHolic. More recently, he’s done screenwriting for anime films such as Redline and Giovanni’s Island, the latter which received the Jury Distinction Prize at the Annency Animation Festival.
Sakurai, trained as an economist and media environment scholar at Tokyo University, brings a genuine depth to his talk with us about the ideas behind “Ghost in the Shell” and other works, along with his thoughts about cyberpunk, the Singularity, and why the movie “Her” is so unoriginal! He also talks about his latest project, Giovanni’s Island, and how that film may help bring about the future of animation.
This interview was conducted in English, which Sakurai speaks with near-native fluency.