Upon catching up with the news via Twitter, among all the other amazing things happening yesterday, news came that Animeigo’s ambitious Blu-ray Kickstarter had ended to incredible success. More than excited to hear that the final numbers absolutely crushed the proposed $40,000 goal with a whopping $102,869, the upcoming release plans will likely live up to and beyond initial promise. And now that the initial crowdfunding leg of this particular tour is at an end, Paypal will be open to those late to the party. Sure, goodies that were set up for those who participated won’t be available, but do not feel too left out. The hallowed Secret Master Of Otakudom edition is jam packed with celebratory sweetness for even the most pokey of supernerds.
The recent Japanese release contains not only a lovely transfer, but also an all-new commentary track featuring Shoji Murahama, Kikuko Inoue, Hiroyuki Yamaga, & Yuki Sato. The Animeigo release also promises an english commentary track by none other than Gilles Poitras!
All these bells, whistles, and glory for what exactly? Well in case you’ve been on these intarnutz over the last two decades (strangely an equivalent to being under a huge rock), Gainax’s Otaku No Video remains a poignant, and often self-effacing document on an era of anime fandom that deserves remembrance. And while we certainly have evolved into forms far beyond in that short span of time, the roots remain as relevant, and possibly as dangerous – as ever. For those with a need for that added nudge, please read.
As raved about over Twitter just a short while ago, subscribers to Hulu Plus can now enjoy the recently released HD edition of Mamoru Oshii’s classic adaptation. Now alongside the later (and equally thrilling) television series’, Koukaku Kidotai has itself a nice little home base with the mega streaming service. Debate no more about Hollywood film renditions, irrelevant casting controversies, and just drink in why Production IG and company have Masamune Shirow’s crowning achievement well in hand with its exploration of political intrigue, cybercrime, and groundbreaking hybridization between science fiction and faith.
Memories come rushing back during Ghost’s initial US art house theater run via the folks at Manga Video, and just how well LA audiences reacted to Oshii’s vision. A vision that until this point was largely either unknown or patently ignored by westerners. Coming hot on the heels of the ultra-personal Patlabor 2, Ghost was a pretty unexpected theatrical and home video success story stateside. And considering the cinema world pre-Matrix, this somber and flawed mood poem had so much stacked against it, save for those who knew what a terrific coup between director and material this was. And when I say flawed, I mean this as pure compliment. Before INNOCENCE veered into near ancient library obscurity, Ghost finds itself beautifully poised between crime thriller and existential voyage. And despite it’s occasionally jarring three segment structure, it’s pretty hard to impossible to envision it work any other way.
It is Oshii at his thoughtful, grounded best.
This is especially cool news since the only version Hulu has had available for years was the irksome 2.0. Rust color and unnecessary bad CG no more!
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!
Two of the most praised anime series of the shōnen and shōjo genre are undoubtedly Dragon Ball Z and Sailor Moon. The two classic shows grabbed the hearts of millions in the 90’s, along with being “the anime” that influenced a vast amount of individuals to become dedicated fans of Japanese animation.
It’s quite possible that Crunchyroll has hit the record for the most anime simulcasts in a given season. The legal streaming service for anime & Asian drama was able to gather a total of 34 new anime simulcast titles, not including the 10 ongoing series that will be carried throughout this season.
On Monday morning, Nintendo shocked the web by announcing the all new Pokémon Omega Ruby and Pokémon Alpha Sapphire game, scheduled to release worldwide for the 2DS & 3DS in November.
The result? Social media explosion. News outlets were on it, Twitter couldn’t get enough of it, the Pokémon Facebook fanpage acquired over 19,000 “shares,” and the teaser received over 1 millions views.
Back in November 2013, developers from Acquire and GungHo Online Entertainment announced their new iOS/Android RPG game, Divine Gate. The game featured a collaboration with Steins;Gate inwhich players could form teams with the actual characters, including Kurisu Makise and Rintarou Okabe.
Magi fanatics, along with aspiring voice actors, will be excited to hear that the English dubbing company Bang Zoom! Entertainment, along with Aniplex of America, will host open auditions for Magi: The Kingdom of Magic during Anime Expo 2014. Best of all, anyone can audition, including fans.
In the month of March, Asia’s fast food giant Lotteria ran a promotion which involved a collaboration menu between them and Attack on Titan. This included the 10-Meter Class Titan burger released on March 6th, along with burger meals containing a Survey Corps pin, Military Police pin, or Garrison pin, released on March 25th.
Well there’s a feeling I haven’t experienced in an age. Looking back at the first piece I slapped together regarding Studio Trigger’s initial leap into the television series gauntlet, I’m pretty sure there was no awareness of what would happen. In fact, one could say that I was a bit of an unabashed naysayer regarding Kill la Kill. On its face it seemed like just another hyper-referential Imaishi noisefest. And while it maintains this facade throughout the 24 episode run, I sincerely didn’t expect to love it as much as I do now. Now, the mental drifting goes back toward his previous works, and it is clear that this is a show that required a few big warmups before happening. This is a refined and wisened Imaishi & Co., taking on roughly 40 years-plus of a medium’s history, and coming up with one of the most satisfyingly warped serial experiences I have ever witnessed. And just because they are wisened, this in no way implies matured. As far as wacky shows go, Kill la Kill is unrepentant, even as it treads classic alpha vs. omega stories with aplomb. (and that is exactly why it works.)
We can talk all day about the show’s referential nature, but to do so would mean to undermine what Imaishi & Nakashima have fashioned here as pastiche. In order to do this, one has to grasp why this is so. When one thinks of not only anime, but film in general over the last several decades, we must consider the role of post-modernist works, and how they succeed beyond the obvious. And to do this, we must think of some of the most effective uses of direct filmic response over this time period. Star Wars, Matrix comes to mind. The point is, it doesn’t matter how referential your show becomes. What matters is if it is in service of a larger story. And this is where KLK pretty much wins across the table. There is an inherent knowing behind all of the creative decisions. One that might not be as clear to some viewers, but it is present throughout the posturing and fighting.
The goal here is one of deceptive restraint. (Yes, I said “restraint” in a Kill la Kill discussion.) This is where we see a visual nod to a classic work of the past carefully embedded in service of the project’s larger themes. Not merely apparent for obvious reasons, but more as a direct symbolic response. And this is but one place where this show succeeds. It rarely to never feels superfluous, nor tacked on merely for nostalgia reasons. There is a more aware, more heightened reason as to why. Confession: upon my initial viewing of Gainax’s Top Wo Nerae! GUNBUSTER in the early 1990s, there was a feeling that something was being missed in my neophyte mind. I earnestly was not aware of all the anime & classic science fiction nods that were happening throughout, and I was taken by it regardless. THIS – is precisely the kind of effect that is happening here. It does not require us to be medium junkies in order to appreciate it. It’s just enough a melange of past and future, that it hardly seems to be issue-worthy.
So what we’ve just discussed, factors greatly in why the show ends up becoming as multifaceted, and exciting as it is. As much as a lot of it is TRIGGER’s way of respecting their sempai, and doing good by what they learned from their elders at Gainax, it is also a story of generational strife, and what it often does to families. Threads that find themselves at odds by reinforced beliefs between the generations lies burning at the heart of the show. There is a genuine concern for this tension between parental expectation, economic interests, and independent thinking. Even as the world is at last briefly shown as a complete, naked, and honest entity, the show implies that this is a constant struggle. One far beyond one massive spacebound battle for the soul of humanity. With this playing itself out in the most ridiculous, visually assaultive manner possible, the series kind of gets at the heart of why I love anime in the first place.
Before being whittled down to a calculated series of tropes and ideas ready for market, anime was far more emotional, far more unrestrained & far more surreal than it has been for years. And while many may argue that it is only in the post-1990s that we have come to a place where indeed everything and anything could happen within the form, it has long become something synthesized. And by this, I mean..controlled. Kill la Kill is kind of a kiss off to the current model and is also keeping the best elements of the past slung happily around its shoulders. The legacy of many a young, hungry, intense artist is at the heart of Ryuko Matoi’s battle for familial understanding. And even though we can see the initial episodes as being a perpetuation of oh-so many expectations based on toy and hobby item sales, the remainder goes out of its way to see well past all this to become its own, wild, restless entity. By the end, so many of the show’s more questionable qualities become moot, and the focus becomes resoundingly clear for all anime studios to see. Uniformity as an end goal – quite the terrifying prospect to the heart and soul of this project. It sees what has happened, and is daring more fans and makers to alter course.
This is exciting stuff.
So where to now? Where does one go after such a profoundly crazy ride? I could lie, and say that Tengen Toppa Gurren Lagaan could serve as a happy methadone for the days and weeks ahead, but seriously. This was a show (let me correct myself, IS..a show) that makes careers and possibly leaves a well-planted mark in the story of anime. Whether one finds personal value in the madness inherent or not is beside the point. As a production, it is all something of a miraculous thing to exist. Like a stubborn weed amongst forests of uniformed concrete, the tale of the Kiryuin family, the Makanshoku family, the Elite Four, Nudist Beach, and others find themselves as singular in a medium landscape that will continue to feel fresh and exciting for a long time to come. If TTGL was a loving appetizer, then KLK is that obstinate, scrappy main course that can make one want to be a punk chef of their very own.