Interview: Thomas Romain

Thomas-Romain

At Anime Expo 2015, we talked to French-born Thomas Romain, an animation creator working at Shoji Kawamori’s Satelight Studio in Japan. He is noted for being the co-creator of basketball-influenced anime Basquash!, and has done designs for Space Dandy and other shows. He brings a unique perspective to working on the ground of the anime industry, often with some of the greats like Shoji Kawamori, Tatsuo Sato, and Shinichiro Watanabe. He’s also been on record noting concerns about the pay situation for animators in Japan–though you may be surprised on his thoughts about possible solutions to the issue.

The interview was conducted in English, and was edited for clarity.

Tell us about some of the Japanese anime you liked growing up.

When I was a kid, there was a lot of on tv, classics like Dragonball and Captain Harlock. And then when I was a teenager, I watched the Ghost in the Shell movie. It was pretty awesome. [I also watched] Ghibli movies, like Hotaru no Haka (Grave of the Fireflies).

It was my generation—French comic artists who are about 30-40 years old, are like me very influenced by Japanese comics, because we were all watching anime in the 80s.

Tell us how you got involved in the anime industry. I know it was through Oban Star Racers…

Oban Star Racers was an anime influenced TV project, and we made a small trailer which we released on the Internet. We had a lot of very good responses from all over the world, and from Japan too. We got a message from a producer from Bandai Visual, and we realized that maybe it was possible to work with Japan.

And I was really into anime at that same time: I was watching Cowboy Bebop, Evangelion, things like that. So we tried pushing in that direction and we succeeded in financing the project and convincing European investors to produce the series in Japan, with a Japanese studio, in 2002-2003. We moved to Tokyo and started producing the show. It was a really awesome experience. I wanted to stay there, and so I became a Satelight employee, and here I am.

You mentioned in an earlier interview [with Anime News Network] that this was an opportunity to meet your heroes, the luminaries of the industry, like Shinichiro Watanabe…

Actually I met Watanabe quite recently for Space Dandy.

And Tatsuo Sato for Bodacious Space Pirates.

The first time I met Sato was when I did Basquash!—I co-created Basquash! with Shoji Kawamori, and Sato was handling all the writing.

But you know, I wasn’t really aware of that. Because I wasn’t an anime fan; I was just trying to create my own stuff, and draw cool drawings. I was aware of some of the bigger names like Miyazaki, or Hideaki Anno. But Shoji Kawamori, when I met him, I wasn’t really aware of his career. So when I met him for the first time, I wasn’t really nervous. I was just really natural.

So it’s only later you found you found out this guy created Macross, and that he’s a legend.

Exactly!

Are there any funny stories of you working with some of these people?

Kawamori is really a character. There are a lot of stories about him. He’s really mystical, [interested in] old beliefs and religion and healers…healing people with their hands. That sort of thing.

We went to France two years ago, since we were invited by Japan Expo. Kawamori loves travel, and we went in some places in France, like the very old house where Leonardo da Vinci died, [where he spent] the last two years of his life. So we went to the room where Leonardo da Vinci died, and Kawamori just stayed there for one hour, without moving, trying to connect his spirit with da Vinci’s. He’s that kind of person.

Turning to a more serious matter, you’ve been quoted about some of the working conditions that animators face in Japan. Since that’s gotten some more publicity recently, have you seen any changes, or maybe a new discussion in the industry toward making some changes?

Some people are trying to make things better, but first it’s good to generate some publicity and to let people know that being an animator in Japan is really, really hard. Then maybe the audience will respect even more the work of the animators, who are doing an amazing job with nothing, with a piece of paper, with a very low salary.

But to make changes, we have a difficult problem. We don’t want animation to disappear from Japan, because if we make the costs too high, the investors will prefer to outsource the animation. Like France and US did…there is [now] almost no more 2D animation in France, Europe, or America. So I don’t want the same thing to happen to Japan.

And also, animators like to be free. They don’t want to be employees of [a particular] company. They want to stay freelance, work at their own rhythm, their own pace, and with the people they want to work with. It’s a very complex problem. It’s too hard. And I’m really worried—it’s becoming more and more difficult to get new talent interested working in anime. All the young people want to become seiyuu, not animators or background artists.

I wonder if you ever saw–there is a show called Shirobako. I highly recommend it to you.

I haven’t seen it, but it’s a very popular show. Back in the day there was an OVA called Animation Runner Kuromi. Also there was an episode directed by Satoshi Kon, in Paranoia Agent, with one episode about the animation industry.

I bring up Shirobako because there was a famous salary chart that was published, that basically published that annual salary of each of the characters.

I saw that. Yeah.

shirobako_salary

The difference between a regular animator and an A-list voice actress is such a gigantic gulf. It’s exactly what you’re talking about.

It’s like Lady Gaga vs. the guy checking the mics before the live shows. Like stars vs technicians.

Since you mentioned that most animators want to be freelance, do you think unionization is at all a solution to the pay problem?

I had this discussion with Lesean Thomas, the American creator I’m working with right now for Cannon Busters. He told me that unionization destroyed the animation industry in the US. There are no more animators.

We talked also about…doing storyboards for feature films. In Japan, usually the director does the storyboards for the feature film by himself. But in the US, they are working with a team of several storyboarders for each feature film. And he told me it was impossible in the US to ask only one guy to do all the storyboards because of the unions.

As a non-Japanese person in a Japanese industry, do you think you are primarily called upon to bring a non-Japanese perspective into the work that you’re doing? Is that something that you thought you’d be doing when you came to Japan?

Absolutely not. I just wanted to almost become Japanese, to work exactly like the Japanese creators. But because I cannot remove the fact that I am French, sometimes people want the skills…for example on La Croisée, the setting and action is in Paris. Or probably Space Dandy, Watanabe wanted something very different with the designs…

[The producers] just want to work with me, because I do great, solid designs, because I have strong skills, and I work very quickly and respect the schedule. So sometimes they ask me something because they want something different, but otherwise just because I’m just a skilled designer.

Concert Review: IA and Wagakki Band @ AX 2015

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Photo by Kaori Suzuki (official)

IA

Having been told that the entire projection took an year’s worth of preparation by the producer herself, it should not have been surprising that the show began an entire hour later than scheduled. Something as complex as a Vocaloid hologram is likely difficult to set up and prepare for public performance, even though this is not the first time a Vocaloid has shown up at Anime Expo, and it is using a later (though not latest) generation of the Vocaloid software than Hatsune Miku. When IA’s figure, gyrating and swinging to the synthesized beat, rose onto the piece of transparent glass that is her medium, the crowd finally went wild, glowsticks aloft. There was much pent-up energy that needed release.

IA sounds smoother and more “natural” (i.e., more like a human voice) than her more well-known sister Hatsune Miku. Based on samples of the voice of anisong singer Lia, there are moments during the performance where, if you close your eyes, you can believe it’s a human being singing the song rather than a voice synthesizer–that is the difference between version 2 and 3 of the software. (This is quite different from Miku, who sounds like a robot, which is part of her charm.) It helps that a few of the songs are catchy in the inimitable J-pop way of most Vocaloid music, and for those who are into going full otaku with the glowstick motions, the songs are easy enough to follow along. Nevertheless on some songs the synthesized nature of her voice becomes apparent, especially during the “stage banter” parts where long awkward pauses give away the fact that everything was preset. The appeal of this sort of performance is going to be inherently limited so long as uncanny valley moments like this still exist.

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Photo by Kaori Suzuki (official)

The choreography of the projection and the human dancers that often surrounded her was reasonably well-rehearsed, though occasionally awkward. The animations themselves were well-captured, however, and it’s easy to see how it would have taken a year to record, animate, and render the dance moves.

IA does not have the fame or cachet of Hatsune Miku, who is the face of the Vocaloid phenomenon, but her more natural sound points toward an interesting possible direction for this sort of singer: there may come a day when a Vocaloid will be almost indistinguishable from a live human voice. Whither, then, the future of pop music? Perhaps the tireless moe robot overlords are coming to a future stage near you.

 

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Photo by Lily Huang (Sh1zuka)

Wagakki Band

On the surface, Wagakki Band could not be a more diametrically opposite act than IA. Wagakki Band, for one, was a live band, with all their musicians playing real, even oversized, instruments. Many of those instruments are the ancient ones of Japanese traditional music: taiko drum, koto, shamisen, shakuhachi flute.

Yet, there is also the drums, guitars, and bass of modern heavy metal too, and it becomes apparent that Wagakki Band–despite its name which means “traditional Japanese instrument band”–is a thoroughly modern concoction, a cultural and technological collision as profound as that of a robot animated singer. It would be accurate, in fact, to say that Wagakki Band is more a hard rock/metal band with traditional Japanese flourishes, as Beni Ninagawa thrums on the shamisen like a hard rock guitar player with a pick and, during a thrilling drum solo between drummer Wasabi and taiko player Kurona, they bang out a talking drum duet as hard and fast as the great rock drummers of yore. (I was reminded of a heavier version of Chester Thompson and Phil Collins’ drum duets during Genesis’ latter prog days, but that may be a bit obscure for many readers.)

The thing is: this works. If you are a fan of hard rock music, the powerful, shigin-tinged vocals of Yuko Suzuhana belting out the theme from Samurai Warriors will excite as much as any female rocker. Crunchy riffs from Machiya rock as hard as anywhere else–occasionally sounding like John Petrucci of Dream Theater (whose music played, appropriately, over the PA during the intermission between IA and Wagakki Band). The melodies are much more traditional if you listen hard, but somehow lend themselves to rock much more than one thinks–and much more than the comparatively limp studio recordings suggest. This is a band best appreciated live, by far. They may not dance quite like IA, even though they do sometimes sing Vocaloid songs in their inimitable style, but they certainly know how to rock out, on the usual instruments as well as the wagakki instruments they are named after.

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Photo by Lily Huang (Sh1zuka)

The Wagakki Band set, for this relatively unfamiliar newcomer to their music, was consistently exciting and full of energy and rock goodness, with only an occasional moment where the loudness appeared to peak out the PA and cause some clipping. This is normal for a lot of rock shows, however, and convention concerts in particular, where live instrumentation is not as common. It was not enough to flag the energy of the crowd madly waving the same, somewhat faded glowsticks from the IA set. Their encores were well deserved, even if it was a repeat of the song from the start: a reminder that this is a still relatively new band just beginning to find its stage all over the world.

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Photo by Lily Huang (Sh1zuka)

Sense Impressions: NGE 20th Anniversary Celebration at AX 2015

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If you had asked me two weeks ago if I was headed out this year toward the Los Angeles Convention Center for the anime celebration of the west coast, I likely would have given you a proud “no”. Truth is, that after last year’s record attendance, and a lack of compelling guests or panels, it has become harder and harder to keep this convention momentum up. After nearly two decades of this one has to pick and choose their battles, and last year left me parched in the desert save for another chance to catch up with old friends, industry and beyond. So this year was meant to be something of a vacation from what used to be a popular personal vacation destination. I know, sounds pretty silly now, but considering what the medium has meant to me in the wake of Evangelion, one would hope noone would begrudge me the will to catch a breath. So when the grapevine juiced up with the promise of a twentieth anniversary featuring none other than NGE’s pop muse herself,Yoko Takahashi, it felt like something that just wouldn’t allow for my smug avoidance of this now major, mainstream gathering.

So in natural Winter form, I arrived at Hall B far earlier than I had any right or need to. Not a line had formed as staff had informed me that nothing would be happening until roughly 12:30p, with the show starting at 1:30. It was 10:15. Fine. It’s alright. Not feeling terribly materialistic, so Exhibit Hall is out. Nor am I hungry for overpriced poison, so forget eating. Brought a book with me that I long to finish, so the wall of waiting it is!

How little did I know that the background sounds I was hearing behind me was going to keep me from finishing that next chapter on the densha attendant who moved the packets of sarin gas out of a train in 1995, and that the singing I was hearing was Takahashi herself. My book closed as I leaned over to my back left in disbelief. She had just finished “Zankoku na Tenshi no Tēze”, and had just started with “Fly Me To The Moon”, Wait-is that the Laputa theme? Suddenly, the reality of where I was, and the significance of the whole event began to take a severe kind of hold over my body. A little over 18 years ago, these songs were just beginning their swirl throughout my consciousness like a larva burrowing deep into me in search of a home filled with food and warmth. The songs from Eva have within them a sort of emotional knowing that composer Shiro Sagisu and Takahashi infused within them that seem to understand the unspoken heart of a series that would come to define not only its director, but a generation of myth enthusiasts. The songs become iconographic, kin to GAINAX’s visual presentation and Sadamoto’s character designs. They are an indispensable part of Evangelion’s entire spirit, and every bit as important as the animation.

There was something very intimate, very curious about listening in to the rehearsal that again let me into the show’s own penchant for process. I could just ignore it, and crack open my book again, but this is process. It’s what attracted me to the entire series in the first place. A feeling of “in progress”, never perfect, always seeking the better. I never expected to be treated to such sounds, even if it was clear that the singer was taking it easy on her voice for the moment. This didn’t come with admission, and yet, this is perhaps the highlight of my afternoon.

A few chapters later, the staff at last led us out back to line up for the show which ended up lasting all of about twenty short minutes before we were corralled into a red-tinged Hall B, where the suspense built in spite of itself. And I say in spite of because the 1:30 show had soon become a 1:53 show due to one delay or another (which is expected of AX, but not accompanied by endless loops of Angel Attack–a song that will now gnaw at my brain should one note be uttered again). So when the lights finally went down, and our emcee at last revved the 3000+ crowd up for the afternoon’s festivities, all felt more than ready to experience what I had already done so, this time at 150%.

And what a sweet demon it is..

In truly top form,a winged & horned Takahashi was both deeply friendly and commanding in her performance, which included the aforementioned songs. (with a side of “Tamashii No Rufuran” – a personal favorite) And while she was given a little time to explain with translation help, the video presentation supplied by Shiro Sagisu’s company (a public premiere), and her upcoming compilation album, her appearance was meant to be but part of a larger whole presented by the folks at Bang Zoom! Entertainment. The prolific dub studio also hosted a charming cosplay contest, a voice acting demo featuring ADV dub veterans, Tiffany Grant, Matt Greenfield, and the inimitable Amanda Winn Lee, and music by ALICE Underground & Eru. And while I couldn’t be happier to see such personal favorites come by for a spell, it was Takahashi’s presence that hinted at an event that never truly materialized. But one can just call this me being greedy, which is more than likely true.

In all, the music was powerful yet brief, the appearances sweet but fleeting. And while I could certainly appreciate everyone for pulling this together with the resources they had, one could also make the case that we at Anime Expo were getting something more akin to a digest celebration. A series of tasteful morsels without going full banquet. Even when the crowd chanted for an encore, the repeat of “Thesis” only hinted at something that could be just that more involved. Or perhaps again, this is my curse of Evangelion. It always leaves me wanting more. Not so much more of the same, but more of that human touch that allows Hideaki Anno’s spirit to reach more of us.

As it is, I felt like all we received was a heartfelt, yet still passing glance as opposed to an intimate glimpse into one of the great modern myths.

The SNAFUS of Youth

 

What uniform can I wear to hide my heavy heart? It is too heavy. It will always show.

Jacques felt himself growing gloomy again. He was well aware that to live on earth a man must follow its fashions, and hearts were no longer worn.

Jean Cocteau

We have been subjected in the past few years to a spate of misleading, light novel adapted, anime titles. This is a happy thing, because the titles rarely promise anything other than the cheesiest, fan-serviceyist sort of outing: The Pet Girl of Sakurasou. Is it Wrong to Pick Up Girls in a Dungeon? The Hentai Prince and the Stony Cat. Each one of these shows has proven to be better written and characterized than their titles suggest, and perhaps can be chalked up to the collision of marketing necessity and rigid anime convention with an author’s desire to tell a different sort of story altogether. Sometimes you have to play the game in order to break the rules.

Such is the case with perhaps the greatest example of them all, My Teen Romantic Comedy SNAFU (lit: Just as I Thought, My Youth Romantic Comedy Was a Mistake)—though on further thought, the title may be more appropriate than it appears. It is, after all, quite a failure as a romantic comedy—its best moments are wistful and serious, not comedic. It begins with a standard quasi-harem set up but moves far beyond it, to tell the story of how teenage misfits try to navigate the emotional turmoil and confusion of adolescence in all too real ways. Real in how flawed, idealistic, and self-delusional they are; real in that they make mistakes when they think they are doing their best. The audience expects a cheesy harem comedy, but gets something much closer to Catcher in the Rye instead, a perhaps painful reminder of how one fumbles toward maturity with one’s friends in tow.

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The Holden Caulfield at the center of it is Hachiman—Hikki to his friends. He is a recognizable figure to any smartass, self-exiled teenage male who fancied himself less “phony,” less conforming, and more intelligent than his peers. If the mark of childhood is to take everything at face value, the mark of adolescence is to see past the surface and to realize there is more to life than just appearances—and to congratulate oneself for the insight, as if it were the greatest revelation in the world. This is why he cannot, in the first season, accept Yui’s kindness as genuine. She must be nice like this to everyone, he reasons, or is just pretending, either out of politeness or a desire to be thought well of. She must, in short, be a phony. As Holden put it:

That’s the whole trouble. You can’t even find a place that’s nice and peaceful, because there isn’t any. You may think there is, but once you get there, when you’re not looking, somebody’ll sneak up and write “Fuck you” right under your nose. —JD Salinger, Catcher in the Rye

This is the thought that runs through every adolescent’s head when he or she discovers how unfair and cruel the world can be. Even in minor ways, consequential only when you’re an adolescent: we discover later that Hachiman was brutally rejected by certain middle school girls who return in the second season, there to taunt him all over again and remind him of his past, embarrassing sincerity. The lesson he learned was that it would not do to wear his heart on his sleeve any more. He would protect himself with a shield of cynicism, even as he continues to flatter himself by “helping” others in his own way through the Service Club.

The Service Club is a concoction of his teacher, who, like Mr Antonini in Catcher, is trying to widen Holden/Hachiman’s perspective by forcing him to interact with others. At first there is only Yukino, the kindred-yet-different spirit who shares Hachiman’s reticence masking even less concealed vulnerability. In a lazier show they would be an easy pairing, but SNAFU novelist Wataru Watari does not make it nearly as easy. Their attitudes militate against connection, because it would require them to discard their constructed identities as smart, superior loners who see through the shallow social high school scene. This is why Yui at first seems an interloper, a “popular” person trying to penetrate the outcast group, but—as Hachiman, in a searing moment late in the 2nd season, acknowledges, they are longing for nothing less than “the real thing.” Yui brings that in her heart-wearing, kind, and purposeful effort to be friends with these stuck up loners.

That’s the rub, isn’t it—“the real thing.” One could call it authenticity, or emotional honesty, or speaking plainly, something the characters don’t seem quite to manage even at the very end of the second season: they avoid the subject of who-loves-whom to continue their balanced friendship, even as they know very well it cannot last forever. SNAFU is smart enough to realize that dramatic transformations do not happen instantly, not even when there are epiphanies and eloquent speeches—which the show is full of, especially in the second season where Hachiman’s self-protective worldview gets taken apart brick by brick as he realizes his “help” simply preserves a sick status quo at best, that his desire to not hurt others is hurting others more, that his unwillingness to be open is driving even his closest friends away. Realizing these things, which were some of the most emotionally satisfying parts of the series, was not enough to change everything overnight. They still can’t quite be entirely honest with themselves at the end—and we understand that, well, they are still kids. The show may be over (for now), but they still have time to figure it out. After all, it took some of us even longer to do that than many people who do as they finish up adolescence.

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Once, not long after graduating from college, I found myself a counselor at a urban summer camp for a bunch of Chinese kids in Brooklyn. The kids were the children of garment factory workers, whose mothers (many of them were in single-parent homes) toiled in the Garment District for most of the day and had little time to care for them. Many of them were rambunctious and unused to following instructions. Being an only child, I don’t think I’ve ever yelled at children as much as I have as I did during that week.

There was one girl whose name I have forgotten. I remember her well because she, after seeing ungainly me, unused to being around children and the kind that likes to stand around aloof and awkward, had the gall to call me “creepy” to my face. I was more hurt than offended—I knew very well that I was not the most friendly or welcoming person, because I had barely even figured out who I was in my early 20s: I’d been too busy to think about it much in my intense high school and intense college majors. I wasn’t good at hiding my awkwardness from others, and children being as forthright as they are, she called it out.

It has been over ten years since then and I really only remember two things: one was yelling at a particular boy who kept running around and disrupting the play time. The other was occasionally asking the girl how she was doing, and eventually discovering that she was interested in writing stories. She tended to play alone, the way I usually did when I was her age. When it was time to do some writing exercises, I asked her how she came up with ideas and gave her a few tips from my own efforts to write stories: I had just graduated from the creative writing program, and while I was burned out at the time from putting anything out, I still remembered all the advice I had gotten over the years from workshops, books, and brutal peer feedback.

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I did not spend that much more time with her than I did with the other kids. I only remember her so well because, for a brief moment, there was a kindred spirit, a small reminder of where I once was, but in a less privileged place; a chance to share, albeit briefly, a bit of what I had learned up to that point about writing. I was lost and confused then, much more than I actually realized at the time, and all I could do was offer a few shards of the life I had pieced together then.

I’m not sure anything is that different now, really, as I write this and I look back at this real life incident and the fictional echo that I saw in certain scenes of SNAFU, especially the ones with Rumi in S1. We don’t ever stop being broken in one aspect or another; is anyone’s life ever really whole and seamless, ready to offer as God’s gift to humanity as some paragon of righteousness? Maybe the only gift we can really give as human beings is the gift of honesty: to offer our own selves, take it or leave it, and hope that when it is offered, it will be appreciated as “the real thing.” It’s a dangerous thing, though.

Don’t ever tell anybody anything. If you do, you start missing everybody. —JD Salinger, Catcher in the Rye

Hi again, everyone. It’s good to be back. I missed you all.

Otaku No Video Kickstarter Success (Why It Still Matters)

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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.

Then scratch that itch. Fight the good fight!

Fight, Ota-royalty!

Otaku no Video Crowdfunding Project Promo Video from AnimEigo on Vimeo.

Through Older Lenses: A Candy Colored Pill They Call Shirobako

 

Someone recently asked me about current anime television, and what I have been spending limited time watching lately. And they were surprised to hear that a soft series like Shirobako, has pretty much dominated a majority of that time. Which is funny considering how easily the series borders on self-parody. (even when it seems like such a turn would in fact boost it by leagues) While we have flirted with anime about anime in the past, Shirobako feels a lot like the kind of show the fictional Musashino Animation would indeed produce. Something quasi-steeped in reality, but mired so deep in the artifice of anime, that all of the drama inherent seems to roll off the shoulders like a set of remote controlled plastic clouds. It’s like a tailor-made opiate for raging internet commenters. Which isn’t to say that it is bereft of any charm whatsoever.

We have for perhaps far too long, shared a world built around the concept of the smooth pill. The easy answer. Flat tire fix. It is a complicated thing to delve into when talking about the whys, and how things are often sussed out in the real. When discussing any number of topics facing our daily world, one of the replies that tends to slip out of my mouth is that quite often, we prefer the myth over the weighty responsibility inherent.

Examples:

Friend: Why do we seem so hellbent on playing the same game, even when the current model no longer seems to work? Like voting for one of only two political parties.

Me: It’s comfortable.

Or (and I know I’m being a bit pedantic here, but bear with me)

Friend: Hey, ever wonder why so many fans self-serve, rather than a reflect?

Me: Myth can be a drug. Doesn’t matter if the truth is obfuscated. Which is advantageous to those who sell the myth writ large. As long as the sleep continues, profits are kept relatively safe a little while longer. In the end, everything diminishes.

Shirobako, on its face feels like one of those great balancing acts so common in today’s market; eager to reflect the world of fans-turned-animators, yet hampered by market necessity. While we are constantly let in on the process of the creation of animated product in the Japanese system, we are also reminded of what is being used to sell the series-a near army of appealing, albeit typical teen anime girls. Definitely a latter day moé-wave title, with an easygoing pace, and ready with open arms to share the daily trials and challenges of televised anime with the public at large(all while remaining as soft-pedaled as its comfort food pedigree tends to allow). There’s nothing challenging about it save for the completion to air deadlines. It’s a fantasy about making fantasy.

Especially in a net climate where animators from both Japan and the rare U.S. expat have shared grueling tales of an environment rife with problems both internal and external, there is so much that Shirobako wishes to keep soft and harmless, so as to maintain the sales potential. While we are decades beyond Otaku No Video, we are certainly not ready to blur the line between anime and reality with this topic just yet. Or it could just be that at this point, with the industry in the place that it is now, writers and producers are in a zone where all they can think of is the familiarity of the workplace. The reality has been consumed by the need for an easier dose to down.

In one of the later episodes, a great question is posed by our central character, Aoi. She asks the big one. “Why did you chose to work in anime?” And the answers turn out to often be unfocused, and overlooked. When working in such an assembly line environment where artistic aspirations run head-on into the needs of commerce, there is a factory mentality that can often blur distinctions. And while some of the show’s animation staff try valiantly answer this burning question, the replies tend to be that of aimlessness, or a wish to share something cool with the world. Things whittle down quite rapidly as those in the wheelhouse scramble for some semblance of understanding why they do what they do. Only to reveal that very often, it couldn’t be less readily tangible.

taitanic

Now the show does its part to both warm up and warn viewers regarding the attraction and repulsion of the anime production world. From charming moments that feature analogues for medium legends (there is that HA guy, as well as a vivid rendition of Hiromasa Ogura who joins in on Musashino’s latest project), to some sweet breakdowns of the process by way of Aoi’s internal greek chorus in the form of a well-intentioned teddy bear and a cynical goth loli doll. But the real surprises come in later episodes that allude to production’s darker, more broken sides by way of new PA Hiraoka, and the clearly decimated backup ani-studio TAITAINIC. As unsubtle as anime gets, if one would believe it.

It is in the short moments we have here, that the horrors and often troubling realities of anime production are cursorily hinted at if not outright explored. Dank, nearly abandoned offices occupied by merely one staffer, unseen co-workers, and half-hearted work abound. One might almost want to delve deeper into this already telling plot footnote, but alas, there’s so much more to be absorbed by. Angel Workout, anyone?

Kill me now, yes?

Now this isn’t to completely disparage the show’s occasional dips into puerile moé shtick. But as a constant quiver in Shirobako’s arsenal, it is egregious to the point of exasperation. Sure, it’s to be expected of a fluffy anime series in the mid-2010s. Who expects an anime to get its hands truly grubby with the painful complexities engulfing the entertainment industry during one of its most trying technological periods? Still. While the show does its part to make light of how episodes are divied up by PA, and each separate element is ordered, prepared, and distributed, one couldn’t be faulted for wanting just a little more adroit honesty. Every time the series runs against a potentially challenging road block, in comes a new offering of nubile comfort food to keep those nasty realities away. In classically mild Japanese fashion (and to be fair, the old school Disney model as well), Shirobako never finds itself ready to unveil past a certain amount of skin.

In tradition of hoping our entertainment would take point, and offer up something new and potent, Shirobako has certainly done its part to be mildly diverting. But one cannot help but feel the pressure of market lining every corner of its production. Heck, one episode even went so far as to address the pressures of investors that often pit artistic ambition versus sales potential, no matter how shallow or trivial. It’s at least able to get that one welt in there. Now if only more of the show were as willing to take on the industry that spawned it. And so, we’ll continue to wait. Certainly, this series could have been far more harmful than it is. At least Genshiken takes some uncomfortable, yet well-deserved jabs at a business subculture saturated in repression, and shamelessness. Shirobako is simply born to be mild by comparison. Sure, firing retorts at a wired, conspiracy-obsessed populace by way of a peek at the sausage factory through a charming set of binoculars might work. But to quell the masses, perhaps something more up front might do wonders.

garrr

Ghost In The Shell At 20 (Now on Hulu Plus)

gitshd

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!

So get on it, already!

Interview: JAM Project

JAM Project, one of the biggest anisong “supergroups” in the industry, was founded in order to further the genre of anime songs specifically. Consisting of a number of veteran anisong singers, today it now comprises founding members Masaaki Endoh and Hironobu Kageyama, as well as Masami Okui, Hiroshi Kitadani, and Yoshiki Fukuyama, who all joined between 2002-2003. They are best known for songs for shounen action shows such as Cardfight Vanguard, Nobunaga the Fool, GARO, and New Getter Robo, as well as video games like Super Robot Wars. Their operatic rock seems to fit those genres especially well.

Unfortunately, the audio for our transcript recording was sometimes fuzzy so not all attributions were 100% clear. Apologies for lack of clarity on those questions and answers.

We started by asking Masaaki Endoh about his famous predilection for bringing instant noodles with him on tour.

Endoh-san, what kind of instant noodle did you bring this time?

Masaaki Endoh: Six different flavors of mini-sized ramen! But I don’t have a water boiler due to luggage weight limits, and unlike in Japan, they don’t have hot water dispensers in every room.

Your stagecraft and style of music is very theatrical and almost operatic.  Is that a reflection of the sort of anime that you do music form or is that your natural style?

Hironobu Kageyama: Actually it is influenced by the type of anime the songs are for. So if it’s anime that has robots, like Super Robot Taisen where there’s a lot of fighting and energy, the songs will be influenced by that.

How do you think your style has adjusted over the past 15 years?

Kageyama: We don’t so much change our style as look for something new to do.

So would you ever do a song for a moe anime?

Kageyama: If someone ever asked us to, sure. We have girls in the band. [looks at Masami Okui] But we don’t ever get asked to do that sort of thing…

How do you relax when you’re off jam project? Individually? Or collectively?

Kageyama:We always like to talk together sometimes. Outside of music…well, we always thought about making our own jam. Jam Project jam!

What flavor of jam?

Strawberry!

What secret hobbies or hidden talents do you have?

Kageyama: I’m the oldest, so working out is my hobby. Recently I’ve been cycling and scuba diving. And this year, I’m challenging myself to train for a short distance triathlon.
Hiroshi Kitadani: The fans on twitter probably already know this, but my hobby is cooking. I do it every day, and when I make my own dish and drink alcohol, it’s very relaxing and therapeutic.

What’s your favorite dish?

Kitadani: Oden! It’s easy to make.
Masami Okui: As for [my hobbies], in Japan or all over the world, I like to visit “power spots”–places with spiritual energy. In Japan, that would be shrines or temples I love. When I’m off work, I go there a lot. This year, though, I want to go to Mt. Shasta.
Yoshiki Fukuyama: I have no hobby. So my hobby now is to look for a hobby.
Endoh: I love animals, so I have a lot of pets. It’s a dream that I want to be surrounded by animals in a big place.

Kageyama-san, you said last year at Anime Boston that you started the band when anisongs were in decline . Do you think the anisong industry has revived since then? Where do you see it going?

Kageyama: Anime songs are much more popular popular in Japan compared to 10 years ago. There are a lot of live events and concerts now and the audience has increased a lot. And variety of artists have shown up. So, it has changed a lot over the course of 10 years.

Who is the first musical artist that grabbed your heart?

Kitadani: I love Kiss.
Kageyama: I love Motley Crue.
Fukuyama: I love Deep Purple.
Okui: I love Kageyama’s vocal band, Lazy.
Endoh: I love the Beatles.

You’re all at Las Vegas now, do you plan to gamble and do you feel lucky? 

Okui: Living is a gamble.
Kageyama: I don’t feel the urge to gamble. But if I was, I’ll pull a slot machine handle once.
Kitadani: It’s a little scary, but I would like to try roulette.  Try betting on black. Ehh, really but what about red? You can split it 50/50, like your hair! [Laughter–ED: Kitadani had colored half his hair red, as in the picture at the bottom.]
Fukuyama: I never tried gambling, but I have seen it a lot in movies, so I like to try it like they do it in the movies.
Endoh: I like hitting the jackpot.

You’ve done a lot of songs for sentai series. What are your sentai colors?

Kitadani: [points to Kageyama]: He’s red.
Kageyama: Oh, I’m red, huh?
Okui: I’m pink.
Endoh: I like red, but red’s been taken, so I’ll be green.
Fukuyama: I’m blue.
Kitadani: I’m yellow.


The interview was conducted by Jeremy Booth with additional questions by Michael Huang. Rome Yamashita, Raymond Hu, and Linda Yau translated from the audio for this transcript.

Interview: Yoko Ishida

Yoko Ishida has been actively singing anime songs since her recorded debut in 1993, Sailor Moon R’s ED “Otomo no Policy.” She has sung songs for series as wide as Ai Yori Aoishi, Strike Witches, and most recently the first OP for Shirobako. At the Lantis Anisong Festival in Las Vegas, in addition to her own songs she also covered the Haruhi Suzumiya insert song “God Knows.”

When did you decide to sing anime songs?

When there was an anime singer contest. I auditioned for that–and won!

The Grand Prix 1990, right? What was your winning song?

The assigned song was from Maple Town. And the free song I chose was by Imai Miku.

What was like to prepare for your recording debut with “Otome no Policy” (the Sailor Moon ED)?

At the vocal booth, I entered alone. It’s a solitary process, so when I record a vocal, I imagine that I’m singing in front of a huge audience.

Were you nervous?

I get nervous every time!

You’ve done a lot of songs. How do you choose which ones to do at each performance?

For example, like this performance in Vegas or elsewhere abroad, I choose whatever songs are popular in that local area. And I also take into account what songs fit in outdoor or indoor venues.

Do you have any hidden talents?

I don’t have any…[but] I love traveling abroad privately. Now I go abroad for work, but since I love traveling, I still feel happy.

Can you tell me which anime moved you emotionally?

My debut song was in Sailor Moon, but recently I was moved by Strike Witches. Those girls work so hard.  They fight hard and build their friendship, and that kind of story moves me.

How do you translate those feelings into a performance?

Many times that the lyrics tells a story and the girl’s emotion, so when I sing, I put emotions into the lyrics, and I remind myself of the first scene [in the story], which raises the right emotions.

I love your opening for Shirobako, “Colorful Box.” Based on what you know, how realistic is that show in showing the anime production process?

The people I know in the industry say “oh yeah, that’s true, that happens!” when watching that show. So I think it’s close to reality.

What other anime you watching?

I don’t watch a lot recently, but I did enjoy watching Strike Witches.

Who is your first music love?

My mother loved old Japanese pop songs. Lyrics were sung very clearly in the old days, so now I sing lyrics very clearly too.

Do you plan to gamble tonight?

Yes, on the slot machines!

Are you feeling lucky?

Yes I will today, since I lost yesterday. (Laughs)


Michael Huang conducted the interview, with assistance by Jeremy Booth. Raymond Hu provided on-site translation. The full interview was translated by Rome Yamashita.

Yoko Ishida
Yoko Ishida

Interview: ChouCho

ChouCho is the singer of many recent anisongs, including songs for Fate/kaleid Liner Prisma Illya, Heaven’s Memo Pad, Glasslip, and Mashiiro Symphony. She got her start singing Vocaloid covers on Nico Nico Douga and quickly established a successful solo career in recent years.

We started off by asking her about a sandwich from the Hard Rock Cafe (the concert was held there) she tweeted a picture of the day before, marveling at the size of it:

What do you think about size of the food here in the US?

It’s double the size of Japan’s.

Aside from American food, we understand you’re from Osaka. What kind of food from Osaka do you like?

I want to eat takoyaki sometimes!

Let’s go back to the start of your career. You sang anisongs even as early as high school.What anime did you like back then?

I used to copy J-pop songs then [actually]. After graduating from high school with the band I had, that was the first time I copied anime songs.

Any particular ones?

Evangelion and Aquarion–songs by Yoko Kanno and Maaya Sakamoto.

What inspired you to post videos on Nico Nico Douga?

When I was in an anime song cover band, we entered a local anime song event in Osaka. And the other band’s vocalist was posting their songs on Nico Nico, which was the first time I heard about anyone doing that.  That inspired me to do the same.

Any particular Nico Nico artists you liked?

Vocaloid composers, like supercell.

Any favorite supercell songs?

The most played song on Nico Nico was “Hajimete No Koi Ga Owaru”. [ED: Below is her cover of the song.]

Did you feel you were adding something unique by covering Vocaloid songs? They start out as a software voice, after all…

Hatsune Miku is a machine, so it doesn’t have emotion. Even without vocals, the song itself has enough charm to convey [emotions] directly, so when I did the cover, I was thinking a lot about how to convey the charm of the songs through my performance.

Tell us about how you got chosen to do the KamiMemo OP.

They were looking for a singer to do OP for KamiMemo, and I was selected from various candidates. They saw my NicoNico videos and that’s how I got vetted, and I feel I was very lucky.

How do you prepare for a performance like the one you just did?

I practiced at home a lot, and practiced English MCing. I studied English in Canada for a half year. But that was 5 years ago, so I almost forgot all my English. It’s been a long time since I went over English and I was nervous about it.

The anime you sing for features a lot of cute girls. Who are your favorite cute anime characters?

It’s difficult to say! I put a lot of energy into each anime I sing for, so it’s hard to choose. If I have to choose, it’s Alice from KamiMemo.

Do you have any image in your head when you sing?

Since it’s main theme song, I have to become the character’s feeling, in order to express.

How’s your pet rabbit Sanagi doing?

It’s very cute and tsundere! Normally, it’s cool (tsun), but when it’s hungry and begs for food, it’s cute (dere).

How did you name Sanagi?

My name is ChouCho (“butterfly”), and Sanagi means “cocoon.”

What message do you have for your American fans?

I now understand that our songs are loved even across international borders. Through this concert, I will try our best, so we can come back to the USA again.

So, last question: are you gonna gamble here in Vegas?

Probably, if I have time tonight!


Michael Huang conducted the interview, with on-site translation help by Raymond Hu. Rome Yamashita translated the interview from the Japanese.

ChouCho
ChouCho

Song Stream: Lantis Anisong Festival, Las Vegas

DSC_0346
bamboo (milktub)

 

This is the first of several articles/interviews about the Lantis Anisong Festival, held a month ago in Las Vegas in conjunction with Otakon Vegas. Interviews and videos coming later during the weekend.

This article is based on the second day of the festival on Saturday January 17.

There was a certain clockwork efficiency to the Lantis Anisong Festival in Las Vegas, with the way each act came and left the stage in relatively rapid succession. It had to be, given that there were about a dozen acts reprising anime song favorites, 2-3 songs per artist, who sometimes doubled up and collaborated (as ChouCho and Sayaka Sasaki did). Despite being all managed by the same record label, a great diversity of anime was also represented, from pure shounen action (such as with the headliners JAM Project and solo performer Hiroshi Kitadani with songs from One Piece) to otaku fan service comedies (Bamboo, singing the OP to Baka Test “Baka.Go.Home”), to moe parody (ChouCho‘s Fate Prisma Iliya OP “starlog“), a cover of Haruhi Suzumiya’s legendary insert song “God Knows” by veteran singer Yoko Ishida, and even the Power Rangers theme song at one point with JAM Project founder Masaaki Endo. The presence of a stage band anchored the live musicianship consistently, with only other full bands like Yousei Teikoku needing to take the stage with their own players. Full, live musicianship is relatively rare at convention concerts, so hearing nearly four hours of actual performed music was a treat.

Sayaka Sasaki and ChouCho
Sayaka Sasaki and ChouCho

And yet this was not a convention concert in the usual sense, despite the festival’s ties to concurrent Otakon Vegas: it had its own management, ticketing, and arrangements, but both logistics and logic dictated some overlap. Its relative independence proved a boon, because the general convention audience and the audience that would “get” the majority of these songs do not necessarily overlap: there were relatively few cosplayers in the audience, for instance, and many of the songs played were from obscure-in-America properties, like the original live-action GARO. The truly committed had paid over $100 for VIP tickets, and many of them were decked out in traditional otaku fan garb: glowsticks, headbands, and coordinated gestures. Buying a VIP ticket also entitled the holder to high five the artists on the way out of the venue, a touch opportunity that is generally coveted highly in Japan, the subject of lotteries and contests. This was the Anisong Festival’s only non-Asian stop and it was Asian-style fandom that was fully on display.

Hiroshi Kitadani of JAM Project
Hiroshi Kitadani of JAM Project

As for the performances themselves: they were, above all else, consistent in their high level of musicianship and singing, with sacrificing the distinctives of each artist. Standouts include not only the highly energetic headliners JAM Project, with their excellent operatic singing and rock god poses, but the exuberant bamboo (milktub). As he sang the Baka Test OP, he clambered down from the stage and simply started mingling with the crowd–not just the VIPs!–singing all the while with his wireless microphone, high-fiving everyone. He carried and showed off a body pillow. Bamboo came off as a man who has truly embraced anime music as a culture, perhaps a job requirement given his other job as the head of MangaGamer but deeply felt all the same. Sayaka Sasaki, who we saw last year at Otakon Vegas, also gave a spirited performance, though the more restrained ChouCho slightly edged her out in vocal consistency. Both were equally charming though during their joint performance of “Enter Enter Mission!”, the ED to Girls und PanzerFaylan, who sang the OP to the Nasu-conceived PA Works action series Canaan, showed off some great choreography skills along with aggressive singing.

Yui of Yousei Teitoku (Official Photo)
Yui of Yousei Teitoku (Official Photo)

Perhaps the hardest rocking performance was given by the goth metallers Yousei Teikoku, who at one point seemed to be launching into something resembling the intro to Metallica’s “Masters of Puppets” before proceeding into one of their own songs, “Kyuusei Argyros” (the ED of Tokyo ESP). Many heads banged along. True to their image, they played the aloof, too-cool-for-school part, even during the final ensemble festival anthem “Starting Style” where all the artists took the stage at once: perhaps a bit too syrupy for their taste? The singer did induct all the audience into her Fairy Empire however, and in a show that featured much more pop and light rock, their heavier sound was welcome.

JAM Project
JAM Project

A few more words about JAM Project and their associated members, Masaaki Endoh and Hiroshi Kitadani. Perhaps no other act embodied the spirit of the festival and its purpose than them, a supergroup started explicitly to carry on the spirit of anime music. The two leads, Endoh and Hironobu Kageyama, are veterans of the industry whose operatic metal-influenced voices practically defined a generation of shounen, super robot, and tokusatsu animes, shows, and games from the 80s-90s onward. That sort of anime is now only one type of many in today’s media landscape, and arguably garners less immediate commercial attention than the cute/moe aesthetic typically favored by today’s otaku (the sort of anime an artist like ChouCho sings for, for instance). Their sheer performance chops are undeniable, however, and they were absolutely the correct act to close the afternoon: after seeing them belt out passionately, jump and wheel about on stage, working in near perfect coordination, one feels almost as pumped up as they evidently were. For an evening that started with the purely artificial Hatsune Miku, the end was about the power of raw, organic performance, the essence of what rock music has always been about. It is an “anime” music festival, yes, but it is a “music festival” too, and all in all it succeeded being that just as much as being a celebration of anime.

Our photos, taken by Jeremy Booth:

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Official photos by Lantis:

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Setlist (Saturday, January 17, 2015)

Hatsune Miku

  1. Sharing the World
  2. World is Mine
  3. Tell Your World

ChouCho

  1. starlog (Fate/kaleid liner Prisma Illya OP)
  2. Authentic Symphony (Mashiroiro Symphony OP)
  3. Enter Enter MISSION! (Girls Und Panzer ED) w/Sayaka Sasaki

Sayaka Sasaki

  1. Reason why XXX (So I Can’t Play H OP)
  2. Zzz (Nichijou ED)

bamboo (milktub)

  1. Uchoten Jinsei (Eccentric Family OP)
  2. Baka.Go.Home (Baka Test ED)

Hiroshi Kitadani

  1. We Are! (One Piece OP 1)
  2. We Go! (One Piece OP 15)

Yousei Teitoku

  1. Kuusou Mesorogiwi (Future Diary OP)
  2. Kyuusei Argyros (Tokyo ESP ED)
  3. Baptize (Seikon no Qwasar OP 2)

Yoko Ishida

  1. Eien no Hana (Ai Yori Aoshi OP)
  2. God Knows (Haruhi Suzumiya insert)

Masaaki Endoh

  1. Yuusha-Oh Tanjyou! (GaoGaiGar OP)
  2. Go Go Power Rangers (with Hiroshi Kitadani)
  3. Bakuryuu Sentai Abaranger (OP for show of same title)

Faylan

  1. Last Vision for Last (Hyakka Ryouran Samurai Girls OP)
  2. mind as judgment (Canaan OP)

JAM Project

  1. Break Out (Super Robot Wars Original Generation: Divine Wars OP)
  2. Vanguard (Cardfight Vanguard OP 1)
  3. GARO-Savior in the Dark (GARO live action OP 1)
  4. SKILL (Dai2ji Super Robot Wars α OP)

All Artists

Starting Style

Through Older Lenses: Letting Go Of Live Action

 

Anime fans, asian cinema lovers, genre hounds.

It’s time to grow a little.

That’s right, I said it. It is no longer the “salad days” of fandom. It’s train that has long passed. In fact, when the best possible celebration of these things came to our doorstep, it was the international audience who came brandishing that flag to wave it, not us in the states. Solidarity is a nice thought, but it’s something that if even came to pass, wouldn’t make the mainstream quake in its collective boots.

Adaptation should always be about more than casting. These words have been on my mind for almost two weeks now. Whether it happens or not, the Ghost In The Shell project has again stirred the hornet’s nest. After yet another attempt to adapt a beloved Japanese property to the Hollywood realm did its part to unsettle and stir the pot, it felt time to again dish out the whys. Also, to hopefully quell minds with a few good realities to consider.

A quick fix is rarely a good thing.

We see tech offer up simplified answers to often step-packed questions, and technological development does what it can to leapfrog those steps. But skipping about can very often obscure room for nuance, and specificity that can occasionally be important to many. Which is why many stalwart admirers of the longview tend to gather more understanding of process.

As far back as I can remember learning about it, my love of anime has been a protracted lesson in how localization works. From the beginning, it has long been a held reality that direct translation leaves quite a bit to be desired, nor does it better grab the cultural and psychological nuance of a foreign work. So tweaking and fine tuning are an expected norm. And while we have made substantial leaps to best synthesize this into a palatable shared language, there is still nothing like learning and better understanding other languages and cultures. So when the mainstream is confronted with work almost completely in step with classic anime tropes and ideas (see- Pacific Rim), it’s understandable to see the average moviegoer take in such ideas and cock their heads sideways. The response is often not that of revelation.

Even when manga and anime properties are adapted on their home soil, there is disconnect. This is another huge hurdle I have had to get past these last few decades. In writing the column, Live Action Manga Blues at the Kaijyu, it over time came into sharp focus that even the Japanese are saddled with both the budgetary and literal limitations that come with taking something iconographic and making it into fleshy reality. And the reasons here are multifold. After all, we are talking about taking what is often seen as Japan’s hidden id, and bringing it into another plane of existence. To assume that the two can co-exist seamlessly without losing some grand component remains paradoxical, and often unrealistic. Sure, we have had success with certain more “experimental” fare such as Oldboy, Video Girl Ai, and the Speed Racer. But very often, there is a temptation on the part of live action filmmaking to conform the work into a language that rarely melds with the weight and necessity of itself. It either has to be almost indistinguishably gritty, or it needs to be completely gonzo. Rarely anywhere in between. And to a degree, big films like Racer and Pacific Rim are indicators that they can only work in the hands of the rare risk taker that is willing to bet the farm to see their vision to fruition. Artists with the acumen and sneakiness to ostensibly fool already cynically inclined studio heads that this is worthwhile.

(Something the director of Snow White and The Huntsman, hasn’t proven himself to me. Just saying.)

So a huge part of me isn’t expecting much of this recent news. Many would dare to still hope that one day, their favorite property would make the transition, changing the perception of at least one more set of eyes to their favorite thing. But time has perhaps hardened my purview, I suppose. Because the allure of anime is truly its own organism. And it doesn’t require further validation. It’s wild, weird, and enjoyably dysfunctional in ways that would lose fathoms of itself in being conformed to a more docile cinema language. The average mind accepts new ideas when it is time. And frankly, in twenty years we have seen Ghost In The Shell become something of an evergreen that continues to make converts out of film and science fiction fans the world over. And as new animation continues the adventures of Section 9, such windows will continue to open. Because of this shared world we now reside, it takes more than one obligatory, stunt-casting laden feature film to turn heads. Especially when the genuine global article already exists.

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