Whoa. 2012 is has been off to a brisk start, and Spring seems to already be in the air. And even though the year has started off without a surprise breakout a la Madoka, one cannot help but feel like some greatness in the form of old favorites, the long awaited return of a genre-bending master, and more seem to be on the horizon. And not merely in regards to shows and films (although there are a few worth making noise about here), but in ventures that could very well change the anime market landscape for the better. To be completely honest, it has been a truly long time since someone like me has felt any real modicum of excitement about the coming months.
So let’s give a few moments to consider these potentially mark-making projects, and what they could possibly offer.
1. Uchu Senkan Yamato 2199
You guys have no idea how thrilled I am for this massive revival project. Far better than any of the previous movie attempts to resurrect Nishizaki/Matsumoto’s science fiction allegory classic, this big budget retelling of the Voyage To Iscandar has an equally large pedigree of talent and familiarity. It’s a project so large in ambition, the first 50 minutes of the series is to be premiered in a few weeks in select theatres in Japan on April 7th. Sporting modern animation, featuring some unique takes on all-time favorite characters via Nobuteru Yuuki (Escaflowne, Harlock Saga, X/1999,etc), and impressively updated mechanical works by way of Makoto Kobayashi (Super Atragon, Last Exile, Steamboy). For seiyuu fans, seeing Daisuke Ono cast as Susumu Kodai was definitely an eyebrow raiser. And most standout is the appointing of former mecha-design icon, Yutaka Izibuchi (Patlabor).
This is perhaps one of the more standout decisions for me as I remain in that cult of folks who happened to deeply enjoy his directorial work on RahXephon, so when considering such a huge heritage inheritance, this in many ways feels very appropriate. And even if the rest of the series won’t be seeing TV screens until next year sometime, there is no shortage of high hopes for what could very well be a stellar reinterpretation of one of anime’s greatest sagas. Among the recently developing news regarding the project continues to come in, noted fans like Tim (www.starblazers.com) Eldred , and August Ragone have been doing a bang-up job keeping English speaking fans up-to-date. Most recently through the pipeline is an announcement that the upcoming Blu-ray release of the first two episodes will be coming complete with English subs!
Yamato remains to many as one of the medium’s most heralded mythologies, and it looks like no expense will be spared in the months to come—all in hopes of bringing such a universal story to an entirely new audience while being deeply reverent to fans of the past.
2. Sakamichi No Apollon
A long injustice seems primed to come to an end. Despite a few scattered projects where his hand could only be seen in select areas (Star Driver, Michiko To Hatchin), director Shinichiro Watanabe (Cowboy Bebop, Samurai Champloo) returns with a secret weapon for this period series centering on young jazz lovers during the 1960s.
There isn’t a whole lot to report regarding this at the moment, but mere words cannot express just how long the medium has felt something wholly missing. And while the criminally underseen Hatchin contained a great deal of Watanabe’s signature touch, there simply hasn’t been much of a truly international flavor to anime in a while. Budget concerns from studios aside, a void has certainly been there without Watanabe’s knowing, confident vibe permeating through a television work. Not to mention that his last big series, Samurai Champloo, despite its deserved place in the pantheon of wildly original pieces of “ought” anime shows, was also missing an element that made Bebop such an iconic achievement: Yoko Kanno. The very idea that Kanno is hard at work complimenting the aural space of Apollon is reason enough to celebrate. But to consider that they haven’t worked on a major project since Cowboy Bebop: Knocking On Heaven’s Door (2001), is just plain perplexing as their styles feel synergistic to a fault (even going back to their mutual work on the OVA favorite, Macross Plus), and considering the source material in Yuki Kodama’s manga. It’s very possible that we’ll be witnessing something of a mutual labor of love, which can translate into some truly unique, personal work.
3.) Feature Films
There’s also feature films waiting in the wings, such as the latest from Mamoru Hosoda, as well as the return of a massive revival which seems primed to delve into uncharted territory.
Well, the early teaser pretty much confirms it; Hosoda is ready to assume the populist throne from Miyazaki with his latest movie effort, The Wolf Children Ame And Yuki, a lushly animated tale that takes place largely in the countryside, centering on a single-parent family with a pair of wolf-children. It’s really hard to say where it will be going, but there is definitely a Tonari No Totoro vibe going on here, which is interesting. Being almost completely bereft of technological imagery does give off a feeling of newness to Hosoda’s usual repertoire, so it can go either way quite easily.
And we don’t really have to spend too much time left speculating what Studio Khara has in store for Evangelion fans when the third Rebuild film, Evangelion 3.0: You Can (Not) Redo comes this Fall. And in lieu of very real disaster, it will be truly fascinating to see where this rendition of the mecha classic will go. Having pretty much obliterated the original story with the finale of 2.0, we(and the creators) will now be in completely virgin territory which can only remind one like me of the days between episodes of the original series, which seemed like a painful eternity. So, magnify that by a couple of years…I’ll wait..
Is the stunning, hint-laden bombshell that was shared over at ANNCast last week. It was dropped by anime simulcast translator & subtitler Sam Pinansky, who also shared quite a bit regarding the process of keeping up to speed with bringing anime to streaming screens. But what he could only talk around at the moment hints at a future of not only anime, but media in general that could very well take a large, positive leap for a more democratized media sphere.
For the whole thing, click me!
For those looking for the jist? (Skip to 31:00 minute mark!)
Mr. Pinansky is hard at work preparing for an ambitious undertaking that is happening via Yomiuri and several other media entities. This group of companies are looking to take a giant step forward by creating a one-stop streaming/Kickstarter business for not only recent, but classic anime, as well as television shows and movies! Pretty much open to redefining what we know as the classic distribution model, fans from all over will be allowed to put their money where their mouths are, even going so far as to allowing more independent artists and personalities to be supported for potential projects. And as mentioned at the beginning, a streaming home for many an older series that had yet to ever see the light of day in subtitled form. A hybrid site akin to Youtube and Kickstarter sounds like an idea too ambitious to be true, but it seems ready to roll out come late summer/early fall.
Think of it: all content, all directly supported, and zero middle-entity. This is the kind of thing that many have long feared that the Japanese networks and studios were completely unwilling to venture into, and it suddenly seems near time when the other shoe finally up and drops. If this risky gamble works, it could help rewrite the media market narrative, and that is simply thrilling.
So that’s what I’m most eager for this year thus far. How about you? Anything on the path in the anime/manga worlds that has you owned for the year?
And here’s our last interview at the AX 2010 press junket–Toshihiro Kawamoto, character designer of Cowboy Bebop and director of Studio Bones! We ask him about how he got started as a character designer and what Bones’ style is (if it has one). Check it out!
From ANN –
Posters on the 2ch message boards have noted a mixi social community site’s diary entry that reported the passing of Hiroshi Ōsaka, the co-founder of the BONES animation studio and animation director of several works including The Vision of Escaflowne, Cowboy Bebop, and Fullmetal Alchemist: The Movie – Conqueror of Shamballa. Animation director Kazuaki Moori (Pokémon, The Daichis – Earth Defence Family) confirmed on his official website’s diary that his colleague Ōsaka passed away on the morning of September 24.
Ray’s take: actually I don’t know if he’s an anime great, but at least he’s in Otaku heaven. One can find his presence when he travels to Gaia, I guess. Someone get Ed to revive him! One thing I notice is that a lot of creative artists in the anime industry die young. Damn…