Well over twenty four hours since it landed, and I remain in that rare place. A place where something one remembers in fragments, but is jolted back by a newly formed memory. A refrain of an old poem, now enhanced by a long delayed echo. And yet we have been here before throughout numerous iterations. Just as a story is capable of ending its run of flickering across the screen, so too are our absolutes as to what happened after. Such is the miracle convergence of Shinichiro Watanabe(Cowboy Bebop/Space Dandy)’s fifteen minute bridge short, Blade Runner Blackout 2022. A short, but clearly one made with deep reverence, Blackout, portrays an event that came not too long after aged Blade Runner(a state backed assassin of humanoid slaves), Deckard, has disappeared with his last target in tow.
The event as it is portrayed in nonlinear fashion, involves a large scale terrorist attack against the global human technological infrastructure. By way of setting off a missile enabled EMP blast, the aim of a pair of renegade Replicants(Of the 8th Nexus generation. The previous we have been privy to were the 6th.) with the help of a lone human collaborator, seek to send the human race into a darkness long enough to destroy vital records as to their existence. This while the human world has grown wildly intolerant of Replicant technology, opting to enable an even worse breed of death squad. We are given a glimpse into just how terrible things have become since 2019 Los Angeles, where we are introduced to Trixie (A pleasure model Replicant), and Iggy (a former military grade model). Swiftly reunited, and ready to strike a blow against the race that created them.
Rounding out the trio involved, we are briefly introduced to Ren, a sympathetic human with great antipathy for his kind. In a moment that plays like a mildly perverse rendition of Priss and JF Sebastian from the original, we’re left pretty sure that he is to be the main trigger person for the Replicants’ plan. We are also given a window into the moment of Iggy’s awakening. While off-world, and in combat with an unnamed enemy, his discovery instantly turns the imposing humanoid into a resolute force of rebellion. Knowing full well that Trixie and he, while perhaps not long for this world due to manufacturer’s insurance in a brief lifespan, remain eager to live whatever life they choose. Almost indistinguishable from humans, save for their right eyes, plans seem primed and ready for liberation.
Needless to say, the presentation remains as impeccably realized for a Watanabe work. But what is truly extraordinary in comparison to previously produced anime shorts based upon existing western properties, this one feels like a dream project for so many animators whom I’ve grown to love. And the end product sings in a chorus of sight and sound poetics that feel less creatively strained than anything sold on the same shelf as The Matrix Trilogy, or Batman. It feels both utterly reverent to the seminal original film, yet with just enough flair and energy to fuel an entire feature. Among the incredible talent assembled, Shukou Murase (Ergo Proxy, Witch Hunter Robin), Hiroyuki Okiura (Ghost In The Shell), Shinya Ohira(Redline), Mitsuo Iso (Denno Coil), and Shinji Aramaki (Megazone 23 III), and others, it is almost like witnessing lifelong rock band fans at last allowed to share the stage with their inspiration. It’s a supergroup effort that only left me wanting more. Suddenly, two weeks feels like eternity.
But what we were able to get, is both gorgeous to the senses, yet also propulsive in helping set up Denis Villeneuve’s upcoming follow-up. Everything in Blackout, feels truly authentic, and honest to the events of the original Blade Runner, which remains to this day, one of the most impactful cinematic experiences of my viewing life. Heck. I’d go so far as to comment that without Blade Runner, so many of my interests(and this includes anime/manga) would never have materialized. So to witness Ridley Scott’s landmark of science fiction worldbuilding, at last merge with a generation of artists I have grown to love as an over thirty year result, is cause for celebration.
– And yes, that is the voice of a certain cast member, reprising a personal favorite role. Man, that was great.
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.
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 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?