The intention of another plague like the one in the Middle Ages seems like a given at some point in modern life. The key is how does one fight against this kind of knowledge versus what we are able to control. “King Of Thorn” attacks this idea with an old world resonance, using mythology against us. The “Medousa” virus is born out of that legend of the woman/lizard who turned men to stone with a glance. The same element rules here with an incubation period of 60 days which is 100% fatal. Creating a Noah’s Ark type scenario, a scientist brings together a way to stop the virus until a cure can be found. The set up is wonderfully clever despite many holes along the way. The director interview on the extras would have one believe that everything is tied in together (which might be true) but the reality is that there is a lack of clarity on first viewing. The visuals and labyrinth approach in terms of structure are quite interesting but, not unlike the new “Dredd”, it suffers as well from the “just-get-out” problem. The reality is that the timeline and the basis of two twins becoming the catalyst for dreams (or video games) coming to life just doesn’t connect. The back story which involves the lead scientist and CEO finding an alien that was created by a little girl in Siberia by her mind tries to recount “Hellboy” but again without a truly specific through line. Even the intrigue behind the scenes with both the planted engineer as well as the soldier/spy sent in to protect the “experiment” seem a little far fetched. The influences from “Resident Evil” and beyond are apparent. The narrative is a bit clearer in the English dub but only based on the precedent of differences in accents and backgrounds in the character which for English speaking audiences cannot ascertain in the original Japanese dialogue. The eventual revelation of the two sisters as well as the connection to the computer/spirit of Alice has possibility but is not truly flushed out. The Q&A in the extras as well as the director interview tries to explain some of this but the visuals seem to take an overall higher road. The pilot film hints at something much more religious and intensive in the process and shows why the director got the job because there is scope. The overall film itself carries this but, towards the end, it forgets about context. The Japanese trailers do play to the strengths but the initial overseas trailer does the best job outside the pilot film. The US trailer uses different music which works but takes the idea in a different direction. In terms of other previews on the disc, “Stein’s Gate”, with its notions of time travel, has interesting possibilities until the microwave scenario cuts in. “Gai-Rei-Zero” in terms of its tone provides the most energy and darkness with a sense of knowing. “King Of Thorn” is ambitious in many ways and succeeds in some of them. However, despite its good ideas, there is a lack of overall clarity, some of which might be cleared up in consequent viewings, but nonetheless creates confusion on first impression.
“Fractale” is a story of world consumed in technology and yet primarily rustic in its appearance. The series does bring up a texture of life experience versus life downloaded but the overall instinct lends itself with a bit of irony.
Disc 1 The presentation of a story of almost reverse technology tends to idealize the notion of simplicity over the ideas of “progress”. Religion, as with all things, takes its approach in the process but requires a sensibility to frame it in context. Here, the Fractale system can be seen as both a calming force or a means of control, as long as it is used for that specific reason. The key in telling the story is, of course, self-reverential. The character of Clain does find himself between two worlds in his ability to access the technology but has a love for analog things which, more often than not, opens new possibilities for him where none might necessarily arise. A young woman, a priestess of sorts, falls literally into his life and he is smitten. Now granted he has not seen many girls before so this becomes a structure of irony anyway. What she brings, which is a continued mystery in the world, is a doppel. In this world, people function towards the idea of being in every place at once which allows them to do many simultaneous things (which they do through artificial constructs). Clain heads out to help the priestess but finds a sort of civil war progressing where certain people want to be unplugged. The land itself is not wasted but it is barren compared to say the fields that were tilled before because nobody needs to do to exist. Now work apparently gets done through the doppels but its execution is vague. Like “Waterworld”, these “unplugged” people are in search for an oasis but they are not quite sure where. The Japanese language and subtitles are more straightforward while the English dub progresses more playfully though only for the first couple episodes. The commentary explores the balance of technology and the Celtic influence but not with any real depth.
Disc 2 Continuing on within the structure of a trinity of friends that will not leave each other, the series continues its religious connotations in effectively pursuing the assimilation of one whole. The participants are struggling against their respective destinies thinking that something different should befall them. After getting a taste of the Fractale universe through the city of Xanadu, Clain realizes that the basis of what people are fighting for is not all it is cracked up to be. Entering into the temple (another religious connotation) as a heightened doppel (think the Holy Spirit in the Catholic religion) becomes more and more brazen in her rescue attempts, the trio finally acquiesces to their fate. The interesting progression is that nothing really changes. The balance effectively moves in the idea that Clain himself is on a crusade to save both these women, who hold different emotions for him (whether they be real or not). Happening upon a cloning structure of a girl fashioned to be “god” is a little heavy and doesn’t quite connect the dots. Save for some slang, the translation is similar on both sides of the coin. The promos both regular and Blu Ray speak to the two lead characters but hold out on the spiritual bridge between them which is the core of the series. The inclusion of an orchestral performance of a suite from the score highlights the almost John Williams-breathe of its sound., The textless songs as usual provide a depth filled backdrop while the trailer for “Tales Of Vesperia” stands out among the coming soon trailers.
“Fractale” is a retro-implication of technology gone awry that circles back around to notions of religion simply as a matter of course. These philosophies work well within the narrative bent of the show though at times, the notion of what the creators are exploring seems to get away from the texture of what the show is truly about: fate
The balance between the real world and the virtual world continues to meld in many ways as the aspect of what is crucial and not seems to disappear into the void. The aspect that has always been true with “.hack” in terms of the storyteling process is projections and what people consider real and false in terms of identity in their own life.
Like the concurrent novels, the anime adaptation “.hack/Quantum” takes the structure of quantum computers to create a notion of lost souls able to live on without a physical structure to keep them present in the real world. The narrative motivation here reflects on the increasing amount of plugged-in personalities who start to diverge from the real world since the texture of inhibitions and notions of self take a back seat and become a type of metaphorical idea of what an alternate world would be.
This specific interlay follows three gamers who meet up and travel in “The World”. When the structure of the gameplay seems to deconstruct because of “server maintenance” causing players to actually “hurt”, the balance between administrators and consumers seems to shift, both online and in the outside world. The element of having modern thinking and placed characters existing in an almost sword-and-sorcery world where dragons and monolithic statues of doom seem real creates an interesting dynamic. The statue of doom is particularly impressive because of the sense of scale interrelated with the use of clouds. This anime in its current form shows the balance of 3D and 2D concepts working well together.
The most sensitive of the girls meets up with a young boy/cat named Hermit who seems to have a hacking app inside the world all his own, though his motivations turn out to be more dastardly in an overall form leading to the injury of people on the outside world. The questions that “.hack” continues to ask have distinctifying presence in today’s youth society where people can text but not talk.
In terms of technical, the transfusion between Japanese and English language in terms of structure is negligible except for a bit of hankering around Tokyo. The extras seem to play a little more Eastern than usual. The “Chim Chim” animated interstitials are a bit of world play but simply fail to translate in an overt sense. The short subject of Yuo Oguaa including a quiz and cooking school are overly indulgent though a visit to the animation studio has some fun bits despite a lack of converted information. The promotional videos and trailers for “Quantum” interrelate the growing intent that this idea of connected worlds is different from virtual reality. Of the additional trailers, three that stand out are “Bubblegum Crisis: Tokyo 2040” (simply for its furturistic intensity), “Chrome Shelled Regios (because of its uber “1984” paranoia) and “”Requiem For The Phantom” (just for its pure gothic viciousness).
“hack//Quantum: cointinues to show the intentions in a world split between connectivity and disconnection which is of dire prevalence in our current state.
The aspect of a technology-based Western has always held a degree of fascination but, as “Cowboys & Aliens” shows, there is a fine line to making it work since there needs to be an element of tongue-in-cheek progression but also a slick presentation. “Wild Wild West” failed on this principle as well. It also might be the dexterity of capturing it live action.
That makes it a balance of why “Trigun”, even as a feature film anime, works.
Disc 1 Granted the film itself is not punctuated by undeniable cinematic flourishes but the way it presents the darkness of the world balanced by the lead clown/vigilante Vash gives it a definite cadence and visual style. The background of this story revolves around a young lady seeking revenge on a legendary bank robber called Gasback who is responsible for the death of her mother. The opening scene paints a picture of a robbery gone wrong 20 years earlier when the non-aging Vash dispelled an earlier crime. While this age discrepancy is never explained, it does not take away from the enjoyment of the film which would have been a problem in live action. What transpires is a little like “Mad Max” with a bit more brevity. The character including a would-be bodyguard are distinctly interesting especially when every bounty hunter converges on the town in question to gather the reward for Gasback which is a couple hundred thousand devil dollars, whatever that is. The character of Vash can be annoying for sure but his progression plays to a point which gives an uneven balance that nonetheless works especially during a heightened bar brawl as well as a desert chase sequence. The difference between the Japanese and English versions obviously differs on the texture of slang with the actual English version being more cohesive due to the genre. In terms of trailers, the stand out for this disc is “Evangelion” which actually plays better than the movie though the promo for “Soul Eater” has more energy. The arcade-homage “Funimation” promo also shows a balance of the company’s intention between older and young viewers.
Disc 2 This disc of extras include firstly discussions with the cast and crew from Japan the day after the recording. Most have a perspective of returning and finding that same voice after 12 years between the TV series and the movie. The voice of Gasback understands the intonations of why this man does what he does while the original author Nightow, despite being simply a consultant, knows the importance of creating diametric characters to further the experience which is balanced by Yoshimatsu, the head animator, who found it necessary in a more widescreen structure to show the wasteland. Director Nishimura highlights the element of the crowd scenes which give distinct character as being something specific to the movie which gives it more depth. The movie premiere shows the reflection of anime in Japan with the large amount of applause. The “Post Recording” seems a little staged but the reflection of working off of drawings shows the interconnect in making the reactions a little more life-like. Some of the features like Anime Expo 2009, the brief Yoshimatsu story and the raffle drawing seem too extraneous. The special talk show though gives some good insight though too much time is spent on theoreticals and not the progression of the story. In terms of overall impact, the web promotion clip optimized by hard rock does the best job while some of the other commercials save for the latter original Japanese one don’t communicate the intensity.
“Trigun” is a great amalgamation of two worlds colliding which can only be relaied in most presumptions in an anime setting. Both the visual and the narrative structures work well in congruence. The extras are extensive but some are extraneous despite some effective cast and crew interviews and an interesting talk forum post-premiere.
Re-imagining long set ideas and iconic characters can always be a challenge especially when operating in a world that is built on their inclusion. While studios will continue to do so based on brand recognition or acceptable eyeballs, pushing the envelope by creating new possibilities in storytelling is not unheard of, especially with basic cable truly allowing the edge to go farther.
The Looney Tunes Show The key in resurrecting the personalities of 40s created characters in the modern age is to restructure certain societal traits. The one thing that Warner characters like Bugs and Daffy have been able to do is overcome any of these political hiccups because their idiosyncrasies were so universal in the first place and not based on any popular personification. Daffy still is a braggart and Bugs is a little more clever though he gets his comeuppance when he goes too far. While many of the episodes are balanced within notions of high school reunions, vacations and selling valuable property, the most interesting creations revolve within the periphery elements. “Merrie Melodies” has translated into a music video structure which includes some great odes with rap based backgrounds by Foghorn Leghorn and Marvin The Martian. The intention is cool but doesn’t seem forced. The most enjoyable of all is the Road Runner cartoons now done in 3D animation. The use of this structure adds a whole new perception, especially in one later episode which copies the structure of Japanese Samurai anime with dexterous results.
Durarara Acquiring new tendencies of anime always requires a notion of real time relevance and late night viewing structure as necessary by Adult Swim. In associating this specific title, they move away from more legacy based material like “Cowboy Bebop” and “Ghost In The Shell” which function as stalwarts. This new entry involving a set of gangs motivated against each other by crowd sourcing and hunted by a headless woman on a motorbike suggesting to be The Reaper has wanton focus especially since the lead schoolgirl is also supposedly possessed by a demon of sorts which allows her to control others. This entire intent is not based in notions of monsters or effects but instead on a simple practical groundedness which takes a lot more control and pinpoint accuracy in terms of the dialogue and set pieces much like the recent “Eden Of The East”. Finding broader storylines over a longer time might be harder as cinema texture here is not overtly high but the intrique functions quite adequately.
Thundercats This new incarnation of the famed 80s series takes a more slick, mythology-based approach to appeal to an older demographic. Gone is the overacting of Mum-Ra and replaced with a more warrior culture that is destroyed from within. Unlike the castle fortress of the last inkling, here the Thundercats are nomads searching for their destiny. It is more “MacBeth” with inlkings of “Lord Of The Rings” than a simple story of a king. The Sword Of Omens is a mystery to be unlocked with a portal that others are trying to steal. Mum-Ra, like The Emperor in “Star Wars”, is shown with a dexterity of will and more of a reason to despise the Thundercats because of their mutiny against his absolute rule generations before. The music and minimal cinematic use except when needed shows an intensive control of the elements which serves the piece well.
Wilfred Making a show about a man on the verge of suicide who he sees his neighbor’s dog as a man in a dog suit has the possibility of getting old pretty quick but not when it almost points to a Tyler Durden mentality. The fact that the basement they chill and get stoned in changes its architecture most times is a motivator to that fact. Using themes of “pride”, “acceptance” and others shows a good control of emotions and triggers which underlay the ideas of where the show wants to go. The intent starts off light but, like most FX series, begins to show a sardonic short side.Wilfred might be a figment of his new friend’s imagination but it points to a breakdown of reality changing all possibilities with dire consequences and great television if done right.
“Rideback” is a story of a girl finding solace in the beauty of a machine which might be metaphor for other elements of life but, in finding the structure with her friends in tow and some specifics of international government, the progression, at times, while effective becomes over-indulgent.
Disc 1 The structure of which a ballerina becomes a robot cycle rider seems a stretch in certain ideals but the key is giving the lead character a means of connecting with humanity and herself. Otherwise it just becomes “girls and machines” motif. While the inset of the story seems to paint a completion trajectory because Rin, the former ballerina in question, wants to find a way to express herself after injuring herself beyond ever dancing professionally again, her follow-through shows her confusion. When she jumps aboard the Fuego, which gives faster than human reflexes but specially uses AI to fuse with its rider, reactions become more complicated. Halfway through the disc, civil unrest enters into the picture. The military is trying to develop these “ridebacks” into an extension of the soldier not understanding the physical prowess at times needed to make jumps and turns as Rin does. In a daring run, Rin ventures into a terrorist attack scene to save her friend and, through her acrobatics, evades a surface-to-air missile. After this intention, intrigue seems to follow her. Despite a news blackout she is eventually found out by the military and the press. When her brother tries to be cool and hangs with a motorcycle gang he is almost killed while Rin takes out the police contingent on her rideback. Rin as a character is interesting because she has moments of adrenalin followed by shame. She wants to be one with the bike because it gives her something she is missing yet every time she uses it she loses control. The balance between English and Japanese translation is a little more pronounced with the use of American slang being more prevalent. The commentary on episode 4 mixes the director and two of the female leads discussing the balance of silence and action as well as the gender traits of Fuego in question though the Shoko voice actor really has a thing for military guys.
Disc 2 Integrating the dark elements into the second disc, the tone takes on a specific downward trajectory. The first disc addressed the love that Rin has for the Fuego in that it completes her. At the end of the that progression, she uses her burgeoning powers to help save her brother. Afterwards as the GGP (the governing military organization) tries to keep her in custody to prevent her from becoming a martyr of the anti-governing protestors, the narrative takes on a more decisive tendency. The story becomes not one of riding, which the first disc plays to, but more to intrigue and a sense of identity. The intentions of specifically one supporting character being a beacon of light is cast out in a very brutal killing that takes places off screen which becomes a catalyst for the final battle of the show. However, the anti-climactic element of the final scene comes off a bit empty since the battle in terms of the larger picture is already won. It relegates a sense of full closure for the lead character and her need to be whole which plays a little bit too indulgent. The commentary plays too in deference to the catalyst scenario which the participants tend to get too emotional about. The textless opening music visuals are quite beautiful for sure. In terms of preview trailers, there is a balance between the old school coolness of “Trigun” and the futuristic 3D element of “TO”.
“Rideback” definitely creates a separate mindset from the norm especially within its more methodical second disc which reveals a more dark underbely. While the progression has its strengths, especially in the death of one of the members, the eventual resolution comes off as a bit too indulgent.
“TO” as a standalone 2-part feature takes the idea of what “Vexille” showed with the new 3D anime software and brings it to space in the vision of an almost “2001/Star Trek” motivation. What is distinctly different here in the inset is the use of pace and not necessarily action that had been essential to the previous outing.
“Elliptical Orbit” begins the idea with a comparative fluidity prevalent in “Vexille” but what seems to have been accomplished in this outlay is a massive sense of scale which has become even more and more defined as the CG tools have become more realized. Detail is a given but senses of space and depth (which in the real world is determined by lenses) seem wonderfully envisioned here, especially with the docking mechanisms and use of sun flares. The story itself begins with a notion of “Blade Runner” which, even with some of the music using vocalists, harks to our oncoming future. The narrative involves a crew who travels back and forth from Alpha Centauri over a 15 year period in cryogenic sleep to bring back an energy source from a faraway and uninhabitable world. This is the only possible way to bring it back. There is an undeniable connection from the skipper of the transport vehicle (who looks no more than 32) and the older captain of the orbiting Earth station (which has the ability to fire cargo containers at the moon at high velocity). The orbiting station is attacked by terrorists looking to heist the energy and destroy the moon dwellings who are taking resources away from the Earth. While the motivation in the story has its holes, the revealing relationships, especially with the skipper and the captain, make this integral upon repeated viewings. While the resolution happens a bit too quickly making the plot points a little flimsy, overall the intention of the anime is sound. In terms of extras, the extended video segment with Director Funihiko Sori and stars Akio Ohtsuka (“Ben”) and Romi Park (“Maria”) show the similarities and differences in the actual production process of this kind of anime using live action mimicking of the physical form which makes the motion very different from classical anime. This is represented in more lingering shots, silences and glances which gives the animation a more emotional core. The teasers and spots seem to play up more to the action element of the terrorists which, while true, is the lesser of the strengths because of the depth structure allowed by the process of the animation. In terms of trailer, “The Last Exile” which is an older title sticks out simply because of its historical backdrop and fluidity.
“Symbiotic Planet” exists in a slightly different world where life is not as separated by thoughts of conquering as one might think. Again the backdrop functions on the basis of mankind depleting all their resources and being forced to move outward into the cosmos in order to survive. In a jump of technology and logic from “Elliptical Planet”, a trip to a nearby planet that boasts exceptional promise is only 21 light years away and journeyed to in 5 hours. The crux at the center of the story is a love affair between a man (“Ion”) and a woman (“Alena”) in two conflicting colonies. One is an American and one is a Eurasian, both bent on tapping the necessary permissions to mine the world’s possibilities. Other life exists on the planet but seems fairly benign. Ion, an American scientist, finds that the beings floating in the atmosphere (called Picards) are sentient and intelligent but doesn’t quite understand their full possibilities. One of his jobs is to figure out why the planet seems to be covered in white spores. After the fungus finds its way out in a lab explosion, Ion is infected which causes heightened tension between the two colonies leading to a would-be air strike. The resolution paints towards certain ideas of hope hich will not be revealed because of its spoiler potential. Sori’s use of music and scale in terms of large moving ships, either taking off or crashing show what the medium of this type of CG optimizing an anime structure is capable of. However, it seems that its ability in space to give objects weight is its most interesting current capability though the emotional depths in the eyes continues to get better. The accompanying special program interview like “Orbit” talks about the elements on the planet and the love affair between the character sbut is not as dense as the previous outing. The trailers play more to the strength of “Orbit” though the “Symbiotic” episode seems much more mythic for whatever reason. In terms of trailers, “Summer Wars” has the most impact with its online/”Wargames”-like sttructure which allows for a balance of old school with neo-modern thinking but “Samurai Champloo” shows some of the coolness that people like Tarantino have been speaking about for ages.
“TO” is a wonderful piece of work that keeps pushing anime upwards and forwards, both embracing its heritage and improving what it is capable of, both in stories and in visuals. Out of 5, I give it a 3.