Bee Train doesn’t exactly have the best of reputations, be it their bias for girls with guns or their notoriously poor production values, fact is their work polarises opinion and attracts its fair share of detractors.
I’ve seen neither Noir nor Madlax, was horrified by the low budget vibe I got from Blade of the Immortal and nearly quit watching anime altogether after sitting through the first episode of El Cazador de la Bruja. I know many others share these same ‘concerns’, so I’m going to write something now that may shock and appall many: Bee Train‘s latest series, Phantom, is really good. Continue reading Bee Train's bullet ballet Phantom is really good
Via AWESOME ENGINE, a 35-second teaser for the live action 20th Century Boys has appeared online. It’s so short, but still, I can hardly contain my excitement for this. Why? Despite that it’s set to become the most expensive Japanese film project of all time; I’m captivated because it’s an adaptation of Naoki Urasawa‘s manga (of same name).
I’ll put my neck on the line and say that Urasawa‘s Monsteris probably the best anime not yet released on DVD in the US and/or Europe (it was close run thing with Honey & Clover). Unlike the vast majority of this ‘stuff’ we love, someone could place Monster alongside The Wire or 24 in TV schedules and it wouldn’t look out of place; given a fair chance, I really believe that his style of writing would destroy this seemingly pervasive notion that all animation is intended for kids and geeks alone; just a pipe dream of mine, really.
The above video is from episode 37 of Monster and watching it now, I’m reminded just how much I loved it. Around this time of year, I suppose many of us are guilty of watching a lot of mediocre and predictable anime because it’s new and shiny, but for me, that’s a waste of time; Monster might have premiered back in the spring of 2004, but it will always be great. If you haven’t seen it, pause everything else and have a look-see.
Madhouse Studios have an exceptional talent for adapting manga – BECK, Monster and now Black Lagoon, they clearly devote a lot of careful thought to developing a specific style for their works; almost inevitably, they craft absolutely unique anime. I feel safe in saying that Black Lagoon’s flair for attention grabbing will never fade, such is it’s commitment to ass kicking, it is a series willing to twist the boundaries of bad taste, adding layer after layer of extreme and unbelievable material, naturally showing a complete disregard of human life.
Consider incestuous, cannibalising, underage twins from Europe. They carry axes and have sweet little dolls tied to their massive machine guns. They are clearly insane. Cute, but insane. They commit depraved acts, but what is truly chilling is that they are simply kids – innocent by nature, they are none the less completely lost in and exploited by the darkness that surrounds them.
Balalaika and even Revy (as cool as they look) are obviously killers themselves, but would one consider them evil? They show an emotional restraint in their bloody and brutal work, but if they took on the same job as “the Twins”, of course they would eventually rub out their targets all the same. But because we have seen them with their feet up, drinking beer and joking with friends, we recognise a glint of their humanity, instinctively we know that deep down, they have feelings just like you and me. The twins offer no such empathy; show no emotion in context with their disgusting acts, so it’s them that are the monsters. Apparently. Body count is irrelevant.
Black Lagoon is still just as fun as ever – there is a loveable black humour and corny kitsch value to be found in such an over-top bunch of episodic villains, and despite the animation (particularly character designs) looking strangely inconsistent, you just can’t beat this show for a good ol’ fashioned shoot out.
So that’s it then, no more Black Lagoon for (at a guess) a couple of years. I really loved watching this series; after a hard day at work, when it’s a tough ask to even keep your eyes open let alone watch and read anime, Black Lagoon shone like a bloodied beacon of hope. I knew no matter how tired, or how jaded, I could enjoy watching this.
That’s what Black Lagoon meant to me. It didn’t carry much emotional weight, but it had episode titles like “Guerrillas in the Jungle” and “Rasta Blasta”. There is something so attractive about its zero pretension; it’s somewhat fun to see when a series is so honestly and passionately devoted to just thrilling the viewer from start till finish. It’s fan-service, but in a broader sense (not in the moe – killer loli – panty shot – harem sense) – taking it’s cues from the Schwarzenegger, Stallone and Van Damme era of 1980s action, Black Lagoon was a consistent, balls against the wall action series with little or no regard for human life. It’s great.
If I didn’t know a second season of Black Lagoon was coming, I would feel somewhat deflated by this final episode. Of course- it pays off with the now-expected-during-every-episode kick ass action; in particular, ninja woman throwing around her giant machete on a rope is a high point, but then it just ends. We don’t even get to see Dutch. Hints are made about the second season (American CIA agents talk to Revy as if she has trained with them in the past, the Japanese Guerrilla survives to fight another day), and basically it ends with the feeling of just another episode. So much so I waited for the next episode preview, but alas nothing appeared. My anticipation of the second season starts now.
I love a lot of anime and technically, so much of it is superior to Black Lagoon – but I just know that if I had to choose one anime series, over almost everything else I’ll happily watch Black Lagoon again and again. BOOOOOM! HEAD SHOT!
After the previous couple of unrelenting maid bashing episodes, the eleventh instalment of Black Lagoon was always going to seem a tad watered down in comparison. And so it proves- the penultimate “Lock’n Load Revolution” has more talking than shooting, and is almost entirely aimed at building up an initially convoluted race between an ambitious group of idealistic terrorists, a somewhat traditional (testicle cracking) Chinese triad (in cooperation with the CIA!) and in the middle of it all is of course our Lagoon.
If I have a problem with Black Lagoon it is that the characterisation has taken a vacation. It’s now more like watching Hellsing (though a lot better) – wondering who or what monsters will be facing Revy next. As fun as it is to see some crazy Chinese mafia bloke kick a grenade into a group of hapless grunts, Black Lagoon somewhere along its war path has lost that underlying emotional catharsis and is vainly trying to cover itself with one too many trendy gimmicks. In short, it’s getting a wee bit episodic. Still fun, but lacks a human bite.
There are many ways to settle a score and none better than an old fashioned dust up; I think this qualifies as the first time I’ve ever seen two women literally beat the shit out of each other with their bare knuckles. None of this pulling hair and scratching with their nails nonsense; if Black Lagoon is going to have a face-off between the two toughest women in the world, you better expect more than a few pinches.
So episode 10 marks the end of the “Unstoppable Maid” arc; emotionally it added nothing to the series, but I’ll be damned if I come across another couple of anime episodes this year that look as red hot as this was. While firmly tongue in cheek and more than willing to poke fun at its own absurdity, I love that knowing wink Black Lagoon makes at the viewer. That and the slick homages to any number of classic Hollywood pop-corn movies- this time Terminator 2 being the obvious influence behind Ms. Roberta and her unstoppable quest.
Usually I can’t stand girls-with-guns anime, but Black Lagoon ditches any hint of dainty beauty and replaces it with a big fat “fuck you!”
“You should have paid more attention to Rock’s joke, Benny-Boy.” Quips Dutch, a sweating shadow of his composed former self, having just seconds before been subjected to the vicious blood lust (and impossibly strong arms) of an ass-kicking maid from hell. “Imagine her as an invincible killer robot.”
The set up for this story arc is so simple and yet it works so well. Not since Spike crossed guns with Pierre Le Fou or Rock Lee went kung-fu on Gaara have I been so viscerally thrilled by an episode of anime. The fluidity of movement, the sense of an unstoppable power being unleashed, it’s all here, taken to school with a pumping electronic soundtrack, achingly cool aesthetics and the sheer absurdity of what is rapidly exploding infront of us.
This is all such a great fun because of the realistic ways in which the character’s react to their increasingly insane situations- it’s easy to see that Dutch and his crew are genuinely disturbed by the cute T-1000 (and her massive knife) chasing their moving car down the street, and as a viewer, this powerfully conveys the intense danger in which they find themselves.
Black Lagoon 9 is a jolting visceral experience, the kind of quirky action-packed genius Tarrentino would die to replicate, and as hard as I’ve tried, you can’t do justice to such a buzzing spectacle with mere words alone.
I write this post in lieu of discovering that Black Lagoon, surely the best anime airing in Japan at the moment, will only last a measly 12 episodes, and although I have heard rumblings that it should be continued in OVA form (no doubt adapting as yet unwritten manga chapters), 12 damn episodes just isn’t enough for a series as outright fun and exciting as Black Lagoon.
Now with that emotional outburst cleared from my system, it is with a reluctant joy that I can say that episode 8 is possibly the best yet. In terms of sheer climatic build up, the last 12 minutes were close to perfection. We’ve already had the absurdity of nuns with guns, so it seems worryingly natural that the newest character would be a military-trained South American house maid. It’s the way this character is introduced; the music is ripped straight from The Godfather as this cute-looking killer wanders from person to person, innocently inquiring about where to find the local Columbian mafia. Her young master narrates her journey, slowly building the powerful aura surrounding her and then you have the sunglasses, such a fucking cool look.
All this and we’ve yet to even see her in action. Just as she shoots her umbrella, the ending theme seeps in and that’s it. More next week. It’s one big tease, but damn, it’s really something.
The ticking time bomb of Revy’s personality finally explodes in the face of Rock, though gratefully he also snaps back and unfurls a passionate rant all of his own. It’s easy to imagine Rock being your typical male doormat, but here he stands up for himself and proves he too has an unbreakable steely quality beneath his tentative nature.
Revy, who often uses Rock’s middle-class background as a reason to insult him, is firmly put in her place and suddenly they have a new-found respect for one another. Rock has proven to Revy that he is willing to risk it all for the Lagoon, even if it took a black-eye and a gun to the head.
Amidst all this, there is treasure chest of absurd humour and quirky gimmicks to found in a wily mob of arms-dealing, drugs-smuggling nuns; all headed up by a sweet old lady with a specific taste for quality tea. I love how Black Lagoon is set in such a dead-pan and colourful paradise for unconventional criminals of all shapes, scars and sizes!
It’s clear by now that Black Lagoon will be Rock and Revy’s show; the action scenes in these episodes are as expected absolutely kick ass, though the majority of what Black Lagoon is driving at is Revy’s humanity (or lack there of). Having slaughtered dozens of Neo-Nazi bastards, she nonchalantly explains to Dutch that she can no longer work with Rock.
Revy’s super human killing instinct is borne from an absolute disdain for life (including her own); she can kill so many people because to her they are nothing. However since Rock turned up and started questioning her brutal ways, Revy has started doubting herself too, and it’s that split second of hesitation that can cost her life. Assassins can’t afford to have morals.
On a totally superficial level, it was great to see Dutch kicking some Nazi ass too; he is the cold, calculated hit man to Revy’s indiscriminate kill-everything-that-moves motto of death. The inevitable Nazi showdown was edgy in how it soundlessly depicted Revy just walking from room to room, shooting men by the dozen. There is such an exhilarating discard for life during these moments that you can’t help but love it.