Psychic bishounen, brotherly love – Night Head Genesis is quite clearly aimed at the yaoi fan girls, yet an over abundance of melodrama and an almost laughably over the top collection of villains fails to render this completely unwatchable. It’s trashy, homo-erotic and somewhat dull, but for now I do intend to watch more of Night Head Genesis. At 24 episodes in length, something genuinely interesting must be set to happen, right?
There are a few things I quite enjoy about this. I complained above about the larger than life — often insane — bad guys, but it’s still quite fun seeing them kick ass and hop around acting totally evil (like being crazy enough to abduct and murder any girl wearing purple clothes) only to get their comeuppance in gruesome or disturbing ways. That’s right; I’m in it for the violence! Night Head Genesis sets a dark (sometimes extremely moody) tone and it can be impressively harsh – seeing these psysic powers used to cause damage is very enthralling and brings back better memories of Tetsuo going ape shit in AKIRA.
Unfortunately the two brothers and their whole melodramatic history (being abandoned by their parents and forced to live their younger years stuck in a special hospital for the mentally "enhanced) fails to illicit any kind of empathy from me — there is no subtlety to their characters; they lack personality and humour, share no rapore with one another (or anyone else for that matter). What does interest me about them is their purpose in the story — why are they important? I have many questions and to get answers I’m happy to sit through another couple of episodes before deciding whether or not Night Head Genesis is limited to merely offering trashy eye candy for the fan girls.
Tag: science fiction
The moment I clapped eyes on its highly evocative promo art, I knew I’d love Kemonozume. It just looks so damn cool, completely in another league to the typical “doll face” anime style; here characters look and move like real people, the fluidity of movement and facial expression oddly fascinating. Forget following the narrative- simply watching Kemonozume in full flow is enough of an immersive experience, the animation is wonderful. Like Noein, where the sheer visceral speed of the moving characters somewhat deforms their cliche anime “beauty”, Kemonozume plays with some raw but undeniably vivid art to evoke a thick, gritty atmosphere, sparkling with gems of fleeting beauty amidst an other wise grimy, street-wise setting.
I’ve said a lot about the art of Kemonozume because it is that important. The story is interesting if a little predictable- a male demon hunter falls in love with his beautiful “prey” and they have passionate forbidden sex (yes, actual sex in modern anime, who would have thought it?!)- tragedy surely awaits them. I hope I’m not the only one to notice how similar the premise is to Yoshiaki Kawajiri’s erotic horror Wicked City. Masaaki Yuasa’s colourful, hyperactive and quirky directing style elevates Kemonozume above mere gothic territory and offers up some truly (monkey loving) zany moments, offsetting the grim horror with important touches of light (offbeat) humour.
Though its unique style won’t be for everyone, Kemonozume is an experimental horrific delight that completely shuns the contemporary anime style in favour of delicious gut-munching innovation.
Categories
Noein – And so we reach the end
I feel like I’ve been watching Noein for years now and writing this entry is daunting. Complex multi dimensional time travel, heart breaking tragedy and gut wrenching friendships. Here is a series bursting with ideas and without breaking into an essay length review, it’s hard to do justice to the sheer narrative majesty of Noein.
I marathoned the last 6 episodes tonight and I’m now lulled somewhere between admiration and confusion. There is no denying Noein was heavy on time travel techno-babble and I’d be lying if I said I understood it all, but still – what a ride! I was first attracted to this series because of its unique art and the final couple of episodes are a total blur of world sweeping conflict and hulking gangly monsters. Experimental is a word I’d use to explain how a lot of this looks- there is a real speed and physicality about the action in Noein, often the character designs contort and take on new styles, but it’s always exciting. We feel every punch, fly alongside Karasu and watch his cape ripple in the wind every time he takes on another crazy opponent.
Almost all of the characters turn out sympathetic yet flawed, and essentially human. Of course at the heart of Noein is the relationship between Yuu and Haruka, but the rest of the cast are just as important (if not more so). For example Atori is such an insane, heroic bundle of pent up emotion, by the end of the series he will surely be everyone’s favourite; the lovable eccentric, tinged with a tragic war torn past and an attraction to self sacrifice, his transformation through out Noein encapsulates my growing attachment to most of these characters. The “flashback” to La’cryma’s younger versions of Miho, Isami and Hasebe was a harsh and gruelling example of utterly captivating characterisation.
The underlying theme of Noein- that no one should try to deny their future (or change the past) – was conveyed with fairy tale elegance. Things never get too dark or depressing, and there are enough laughs and stupid moments to lighten the tone and offer up some rest from the sometimes unrelenting onslaughts of mind bending time travelling theories. The story may suffer from spending a bit too much time meandering in the every day angsty lives of young teenagers but this is merely a passing complaint- when anime looks as exciting as this, and grasps your heart as well as your mind, it’s a winner. Noein is a winner.
Neon Genesis Evangelion is considered by many critics to be a “classic” anime series. Loved and loathed in equal measure, its polarising reputation for invoking a distinct reaction from its viewers endures (inside and outside fandom) even today- an impressive feat being as it is a decade on from its Japanese TV debut. But what defines “classic” anime? Why is Evangelion still as relevant today as it was back in 1995?
“Classic” art direction
Art direction and animation fluidity are two separate entities. Neon Genesis Evangelion never had a huge animation budget, but its unique visual style still strikes a profound chord with its viewers. Unique and iconic, the colour scheme is exciting and suits the raging mood perfectly, strange bio-mecha designs and (if albeit redundant) religious symbolism top off a visceral presentation that instantly burns itself into memory.
Emotive characterization, world-wide accessibility and relevance
People either empathise with or passionately denounce Evangelion’s main character, Shinji Ikari. He is the ultimate “average” kid from a broken home, frustratingly shy and painfully reluctant. He isn’t a hero, just an awkward geek. The other characters are all breaking down in their own personal ways; Asuka’s fear of rejection and Misato’s desperate loneliness. These are close to the bone universal human emotions, characterised in realistic, painful circumstances and directed with an almost sadistic lack of warmth, relevant to every generation.
Sophisticated, controversial story teller
Under a slicker director, Evangelion would be another RahXephon; efficient, exciting and romantic but ultimately lacking any true sparks of originality. Hideaki Anno put his heart and soul into these characters and placed them within the confines of a mysterious plot to end the world, refusing to compromise on showing the unpredictable uglier sides of human nature. We’ve all been unhappy with ourselves or others at some point in our lives and what if at this exact moment, you were given the chance to save the world. Would it be “OK! Let’s do it!” or “Why me? Feck off!”.
Conclusion
Although I don’t consider Neon Genesis Evangelion a personal favourite, I accept it as a classic anime series. It took the formulaic mecha genre and transformed itself into an extremely potent mix of visceral art, controversial drama and symbolic science fiction. From what I’ve learnt, a “classic” movie or TV series is defined by global accessibility, (current) relevance and sheer impact; Evangelion is as popular today as it was 11 years ago.
Coyote Ragtime Show is everything I expected it to be. This first episode is generic, “cute” and painfully uninspiring. I’m sick of seeing cute girls dressed up in colourful, frilly dresses jumping around wielding impossible strength. It’s so formulaic, cold and calculated; you can imagine the money men sitting around in their leather boardrooms, smoking cigars and laughing their asses off, after all, their global formula is so simple even an idiot could work it out.
If you enjoyed Gun X Sword, no doubt you’ll enjoy Coyote Ragtime Show. Fans of camp anime like Kiddy Grade, Burst Angel and even Madlax, this show is aimed at you. There is fun to be had, but honestly, I’ve already seen this anime 5 or 6 times and no longer do I have will the will to sit through such emotionally bereft, superficial entertainment. One for the masses, please enjoy your BigMac with extra helpings of killer-maid-lolis. Yawn.
In a universe far, far away from Earth, an intergalactic war between two political systems has enveloped its peoples for centuries. The Free Planets Alliance (democratic) and the Galactic Empire (imperial) regularly clash in battles that claim millions of victims.
Leading the Galactic Empire ever onwards is Reinhard von Lohengramm, a relatively young admiral (20 years old) who has the brilliance and charisma of an experience war veteran. His only equal is the Free Planets Alliance’s Yang Wen-li, a talented tactician who is building a fearsome reputation as an unstoppable leader of men. On their young shoulders will rest the hopes and dreams of mankind.
Having been at a loss as to what to blog lately, I decided to dive into the murky depths of the AnimeSuki fansub archive. There is so much airing these days that it’s easy to overlook the older anime and 1988’s Legend of the Galactic Heroes is exactly that; numbering 110 episodes (it ended in 1997), this is an underrated space opera reminiscent of the earlier Mobile Suit Gundam TV series (minus the mecha).
As you would expect from a series called Legend of the Galactic Heroes, this is an impossibly epic story that covers mind boggling space and time. The two lead characters are admirable and involving, especially Reinhard von Lohengramm, who embodies such a classical ambition for power. The battles and overriding war theme will satisfy hardened military fans who enjoy an attention to detail and tactics- the first two episodes are almost entirely devoted to one gigantic battle; both a shocking melee of space combat and a tense tactical clash between Reinhard and Yang Wen-li. Just like MS Gundam, both sides have their own unique uniforms and power structures.
The animation despite beginning in 1988 isn’t bad at all. I really love the slender Victorian-esque character designs; there is a poetic rhythm to their cat-like movement and graceful expression.
Based on the first four episodes, I’m already hooked in by Legend of the Galactic Heroes. While it’s strong emphasis on political and military manoeuvring won’t be for everyone, this is a good old fashioned space opera set against the compelling lives of two star gazing, ambitious heroes.
By becoming the Jyu-Oh, Thor transcends the planet of Chimera in search of the bloody truth hidden beneath the bodies of his murdered parents; after years of waiting, he gets his answers, though it’s not the happy ending he had wished for, and with the thin veil of reality now utterly torn from his shattered grasp, he faces a hopeful future without heritage, without family.
I’m not sure what I expected from the finale of Jyu-Oh-Sei, but given the way this show has slowly fallen from grace, I suppose I was expecting to be under whelmed. That didn’t happen. Unlike other anime, Jyu-Oh-Sei is evidently unafraid of killing off its beloved cast of pretty men and sexy women; indeed, even I was shocked to see Third put a gun to his head and splatter suicide over a bunch of toothy plants.
The last episode was especially exciting and even shocking; as if Tiz romantically dying (for Zagi of all people!) wasn’t enough to throw me out of my comfort zone; I was just as shocked to see that Earth had been destroyed years previous by a giant asteroid. There are some nice concepts hidden within the bevy of bishounen fan-service, not least of all the idea of a planet defending itself against disaster.
As is the case with the rest of Jyu-Oh-Sei, the final curtain suffers from a pure and simple lack of characterization. Although I enjoyed this series, I couldn’t care less about Tiz or Third, and when they inevitably meet the grim reaper, my ambivalence was merely dulled by the fantastic animation; only now do I realize that honestly, I doubt I’ll watch Jyu-Oh-Sei again.
This was a series with such great potential, but its fractured time jumps and quick-fire melodramatic adventures appear to have robbed Jyu-Oh-Sei of any true compassion and impact. Rabid fan-girls should lap this up, but given the complexity of Chimera and the superlative animation from BONES, I can only mark down Jyu-Oh-Sei as superficial eye candy and ultimately, a missed opportunity.
In a dilapidated dystopian hell hole, gruesome mutants stalk the shadows of a hulking city, jumping from building to building, murdering and feeding on humans by the dozen. Amidst the hopeless terror of life in Abara, one man dares to avenge the weak.
Abara is one of Tsutomu Nihei’s newest stories; famed for his downcast, vast science fiction series Blame!, Nihei is a manga-ka with exceptional drawing talent. Although his gothic style won’t be for everyone, I don’t think I’ve ever read a manga series that even comes close to replicating his eye for vast, sky scrapping architecture and nightmarish science fiction. Nihei’s work isn’t particularly notable for its empathic characters or moving drama, but he clearly and enthusiastically expresses himself though the endless, gigantic artificial landscapes, in which his characters live, breathe and murder. The reader is soon immersed and gasping for breath in a claustrophobic world over flowing with terrifying monsters and endless levels of metallic, soulless rooms.
Of the three chapters I’ve read so far, Abara is shaping up nicely but perhaps retredding old ground for Nihei. Humans and technology have again collided in Abara, and again this gives rise to some gruesome, blood-thirsty villains. Between your cliche warring government factions (police versus the “special ops”) and uncensored human slaughter, the hero of Abara is a silent assassin, uttering no more than a few grunts before violently driving his ugly adversaries through high buildings and rooftops.
The artwork is, as you would expect from Nihei, the real selling point. Abara is not set in a sky less complex like Blame!, but its world is just as dirty, sprawling and artificial. The character designs are all unique and often capture a gruesome blend of twisted flesh and dark, bone-crunching technology.
The first three chapters of Abara are moody, violent and atmospheric, leaving little room for those weak of heart.
It’s taken a while, but I’m finally starting to twig that Jyu-Oh-Sei has an absolutely stellar voice cast. Young Thor was played by Minami Takayama, whose best work comes in the form of the insane, eccentric Dilandau of Escaflowne. Thor’s love interest Karin is handled by none other than Romi Paku- in other words, the show stealing voice of Edward Elric from Full Metal Alchemist, and even the heartless Zagi is brought to life by a household name; Kazuya Nakai- the brooding, strong presence behind the likes of Roronoa Zoro (One Piece) and Karasu (Noein). It’s the kind of ensemble cast stitched together only by the deep pockets of Hollywood, so for once, it’s nice to see an anime series with such a well matched, proven acting pedigree.
We’re now almost at the end of Jyu-Oh-Sei and for what it’s worth, I’ve really enjoyed it so far, even if it does feel like a guilty pleasure. There is something about it that is shallow and nonsensical; it’s probably Thor- I just can’t buy him as the “Jyu-Oh”, he doesn’t look tough, he is too trusting and appears to lack the commanding charisma needed to become a true leader. Zagi was a much more interesting personality (strong yet conflicted, passionate yet cold) but having just watched episode 9, I guess that’s him on the sidelines now. I’m getting bored of Third’s antics too, is it supposed to be obvious that he killed Karin? Third’s dark intentions have been clear since the first episode, so why bother with the mystery. A lot of Jyu-Oh-Sei is quite predictable and without the added depth of a few more character-driven episodes, the drama is always struggling against falling completely flat.
Along with the consistently attractive animation, Hajime Mizoguchi’s soundtrack is perhaps the reason why I enjoy watching each and every episode. I was a big fan of the compelling industrial, electronic ambience he contributed to Texhnolyze and here his music is just as immersive; driving the drama forward with heartful acoustics and overflowing strings.
Categories
The Third – 1 to 3 – Far-reaching Fantasy
I’m not usually one to bother with such knowingly cute anime, but for whatever reason, I today found myself taking in the first three episodes of The Third. Of course, it turned out to be (much) better than expected.
In a world torn apart by war, our saviour would appear to be a talented young swords-woman called Honoka. There is nothing new to her personality that we haven’t seen before in countless other shows; she is an emotionally underdeveloped, uptight tomboy who is more befuddled by her emerging romantic feelings than the ugly hordes of giant insects it is her job to exterminate. Honoka makes for a likable lead character, who for all her fearsome sword wielding skills, is actually as unsure and vulnerable as any 17 year old girl. She also shares a fun relationship with her tank- yes; Honoka has a talking, thinking and sarcastic tank.
If I’m honest there is very little true originality to be found in The Third; it is simply teenaged pop-corn entertainment, highly polished yet set in a complex world of environmental devastation and social upheaval. The Third themselves are a race of people similar to what The Guild are to Last Exile; an over-looking and technologically advanced branch of man (or possibly aliens, we don’t know much about them yet) who appear beautiful and want to control everything and anything.
It’s the setting that engrosses me in this series; it is interesting and mysterious, dotted with just enough minor detail to really capture my imagination. It helps that it looks great too. The animation by Xebec shows some fierce potential for action and has some beautiful, nostalgic star gazing. The landscapes- the majority of which are parched deserts- are vast, desolate and dangerous; often teaming with giant ants and disgusting spiders.
For pure escapist entertainment, The Third was a pleasant surprise. It won’t impress those looking for sophistication, but its combination of attractive characters and far-reaching fantasy is nothing less than fun.