Kiki’s Delivery Service (Majo no Takkyūbin) 1989 [Collaboration with Scott from Mechanical Anime Reviews]

it’s been a little while since I hosted a collaboration here, so I was really happy that Scott was up for working with me on Kiki’s Delivery Service – the famous Studio Ghibli adaptation of Eiko Kadono’s book (and top-grossing film in Japan for 1989).

If you’ve not had the chance to see this film, I hope we’re able to make you at the very least, curious enough to check it out!

Kiki’s Delivery Service (Majo no Takkyūbin) 1989

Ashley: Hey! Excited to start this collab, especially as it had definitely been a while since I’d seen Kiki’s Delivery Service and last time we worked together was on a mecha show, so this should be a fun contrast. 

How long has it been for you? I wondered if you noticed different things about the movie this time around?

Scott: Hey Ashley! I’m excited too. It’s been way too long since the last time and I think this one will be a fun one to discuss.

Honestly, it’s been way too long for me. Over a decade and half I think. Ever since my high school marching band days when we watched films on these nice buses that have tv screens that we could watch movies from. Kiki was a staple for that.

To be honest, I can’t say that I really noticed anything particularly different. The screen I watched it on was small and with the length of time, it’s like watching Kiki’s Delivery Service for the first time.

How about you?

A: Cool, what a contrast from the bus tv and environment to a more controlled one at home 🙂

It’s been a few years for me and this time around I was reminded just how key Joe Hisaishi’s music is to the overall Studio Ghibli feel for me, how it really adds to the whimsy (or the drama in some of the flying scenes) but also the scene-setting. 

I had also forgotten that Jiji is voiced by Rei Sakuma and her voice (and characterization) is obviously quite different to Phil Hartman’s, whom I had become really accustomed to. It’s an interesting contrast, especially in terms of their respective personalities in the original vs the dub – Hartman’s Jiji has a fair bit of that classic Disney sidekick comic-relief that’s not present in the Japanese release. I definitely love his performance but it was fun to see another side to Jiji.

S: Oh yeah, I agree with that feeling. The big question I have is if Joe Hisaishi didn’t do the OST for it, is it really a Ghibli film? I mean probably, but it wouldn’t feel the same.

I feel like there are always some localization changes like that in English versions of Ghibli films. Like, Princess Mononoke had a prologue narration while the Japanese version didn’t or how Spirited Away had San say “oh, it’s a bathhouse”, because that’s not a thing in the United States. So I suppose that going with that choice made sense for this film for western audiences.

So this film. Kiki is quite a film isn’t it?

A: Yes! I love coming of age films and so Kiki… automatically ticks a lot of boxes for me. 

I also really like how much dramatic tension there is in seemingly small stakes, such as those that come from delivering items, retrieving items or making the switch with Jiji etc, which is contrasted with the emotional beats of her quest for acceptance, self-discovery and of course, the bigger, action-based stuff in the latter half of the film.

S: I love them too, honestly. A well done coming of age story are some of my favorite things. So relatable and can be applied to so many scenarios to keep it fresh and interesting.

As for digging into details, there are so many of them in the story that just add so much extra fluff into it for me too. So many good little bits of micro attention that just makes the film a lot better then the viewer would first expect. I feel like that coincides with Kiki establishing herself because every moment is a little bit of tension.

A: I feel the same with those small details, like the work on the pastries or the slow warming of Osono’s Husband toward Kiki, or the stunning backgrounds, especially when it comes to the buildings. I feel like it’d be easy to do a whole post just on the scenery 😀

If you had to pick a high point for that tension around Kiki’s growth, what would it be do you reckon?

S: Exactly and there are just so many little bits like that to make the world feel so organic. Just like the bus driver given the time to actually close the door because he drives off. So many small things like that which add up and make the experience just so grounded.

Oh, the moment of tension? I feel like its centered around Kiki’s relationship with Tombo hits a whole point. Probably where she questions her magic. Very much where all the tension in the staying in that city suddenly explodes. I could be wrong about that though…

A: Same again! In fact, the questioning of her magic always made me a bit sad. The crushing, somewhat comparatively dull adult world pushing its way in? 

Maybe that’s a little negative of me – Kiki certainly finds plenty of fulfillment doing things adults do as well. Her sense of purpose and confidence from her independence, which is earned through all those non-magical things.

S: Isn’t questioning her magic so relatable though? She’s a little too early in her own life to think that was though. Especially comparing herself to her mom. Maybe she is growing up too fast by doing the usual witch tradition.

Yeah, I think her finding out she doesn’t need her magic to be around people or just live is a good way to carry this story. I think that her magic coming back from that understanding feels completely natural because of it.

A: It really is, definitely – and it suits the overall uplifting tone of the film too, huh?

So before we finish, I wanted to ask what or whether anything didn’t work so well for you?

S: I feel boring in saying in saying that I don’t have much against it? In some cases I just felt a bit rushed at some times? Some scenes didn’t have as much room to breathe as they could? That’s about it for me.

I really don’t have much to say against it. What about you?

A: For me I thought I was going to say that the film was a touch long… and yet, is that even true? Do I even have any actual criticisms – I don’t think I do, either 😀

It really feels like the Studio Ghibli team firing on all cylinders, creating a really fantastic adaptation, and visually, nailing the match of theme to visuals, of character to expression etc. So I’m like you – loved it, can’t really find anything to complain about!

And finally, huge thanks to Scott for joining me for another collaboration 🙂

Goku Midnight Eye

As I’ve mentioned here ad nauseam by now, science-fiction, futuristic, cyberpunk stories tend to be among my favs and so I expected to enjoy Goku Midnight Eye. In the end, it’s not my fav cyberpunk release but it still has plenty of the things you’d want from the genre.

Goku Midnight Eye (1989)

So too, if what you want is that the cross-pollination between US cinema and anime, with an undertone of ‘action-movie-from-the-1980s’ clear in both episodes.

Episode one was probably my fav of the pair, probably due to it being an origin story where we see how Goku gets his magical eye, an eye that can hack into any computer in the world.

Almost a year later comes episode two, which features a somewhat overpowered Goku. He still faces threats, and while his super-extending staff is almost comical, there’s maybe a tongue-in-cheek feel to everything that keeps this and the previous episode entertaining.

If I did read the tone of the OVA correctly, I do wonder how much of that is due to Buichi Terasawa’s manga – who is also responsible for Space Adventure Cobra, where the film adaptation is somewhat similar in tone but in a less grimy way, I guess.

And despite great direction from Yoshiaki Kawajiri there are a few tired clichés, especially when it comes to women characters, who seem to have only two options: femme fatale or eye candy (so very much noir-influenced). One character especially is noteworthy for her role as world-building element.   

Ultimately, I would have watched more Goku (if any had been made) because I do like lone detective stories but I don’t know how to rate this.

(It’s a product of its time for sure, maybe of the OVA-era too… and something about that stripper-motorbike hybrid struck me as the kind of element that you could write an entire post on, but I’ll save it for now).

I can say that Goku is not aimed at kids, at least.

But if you want that mix of action, violence, nudity, oddity and futuristic tech from a bygone era of anime, then Goku’s your man.

Abandoned #10 (Lupin III Part 4, Space Adventure Cobra, Cannon Busters, Space Dandy & The Future Diary)

While I procrastinate/struggle to finish my Perfect Blue review I thought I’d whip up another of my ‘Abandoned’ posts 😀

Standard disclaimer as usual: not ruling out one day returning to any of these… one day, someday etc etc

Lupin III Part 4

This one is probably not deserving of being in the list – just feel like I need to finish Part 2 and Part 3 before I start the Italian Adventure.

Space Adventure Cobra (1980s series)

I was enjoying the tweaking of ‘We Can Remember It for You Wholesale’ in the first episode, but maybe I actually spent too long comparing the series to the film, which seemed stronger overall.

One day I reckon I’ll finish this.

Cannon Busters

I wanted to like Cannon Busters more than I did but I think I only reached episode 3.

The setting and characters, the premise, even the very vague Trigun-feel to some aspects, all of those things should have been something I’d enjoy but I’m having trouble putting my finger on exactly what didn’t work for me.

Another case of my own expectations getting in the way? It might have been the writing itself actually… I’m still thinking about it now.

Space Dandy

I didn’t actually finish episode one here. I was thinking of a single word to describe why I didn’t keep going, and maybe it’s because Space Dandy struck me as ‘juvenile’.

Usually, I really enjoy parodies and I’ve loved every other work by Shinichirō Watanabe that I’ve seen, and so I really feel like I ought to give this another try in the future.

The Future Diary

The concept really caught my attention – different people having access to their own or other folks’ futures but only seeing ahead for a few minutes at a time.

It seemed like a great way to keep a lid on the naturally occurring difficulties with time travel stories but by the end of the first episode I realised the structure was probably going to be a ‘plot-fodder’ one, with a heap of disposable characters.

(And by ‘plot-fodder’ I’m doing a silly opposite of ‘plot-armour’ :D).

Amon Saga

Amon Saga (1986)

Amon Saga is classic sword and sorcery in anime form that is definitely up front about its influences – obviously via tropes common to the genre, but this revenge story might also bring to mind Schwarzenegger-era Conan too.

Elsewhere, there’s an interesting mix between what I think of as hints of Elric of Melniboné and ‘D’ from Vampire Hunter D.

And maybe that’s partly due to the character designs by Yoshitaka Amano?

The OVA also has a few exciting sequences and some memorable moments and characters (for me, it’s Alcan who almost steals the show) yet what I think I enjoyed most was the visuals – especially the use of colour and shadow.

Some older films, especially those that pre-date modern CGI techniques, spend a lot more time on composition, on shadow or colour, and while my screencaps probably don’t back up my claim, it’s definitely there.

I really enjoyed Amon Saga but it’s probably not one I’ll watch annually, despite the visuals.

There’s a lot to like there but the story didn’t match it, I think, whether because of a bit of missing world-building or the sense that Amon rode off into the sunset simply ‘because’, or the fact that I didn’t really get to know him enough.

However, if you like retro anime, fantasy and adventure, then this is still going to satisfy on some levels at least, even if it probably won’t end up your new favourite.

3 Stars

Thanks to Josh for bringing this to my attention too 🙂

Not my best screencap effort here 😀
The transfer for my DVD seems a bit darker than it probably looked upon release.

A Liquid Top Ten (2020, Quarter Four)

December is here (somehow)! Hope you’re all safe – I’m back with an update to my Top Ten… which is to say, I’m updating some things that are lurking just beyond and I also have one ‘shuffle’ change 😀

As usual with these posts you can click here for a preamble along with the parameters (no films etc etc) and also some reasoning re: why I included the ten titles I chose back in quarter one.


The List – Quarter One

Cowboy Bebop (1998)
Ergo Proxy (2006)
Mushi-Shi (2006)
The Big O (1999)
Trigun (1998)
Moribito: Guardian of the Spirit (2006)
Steins;Gate (2011)
Neon Genesis (1995)
Record of Lodoss War: Chronicles of the Heroic Knight (1998)
Nadia: Secret of Blue Water (1990)


The List – Quarter Two

Cowboy Bebop (1998)
Ergo Proxy (2006)
Mushi-Shi (2006)
The Big O (1999)
Trigun (1998)
Moribito: Guardian of the Spirit (2006)
Steins;Gate (2011)
Neon Genesis (1995)
Kids on the Slope (2012)
Nadia: Secret of Blue Water (1990)


The List – Quarter Three

Cowboy Bebop (1998)
Ergo Proxy (2006)
Mushi-Shi (2006)
The Big O (1999)
Trigun (1998)
Moribito: Guardian of the Spirit (2006)
Steins;Gate (2011)
Neon Genesis (1995)
Kids on the Slope (2012)
Nadia: Secret of Blue Water (1990)


The List – Quarter Four

Cowboy Bebop (1998)
Ergo Proxy (2006)
Mushi-Shi (2006)
Trigun (1998)
The Big O (1999)

Moribito: Guardian of the Spirit (2006)
Steins;Gate (2011)
Neon Genesis (1995)
Kids on the Slope (2012)
Nadia: Secret of Blue Water (1990)


Just some shuffling up there, reflecting no doubt, my semi-recent re-watch of Trigun.

But in the beyond, where other shows are jostling for position in my mind, there’s also something I missed in the past, which is Land of the Lustrous which is not just visually amazing but features a really fun mythology and plenty of memorable characters too.


(Still!) Outside the List (for now)

This (unranked) list includes shows that I reckon are pretty close/could well sneak into the top ten one day. Again, the longer I do this, the more I’m finding a lot of this process relates to mood as much as anything else. I still suspect that this is where most of the changes will occur over the years.

Land of the Lustrous (2017)
Samurai Champloo (2004)
Full Metal Alchemist (2003)
Gunbuster (1988)
FLCL (2003)
Haikyuu!! (2014)
Ushio & Tora (2015)
Pyscho-Pass (2012)
RahXephon (2002)
Witch Hunter Robin (2002)
Ghost Hunt (2006)
The Great Passage (2016)
Dororo (2019)
Beck: Mongolian Chop Squad (2004)
Vision of Escaflowne (1996)


As before, I’m always looking for classics to add to the list if anything you think I’d like is missing, just lemme know 😀

Thanks for reading!

A-Z Challenge “D” is for Dallos (Darosu)

Dallos (Darosu) 1983

The first OVA produced!

Dallos feels extremely topical now when wealth inequality is so vicious, and you could certainly also read the OVA as a critique of colonialism – though I’m not sure Hisayuki Toriumi, Mamoru Oshii and Studio Pierrot were making a ‘message’ story? I should do more reading there.

Still, the themes are definitely present and expanded via inter-generational conflict as much as being driven by events around the Lunarian rebellion.

Science-fiction and action tropes do fill a lot of the short series, and although there’s time for politics too, what caught my eye (aside from the world-building) were the now ‘old-school’ visuals from both character and mechanical design – it does feel like the 1970s are very close.

But when I learnt that there were essentially two directors on Dallos, I think it became easier to see the action scenes when Oshii was clearly in charge.

Dallos is told from a few POVs. It mostly follows our hero Shun, rebel leader Dog and antagonist Alex as they struggle for control of the colony, and it doesn’t rush the story either, which is great. I guess if you’re mostly into modern animation, however, you’ll really see the age of the art.

In a way, two stories from 1966 came to mind when I finally saw Dallos – one was We Can Remember It for You Wholesale (filmed as Total Recall in 1990) and the other The Moon Is a Harsh Mistress. For the latter, the production team mention it as an influence but my association with the Philip K Dick story is a little more nebulous to me – not sure I can put my finger on why.

I still really enjoyed the OVA series and my only qualm I guess, was that I think I expected a little more mysticism from the film for some reason – maybe since the ‘god’ of Dallos itself seemed to be set up that way? Still, that feel was not absent at all, but I guess I just wanted something extra.

Obviously if you’re a science-fiction fan, or curious about this pretty cool piece of anime history, or Oshii’s early work too, then you’ll probably enjoy Dallos but visually it’s not at the level of Ghost in the Shell, for instance, and I wonder if tonally, this is more the work of writer and co-director Hisayuki Toriumi?

4 Stars*

I love how huge the theme can be 🙂

*To borrow from Iridium Eye Reviews a moment – maybe remove a star if you’re not so interested in the history of anime.

And this is my third review for my A-Z Challenge 🙂

Toward the Terra (1980)

Toward the Terra (1980)

I tend to really enjoy stories that feature big concepts – especially imaginings of the future, and Toward the Terra features both of those things.

While it’s a generational story that skips a few years here and there, the beginning especially gives us a look at an unsettling ‘utopia’, a place boasting order and health but a place where a character might say something like “I’m sick of boys, let’s get a girl next time” and this statement would be perfectly normal.

The repressive society featured in Toward the Terra isn’t the main focus precisely, but it is the structure that our Chosen One (Jomy) must rebel against.

Ultimately, the story is a far-future struggle between humans and Mu (Mu are humans who can use psychic powers) and while the film does feature space battles and struggles, it’s not so much a war between equal and opposing sides, it’s more like a brainwashed humanity seeking to commit genocide upon the Mu.

It can be pretty grim – and while the ‘80s designs and animation might not make some of those things seem as visceral as modern shows could, it’s still compelling.

For me, the time skips I mentioned before suggest that this adaption would have worked really well as a series (and twenty-seven years later maybe it does :D), allowing the story to further explore things like Jomy and Physis for one, but beside that and similar issues related to the huge story and limited running time, I enjoyed Toward the Terra plenty.

4 Stars

Cyber City Oedo 808

Cyber City Oedo 808 (1990)

This is a classic (and fairly violent) OVA series and one which I suspect most cyberpunk fans are at least aware of, but is definitely worth watching if you like the genre but have never had the chance; it’s probably online somewhere by now but I’m not sure who streams it.

For me, so much of Cyber City Oedo 808 feels wonderfully connected to the 1980s (no surprise considering the release dates) whether it’s the assumption that floppy disks will be part of the future or the big hair and heavy metal theme song, or the old school blue palette used for night, it has so many things that I tend to be fond of.

At the same time, in terms of plotlines, the anime is a little more fantastical, even mystical – considering the way machines and computers infiltrate humanity, but especially when I think about episode 3 (Crimson Media) which features the ‘vampire’ storyline.

But in all the big ways it’s definitely science-fiction.

For one, there’s a crime-ridden, megacity-setting where the power of technology is used to both monitor and maim. Cyber City Oedo 808 also makes extensive use of futuristic weapons, equipment and vehicles, and conventional ideals of what it is to be human are abandoned. It’s not a long exploration of those issues though, since the focus is firmly on action, technology and sometimes the gore (directed by Yoshiaki Kawajiri)… so the anime is not setting out to be philosophical perhaps, but I felt like there was plenty of room to consider those aspects if I wanted to.

Cyber City Oedo 808 follows three convicted criminals who have been offered the chance to commute their sentences by hunting down and executing other criminals. Each lead basically gets their own episode, though they do operate (somewhat grudgingly) as a team at times.

I quickly alluded to this before, but as a Yoshiaki Kawajiri film, there is a bit of fan-service when it comes to the detail on the violence, but in a way, it seemed like both less and more than what you’d see in things like Wicked City or Ninja Scroll.

With each episode, the storytelling is really focused; I felt like I was in good hands when it came to info around setting and character motivation too, and I hadn’t realised that Akinori Endo also did screenplays for Armitage III and Battle Angel, which was cool.

I love each storyline and so it’s hard to choose a stand out without going into spoiler territory, but since Benten is my favourite character, I reckon I have to go with the menace of Crimson Media, complete with its quieter moments. (You can also see a real echo of Benten’s own temperament in ‘villain’ Media, but again, I don’t want to drift into spoilers here!).

5 Stars

Tension stays pretty high in part due to these ‘kill switch’ collars that ex-convicts must wear.
This guy always makes me think of Vic Rattlehead.

A Liquid Top Ten (2020, Quarter Three)

As I mentioned before, I’m a bit behind in terms of posting a list in each quarter, so I’ll probably push the final entry back to December, perhaps.

And also just like before, you can click here to check a preamble and reasoning re: why I included the ten titles I chose for quarter one, and there’s also a note about the single change from quarter two here.

So, again – let’s see if anything has changed! (If so, it’s generally because I’ve changed my mind about something older or finally watched something I hadn’t seen before).

I will probably re-post this bit each time though:

  • I’m focusing on TV shows here
  • This list should change as I see more texts over the years
  • Equally, it should also change whenever I re-watch and re-evaluate something
  • By definition of the list being ‘mine’ it clearly reveals my biases and interests
  • Expect to see the 1990s heavily represented, lol
  • Subsequent posts will generally be shorter than this one

The List – Quarter One

Cowboy Bebop (1998)
Ergo Proxy (2006)
Mushi-Shi (2006)
The Big O (1999)
Trigun (1998)
Moribito: Guardian of the Spirit (2006)
Steins;Gate (2011)
Neon Genesis (1995)
Record of Lodoss War: Chronicles of the Heroic Knight (1998)
Nadia: Secret of Blue Water (1990)


The List – Quarter Two

Cowboy Bebop (1998)
Ergo Proxy (2006)
Mushi-Shi (2006)
The Big O (1999)
Trigun (1998)
Moribito: Guardian of the Spirit (2006)
Steins;Gate (2011)
Neon Genesis (1995)
Kids on the Slope (2012)
Nadia: Secret of Blue Water (1990)


The List – Quarter Three

Cowboy Bebop (1998)
Ergo Proxy (2006)
Mushi-Shi (2006)
The Big O (1999)
Trigun (1998)
Moribito: Guardian of the Spirit (2006)
Steins;Gate (2011)
Neon Genesis (1995)
Kids on the Slope (2012)
Nadia: Secret of Blue Water (1990)


No change!

Where I have made changes is in this larger ‘just outside’ section – a few additions, one of which I want to highlight being ‘The Great Passage’ which I loved, and surely, it has to be one of the few shows out there about making a dictionary?


Outside the List (for now)

This (unranked) list includes shows that I reckon are pretty close/could well sneak into the top ten one day. Again, the longer I do this, the more I’m finding a lot of this process relates to mood as much as anything else. I still suspect that this is where most of the changes will occur over the years.

Samurai Champloo (2004)
Full Metal Alchemist (2003)
Gunbuster (1988)
FLCL (2003)
Haikyuu!! (2014)
Ushio & Tora (2015)
Pyscho-Pass (2012)
RahXephon (2002)
Witch Hunter Robin (2002)
Ghost Hunt (2006)
The Great Passage (2016)
Dororo (2019)
Beck: Mongolian Chop Squad (2004)
Vision of Escaflowne (1996)


I fear that I must now resort to creating a Top 50 far sooner than I’d hoped – I also fear the mere thought of a Top 50 😀

Again, I’ve love to know if you think I’ve missed a great show! (Doubtless I have) and so maybe I’ll be able to include it in my list for future viewing… especially if it’s within my reach, both figuratively and literally. (I’m curious to see whether some of my A-Z Challenge titles might eventually get into this list too).

Thanks for reading!

A-Z Challenge: “L” is for Lily C.A.T

Lily C.A.T (1987)

I definitely enjoyed Lily C.A.T but I think if you want terror in space, then you will invariably be more satisfied by the film it owes the most to, which is of course Alien.

However, that doesn’t mean this longish OVA is not worth checking out if you’re interested in the genre. Or that it doesn’t have moments of tension. And for me, there were also parts that definitely ‘explored the human condition’, to borrow a phrase from literary fiction circles.

And as a bonus, I actually wanted some of the characters to survive!

As an aside that is actually a couple of paragraphs long, when I use the ‘Toys in the Attic’ episode of Cowboy Bebop in my classes, we talk a lot about the influence of Alien on the ep (and 2001: A Space Odyssey among others) but I think Lily C.A.T should get a mention too.

It feels like part of that famous homage episode (especially the blob itself and the blowtorch) are close enough to what you’ll see here, to warrant a mention at least. Certainly, my obsession with connecting texts to one another is something I might one day cut back on, but it’s out of my system for the rest of this review at least!

There’s plenty about the film that uses the typical ‘crew dies one by one’ structure, but the menace itself is something a little different. And when you do catch glimpses of a certain thing, you might recognise creature design by Yoshitaka Amano, with a Vampire Hunter D style, if a little more muted perhaps.

Actually… it turns out that I lied about the intertexual references, as I do have one more that I’ll get to in a moment:

So, there’s a nice layering of mystery in Lily C.A.T that I also enjoyed.

Generally, the crew is trying to figure out what went wrong to interrupt their ‘hypersleep’ flight. However, at the same time they learn of imposters aboard, and so while folks are trying to determine who they can trust amongst the humans, they’re also having to deal with increasing threats from the non-human.

It does add an extra dimension to the suspense, which I really enjoyed but if you’re looking for a really slick, vividly animated film then you might find Lily C.A.T a bit dated. However, that’s not to say it’s bad – for instance, the hanger door sequence was ace.

But back to the reference I mentioned – parts of that sub-plot seemed to echo They Were Eleven (an earlier space flight themed manga/anime) though obviously the idea of false identity is not new.

Worth it if you’re interested in ‘retro’ anime, I reckon.

3 Stars

[This is the first entry in a challenge (that I hope to one day finish), where I have set myself the goal of watching something for each letter of the alphabet – you can see the list over here if curious].