Whenever folks complain about CGI in anime (as I sometimes certainly do) it’s not about this level of application and integration, I hope.
Promare looks amazing, and some scenes are burnt into my memory I reckon – two of which I’ll mention below. There is definitely a lot to like if you’re a fan of Gainax, Trigger or mecha in general, or I’d add, even the neon aesthetic of the 1980s.
For a change, I’m going to include a short summary of the premise (from Wikipedia) though I imagine there aren’t tonnes of folks who aren’t at least vaguely familiar with the film:
The planet Earth suffered a calamity known as the Great World Blaze, where the fires from mass spontaneous human combustions killed half the world’s population. Certain ones developed pyrokinetic abilities during and subsequent to the event, and became known as the Burnish.
Thirty years later, Galo Thymos lives and works as a member of the firefighting group Burning Rescue, in the city of Promepolis. He responds to incidents involving the purported Mad Burnish, a group of liberating terrorists [led by Lio Fotia].
One thing that struck me, especially in these times, is that it was nice to see fire-fighters as heroes as opposed to say, police, which to be honest I couldn’t stomach at the moment. But getting back to Promare, I really enjoyed the dynamic between the leads (two hot-heads in a way) – since it was a little different from the classic kid must pilot mecha to save the world.
And while comparisons between Promare and Gurren Lagann (especially re: Galo and Kamina) can be made, I think it was fun to have two heroes who start off as adversaries work together to take on the glittering facade of a true villain. That’s a trope that I’m enjoying a lot lately, so I guess it spoke to me when I cheered Galo and Lio on.
Another thing I really enjoyed was the way the film balanced itself to appeal to a range of audiences, and in a way it really felt like Trigger nailed that ‘commercially-successful but-still-artistic’ project really well. (I may have said this before, but I’m not a huge fan of those two things being set up as opposite ends of a quality spectrum actually).
So, if you’re on the fence about watching or purchasing this I think that Promare has that real blockbuster feel, with a fun blend of action, character and comedy, and for me it definitely had enough reveals to be interesting, pay-offs to be satisfying and both likeable and understandable characters to keep me hooked.
What I will mention is the visual aspect – the colour palette is extremely 1980s (or even Vaporwave if you’re younger, I guess) and that might wear some folks down – in some action sequences there maybe wasn’t enough definition between moving parts to really track what was happening, so I think it’d be worth watching more than once in that respect.
Elsewhere, the hard lines and solid colours also kept things distinctive – in a way, it kinda brought Ben 10 to mind, but that’s not a good comparison tone-wise. Promare is definitely anime.
For the two moments I mentioned at the beginning of the interview, I wanted to find images for both but I’m not sure the internet will provide what I need… but there are a few shots from (beneath) an ice lake that are perfectly serene, and there’s also a fantastic range of styles compressed into Lio’s volcano scene that I think fans of animation should see at least once.
Okay, that’s about it! Basically, I really enjoyed Promare and I think I’ll grab a copy one day, but I was lucky that just last week Animelab randomly decided to put the movie up for streaming across a three day period!
Greetings! Today I wanted to share my first collaboration post – Curtis and I have teamed up to review and discuss Satoshi Kon’s Tokyo Godfathers 🙂
It was heaps of fun to work together on this and I hope you’ve got a few mins to take a look – and if you’ve never seen the film, I do recommend hunting it down, something that should be easy enough with a new dub on the way I hope.
Disney has seemingly always lumbered along plundering fairy and folk tales, sometimes egregiously and other times in a more transformative, artistic manner, and they’ve been a giant in the animation world for probably more than 70 years* now.
Ups and downs coloured that dominance of course and Aladdin landed during one of those ‘ups’ – during a mighty resurgence in popularity after the hit-and-miss period that was most of the 1980s.
Aladdin is noteworthy in Disney history for several reasons that I’m sure everyone is pretty much aware of – featuring Disney’s first non-European Princess, home to some killer songs and the knock-out performance of Robin Williams too, and also good enough in the eyes of the bean counters to get a remake this year.
Aside from those things, it’s a great story that seems equal parts One Thousand and One Nights and Roman Holiday.There’s memorable characters (not in the least being Jafar), a fantastic fictional desert setting, top notch use of vivid colour, animation and fascinating early CGI in some parts. (I know Pixar’s Toy Story gets a lot of attention as early innovators with CGI and obviously the technology pre-dates both films but that carpet ride was a big thrill in the cinema as a kid – looking back now I can almost see the theme-park ride tie-in :D).
For me, this Disney film has a great balance between comical sidekicks, music, romance, actual heroics, sacrifice and villainy, though if you’ve never seen Aladdin you won’t find any curveballs re: the overall story nor the tone, but it just feels like every aspect hits spot on. And following the success of The Little Mermaid audiences were no doubt more than willing to give it a chance (the monster-performance at the Box Office played that out too).
But, to jump back to that magic carpet ride before I finish, I think it’s a really perfectly-executed escape scene, from the pacing to the direction, the dramatic lighting and even the little break in tension for a spot of humour when Abu is clinging to Aladdin’s face, everything works for me:
And a final note, Robin Williams reportedly improvised heaps of material, allowing the team to pick and choose the bits they liked best, but here’s a classic song from Genie instead 😀
*And a studio for longer, just with smaller beginnings when compared to say, the big hit that was Sleeping Beauty.
Ushio and Tora (Ushio to Tora) – Part Three: Visual Comparison
I don’t have a particular plan or structure for this post – it’ll mostly just be me pointing out what I think are interesting differences in art styles and approaches between the two series.
Not every scene is an exact one-to-one comparison either, though more than a few are. There are a couple of instances where I’ve found a panel or two from the manga as well, just to illustrate a point. At times, I might broaden the rambling a little but I’ll mostly try and keep it focused on the comparison.
(And a final note – I’m obviously not an artist so I won’t always know or use the proper vocab).
Actually, here’s the real final note – this has turned into a crazy-long post!
Here’s a quick comparison of one moment in the scene where Ushio meets Tora: the first thing I noticed was the shot choice – the OVA goes with a side profile but the 2015 series introduced a slight angle, probably to give the Spear more prominence in the frame. As fans will know, ‘Tora’ is named so by Ushio due to his tiger-like appearance but I think in the OVA he’s a little more dog-like in the face? I like the blue of his eyes matching the cellar’s light. Both scenes go with darkness but the extra detail of blue blood appearing purple in the dim light is a nice touch in the new series.
As I mentioned in the reviews, Ushio and Tora plays to its demographic. That means, as with most YA/shonen fiction, the parents kinda need to be absent to let the adventure begin. In a lot of shonen featuring martial arts, there’s a pretty stern approach to discipline – and both OVA and 2015 play that aspect pretty similarly though 2015 is usually more dynamic with is composition.
The storyline difference in the way the scenes play out is how Ushio’s ability to transform and use the Beast Spear is hidden from his friends – the OVA builds up differently, whereas the 2015 has the girls barricade themselves quickly but I think what’s similar is interesting. Obviously, the designs are really close but basically ‘cleaner’. Mayuko’s eyes have become almost grey rather than kinda golden brown from the OVA. The poses are different enough but also evoke the same character shorthand – Asako looks like the hot-head and Mayuko is obviously more happy-go-lucky.
… I think this is going to be a longer post than I first thought 😀
So, I’m going to jump around between episodes now (as the above all came from episode 1) and perhaps close with some things that aren’t directly comparable but are still something I wanted to highlight anyway.
Here there’s a flashback from the creepy Nukekubi episode, which in the OVA is a fair bit more violent than the 2015 series, actually. But let’s get focused back on the visuals – I liked the costume match between the two but the low angle shot from the OVA is a little more dramatic, I think. The blood-tinted flashback in the new anime is really effective too, that and what seems to be a film grain effect.
Above, the Nukekubi have an interesting shot that is essentially mirrored, and both versions of the series have them appear in similar ways but I prefer the OVA simply because it has the nice bonus of appearing to ‘melt’ into view.
Below, a quick comparison of a scene near the end of the episode where Tora discovers the joy of hamburgers – I was a little disappointed that in 2015 we don’t get to see him take a bite but the OVA uses a heavily stylised look, almost a ‘pencil strokes’ visible moment. In both, there’s still those ‘comedy-eyes’ visible thought 🙂
Again the OVA presents the scene in a more stylised look that’s almost Impressionistic but here I really enjoyed the inverse symmetry between the characters. In one, Ushio has his back to the audience and in the other, Hyou is facing away. I also thought it was interesting that both artists framed the shot in similar ways – OVA with shadowy plants and in 2015 with the shadows of plants.
It does make me wonder whether the MAPPA team at least watched the original before storyboarding, so as to put such little references within, or whether one studio simply went closer to the manga’s blocking? I should check, actually – because I suspect this is at least somewhat true, since other scenes are often replicas of panels from the source.
In this case I know the 2015 plays this moment (and the entire scene) far closer to the manga but I have a soft spot for the depth of field in the OVA, the blue on blue, the classic ‘half-shadow’ face so you know the character could be a bit morally ‘grey’. Also, his jacket looks better here 😀 The light in the new U&T is great too but it doesn’t have the same menacing, low-angle shot from the POV of the ‘street trash’ that Hyou is hunting.
Now, I’ve been a bit selective here in what I choose to lift from each sequence and both are great, though I tend to prefer the OVA’s work for the most part. The 2015 sequence is subtler (which can be a real plus for sure) and darker in terms of the lighting, no doubt to fit in to the overall and previously established flashback-aesthetic but the OVA really spotlights his anguish with the stark red, white and black palette.
Let’s lighten things up a touch – here the two scenes are pretty similar but in terms of character, I noticed the 2015 version had Ushio come to the realisation that he was being a fool while looking ‘off-screen’ to nothing but in the OVA he’s looking after Asako. Obviously, both scenes used romanticised colour and lighting but while the OVA features a bold gradient, the detail and lighting effects in the 2015 show are softer and offer more depth. You can also see again that while the new series keeps the hatching, it’s reduced.
So, apparently Tora gets bored and hungry enough to just bite the face off a shark in one of the ‘beach’ episodes? 😀 However, the 2015 series doesn’t have him get snacky before he encounters the monster of the week but again, the modern lighting techniques really sells the idea of a nice sunny day at the beach.
(Maybe this monster of a post should have been two? Oh well, I feel like I can’t stop now!)
The first four shots I use here are a little misleading because they suggest disunity via colour – the OVA will appear more unified at first glance but it’s not so pronounced in 2015. But the OVA does show that clash in detail common to older works, where the extra detail of something (the sea creature Ayakashi here) gives it the look of a static background piece, especially when compared to Tora and Umizatō. Later in the episode, there’s another ‘flipped’ moment and I like the way we’re told via the visuals, by the ‘muting’ of other holiday makers, that only Ushio can hear/see Umizatō.
The same episode also had some other interesting changes, this time in fight choreography. When Asako gets stuck in to some bullies it’s far more dynamic in terms of camera, cutting between close-ups, tilts and wider shots. Obviously I’m focusing a little ‘micro-level’ when I say the colour balance is great with the lifesaver. In the OVA it’s a bolder orange to contast with the paler background, whereas it becomes paler orange to contrast with the blue sky but also to pop against her swimsuit and his shirt in the recent adaptation.
Near the end of the OVA’s run is where Ushio and Tora meet the Kamaitachi Siblings. Their character design is tweaked among the most I think, especially Kagari – who in the 1990s has the ‘big hair/tiny mouth’ thing going on. A key scene near the end of the Kamaitachi arc is very similar but the hatching has actually increased in the 2015 version:
That’s about it for the actual comparison part, hope there was some interesting bits in there, despite the long post (which hasn’t ended either!).
The next two sections are mostly just an appreciation of the character design and visual style of the villain, after a quick detour to check in with Hyou from the manga. I nearly screen-capped this fight as the final panel appears in 2015 but not 1992.
Here’s a few images, all but one from the 2015 Ushio and Tora, of the many disturbing faces of villain Hakumen – the effect of utter, utter unhinged weariness is achieved so well by the cross hatching and disproportionate eye and teeth, or the mass concentration of lines elsewhere. Enjoy – if you can!
(If you got through this post, congratulations – I am impressed you were able to put up with me for so long, but also thanks, since these last few posts took me three days :D)
Let’s jump forward 23 years (to what is now nearly 5 years ago actually) and land in 2015 for the proper adaptation of Ushio and Tora.
And I say ‘proper’ not due to any perceived importance placed on the notion of fidelity to source material, but because this adaptation is a complete story. There’s a beginning with increasingly mysterious set ups offered to the audience, a middle with a few dire moments where the hero seems defeated and also an ending, where plot threads are brought to a conclusion.
Ushio and Tora in 2015 is also far prettier and the action sequences more satisfying, benefiting greatly from modern animation techniques and palettes (though I do have a soft spot for the more muted colours often found in the 1990s). The 2015 version also dials up the ante when it comes to pacing, humour and vastly expands the scope of the saga that’s being told.
What it does maintain from the past is what I guess you’d call an ‘old school’ feel to not only the story beats and characters but also the visual style – you’ll doubtless notice that the hatching is often retained, which I thought was really interesting.
While at first the story focuses on getting to know characters within the framework of the ‘monster of the week’ it quickly expands the scope and the episodes begin to reveal arcs. As with the 1992 OVA, the strengths are the classic things that won’t convince folks who aren’t fans of shonen – action and humour.
But again, the interplay between Tora and Ushio as they gradually become friends is why you keep watching, I reckon. A lot of the humour is also derived from their relationship, which is very ‘buddy-cop’ in many ways, with Tora being the grumpy one.
Ushio one the other hand is a quintessential shonen hero, determined and kind, and like with most YA fiction, there’s a lot of ‘absent parent’ stuff going on at the start to give him a chance to land in hot water, though his father and mother both have significant roles to play. (Speaking of fathers, the screen time and tone of Asako’s father is pared back this one).
Due to the 39 episode count (compared to only 10 in the OVA) there’s a lot more time to get to know the secondary characters and sub-plots too, and while I really enjoyed 90% of them I think the best thing was probably being given time with the main villain – without which, an action text/heroic journey can too often fall flat.
And Hakumen no Mono is a memorable and menacing villain indeed – not in the least due to the voice acting of Megumi Hayashibara (no doubt recognisable as the voice of, among many others, Rei Ayanami, Faye Valentine and Atsuko/Paprika). Here, she delivers a rasping, unhinged performance that is miles away from the smooth tone of characters like Faye. It was a real highlight – though in terms of voice acting I occasionally heard Ushio as ‘older’ than his character, which pulled me out of the universe momentarily.
To wade a little further into the aspects that didn’t work for me I have to mention Nagare Akiba – I suspect compared to the manga, his storyline was compressed too much. This meant that his motivation for some actions seemed a little underdeveloped and then, his defining moment maybe didn’t play out so well.
Similarly, I found myself growing impatient with a ‘no-one’ remembers sub-plot because it broke momentum and bugged me a little, not in the least since it erased a whole lot of important character development but also because it felt like an unneeded way to extend the series.
However, when the show took time to step away and reveal back stories of other characters I was usually on board 100% – especially with Hyou, his was one of my favourite aspects about the series. It’s probably only topped by Tora’s history too, his flashback episodes really land at a great time and provide extra emotional impact.
So, what’s left to say?
Well, I guess I’ll try a recommendation – Ushio and Tora should be a hit with fans of shonen and/or seemingly ‘oddly paired’ heroes, along with people who dig shows that go for (and achieve) a retro-feel.
The supernatural themes are a really big part too, but at least for the first two-thirds the comedic parts are also important. I guess if you like light harem aspects then you’ll enjoy Ushio and Tora for that focus also. (And to sneak back the OVA – maybe, give it a shot if really want to compare the two).
Oh, I couldn’t leave the review without sharing this – Tora has to operate as Mayuko’s doppelganger at one point and it’s a highlight 😀
I’m sure I’ve led a review with something like the following statement before, but I imagine following up on a classic, even with the same team, must be both exciting and daunting. For me, I feel like Trigun: Badlands Rumble had a lot of the familiar elements I was hoping for, along with some fun new stuff too. Ultimately, it’s unfair to compare a single movie to a series but I imagine fans of the original will still enjoy Badlands Rumble without being necessarily over the moon about it – and I myself liked it plenty 😀
The film opens with a great, self-contained prologue that has tension, comedy and action in typical Trigun fashion. It works as a great reminder for (or introduction to) folks about the tone of the storytelling and the setting too – along with doing a great job highlighting Vash’s trademark goofball pacifism.
The story is essentially about catching a thief but there are a few players whose hands are not revealed too quickly, and a lot of competing interests which kept me guessing at times. I believe in the lead-up to release of the film there was some talk of the movie being ‘Vash vs Wolfwood’ but that’s not the meat of the story at all. It’s also still firmly a western but includes those sneaky sci-fi aspects too.
Obviously, as a feature film the budget and animation quality is higher than the TV series (which predated the movie by 12 years) and it’s a welcome update for sure, but the characters were the main draw for me going in.
In terms of character, when I saw Badlands it was a lot like that ‘meeting up with old friends’ cliché and so it was hard to untangle nostalgia from the experience. But still, Wolfwood’s appearance is a great little surprise, and while I’m always craving more time for he and Vash to interact, the film widens the scope beyond the usual team to give thief Gasback (one of the main antagonists) and bounty hunter Amelia more screen time, which I really enjoyed because it expanded the world of Gunsmoke nicely.
One thing I wanted to also quickly mention was the ‘sympathy for the devil’ trope that’s pretty popular across all entertainment mediums – I always consider it a bit manipulative on the part of the writers, since it makes it easy to forget that the character it refers to is actually a bad chap or chapette. Of course, it’s also a sign of more nuanced characters so that’s always a plus.
It was also really nice to have Tsuneo Imahori responsible for the OST again, as I really loved Sandstorm for one, but it’s equally gratifying to see the original voice cast reunited too – as ever, I reckon Masaya Onosaka kills it as Vash. (Oh, and for an idea of the increase in production values check out the saloon rumble!)
guess you could say Pom Poko appeared
right in the middle of a golden period for Ghibli, and from a production
standpoint it’s just as wonderfully animated as any others from the time. I
also think it’s probably just as (or more) imaginative to my eye, in part due
to the wealth of mythological creatures featured within.
even though I still enjoy the movie I don’t think it’s my favourite by Isao
Takahata and I wonder if that was due to my expectations upon first viewing,
rather than any real deficiency in the film. For instance, I think I unfairly
expected more whimsy from Pom Poko
upon first glance, both due to Ghibli’s general history and the animal cast.
Of course – that was always my error, since everyone who has seen Pom Poko is well aware that it’s very much a David vs Goliath story, with the animals fighting against humanity’s quest to conquer wild spaces, and without spoiling the ending, I guess I’ll have to just say the words ‘Grave of the Fireflies’ to offer a general clue.
And so my misconceptions were
all my fault and truly, there is
whimsy. The tanuki can be just as playful as the kitsune are sly, and there is
comedy too but I think of the movie as more of a drama, and one which wears its
environmentalism very much upon its sleeve – even including a fourth wall
it probably sounds like I don’t enjoy Pom
Poko but that’s not true – I wonder if maybe I’m just comparing it unfairly
to other works from the studio? Or maybe I wanted a different ending for an
underdog story, even if I knew it wasn’t possible all along.
If I reduce shonen (at least in a partially tongue-in-cheek way) down to “shouting
and fighting” then I’ll end up side-stepping the range of genres, storylines and
characters that occur within the boundaries of the age bracket – although with Demon Slayer you’re definitely going to
get those things in heavy doses, so if you’ve never come across the series then
Still, just as important to shonen tends to be the idea of
resilience and self-improvement and again, Demon
Slayer has a focus there too. In fact, much of our hero Tanjiro’s appeal
comes from that archetypal hero: he hates the idea of giving up, is principled,
loyal and also kind. It’s a nice mix when you’re tired of morally grey
protagonists and his quest to save his sister reveals that side of him fairly
often, even if the show sometimes seems to get distracted by ‘upgrading’ our
hero (and yeah, we need to see that stuff for sure but I missed that core
The main draw for folks who’ve seen a heap of shonen anime is probably going to be the visual elements, since they’re pretty wonderful and at times, dazzling. And not just the fighting, the costuming is pretty ace too – right down to Tanjiro’s hanafuda earings. Obviously the ‘great wave’ style of his swordplay is also pretty vivid, along with the reds and golds throughout. The show uses a lot of muted backgrounds to nice effect here too, giving those fight scenes effortless high contrast. (The early parts set in snow are just as effective too.)
As usual I haven’t mentioned much of the plot
but it drew me in quick enough and while it didn’t keep up its tautness the
whole way through, my main gripes tended to be with characterisation (and to a
lesser extend, what felt like a bit too much recapping). Anyone who has seen
the show probably knows exactly where I’m going with this too: Zenitsu.
I really wish there was a way to trim out some
of his incessant screaming. That (and his cowardly nature) is usually played
for comedic effect and to contrast when he does
do something impressive (like his spider fight) but woah, it wore thin pretty
quick for me. It’s not a deal breaker though – I’ll still watch the movie and any
other series, but it does negatively impact the pacing for me and add little to
his arc. Having said that, I think it’s clear there’s a chance of him having a character-development
path at least.
Finally, it took me a while to come to terms with the fact that the main antagonist* Muzan is essentially Michael Jackson circa Smooth Criminal. Okay – costume-wise, at least, rather than mannerisms etc but I found it fascinating and odd, even though I was still able to put it aside and enjoy the show.
(*And for now, I’m including most of those damn puffed-up hashira in that category.)
is, for me, a somewhat standard ‘chosen one’
story with a few surprises nevertheless.
Ellcia (Gensō Jodan Elicia) 1992
It never gripped me but I still enjoyed it; there’s a nice mix of humour and action throughout, along with some striking visuals, even if the animation isn’t through-the-roof-good.
I also enjoyed the way the storyline opened up a little to reveal how certain characters were at cross-purposes, adding an extra element to what starts off as fairly a straight forward Good vs Evil tale.
At times, some aspects tended to feel a little rushed, particularly in the final episode, and maybe if Ellcia was closer to 12 shorter episodes that could have alleviated the issue for me, however, seeing the magical ship in action was always interesting and I loved its design. So too, for one of the main (somewhat) panther-like villains, who managed to make whiskers seem evil! On a related note, I couldn’t help feeling that the ‘motley’ look to the costumes of Ellcia’s crew didn’t signal ‘pirate’ as much as ‘circus clown’ at times?
Maybe a minor quibble – but the sum of its shortcomings weren’t enough to ‘ruin’ this lesser-known OAV series by any stretch, and so it’s a definitely ‘3 star’ kinda show I reckon. One of the reasonably early works of J.C.Staff, who you might recognise as being behind (among many others) shows like Revolutionary Girl Utena and Excel Saga.
Otomo had been involved with two other anthologies (and one afterwards) prior
to Memories, and while I’m still
hunting down Neo Tokyo, I’m pretty
confident in saying that Memories will
remain my favourite.
there’s a certain amount of nostalgia in that – some of the stuff we see as
teenagers seems to cling to us for decades after, right? Well, this is one of
those titles but I think most anime fans would enjoy at least two out of the
three shorts in this anthology regardless of the production context or their
let me re-phrase, if you like science-fiction and a bit of light horror, maybe
some dark comedy or allegory, then Memories
has you covered.
The anthology is made up of three pieces – all based on Katsuhiro Otomo’s short manga works, and features three directors. For me (and for most folks it seems) the stand out is Magnetic Rose (dir. Kōji Morimoto), which is as haunting as it is beautiful. Everything about it is top notch and I’d recommend seeing Magnetic Rose if you had to choose just one. Now, I’m definitely biased as there’s a lot of involvement from some of my favourite industry figures – there’s the Otomo source material and a screenplay by Satoshi Kon and music by Yoko Kanno, but the nightmarish search of the ruined ship and its decaying memories really is mesmerising.
The other two stories, Stink Bomb (dir. Tensai Okamura) and Cannon Fodder (dir. Katsuhiro Otomo) are just as well put-together but for me not quite as good as the opener – Stink Bomb has some moments of dark comedy but it’s closer to a tragedy in the end, and features some great animation too. The final short is easily the more distinctive when it comes to art style, but perhaps due to its allegorical nature the message seemed stronger than the story; it came closer to being a vignette actually.
I actually would love to see more of the anthology format, as it seems to have resurface only occasionally across the last twenty years. Or maybe it’s more that I’ve missed them? Obviously I remember Short Peacefrom 2013 and I was also excited to see that Studio Ponoc’s second work is also an anthology (Modest Heroes) so the anthology approach isn’t ‘gone’ but it did seem like it was no longer in fashion for quite a while there.