I got the sense that Kai Doh Maru (and its focus on incorporating CGI into the storytelling) was somewhat connected to the same Production IG approach and era that included Blood: The Last Vampire.
The visual style of Kai Doh Maru is striking in a different way however, thanks to the washed out or water-colour look, an aesthetic the team use to evoke a historical feel. And it is distinctive, but watching it now… the early 2000s CGI is quite dated, at times reminding me of old architectural software, due to that flatness.
On the other hand, direction of the sharp action sequences feels great – and when colour appears it really stands out. I also liked both character design and the soundtrack but overall this isn’t one of my favourite OVAs.
The main issue I had was with the pacing and plot. Since Kai Doh Maru is around 40 minutes long, and takes on a pretty large story, there are a lot of gaps in what occurs onscreen. If I knew the Heian period and stories around the Shitennō well, maybe I’d have followed better – especially in regard to what I’d consider an abrupt ending. (And so maybe that’s not a fault of the storytelling truly, but a deficiency in my knowledge.)
Further, I surely missed many subtleties throughout due to that. I did pick up on the heavily restrained romance between Lord Raiko and our heroine of course – but having said that, the focus is on war, politics and historical details. There’s also a supernatural element too, but I won’t spoil how it’s used.
I certainly don’t see Kai Doh Maru mentioned much, even among older fans, but it’s memorable even if I don’t precisely think I enjoyed it from top to bottom.
Vampire fiction often brings an erotic sub-text along with the horror but Blood: The Last Vampire focuses on the dread. Not only because here, our vampire is a fury-filled avenger, but because the creatures she hunts are more like demons, perhaps. And not handsome ones, either.
Still, whichever name these bat-like fiends have, they’re to be hunted, and it’s up to Saya to do so. She’s sent into an air base and the nearby school for her hunt, posing as a student in part for maximum costume effect, I think. (Not in a fan-service way, but more to contrast between the look of a typical victim and hunter).
(In a different vampire story, Saya would probably be a first victim and then a villain – but this is more of a Buffy approach).
Anyway, getting back to this story; I loved every minute and was disappointed that the following ‘Blood’ movies and shows are not particularly related.
But if you like the genre and you find this OVA somewhere, then I reckon what you’ll be watching is bit of a seminal work.
For me it is, anyway.
Or maybe that’s just my tendency to lift up something that I probably first saw in high school as a paragon (as can be all too easy to do)… but either way, Blood: The Last Vampire seems like a masterclass in lighting alone.
The whole thing is quite cinematic, really. The CGI too, is incredible, especially considering the release date of 2000. Now, lately I’ve been taking shots at older CGI left, right and centre, and sure, you’ll see a few moments here and there that don’t seem perfect, but the team must have worked so, so hard on those visual elements.
Like other examples of the genre, this short film is very much set in ‘night’ and the shadows reflect that, but it’s not an inky mess of low-key lighting that will have you squinting for detail; there’s plenty to see and heaps of variety in colour too, including a great, sickly green at times.
What also had me transfixed, aside from tantalising hints about Saya’s past, was the setting, both the time period and the location. I can’t say I’ve seen many anime films or series set in a US air base on Japanese soil, on the eve of the Vietnam War in 1966. During Halloween, no less!
In terms of the plot, there was at least one little twist that I didn’t see coming, and I thought it was pretty perfect. Aside from the visuals, what I remember most at this moment, is how sullen, angry and cold Saya is. And yeah, that’s a pun that I could have avoided 😀
But I bring her disposition up because I was interested to see whether (or to what extent) she’d warm to poor Amino, the school nurse who is, to some extent, as much a main character as Saya herself.
Connected to their reasonably brief time together is the realisation that Blood: The Last Vampire is definitely a prologue. It was envisioned as the first in a three-part tale, but perhaps because Sony was involved with Production I.G for the funding and production, the rest of the story is made up of sequel video games (and a manga too).
Having said that, this is a self-contained OVA with a resolution, but it very clearly sets up expectations and interesting hints, and functions as an excellent first bite of a longer story. And yeah, again – I couldn’t help myself with the silly pun!
(With an eye to please international audiences, this film has a lot of English audio and not a whole host of subtitles, also allowing some of the cast to show skills in both languages 😀 )
My knowledge of sport-themed anime is pretty thin but I was drawn to Haikyuu!! because I play volleyball – not during a pandemic of course, but certainly when it’s safe.
Anyway, getting back to the anime – one of the things that struck me most was that while the moves that the boys manage to perform on court (outside of the purposeful exaggeration) tend to be Olympic-level stuff, it’s not unrealistic really. And more – parts of the show are explicitly educational in terms of explaining court positions and strategy.
In fact, I’ve had students sign up at our volleyball club, telling me they wanted to try the sport out after watching Haikyuu!!, which is pretty great.
So, putting aside my excitement to watch any form of visual media about indoor volleyball, and the enjoyment I got from understanding, even from an average player’s perspective, what was happening on court – I’m aware that I wouldn’t have kept watching Haikyuu!! if the storytelling or the characters weren’t engaging.
And they pretty much all are, even in such a big cast spread across many schools. There’s heroes and villains aplenty, including those I was happy to see succeed, and others who seemed to earn their defeat. On that note, I really thought the pain of failure is shown really well, whether it’s full-on tears, bitterness or in the case of that “piece of crap” Tōru Oikawa (to quote his teammate), irredeemable jealousy.
But getting back to the series overall, it feels like Haruichi Furudate (who I believe played middle in school) did a great job with the season-long tension, and the anime itself really uses all the tools of film to keep episodes exciting, even when a single match stretches across several episodes (or an entire season). And while there are times where you think – I just saw a similar shot a little while ago, I tended not to care. I was more invested in having Karasuno grow into a fantastic team.
For these seasons, I do wish the girls had their storyline sneak back in a few times, and that we were shown a few extra details of life beyond the court for the key players, but I still love this series – and it’s been pretty uplifting to watch while I haven’t been able to play myself.
And quickly also, Kim Yeon-koung, Captain of South Korea’s national women’s volleyball team, watched a match and talked about how generally realistic things were, which was fascinating.
I missed The Weathering Continent back in the 1990s but I know it would have caught my eye if the film had actually had any chance of being screened in Australia – but then, at the time of the movie’s release I was probably watching Astro Boy re-runs (along with He-Man, She-Ra and Voltron).
And then, a few years later, by the mid-90s, it was all about Neon Genesis!
Still, I’m glad I’ve now seen The Weathering Continent because I know I’ll watch it again one day, since I enjoyed it so much.
It really walks the line between creepy and haunting so well, aided by a barren but not empty setting. The story follows three wanderers as they traverse a wasteland-like Atlantis, but it’s not a quest to discover ancient wonders – it’s more like a struggle to survive an ancient, cursed place.
I’m not sure I should try to categorise The Weathering Continent as ‘cult’ or ‘overlooked’ and I’m not coming up with a lot of info re: how it was received upon release, but I know it did have a theatrical run, though it’s not ‘feature length’ at 50-odd minutes. This anime is not something I suspect you’ll be able to stream easily, but I found a DVD via good old ebay, and it has a great, landscape sleeve:
Anyway, it was of course easy for me to learn that the film is an adaptation of a light novel series by Sei Takekawa (illustrations by Mutsumi Inomata) and that it was directed by Kōichi Mashimo. Mashimo’s name caught my eye because of Eat-Man and Noir, so it was interesting to see that same moodiness from the first Eat-Man here. However, unlike Noir the action is sparse in The Weathering Continent.
But when it occurs it certainly looks good – this is from Production IG before they changed their name, and character design stands out to me as well, obviously very 1990s. But above all, it is the city where the bulk of the story takes place that enthralled me, and yes the architecture and use of mostly sombre colours and detail is great, but the inhabitants themselves were what had me hooked, those masks and costumes!
I’ve had to fight the urge not to screen-cap the hell out of this one, because on the off-chance that you might want to see this film, I don’t want to spoil too much, yet I want to evoke enough to get you curious at least 😀
That’s probably enough rhapsodising from me, I think – basically, if you’re in the mood for a sword and sorcery anime that is also heavy on atmosphere (but a fairly light on plot), then this lesser-known film from Mashimo should satisfy.
Gargantia on the Verdurous Planet (Suisei no Gargantia) 2013
Once again, I’m going to fight my urge to ramble here – so, that means just a few paragraphs now, focusing on Gargantia on the Verdurous Planet this time.
If you’ve never come across this series I think I’ll mention that it stands out in the mecha genre a bit, in no small part due to the amazing setting. For me, I could have watched ten extra episodes more in line with the first half of Gargantia on the Verdurous Planet, which had a fun slice-of-life feel at times, as the characters go about their business upon a verdant and vibrant, connected fleet of ships. Likewise, I could have enjoyed the scenery just as long – it’s bright and textured, yet didn’t feel repetitive; I left off sure that we could have explored a lot more.
The show delves into the requisite fan-service at times, but the main focus in Gargantia… (aside from the eventual re-emergence of the science-fiction) is probably pilot Ledo’s faltering attempts to understand a new culture. I really enjoyed seeing his trials there, both with language and ideology, but for action fans you’ll be given more battles and violence in the last few episodes. There, a lot of the warmth is jettisoned, along with lead character Amy’s role but I suppose in exchange for that you do get some development from a different character – the somewhat dubious Pinion.
In some ways this is like two halves of a longer series condensed into one short series, where the ‘science-fiction space war’ part is mostly placed aside as the hero adapts to his new circumstances. Seen that way, I think Gargantia… has a fair bit in common with the First Contact sub-genre, only it’s one kind of human meeting others.
The anime looks great of course, with Production IG at the helm, but if you were hunting down the works of Gen Urobuchi don’t expect something like Pyscho-Pass… though there is a sub-plot featuring a cult here that would have fit into that dystopia. If you like mech design for salvaging as much as for fighting, and if you want some comedy and a fresh setting to go with your science-fiction, then I reckon you’d enjoy this despite some uneven aspects for me.
Jin-Roh is another film that ticks a lot of boxes for me, but if you’re unsure about watching this lesser-known classic, keep in mind that I have my biases and I probably enjoyed this more than folks who maybe consider themselves ‘general’ action fans.
I say that because one of the things that I’m predisposed toward enjoying is an alternate history story and that’s definitely one way to describe Jin-Roh. And based on the pacing alone, perhaps don’t go in expecting a blockbuster-action movie.
Jin-Roh is a little more measured and could be described as character-focused, without being ‘slow’ either, I reckon.
Set in a troubled postwar Japan, with the 1950s rioting as part of the backdrop, there’s a lot of what I think is period-appropriate detail to the setting, contrasted with the almost futuristic armour worn by the Kerberos Panzer Cops. Our hero is Corporal Fuse, a member of the elite anti-terrorist force trained in the use of such heavy-duty armour. His story begins when he fails to shoot a young terrorist beneath the city.
And since the film uses a few thriller conventions, where everyone around Fuse is suspect, I won’t go into much more plot detail than that, and instead switch back to some of the production stuff that I tend to enjoy. Jin-Roh is based on a Mamoru Oshii work and was released post-Ghost in the Shell and so it feels like, to some extent, the team at Production I.G were still riding high and had a good budget too. The film definitely plays out that way, with high quality art and animation and a focus on character as much, or even more so than the action.
I’ll quickly note that action scenes aren’t absent either – and it can be quite ferocious, considering the Kerberos’ preference for those serious machine guns, but there’s time for Fuse to reflect and think about who he can trust too.
There’s even a lot that’s poetic about the film, from the faint ‘glow’ to some scenes, to the fatalistic attitudes of a lot of characters, or the way the Little Red Riding Hood nursery rhyme is used. In fact, in my obsession with seeking intertextual elements, I wonder if one of Fuse’s dream sequences doesn’t include a nod to a film I’ve mentioned before Don’t Look Now with the gate (and the girls themselves)?
But I’d better switch back to the visuals for one more point before I finish up, because I want to mention both the muted colour palette and how well that fits the setting, and also draw attention to the character design. If you’ve been exposed mostly to modern anime you might not be used to the realism common to various Hiroyuki Okiura designs, but I really enjoyed the variety from the director.
Finally, I want to mention the brooding soundtrack from Hajime Mizoguchi, which is another element that really sells the sombre mood of the film. In fact, it can be almost bleak and our lead is a little morose but I think, if you finish Jin-Roh you’ll see why. He is at least a little torn between his desires but it’s a very much internal struggle that is rarely played out upon his face.
So, to quickly sum up I believe this is a bit of a ‘must’ for fans of Mamoru Oshii but if you’re also interested in alternate history or a bit of subterfuge with your action then you might well enjoy this at times sombre movie.
(The colour of red itself runs through the whole film, with varying degrees of subtlety, but always feels effective to me)
Sands of Destruction (World Destruction: Sekai Bokumetsu no Rokunin) 2008
Anime adaptations of games seem generally fraught with risk in my mind – and yet I can’t actually think of a tonne that I’ve seen and disliked, and instead, one obvious success seems to come to mind whenever I do think of games and anime, Steins;Gate.
But I’ll get to Sands of Destruction now.
So, even if individual elements didn’t always feel top-notch, I definitely enjoyed the anime and like other reasonably episodic shows, I was able to watch an episode here and there between other titles and not miss a beat.
Production I.G must have faced a fair amount of restriction in terms of what they could do because the series had to be linked to the DS game, but I thought the humour usually worked and while the setting and storyline is very much ‘classic fantasy’ (with an oppressive society for the characters to rail against) that was certainly enough for me 🙂
There were a few surprises and the pacing of each story drew me along nicely – one stand out was the ‘Dr Elephant’ episode, but overall the scene-stealer was usually Toppy. A tiny, teddy-bear-looking, monologue-ing hero, he was pretty great, I reckon. Toppy also scored a lot of great lines and moments, and to my surprise, the character-affectation of adding ‘kuma’ to the end of every single sentence was not as annoying as I thought it would be.
At first it bugged me a bit.
Elsewhere, I enjoyed the non-human character design more than the human design for the most part, and I felt like I was craving a few extra threads from the main plot to appear earlier than they do, but maybe it’s a minor quibble. The animation wasn’t always knock-out stuff but nor was it poor – at all.
I believe that if the show’s style of humour works for you then that will be enough to lift other elements that will probably seem a little standard. If not, you might not enjoy Sands of Destruction that much.
I’m not a fan of too much corporate involvement in art.
Obviously, many studios are big corporations with commercial concerns and I’m not going to erroneously claim that popular = bad.
However, when I heard about the Murphy’s ‘Irish Stout’ advertisement Last Orders I did pause. It is a great, one minute clip with fantastic direction and a funny pay-off but again, some of the best folks from Japan’s animation industry of the day hired to make an advertisement for a drug?
Of course it’s hardly up to me to judge folks for the jobs they take on and again, this cyberpunk beer ad is pretty great. It clearly evokes Ghost in the Shell, and has that film to thank for its existence, since the UK company probably wouldn’t have commissioned Last Orders otherwise.
I only recently stumbled across the spot on Youtube and after a quick search I found some (hopefully accurate) production credits:
Director – Hiroyuki Kitakubo (Blood: The Last Vampire).
Character Design – Kazuchika Kise (Ghost in the Shell)
thought I’d try to avoid a long, rambling preamble for a change and instead
take a shot at summing up my response to the show in a few words – disturbing,
fascinating and mostly compelling.
While it actually took me months to finish Psycho-Pass (usually watching one or a few episodes at a time only) that’s not an indictment on my enjoyment of the series and I think it’s easily one of the best cyberpunk/futuristic dystopian shows around.
Obviously on several levels it’s a procedural/mystery/thriller with all the conventions that go with them but the setting really elevates Psycho-Pass beyond and it was probably the most engrossing aspect to me as a viewer. The characters ranged from utterly engaging to tedious and even criminally under-used I feel – but I want to stay with the setting a touch longer before I get back to the characters 🙂
understand the Japan featured in the series, which falls into the ‘dystopia masquerading
as utopia category’, I want to quote from the wiki entry:
Psycho-Pass is set in a futuristic era in Japan where the Sibyl System (シビュラシステム Shibyura Shisutemu), a powerful network of psychometric scanners, actively measures the minds and mentalities of civilised populations using a “cymatic scan” of the brain. When the calculated likelihood of an individual committing a crime exceeds an accepted threshold, he or she is pursued, apprehended, and killed if necessary by police forces.
consequence of this system that I didn’t quote above is that while people
generally tend to lead safe and calm lives, it is at the cost of much autonomy
in terms of deciding the path of those lives. The tension there tends to be the
cause of most crimes the characters must solve in the series, and it’s probably
the main theme for both the heroes and the villain – so, classic stuff, which I
was really happy about.
Psycho-Pass also definitely kept me guessing at times and while it is equal parts thrilling and interesting, I’d like to warn folks that some episodes can be seriously disturbing. And it’s not just the violence, but the way society reacts to violence – and without spoilers, I’ll just say that part of what makes it chilling is the seemingly very real possibility of a similar society rising in the future.
finally to the characters – for me, a few pawns used by the key antagonist were
a bit dull but leads Akane Tsunemori and Shinya Kogami more than made up for
it, with the tension between idealistic and cynical playing out in an
interesting way by the end. The supporting cast were great too, but now I want
to circle back to my ‘mostly-compelling’ comment and pair it with my ‘criminally
whatever reason, she was hardly used despite being one of the more interesting
supporting members of the team – and yet, the series took time to devote an
entire flashback episode to her punk rock past… but then just never came back
to it. Even by the end of the first season there’s no sense that she’ll be
given a chance to get the closure other characters were afforded. It thus became
a kind of odd detour that interrupted the pacing and dissolved perhaps too much
of the building tension.
Of course, there’s two more seasons of the show but here’s where I finally get around to ‘mostly-compelling’. I kinda have no desire to keep watching – which sounds odd, because I enjoyed Psycho-Pass. BUT enough of the main plot threads were resolved so that for me, there’s not enough to keep going. Well, that and the fact I want more from another certain other character not featured in the next seasons!
Still, season one had a really satisfying finish on many levels – but I want to quickly mention how much I appreciated the colour and light in the wheat fields; it really stood out compared to the night and neon that dominates the rest of Psycho-Pass, so I thought that was a great contrast.
science fiction but probably not for everyone, I reckon.
As a tiny postscript, at times I felt like a few action sequences were a little less fluid than I was expecting and I’m not sure if that was due to the temporary studio switch or a desire for more realism in combat.
I definitely enjoyed this film, as I tend to gravitate toward stories that are about artists of just about any form, but this was bright and memorable for me in terms of visuals and characters too, if not the storyline, precisely. More on that below however.
Obviously I’m hardly qualified to discuss the
source material in terms of its balance between historical fact and drama, but I
wouldn’t say I was surprised to see Hokusai often relied on his daughter to
finish commissions and so Ōi’s work probably went unrecognised fairly often.
Though that wasn’t precisely the main source
of tension in the film for me, I think the family relationships and Ōi’s
efforts to help her younger sister took up a bigger portion – that and Ōi’s
personal struggles with her work and identity. I know some folks didn’t enjoy
the episodic nature of the storytelling and maybe I personally would have
preferred a more conventional approach in some ways, because I think I’m
somewhat conditioned to expect that when a film is biographical.
And yet, asking and expecting that would kinda
be a bit reductive of me… because in a way, I think the film now rests in my
memory as a collection of impressionistic moments that aren’t necessarily
connected to the cause and effect of a traditional linear narrative, and that’s
probably just as impactful anyway!
Overall, I think I was most excited to be offered a look at the lifestyles of painters during the Edo period and ended up really enjoying the detours into mythology, along with the actual artworks themselves of course.
Definitely recommended if you like somewhat
meandering family dramas or biographical films that don’t precisely play out in
a typical fashion.