“In the first half of the 20th Century, a movement arose to overthrow what had up to that time been standard techniques of classical music, to wit, melody, rhythm, and tune, because they were in the way of creating anything new. So what about the field of graphics? What about Japanese animation? Will FLCL become an anime for the 21st Century, one freed from the various conventions of anime?”(Gainax.co.jp 1)
Hiramatsu Tadashi
FLCL Animation Director
“So what about the millennium? I’m not really sure, but writers keep asking about it. Like is there a meaning to releasing this title in 2000? When we were making this, it ended up being made in 2000? No. No, no, no. There must be a wish for everyone to be asking the same thing. Everyone is hoping that this is a Millennium Anime limited to 2000. Wishes and hopes are actually demands. I see. If we say that we weren’t thinking about the millennium, no one would be happy. So it’s been decided. That FLCL would be created as an anime for the year 2000. Does it matter if it’s true or not? FLCL is a Millennium Anime.”(Synch-point 10)
Enokido Yoji
FLCL Script Writer
FLCL: How Gainax Created The First Anime For The 21st Century
How do you create a truly original anime for the 21st Century? Gainax believes they have done it by forming an avant garde, postmodern production held together with a classic storyline revolving around well defined characters and created utilizing cutting edge computer generated animation. What do you call an anime this revolutionary? Giving it only one name would not do it justice. It could be FLCL as it is technically referred to throughout Gainax, Furi Kuri for those who prefer the onomatopoeia of Japanese speech, or Fooly Coolly(sic) as it is known in America and as seen in several examples throughout the series.
The rest of this fascinating article can be seen here
My personal comment is, this anime did break many grounds for GAINAX and burned into public conciousness for its wacky storytelling and feel. This article more and less explained the reasons behind its totally out of whack story and concepts. Fascinating read indeed.
Tuesday, July 25
Sunday, July 23
JETRO report on anime industry.
A report from Japanese Government on anime industry trends. Not suprisingly, it is not too optimistic in tone.
Abstract:
Japanese animation is in the spotlight not only in Japan, but overseas as well. Amid an expanding domestic market for films, television and videos, Japanese animation film producers have also been turning their eyes toward overseas markets. At the same time, new developments have been seen in terms of diversified funding methods for film production. Against this background, the Japanese animation industry is working hard to deal with shortages in certain human-resource skills, reductions in domestic film-production sites and the challenge of expanding operations overseas.
Some parts of discussion:
Japanese animation (“anime”) has been acclaimed worldwide for its original, Japan-based culture and content, to the extent that it is called “Japanimation.” Director Mamoru Oshii’s animated film Innocence was nominated for an award at the 57th Cannes film festival in 2004. Innocence is the sequel to Ghost in the Shell (1995), which reached number one on Billboard’s video chart in the United States.
Miyazaki’s Spirited Away won the feature length animation Oscar at the 75th Academy Awards in 2003, reprising its capture of the Golden Bear at the 2002 Berlin Film Festival and proving once again Japan produces world-class animation.
Many American and Asian animators reportedly want to work on Japanese anime productions, indicating that Japanese animation is viewed by professionals as leading its field. Spirited Away’s commercial success, however, demonstrated Japanese anime’s merits and international competitiveness among the global general public as well. The world clearly views Japanese anime as having potential for big business.
Nonetheless, the industry has not yet shifted its posture sufficiently to respond to overseas acclaim. Moving forward, the Japanese anime industry not only must expand overseas, it also must develop the necessary production/distribution systems and personnel to capitalize on the global business opportunities for anime and other content.
Production systems have in fact been set up, but the industry still has many glaring weaknesses in domestic/overseas distribution and rights, such as licensing and international business expertise in general. In the field of personnel development, animators do not have a suitably high social standing, so the exodus of such personnel to other industries and countries has become a large problem.
Sources: Japanese Economic Monthly, Jun 2005.
The English PDF can be downloaded here.
Abstract:
Japanese animation is in the spotlight not only in Japan, but overseas as well. Amid an expanding domestic market for films, television and videos, Japanese animation film producers have also been turning their eyes toward overseas markets. At the same time, new developments have been seen in terms of diversified funding methods for film production. Against this background, the Japanese animation industry is working hard to deal with shortages in certain human-resource skills, reductions in domestic film-production sites and the challenge of expanding operations overseas.
Some parts of discussion:
Japanese animation (“anime”) has been acclaimed worldwide for its original, Japan-based culture and content, to the extent that it is called “Japanimation.” Director Mamoru Oshii’s animated film Innocence was nominated for an award at the 57th Cannes film festival in 2004. Innocence is the sequel to Ghost in the Shell (1995), which reached number one on Billboard’s video chart in the United States.
Miyazaki’s Spirited Away won the feature length animation Oscar at the 75th Academy Awards in 2003, reprising its capture of the Golden Bear at the 2002 Berlin Film Festival and proving once again Japan produces world-class animation.
Many American and Asian animators reportedly want to work on Japanese anime productions, indicating that Japanese animation is viewed by professionals as leading its field. Spirited Away’s commercial success, however, demonstrated Japanese anime’s merits and international competitiveness among the global general public as well. The world clearly views Japanese anime as having potential for big business.
Nonetheless, the industry has not yet shifted its posture sufficiently to respond to overseas acclaim. Moving forward, the Japanese anime industry not only must expand overseas, it also must develop the necessary production/distribution systems and personnel to capitalize on the global business opportunities for anime and other content.
Production systems have in fact been set up, but the industry still has many glaring weaknesses in domestic/overseas distribution and rights, such as licensing and international business expertise in general. In the field of personnel development, animators do not have a suitably high social standing, so the exodus of such personnel to other industries and countries has become a large problem.
Sources: Japanese Economic Monthly, Jun 2005.
The English PDF can be downloaded here.
Anime Business in Japan
This is business article on anime business in Japan. A year old but still interesting to read.
The Anime Biz.
Another look into the genre with balanced view, since the author did comment on darker side of anime. I think this article is honest and tries to be objective in its view.
Anime, from Cute to Scary
Some of you might be curious to know what is my anime taste like. Here is my list, not in any particular order.
Here is my list of prefered titles.
1. Seikai Saga
2. Shingeshutan Tsukihime
3. Gunslinger Girl
4. Saishuu Heiki Kanojo aka Saikano
5. Gundam 0080 OVA
6. Gundam 08th MS Team
7. Now and Then, Here and There
8. Haibane Reimei
9. Kino no Tabi
10. Ghost in the Shell series and movies
11. Fate/Stay Night
12. Samurai Champloo
---------------------
Honorary mentions:
All Miyazaki movies, 12 Kingdoms, Stellvia of the Universe, Ebichu,
Kogepan, Voices of Distant Star, Berserk, Cowboy Bebop , Akira,
Genshiken, Otaku no Video, Nadia and Secret of Blue Water, Fate/Stay
Night, Infinite Ryvius, Patlabor, Angel's Egg, Neia Under 7, Rozen
Maiden, Gasaraki, Sentou Yousei Yukikaze, Evangelion, Legend of
Galactic Heroes, Wings of Honmaise, Naru Taru, Kimi Ga Nozumu Eien,
Gundam 0083, Gundam's Char Counterattack, Mobile Suit Gundam 0079,
Witch Hunter Robin, Noir, Planet ES, Black Lagoon
The Anime Biz.
Another look into the genre with balanced view, since the author did comment on darker side of anime. I think this article is honest and tries to be objective in its view.
Anime, from Cute to Scary
Some of you might be curious to know what is my anime taste like. Here is my list, not in any particular order.
Here is my list of prefered titles.
1. Seikai Saga
2. Shingeshutan Tsukihime
3. Gunslinger Girl
4. Saishuu Heiki Kanojo aka Saikano
5. Gundam 0080 OVA
6. Gundam 08th MS Team
7. Now and Then, Here and There
8. Haibane Reimei
9. Kino no Tabi
10. Ghost in the Shell series and movies
11. Fate/Stay Night
12. Samurai Champloo
---------------------
Honorary mentions:
All Miyazaki movies, 12 Kingdoms, Stellvia of the Universe, Ebichu,
Kogepan, Voices of Distant Star, Berserk, Cowboy Bebop , Akira,
Genshiken, Otaku no Video, Nadia and Secret of Blue Water, Fate/Stay
Night, Infinite Ryvius, Patlabor, Angel's Egg, Neia Under 7, Rozen
Maiden, Gasaraki, Sentou Yousei Yukikaze, Evangelion, Legend of
Galactic Heroes, Wings of Honmaise, Naru Taru, Kimi Ga Nozumu Eien,
Gundam 0083, Gundam's Char Counterattack, Mobile Suit Gundam 0079,
Witch Hunter Robin, Noir, Planet ES, Black Lagoon
News
SDCC: New "Afro Samurai" Details Revealed
By William C. Maune
07-22-2006, 12:19 AM
At the San Diego Comic-Con on Friday, new details were revealed about the upcoming Afro Samurai anime starring Samuel L. Jackson. The series, slated to run on Spike TV, will be five episodes long, although there may be more episodes if it does well. Each of the five episodes had a budget of over $1 million. Because the series is being made with Japanese television in mind, the uncut version of each episode will be 25 minutes long. Spike TV will be cutting three minutes out of each episodes though for an American television run time of 22 minutes. While the episode length is being made with Japanese television in mind, this will be Gonzo's first anime made initially for an English language audience. Thus, it will subsequently be dubbed into Japanese.
Full article can be seen here.
The official site for Afro Samurai.
------------------------------
Holding The Power of Anime
July 22nd, 2006 3:20 PM by Aaron H. Bynum
1 through 10
ICv2, a comics culture media group focused on disseminating the finer points and projects of select areas of the comics and animation industries, has released a list of which they have considered the most powerful individuals presently active in the western anime industry. The list, consisting of several executive officers of leading North America anime title distributors, reveals not so much which company holds the largest influence nor which organization garners the highest revenue; but rather gives enthusiasts a glimpse into which individuals, behind the companies, has the most control or capacity for future gain and/or growth.
Full article can be seen here.
--------------------------------
This is serial manga in Mainchi Shimbun, which has English translation. Shows how big anime has become so far. Perhaps trying to emulate the popularity of Megatokyo?
The manga.
---------------------------------
Wired
Issue 14.07 - July 2006
Meet the Geek Elite
At first glance, there’s not much to distinguish Koota Umeda from the millions of other Japanese salarymen. When we meet for a beer in a Tokyo bar, the personable 23-year-old is wearing a smart new suit and presents his business card with impeccable manners (he works for a major Japanese tech company). But the unfashionable side part in his hair hints at secret proclivities. The proof comes when he whips out his digicam to show me photos of his enormous, meticulously organized collection of manga, which he keeps in his bedroom at his parents’ house.
Full article can seen here.
By William C. Maune
07-22-2006, 12:19 AM
At the San Diego Comic-Con on Friday, new details were revealed about the upcoming Afro Samurai anime starring Samuel L. Jackson. The series, slated to run on Spike TV, will be five episodes long, although there may be more episodes if it does well. Each of the five episodes had a budget of over $1 million. Because the series is being made with Japanese television in mind, the uncut version of each episode will be 25 minutes long. Spike TV will be cutting three minutes out of each episodes though for an American television run time of 22 minutes. While the episode length is being made with Japanese television in mind, this will be Gonzo's first anime made initially for an English language audience. Thus, it will subsequently be dubbed into Japanese.
Full article can be seen here.
The official site for Afro Samurai.
------------------------------
Holding The Power of Anime
July 22nd, 2006 3:20 PM by Aaron H. Bynum
1 through 10
ICv2, a comics culture media group focused on disseminating the finer points and projects of select areas of the comics and animation industries, has released a list of which they have considered the most powerful individuals presently active in the western anime industry. The list, consisting of several executive officers of leading North America anime title distributors, reveals not so much which company holds the largest influence nor which organization garners the highest revenue; but rather gives enthusiasts a glimpse into which individuals, behind the companies, has the most control or capacity for future gain and/or growth.
Full article can be seen here.
--------------------------------
This is serial manga in Mainchi Shimbun, which has English translation. Shows how big anime has become so far. Perhaps trying to emulate the popularity of Megatokyo?
The manga.
---------------------------------
Wired
Issue 14.07 - July 2006
Meet the Geek Elite
At first glance, there’s not much to distinguish Koota Umeda from the millions of other Japanese salarymen. When we meet for a beer in a Tokyo bar, the personable 23-year-old is wearing a smart new suit and presents his business card with impeccable manners (he works for a major Japanese tech company). But the unfashionable side part in his hair hints at secret proclivities. The proof comes when he whips out his digicam to show me photos of his enormous, meticulously organized collection of manga, which he keeps in his bedroom at his parents’ house.
Full article can seen here.
Saturday, July 22
Ghost in the Shell: Innocence (2004)
This is my second review on the franchise; the focus is now on Ghost in the Shell: Innocence (2004).
The specifics here, is on Batou or Bateau, who used to be a close partner of Major Kusanagi. He is still angry and resentful of his inability to save her 3 years ago, trudging on with his life without any specific aim. This time he is partnered with idealistic and steadfast public officer Togusa to investigate an incident where a girl type android or gynoid went berserk in random manner located in red light districts of Fukuoka City. These androids are specialy designed for sexual services. Which makes it more puzzling as to why it acted in such manner, led to suspension of gynoid sales in the country. Not to mention too, it is direct violation of Asimov's Rule of AI, that is no harm should be inflicted on humans.
What will lead him later on is a huge conspiracy involving certain country to the north of Japan, child smuggling, illegal ghost dubbing, unethical corporation practice and triad involvement, plus a dangerous hacker lurking in between. Here, Batou or Bateau link to his humanity is his dog which the only affection that he ever shown. In contrast, Major Kusanagi obsession with voices in her cyber brain in the first movie which makes she think that is her soul or "ghost" resonating as a proof that she is a human. The dog, in a way, is a proof that he is still human despite being 100 percent cyborg with latest technology money can buy.
Will the Major and Batou or Bateau reunited?
Rating 9
Art
The background colours is very dark and foreboding, miserable yet have some spark that denotes a life trying to be sentient in sea of artificiality. The city lights is gorgeous and objects in focus is well animated to give it realism that the story atmosphere demanded.
As expected from Mamoru Oishi, the highlight of this movie is the festival parade scene in Locus Solus. This scene alone is absolute manifestation of the movie speaks about, humans as mirror of their own creation in festival of their own doing and beliefs, thrown together in their flaws and imperfections.
The art style of character is heavily influenced by Studio IG who makes TV series, Stand Alone Complex series which in my humble opinion, looked a bit cartoonish compared to stark realism approach in the 1995 movie. Generous amount of CG is used in this movie, to give it impact and feel that can be easily described as visceral reinforcing the Japanese mastery of animation in stupendous manner.
However, the movie seem to be obsessed with dog and old retro cars, the animation of these things is flawless but does raises question as to what kind of symbolism that director trying to say. The action scenes are beautiful and masterful, just look out for the Yakuza den segment especially. Mamoru Oishi is known to have a pet dog in real life and he said "experiencing full freedom" when he is with his hound.
Rating 10
Sound
The soundtrack of this anime feature does live up to 1995 excellent OST. Suffused with synthesizer and Oriental musical in between, it creates a surrealistic feel and aftereffect complementing the scenes beautifully.
Voice acting in Japanese dubs is competent, highlights and gave soul to the characters portrayed in the anime, from stern, fatherly Aramaki to edgy, hardened Batou or Bateau; more so in latter case, because in 1995 movie, he is a smug, big man but in this feature, he is a tortured and glum personified.
The sound effects are well represented and fit the mood of the movie.
Rating 9
Presentation
In this movie, instead of relying solely on montage silent shots in 1995 movie, Oishi using discourse between human Togusa and cyborg Batou or Bateau as main plot device. However some might felt the discourse is like textbook verbatim orgy, from the Bible to Dante�s work in giving the show�s philosophy more substance then it seems. Each character seem to mouthing off quotes, as if they were director�s wish himself was saying it but unable to because it is an anime feature.
The casualty of this highly artsy approach causes alienation of the audience. Some audience might turn off by it because their inability to connect to the story due lack of knowledge of the quotes in the show representation, especially the ones who want action and less talking. This is again, a very contemplative anime, an almost Zen-like feel in its entirety. A lot of second guessing is also needed to understand what is going on, and requisite good knowledge of literature and history is seem to be in order if full understanding is needed here. Mamoru himself said that he prefers 10,000 people watching this show few times, rather than 1,000,000 people watching it once. That underscores a very personal nature of this movie and its downbeat feel too, will restrict this show to elite few who understand science fiction mixed with philosophy.
There is a score of silent scenes which some audience might find tedious since it is very personal interpretation by the director himself.
In conclusion, this is a rather difficult anime to rate, since the full impact that Mamoru desired is yet to be felt but it is can said safely that this movie deserve more than one viewing to grasp the true vision of the director. Reportedly too, this will be last Ghost in the Shell movie for the famous director. However, this anime earn its rightful place in DVD shelf for my case.
Rating 9
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