I want to know where this road goes

Something very important was supposed to happen this week: Mahou Tsukai no Yoru would’ve finally seen its official public release. Sadly it’s been postponed to “sometime this winter” and of course there’s no telling if and when an English language version will follow (fanslated or otherwise). Even so, I shouldn’t be the only one who’s looking forward to it and I’m dead certain it’ll be worth the wait.

After all, it’s effectively fourteen years in the making so what’s a couple of months’ delay in the grand scheme of things? This is for me the ‘missing link’ that fills out a large part of the background that I’ve wondered about for so long; it’ll go right back to early lives of the Aozaki sisters, specifically concentrating on Aoko. She’s so far been given little coverage in the Type Moon works: she made an appearance during the opening scenes of Tsukihime but apart from that, we fans know precious little about her.

The Stories of Ibis by Hiroshi Yamamoto

In Indiana Jones and the Last Crusade Harrison Ford’s character explains to a class of students how the search for ‘facts’ is not the same thing as the search for ‘truth’. In the sense of studying archeology versus philosophy that’s certainly the case, but real-life documentation of history is also subjective so it’s often difficult to tell where fact ends and fiction begins. The Stories of Ibis is, among other wonderful things, a clever reminder that facts can be falsified or lost…which ironically makes the significance of fiction all the more significant.

This isn’t a family-friendly blockbuster adventure movie of course: as a piece of thought-provoking futuristic SF though, Ibis is one of the best books I’ve read in months. Part of its premise hinges on the nameless protagonist, a wandering storyteller and amateur historian, and his problematic search for the facts – or the truth? – behind historical events that chart humanity’s downfall at the hands of robots and A.I.. Enter Ibis, a beautiful android who wants to do nothing more than tell him stories.

Why having Tumblr might save my sanity

I caved in to temptation. I know this Tumblr malarky could well be a passing fad or whatever, but it’s currently a less labour-intensive way of writing that fits in well with everything else that’s going on at the moment. This blog ISN’T dead yet (I know I haven’t been replying to comments as often as I’d like) but there are too many ideas that float around inside my head and never make it as far as becoming blog posts.

Think of it then as my writing of stuff that wouldn’t otherwise get written at all. The name, by the way, is a pun on the title of a song by 65dos combined with a few more layers of double-meanings of the sort that I’m constantly amusing myself with. Self-indulgent but eh, isn’t that what blogging is all about?

The Eve no Jikan movie is as awesome as the series, and then some

I’ve learned to approach feature-length movie retellings of familiar stories with a lot of caution. To put it bluntly, at best they’re unsatisfying summaries and at worst they ruin what I liked about the original in the first place. In the case of Eve no Jikan, one of my favourite pieces of animated SF in recent years, I prayed it would be an exception. Fortunately it does Yasuhiro Yoshiura’s screenplay justice from start to finish, and even though the majority of the film is pretty much the same as that of the six-part ONA there’s enough extra material to keep the old fans happy but it retains that unique winning formula.

The best part of all is the fact that this is in full HD: the series was from the outset a cut above the made-for-TV fare in terms of details in the artwork and fluidity in the animation, so the big screen treatment is what it deserves. If much of the content itself is the same then seeing it all in such glorious resolution is in itself worth the experience…and of course the increased detail means you’re less likely to miss some subtle yet potentially important plot point.

The Girl Who Leapt Through Time (1983)

This was another one that had sat on my to-watch list for absolutely ages but didn’t seem appealing enough for me to make time to watch. To be honest, it wasn’t all that great but isn’t bad either; for those of us who appreciate that sort of thing it has enough genuine drama to make it more than a film studies history lesson but it’s a bit dated and the sedate pace isn’t what viewers these days are accustomed to.

This is very much a product of its time: it features Tomoyo Harada, a screen idol of the early 80s who has since become a singer/songwriter with a pretty respectable back catalogue, albeit no longer as a household name. The director Nobuhiko Obayashi is another old industry regular that I’m not familiar with but he’s apparently notorious for his surreal style; any oddness present in this film isn’t excessive, but it’s interesting.