Yukikaze, Unlimited Blade Works and playing to the strengths of the medium

Maybe I’m stating the glaringly obvious here, but since it wasn’t obvious to me until recently I might as well set out my thoughts on it. I’m not saying that the Unlimited Blade Works is a great movie but it’s worth stopping to think about the broader context or what the movie itself is trying to accomplish. Similarly, there are a few things I could say about the Yukikaze OAV but now I’ve read the original novel I feel a bit different about it. Feelings concerning the motives behind, and effects of, adapting stories from one medium to another mostly.


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An extreme example of the importance of context that I stumbled on is William Gibson’s Neuromancer. It’s an enjoyable enough cyberpunk novel but not as enjoyable for me as I expected: I’m finding it tedious in places but when I remind myself that it was written before any of that stuff related to the internet, VR and even the cyberpunk genre itself were commonplace, I admire it more. Not that it makes the book itself more fun, but it makes its limitations at least understandable.

Memory Lane is paved with gold

It’s strange how you remember certain things from a long time ago so clearly. Rewatching my childhood fave The Mysterious Cities of Gold for the first time in nigh-on two decades is proving how accurate my memory was before it was addled with things like schoolwork, girls, beer and all the other crap we’re preoccupied with as we grow up. Even more surprisingly, it’s still entertaining to me now.

I remember watching this for the first time when I was around four or five; the reruns were a few years later, when I was around seven or eight and able to appreciate it more. At that point my family had a single-floor house in Norfolk with a cherry tree in the front garden; rewatching this has dredged up memories of living in that place and sitting in front of the old 4:3 CRT Sony TV set. Good times…and now I can see how good they were.

Shiki halfway impressions

My interest in this show was twofold. Firstly, I enjoy vampire fiction (apart from that Twilight bollocks, obviously). Secondly, the NoitaminA slot has hosted some innovative and flat-out excellent animated TV that’s in a different league from everything else, so for that reason alone I decided it would be worth watching. For the first half-dozen episodes though, I thought the schedulers had picked up a dud.

The sluggish pacing doesn’t do it any favours. Because the premise is based around an epidemic of vampirism-induced deaths spreading through an entire town, the cast is also fairly large so requires a lot of screen time to keep track of them all. The narrative’s refusal to move from one area to another within each episode means you frequently go for a full week or two before returning to a certain character or household, which makes an already broad-focused story even harder to follow.

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 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.

Mouryou no Hako, a boxful of wonderfully hard-boiled madness

I started watching this back in ’08 but for a number of reasons I didn’t get around to finishing it. The subbing was sporadic, the plot derailed into a lengthy period of three blokes sitting around a table talking, other shows caught my interest, etc., etc.. Last week though I finally sat down and practically forced myself to finish the thing; the mid section was as tedious as I remember but pushing on to the finale was worth every minute.

This is an extremely unusual series, which is why I’m not surprised that it’s already virtually forgotten. It’s straight-faced and serious as hell, challenging the viewer from the outset by starting off very weird indeed. And it gets weirder. Even so, I found it to be a piece of sheer bloody genius with a multi-layered maze of a plot that starts off with bizarre yuri overtones, moves into hard-boiled detective fiction with serial killers and femmes fatales, dabbles in esoteric Japanese folklore and rounds it all off with a closing act that reaches Nasu-esque levels of twisted insanity.

Remembering Satoshi Kon

I must admit I didn’t hear about Perfect Blue until around 2004, when the only anime I’d watched were Miyazaki’s Laputa, Anno’s Evangelion and Tsurumaki’s FLCL. It was an eye-opening experience to say the least, but that day was a pretty significant turning-point in making me the fan I am today.

I’m sure the obituaries and tributes to Satoshi Kon from his family and friends will be formed as I type and my sincere condolences go out to them. I’m afraid I know nothing about who he was as a man: I sadly never had the opportunity to meet him. His work however is something I’ve become very familiar with over the years, and it’s my love of this that I want to express, as my way of acknowledging what he achieved.

Tokyo Sonata

Tokyo Sonata is a domestic drama from Kiyoshi Kurosawa, a director who has made his name in the horror genre with the likes of Kairo and Bright Future. This film then is a marked departure for him but it is also unlike most titles in Japanese cinema that I’ve seen on international home video release. Its quietly powerful realism and topical themes make it, for me, one of the most important Japanese films of recent years.

If there’s one thing I find fascinating about contemporary Japan it’s the presence of contrasts that are baffling to an outside first-time visitor. This has been heightened in the past decade or two by fundamental changes that are inexorably altering the society’s status quo, so the ramifications for its defining features of harmony, tradition and smooth routine are quite striking.

K-On!!, cats and finally forming an opinion on moe

As of this week I’m looking after my sister’s cat, which is one of the reasons why I’ve been too busy to post and reply to comments lately. Now I have three full weeks of paid leave I’m able to keep an eye on the kitteh, update here, catch up on animu and movies, visit friends, write songs, arrange my career change, etc., etc..


Classy

I’ve been following High School of the Dead and Shiki only a couple of eps behind people who’ve kept up with them properly but K-On!! is the one thing I’ve found time to watch every week. My earlier attempt at explaining my position only caused misunderstandings, although the resulting discussions made up for the disappointment I felt at the time. I just can’t bring myself around to the view of the hypothetical ‘haters’ for the simple reason that the series shouldn’t elicit a stronger negative reaction than a mere lack of interest…a view I can explain with my view on moe. And cats.