Karaoke Crush: Keep On Powrballin'

The price one pays for flashbacks I suppose.

Blame it on my most recent Analog Diaries post at Anime Diet, but one of the first pieces of music to invade the brain case during the making of that writeup was this little ditty from Glasgow-based band Urusei Yatsura. Yes, you read correct. For a time, I had almost completely forgotten about this band, and that they split after only three albums to have leader, Graham Kemp start Project A-ko. I wish I was making this up.

Anyway, here's the song in all it's bendy glory.



(and thus a hundred kamehameha AMVs were born...)

Coming To Terms With Evangelion 2.22

Well, I guess it's time to post about something I swore I wasn't going to. After two mildly diverging posts regarding this film via Anime Diet( Here & Here) , I guess it had made a much bigger impact on me than I had initially imagined. And it isn't for lack of trying that the second installment of Gainax/Khara's big-budget redux/sequel to the Shin Seiki Evangelion saga came off to me as something of a disappointment. But upon catching this again in all of its Blu-ray glory this week, it is perhaps more about running into what this film is by form, rather than what I was hoping it would have been as a feature. And in this manner, I rather enjoyed it much more this time than any time prior. And it is perhaps due to the fact that I am finally coming around to what it is, rather than some kind of imagined ideal. Especially considering that there was indeed a time when a Hollywood-produced live action version was in the planning stages.

And with this thought in mind, I can now see that what has happened is something quite possibly BETTER than anything that could come out of a large english-language production. (consider - AKIRA..) So what has happened here, is that Anno/Tsurumaki have beat Hollywood at their own game and fashioned a brilliant response to what could have been, as well as a reasoned response to the original classic series and films without tarnishing any of the legacy that made this property what it is. To now consider that this is a splashy, loud actioner with a reverence to what has come before makes it a heartening project when considering what it could have also been; a cold, forced rehash of the series made only for venture capital reasons.

And seeing as how in many ways with it's relentless easter egging, and scattered visual & thematic clues, what we have is a piece that functions less as a complete, coherent narrative, and more of an exploration of this apocalyptic tale from a looped perspective. With our leads unknowingly in a position of "doing it all over again", we are privy to a sort of spiritual growth of sorts. It works not unlike when a celebrated musician does a revitalized, mature version of an old favorite. The notes have a taste for the familiar, but the keys have changed, offering another emotional dimension that wasn't there prior. This is where 2.22 works for me personally. As a testament to the story and characters that have gone on to icon status with their broken, flawed personalities, and conflicting motives, to see them take new turns, and exhibit parts of themselves that the original scenario denied them is a welcome feeling. And this is done in a way that in no manner feels as if it's some kind of "apology for past sins", but rather an affirmation that these parts of Shinji, Rei, & Asuka were always there, the chance just never before revealed themselves.It is here that the films work as moving new twists in the mythos, and supercede the jumbled, and often rushed narrative which is likely what would have happened in a much less satisfying fashion in an american version.

So yes, this is an incredibly commercial, "actionized" take on what was a much more drawn out, pessimistic tale the first time around. But this was the Anno of the 1990s, with all the pain and sadness that came with it. So for better or worse, this could very well be the famed anime director's way of signalling the anime/manga creators of the future to continue creating more personally-driven works within a commercial medium. That it is in fact possible to inspire weighty discussion with an art form that has recently fallen into disarray. Goodness willing that even more new and original creations will come to fruition after the wholly new Eva films come out with an entirely unprecedented new finale. If these films can build upon the legacy of such a classic series, and thereby inspire a healing Japan's need for newness, then maybe these films are a completely necessary means of revealing a new identity.

Week In Watching : The Revenge

In the attempt to gather steam now that a work schedule is back on the menu, I figure it was time to go ahead and continue with these updates before reviews and such come roaring back to these pages. And one of the cool little ways I've been able to do some re-watching, as well as finally pick up those titles that have slipped my queue for one reason or another, has been to make an occasional stop by the local Big Lots, and dig deep into their dirt cheap dvds. That's right. Just because things have been thin lately doesn't mean there hasn't been plenty of neat finds in the deep dark bowels of the LB area. Just as it has been a gold mine for sadly overlooked anime masterpieces (ala MEMORIES a few years back), it has also been quite a place to finally get my mitts on the kinds of films that I'm sure are well established cable tv material by now, except with all the added goodies one can hope for in the best days of the dvd format. And this week's haul was no batch of lightweights, I have to add.

The humorous part, at least for me is that much of this new batch is essentially like a vault of memories spanning the last five years for me. These were all notable favorites that either evoke strong, location-based feelings, as well as have been films I had been hoping to own at one time or another. And even if one selection is almost completely for a commentary track, it all bears the markings of that all-too-familiar cliche of measuring compatibility by looking at a new date's shelf. Just another means to know my more pop-cineaste side. That said, one might be surprised at my last pick..


But first comes the original cut of Neil Marshall's 2005 XX-chromo horror opus, The Descent. I have to admit this right now. Upon seeing the as campaign for the US release back in '06, I was ready to hate it. And why not? Much of H-town's treatment of horror at this point in time, either catered for a hopelessly impatient youth market that apparently prefer wanton jumps as opposed to actual dread. And by the looks of that trailer, it looked like more of the same tripe that had been packing the houses up until that point. And no, I hadn't yet experienced Dog Soldiers. So upon finally seeing this on a weekend with little to do, nothing prepared me for just how over the moon I was going to be with this. For the first time in possibly decades, did we have a true gut check of a horror piece that actually believed in build-up before any hint of freakish fireworks. A true breath of minty air, the film is that rare breed of horror that actually compliments its femininity, while kicking unholy ass.

For those unfamiliar, The Descent is the tale of an international group of outdoors adventurers setting out to explore an apparently well-documented cavern deep within the Appalachians one year after one of their members suffered a horrific tragedy, losing her husband and child. Two of these members, having been estranged of sorts since the accident, see this as a potential means to rekindle their fragile friendship as new, seasoned adventurers join them. But it is when the group travels deep into the wild, and away from civilization, that their trek into the deep dark unknown that the film takes some truly amazing turns. And after having only seen it once before, and considering that hindsight might prove my initial impressions moot, I would gladly report that the film still very much delivers with interest. There just hasn't been a genre film like this, let alone a horror one, in a very long time. And even though I haven't even spoken a word about what renders this a "horror" film, let it be known that for those who still have yet to catch this, there is a certain joy that comes from not having all of the plot spoiled for you. And even if the internet proves too strong, and one does see what the film has in store, it works regardless. And mostly all due to the steely hand of Marshall, who not only filmed the show in sequence, but also kept quite a deal away from the cast in the process. It's an old school approach that evokes memories of favorites like ALIEN, and The Thing, which this movie really does feel like a fond love letter to. And that's welcome to me in any cinematic climate. We can go ahead and lament that Marshall has yet to helm anything since with this type of originality and ferocity, and pretend that a sequel was never made to this. As far as I'm concerned, there is only one Descent worth taking, and this is it.

And speaking of The Thing, I couldn't pass this up..

Some may know this of me, but I am a huge sucker for the early films of John Carpenter. Even though I could perhaps be lumped in there with the legion of 80s children who grew up as part of the Amblin generation, who were granted a sort of wild funhouse mirror of filmic past through the films of Spielberg, and the like, there was a dark side residing in me at an early age that Carpenter certainly spoke for. Even when this film was my least favorite of the era between indie and mainstream success, his follow up in The Fog was still an atmospheric ride that still emitted the creeps in good measure. I used to catch it on tv every year. And it was one of the few Carpenter films that I could watch with no problem with the parents without having to sneak around. (nervous laugh) There was something both romantic, and quietly distressing about the seaside town of Antonio Bay that Carpenter, Debra Hill & co. that truly hit that nightmare sweet spot in me as a little one. It introduced me to Adrienne Barbeau, and helped instill the notion that girls who reminded me of Jamie Lee Curtis were super cool in my book.

And the film is as simple as it can possibly get. A town cursed by a terrible secret, haunted 100 years later by a relentless presence shrouded in a glowing plume of fog. A threadbare idea for a campfire tale is all it takes for this film that plays it loose and fast, and is more about essence than anything truly tangible, which can also be considered to its detriment. And yet, it's still a very memorable experience with several iconic Carpenter moments. All done on the cheap, the dvd is also worth getting for the commentary by the man himself, along with the late, great Debra Hill who recount the tales of making the film in an environment that was quickly changing into one of splatter quotas and cheapening scares. This is also something known about me, I love the commentaries for Carpenter's films, as they are as entertaining as informative; especially when regarding just how obvious it is that this is his life. These commentaries are always so candid, and unpretentious that it feels like sitting there with a relative recanting a favorite story. He's one of my favorite film commentators, and there's no shortage of goodness in this pick.


Now to step out of the horror milieu, and into another well-regarded name from the past that had left a deep impression on me as an undertall tyke in the Caifornia deserts. Many would probably never pick me for a "Rocky"-kid, but I have to admit it. Like so many others of the time, Stallone's underdog saga had a grip on me that rooted deep. And while even I as a young boy could see that the films became increasingly mechanical and silly, there was something about the core characters that kept me coming back. But none of the sequels would ever have the impact that Avildsen's earnest first film had. A simple populist classic, it is an archetypical song, directed and performed to a perfect pitch, and remains an undeniable metaphor for untapped potential, and the power of dreaming. So when a series so long dead after such an upsetting fifth installment, there seemed to be no way that the character could ever figure out a means to thaw my iceberg heart. In 2006, I was so happy to have been dead wrong. The Stallone written & directed Rocky Balboa, for me remains an understated perfect finale that has unfortunately revitalized the icon's penchant for unnecessary sequels, and cash-ins. But there's still something to be said about this almost unthinkable sixth chapter that emotionally plowed me like a steam truck, seeing it with siblings. It was as if IV & V only existed as some kind of bizarre fame-induced drug haze, and someone, somehow found the central characters' long neglected hearts, and allowed them to be exposed to all to see without any guile, or self consciousness. I won't say much more about this, but for all the mixed talk it still gets, there is still enough for the little fan in me that laps it all up with a huge, horrible grin. I'm all a goo for Rocky Balboa, and I don't care who knows it.

And lastly....Oh how I didn't expect to find this in Big Lots! of all places.

The last time I saw this left-field manga adaptation, it was as I myself was becoming more and more surrounded by the then already-in-transition American anime industry. So wearing thin with how television anime has been growing at the time, STUDIO4°C had been something of a respite from formulas as many of their shorts, and experimental projects, alongside their entries for The Animatrix. And when it was established that their follow-up to the brilliant MIND GAME was to be a feature version of Taiyo Matsumoto's three volume manga TEKKON KINKREET, I was intrigued to say the least. And not only because this made for such the militant denial of what the anime medium is largely known for, but because of the name attached to direct, former FX artist, and producer Michael Arias. Such the ballsy series of decisions deserved a watch, and the film lives up to the studio's reputation, and still offers enchantments for those seeking something less overt, and more on the symbological side. Much like a collage, and less like a concrete narrative, the film tells the tale of two very young orphans, and their struggles to survive the streets of the imaginary Treasure Town, all the while taking on rival gangs, yakuza, and bizarre interests bent on recreating the town's underbelly for their own ends. While embracing much of what the casual viewer sees as "anime", the film also carries with it a more mischievous exploratory side that leaves much of what happens open to interpretation with the harmoniously divergent "Cats" at the emotional center of the tale.

While it does suffer from coming off as a bit remote in places, the film is also a breathless display of experimental animation that melds hand in glove with Matsumoto's unique visual style that feels less like commercial manga, and closer in spirit to street art. This second viewing yielded an interesting response in me that was unexpected, as I felt that the most interesting element in the whole film is a subplot involving a yakuza character experiencing a rather personal arc that in many ways was far more involving than that of the two kids, Kuro & Shiro. And perhaps this is where the film reveals itself as more a tapestry of ideas rather than a structured story. Which I supposed is par for the course for a studio best known for omnibus material like MEMORIES, and GENIUS PARTY. But the essence of what is being attempted is best summed up in a simple visual motif involving what looks like the red sun of Japan that recurs several times throughout the whole film. A call for diverse ideas in a place growing increasingly small, filled with minds only centered on shallow ideals, and less about community. However way one looks at it, Tekkon Kinkreet bristles with energy, and originality, and stands as a reminder of how the anime art form could diverge into new, and interesting creatures. Still a fascinating piece of textured animation, and well worth the find. 

So yes, hopefully this will continue to be a surrogate means of catching up, while matters improve. Feeling the itch to write a lot more, as well as podcast, so look forward to more digests like this in the future.

So at his rate, would it mean that I should check this place out again within a year, and perhaps find another film from STUDIO4°C ? (Kidding, naturally.)

The Week In Watching (Early April 2011)

It's Friday evening out here, and that means it's time for a quick run-through of what's been shaking in the watching department, along with progress report on gathering back lost steam. That's right, as of this weekend, the Kaijyu shall be back to full speed with renewed energy, including all the activity one comes to expect from the several sites I dedicate time to.

So let's just get into some digests of what I've recently checked out:


Well I finally got around to catching the Smith-produced remake of The Karate Kid, starring their still larval-staged son, Jaden alongside the legendary Jackie Chan, and I have to say that despite my fears, this wasn't as horrid a project as I had feared it would be. Which isn't to say that this isn't a desperate, arch, shallow attempt at co-opting American nostalgia, which it truly is. But it at least offers enough new tweaks, and accents to the familiar story to make it at least watchable. By setting this version in China, and enlisting the production cooperation of the government, it creates a whole new cultural disconnect that transcends some of the more oversimplified elements of the original. Especially impressive is in how the script takes the time to allow these characters to breathe within those early stages of the story, before our titular kid begins to look for help from the mysterious local handyman in Mr. Han (Chan). It is clear that Smith's Dre Parker is a charismatic, likeable presence, that while is essentially the same character as Ralph Macchio was in the '84 film, has a completely new set of quirks and issues. And in the role of the teacher, Jackie shares what is easily the best english language role of his career. It is perhaps in this dynamic that allows the film to actually deliver in ways the original wasn't allowed to. And while the film does run a bit too long (2hrs and 21 minutes is asking a bit), it is hindered by a rushed finale, and a few annoying reminders that we are also watching a Chinese travel brochure in action. And lastly, henceforth, I will continue to call this film by its rightful name because there is no hint of karate to be found.


After years of putting it off for a number of reasons, I finally went ahead and took the amber plunge with Oshii's digitally "enhanced" version of his seminal anime classic, Ghost In The Shell. And all I can say is..WOW. There is no reason GiTS 2.0 to exist other than for some bizarre market subset not me. It's the very reason not to do a re-issue. For my whole review, please check this out. And the saddest part of it is, is that it feels closer in feel to the late 90s Star Wars Special Editions than anything. If there's a fate worse than some half-baked, bargain bin "special edition" dvd sold in a liquor store, this is it.


Also this week, I had the chance to revisit s film that I hadn't seen in the years after the overnight success of their second film, The Matrix. Seriously, I hadn't watched 1996's BOUND since it first came to home video well near fifteen years ago, and boy so much came rushing back reminding me of what made this sibling duo's work so entertaining, albeit removed from any sort of reality. The Wachowski's if anything are masters at styling up noir environments with hammy characters, and exaggerated actions. I remember chuckling like crazy at just how far they went toward portraying this pair of sexually confined leads as they attempt to dupe the mob out of 2 million. As much as some attempted to say that this film was a sort of first for LGBT-laden thrillers, there is so my hyperbole in character mannerisms that it borders, no strike that, reaches cartoonish heights. And even back then, I found Gina Gershon's jeans-wearing, tattoo-sporting ex-con, Corky to be little more than an exaggerated stereotype hidden under a fun performance.(swing that lugwrench!) And Jennifer Tilly's sultry & borderline desperate Violet have much to contend with as the ever master scene-larcenist, Joey Pantoliano struggles to outwit the pair of would-be runaway thieves. And yet this critically-acclaimed film never lets us forget that we're watching a movie-movie, and that it's all about assured style & over the top antics. Which clearly worked, as it opened the door for their biggest claim to fame three years later. And no matter how this film still makes me laugh, there is certainly a telling amount of material in this film for more Matrix fans to mine from regarding how much cinema has indeed changed since then. Also worthy of note is the still brilliant photography of Bill Pope (Matrix, Spiderman 2, Scott Pilgrim) which was apparently done on the cheap, and still looks phenomenal.

And lastly, after nearly two months of struggling with re-editing, tweaking, and generally rearranging, a new special episode of the Combo Attack podcast is on the air. Highlighting our Top Five Special Effects Milestones, this long in the making 90 minute episode features a return visit from old friend, and CG Texture artist, Krystal S., who also offered a list of the films that inspired her to become part of the FX community, as well as gives us a lot of insight into working on Cameron's FX landmark, AVATAR. It's a scrappy, illuminating, and monstrously geeky good time. Check it out!

Regarding Reviews: What Makes This Kaijyu Tick?

Waking up this morning, I was suddenly possessed with typing up some kind of explanation as to how some of my tastes function, as well as perhaps elaborate a little on what makes certain movies/shows work for me personally. And to be honest, like anyone else, I couldn't pinpoint such things with any absolute razor thin accuracy. All I can do is perhaps shine a light on what it is that makes me lose myself in a film as opposed to seeing it as just a collaborative project that either functioned, or didn't. And it is by looking back at years of watching movies that I can finally see patterns emerge, which is what I hope to share here over time. If anything, The Wandering Kaijyu works not unlike a means to see where I am, not only as a "fan", but as a "maturing" human.

So with that, let's dive on in...

As I just mentioned via Twitter, one of the larger components of what works for me as a reviewer is if the completed work carries within it some manner of "truth". And when I say this, it isn't that there's some hidden desire for absolute truth of any kind. But rather that the work's established thesis carries with it a certain amount of conviction permeating throughout the entire piece. (without getting lost along the way) And this even includes films with a certain level of naivete. If the piece maintains that spirit, no matter how silly, or goofy, chances are it can pass. But the establishment of these feelings, ideas, concepts must be well established within the first few moments, otherwise tone can be compromised, oftentimes creating something of an uneven mess.


If a film/show establishes a highly logical universe, it is important that the writing and acting maintain this in order to keep more attentive audiences locked into the story. This is where I have to chime in that the moving picture is more an emotional medium than an intellectual one, so the sheer level of logical complexity will almost always never be one hundred percent, but if the story established asks the audience to be wary of minute details, it's important to at least convince us that what is happening really is. The brain can detect falseness very well, and as such, this is part of a very tricky balancing act in order to keep viewers emotionally engaged in matters. So "logical truth" is important, if only to keep the more thematic/emotional material intact. This is something that film often gets wrong since the other part of this equation is in many ways more important, but in that rare occasion, something closer to airtight can also better support the projects' more direct ideas & themes.

Now...on the other hand...

Looking back at everything that tends to secure a fave spot somewhere, there are times when simple logic is often abandoned. I mean, let's get down to it. I'm a grand sucker for tokusatsu films featuring giant monsters, giant robots, spirits, fantastic worlds without standard physics in attendance. I have a raging love for works that often bend conventional rules of reality, until it no longer even resembles a recognizable construct aside from maybe having humans in them. So what about these? And why do some of these still get iffy reviews regardless?

Let's go ahead an illustrate what I mean with a truly mainstream example of this; Spiderman 2 (2004).

Much like the previous Sam Raimi film(and before things really got out of hand), this was a fully realized American comic book world brought to life complete with classic archetypes, derring-do, and special effects. And considering the era of special effects that were attainable at the time, along with some seriously questionable physics, the film in many strange ways, looks strangely quaint in retrospect considering where comic adaptations went in regards to "realism" years following. The action scenes of Spidey 2, while exciting to some degree, feel not only video game-like in execution, but also sadly plastic-y, and sans any real feeling of threat. As Spiderman is battling Doctor Octopus, there are multiple moments of human bodies slamming against concrete, busting brick walls, bending steel, and so-forth without any concern for the all-too mortal Peter Parker underneath the spandex. It gets to a certain point where the back of the mind just gives up, and the suspension is compromised.


So why do I still own this film? Why does it still work in my mind as a successful popcorn experience?

Simple; Raimi and crew stuck to their guns regarding their rendition of Peter Parker and his life. In the end, the action was nowhere near as important as the human element. Whether it be his living situation, his love issues, or even guilt over the past, it is all played beautifully, and does so in a clever way when considering the plight of Dr. Octavius. It is here that the fantasy elements are countered by emotional, and thematic truths that are played well from first frame to last. And even as the credits roll, we understand the sacrifice inherent in living such a life. Even as the world embraces a more heightened reality, the more personal underpinnings of the story are what stay.


Therein lies what I find to be one of the the more challenging parts of the viewing experience, and yet can be summed up with a simple response; when one is dealing with the fantastic, at least for me, there needs to be some kind of emotional, spiritual thesis at work from the beginning of the film, which again brings back the idea of intention. Some films while utterly steeped in the unbelievable are capable of counterbalancing the often tinkered rules of physical/logical reality at hand. It goes all the way back to my love of films like Gojira for example. There is an almost youthful exhuberance in the execution of many of TOHO & DAIEI's early special effects films that comes through quite clearly despite all the fantasy bouncing off the edges like a vengeful Superball.

When faced with envisioning the impossible within film (or anime for that matter), a need for something else to ground matters is vital. And more often than not, this is where effective emotional storytelling comes into play. Without this, it all whittles down to merely spectacle with no real point or purpose, which for me is worse than anything. Especially in a time when anything can be achieved visually, story & theme eventually must take point in whether the project will speak to me or not.

If the spirit of the work is well established from the outset, and the creators find ways to maintain that spirit throughout, there's a good chance for a successful experience for us. Even if certain rules are bent, beats are underplayed, notes are forgotten, or even betrayed with new revelations, they still can help weave a unique tapestry. But more often than not, it all needs to be well-planned and executed. There are exceptions out there for sure. Works that came together on the day, within happenstance, or out of last moment necessity. In fact, some works can work in spite of all of this due to their immediacy, ingenuity, and energy. As long as the central nucleus of thought is consistent and carried through to the credits, chances are it'll work its wonders on me.

At the end, there are no real rules so much as a need for the work to speak truthfully, even if it's through the mind of a child. It is a quest to believe in the possibilities. And this is the spirit of The Wandering Kaijyu.

Kamikaze Girls (2004) - LAMB Review

And after nearly months of harping about it, and hoping that it could happen again, here is a first crack at a full-blown Kaijyu return. Now granted this wasn't at all what I had planned before certain events reared their heads, but in part respect to rural Japan , and part inspired by a fun Twitter discussion, I've decided to choose this 2004 film as my next review in my ongoing Live Action Manga Blues series. While this is a film I have seen multiple times over the years, it isn't as if I've loved it without reservation.

Yes. The Kaijyu has a strange relationship with Tetsuya Nakashima's colorful ode to EGL & Sukeban subculture. And I'm not sure if there's a complete way to actually describe what it is that I feel either way about Shimotsuma Monogatari. Originating as a light novel by Novala Takemoto in 2002, and was eventually adapted into a popular manga (featuring Yukio Kanesada), the film is a neck-breaking, eye-attacking exploration of the relationship between two unique characters. And when I say character, I mean white-hot intense caricatures, not unlike everything else in the film.

Young Momoko Ryugasaki (played with often frightening detachment by J-culture icon, Kyoko Fukada) opens the film in a dazzling prologue that includes a scooter accident, life flashing before our eyes, and some backstory to gather us into the wild story of her life until the potentially unseemly final moment. In an almost Fight Club inspired fashion, we are instantly privy to this film's cartoonish, frantic style complete with segueways and narrative rest stops as we see Momoko's early life as the daughter of a generation completely incomprehensible to her. Her mother, an aimless beauty, seeking out a man to rescue her. And her father, a lowly Yakuza errand boy. It is within this section of the film that we are quickly informed of just how this girl, came to not only move from the city, and into the cow patty-laden fields of Ibaraki, but also of her early disenfranchisement with the Japanese mainstream-enter her love of Elegant Gothic Lolita fashion, Roccoco-era sentiments, and utter detachment from others in a frilly packaged means of self-preservation. No way any old world "ideals" of love and connection to drag her down. Even as she often takes the long train to the city to spend whatever ill-gotten money she "earns" to maintain her fashion fix. (the weakness stemming from her father's counterfeit fashion scheme that eventually ran them out of town in the first place)

And it is within this mildly questionable chain of business practice, that she inevitably meets imposing, uncouth biker gal, Ichiko (played to the nines by model-singer Anna Tsuchiya) who is everything that Momoko isn't. The scooter-riding, showa-era style seifuku wearing Ichiko is passionate to say the least, which runs perfectly counter to Momoko's perfectly imposed sense of self, and seeming lack of caring. And it is within this strange, often violent (Simple, insult Ichiko, and its a kick or a headbutt) pairing that the film centers on. And it is the fact that these two are so far away from the city that borne out these obtusely diverging lifestyles that often fuels the humor. There is something about Momoko getting headbutted out in the middle of an open field that is both pathetic and hysterical. But it is when the duo set out to the city to seek out a "legendary" pattern maker that the story is set to test them both.

And this is where Nakashima & Co. seem far more interested in us getting to know these two at an almost arms-length distance, all the while drowning us in exploding charges of style. Which is welcome of course (this is also a guy who happened to really dig Scott Pilgrim if you remember), but the context of how we know these characters is often through the eyes of Momoko, who's world view may be considered skewed to say the least. And even an unreliable narrator as she can be, there needs to be some kind of counterbalance to help us better see them as humans rather than caricatures (even in Pilgrim's case, a look, a gesture went a long way to sell the real stakes) which really takes on bothersome dimensions when a potential love interest enters the fray. There's something in this section of the plot that in many ways almost kills the film completely. Especially when one of the girls is placed in a situation where growing up is at the center. If we don't feel the gravity of what is happening, and the interest is nothing more than an exaggerated cartoon, we are given little to nothing to care about. The fallout from this is an air of visually striking indifference. And worse yet, disinterested. (much like Momoko at the start, which defeats the entire purpose of an arc.) Made all the more frustrating as it seems like the two leads are really striving for more.

It also doesn't help that when the film's frenetic stylings attempt to shift gears, none of that works since the film almost wholly relies on gimmickry and the often appealing performances of Fukada/Tsuchiya. A mix that could have worked, but ultimately rings hollow. Particularly in the dull thud of a finale, which puts emphasis on name and reputation over individuality, which is disappointing.

And yet, perhaps the reason I still come back to the film occasionally is the package, rather than content. Nakashima's background was in commercials, and this is occasionally a stunning showcase of his talents if anything utilizing colors, set design, lighting, and even animation to fun effect. There is also an extensive use of real locations that is more than appreciated. To see these exteriors from the often flat lands of Ibaraki, to the pachinko parlor backlit streets of Tokyo, there is some welcome imagery here. And also of note is famed composer, Yoko Kanno's unique work in the film that encompasses several eras of J-pop culture to create a sound collage that is unlike anything she had done prior. And while all this, with such a surprisingly fun pairing, make for a fun audio-visual experience, its a shame that such a package comes short of a beating human heart.

State Of The Kaijyu: Causes & Effects

There are only so many more delays left before these pages begin to populate themselves again. With the current home situation, coupled with some very in the air changes likely, it has been foggy at best to find time to share more material with everyone. But this isn't to say that nothing has been emanating from the labs as of late. Some are already well aware of my involvement with Anime and Manga Bloggers For Japan, a venture that has seen  collaborative efforts culminate in some truly impressive numbers for something that started after a few fellow writers threw their hat into the ring to support those in need of help throughout the Tohoku/Kanto areas.

And in a time when the news has placed great emphasis on the nuclear concern (which is a reasonably big worry for sure), it only felt natural to also place efforts into assisting those on the ground without proper care, supplies, and food. In league with NGOs such as Doctors Without Borders, and Shelter Box, the project started by D.Orihuela Gruber(of All About Manga) & Michael Huang (of Anime Diet), has made significant contributions toward this still ongoing cause that affects us not only as lovers of eastern popular culture, but as human beings. My role as part of the continuing news section while periodic at best, is hopefully some kind of help for those looking to better understand the situation from a more local standpoint.

Having friends and colleagues still on that side of the world helped me better understand the enormity of the situation long before corporate media could even muster a proper say to the western public. And despite the fact that a majority of these friends live in more southern-based regions, there were a few not too far from Fukushima, who have thankfully left. However, there are still many friends of friends still nearby, who have taken to places only slightly further away. This doesn't erase the concern for the many still out there with dwindling supplies, less than adequate facilities, and access to better help. Which is by and large it felt only right to invest a little inquiry here and there to gather information where possible.


At the moment, the current instability of my own life has paled to what I've seeing and reading over the past two weeks. So if I can help offer some clarity to those looking for something a little different than what the usual suspects offer, I will. And again, as of right now, the noise of news has slowly begun to die down, but the crisis across Japan continues on with supply issues, contamination worries, as well as stories of courage and tragedy. Twitter has been an enormous resource for updates, news, and opinion on all of this. So for those looking for more news, I highly recommend looking through many of the names I follow there. And NHK has been as great a source of info as any. In this age of democratized information, and diversity of news access, it can be overwhelming to some. Even I must admit to being borderline frayed at the edges with the incoming of data. So perhaps this spate of volunteer work has been my own means of better seeking a mental foothold. And on that front, it has been one fascinating, albeit emotionally exhausting ride.

So for what it's worth, I hope you will join us and continue to spread the word. This is something larger than us, and if there was ever a great reason to give back to a people who have inspired us so, this is it.