#191: Blue Remains (2001)

 

Directors: Hisaya Takabayashi and Toshifumi Takizawa

Screenplay: Hisaya Takebayashi, Masatoshi Kimura and Toshifumi Takizawa

Voice Cast: Kazue Fukiishi as Amamiku; Kazuya Ichijou as Reyju; Masane Tsukayama as Glptofane Sex; Hiroko Suzuki as Adenine Unum; Houchu Ohtsuka as Cytosine Tria; Junko Sakuma as Yuri; Kappei Yamaguchi as Mireo; Masashi Sugawara as Ryu; Norio Wakatsuki as Irigaru; Rica Matsumoto as Sari; Takehito Koyasu as Malloz; Tesshō Genda as Thymine Duo; Tomoko Kaneda as Amamiku (child); Yoshiko Sakakibara as Mayzamik

Viewed in Japanese with English Subtitles

 

Early into the DVD era in Britain, a now defunct label, Art Magic's sub label Eastern Cult Cinema, released three very early attempts at three dimensional animation, that wordiness aware that computers were assisting anime production from the late 90s onwards anyway. They were A.LI.C.E. (1999), the first theatrical film in this form, crude but fascinating as a forgotten historical footnote; Malice@Doll (2001), an OVA worthy for rediscovery as a dark work whose only real issue is its art style, even if the production worked around the restrictions; and Blue Remains, a post-apocalyptic nautical film with an environmental message.

Here, humanity has blown itself up with nuclear bombs, which has always been the way, all watched on from a spaceship helmed by a married pair of ecological scientists with their infant daughter Amamiku. Heading back down to Earth, tragically the couples' bodies are too irradiated to go through with their goal, to plant special seeds which can reawakening the ecosystem, so they place Amamiku in cryogenic sleep with them, and the ship's computer for comfort and guidance, to carry out the goal when they are gone. At the age of fourteen, but ninety plus years later, she has to carry on with the goal to help the Earth.

The film has, from then on, to struggle with the form of its then-new animation style. The film, when Amamiku wakes up, is effectively a sci-fi submarine tale, having to work around its limitations by being almost entirely set underwater or in small environments like submarine cockpits. Amamiku finds herself between those, human and otherwise, wishing to help her in restoring the Earth's vibrancy with the seeds, and an entity known as Glptofane Sex, who believes the absolute law of life should means killing off the rest of humanity to save the planet, against all the philosophical arguments and pleas of his lookalike brethren otherwise.

The film, openly, is a lot of action scenes, of Glptofane's forces of ball-like drones (with buzz saw tummies) and a giant biomechanical squid he is housed in, trying to get Amamiku and the few humans left asked to assist her goal. The film's look is equivalent of a Playstation One era cut scene for a lower budgeted game, but I will not be mean at the film for this, more that much of Blue Remains without the style of another animated format to bring a greater energy feels stiff as a result. That it is a lot of action and dynamic scenes instead of world building neither helps, especially because of the limits of the computer animation which prevent the action from being that dynamic, of 3D animated futuristic submarines floating in a void of dark blue with little background detail baring some ruined underwater buildings and an occasional aquatic life form.

The production does feel it is straining at a budget, where even the lead voice actress Kazue Fukiishi as Amamiku, in her only ever role, plays the character with a curious reflection in lines readings you normally do not get. If we go back to those three films mentioned in the first paragraph together, Malice@Doll out of the three was the most interesting of the trio; it is still strange, struggles against its form, especially as by that point Final Fantasy: The Spirits Within (2001) despite being a box office disaster effectively killed off these early productions at the same time, but it was able to get to something profound with being a surreal and disturbing work with a style and interesting Chiaki J. Konaka screenplay. Blue Remains in contrast is pretty conventional, not elaborate in terms of depth or ideas. Environmental concerns, and villains wanting to commit genocide for environmental preservation, is common in the medium, even if it is fascinating to see the villain's own argue against him and this tale being the lone figure that is misguided. Even that, whilst barely fleshed out, no one is safe barring a couple of figures from death is interesting too.

In fact, the one aspect of Blue Remains which is rewarding is the touches of eccentricity and invention it does have. The villain, and those trying to convince him against his idea, are literally brains with eyes and nervous systems attached, a grotesque aesthetic choice which stands out more because the film looks as crude as it does, fitting a more horror based narrative and the one aspect of this production likely to catch people's attention if you ever come across it (even an old DVD copy). More touches like this, like the submarines having fins to "swim" through layers of the water, or a dolphin which is actually meant to be a robot, are more interesting aspects that could have been ran with. When the film gets more New Age in tone, it is more worthwhile as it comes more to the foreground with the supernatural involved with those seeds Amamiku protects. It is not a spoiler to say a giant life giving tree, with human foetuses growing from it for new life, is part of the conclusion, because that in itself is an abrupt tangent for the film to get to considering its average tone. The end credits, set over real footage of the barrier reefs, is a cheesy and heavy handed environmental song about the life force of the sea and needing to protect it, whose earnestness is misguided but in itself cannot help but be charming. More like this, and Blue Remains would have won me over. Even if it fought against its archaic format, a more overtly surreal or inventive aesthetic, like an old weird video game from this era, would have gained it a cult audience if anything.

#190: Cat Shit One (2010)

 

Director: Kazuya Sasahara

Screenplay: Kazuya Sasahara and Hiroshi Sekisakai

Based on the manga by Motofumi Kobayashi

Voice Cast: Hiroshi Tsuchida as Packy; Satoshi Hino as Botasky; Masashi Nitta as Bowen; Sawaki Akimoto as CP; Kenta Sakai as Militia; Yuki Hirako as Militia

Viewed on Japanese with English Subtitles

 

Subtitled "The Animated Series", this original net animation was meant to go on to have a full season of storytelling based on the Motofumi Kobayashi manga of the same name¹, more politely titled in the West Apocalypse Meow by ADV Vision's manga arm, ADV Manga, for release for the United States and United Kingdom. That was not a pointless change either, as the original manga was set during the Vietnam War and progressed on into the eighties for a later follow-up. Here, you have a story set within the Middle East during a conflict you could easily pluck from real life politics, be it the first or the second Gulf War. The weird thing is that, entirely grounded as a war narrative, these tales are told through anthropomorphic animals, the lead Packy both a sergeant in the manga but also a bunny rabbit.

Only a regular anime episode length, Cat Shit One is deceptively a strange title to witness, as in another context, it acts and feels like it could have been a live action American actor film, say Lone Soldier (2013) by Peter Berg with Mark Wahlberg for one I saw in the cinema in the past, only you have cast the leads with rabbits. Very un-politically correct, this has Arab Taliban cast with anthropomorphic camels, and they are explicitly Taliban in their costumes, and that with their dialogue not in Japanese or subtitles I swear to have least heard Allah a couple of times. The episode follows two members of Cat Shit One, set within this more modern day scenario in a ruined town in the middle of the desert, after two hostages ("canaries") captured by the Taliban. There is Packy, the cooler and more collected veteran and Botasky, the more nervous sniper who is criticised for having too many gizmos on his rifle, which make it heavier to carry, until it proves useful against blocking blades. They have no backup until they can get the hostages to safety and have to go into the enemy territory by themselves.

One thing clear with the episode as well is that this is a "military otaku" show in form, in that Cat Shit One was made to be a realistic war narrative and that, in the variety of nerd culture in Japan, otaku for military aesthetic and hardware exist to, in knowledge and obsession, so that I would not be surprised if the firearms and military vehicles you witness in this short action piece were accurate. This is all in mind you are watching, in three dimensional animation, cute rabbits in military fatigues with guns shooting at camels stood on hind legs with their costumes cut out in the back for their humps and with hands, with is surreal to witness.

Using the unnatural as metaphor is interesting as a concept. Retelling a narrative with anthropomorphic animals adds surreality but also a lot of great potential, including the metaphors between human and animal which it could offer. Art Spiegelman took a huge risk with Maus (1980-1991), his graphic novel telling his father's experience as a Jew during the Holocaust, by having the Jews depicted as mice and the Nazis as cats among choices, something we could forget when Maus proved a masterpiece of the medium, and that we do not consider the artistic choice a risk anymore that could have been tasteless and gauche. In a less serious contact, the choice of rabbits for American G.I.s is actually a pun, as the Japanese for rabbit is "usagi", a.k.a. USA G.I. being literalised. Cat Shit One might have skirted risks by having the Vietnamese as cats, but reading up on it they went as far as depict every country with the source material by various animals, including the Japanese themselves as monkeys and other choices which deliberately evoke stereotypes whether a wise decision or not. In Cat Shit One '80, the follow up which dealt with U.S. operations in Afghanistan against the Soviet Unions, the Middle Eastern characters are depicted not just with camels but cows and sheep, which could be considered offensive still but is in the same boat as the French in the manga being depicted as pigs, the British as rats or Russia as bears. The ONA is strange in that, looking closer to the first or second Gulf War in form, it does deviate from the sources considerably as the original cast, in the source, would be significantly older veterans by the early nineties or old rabbits by the 2000s.

Due to the little here, it is difficult anyway to speculate where this show would go as a pilot for a programme that never became. It feels like an action reel, even if a narrative is here, an eye catching attempt to win over potential investors as this was originally released on YouTube. It is fascinating as an oddity, especially as in terms of an ONA which uses 3D computer animation, I have seen considerably worse and this case being much more ambitious in look. It even involved motion capture actors, which adds a considerably weirder edge knowing an actor performing the motions of a military soldier would eventually be animated as a big fluffy bunny with big eyes, still moving with the worth of a soldier, and getting head shots on Taliban members. Thinking about this, an actor in a form that for many in another context is cuddly which is waddling along the Middle Eastern desert being shot at, is perversely funny the longer I think about it.

The source material fascinates reading more of it for this review's context, because whilst the use of stereotypes in casting nationalities per species may have been questionable, it does feel like Motofumi Kobayashi's source text is much more serious at least in that it has the cast interact with real figures of the wars being dealt with, in animalised form, and that it does not sanitise the conflicts at all even if it had action scenes like a Western military action comic book. The author Kobayashi is absolutely someone who deals with the subject of war, whether biographical or alternative history, with a complete fascination likely matched by extensive amounts of research, between this alongside the likes of tackling Operation Barbarossa (the Nazi invasion of Soviet Russia in 1941) in a 2001 manga or another title called Vietnam War (1999), a non- anthropomorphic telling of the story of that war.

Cat Shit One the animated product is curious. Director and co-writer Kazuya Sasahara helmed one other work after this, and honestly, I could not see Cat Shit One the show going on well even if it had gotten the series the project had intended to have. For starters, it may have eventually proved problematic tackling the Gulf War as it did, or in how, that would eventually make the show difficult to sell. Even fans of the source material may have had issues, as this adapts neither the source material nor the sequel, which took on earlier military history that eventually led to the likes of the Taliban in the Middle East. Whilst the source may have had action for the sake of action, the references to the likes of how the Gulf Wars have been depicted in Hollywood films I have seen is as much something this pilot was aiming to replicate, including short implements of slow motion for visceral effect, which honestly including the tone, mostly deathly serious, might have not sold well. I also see, whether a viewer's individual opinion of the animation, that unless you had a film or a huge budgeted show, you could not keep up the quality and use of motion capture acting to a steady form unless you were lucky or with skill in management, as television schedules would cause a show like this to possibly look dreadful or cheap as it chugged along.

As a one-off, it is in many ways the type of spectacle being pulled off that would appeal to others but I find dull, and honestly not the kind of thing normally found in anime. With the prolific voice actor Hiroshi Tsuchida in the lead, very much playing his character Packy as a tough veteran who can with one other person take on an entire group of Taliban by himself least for a while, it is well executed but paradoxically the kind of title that, were it not depicted with rabbits, feels university in appeal as a war action story, but does not stick out. Time has made this an obscurity for a television series that never came to be, too short and probably obscure despite that ADV Manga's release. Again, it is a subtly bizarre production just for one creative choice that makes it weird. And knowing this was not the first for this - Penguin’s Memory: A Tale of Happiness (1985), a very serious Vietnam War tale only with anthropomorphic penguins, as a feature length anime based on mascots for Suntory, a major alcoholic beer producer in Japan known for being involved with a lot of art to promote their work - just makes this an even weirder thing to consider.

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1) Twelve to be precise as is detailed HERE.

#189: Revue Starlight (2018)

 

Director: Tomohiro Furukawa

Screenplay: Tatsuto Higuchi

Voice Cast: Momoyo Koyama as Karen Aijō; Suzuko Mimori as Hikari Kagura; Aina Aiba as Claudine Saijō; Ayasa Itō as Kaoruko Hanayagi; Haruki Iwata as Mahiru Tsuyuzaki; Hinata Satō as Junna Hoshimi; Kenjiro Tsuda as the Giraffe; Maho Tomita as Maya Tendō; Moeka Koizumi as Nana Daiba; Teru Ikuta as Futaba Isurugi

Viewed in Japanese with English Subtitles

 

[Some Overt Spoilers Throughout]

Probably the most surprising thing coming into reviewing Revue Starlight the animated series, twelve episodes long, is that this all originates from a significantly larger media project including a stage play, one which has spiralled out into an elaborate franchise which includes additional animated films, video games and a manga. This is surprising as, delightfully, this is a case of a franchise which feels very idiosyncratic and uniquely personal into itself, at least allowing this television series to grow out with its own creativity. Certainly as I will get into this series, knowing it has follow-on work, including an extended world of other schools beyond the one we have here as the main setting, it really comes to a testament of how this series, whilst very indebted to one figure I will refer to a lot throughout, works completely as its own one-off. A distinct, potent one in terms of its artistic style and using it for emotional drama that feels not like it is part of a media product to sell to an audience at all but with themes it wants to tell to said audience.

To sell the show, this exists in the world of Seisho Music Academy, a school for theatrical performers who are all trained in dance and acting amongst many skills. The 99th class here the central characters working towards another performance of the titular Revue Starlight, a play about two goddesses who are separated in a metaphorical tragedy trying to touch a star. The lead among them is Karen Aijō, a girl who coasts on by only to be given a new passion in her class when her childhood friend Hikari Kagura transfers from an academy in London in England, their childhood promise having been to perform together as great stars in such shows Revue Starlight. The show borders magical realism and surrealism as a metaphor for their emotional states, following seven other main characters involved, because of a lift in their school that transfers students to an underground environment. This is where a secret audition transpires to find the true actress among them dubbed the "Top Star". These are done in duels, musical duels with singing, where the target with your weapon of choice is to remove a badge hanging a cape off the opponent's shoulder with whichever choice of weapon you want.  

Notably, everyone one of the lead characters is female, as Seisho Music Academy is an all-girls school. The only male voice in the entirety of this show is the mysterious figure presiding over the auditions. Said figure is a cosmic talking giraffe, which may give you further emphasis that the show embraces the surreal. It is not a surprise, and is a delight, to know that lead director of the series Tomohiro Furukawa worked extensively with Kunihiko Ikuhara, the figure legendary for helming the likes of Revolutionary Girl Utena (1997) and projects Furukawa worked on like Mawaru Penguindrum (2011). I will say ahead of time, I had immediately seen that Ikuhara's influence was throughout this show aesthetically, including having an idiosyncratic animal mascot in the giraffe, so learning of the direct connection means a greater deal. It says a great deal that Furukawa actually worked with the legend and used the influence to their advantage. This is not a detraction as, for a media franchise which involves mobile phone game tie-ins, letting the director take this show into its pop surreal emotionally charged form was among the best things in Revue Starlight's favour, especially as from the get-go, this program looks and sounds exceptional, in style and music, and the aesthetic influence is for its plot's favour as well as distinct.

Particularly as this is a show about the drama, the audition duels themselves extensions of the cast's various anxieties and concerns not only in their desire to become great actresses, or even when they lose their passions, but also emotionally beyond the stage. This show does not flinch in either depicting the stress of thinking you are not good enough in your work, trying to overcome feelings of weakness. It deals with the closeness of these characters in friendship and when stress frays it. It also has no qualms in subtext and overt nods to romantic chemistry amongst the all-female cast either, even dealing with an episode entirely about Karen's roommate and fellow student Mahiru, who is explicitly with romantic longings for her only to now play second fiddle behind a childhood friend, or how sleepy headed Kaoruko and tomboy Futaba's relationship is insanely close even if merely perceived subtext from a viewer to have, riding on the latter's motorbike with Kaoruko falling asleep in motion, clearly have a chemistry beyond a friendship.

As the characters' dramas are the main core of the show, naturally with everyone getting an episode in the centre of their goals in the duels, thankfully everyone is fleshed out. Everyone is three dimensional. The best in their class, Maya and Claudine, who have a rivalry with Claudine feeling always second, are not just villains. Even curveballs are thrown in as, with spoilers warned ahead in this review, the character I immediately attached too Nana Daiba, dubbed Bannana-Chan for her fruit obsession and banana bunch hairdo, even got something out-of-the-blue and abruptly dark. That being briefly turned into a tragic villain for her episode when you realise a groundhog effect can transpire with the auditions, able to wish for anything including repeating the same year if you become Top Star, more tragic as Nana never after that is just a villain. Some anime, whilst still compelling, would have had the lovable comedic character stay the abrupt villian only, winning the auditions to keep time still, but it is a testament to Revue Starlight's craft that by the end of the series, she is just someone in fear of the future and, as another character later puts it, is a big (taller than the others) person who is yet secretly vulnerable. For a show that was clearly, with research, put of a media franchise to promote, it says something about anime in general that one series adaptation, where allowed to, can take risks and feel more personal, even the lovable comedic character based on banana puns suddenly turning into complex figures. It became a show where everyone is as sympathetic as everyone else, where abruptly it will quote Hermann Hesse, the author of Steppenwolf, within the same show that has the aforementioned talking giraffe.

Even the giraffe eventually, after coming off as a master manipulator, as the auditions have losers robbed of their "spark" of performance, gets a happy conclusion where he sees a performance that raptures him. This, to use polite language, is a show which does not kid around with pushing its emotional edge as far as it can do with the aesthetic, but all for something ultimately heart warming. Even when entirely grounded for an episode, such as Karen and Hikari reconnecting after a series of jaunts across the aquariums across the city, the drama is that to care for. When an abrupt betrayal in the final episodes feels abrupt but with meaning, with greater shock as the show to the viewer as much for a character suddenly feel a knife in the heart, but it all builds within very little time for something meaningful for the final episode. That, especially as it leads to the last episode fully in the supernatural, it leads to a strange personal purgatory of building stars out of sand to reach stars on wrecking ball chains that knock you over again, a Myth of Sisyphus scenario based on one figure not wishing to take the shine off others, or metaphorically as not wishing to take away from another and hurting them by outperforming them.

The show is not as idiosyncratic as Ikuhara's work, feeling in truth a more accessible form of his storytelling, but that again is not a bad thing, and a lot of its content for others would still be out there to be blunt about it. Key aesthetic traits from Ikuhara's work to tell stories, including repetition of symbols and literalisation of meanings, are used to a huge advantage to flesh out the cast and, ultimately, making it a success alongside the production quality. It looks exceptional, and as a show which is as much about its style, it looks distinct right down to individual end credits per episode and the character being its centre. For a show as well where the audition fights have musical numbers, based likely as much from Takarazuka Revue, an all-female Japanese musical theatrical troupe that started in the 1910s, the musical numbers sung by the cast within them are as well diverse and as good, all obviously with lyrics fitting the material of the emotional drama. That the show itself as a much a critique of ideas of such groups, the pressures of such a prestige training and wanting to be the best, intertwines with the spark of energy from such groups' influences too.  

To tell more would spoil the show when it is more intriguing to know that the series has more narrative in its whole, beyond these twelve episodes. Mentioned already, Revue Starlight the series is a fully fleshed out show in itself. It completely captivated me throughout its length, and with knowing little beforehand, it was a pleasure to have encountered.

#188: Nurse Witch Komugi (2002-4)

 

Director: Masato Tamagawa, Masatsugu Arakawa, Yasuhiro Takemoto and Yoshitomo Yonetani

Screenplay: Armstrong Takizawa and Tsuyoshi Tamai

Voice Cast: Halko Momoi as Komugi Nakahara; Ikue Ōtani as Koyori Kokubunji; Yūji Ueda as Mugimaru; Ai Shimizu as Posokichi; Akiko Hiramatsu as Yui Kirihara; Atsuko Enomoto as Megumi Akiba; Ikue Ōtani as Goddess Maya; Masaya Onosaka as Shiro Mibu; Michiko Neya as Runa Tokisaka; Mitsuki Saiga as Kyousuke Date; Yukari Tamura as Asuka Sakurai

Viewed in Japanese with English Subtitles

 

The immediate detail about Nurse Witch Komugi, a five episode OVA release, is that it is a spin-off to a 2001 television series called The SoulTaker, a very early directorial effort from Akiyuki Shinbo, before he became more famous, which was a dark supernatural story and an attempt by the legendary studio Tatsunoko Production to create a more adult work. Ironically, the humorous tie-in following a side character, recognisable in her nurse's outfit and was a smaller character in the cast, has completely obscured the original work entirely in history. The main lead character, a bland male named Kyosuke, becomes the male love interest for the titular Komugi to become more known as a protagonist, a girl blessed with the power to become a bunny nurse themes magical girl to fight humanised viruses. If ever there was an argument that female characters are usually more interesting as leads for your show, a character that stood out in visual design, allowed to become a bumbling if lovable protagonist is a good example, more so the case as, whilst The SoulTaker vanished, Kumogi got two further straight to video episodes in 2004, and a 2016 reboot in the form of a television series.

The resulting title, which was released without context by itself in the United Kingdom by ADV Films, itself requires no previous knowledge of the original series, another in a line of madcap comedies from the time I saw a lot. This one, following Komugi with her cute bunny mascot Mugi-maru, both the poor subject of abuse but also an undefeatable pervert in certain contexts, is definitely a title that borders on a guilty pleasure, as well being a title that you need to get onto its wavelength to fully appreciate. I will say now, what was once an average OVA when I first saw it has grown on me both in nostalgia from seeing titles like this, affectively a nostalgia for an ADV Vision/Manga Entertainment world of my first anime years, but also because the world and the characters have the virtue that you could elaborate on them in a longer format and, if you kept the same absurdities and colourfulness in look, it would have been great.

It is notable a remake came a decade later, although alongside a clear sense of the character being one with fondness for, or at least the potential to return to as a magical girl parody, they have changed the character designs over time. This is a shame in a way, without wanting to dismiss the 2016 remake in case it proved great in itself, but the premise of the original if funny and open enough to work with. An evil virus has escaped an alternative world, called Vaccine World, and invades ours, using a stand-in called Magical Maid Koyori, an evil representation of maid cafe staff member with magical abilities, to find hotspots that can generate monsters, whether the tensions of a tech convention or distilling a highway's worth of road rage. Komugi is not a perfect heroine, a cosplay idol part of a talent agency called Kiri Pro that is scrapping by, with her own career kneecapped by her continually having to go in her secret persona to fight the monsters. At times greedy and egotistical, Komugi is nonetheless likable, but an added joke (and potential bit of tension) is that Magical Maid Koyori is actually her best friend Koyori Kokubunji, a likable young girl her age who however has a split personality, one she is completely unaware of, which is evil and takes over at unexpected times.

Definitely one of the factors to bear in mind with the original OVA is that, for what I enjoyed about the show, some of the humour has aged considerably. Openly, just to give you a perspective of what some of the humour is, and why the short show can be a title some readers will struggle, can be shown in how one of the most prominent changes I can glace at is that Koyori's character design is significantly less busty. There is no way to move around this, but a lot of Komugi's humour, alongside slapstick and being a Tatsunoko that can parody their back catalogue, is sex comedy, from Mugi-maru being a pervert who keeps making the mistake of being in the bathroom when Komugi bathes, but also about characters obsessing about their lack of a bust or vast amounts of on others. Again this is a title that causes me to wonder whether there is a cultural issue in Japan about the status of a woman's bust, or whether this is just a trope male writers have repeated as a gag in their expense. Particularly with Komgui and her follow Kiri Pro co-member Megumi, who derides Komugi as being as flat as an ironing board whilst she is more physically round in areas, you are going to have to put up with a lot of this humour throughout, just like the skimpy outfits, or the scenes (without actual nudity) of bathing, or a final episode villain, an alien schoolteacher who brainwashes most of Japan and has been comically over-provided in anatomy. Worse and more lasciviousness examples exist in anime I have seen from this period, but the sex humour definitely makes the OVA have some guilt to its enjoyment. More so because it is not subtle, nor really inspired, more an excuse to gander at drawn busts like young boys, which gets repetitive for ever other joke that lands.

You have to bear in mind as well many obscurer (by a Western eyepiece) anime references too, specifically among many Komugi's tendency befitting a cosplayer to suddenly appear in costume as a character from another show for a minute. It is, as a result, meant for a fan base that gets the references. It gets to the point "Nabeshin", the animated persona of anime director Shinichi Watanabe, makes a cameo a character that came to the West thanks to ADV Vision releases, especially Excel Saga (1999-2000), where his animated persona, synonymous for his red jacket with yellow tie and an afro, has an entire running side plot by himself. Merely a cameo here as a disgruntled anime director, he even name checks Puni Puni Poemy (2001), an OVA from this era which is a far more notorious work for its lewd humour and weirdness that managed to be banned in New Zealand. Some of the jokes here even had to be censored, in the Japanese dub and visually on a sign, likely because of crossing Japanese copyright, and in the first, probably referencing a real life case of an otaku who committed a horrible crime for a very sick joke.

Thankfully, within mentality of throwing anything at the wall to see what sticks, you get many which work. This mentality also makes Komugi unpredictable and, with an interest set of characters to work with, it manages to hit the mark a lot between its scattershot of jokes. You may not know about Science Ninja Team Gatchaman, the original version of the Tatsunoko animated series nor its Westernised Battle of the Planets version, but the joke where Komugi suddenly turns into a five person team and their elderly male mentor on a screen, duplicating herself, to ride in a super combat plane is still potentially funny because a) she is fighting a building, which was once for a comics convention, turned into a giant robot, b) because Mugi-maru spends the scenario completely baffled what the hell is going on, and c) with missiles on the plane too dangerous to use, this boils down to the tactic of blowing up one's plane and smashing it into one's opponent for a final move. The show is deeply silly, and for every joke which you do not get the reference for, or has not aged well, a lot are ridiculous and run for the strangest idea.

Surprisingly for an early 2000s title, it is still unfortunately relevant when the first virus monster turns people into internet forum members arguing over fetishes and getting into spats, only with less toxicity. You get a Speed Racer joke, but also a piss take of early computer animated anime where even Mugi-maru comments the frame rate has become broken mid-shot. Episode 3 devotes itself to Komugi being dead for most of it, due to truck, left to languish haunting her colleagues when they are grateful she is gone, and even having a new life become many new lives when she keeps dying. Scattershot is definitely the right choice of term for the show, among many with their manic tones I have seen over the years, but many of these titles as well have their own deliciously surreal mentalities you can easily gloss over if you watch a lot of anime. The show is aware of this as, for its end credit song, you have a bright female sung pop song but with nonsensical lyrics whose strangeness are part of its theme.

This awareness even comes with the way the show had to work around delays per episodes releasing, promising they will get the show out at a certain date or having a seventies giant robot parody with that aforementioned building-robot for an ending preview gag. There is even an Episode 2.5, which is effectively padding and its own special, an excuse for two music videos with their own distinct looks, but also in itself lovable. For what is a tangent, in terms of the show settling down and, set during Komugi and her colleagues working in a festival cafe, allowing for some character building, it adds to the unpredictable nature in its own sedateness. Eventually this is a show where every Japanese monument, set to a licensed Toho studios orchestral march, transforming into a robot or self defence weapon from a kaiju film to defeat a villain, including a scathing critique (even if fictional) of a building which collapses and is merely called a waste of tax payers' money. For ever joke which caused me to roll my eyes, so much revisiting Nurse Witch Komugi was funnier for me. Whilst as much of this is, again as mentioned, nostalgia, as much of that fondness in itself comes from this type of work, specifically as well these early 2000s OVAs, where in little time they do have their own quirks and idiosyncrasies if you were lucky to have had a good one licensed in the United Kingdom. It is with criticisms, but especially with interest in the 2016 television series, there was enough to appreciate on this return too.

#187: Mangirl! (2013)

 

Director: Nobuaki Nakanishi

Screenplay: Masahiro Yokotani and Reiko Yoshida

Based on a manga by Kagari Tamaoka

Voice Cast: Ayaka Ohashi as Ringo Nishijima; Kanako Miyamoto as Hana Sasayama; Moemi Otaka as Tsugumi Haraki; Yuri Komagata as Aki Torii

Viewed in Japanese with English Subtitles

 

Another micro-series, thirteen episodes around three minutes each, and yet sadly Mangirl out of all of them feels one of the least rewarding for me at all. So much so I feared this would become a micro review itself.

Mangirl's premise is enticing. Four young women, with no real experience baring one of them working in the doujinshi (fan made and self published work) field, decide to create a manga publication without previous knowledge of being editors or publishers. This will include the stress of trying to figure out how to do this professionally, which is far harder than they anticipated before you factor in de facto leader Hana is head strong and not always the best person to coordinate elaborate plans. You need to find talent to create work for said manga publication, create the aesthetic of each volume each month or so, and if you do actually get off the starting gate, deadlines alongside the additional complications of compiled manga volumes will be in your way.

Truthfully, when Mangirl does occasionally decide to be about the world of manga publication, the briefest of titbit are interesting. An entire passage, with jokes, about there being a variety of fonts you have to choose between to find one appropriate for the genre and tone of the work was fascinating. The tools used to help amend and work on getting your work to look good and be properly collected are too when occasionally shown. This is however a very brief amount of the show, short as it is, which clearly feels like it just wanted to be cute girls being cute.

Which sucks as, even if you sugar coat it a little and include a ska soundtrack, I think of Animation Runner Kuromi (2000 & 2004), both parts an hour or so long work altogether, which in little time did a lot of fascinating storytelling about the nuts and bolts of a tiny animation studio having to work. It did lightly soften the pain of working for such an industry, and played it for comedy, but those laughs could be grim ones and did not hide the stress. Mangirl, brutally, has no interest in this and comes off as a stereotype, also as negative, of an anime being entirely about cute female characters to appeal to a viewer with little under the surface. It really is not that interested in being a story about the manga industry even from this perspective, with episodes entirely off to the side of the subject, such as holding onto the animals and plants of employees whilst they are away.

The worst part of this is that, as a result, these characters do not even stand out as archetypes. Our lead Hana is the figure whose lofty ambitions are contrasted by many mistakes, but she is not given a lot of time to stand out. One likes food, the other I openly admit did not stick out. The one who was interesting is Aki Torii, as the calm collected figure who has to usually steer the ship of this manga publishing company to some success. She is also the one who in back-story who was a popular doujinshi creator who wishes her old persona was kept a secret, likely due to lewder work she may have worked on, but as much a good joke that she wishes to just keep the two sides away from each other. The one episode that stands out, where they go to a manga convention, is funnier as it leads to the one highlight of Mangirl, where she returns to said old persona, effectively becoming the magical girl whose mission is to provide the tired and dehydrated bottle water, actually a good moment and something of progress.

My meanness is entirely in this review because of how little it taken with the premise, three minutes per episode a really tight and difficult length to work with. Mangirl is a light hearted comedy about these characters bumbling through this insane goal, which means there is not a lot that really stands out. My Sister, the Writer (2018), a misguided and notorious misfire that was much about a light novel writer and the world surrounding this, is not going to be evoked as having greater insight on an industry, as it was an incest themed show where infamously the staff wrote coded distress signals in the credits as the animation dipped further and further early on, but the length of that show of full length episodes around twelve episode was probably a wiser idea to make a show about the world of manga publication. Even Animation Runner Kuromi's shorter length and focus on the process was a better structure. Mangirl just wants to be sweet, and sadly, that is not a rewarding result for me personally.

Even when this show abruptly gets meta, as the anime adaptation is not for one of their titles but of themselves, it has not a lot to make this work baring an odd coda. With male characters merely bystanders and readers, even these female characters do not really get to have a lot to stand out even as wacky archetypes or as figures to like straining through this hard work. The manga author trapped in her apartment, which will fill with garbage bags up to the ceiling if her assistant is not there, is someone we could have had a lot more insight and playfulness with. You could have actually gotten darker, and real, even if with a happy conclusion if you showed how bloody difficult this work was. Showing the creation of manga and its publication, especially with the tight deadlines the medium has, had enough potential to be more rewarding without losing the cuddly nature the micro-series desires.

There was also a bonus. For the anime's Blu-ray Disc release, they included an unaired 14th episode called Asobu Henshū Girl for the Japanese audience. Sadly, whilst the longest at nine minutes long, this piece set at a beach is the swimsuit episode, which means it would not add any extended detail. It is does have more of "White Autumn", the doujinshi persona of Aki, but as it says on the tin, it is entirely about the characters being in swimsuits

Even if not a feminist work, at least a show about young women succeeding this task of creating a manga publication would have been great if it had even more time to work with, or focused in the little they had. Eve in their heightened multi-colour, and cute pop song opening with the requisite shots of the cast jumping in the air and dancing, Mangirl would have been better if you had more time to work with. The length here is the Achilles heel for this title to work, but also that the show is far less interested in its premise then you presume.

 

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#186: Bludgeoning Angel Dokuro-Chan (2005/2007)

 

Director: Tsutomu Mizushima

Screenplay: Tsutomu Mizushima

Based on a light novel by Masaki Okayu

Voice Cast: Reiko Takagi as Sakura Kusakabe; Saeko Chiba as Dokuro-chan; Ayako Kawasumi as Shizuki Minagami; Rie Kugimiya as Sabato-chan; Akeno Watanabe as Zakuro-chan; Atsushi Imaruoka as Umezawa; Ayako Kawasumi as Shizuki Minagami; Daisuke Kirii as Seargent/Zamuza; Fumitoshi Miyajima as Nishida; Reiko Takagi as Minami-san

Viewed in Japanese with English Subtitles

"It can't be helped that the class representative has been turned into a monkey, so Dokuro-chan may sit next to Sakura-kun."

Tsutomu Mizushima is someone I have developed a fascination to as an anime director. Arguably as much for wrong reasons as his stints in horror have been divisive to say the least, titles which among those I have dug up all have their virtues but so many perplexing aspects. Another (2010), a supernatural mystery, violently contrasts its serious tone with over-the-top deaths which you could even call comedic, such as the first being an unfortunate encounter with an umbrella. The Lost Village (2016), whose main composition was written by acclaimed screenwriter Mari Okada, was definitely divisive, which could be argued to have been an a satire of the genre but for many likely to have taken them aback which its absurd logic. Between a character named Lovepon, whose obsession with execution has made her this writer's spirit animal, and material that even for horror would be balked at like a giant monstrous silicon breast implant, it emphasised the really unpredictable nature of the director, in mind to anime as a collaborative medium, especially with horror stories. Mizushima's career is however diverse, including earlier having worked in comedy and still going into that genre constantly throughout his career. Some more wholesome, like the Girls und Panzer, but a streak of misanthropy found especially in his older work. Plastic Neesan (2011) was obscurer, an original online work about a group of model making schoolgirls which never got to model making, but there was also Magical Witch Punie-chan (2006-7), which envisioned a magical girl if she was the evil despot heir of a magical kingdom whose cute animal mascot was an indentured slave constantly trying to murder her. The most infamous, and arguably one of the titles Mizushima gained a record of accomplishment for at least in the West, was the straight-to-video work Bludgeoning Angel Dokuro-Chan when it was released in the United States by Media Blasters.

Everything, even The Lost Village, makes sense in terms of his career, where he succeeds and fails, now I have seen this series and its sequel. It is a piece of lunacy and since both were also written by him, this really gives me a clearer picture now with its existence a context.

Dokuro-Chan herself is an angel from the future. With a halo and a giant spiked kanabō club called Excalibolg,  which she can use to both resurrect the dead unscathed as well as splatter a torso into chunks with one swing, she was originally assigned to the past to deal with the young teenager Sakura Kusakabe. When he demands an answer for the whole plot, he is foretold he would by accident defy God by giving women immortality...with the unfortunate effect that, wishing to have created a paedophile's fantasy world as an adult, he found the gift of immortality by accident by permanently stunting women from growing biologically from twelve years old. Dokuro-Chan does not play safe with its humour, though it does in its eight fifteen minute episodes place itself at times in regular slapstick with added gory violence, in context that Dokuro decides rather that, than kill him as assigned, that she will try to change him whilst becoming smitten with him. Sakura will die a lot at her hands and the Excalibolg, usually because of her reactions to his lewdness (or accidentally seeing her undressed), or even trying to get a mosquito off him at one point with the club, to the point permanent psychological trauma is likely from the many deaths and resurrections he has had. 

The resulting work, eight fifteen minute episodes compiled into four, is to be honest one you would not show a person if they are new to anime unless you knew their sense of humour or taste in the perverse was strong. A lot of it inherently would baffle or even make someone uncomfortable, particularly as these characters, with many of the sex gag beings about near nudity or perceived, are meant to be younger teenagers than you even find in other anime and manga. It is the kind of work, out of context, which supports all the clichés that give anime a bad name, and it relives one to know Reiko Takagi, who voices Sakura, is actually an adult voice actress who however manages to make Sakura sound like he is actually voiced by a young teen boy who will be battered and smashed into chunks of meat repeatedly by Dokuro.

Within context however, the really misanthropic humour actually softens the discomfort and a lot of it feels like it is playing up to clichés only to twist the knife into them. Dokuro is the lovable heroine if you can get into her headspace, but alongside the cliché of the female lead beating up the male lead for a perceived (even accidental) slight of perverseness being taken to an extreme, she is very much an anti-heroine, someone who can destroy for the sake of it. She will eventually even says very random and illogically things, and is evoked to have tortured a teacher to start a club entirely devoted to the sport of watching woodwork glue dry. In the wrong frame of mind, these characters including Sakura may put you off, but the clichés they are as characters meant to be on add the dark humour.

Such as the fact, when his class is informed he will eventually cause the entire female gender to be stuck at the age of twelve, they do not defend him in the slightest and were already going to beat him up or ostracise him beforehand. The sole exception is Shizuki, whose crush on him is countered by his to her, undercut by Dokuro blundering through, and their own chemistry, alongside another angel (with horns) called Sabato, who with an electric cattle prod powerful enough to kill a sperm whale is just there to murder him. All these characters exhibit the tropes of their archetypes - Sakura the "potato-kun" generic male lead, who is fighting against his puberty badly as a teenager whilst trying to be a good person, Dokuro with aspects of the tsundere (the female character who is stand-offish to the male lead) only in her tendency to violence but mostly the bright, light voiced ditz who happens to have a giant spiked club. The clichés of some anime and manga, the sex comedy, is contrasted by the hyper violence or the perverseness of some of the gags, even cruder ones like the fact that, in this series' dogma, if you remove an angel's halo (as razor sharp as a sword) it causes one to have continuous and life draining diarrhea.

Again, this is not a series to introduce to someone new to anime if any of this is going to be off-putting even in its light hearted tone meant to make the jokes more striking. It is however fully aware of how weird it is, and plays to it well a lot. For all its crassness, there are moments which are deliciously peculiar. No series, in one episode, is just dumb when it inexplicably references Franz Kafka's Metamorphosis, only with the protagonist Gregor Samsa waking up to discover, in a surreal dreamscape of a bedroom, he has grown a bug in terms of morning wood with sexual anxiety apt for Kafka. The class rep, in the first episode when Dokuro is introduced to class as a student, is turned into a monkey, with a real stock image of a howler monkey used for his head in jerky stop motion, a joke paid off in a hilarious moment episodes on when she turns someone into a dog. Little oddball flourishes, such as cutting to two wild bears looking nervously briefly watching at the carnage Dokuro is playing on Sakura in a river (with sweat drops signifiers for this), show even if the humour is crude and playing to vulgarity, it does so with a wink. That the opening theme is a light hearted ditty, feeling like it is about a magical heroine, only to get into Dokuro both describing various ways to torture Sakura and a blatant sadist-masochistic vibe, is enough to explain the transgression of the tropes here.

This explains so much about its director Tsutomu Mizushima for me, even if all his productions are animation made by staffs of various collaborators. Working in comedy greatly, he likes broad and heightened extremes. When this applies to horror, even a goreless work like The Lost Village, the exaggeration is there and a dichotomy can arise. Certainly as well, he does eventually lean further to absurd comedy through the first season, something to bear in mind even if still with the twisted logic of the original premise. The explanation is now there now of why, whilst compelling in themselves, broad is definitely a way to describe a work like Another despite being an atmospheric horror mystery for large portions only to almost be comical when death arises. It emphasises that, if you have any leanings of authorship on your work in any position, the issue of how to work within different genres has to be considered, especially when horror in anime has always been a divisive one to actually pull off for everyone's tastes.

Rather than talk of this at the end, it is best to mention that, two years later, a sequel of four episodes (leading up to an hour's length) was created. It is, in honesty, bonus material. Set after the first series, with new characters fully introduced like Zakuro, Dokuro's nine year old sister who is yet in voice and appearance like an older sibling remotely not of that age, and little changes like Dokuro's hair being turned blue. It has funny moments, including Dokuro trying to get Sakura is eat living chocolate versions of himself for Valentine's Day, but it thankfully is left the equivalent of the bonus gag pages of a manga. It mostly jettisons the dark humour, barring the tragedy of Sabato being a homeless and hungry vagrant, and fully strays into the traditional of strange anime comedy with a lot of sex humour. To an outsider it would be weird without prior knowledge, but as an anime fan myself this is tone is pretty innocuous even if a few moments are deeply weird, such as the Valentine's episode leading to recreating an old folk tale (and a barely covering mermaid costume) being the solution to a hyper sensitive body. It loses the twisted and dark humour, mostly jettisons the classmates who, even if only one stood out as a character, were as much part of the joke and forgoes the premise of the first OVA, that this all comes to be due to Sakura's future self being a pervert. It is entertaining, but contextually it belongs to sequel and bonus animation which, whilst good for fans, is merely bonus, stranger especially as it took two years to be created.

The original, even if the sequel still has Sakura being smashed to bits by Dokuro constantly, is in itself enough, especially if there was a sense of losing its misanthropic attitude. In truth, this leads to the most subversive moment where the show ends on a dramatic conclusion, the cliché of the magical figure being forced to leave for her world which the show plays straight and has had enough time to have built up to. Knowing the premise is based on clichés, which tarnishes them for sick humour but still lets you like the characters if you can catch with the humour, eventually works in its favour as it is mixing the cute with the lurid. (More so, in the least expected scene, when the final episode even has a sombre and strangely ill-eased sequence of Sakura without memories of before and feeling he has lost something whilst spending time with Shizuki at a cafe). It is still a comedy, one whose desire to be both earnest but also have this humour is more stand out. And the entire running gag that this is effectively a male protagonist who is a submissive among more stronger and openly sadistic female figures, with the women in their twisted ways lovable and he the butt of the jokes, is pretty striking, so much so that it reveals another flaw of the second series. That the female characters are also, sadly, toned down in the second series from their almost dominatrix sadist playfulness into more submissive fan service figures, which is no way near as entertaining.

Whether you could have actually gotten this on to a further longer work, in mind to it likely needing to be censored for the television screenings, is merely a guessing game. A title like this however presents, even in its own ballpark, the idea that you can parody the clichés of your genres but still be earnest in them, especially as this manages to skirt around a joke far less palatable as the show aged, that Dokuro wishes to change Sakura because his older self would have lead half the world's population to being permanently twelve years old, and still like these characters. It proved in itself to have been a worthy experience to have, and I say this as something clearly with a very sick sense of humour too.

#185: Genma Wars (2002)

 

Director: Tsuneo Tominaga

Screenplay: Shozo Uehara

Based on the mangas by Kazumasa Hirai and Shotaro Ishinomori

Voice Cast: Daisuke Namikawa as Jin; Kenji Nojima as Loof; Akemi Okamura as Rei; Chafurin as Aa; Fumiko Orikasa as Meena/Mimi; Hiroshi Naka as Nuu; Kinryuu Arimoto as Dar; Mami Kingetsu as Namie/ Non; Motomu Kiyokawa as Mah King; Susumu Chiba as Akira; Tamami Kaizuka as Ran; Tomoko Hiratsuji as Parome; Wataru Takagi as Dan

Viewed in Japanese with English Subtitles

 

I hope they enjoy eating me

Major Plot Spoilers Throughout

After initially being penned in 1967, as a collaboration between science fiction writer Kazumasa Hirai and legendary manga creator Shotaro Ishinomori, Genma Wars would continue over multiple manga and the series has been adapted twice to animation. The first is the Rintaro theatrical feature Harmagedon (1983), of the era of eighties anime theatrical spectacles with its two plus hour length and Keith Emerson, of British progressive rock band Emerson, Lake, & Palmer, composing the score. The other is Genma Wars, a television series which did get a Western release in the United States but is forgotten, and adaptation of Genma Wars: The Eve of Myth (1979-81), a follow up from Ishinomori. It is also, hearing of its negative reputation, something I have had to chew over. Because it is definately bad, a show whose existence comes to emphasise that, for every program which develops into a success and even a legacy, there are countless which are lost in time, and some I watch where I wonder how people reacted to this show in its original context. Screened on AT-X, TV Tokyo's anime satellite channel, I wonder what a Japanese television viewer might have thought, because a lot of the experience of the show far from just a bad production was also felt as if hallucinated as much as have to witness a show so awkwardly, and in cases problematic, wander towards a narrative.

The key aspect of the franchise is "Espers", i.e. psychics and the idea of psychic abilities, a concept in consideration to the New Age and alternative belief boom of sixties on here with characters able to command great power with just their minds. In the 1983 Harmagedon film, it sprawls a narrative where humanity is under threat of a force of entropy slowly coming forth to annihilate the Earth. Genma Wars, whilst from a different piece of the source, can be understood in its own narrative. Here, post-apocalypse, humanity has been crushed. Regressing to even pre-medieval times, they are mostly a slave labour force in what cannot help but evoke Planet of the Apes, with ape people ruling over them, and the main leaders of the landscape now the Mah tribe, demonic figures from afar. The Mah tribe's powerful leader, Genma, to the rage of his own wife has been having human women brought to him to sire children with, conceived with one such women two male twins Loof and Jin. They are separated, Loof raised in the watch of his father, the other Jin with the enslaved humans and their mother, with a former servant turned into a wolf who humanely has gone to look after him.

Obviously, or you would think, the narrative are the twins going to eventually come together and, both with incredible psychic power, will either turn on each other in a tragedy or take on their father. The narrative, and where it trips along, proves one of the aspects which will confound with this production. The immediate thing, that many will be put off with by Genma Wars before you attempt to wrap through the storytelling, is how such a cheap and messy looking show this is. This, especially, is a reminder that anime's origins as a production, with time scales and made on mass for television, is something to consider. This, especially because the earliest 2000s was the era of still having to adapt to the new post-hand drawn era into digital craft, is to be considered, as there are likely so many shows like this in existence which are haphazard or had little to work with in terms of budget.

The low animation quality does become an issue at hand, where the creators have to work around characters moving in cases and its simplified environments, but I will say on my part that this was never detracting. Having adapted to shows like this, and arguably encountered even worse cases, I never had any issues with the animation personally even though I  will be upfront in saying this will be a factor that many will have. Far more the concern for me is that, with its look as much part of the strangeness of the show, it is intertwined with the greater concern for me for what a mess Genma Wars turned out to be narratively. It is far more curious, as much as the programme's downfall, where in its initial stages, it sets out as a concise plot. It has lurid edges, which I will get to later on, but there is nothing that was suggested it would jump to the odd directions it would in its narrative of humanity, kicked to the curb in terms of superiority, fighting an evil demonic overlord by way of his own children. In fact, in the very little that is in existence about this show, very little prepared me for how early into the narrative, with Loof and Jin in separate narratives for a large section after the pilot episode, things get weird.

By Episode 4, after the introduction to the initial narrative, including Loof eventually encountering a young human woman with gifted abilities, you already have the inklings of a show which is scattershot. It is not sure what to be doing, and between the storytelling and its huge artistic problems, it will bumble along. By this earliest of stages of Episode 4, you are already having to wrap around this being a world where human children are apparently a delicacy to the ruling species, with boys' brains being noticeably spicier than girls as is elaborated on in a later episode, and a random tangent for one main character, in the same episode involving a ghost ship with (vibrating) skeleton pirates in the apocalypse wastelands and a super computer, in a tall office building, with its own religious cult.

This unpredictability unfortunately does have an unsavoury touch, in which this is show that racks up a list of terrible streak of the treatment of the women in the cast. Neither is this cheap liberal political correctness either, as it really does have a terrible habit of female characters get killed off frequently, being in the background, and with a lot of rape causally skimmed past. The last is especially common alongside consensual sex scenes, both with the main villain's obsession with lusting after human women, and even one of the leads Loof raping the young woman he meets, which cannot be viewed as anything else, only with them still going on to have a romantic relationship in their journey. Adding to this issue is that, in the original version of the show, there was clearly a lot of female nudity throughout, but for the Western release, it was visibly and crudely censored even for consensual sex scenes. AT-X, alongside having acclaimed shows like Azumanga Daioh (2002) to Mawaru Penguindrum (2011) broadcast is also, because of being a satellite channel, able to show work uncensored with a lot of nudity and titillation, such as Ikki Tousen and High School DxD franchises, so it does come blatantly obvious with the misting effects or strategic use of shadow censorship was introduced for the Western release. Who was responsible for the censorship is not clearly, but it has the unfortunate effect of emphasising the unsavoury content. This stuff is the aspect that I hold as the worst of the whole experience, the sexual violence even if never explicit and arguably tacky in tone context and even existence, as whilst I will warn the reader that Genma Wars  was a farce, nothing within it proved a problem as much as this.

It is just a piece of the show, but the amount of time it is skirted into, even occasionally, is really surprising for how the show touches into dark subject matter with a context (alongside the animation quality) that is out of place. Genma Wars in general contrasts what looks and feels like a very cheap action show for children in aesthetic, with a cartoon talking wolf among the leads, with a lot of adult content for a perplexing contrast. I will eventually get into the later half, but later you even have a brief moment in an urban society where there is a "fruit garden", named such as it is a public park where everyone goes to commit suicide, hanging themselves off tree branches on mass due to being economically destitute, content that in another circumstance would have linked to something more profound, but here is among the many fragments abruptly thrown at the viewer. Contrasting this is that, with the psychic powers, there are no rules to what is possible, with clear budget limitations meaning disintegrating demons, teleporting to compensate walking animation, and some levitation, narrowing what you can depict.

Not a lot progresses for a very simple narrative, one which could have told itself in a concise form in the thirteen episodes, as Jin and Loof's journeys even in terms of being seperate could have expanded this world to emphasis the narrative. Honestly, the animation quality is the least of the issues even if detracting to a huge disadvantage, more that this story feels it has had to cram in content jarringly within itself. It goes on tangents with new characters brought in abruptly, with key ones (especially the women) killed off, even an entire team of psychic warriors abruptly recruited to attack the main villain only for them to quickly be killed off in the same episode by his wife. A psychic demon baby appears at the same time, as the true villain, and throughout this the only character in all honesty who gets anything remotely complicated is Genma's wife, a Nosferatu vampire-like woman who with her female assistant, an eyeball with wings, has now been reduced into alcoholism and trying to kill off her step sons as her husband now just sleeps around with human women, on mass even in his psychic orgies with absorbing flesh walls oblivious to her being there.

Looking like the creation of a lot of old, gaudy toys from a car boot sale in aesthetic, with this strange and adult content, it is compelling for me even if this could have jettisoned the problematic content, for the better. I came into viewing this series with mind to it being held as bad, so I was expecting in a perverse way for this as an "entertainment", even if irony disinterests me, more the experience in terms of watching something unfold. It is frankly, even then, a show many will not get through. This in itself is a shame in its own twisted way as, when many might have understandably escaped the viewing experience half way through if not earlier, Genma Wars as an experience only really exists whether still held as an unwatchable disaster or with entertainment when you actually try to follow the narrative, only for it to get progressively weirder.

Including the fact that, whilst he is the titular figure, Genma as the big villain is quickly brushed aside and for the final four episodes, we abruptly transport the heroes into a dystopia metropolis, with the elite ruling over the humans including humans complicit in the schemes. This is where the "fruit trees" come in. Episode Four was already a warning, but by Episode Eleven, you have evil monkey worshippers, another unsavoury and pointless tangent where demons (including a demon slug) in disguise drug and trick schoolgirls with dreams of being idol singers, only for them to be used for sex by powerful figures in the metropolis, and even weird details like the mayor's private army, as they patrol the streets and occasionally massacre bikers on mass, having cheerleaders in a truck for parades.

Eventually this series, after it was meant to be a post-apocalypse story of two psychic half-humans overthrowing their father to save humanity, with a narrative string as far back as ancient mythology for all its flaws, ends with an invasion by humanoid monkeys from space, from a satellite, and nuclear annihilation in another dimension which is quickly forgotten to return to the heroes' original world. A show that, in truth, ends on an abrupt bitter sweet ending where almost everyone is dead, and the world still needs to be rebuilt and with a lot of problems to sweep up with no epilogue. Yes, this series does not make sense, anywhere in-between a debate to have punched the demon psychic baby now inside a woman's womb, to the tournament to the death, abruptly included with two episodes left, that is quickly jettisoned as a mere trap, Genma Wars caught me off-guard and probably even itself in never really getting anywhere but a lot happening. Rather than the bland title lost in history, it thankfully proved to be more compelling with all its plotting inconsistencies. It is also, however, also with good reason not held with great regard even if you may have never heard of it. The United States got the series through Media Blasters, a company who has quietly chugged on and survived despite large period of absence in the country's market, but even for a company who into the 2020s in their return focus on obscurer licences, this would be an odd one to resurrect even if it would be a morbid curiosity especially in uncut form. It is definitely with mind to Shotaro Ishinomori, a legendary manga creator, and tangent Kazumasa Hirai as well an embarrassment, even in mind that Rintaro's theatrical feature was already a divisive production in critical and fan opinion. It does not look good into terms of adapting the source material, an own goal completely as a result.