There’s been a lot of bad news and vibes around the US anime industry recently – with some rather major players taking a hit – but for once here in the UK things seem to be ticking over quite happily. Sure we might be a few months behind our American cousins, but judging by the amount of screeners and press releases that have been jamming up my mailbox over the last month it looks like the UK distributor’s schedules show no easing up at the moment. It’s certainly more than I can review in detail before they hit shops, so in the first of what will be a regular feature here’s a run down of stuff that’s due to drop next month – keep an eye on the site over the next few weeks for more in-depth analysis of the pick of the crop.

Ghost in the Shell 2.0

UK release date: 26th October

The big one next month – the UK finally gets it’s hands on the controversial visually over-hauled version of Oshii’s 1995 cyberpunk classic. The DVD screener I was sent had no extras on it, so I’ll hold off until I get my Bluray copy before commenting on the UK release any further – but I will say that the transfer looked great, though I’m still not sure it is enough to dispel my reservations about the changes I raised when reviewing the Japanese Bluray back in January. Stay tuned though, as well as for my imminent look at the Innocence Bluray release. Now, where’s Sky Crawlers?

X The Series – Volume 1

UK release date: 5th October

The other big UK release this October, and long-overdue, is the 2001 TV series based on CLAMP’s legendary demographic defying manga X. It’s been years since I watched the 1996 anime movie based on the same franchise, but i might have to go and grab the DVD of the shelf again, as from first glance the series seems to outstrip that production in terms of visual brilliance – a rare and unusual achievement for a TV show. It certainly captures the manga’s unique (at the time, at least) blend of ornate shōjo visuals and seinen violence, and as such will be one I’ll be examining in much more detail over the coming weeks when I’ve had time to sit down and spend some quality time with it.

Devil May Cry – Complete Series

UK release date: 19th October

My only previous encounter with the Devil May Cry franchise was the first game on the PlayStation 2 several years ago – the stylish, violent, gothic brawler now spawning an anime series that seems to be…erm, a stylish, violent, gothic brawler. Not that there’s anything wrong with that – at first glance Madhouse seem to have hit the nail on the head when it comes to catching the spirit of the game – this is over-stylised, action-packed slightly emo looking exploitation anime at it’s most colourful. I’m interested in how it’ll look on Bluray, and hopefully I’ll it will be fun for the same reasons I enjoyed the game – just minus the occasionally tedious jumping puzzles. Check back next week for a full review.

Claymore – Volumes 5 & 6

UK release date: 12th October

I have to admit, Claymore is one of those shows I probably should have seen but never got round to it. Another Madhouse production, like Devil May Cry it’s yet more stylised violence and demon slaying, but clearly with a little more going on under the hood plot-wise. Certainly coming in at Volume 5 made it a bit hard to follow, but that’s probably a good sign, and the frenetic, over the top sword fights seem like fun. I particularly enjoyed the deep, washed out palette and the soundtrack that seemed to mix up metal riffs, drum and bass breaks and, erm, free-form jazz drumming. Yeah, really.

Bleach – Series 4, Part 1
Naruto Unleashed – Series 7, Part 2

UK release date: 26th October

Ahh, Bleach and Naruto, with your hyperactive but angst-ridden, teen samurai’s and bratty ninjas, will your stories never end? Will your protagonists ever finally come-of age? I’m no fan of either colossal franchise, but then I’m hardly the target demographic – and if you are a fan, then you’ve probably got both these new collections marked in your school planner already. So enjoy. Who the hell am I – some miserable old geezer – telling you what you should be watching anyway? Yeah, like, whatever.

A must read for all Mamoru Oshii and Production IG fans – IG have just posted up a report – in English – from their recent press conference on the forthcoming Musashi: The Dream of the Last Samurai movie. Oshii isn’t directing this time – he just wrote the script – handing over the helm to Mizuho Nishikubo – a long time assistant of his on projects such as Patlabor 2, Ghost in the Shell and The Sky Crawlers. Both were at the press event, along with IG head Mitsuhisa Ishikawa, and on hand to answer questions:

Ishikawa-san, can you tell us more about how this project was started?

Ishikawa: I think it was about two years ago. Oshii-san and I were at George Lucas’ Skywalker Ranch for The Sky Crawlers sound recording sessions. I recall that Oshii-san kept me awake all night talking about his dream to make a big budget movie with huge box office returns. At that time, he did not mention Miyamoto Musashi at all.

But on the next day, as we where heading for Skywalker Ranch on a car, he suddenly told me, “I want to make a movie about Musashi.” I think that was the point where everything started. That made me reflect on the fact that you can spend 10 hours just talking, but good projects need just a 10-second chat on a car.

This movie could be described as a mix of Oshii’s deep philosophical insight and cool samurai action. I’m sure this is something no-one has ever tried or seen before, so I hope you’ll enjoy it.

Oshii: I must confess that this movie has come up very different from the image I had in mind when I wrote the script. But I wouldn’t say it’s a negative thing. I knew that Nishikubo could do a good job, and to this extent, he just confirmed my expectations.

The film is set to hit Japanese theaters this summer, and while there’s no indication of when we’ll see it in the west, the fact that IG are bothering to translate events like this shows they still take us foreign fans very seriously.

Stay tuned for more news as I get it.

A couple of quick news updates for you: this Sunday (May 3rd) sees the annual Sci-Fi London Film Festival’s annual Anime All Nighter swing into action – highlights this year being a showing of the controversial Ghost in the Shell 2.0, and – most interestingly – a very rare screening of a little film from 1972 called Panda! Go, Panda!

And why is that interesting? Well, the film was written by Hayao Miyazaki, and directed by Isao Takahata – over a decade before the two friends would go on to create the legendary Studio Ghibli. It was made at the height of ‘Panda madness’ in Japan, when China had started lending the cuddly beasts to Japanese zoos so they could assist in breeding programs. The film is a real treat for Ghibli fans though, as both the pandas themselves and the films little red-haired protagonist were clearly the inspiration for Miyazaki’s subsequent character designs for the Totoros and Mei. If you’re in London and free on Sunday then get yourself down there – but hurry up and book some tickets, as they look like they’re selling out fast.

While we’re talking about the greatest animation studio in the world – I must remind you all to check out Daniel Thomas’ ever brilliant Ghibli Blog – Conversations on Ghibli. He’s been digging out some real treats recently – most notably this mind-blowing piece on a never-to-be-released home brew Porco Rosso game for the Nintendo DS. Looks amazing but will never see the light of day due to, amongst a million licensing problems, Miyazaki’s dislike of video games based on his creations. Never the less: do want.

Keep up the good work Dan.

Well, I never thought I’d find myself talking about aging, over-rated pub-rockers Oasis on this site, but here we go – powerhouse studio Production IG announced today that their highly anticipated anime show Eden of the East will feature music from the band. To be precise Falling Down, a track off their Dig Out Your Soul recent album, will be used over the opening credits. Far more interesting to me than the music itself is the business wranglings that must have taken place behind the scenes to secure this sort of deal. Are Production IG so recession proof that they can splash out the cash for this kind of deal? Or are Oasis’ record company really desperate to drum up some interest in the Asian markets? I don’t, for a second, believe that the Gallagher brothers are anime fans, but I’m willing to be proven wrong.

Don’t panic though, IG music composer and living legend Kenji Kawai is back to compose the score. Phew.

The show itself looks very interesting – written and directed by Kenji Kamiyama (GiTS:SAC, Jin-Roh, Blood: The Last Vampire) it is the kind of mature anime that has been sadly largely lacking from Japanese schedules for the last few years. From the IG press release:

On November 22, 2010 ten missiles strike Japan. However, this unprecedented terrorist act, later to be called as “Careless Monday,” does not result in any apparent victims, and is soon forgotten by almost everyone. Then, 3 months later… Saki Morimi is a young woman currently in the United States of America on her graduation trip. But just when she is in front of the White House, Washington DC, she gets into trouble, and only the unexpected intervention of one of her fellow countrymen saves her. However, this man, who introduces himself as Akira Takizawa, is a complete mystery. He appears to have lost his memory. and he is stark naked, except for the gun he holds in one hand, and the mobile phone he’s holding with the other hand. A phone that is charged with 8,200,000,000 yen in digital cash.

Check out the trailer and more info (in Japanese) here. The show premieres in Japan next month, with a connected feature film opening at cinemas later in the year. IG have obviously invested a lot in this project, so hopefully they feel they have something special. More details as I get them.

Anime News Network have a great scoop today – an English language teaser trailer for Oshii/Production IG‘s latest offering Musashi: The Dream of the Last Samurai. As reported late last year, the movie is based on the life and works of the legendary Japanese swordsman Miyamoto Musashi, author of The Book of Five Rings (五輪書, Go Rin No Sho).

Oshii himself will not be directing – like previous works Blood: The Last Vampire and Jin-Roh he came up with the concept and worked on the script – but this time Mizuho Nishikubo (Sky Crawlers, GiTS, Patlabor) is taking the helm. Oshii himself isn’t slacking this year though, he’s currently working on no less than two live action films – one a low budget art-house affair, the other an action-adventure epic of “eroticism and violence.” Plus, he’s also got another anime film in the pipeline. Busy man.

Check out the short, but very sweet, trailer and some more details here.

If you’ve read this site before, or even just glanced over it’s archives, then my appreciation and admiration of director Mamoru Oshii is clearly laid out. As such it would seem not only redundant but also somewhat self indulgent to elaborate further on my love of his tense political sci-fi dramas Ghost in the Shell and Patlabor, or his low budget, live action masterpiece Avalon. Ever since his latest feature film The Sky Crawlers was first announced I have been gripped with excitement and anticipation – although, as always, resigned to the long wait us western fans must endure before we are granted an audience. This week that wait finally ended, and putting aside my deep rooted fanboy allegiances for just under two hours, I was able to sit down and see if anime’s most esteemed auteur could still deliver the goods.

Based on a series of novels by Japanese author Hiroshi Mori, The Sky Crawlers takes its time in revealing it’s true nature to the viewer. Oshii is famous for never rushing his narratives and giving his viewers time to indulge in his slowly paced cinematography, but tSC takes its time in revealing even it’s true setting. Much of the truth about what is happening in the world it’s characters inhabit isn’t made clear until it’s final act, and as such it makes it hard to elaborate without drifting into spoiler territory. Simply put, it is set at a time – possibly the future, or equally maybe an alternate past – when humanity has decided that the only way to avoid war is to stage an artificial, and seemingly endless, one. As a result an eternal air conflict is fought between two rival corporations using WWII style fighter planes and bombers, just to fill the war cravings of the global media, economy and watching public.

This concept is not a new one for Oshii, it being the main driving theme of his second, complex Patlabor movie. Then the subject was how small scale, but very real, wars were allowed to rage unhindered in the less developed parts of the world so that the industrial nations could create the illusion of a lasting peace, and made in 1993 it gives a chillingly clairvoyant portrayal of how easily this cosy illusion can be broken through acts of terrorism. To Oshii war is a vital force in modern capitalist societies, the secret fuel that drives their economies and cultures, but while Patlabor 2 meditates openly and explicitly on this train of thought, tSC is all the more subtler. Throughout it’s duration it only hints at it’s thematic backdrop, preferring instead to focus it’s other unique ingredient; it’s characters.

If eternal, staged war is the formula for peace, then one huge moral question faces the society that puts it into practice: who will do the fighting? For the tSC the answer is the ‘Kildren’, apparently genetically engineered clones of teenage children, raised to do nothing but fly and fight for the corporations that mass-produce them. It is through their eyes that we slowly learn not only about their world, but also the abusive psychological effect it has on them. Raised to know nothing but war, they fly routine, daily sorties while filling the gaps within with drinking and mindless, detached sex. In fact everything appears detached to them; their lives are so routine – the war so endless – that even the thrills of partying and combat seem to bore them. The fact that they are designed to never age – forever staying young, knowing that they will only, inevitably, die in battle – only compounding their increasing alienation from both each other and the world they are supposedly fighting for.

The image of robotic, innocence stripped children being used as weapons in this way is a disturbing one, and one seen to devastating effect in Madhouses‘ groundbreaking 2003 series Gunslinger Girl. Now, as then, it appears the target of critique is anime itself, and perhaps to some larger extent Japanese culture as a whole. For decades anime and manga have made children their assassins and war heroes, and both Gunslinger Girl and Oshii attempt to deconstruct these respective memes, showing instead the brutal reality of how that could manifest in real life. tSC goes a stage further though, coupling this with the earlier theme of the need for perpetual war, and perhaps turning it into an attack on the endless repition of anime subject material, the boredom of the characters representing Oshii’s own disdain at the stale offerings much of the industry produces. At times it even feels like an attack on himself; the use of character names from his previous works is jarring to any watching fan, and coupled with his frequent visual signatures it is almost as though Oshii-san is looking back at his portfolio of work with disappointment at his own lack of originality. If The Sky Crawlers reassures his audience of only one thing its that he shouldn’t be so harsh on himself.

Visually, the film is sumptuous and intoxicating as we have come to expect from the director and his highly experienced creative team at Production IG. The green fields and cloudscape filled blue skies mark a refreshing change of palette from their usual dark, urban environments – but while also maintaining the director’s trademark cold, stark and lonely atmospheres. While the character design is suitably minimal compared to previous IG works, the mechanical design is as phenomenal as expected, the retro-but-futuristic fighter planes betraying a Miyazaki-like fetishism towards WWII aircraft engineering and attention to detail. The dogfight sequences themselves are breathtaking, and again show IG’s mastery of the use of combining CGI and traditional cell animation. Here they had help from FX studio Polygon Pictures, whose recent portfolio shows they are clearly industry leaders – and I don’t say that just because I know someone that works there.

In fact, the opening and regularly punctuating dogfight sequences are perhaps Oshii’s greatest trick. Not only do they break up the mesmerising monotony of watching the Kildren’s routine lives unfold, but they also make the audience participants in their world. The action sequences are so exhilirating, so beautifully choreographed that the viewer ends up almost craving them to return to the screen, and thus becomes the gawping, voyeristic, war-demanding public of the Kildren’s world, and thus ultimately the guilty abuser. It’s a master stroke of manipulation, and a subtle one that perhaps doesn’t truly reveal itself until the films final, bloody dogfight.

Despite it’s deeply thematic nature and social commentary, The Sky Crawlers is perhaps Oshii’s most accessible film since Patlabor. Gone, thankfully, are the philosophical ramblings of GiTS 2: Innocence, instead the discussion is more subtle, the plot more linear. In many ways it feels that Oshii, although rapidly becoming what is considered a veteran filmmaker, is still learning from mistakes and honing his skills. Plus, as always with his work, it’s nothing else if not a visual masterpiece, the imagery and score from Oshii’s long time composer of choice Kenji Kawai combining again to make a compelling and memorable viewing experience. It’s not an easy ride at times, but The Sky Crawlers is certainly one you can’t afford to miss.

Not that I expected him to win, especially in the year that Academy darlings Pixar released what is arguably their finest work to date, but I have to say I was surprised and disappointed he didn’t even get a nod when the nominations were announced today. It’s especially confusing when only three films where put forward, and one of them was the decidedly average Kung Fu Panda (I haven’t seen Bolt, and can’t honestly say I’m that bothered either).

What is interesting is that all three films are completely CGI productions. Is this the death of ‘real’ animation? In the US perhaps, where the success of Pixar and the cost effectiveness of digital production seems to have killed hand-drawn animation. Certainly Disney doesn’t seem to be bothered with it anymore. Not that I’m an anti-CGI snob at all, it just seems sad that the art form has been all but abandoned by the large Hollywood studios.

Ah well, there’s always next year. Perhaps Oshii will have another chance with Musashi: The Dream of the Last Samurai, or Miyazaki will be back to grab his second with Ponyo.

Or it’ll be Pixar. Again. Sigh.

Some of you might remember my concern back in June when I first reported on Production IG’s planned visual update to Oshii’s 1995 classic Ghost in the Shell. Well, the Blu-ray of GiTS 2.0 (not to be confused with GiTS 2: Innocence, which will also be referred to a lot in this piece) hit Japanese stores a few weeks ago, and via sources that I’m not at liberty to identify I have managed to get my hands on a preview copy – months before the (still yet to be confirmed) UK release. So it was that I found myself, on the first morning of 2009, sitting down to watch one of my favourite movies of all time again, but instead of being filled with the usual satisfying feeling of anticipation, I was gripped with something nearer to dread.

The ‘problem’ – if it is really one at all – is the issue of progress. In the nine years between GiTS and GiTS 2: Innocence technology changed. In this time the tech teams at Production IG focused on becoming the masters at seamlessly merging CGI imagery with conventional hand drawn animation, with GiTS 2 being heralded as the pinnacle of this across the industry. And with these new technological changes came aesthetic ones; Oshii switched palettes from green and blue tones to more deep, orange ones, and the computer interfaces and displays that are such an important part of the GiTS environment became more sophisticated and refined as the software used to create them got cheaper, quicker and maturer. And while these displays had been the only thing to be rendered by computer in the first movie, the sequel employed CGI in nearly every scene.

Suddenly, you could run the two movies and – arguably – something didn’t look quite right. At times they looked like different worlds. The computer displays in GiTS started to look outmoded by today’s standards, let alone compared to the future they were meant to predict. Some of the cityscapes looked uninspiring – perhaps – in comparison to the epic computer rendered vistas of GiTS 2. Production IG had hit the same problem Lucas had hit with the Star Wars prequels – when you’re making heavy SFX based science fiction, your work is always going to look dated. Luckily then, that you can now go back and change it…

Before we talk about this anymore, lets have a look at the evidence. By far the biggest section of the film to have been altered is the well known, and often mimicked, opening sequence, with Major Kusanagi leaping off a skyscraper to assassinate a foreign diplomat. I’ve grabbed some images from both versions of the film for comparison.

The first thing you notice is the palette switch, as well as how the old computer maps that open the film have been completely re-designed and rendered.

Then it hits you, every external shot in the sequence – including the Major herself – have been recreated in CGI.

And this is where I first started to have problems with GiTS 2.0. CGI Kusanagi doesn’t look quite right. Well, she looks fine on her own, but inter-cut with the other characters – who are still hand drawn from the orignial – she looks jarring. Almost, at times, like you’re watching two different films.

From here you’re into the ‘cyborg birth’ opening sequence, which has also been completely redone, with much more sophisticated CGI and the same green-to-orange palette change, the again bring it more into line with the companion sequence in GiTS 2.

Later on in the film there’s also some CGI rendered helicopters and vehicles, although luckily the climactic spider tank battle sequence has survived untouched. There’s also a few minor dialogue changes, as well as a female voice actor for the Puppet Master, which makes a bit more visual sense and the plot a little easier to follow. But otherwise the rest of the movie has remained largely untouched.

Sitting writing this after watching GiTS 2.0 for the first time only a few hours ago, I’m still a little undecided as to how I feel about it. One major issue i have is that I always loved the original’s aesthetic, far more than I did it’s sequel’s. The video game style graphics, the green-blue palette…the whole film captured the 80′s cyberpunk vibe of Shirow’s original manga (all be it with a far darker, more serious tone) as well as developing on the themes and aesthetics of works like Bladerunner and Neuromancer that came before it. Don’t get me wrong, I like GiTS 2: Innocence, and I found the new palette that Oshii had brought over from Avalon appealing, but it was a different film to the original, a different world. And I was happy with that – time had passed in the real world, and I was happy to just accept it had passed in the GiTS world too. Things change, especially technology. Characters had clearly aged, so why couldn’t everything else had moved on as well?

Also the beauty of the original film for me was that it didn’t actually rely too much on futuristic design and visual effects to create it’s haunting atmosphere. The best science fiction works because it manipulates the familiar and believable, and what truly makes GiTS a masterpiece is the noir atmosphere, Oshii’s pacing, his slow pans, and the beautifully drawn Tokyo Hong Kong street scenes.

In fact watching it after returning from Tokyo, it’s remarkable how un-futuristic the architecture is in GiTS, with the sequel’s towering CGI mega-scrapers and smoggy vistas starting to look a little Fifth Element in comparison. It’s these things that give the original it’s feeling of edgy, ‘just around the corner’ realism, and if it’s any consolation, all of that is still here in 2.0.

Personally there are still a lot of unanswered questions for me. Why was this made? Is it just another IG tech demo? How much as Oshii actually involved? Wasn’t he busy making Sky Crawlers at the time, and is this really just a marketing exercise for that movie – it having been shown at the same time at some Japanese theaters?

Not that there’s nothing at all to recommend this release. As previously mentioned, the beautiful pacing and gentle street scenes are all still intact, and this is the best they’ve ever been seen. It’s a great transfer, and has clearly been cleaned up in places in the process, and it’s the better for it. Kenji Kawai‘s legendary score has also been given an audibly noticeable remaster, and sounds stunning all over again. I was only given the main feature, but the Japanese collectors release featured not only some interesting looking extras but also a copy of the original – although it’s unsure whether that has been given the same gorgeous visual polish in the transition to Blu-ray. Only time will tell what is included on any western releases.

Only one thing is certain – if you’re a GiTS fan then you can’t kid yourself – you’re going to want to see this. Whether you end up loving it, hating it, or – like me – wondering whether it was really necessary is something still to be determined.

ありがとうございます to The Laughing Man for securing me this review copy. The net is vast and infinite…

Looks like anime demi-god and Ghost in the Shell/Sky Crawlers director Mamoro Oshii is taking a break from his trademark dystopian futures to travel back to medieval Japan for his next flick Musashi: The Dream of the Last Samurai. Production IG have just launched a teaser site/trailer for the movie, which is due to hit Japanese theatres next summer, and the infamous auteur is backed up by an impressive staff, including Mizuho Nishikubo (GiTS, Sky Crawlers) and Kazuto Nakazawa (Kill Bill 1, Samurai Champloo) amongst others.

The film is based on the life and works of the legendary Japanese swordsman Miyamoto Musashi (1584-1645), author of The Book of Five Rings (五輪書, Go Rin No Sho), a book on strategy, tactics, and philosophy that is still studied today. Interestingly, it’s not Oshii’s only foray into sword fighting this year – he recently contributed a segment to the live action duelling anthology KIRU ~ KILL. Check the trailer below – I’m sure all you Oshii (and Avalon in particular) fans will be able to spot which clip is his…

This just occurred to me though….did they have Oshii’s signature Basset Hounds in 16th century Japan….?