The Akira Remake Just Keeps Looking Worse…

One of my biggest pet peeves regarding Hollywood is not the tired “they have no new ideas” complaint, a complaint that is bolstered by dozens of films based on other movies, books, toys, and cartoons filling the cinemas. Mine is a broader concern that they have no regard for the fans when it comes to such adapted works. I don’t mind Hollywood remakes and sequels of stuff I enjoy, but what I don’t want to see is adaptation for the sake of itself, and missing the point of the source material.

A while back, Michael Bay summoned a veritable crap-storm of nerd rage when a script for his new Ninja Turtles film leaked to the masses. The story, characters, and general spirit of the original had been all scrapped in favor of something that was essentially the same plot of his Transformers franchise. Mr. Bay yelled at fans on Twitter, whined in interviews that he was misunderstood, pretended the script was fake, and eventually delayed the movie for some reason “totally not related to the backlash…seriously you guys.”

Luckily, it seems like the film is back on track, but the whole situation is almost baffling. Why would a film studio take something fairly popular amongst a very hardcore and vocal fan base and alter it to an unrecognizable state? Why not actually make a NEW franchise with nothing to do with an established franchise? It’s almost like this happens behind closed doors:

Out of touch Hollywood Exec.

Out of touch Hollywood Exec.

“Hey guys, thanks for meeting me here today! The purpose of this meeting is that I have a GREAT idea, no not an original one of course, (chuckles) that would be difficult and my head hurts from all that blow I did earlier! So here’s what’s gonna happen….We gonna take something that already exists and we remake it. This is cutting edge stuff guys, nobody has ever thought of re-doing classic films before!! Here’s the catch about us remaking it though, we don’t! (everyone in room gasps!) This is the clever part guys, we throw away everything that made the original popular! We change everything about it, because despite the popularity and reverence for the original we know better than the original creators. It’s a stroke of genius, I know.”

This attitude seems to plague all of Hollywood, a place that has increasingly replaced artistic vision for dollar signs. There’s no wonder most “talent” is flocking to television, as that format seems to have more freedom for just about  everyone. That isn’t to say they aren’t without their issues as well. I remember reading about a San Diego Comic Con years ago where a group of execs slipped into a screening of the US remake of the popular UK science fiction drama Life on Mars, only to be horrified by the bad reception it was getting. Supposedly, they had no idea that the show had fans over here, and immediately re-shot the pilot with a new cast attempting to re-create the show exactly.

Japanese Anime and Manga seem to be the new hotbed for film licensing, and it has been pretty bleak. Executives seem to understand which are the popular franchises, but miss the entire point of why said franchises are popular. It’s like they assume that fans will see things based on name only, and will gladly accept massive changes to all aspects of a production. We thankfully dodged a Keanu Reeves Cowboy Bebop Film, a Zac Efron Full Metal Panic film, and even a Evangelion film that was supposed to be all action, and none of that pesky plot from the original. Sadly, we were “blessed” with atrocities such as the Fox Dragonball: Evolution film, so it hasn’t been perfect. Each time this happens, the possible directors of these franchises in the making, seem bewildered that there is so much outcry.

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The property that I am the most worried about in regards to this situation happens to be Akira, one of my most beloved science fiction stories. I basically have Akira to thank for getting me into anime, because I was completely oblivious that there was an entire industry devoted to “cartoons” that weren’t necessarily meant for children. I’m not going to pretend I understood the film when I first watched it over at a friend’s house back in 1992, but the mix of violence, psychological storytelling, and amazing visuals simply blew me away. I eventually bought all of the manga, animation cells, and even action figures related to it.

For about ten years now I have been hearing about a possible “American remake” of Akira being in the works, but they never get off the ground. Fans flip out about proposed changes, and each one dies a quiet death shortly after. The newest version of this project seems to be one helmed by a director named Jaume Collett-Serra. This name may be familiar because he’s been talking this project up for years now, and it seems perpetually stalled because he feels that he needs to drastically alter everything about it. In a recent interview with Coming Soon, the would be director had the following to say:

“I hope that I can bring strong characters. In the original source material, I don’t think the main characters are the protagonists. What I’m hoping is to bring characters.

Nobody’s interesting. Tetsuo’s interesting because weird sh*t happens to him, and Kaneda is so two-dimensional. That’s part of the Japanese culture, they never have strong characters. They’re used as a way to move the other philosophy forward.

Yeah. So hopefully in my version that will be strong, and you’ll have a story that happens in that world that will show you a little bit of the mystery. Then, if you’re interested, they’ll make “Akira 2 & 3” then you can get deeper into it. I love the world, a lot of people love that world, so why wouldn’t we indulge in it a little bit and see how it would be if it was real? Like you say I don’t have to explain everything, but wouldn’t you like to spend two-hours in a world of “Akira” and follow a character and be like, “that’s cool”? That’s all I want to offer, is two-hours in a world you can actually feel. We’re working on it.

So there you have it, get ready for the American Akira that nobody wants!

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Cyber City Oedo 808 (1990) OVA

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It wasn’t too long ago that most saw the science fiction sub-genre of “Cyberpunk” as a dying format. Yeah, The Matrix was a huge movie, but that was made almost fifteen years ago, and little else came of its popularity (aside from two somewhat questionable sequels). Pretty soon, things like 9/11 took all of the fun out of life, and anything that could possibly be seen as a commentary on the decay of society and runaway governments was a big “No-No”. In this climate. science fiction and fantasy media turned into escapist Hollywood CGI-fests and lost their subversive souls in the transition. We all watched endless reality shows and procedural police dramas all decade, wore stupid clothes, and listened to terrible music – man the “noughties” were awful! Their version of the future seemed to be that of excess and world domination through “democracy”. Too bad the bubble burst and we all came to our senses.

Let’s flash forward to today: People fear a global takeover by a prominent Asian country, a government agency has been caught hoarding tons of personal information on just about every one on earth, mega-corporations control world governments, and cyber-crime is on the rise around the world. If I didn’t know any better, people like William Gibson predicted the future and we didn’t even realize it! Every day, we edge closer and closer to the 1980’s view of the near future made flesh, largely due to societal and economic turmoil in the present. The one good thing coming out of this new cynical age is that our speculative fiction is cool again, and it seems cyberpunk media is coming back as a result. Fox has a new TV show called Almost Human that thrives on just about every trope the genre has ever laid out, there have been movies like Dredd, Elysium, and a new Ghost in the Shell series hitting the scene, and even Cyberpunk video games like Deus Ex hitting the shelves – Cyberpunk is back Baby!

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With all this new material out there, it’s fun to go back and watch one of the seminal Cyberpunk anime productions of the past – Cyber City Oedo 808. This show isn’t just a classic, it’s pretty damn influential for anime of the time, and one can see its fingerprints on just about everything that came after – even Ghost in the Shell. Today I feel like Cyber City Oedo 808 is becoming a forgotten gem, much like loads of other eighties anime, and people really need to get the word out on great classic shows.

Released as a three episode OVA way back in 1990, Cyber City Oedo 808 is just a tad longer than a feature film, so it’s not like a huge time investment is needed. One of the more endearing things about this show is that it reeks of late 80’s cheese. Everyone has big silly hair, garish clothing, one of them is essentially a cross-dresser, and the sounds of what could essentially be considered “hair metal” is everywhere.

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It’s the year 2808 and the booming megalopolis of Oedo (Tokyo of the future) is desperate to curb the rising tide of technology-based “cyber-crime”. The city’s governing body decides to follow the old adage of “it takes a thief to catch a thief” and brings in a group of criminals in a new initiative to take on the problem. Serving ridiculous 300+ year sentences for various crimes, Sengoku, Gogol and Benten are less than enthusiastic to be talking to their captors.

They end up being offered relief from their orbital penitentiary cells, but only if they take a deal from the Cyber Police. They are given a pathway to redemption in that each criminal brought to justice results in a shortened sentence, so theoretically they could attain freedom once again. In order to keep the trio in line, each reformed convict is outfitted with an explosive collar that would detonate if they do a poor job or try to escape their duties.

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For the purposes of this review, I actually watched this episode twice, once in the original Japanese (with what I assumed were fansubs), and a second time in English via the UK version. The reason I wanted to see the UK version is that it has an alternate musical track that is not present in either the American or Japanese releases, and to me it’s the superior version.

Manga UK hired a man named Rory McFarlane to compose a more intense soundtrack for their release, and to me the riff-laden guitar sound-scape is far more fitting to the setting than the original soundtrack. That’s not a jab at the original soundtrack by any means, but it just seems somewhat bland in comparison. The other gem from the English localization that stands out is the quality of the dubbing. I know this is a hot topic of debate for anime fans, but I base my opinions of dubs or subs on the actual quality of the product rather than the country of origin. Not all Japanese language tracks are God’s gift to mankind, and in fact I felt the script and voice acting was both more energetic, and fleshed out in the English Version.

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Speaking of the English dub, Cyber City Oedo is one of those anime titles from the early-mid 90’s that really stepped up its game with coarse language. I would even say that it’s basically hilarious in the way it weaves its vulgar tapestry. I enjoy the cursing because these characters are supposed to be anti-social former convicts, and let’s face it most people on the outskirts of society probably talk in a similar manner. Well….that, and it’s funny in a juvenile way, and in a similar vein to why Malcolm Tucker as played by Peter Capaldi is funny. Pardon my french here, but I wanted to showcase one of the most hysterical lines in the show just to get the point across as to why I loved it. This is from episode three:

“Get lost. You wouldn’t recognize a goddamn vampire if one jumped up and bit you on the end of your fucking dick. So just get off my back.”

The dialog is full of stuff like that, people swear even if it’s completely unnecessary to what they are saying. The whole thing reminds me of why I like the movie Shoot ‘Em Up starring Clive Owen. The movie is so unnatural, so over the the top that it becomes completely hilarious for all the right reasons.

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The English dub also does a great job of filling in quiet spots within the dialog. Sometimes there are long stretches of silence going on in the Japanese version, and the English dub fills this in with extra material. Even when a camera was silently panning off-screen in the original, the new version might include two characters conversing with dialog that acts as world building or character development dialog. I’m usually pretty critical of stuff like this considering I felt the “extra dialog” injected into Tekkaman Blade generally made the show cheesy and more childish, but here it really works. How else would we get a lecture from the Cyber Police liaison robot (Varsus) to Sengoku on his misuse of the word “fuck”? Outside of such a fun dub.

Cyber City Oedo 808 was directed by Yoshiaki Kawajiri, who happens to be one of my favorite 90’s anime directors. If that name doesn’t ring a bell, his works should. Kawajiri is the guy behind Wicked City, Ninja Scroll, Vampire Hunter D: Bloodlust, Highlander, The Deadshot segment of Batman: Gotham Knight, and even Demon City Shinjuku. Don’t forget his name, because the material he directed was essentially what got me into anime back in the nineties. Don’t be surprised if most of my posts on here have something to do with his works! There is really no other director that captured the American Market like Kawajiri, and his films were staples of many Blockbuster video stores around the country. Granted this is generally because his shows are all pretty violent, full of action, and other things teenage boys thought were awesome back then.

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I mentioned the characters of Sengoku, Gogol and Benten earlier, but did not say much other than the fact that they are foul-mouthed former convicts. Sengoku is essentially the main character of the show, although each episode is a character piece where each one gets the spotlight. He’s your typical hot-headed badass that doesn’t take any sass from anyone. Whether it be his boss, the robot assigned to watch over him, or fellow teammates, Sengoku is usually snarking at somebody. In the English dub he is especially hot-headed but likable in a weird way.

Gogol is a huge intimating computer hacker with a red mohawk and scars all over his face. I was pleasantly surprised by his character, as one would assume he would be the one-dimensional brute of the team, but he’s really the brains of the operation. Benten is an androgynous martial arts master that fights using mono-filament wire and acts pretty sadistic towards people he is fighting. Of the three, Benten is the least likable simply because he comes across sort of creepy. He does end up fighting a vampire though, so there’s points there!

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My long-winded introduction was basically laying out Cyber City Oedo 808 as a classic Cyberpunk show, but one might wonder how much it has in common with notable literary cyberpunk stories. Cyberpunk, as a genre, deals with the conventions of post-humanism, technology running amok, and the collapse of society, or as a notable anonymous article once put it [cyberpunk is the story of] “high tech and low life.” The world of Oedo is a very dark one, and it seems to run in a similar manner to the universe of the 2000AD books that Judge Dredd eventually came from.

It’s hard to piece together the societal structure the series is based in, but one can see that it is presented as very high-tech, and yet VERY fascist. In the first OVA episode, for example, a man under pressure confesses to a murder that is responsible for a horrible crisis that Sengoku is attempting to unravel. This is enough for Hasegawa (their boss) to order Sengoku to kill the man there and then without so much as a trial. When Sengoku fails to do so he is reprimanded and his sentence is increased due to insubordination.

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Sengoku shares the sort of philosophical leaning that many cyberpunk heroes deal with. He seems to resent what the world has become, and especially the over-use of technology in Oedo. A notable scene from the Japanese version shows a little bit of dialog that really sums his stance up: “What a Joke…We built a monstrous city, then we put the computers in charge…we rely too much on you damn machines, don’t we, junkpile? ” The English edition is basically the same just with more “F-bombs”.

If you are a fan of cyberpunk and have yet to see Cyber City Oedo 808 do yourself a favor and take a trip over to YouTube and watch the UK versions of it. It may be old, and the dub is unintentionally hilarious, but this is definitely a style of anime that really isn’t done anymore. Robots, Cyborgs, and Vampires all rolled into one, it sounds like my idea of a great way to spend a snowed in winter day!

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Kick Heart (2013) Short Film

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As promised, I’m going to review a newer anime today rather than sticking to the decade of my birth like my last few entries. This short film is one that many people have probably not heard of before, as it was created via a “crowd funding” project. About a year ago, I found a film called Kick Heart by Masaki Yuasa and Production I.G. on Kickstarter. Mr. Yuasa is of course the man behind the surreal (and pretty much awesome) short film Cat Soup, so I knew I just HAD to back the project. It doesn’t hurt that I’m also a huge pro wrestling fan either! It eventually made it’s required money, but missed it’s “stretch goals” which would have potentially moved the project into a feature length film, but what we got was pretty awesome none-the-less.

The story follows a man named Romeo Maki as he tries to get by with a fairly surprising dual life. Romeo works as both a masked professional wrestler and the CEO of a rundown orphanage. He funds with orphanage via proceeds from his night job, but things aren’t looking good. Lately the roof has been leaking non-stop, and it appears that a large snake has taken the children’s restroom as his home. In desperation, Romeo enters a $50,000 “winner takes all” contest against another masked wrestler named Lady S, but things get weird real quick. Lady S “gets off” by inflicting pain on her opponents, and Maskman M (Romeo) get’s the same pleasure from receiving pain. I know this sounds like the makings of an adult film, but don’t worry, Kick Heart is pretty much PG-13. Oh yeah, I forgot to mention that Lady S also works at the orphanage as a quiet young nun named Juliet, but Romeo doesn’t realize this.

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The animation in this film is pretty nice, and resembles those old Bill Plympton cartoons more than any anime I’ve ever seen. Everything is sort of “sketchy” and VERY brightly colored, which really helps this film have an “edgy” or “underground” feeling to it. It’s almost like something that would have aired on MTV’s ancient Liquid Television show really late at night. I enjoyed the fact that you never got to see Romeo’s face completely, this was mostly because he lived most of his life as a masked wrestler, and tradition generally goes that such performers are never to be seen in public without their masks on. Romeo, in businessman mode, always has a black censorship bar over his eyes, a little touch that gives this film something different that really makes it stand out.

The character designs are pretty awesome and some are even borderline grotesque. Lady S’s tag team partner, in particular, is a giant of a woman that is so large that she crushes a portion of the audience when she is defeated in one of their bouts. The cool thing is that because of this, no two characters look the same, and are “larger than life” just like how pro wrestling characters generally are.

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I love what Kickstarter and other crowd funding services could potentially bring to the anime market. Films like this or the recent Bubblegum Crisis Blu-Ray release are products that most likely would not have been produced in the current anime market, so pre-ordering these projects beforehand really lessen the risk of the project being unsuccessful, and guarantees the releases. Eventually I want to see more experimental films like this, and maybe older anime getting put up. It really could change the landscape of the whole industry.

Here is a trailer:

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Black Magic M-66 (1987) OVA

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Science fiction stories, and more specifically cyberpunk stories, are by far my favorite type of anime and manga; and one of the grandmasters of the genre would have to be Masamune Shirow. Not only did he unleash the beast that was the Ghost in the Shell franchise to our defenseless eyes, but also brought a helping of Dominion Tank Police, Gundress and even Appleseed. Rest assured, as this blog continues, I will be posting more of his stuff than you can handle.

So, what makes Shirow’s work stand out so much? Despite his foray into erotic pin-up art for the last decade or so, Shirow’s work was essentially the formula that most 80’sand 90’s cyberpunk anime followed. His productions were characterized by sexy leading ladies, philosophical plots, and a procedural police drama flavor. On top of all of this, Shirow is known for his highly detailed level of world building; this is seen most notably in his vehicles, mecha, firearms, and cybernetics.

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Before Ghost in The Shell or even Apleseed, Shirow penned a science fiction manga simply called Black Magic. Bandai eventually got the rights, and produced a short OVA (original video animation) based loosely on a small portion of the comic. Hiroyuki Kitakubo also co-directed this piece, and later went on to work on such films as Akira, Gundam: Char’s Counterattack, and Roujin Z usually as a key animator or storyboard director. So here we go – let’s look at Black Magic M-66, one of Shirow’s earliest works!

Black Magic M-66 is the story of a hard-as-nails and usually scantily-clad journalist named Sybil out for the scoop of her career. She learns about a crashed military transport and two lethal combat androids on-board. She assumes that the military is going to battle a “violent, armored thing on the road”, but little does she know, it’s worse. Perhaps because of the crash, or a fault in programming, these mechanical murderers get loose and set out to kill the granddaughter of their own creator. Sybil has a choice, if she wants her big payday, she better protect the girl from the bots.

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The plot essentially boils down to a prolonged chase scene that somewhat reminded me of the first Arnold Schwarzenegger Terminator film. M-66 is like the Terminator and has been programmed to kill Ferris (Sarah Conner) who is only safe because she is being protected by Sybil (Kyle). Yeah, it lacks the time travel plot and other aspects, but the similarity is there. I wish that Black Magic M-66 could have been a tad longer, because the plot really gets rolling about 10-15 minutes into the movie, and rushed to the ending from then on. To me, It needs a bit more breathing room.

This video has a lot of what I like to call “the pervy side of Shirow”. I mentioned earlier, that Shirow basically exclusively produces erotic pin up art ever since he completed his manga Ghost in the Shell II: Man Machine Interface. People thinking that this career turn is a new thing, need to go back and watch Black Magic M-66. Not only is Sybil’s very first scene one where she is not wearing any clothes, but other characters seem to be border-line nudists as well. Ferris, The aforementioned granddaughter in question, walks around in what I can best describe as her underwear with shoes on for a good chunk of her early scenes.

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A special nod goes out to the way the android M-66s are designed and their “fighting style”. When they finally are spotted by the military and engaged, the inhuman,near animalistic way in which they move is almost unsettling. The “male” M-66, which meets a grizzly end by way of military might towards the beginning of the feature, is vaguely monkey like and sticks to the ground, whereas the “female” M-66 lumbers around shooting things with laser eyes and retracting knives as fingers. These monstrosities really bring this film into it’s own,and keep the whole thing full of “on the edge of your seat moments”.

Before I sat down to write this, I had never actually seen this anime for some reason. I think this boils down to the scarcity of the older Manga Entertainment DVD when I used to work at a retail store, and my unwillingness to spend large amounts of money on it. I believe the older DVD was released in 2001, and it wasn’t until a few months ago that a new company, Maiden Japan, re-released it minus any English dubbing. If in a pinch, I bet you could find it on any popular video sharing site, but I don’t condone that due to an actual American license, but whatever floats your boat.

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In conclusion, Black Magic M-66 is not as polished as later works from Masamune Shirow, but it still retains a lot of his trademark style. You have the procedural cop drama trope with the military guys, the mecha, the androids, and even the sexy female lead. All it’s missing is the philosophical treatment with the plot. If anything, it’s always fun to see where a director honed his chops.

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Nineteen19 (1990) OVA

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One genre of anime that was definitely done better in the past was the romance genre. Today, a lot of productions that could be considered “romance” often have little drive or story to move the plot along. Often times “harem anime” and ”moe anime” dominate the market, and pander to a very select crowd of fans. While there are definitely “diamonds in the rough” many of these shows are soulless commercial money grabs, created to fill time on a TV schedule. We will be discussing a romance show of a different color in today’s review, considering this genre is nearly extinct from anime today – The shounen romance. That’s right folks, today we will be looking at a romantic comedy / drama from the perspective of an eligible bachelor looking for love.

Nineteen19 is an obscure studio Madhouse production directed by Koichi Chigira (Venus Wars, Kimagure Orange Road, Tokyo Babylon etc.) Based on a manga by Sho Kitagawa (Blue Butterfly Fish) that was published in Weekly Young Jump. The story follows a young restaurant worker named Kobuta, who despite having all the opportunities any man would dream of, has never really been in a serious relationship with a girl.

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And sticking to the major trope that all teen dramas and comedies are based, everyone is concerned that he is still a virgin at age 19. Women are basically throwing themselves at him due to the way his friends tell everyone at every turn about his plight, and he will have none of it. That is until he meets the love of his life, an old junior high school friend named Masana that moved to Tokyo and became a successful model. It seems she has recently become available, and Kobuta sees this as his chance to make the move that he never had the guts for before.

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The main thing I like about Nineteen19 is that it’s told from the point of view of Kobuta, but doesn’t devolve into the over-the-top machismo and borderline misogyny that one could expect from a modern male centered romance story. He’s a stoic dude and somewhat emotional – thus more realistic than what one sees in Hollywood films. While his fling with Masana is somewhat ephemeral, one feels really happy for the guy when everything starts clicking into place. Although I will warn that this anime has a bittersweet ending, I don’t want to give the impression that it’s all lollipops and unicorns for 45 minutes.

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Aside from Kobuta and Masana, the cast is not very fleshed out. We get to see both of their respective groups of friends, Masana’s ex-boyfriend, and Kobuta’s boss, but only briefly. Kobuta’s boss is especially strange for his penchant for groping everyone’s hindquarters in a creepy, and yet somehow innocent way. A little bit of explanation for that would have been nice! That’s the problem with older anime OVAs, the short duration (this clocks in at around 45 mins) means that only the most important things get fleshed out. We get to see the romance between the two main characters and that’s all that matters.

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One thing that makes this anime significant is the use of music, and more specifically the interesting music video cutaways inter-spliced into the film. This was made in 1990, so you can expect early 90’s club music and contemporary pop of the era. The music was created by Toshiki Kadomatsu, a popular R&B singer and songwriter that has released quite a few albums, and is still releasing music today. Here is a sample of one of the videos:

Nineteen19 is pretty hard to come by. It’s an old, unlicensed, OVA from over twenty years ago, so a domestic DVD release is laughably implausible. The film gained prominence in the early 90’s through anime clubs and tape traders, and is essentially kept alive by them today. I found a fan-sub on YouTube that I have posted below so you can also enjoy the film. It has a few spelling mistakes here and there,but it gets the job done. YouTube has really become the place to find obscure anime such as this, finding this even five years ago would have resulted in hours on torrent sites and other irritations.

Nineteen19 is a slice of life anime that brings a strange sense of nostalgia over me. I was too young to be able to identify with Kobuta at the time, but I think it really brings out what a real relationship can be like. Our culture has left tons of would-be romantics assuming that they should be attempting to re-create scenes from popular Hollywood films to win affections from the other half, a feat that usually will get the person into trouble in real life. This aspirational brainwashing has made people forget what a real romance can be like: false starts, awkwardness, and misunderstandings. If you want to see something different, and enjoy slice of life anime, watch Nineteen19, I think you’ll dig it.

So, What Do I Mean by “Classic Anime”?

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Captain Harlock (Photo credit: Wikipedia)

The term “classic” is extremely vague and carries the baggage of a general correlation to the age of the subject. To some, it could even be seen as a sort of a pejorative term as many regard older media as inferior and “not cool”. I remember several anime club meetings at my local college where certain members would whine about having to sit through anything “old”. This disregard for the history of the medium that we all love definitely highlighted a division between fans, one I feel should not be there. I do have a nostalgic sense for things from my youth, but hope that this blog doesn’t exist as yet another window into the life of a jaded thirty-something yelling at kids to get off his lawn. With that in mind, how do I use “classic”?

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(Bubblegum Crisis〕 (Photo credit: ccsx)

The label “classic rock” means radio rock ‘n roll from the 70’s and 80’s, “classic film” means anything from before 1970, and classical music ends sometime in the early twentieth century. When speaking of “classic anime” I had to think up a definition of a term that many use, but very few define. For some, it simply means “80’s anime”, and for others it means things from five years ago. For me, the anime industry shifted drastically around the year 2000, and I see anything before that to be “classic”.

In 2000 digital animation became the norm, and traditional animal cels went the way of the dodo. Suddenly anime hit somewhat of a “fad” and became a mainstream medium. Best Buy suddenly had an anime section, Hollywood actors were doing voice over work, and popular TV shows had anime parodies. Then the bubble burst. We’re now closer to the “old days” in anime then we ever were a decade ago, and to me that’s both a good and bad thing. Anime is no longer over-saturating the market, but it definitely lost some fans.

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Akira-Tetsuo-lift (Photo credit: AlphaBetaUnlimited)

That isn’t to say I won’t venture out into this modern era, but I feel that most modern anime fans know quite a bit about these sorts of shows / films. So whether it’s because of nostalgia, or some sort of educational purpose, I’d like to mostly discuss forgotten gems, old school favorites, and new features that have older sensibilities. Think of this blog as the “alternative scene” to the “anime top 40”, it’s not that I dislike things like Naruto, I’d just rather discuss Galaxy Express 999!