Anime Review No. 96 (Agent Aika)

Agent Aika (1997 OVA, 7 episodes)

Studio Fantasia

Director: Katsuhiko Nishijima

Writers: Katsuhiko Nishijima, Kenichi Kanemaki, Katsumi Terahigashi and Noriyasu Yamauchi

Ok, so Guilty Pleasures Month 2.0 kicks off with an infamous classic of the vaulted halls of ‘90s schlocky anime, Agent Aika. Or as I would like to call it, Crotch Shot the Anime. This brilliant ‘masterpiece’ is from the mind of Katsuhito Nishijima, who is also behind Najica Blitz Tactics, Kirameki Project, Labyrinth of Flames and oddly enough Project A-Ko. Also, the lack of screenshots in this review is due to the fact that no one wants 6-12 pictures of nothing but crotch shots because who really wants that? Yeah that’s what I thought. Also spoilers because I don’t care.

Anyway, Agent Aika takes place in the far future where Earth turned into WaterWorld basically. The world is mostly underwater with small pockets of land here and there. Underwater salvaging is a prime business. Aika is one such salvager, working for some guy named ‘Boss’ and his annoying daughter Rion. She is hot 90s anime babe who is both hot, attractive and can kick ass by using a special underwear that turns her into a dark skin Amazon that can kick more ass. Anyway, Aika and Rion run afoul of a madman villain Dr. Hargen and his legion of miniskirt hottie minions and a plan involving wiping out mankind with a super weapon or something like that.

One of the big problems with Agent Aika is that there is not really much to it, not even enough for a redemptive reading. There are two stories if you can call them that: episodes 1-4 and then episodes 5-7. The first four episodes feel like their own self-contained story while the last 3 episodes feel more like a series of loosely connected one-off stories as some sort of follow up to the main story from the first four. This is seriously just plots constructed by action pieces, some pseudo-science BS and background sets glued together by fanservice and some rather troubling and bizarre content. Like did the incest really have to be here?, for instance. Like Amazing Nurse Nanako, there are a few interesting, even good ideas (a waterlogged future) but the people behind the production aren’t interested in that, but in the fanservice. However, the fanservice in Aika is so pervasive to the point where it becomes dull and tedious. I would have done a drinking game with how many fecking crotch shots the director inserts into every single fecking scene, but I would wound up in a coma. Add to that Nishijima’s tendency to linger on every crotch shot FAR longer than need be, and the show becomes so ludicrous its funny. It is also so bad its good quality in the visual presentation. Plenty of corners cut in the production just so the ‘money shots’ are extremely well-done. The OP, ED and the BG music is so 90s it hurts.

Finally, the English dub is not very good but that’s par for the course when it comes to US Manga Corps dubs for the most part. Angora Deb, who plays Aika, is the only one manages to do a consistent job in the dub and I feel that even in the bad/mediocre stuff she starred in, she does a better job than required which should be commended. However, the rest of the cast is wildly inconsistent-ranging from ok/decent to downright cringingly terrible. At times the dub manages a very OTT style with one scene in episode 3 pretty much is so terribad I couldn't help but laugh at the incompetence on display with this dub.

So yeah not really worth your time, not even for the fanservice. Which makes the second part of this review that more inexplicable…..

Aika R-16 Virgin Mission (2007 OVA, 3 episodes)

Studio Fantasia

Director: Katsuhiko Nishijima

Writer: Kenichi Kanemaki

So yeah, this exists. It is a prequel in ‘celebration’ of the original OVA’s 10th anniversary, because that seems like a good idea. I will give it this, it is a nice look into Aika as a teenage girl and salvager in training. So she apparently joins an Adventure Club run by rich girl Eri Shingai and meets a mysterious quiet cutie Karen with a butterfly on her bosom. Anyway, they go on cruise to a treasure spot for some reason that actually has a (stupid) point. But their advisor (hottie Ms Risako) turns out to be EVIL (what a twist) and has some plot involving Karen. The treasure spot site is a site tied to Karen’s past and then it gets WTF weird, even more WTF weird than the original.  

There are still a lot of crotch shots and fanservice. except its more amusing and hilarious here than in the original OVA. Luckily there is some sort of a story that is going on that actually incorporates the fanservice a bit better. Granted much of the story still is riddled with cliches and contrivances but it is there rather than not as is the case with the original OVA. It also has an awkward habit of reincorporating character elements/details that appear in the original OVA.

The production values look a lot more slick and digital, i’ll give it that. Of course the true mark of quality comes when the ED contains footage of the episode itself, yes really. Granted the whole OVA feels like a sad artifact of the 90s just looks a bit better in the visual department slightly. It is full of the same shortcuts (speed lines, obvious CG, etc) just so the Nishijima-san can focus on the ‘money shots’.

Now the English Dub is slightly better than the CPM dub for the original OVA but that’s not saying much. Its a 2008 Sam Regal-helmed Bang Zoom dub probably made on the cheap considering the quick turnaround between the initial airing of the OVA episodes in Japan and its subsequent Eng dub release and how small the cast is. Main stars include early-career Cristina Vee and Kira ‘Rina-chan’ Buckland among some other regulars of the LA scene at the time. The dub can be best described as competent, decently casted and acted but rather dull and procedural, which can best sum my feelings on modern day LA/California dubs anyway.

There is another prequel, Aika Zero, that came out in 2009 which is a mid-quel of sorts but since its not out officially I won’t talk about it. I imagine Bandai (who re-released the first OVA and then dubbed/released the prequel OVA) and hoped that it would make money so then they could then release the Aika Zero OVA here in the States. But that didn’t happen, and since Bandai is no longer in the game, I highly doubt this will get a Western release.

And what of Nishijima-san? Well he recently worked on an OVA titled Nozoki Ana, which someone on my Twitter feed was watching a few days back. Based on the screenshots it seems he is still up to his usual shtick. I suppose some old dogs can't learn new tricks. Though he has shown up working on another shows, notably as a key animator on an early episode of Kill la Kill, which is a quite interesting tie-back to the era of anime Nishijima-san was a part of.

So yeah this isn’t so much a guilty pleasure, because I don’t feel pleasure from watching it. If I want to watch something with just crotch shots, I’d just watch hentai or porn. I do feel a bit guilty in buying both of these though at a slight discount granted so I didn’t waste much money on this. Is the Aika series one of the worst? No, I have watched far worse anime that actually insult my intelligence. All that the Aika OVAs do is irk my sensibilities but only that as its not that deep or self-aware enough to read any further into it. Then again, that irking/shaking of sensibilities is what anime partly appeals to people I suppose.

Luckily, the other 2 entries this month are actual guilty pleasures and I will have more to talk about with those. Til next time dear readers.

Anime Review No. 87 (Dead Leaves)

‘I kinda hate myself for liking this’

Dead Leaves

2004 OVA

Studio: Production IG, Director: Hiroyuki Imaishi, Script: Takeichi Honda and Imai Toonz

Well then, its time for a blast from the recent past. Yeah only a decade has past since this OVA has come out, but 'recent past' still counts. Also, its the debut as director for Hiroyuki Imaishi. So yes Dead Leaves it is.

Umm yeah it is about a duo of anti-heroes of sorts and their wild adventure in the far off future. They are Pandy, a buxom babe and Retro, a dude with a TV for a head. The movie starts up stranded on a wasteland both with memory loss, and very much in the nude. They team up for a bank robbery which leads to a rather disjointed manic car chase action sequence.They are however caught by the police and sent to a prison on the moon, which is a disfigured crescent in the sky. This in turn leads to the most glorious sex scene ever in anime outside of a hentai though our duo escape along with some other prisoners, leading to more shenanigans. I won’t spoil any further as this has to be seen to be believed.

Dead Leaves is a weird and surreal mess. me trying to recount the plot much less the story is hard to do even after watching it half a dozen times over the course of many years like I have. I was constantly screaming WTF and laughing my butt off often at the same time.

In many ways, Dead Leaves is a perfect display of Imaishi style even for a debut feature. Be it the fast kinetic direction and pacing or elaborate storyboarding. But this stuff is at the expense of sense or logic, its animated insanity. Of course this is looking at it as a standalone work, isolated from a historical perspective. Looking at it from a historical career sense, Dead Leaves becomes a step in the evolution of one animator’s style over time.

Imaishi started out as an animator on Evangelion back in 1995. He continued with work on other Gainax series in late 90s/early 00s (notably episode 19 of Kare Kano, FLCL episode 5, and Magical Shopping Arcade Abenobashi episodes 3 and 12). Then he did this as his first outing as a director and it certainly feels an effort from a first timer, a good effort if a little uneven in parts and places. After that, he directed Gurren Lagann and later Panty and Stocking with Garterbelt. In fact, PSG feels like a more refined version of Dead Leaves, which both in turn are lovely tributes to the schlocky era of bloody violent and vulgar OVAs from the late 80s/early 90s. Heck Kill la Kill, his most current TV show and 2nd collaboration with Kazuki Nakashima, this OVA gets a nice mention (by that I mean ‘spot or you’ll miss it’) in the very first episode of that series.

Also the release history of this OVA is rather interesting. The original Japanese release dates to January 2004. It got a release here in the States on DVD and UMD (remember those? yeah me neither) within the next year by Manga Entertainment. It also got a TV broadcast on Sci-Fi Channel Ani-Monday block in Jan 2008 which is probably one of the early times that I watched it. The dub was done by Gaijin Productions, the ADR company Amanda Winn Lee and her husband formed after leaving ADV and moving from Texas to LA. They have done only 4 dubs: this, the Read or Die OVA (arguably the best out of the bunch in my humble opinion), and Evangelion Rebirth and End of Eva movies. Granted Amanda Winn Lee is still somewhat in the voice acting business, recently showing last year in the Persona 4 The Animation dub. The dub is OK and rather apt for such a cartoony and insane short movie, in a way harking back to the early ADV Films catalog of dubs that the Amanda Winn Lee was very much involved in. Although the only actors notable here are Amanda Winn Lee and her husband Jason C Lee playing the main duo but that’s about it.

I’ll end this review by saying yeah Dead Leaves is a wild crazy but fun movie. Lucky for you all, Manga Entertainment has the whole thing up on Youtube so you can see and watch it for yourself and decide on your own.

Next time, well its time for an actual blast from my past.....

Later, my dear readers.

Anime Review No. 83 (KO Beast)

KO Beast (OVA) aka KO Century Beast Warriors

Initial Home Video Release: 1992-93

Director: Hiroshi Negishi

Script: Satoru Akahori

Studio: Animate-Film/Project B4

Well, well, it’s been a while, folks. But I am now getting back into the groove of doing reviews on a regular basis. Also, its my 3rd year anniversary for the blog so this month will be full of special reviews. Now, as I posted before, first off the bat: KO Beast!

Our gang of heroes, everyone ^_^

In the far future or something, the earth has been split in half. By what force that is explained but it makes very little sense. Beastmen roam and have taken over and are in a war against Human technomages as the two vie for control of the planet. KO Beast follows the adventures of Wan, Bud Mint, Mei-Mar and Tuttle as they contend against the villainous V-Darn and V-Sion and their sadistic fairy Akumako, whose boss is Czar Master a mysterious but evil being who wants to, of course, take over the world. Luckily, Wan (a prototype of every shonen protagonist for the next 20+ years) and his band of warriors have some tricks beneath their sleeves. For one thing, they can transform into anthromorphic versions of themselves, being human-animal hybrids. Wan turns into a tiger upon sneezing, Bud turns into a chicken when he gets goosebumps, Mei-Mar and Tuttle turn into a mermaid and turtle respectively. They have Yuni, daughter of Dr. Password who holds a secret power that might be the key to an united future. Lastly, they got these I-Jinn statues which can turn into giant mecha that can combine…..so like nearly every Sentai in that respect. I am going this far because I feel that this is a show meant to see to be believed.

I like the mecha designs (done by Rei Nakahara who would go on to work for  Blue Seed and Angel Links ), very old school

KO Beast OP

Now, this is a very silly and ridiculous show, to be frank.I mean, the OP pretty much tells you that right off the bat. Especially when I first saw this, I was like ‘what the fudge is this?’ but then as I continued I warmed up to its insanity. That is probably because KO Beast is just so optimistic and full of fun and very earnest. It is a lovely combination of adventure, shonen action, fantasy/sci-fi ever encapsulated in 7 episodes. The 7 episode OVA is split into two different stories: Episodes 1-3 being a shonen style quest adventure while Episodes 4-7 transitioning from that to being a rescue mission story. There is promise of further adventures but thankfully this OVA is relatively self-contained, something not many of KO Beasts’ contemporaries did.

Our heroes have the right things in mind lolz

There is not a serious bone in this show’s body and it is certainly proud of and/or well aware of this fact. Even when it does get serious, it manages to do that and crack a grin in the midst. It had me laughing all the way through, which is most likely the result of the writer and director for this OVA. Hiroshi Negishi and Satoru Akahori, two guys big in the anime scene of the ‘90s, make their debut more or less here. The CV for these two (Negishi would go onto do Burn Up W, much of 90s Tenchi Muyo and Saber Marionette J while Akahori would write for such shows as Nadesico, Magical Shopping Arcade Abenobashi, Maze the Megaburst Space, Sakura Wars, etc) is quite a sight to behold, even Negishi was responsible for that trainwreck known as Amazing Nurse Nanako, but yeah we all can’t be perfect.

The OVA has some nice backdrops

Hmmm.,.....nah that couldn't be!

Of course, the writing and direction are complemented by an impressive art style and animation, even for the time. Sometimes it does get a bit cartoony and rubbery but hey it fits the tone and attitude of the show. Of course, consider when this first came out, its the early 1990s, as anime was coming out of the gritty, ultra-violent/sexed up OVAs of the 80s/early 90s. Sailor Moon was just out in 1992 on TV for instance and anime that came out in 1992 read like efforts to distance themselves from those kind of material. Anime studios began moving towards a broader eclecticism (at least in terms of the kind of shows/genres/stories they produced adaptations ). Essentially KO Beast came out at a time when more shows geared to genres like fantasy, sci-fi, slice of life, drama, etc which continues to this day. Not to say shows of those genres existed prior, but they were at the fringes of the anime fandom at the time when the only known shows from that era were space operas like Macross and Gundam or ultra-violent schlock like well, anything infamous from that era take your pick. Not to say that KO Beast was a pioneering series for the japanese animation field, but it stands as part of a vanguard of early to mid 90s anime.

Only in this anime does Lisa Ortiz voice a sadistic devil-Navi for the dub lolz 

The English dub, produced back in 2003, is a steady effort from NY Headline Studios, one of the better studio groups from that area. While certainly not their best effort (Kare Kano) but it is not that far off from that in terms of quality. It is somewhat notable for starring early career Liam O’Brien and Sam Riegel as well as NY dub mainstays like Angora Deb, Rachael Lillis, Lisa Ortiz, Jessica Calvello and J David Brimmer. Granted it gets a bit repetitive in terms of the additional/bit parts but otherwise a fine dub overall. Note this is one of a few shows that has both an American and British dubs. But, The British dub was only for the first 3 episodes and seems lost to history though a friend of mine has seen some of it and called it ‘legendary’. The best bonus for the US release is the english dub outtakes which are hands down the funniest I’ve heard. Granted, its mostly the actors flubbing their lines or inserting unneeded references into the scenes as one would expect from bloopers, but one can definitely tell that this was a riot to record, for sure.

So yeah I like this show, its got a special place in my heart when it comes to 90s OVAs, right along with Magic Users Club and El Hazard. It got some good stuff going for it and any sort of shortcoming are forgiven because it is just so darn funny and entertaining.

KO Beast is available by Right Stuf, though only as 3 DVD singles that are out of print but can be found easily on Amazon or eBay.

But you know, things can't all be fun and games all the time.....

Til next time, dear readers.....

Anime Review No. 71-FLCL

"Never Knows Best"
FLCL

2000-01 OVA, 6 episodes

Director-Kazuya Tsurumaki, Studios-Gainax/Production IG, Writers: Kazuya Tsurumaki and Yoji Enokido

also

2 volume manga (2000-01)-Art by Hajime Ueda; story by Gainax

So, Happy New Year readers

Well, I figure I shall start out the new year with a review of a show that's over a decade old and done by one of my favorite anime studios-that being FLCL or Fooly Cooly. Note, I will be talking about FLCL overall, no need to worry about spoilers. That said, go see this!

Now a brief summary: Naota is just your typcial young kid living in a city, dealing with puberty and the implications of that, be it his brother's ex-girlfriend, etc. He likes life to be easy and dull, yet one day Haruko, a crazy pink haired girl, runs into him with her Vespa motorcycle and from that moment onwards, Naota's life changes forever, for better or worse (more the latter then former anyway).

Suffice to say that it is all I am saying about, because this OVA has been quite overplayed for the past decade, first airing by Toonami then subsequent reruns every now and then. Yet, this show is still quite popular and well-known here in the States. Why's that?

Huh, something about this looks familiar.....

Well, the greatest strength of FLCL is that it serves as a grand pinnacle to anime comedy, at least for Studio Gainax. It is just so quick-fire in pacing that the gags fly full and above the rest, nearly blowing out of the water many of the other anime comedies I have seen. Granted, a lot of the comedy presented is rather surreal so at first glance one might not get it. I stated back on my Anime Favorites page regarding FLCL as such, and I stand by that statement. I feel that Panty and Stocking with Garterbelt, which I quite like, is a mere pale shadow of this: the jokes there are more hit and miss, dependent on your tolerance for toilet humor. FLCL is one crazy, insane ride from start to finish and it never lets up at all. In fact, FLCL can be more compared to Kill la Kill, the recent 2013-14 anime put out by Studio Trigger, which is made up of former Gainax staffers. If you have seen Kill la Kill (and you should because it's awesome), then that comparison becomes quite clear.

Why the malformed face......eh?

Of course, this aspect is helped favourably by other factors. First off, there is a great director-writer team in Kazuya Tsurumaki and Yoji Enokido working on this. Now, prior to this, Tsurumaki had overseen the last third of Kare Kano anime (which I have looked at before) and Enokido had written a large part of the Utena anime and co-wrote a few episodes of Evangelion. So, in essence, we get a team getting their first project to run themselves. The result is nothing short of fantastic. The direction is vibrant and full of life, firing on all cylinders like a finely tuned machine. Of course, the animation derps and dips in place, but that seems to be delibarate. But when it is great, the animation can shine, due to this being a Gainax/Production IG collab, which both by this point had done some great work and would continue to do so for at least the next decade. Enokido provides a script which at first might be a tad confusing, but upon rewatching it clears some things up. FLCL is a series that is designed to be rewatched, in order to be fully understood. There is distinct lyrical, nah poetic aspect to the dialogue, though very postmodern, with little throwaway bits that later come into play in surprising ways. The middle of the OVA (episodes 3-4) might seem to be filler material and the ending is so ambiguous, but it manages to be entertaining enough so as to dissaude such accusations. Its no surprise that this same team would go on to make Diebuster a few years later, which is why those two Gainax shows are my favorite over some of the other entries in their catalog, though a good part of the Gainax catalogue holds a special place in my heart. Such a shame that Gainax has been in the pits for the past few years-their current stuff just doesn't match up to what they used to do, or rather they no longer suit my tastes which could be it.

A Faux-meganneko, if you will xD

The sound is equally terrific for FLCL: both the OST and language tracks. The entire OST is done by The Pillows, an alternative rock group who have been around for some time. In particular, the ending song "Ride on Shooting Star" is just awesome (FLCL ED). While serviceable in the Japanese, the English dub is quite good, with some noteworthy performances from Kari Wahlgren, Barbara Goodson, Stephanie Sheh, etc. Though, there exists a nagging problem with the dub: it is too faithful to the original Japanese. Not just in terms of the adapted script, but in how its performed vocally. This has been quite an issue with West Coast/LA dubs, in that they tend to hue more towards the original Japanese. I first actually noticed this with the dub of Lucky Star, which has predominance of 'chipmunk voices' in the dub in an effort to make the dub more like the original Japanese. Madoka also suffers a bit from this practice in the dub as well. It doesn't seem to me that anyone really notice or let them know about that. Regardless, the FLCL dub is still quite good.

Groovy  ^_^

And now for the manga adaptation, as I said before, this is an Anime vs. Manga article:

Typical start of your day....

Hajime Ueda did the artwork for the manga, having been a doujin writer prior to getting tapped for this manga adaptation. Story is credited to Gainax, though I'm willing to bet it was Ueda collaborating with Tsurumaki and Enokido in terms of the writing.

Volume 1 is nearly beat for beat the events of the first 2 episodes of OVA: Fooly Cooly and Firestarter. Some of the details are slightly altered, but the semblance of plot remains roughly the same. If you are thinking that the manga segments in the OVA are like the manga itself, then you are sadly mistaken. The art is very rough around the edges, very cartoonish one might say. Of course, it does fit the tone of the piece anyway, so any quibblings that can be made about the artwork are just that. There are a lot of more references made in the manga, such as one chapter starting off with a panel of Tak-kun and the robot making a rendition of Edvard Munch's The Scream.

Of course, the second volume is a different beast altogether. Sure, it starts off with what happens in Episode 3 and then veered off into totally unexplored territory. In many ways, this is where the manga makes less sense than the OVA, if that is even possible. The manga, in comparison to the anime OVA, ends on a more ambiguous note, but then again that's the open ended nature of the conclusion. That being said, the manga is a quick read (less then 300 pages between the two volumes), so if you have seen the OVA, then I definitely recommend checking out the manga as well. As for other work by Hajime Ueda, well, we shall take a look at that laterz.

Of course, Yoji Enokido did write a pair of novels based FLCL which has been released as well. I have yet to read those, but if given the chance I most likely will.

Actual Audience reaction after this 

At the end of the day, FLCL is a fun and twisted bundle of cartoony insanity. In many ways, it represents the pinnacle of Gainax as an animation studio, in the prime of its heyday. It is very nice that its legacy extends into the present with shows like Gurren Lagann, Panty and Stocking with Garterbelt and Kill la Kill.

So, what's next on my platter? Well, its another project Yoji Enokido worked some years later....involving racing and fast action that would put the Fast and the Furious franchise to shame. 'Til next time, dear readers.

Anime Review no. 70-Patlabor OVA

Patlabor OVA
1988-89, 7 episodes
Studio: DEEN/HEADGEAR, Director-Mamoru Oshii, Writer-Kazunori Ito



Hello there, well it is time for the final review for the blog this year. In case you didn’t get it by the preview trailer posted at the end of the previous review, I am going over the Patlabor OVA, the other release I got from Maiden Japan this year. This review will be more of an episode guide as this show is old enough to warrant it. Therefore, spoilers warning.
Episode 1: Second Unit, Move Out!


Notice anything off here? 

It’s the near future in Japan, where giant robots have been developed for wide use in society. However, crime rose as a result and in response the police develop the Patlabor, which unsurprisingly look like the robot from Appleseed. This information is dispensed through the pre-opening intro at the start of every episode.  Then the opening song (link to OP), which I have to say is one of the best from the old school anime I have looked at. It’s energetic and fun, and gives you enough clues about what this is about, namely giant robots.



Essentially, Patlabor is the chronicles of the Second Unit of the Tokyo Metro Police Security Division. This series came out at a time when giant robot shows were rather simplistic: Macross, Gundam, etc while entertaining and successful money makers. Patlabor added some depth and philosophy to the mix-years before Anno did the same thing with Evangelion, except this works out a bit better. I believe that is due to the director, Mamoru Oshii. He also is behind Ghost in the Shell, another sci-fi which deals with similar themes and ideas to Patlabor. It is very cautious optimistic: robots have done some good things for society and that all our problems have been solved with technological progress, but still some of the societal ills exist nonetheless.
Anyway, the SV2 is headed by Captain Goto, a deadpan snarker boss. Shinobu is the female captain for the first unit and double acts against Goto quite often, providing some nice comedic moments here and there, in small doses. Of course, our main characters are the squad members: Noa Izumi-plucky genki redhead girl, names her Patlabor 'Alphonse'; Asuma Shinohara-down to earth guy who’s son of the president to the company that made the Labors possible; a gun otaku named Ohta, a scrawny newly married man Mikiyasu and the gentle giant Hiromi.  

 
One things I have to give this series is that it has quite solid animation, both in mecha design and backgrounds

Basically the first episode serves as a standard first episode: introducing the world, the characters, the main draw (the Patlabors), and setting up the situation. I have to say they do a very good job at this task. It does take a bit for it get interesting but luckily once it picks up, it does with great speed. What happens is that the SV2 grab their Patlabors and go to deal with some criminals who have gotten hold of a Labor and a police chase ensues The fight and chase scenes is well done, quick and kinetic animation. I also like to point out that the animation is rather solid and consistent, with some great backdrops thrown in for good measure. The episode ends with them capture the bad guys yet the Patlabors need repairs; overall a decent first episode.  

Episode 2: Long Shot (aka ‘Dat Face!!’)
It starts off with something completely out of left field: Izumi getting to test out a new Patlabor-which looks like a Gundam knockoff. However it fails, but then it turns out that it was all a dream.


Oh, mai waifu! (No seriously Kanuka rules, screw you guys)

Anyway, new character introduced: Kanuka Clancy, aka my favorite character in this show and potential waifu. No, seriously. Despite being an American transfer, she is the most Japanese looking of the entire cast, which is very funny. It also doesn't hurt that she is voiced by Angora Deb, one of my favorite voice actresses from CPM dubs (others being Veronica Taylor, Rachel Lillis, Megan Hollingshead, Jessica Calvello). She is here to oversee a goodwill trip by the NYC mayor; acting as temporary Security advisor.
It is in this episode that the Babel project is first brought out: basically turn Tokyo Bay into a mini-version of the Netherlands, to solve land issues. There is lots of talk about this, but it isn't explored too much in the OVA at least that I am aware of, acting as something in the background. Opposition in the form of terrorists and other anti-govt people that don’t much care for the Babel Project for very vague reasons.


Gah, what a face >.< 

It turns out some mad scientist has set up a bomb right near the hotel building where the NYC mayor will be at; the episode turns into a ticking clock type situation-real tense. She pretty much saves the day as she is like the expert on explosives and helps Shinohara with 'which wire is cut?' scenario then ends up cutting the wire herself just in the nick of time. 


Bwahahahahahaha Dat Face (twice in the same scene)

Shinohara wants to quit, yet stays when its announced that Kanuka Clancy is staying for a year with SV2. Possibly due to him gaining a crush on Kanuka, I don’t know it isn’t explained clearly at this point. Despite that, I quite like this episode: great action and suspense, and an introduction to one of my favorite female characters in anime.  

Episode 3: The 450 Million Year Old Trap
Ok, right off the bat, this whole episode is practically a dead straight parody of the 1954 Godzilla film. I say dead straight parody because as ridiculous as the premise is, it is played completely serious. It has all the elements of a monster flick: Mysterious sea creature, mad scientist who created it, various schemes to deal with the creature (ranging to scientific to practical to just plain silly), scientific psychobabble (panspermia theory and ruminations on evolution).


Oh you knew I had include another Kanuka screencap in here somewhere

The scene in Hirata's lab is really the one highlight: the writing, animation, lighting, direction-its all impeccable.Kanuka Clancy is really the sane one of the group but then is quickly involved, but more in the ‘oh let’s just kill the sucker’ which is rather disheartening. Unfortunately, it is very anti-climatic. 

 
Yeah, this makes even less sense in context. 

I see why most people don't like this episode, as it is rather unlike anything else in the OVA series. It turns the show from a police procedural with giant robots and blending in elements from B-movie monster flicks. On the other hand, I can also see shy Mamoru Oshii says that this is his favorite. He seems to be very much a Godzilla fan and wanted to pay homage to it in this project. Personally, I find this episode to be more an interesting experiment that fails in execution rather than planning. Sure, the plot is nearly beat for beat Godzilla, the fact that they play it straight makes its more entertaining, at least in my eyes.

Episode 4: The Tragedy of L
It opens with the SV2 squad brought into deal with a hostage situation at a VHS store. Yet, they manage to botch that up and Capt. Goto decides that they need some retraining. So, they go back to their former training school. They still get some R&R (nice bath scenes with a bit of male and female fanservice, at least by late 80s standards).

 
Dat Face strikes again 

But, some strange things occur: Someone put red paint in the bath, Ohta finds hair in the sink and spots a ghostly girl, A mossy overgrown Patlabor emerges from the mist with a skeleton inside, and some other coincidental events relating to a tragic past incident at the training school. Shinohara and the others are piecing together the puzzle in order to solve the mystery. Shinohara comes in and basically shows that all isn't what it seems.

However, he is upstaged by Kanuka who very much steals the scene and goes further than Shinohara could: its takes more to put the pieces together-one must analyze and synthesize the whole situation and all the information presented to you must be taken into consideration: to sift out the truth from the lies.  
The only thing I really like about this episode is that it offers some interesting commentary on the structure of mystery tale. Otherwise, an OK episode.  

Episode 5/6: The SV2's Longest Day, Parts I-II Pinnacle of the whole OVA series
In Winter (February to be precise), Shinohara finds out that his father's company is developing a new Labor for military use. It is also around Holiday season, and so the SV2 squad are all off on vacation. Meanwhile, a widespread criminal conspiracy is afoot with a past friend of Capt. Goto's, named Kai, at its helm-mysterious men in black scouting out the SV2….for nefarious purposes mwahahaha.  


And another Kanuka screencap added in (also, the action scene she's in is fantastic)

Quick paced action and drama rolled in one; great character moments-everyone in the main cast have their moment to shine (Shinobu's defiance against the authorities who'd prefer to turn tail and run, Goto dealing with stopping Kai's plan, Kanuka and her crazy driving scene, Shinohara and Noa's buddy comedy scene as they make their way to help). Another thing I like about this show is that any sort of romance is rather subdued: Goto x Shinobu, Shinohara x Kanuka is more implicit in nature, and that it doesn’t detract at all from the main story.


Yeah, this is how the 2 parter ends....on a still frame for reasons that forever baffle me

Some other things of note: real nice cliffhanger between the parts as the squad gets together to do battle. Part I is all establishment and build-up, then Part II is big bang action and quick payoff. It is a nail-biting, down to the wire scenario. Finally, if properly edited, this could have been a good standalone movie for the series (oh wait...).  

Episode 7: SV2 to the North!
We sort of go full circle with the seventh and final episode, as the SV2 squad deal with a stolen prototype Labor, which got stolen twice. The unfortunate thing is that it isn't connected to anyway to the events of the last 2 episodes which were great-no sense of any time lapse or skip, even a basic mention.  

 
The Patlabor rolling out and the ensuing robot fight is really the only highlight of this episode

Gosh I love Kanuka Clancy-only one not arguing/bickering and just wanting to get the job done. Noa’s and her team-up with the prototype Labor against the company’s own Labors which turn on them near end of the episode is the highlight. It ends on a definite high note: Promise of good stuff to come….
That being said, it is a good episode overall, but it feels like the ending for this particular OVA, and not for a series: Not surprising, as by the time this episode was released in Japan a TV Series and Movie was being made.  

Misc observations:
I love how this series explores the impact that the advancement of technology has on society. It offers an interesting look into society of the future, that even with the giant robots, the police will still have to deal with criminal activity regardless.

The English dub: quite good, certainly one of the better NY/CPM dubs I've listened. For all the flack i give CPM when it comes to their releases, they did do quite a number of good dubs: this one, Slayers, Utena, etc. Dan Green is in this dub, and yes kiddies before Yu-Gi-Oh! He was in quite a lot of these CPM dubs. Everyone else is rather good, though a few slip-ups and hammy acting occur as well. Once again, Angora Deb is another standout performer as Kanuka, and certainly some of the others (Michael Schwartz as Capt. Goto) give some really great performances.

Overall, Patlabor OVA is a very good old school giant robot show. It is certainly one of the best old school (80s and 90s) anime that I have looked at. And I am glad that Maiden Japan has taken an interest in licensing and releasing this as it had been out of print for at least a decade. If you’re a fan of old school anime or giant robots, then I definitely recommend checking this out. Also, Maiden Japan has been releasing the TV Series which is based off of this OVA (4 sets in total) primarily because they did a license rescue of the stuff that US Manga Corps released back in the day. The movies in this franchise are still in the hands of Bandai, though been out of print for some time but can be found if you're willing to do some digging. I hope to get my hands on at least the first movie and go from there. This OVA, more than anything, has served as a great introduction for the Patlabor universe.

Well, that covers 2013 for me. I will be posting an update on the Anime Favorites page on my blog Sunday with Entries #4 and #3 for that list.

Anime Review No. 69-Momo The God Girl of Death

"It's the end but the moment has been prepared for."
Momo the God Girl of Death: Shinigami no Ballad
2006 OVA, 6 episodes
Studio-Group TAC, Director-Tomomi Mochizuki, Writer-Reiko Yoshida



Hello, I am the Eclectic Dude.....and I rock the plaid. But in all seriousness, this entry is touching on a subject that is heady, that being death. Its a subject that over the centuries has been dealt in various ways and methods, from the Mahler’s Ninth Symphony, to the Divine Comedy of Dante, to Picasso's Guernica, to Monty Python's Dead Parrot sketch, to images from the past century of death and destruction (pick one there's aplenty).


Thus, anime certainly is not exempt from dwelling on the topic of death. Though it is mostly focused on character deaths, which can range from emotionally impactful (a certain death scene in Madoka) to dull and vacuous (I'm looking at you SAO!). Yet, there aren't that many shows in the anime genre that deal with death in any particular and constructive way. However, Momo the God Girl of Death is one of those series.


Momo the Girl God of Death is basically a short anthology series involving the titular Momo and her lively cat-bat assistant Daniel as they help people out with death, either by avoiding death or dealing with the wishes/regrets of people in relation to their lost loved ones. But, she does it with a gentle and kind heart, seeming more like an angel then a grim reaper (scythe notwithstanding).


So, what about this makes it special? Well, it being a loose anthology, you can easily just watch the episodes in any real order, as there is not much continuity. As such, this feels like a patchwork of vignettes stitched together with really the only connection being Momo and Daniel. Only episodes 3 and 6 are really any good standout in those terms. Episode 3 deals with a young man Kantaro going out on a treasure hunt based off a map left by game-loving grandfather, involving his female classmate Tomato (no seriously that's her name) to come with. What he finds there is not quite the kind of treasure one would expect. Episode 6 deals with Momo and Daniel consoling a recently dead spirit of schoolgirl Sakura. Watching Momo pointing out to Sakura how her family and friends are while at times moving forward with their lives, still take time to remember her. Of course, the twist at the end is quite a surprise at least to me. The messages presented here are not that different from the obvious ones brought out in other works on death. All told, they are rather simplistic in terms of story and characters, but is it attached to stunning visuals, right?


Well, unfortunately, the presentation is rather bland and dull. Then again, the show on the whole is mellow and calm for the most part, so it fits. The animation is done by the now defunct Group TAC, which went out of business in 2010 and as such it looks utterly generic. Heck, even the music is generic, light music with scarcely a memorable tune in it at all.  It is at least barely competent, but it doesn't stand too much, even from 2006. Which leads into my next question: Why did this get released?


The answer is Maiden Japan, a label linked with Switchblade Pictures, which in turn falls under the umbrella of Section 23 Films. Maiden Japan was founded by former ADV co-founder Matt Greenfield back in 2010 and their express purpose seems to be releasing really niche anime titles. I mean seriously, look at their catalog (Maiden Japan Catalog). I haven't heard of any of these, though Papillon Rose looks particularly interesting....anyway.

So yeah, and not only does this release come over here, but also with an English dub track. Niche titles, at least in this day and age, often don’t get a dub or if they do, it tends to be a re-release done several years later (Punie-chan as an example). So, what about the English dub?

Well, the English dub for this show is the second title Maiden Japan has released with a dub, the another being Tokyo Magnitude 8.0 this past spring. Unfortunately, it turned out to be a rather patchy and uneven Sentai Filmworks dub (mix of veteran ADV actors and newer talent that they got). Whether or not that has to do with the 2 ADR Directors working on it (Joey Goubeaud/Jason Grundy), large but multitasking cast, or some questionable issues in pronunciation or vocal performances ("shinigomi in lieu of shinigami"/use of reaper in text) is a point for debate certainly. Personally, I just think any problem with the dub is in relation to the rather lackluster source material. When it works, it is very mellow and slow, much like the show itself. There are some highlights to be fair: Jessica Boone as Momo and Nancy Novotny as Daniel deliver great performances overall. In fact, the overall quality improves a bit over the course of the 6 episodes, but not by much. Episode 3 has in my humble opinion the best performances of the dub: Brittney Karbowski, Chris Patton and John Swasey putting in some great performances, at least in comparison to the rest of the dub.


So, why did I choose to review this series? Well, I had have my brushes with death in the past, one in particular from 5 years ago. I ended up in hospital for a weekend after having a week of excessive lethargy and other things. Well, it turned out I had developed diabetes, type I to be precise (so yes, my pancreas is on strike). My blood sugar was so high at that point that the nurse told me any higher, and I would be dead from coma. I was like ‘wow, that’s scary’. In fact, I would dare say that was my ultimate turning point in my life, whereupon I no longer took stuff for granted and strive to live life to the fullest, which of course is one of the primary messages of Momo the God Girl of Death. In the end, it’s a reassuring comfort when I watch it. Not too great, but not too bad: it is just there, decent and competent show that touches on the heady subject of death.

Info on Releases:
Released by Maiden Japan in June 2013
3 novels published by Seven Seas Entertainment back in 2008
So, what’s next for me? Well, the last review for this year is over another release by Maiden Japan, luckily its much more memorable and what I’m sure will be a treat for old school anime fans:

Trailer for Next Time's Review

Thanks to wiifermadness for uploading this.

Later, good readers….