Showing posts with label Anime. Show all posts
Showing posts with label Anime. Show all posts

Thursday, October 25, 2018

Log Horizon

The alternative world genre of isekai overflows with the adventures of teens questing through fantasy worlds that blend video game and Western fantasy tropes. While most of these tales escape the server farms and silicon gates of actual MMO games for divinely-crafted fantasy worlds, a few return to the central premise of modern isekai:
What would it be like to live inside a video game?
Most Japanese litRPG anime and light novels are aimed at an early teen audience, following eighth-grade protagonists through simple power fantasies. But what adventures might await the adults who form a majority of the MMO player base?
Log Horizon, the multi-media franchise based on the light novels by Mamare Touno, takes up the challenge, simultaneously delivering a World of Warcraft/EverQuest-inspired game world that, for once, resembles current MMO gameplay while challenging its characters with the social quandaries and responsibilities that twenty-something adults encounter. By eliminating the hoary convention of death in the game world resulting in death in real life, Log Horizon forces the players to deal with each other and the inhabitants of the world. The result is a richer story absent of the false drama caused by player death.
For twenty years, the MMO Elder Tales has been the most popular and ambitious MMO, eclipsing even World of Warcraft in its player base. As Elder Tales’ twelfth expansion, Homesteading the Noosphere, rolls out, a socially awkward engineering graduate student known as Shiroe finds himself trapped inside the game along with hundreds of thousands of players worldwide. As the trapped players struggle to adapt to the new reality inside Elder Tales, a growing malaise, poor food, and decaying relations with the non-player characters known as The People of the Land cloud the game world. Together with his friends Naotsugu and Akatsuki, Shiroe sets out to rekindle hope and create a place that the gamers can call home. The end to this quest will not be found at the bottom of a raid dungeon.
While Log Horizon is best known over here for the anime, manga and light novel versions exist as well. Yen Press is publishing an excellent English translation of the light novels, with the latest scheduled for English release in January 2019. Since such a tale of alliances can leave a cast sprawling and characterization thin, two manga spin-off series cover the adventures of guilds allied with Shiroe, The West Wind Brigade and Honey Moon Logs.
Log Horizon’s characters come from the full sweep of MMO players, including busy professionals blowing off steam, the chronically ill who find in gaming worlds to explore that are otherwise denied them, and the introverts, the socially awkward, and the wounded hearts which find socializing in gaming easier than real life. Shiroe is a renowned master strategist among the player base, seeking the most harmonious path through the entangling politics, but he is vexed by his own doubts and the nagging suspicion that most people only show interest in him to mooch from his talents. Because of these doubts, Shiroe tends to withdraw from polite society and potential sources of social conflict, such as player guilds. But to protect his friends and adopted hometown from the perils of the new Elder Tales world, including other players, Shiroe has to steer into situations he once avoided, and use his considerable talents for someone other than himself. Fortunately, he is backed by his longtime companion, Naotsugu, a cheerful skullcracker in Elder Tales and a successful salesman in the real world. The brawn to Shiroe’s brain, Naotsugu also thrives in the social circles Shiroe would rather avoid. Too bad Naotsugu’s occasional bouts of exuberant immaturity often undermine his successes. While university student and avid role-player Akatsuki is the mascot character for Log Horizon, she is also a highly competent ninja who is also plagued by insecurity caused by her short stature. Practically invisible to all but children, she desperately wants to fit into an adult society that is denied her in the real world, but is unsure of how. Likewise, each member of the tangled mesh of guilds that Shiroe calls on for his schemes carries both success and burden. Unfortunately, the sheer scope of the intrigues does not always allow for the characterization of these conflicts of self to be painted in anything other than broad strokes.
Compared to the exuberance of moe shows, the character designs are less exaggerated and more refined, depicting a wide range of ages without resorting to the old trope of depicting all adults, including university students, as late middle-aged or older. The teen supporting characters are depicted with an awkward earnestness missing from the age-of-consent fantasies cluttering isekai and anime.
By the way, whoever at Sentai Filmworks it was that turned the gentlemanly swashbuckling cat Nyanta from an infestation of meow puns into the gamer version of Lando Calrissian needs a raise.
The litRPG genre can be daunting to outsiders. Log Horizon attempts to ease the audience into the complexity of an MMO. The rules of the world encourage Shiroe and the gamers to use the menus and obvious gaming controls as little as possible. The best results come when players actually use their bodies to swing swords and craft items instead of relying on menus. This all but eliminates the rules crunch that turns off many from litRPGs, leaving only trappings such as HP and MP as occasional reminders of the game. The few times MMO mechanics such as the eternal nature of the player characters intrude on the story, they become actual plot points instead of distractions. MMO encounters and strategy, such as threat, taunting, roles, groups, dungeons, and raids, are explained at an introductory level, necessary for non-gamers, but remedial for the gamers that Log Horizonappeals to. However, the MMO stylings exist only to provide a framework for the intrigues and alliances necessary for Shiroe’s plans.
But what sets Log Horizon apart from its light novel and anime contemporaries is in how it deals with its setting. A survey of isekai light novels will quickly reveal that the genre is dominated by burned out salaryman nostalgia for high school or the attempts of the socially awkward to recast their high school experiences into how they think high school should have been. (Western YA is also plagued by the same backwards-looking approach and suffers as a result.) This creates YA books aimed at adults instead of teens, often filled with age-inappropriate humor and outright fetishes. Log Horizon instead provides a more aspirational approach. In articles covering her Rachel Griffin YA series, L. Jagi Lamplighter pointed out the children and even adults don’t want to read stories about people their age and younger, but instead devour stories of the next stage in life. Log Horizon exemplifies this idea in a rare story revealing the responsibilities and expectations of young professionals to high school and university students. As leaders in the evolving order in Elder Tales, Shiroe and his friends exhibit the leadership, mentorship, composure, bravery, selflessness, and sound judgement expected from adults, channeled into the admirable goals of protecting the weak, preserving the peace, and promoting the greater good. Shiroe’s machinations are designed to benefit all parties involved, rather than indulging the blatant self-interest seen in many teenage power fantasies. But to fit within the emerging society, Shiroe, Akatsuki, and many of the other characters have to overcome doubts, misgivings, and fears to rise to the challenges. And when they fail, they pick themselves up and try again. This is not accomplished through overt messaging, but demonstrated through action and consequence. The selfish, cowardly, and rash cause chaos, while the selfless, brave, and deliberate earn a hard-won peace. And, most importantly, being an adult is fun and desirable.
And that is a rare sentiment in an entertainment world increasingly flooded with the adventures of adults who want to be teens.

Thursday, September 21, 2017

Corto Maltese in Siberia

A little amuse-bouche while I work my way through the comic of the same name. It is a more cultured comic than most of what I have read, with its creator Hugo Pratt being lauded as the inventor of the literary comic strip, and the references, from the historical General Ungern-Sternberg to the literature of the I Ching, Utopia, and "Kubla Khan", require a bit more care to unpack than my normal fare.

Do not be dismayed by the literary claims. Corto Maltese is an adventurer first and foremost, and this particular tale sends him after a Siberian treasure train in the name of the Crown--and a Chinese triad.

This will be of interest to any anime fan, as Japan often works with French and Italian studios, and this adventure has the relaxed pace common to continental and Japanese animation.

Sunday, September 17, 2017

50 YEARS OF LUPIN III: The Mystery of Mamo

Months after a Lupin doppelganger is sentenced to death and hanged, Lupin III returns to the limelight, stealing a number of legendary artifacts tied to longevity on the request of Fujiko. Meanwhile, her mysterious benefactor tries to woo Fujiko, promising immortality to his personal Helen of Troy. But when Lupin double-crosses Fujiko to learn the identity of her benefactor, he finds himself in the middle of web of deceit drawing in a reclusive billionaire, clones of history's greatest men, and the might of the United States' military, all around one name: Mamo.

Originally titled "Lupin vs. the Clones," 1978's The Mystery of Mamo is the first Lupin III movie. Hampered by the restrictions of network censors, the Lupin franchise sought to use the creative freedom of the silver screen to create a faithful adaptation of Monkey Punch's manga in tone, humor, and artistic style. While future animators would draw inspiration from The Mystery of Mamo, as 2001's James Bond meets the X-men action caper Read or Die would retread its plot, it would be overshadowed by 1979's The Castle of Cagliostro.

What a difference a year makes.

Sunday, September 3, 2017

50 YEARS OF LUPIN III: The Castle of Cagliostro

Heroism goes along with my job.--Lupin III

After stealing bags of cash from a Monaco casino, Lupin and Jigen dump out their entire haul, recognizing the money as legendary Gothic counterfeits. Resolving to find the plates for their next caper, the thieves slip into the small Italian principality of Cagliostro. Their search is interrupted when a car full of mafioso chase down a runaway bride, Princess Clarisse of Cagliostro. Both the counterfeits and the intrigue around Clarisse's wedding can be traced to the Count of Cagliostro. To save the girl--and the loot--Lupin forms an alliance with his greatest rival, Inspector Zenigata of the ICPO.

Rereleased in theaters as part of the 50th Anniversary celebration of the Lupin III franchise, 1979's Castle of Cagliostro is the central Lupin III adventure, setting the tone and standard for the franchise for the nearly 40 years since its release. And as the Lupin franchise has grown more self-referential, adventures such as 2008's Green vs. Red and 2015's Blue Jacket television series have leaned heavily on Castle of Cagliostro for their soundtrack, design, settings, and even plot. Yet Castle of Caglisotro might be best known for its screenwriter and director, the legendary Hayao Miyazaki, creator of Princess Mononoke, Spirited Away, and NausicaƤ of the Valley of the Wind. Even then, it is considered an afterthought to the brilliant animator's oeuvre, because it is an adaptation instead of an original work. (For an example from the CH Blog, see Anthony's otherwise glowing review of Castle of Cagliostro.) Such reviews, usually by critics unfamiliar with Lupin, miss a chance to fully appreciate the genius of Miyazaki. For before his involvement in 1971, the Lupin franchise was sinking under the weight of irredeemable and brutal characters. Afterwards, he handed over a winning formula and an appreciative audience that has been copied by animators all over the world.

Sunday, August 13, 2017

50 YEARS OF LUPIN III: The Fuma Conspiracy

Well, if it ain't the smell of villain.--Lupin III

In 1987's direct-to-video movie The Fuma Conspiracy, the utterly unthinkable has happened: Goemon Ishikawa, famed ronin of the underworld, is getting married. The Lupin gang reunites to attend his wedding to Murasaki Suminawa, the daughter of his martial arts instructor. The wedding ceremony is interrupted by ninjas of the Fuma clan who try to steal a Suminawa heirloom vase but make off with the bride instead. Over the objections of his in-laws, and trusting in Lupin's skills as a thief to retrieve it, Goemon trades the vase to the Fuma clan for Murasaki, unaware that the vase is a map to the hidden treasure of the Suminawa clan. Now the bride and groom must race to the family treasure to keep it from the Fuma clan's clutches, aided by the master treasure hunter Lupin III.

If Dead or Alive was the Lupin III franchise's take on a James Bond movie, The Fuma Conspiracy is its Indiana Jones, paying lip-service to thievery while sending Goemon, Lupin, and company through an underground maze of lethal traps to keep a legendary treasure out of the hands of a historical group of villains. For just like the Nazis, the Fuma clan of ninjas actually existed, and were feared for their strength, their murderous methods, and their utter lack of honor in battle. And, just like Raiders of the Lost Ark, an anti-hero must take on the mantle of a true hero to defeat them. On the Miyazaki to Monkey Punch scale of heroism to villainy, The Fuma Conspiracy is the most Miyazaki-like of any Lupin film to follow his Castle of Cagliostro.

Sunday, August 6, 2017

50 YEARS OF LUPIN III: Dead or Alive

"Believe me, the painting doesn't do him justice. He's worse than me."--Lupin, describing General Headhunter.

To keep his nation's treasury out of the hands of thieves, the king of Zufu moved his nation's gold reserves to a safe house on Drifting Island. After a coup topples the heads of the king and his son, Prince Pannish, Zufu and the Drifting Island fall into the hands of General Headhunter. The general has spent lucre and lives trying to break into Drifting Island's vaults, only to be frustrated at every turn. Now Lupin and his gang have turned their talents to the task. Getting to Drifting Island is simple enough, even while dodging General Headhunter's agents, Inspector Zenigata, and double agents, such as the prince's lover, Oleander. But as Drifting Island's mechanical defenses continue to stymie Lupin and his gang, the nation rises in revolution. For Prince Pannish has returned to take his country back from General Headhunter.

The fifth Lupin III theatrical movie, 1996's Dead or Alive had been plagued with issues throughout its production. With no one else willing to helm the project through the short production schedule, Lupin III manga artist Monkey Punch stepped up to lead. Quickly overwhelmed, he relied heavily on his staff, generally staying out of their way while the deadline approached. What should have been a disaster instead turned into a solid action film, although one with the slower pacing of manga instead of the relative frenzy of Hollywood. Dead or Alive steers the series back towards its darker roots without abandoning the formula that established the franchise. With the theatrical animation quality and the shift in tone, Dead or Alive stands out from the the TV specials that propelled the franchise through the 1990s.

Sunday, July 23, 2017

50 YEARS OF LUPIN III: Daisuke Jigen's Gravestone

I owe you a bullet wound, and I'm going to make sure that debt gets paid. - Daisuke Jigen

Nine days after Queen Malta's assassination at a peace concert, a sniper ends Lupin III's latest jewel heist with a well-placed shot, sending a bullet into Daisuke Jigen's leg. The thieves crawl away to safety before the next shot could prove fatal. Acting on a hunch from a spent round, Jigen searches the nearest cemetery. A legendary gunman, Jael Okuzaki, is known to prepare a grave for each target he kills. And the newest grave is Jigen's. As the country around him prepares for war, Jigen fights his own personal battle, gunslinger against sniper. Okuzaki knows the city and has a preternatural ability to know exactly where Jigen is at any time. All Jigen has is the revolver at his side--and the help of the world's greatest thief, Lupin III.

A two part theatrical film released in 2014, Daisuke Jigen's Gravestone occupies a strange spot in the Lupin III catalog. It is a rare direct continuation of a previous work, the controversial TV series The Woman Called Fujiko Mine. Intended as a daring reimagination of Lupin III, The Woman Called Fujiko Mine pushed the Lupin gang to the side, focusing on Fujiko's self-indulgent mysteries and centerfold preening for the camera. And, like many "daring reimaginations," the additions boiled down to the same three features: dark stories, boobs, and blood. Faced with complaints that Lupin was no longer in the spotlight, Daisuke Jigen's Gravestone returns the focus to Lupin III and his American gunslinger buddy, Daisuke Jigen. And as a character, Lupin returns in magnificent style.

Sunday, July 16, 2017

50 YEARS OF LUPIN III: The Italian Adventures

Great artists and thieves are similar; they both know how to steal your soul.–Lupin III
In 2015, Japanese and Italian investors collaborated to present the fourth main TV series in the Lupin III franchise. Reflecting the Italian involvement, Lupin traded his world-spanning heists for an Italian base of operations, and the targets of his heists, whether the medical records of an Italian soccer player or the Mona Lisa, follow suit. But the smaller scope proves to be a challenge for the Lupin gang. Without the world to hide in, the world itself came looking for Lupin, including Zenigata’s ICPO, Britain’s MI6, a South African sniper, and an expy of Japan’s famed detective Kogoro Akechi. Now the master thief must remain one step ahead of the law as he steals his way through Italy’s vaults, chasing after Fujiko while keeping an eye on his wayward new wife. Featuring 26 episode and a 90 minute TV special, Lupin III part IV premiered first in Italy and then in Japan. Lupin’s Italian adventures have finally made their way to English-speaking audiences on Cartoon Network’s Toonami.
Technically the fifth Lupin TV series, Lupin III part IV, or Blue Jacket Lupin to the fans, follows 2012’s The Woman Called Fujiko Mine. Fujiko Mine was an experimental alternate-history origin that focused on its namesake character. While a critical darling, audiences weren’t happy to see Lupin and his gang sidelined in the adventures. Part IV responded by returning the franchise to its roots, focusing on Lupin, his gang, and action comedy.
Before we got farther, there is a quick but necessary digression into how the TV series are named. Rather than use even more Roman numerals to tell the Lupin III TV series apart, fans often use the color of Lupin’s jacket as a name for the television series. In each show, he wears a unique color. In 1971’s Part I, Lupin wears a green jacket, in 1977, a red jacket, 1984, pink, and 2015’s Part IV, blue. This idea has even ascended into the franchise, as the 2008 OAV Green vs. Red has Lupin square off against a doppelganger, pitting the iconic portrayals of Green Jacket Lupin and Red Jacket Lupin against each other. (More on that in a later article.)
With the Cartoon Network run just begun, let’s start this retrospective of Lupin’s career with the first two episodes of his Italian adventures.
In the “Marriage of Lupin III”, the master thief has his eye set on a crown only worn by the wealthiest brides of San Marino on their wedding day. To draw out the crown from its vault, he courts Rebecca Rossellini, a chlorine blonde thrillseeker and Renaissance woman. In the franchise’s classic style, this odd couple’s wedding is crashed, by Zenigata this time, and in the resulting chaos, Lupin learns that he is not the only thief aiming for the crown. In classic anime style, this pilot episode tries to snare viewers with a sensational and well-animated story that does not quite match the rest of the series. After all, Lupin can only get married once.
Rebecca is a rarity among Lupin girls as her involvement with the master thief lasts for longer than one adventure. As such, she contrasts not with Fujiko, but with the string of good girls that follow in Lupin’s wake. A cute and more spirited version of glamour girl Fujiko, worldly Rebecca is portrayed as a moe manic dream pixie girl instead of the more common girl next door that is swept into Lupin’s adventures. As Mrs. Lupin (at least until Lupin can force her to sign the annulment papers), Rebecca will drift in and out of Lupin’s life through the entire series. Right now, it is uncertain if she will continue to play a part in the franchise beyond these Italian adventures.
“The Fake Fantasia” instead tells a classic story of Lupin at his Robin Hood best. As the gang hides once more in San Marino, they get a message from Fujiko, who has a job for the gang. Mauro Brozzi, a thuggish soccer star, has been blackmailed by some underworld thugs. If he does not sit out the championship game, his failed drug test records will be released to the press. Lupin agrees to help the soccer star–for a price. The master thief easily steals back Brozzi’s medical records, escapes in a classic car chase, and, in a twist reminiscent of the pulps, discovers the true reason for Brozzi’s drug failures. In classic Lupin form, the price for his assistance weighs lightly of Brozzi. No money, just score three goals in the final game. Brozzi wins the championship for his team–and Lupin cashes out on a bet more lucrative than any amount of money Brozzi could offer.
Just as planned.
Taken together, these episodes serve as an excellent introduction to the franchise, showcasing the mystery, action, and heart of the franchise. All the high spots are present, from car chases, to shoot outs, to Goemon’s impossibly sharp blade. The animation is fluid for TV anime, and in this age of impossible hair and middle school antics, the classic designs and mature adventures of the world’s greatest master thief are a delight. The shift from cel animation to computer animation has been kind to the old designs, which still bear Hayao Miyazki’s influence from the Red Jacket days. The final televised episode is even an homage to the classic Castle of Cagliostro. The backgrounds are lovely, and it would not surprise me to learn that, like in Aria, they are painstaking representations of actual Italian locales.
Try to find a version as close to the Italian/Japanese if you can. Not only did a Fujiko shower scene force Cartoon Network to sideline the original opening credits, the iconic Lupin III theme got cut as well. It’s a shame, as Lupin III opening sequences are master classes in how to convey the essence of a character to an audience in only a few seconds. As for Fujiko’s cut music video over the end credits, well, The Melancholy of Haruhi Suzumiya has a lot to answer for by starting the end credits dance craze, but Cartoon Network’s slapstick jazz replacement is as much of an acquired taste. Like in the adventures of James Bond, the music matters.
After the alternate history reimagining of The Woman Called Fujiko Mine, Lupin’s Italian adventures swing the franchise back on track with a renewed focus on the Lupin gang and the capers that built the franchise. Even as it pays homage to the past, Blue Jacket Lupin takes care to experiment with the addition of Mrs. Rebecca Lupin and a series plot arc. This would be an excellent starting point for those who want to start following the adventures of Lupin and his gang, not only because of the content, but because episodes are currently being shown on Cartoon Network. And, as always for all things anime, Crunchyroll hosts an extensive selection of Lupin III TV episodes and movies available for streaming.

Friday, July 14, 2017

The Normal Hero and Revolutionary Girl Utena

I've been mulling over a few different thoughts about the necessity of reading outside one's genre and having hobbies outside of writing for a while. An outward focus rather than the self-copying inward focus.

As an example, I've been reading over at Deus ex Magical Girl lately on a rather...niche...segment of anime, manga, and light novels aimed (mostly) at girls.  D. G. D. Davidson has been discussing Revolutionary Girl Utena, a shoujo series aimed at teenaged girls, bringing a more balanced and thoughtful analysis of the anime and themes than the gloss of surface-level feminism that normally passes for shoujo criticism. Utena's an...acquired taste, but the lessons Davidson pulled from the show have echoed certain conversations that the PulpRev community has had about the heroes of weird fiction.
I’ve previously compared Revolutionary Girl Utena to Neon Genesis Evangelion, which it immediately succeeded. One of the many reasons I think Utena is the superior show is that it achieves a balance that Evangelion doesn’t. Evangelion makes all of its characters sickos; nobody is mentally healthy. Utena, by contrast, places all of its neurotics in orbit around a protagonist who is well-balanced, and who serves as a vehicle of catharsis for everyone else. Utena is an anchor for Revolutionary Girl Utena, a psychologically normal and resilient heroine who provides, as it were, the measure to which the other characters fall short, or the bulwark against which they uselessly buffet. Evangelion has no such anchor, because it contains not a single character who isn’t a basketcase.
Somewhere or other, G. K. Chesterton once wrote about this tendency in modern fiction, the tendency to make every character a neurotic, and he contrasted it with older works, especially fairy tales, in which the hero was usually normal while everything around him was twisted and weird. Chesterton considered the normal hero an essential element for weird fiction because he served as the story’s anchor point, a straight line that gave everything else in the story freedom to bend and twist as it willed. Comparing these two works, Evangelion and Utena, I think Chesterton is correct. There is a reason that the “straight man” is a standard character in comedy or fantasy, who provides a refuge of normalcy in the midst of the weirdness. Utena works in large part because Utena is the straight man. Evangelion does not work in part, I believe, because it lacks a straight man.
The emphasis here is mine.

Chesterton's advice here is the rationale for isekai alternate world fiction and Amazing Stories' particular brand of pulp science fiction. By anchoring in the familiar, these stories made their weirdness accessible as well as magnifying the impact of the weirdness. After all, contrast is key.