Showing posts with label Princess. Show all posts
Showing posts with label Princess. Show all posts

Rascally Raccoons


Tonight, while out on our balcony, I saw a raccoon dog, called tanuki (狸) over here, crossing the road 20 metres above the ground on an electricity cable... in the middle of Tokyo.

This isn't the first time. I also saw one around the corner a few months back, though most of my Japanese mates poo-hoo the thought since we live just 15 minutes by train from Shibuya. Others say tanuki do in fact live here in the city because it's warmer and there's more food, and I'm pretty sure I know what I saw.

For me these are the coolest critters, when you grow up (like I did) back in Australia with possums and their guttural noises, though I know raccoons are just as disregarded by many North Americans.

Still, they're better than squirrels. Having been bitten by a particularly cute squirrel in Central Park, one that looked like a hand-puppet but was actually an evil little tyrant, I think I have a good grasp on the comparison.

Here in Japan the local raccoon dog is historically regarded a little differently. For starters the wild tanuki has disproportionately large testicles, a feature that has inspired humorous exaggeration in artistic depictions.

In old stories (and some more recent brethren) they're reputed to be mischievous and jolly, a master of disguise and shapeshifting, but somewhat gullible and absent-minded.


For starters there's the yarn "Kachi-kachi Yama" which features a tanuki that wallops an old lady and then serves up her to the unsuspecting husband as soup.

To get a good feel of the raccoon in Japanese culture, check out Seijun Suzuki's whimsical musical Princess Raccoon (オペレッタ狸御殿, 2005) or the Studio Ghibli anime Pom Poko (平成狸合戦ぽんぽこ, 1994).

I picked up my copy of the latter from Madman in Australia.

Ahhhh, the little rascals.

Super Jetter! 未来から少年スーパージェッター


I know, I know - I'm ready for the quip:

Who?

In case you're one of the unlucky many in the dark (actually, this should read about 99.999% of the global population if my calculations are correct) and/or you don't happen to cotton on to the name straight off the bat, Super Jetter is the story of a 30th century crime-fighter who jetted about in a time-skipping vessel called Ryusei-go (Shooting Star).

It played along the same lines – while it's been somewhat overshadowed by - contemporary 1960s anime peer Prince Planet, aka Planet Boy Popi (遊星少年パピイ) over here in Japan.

You can't even begin to compare it with Osamu Tezuka's iconic Astro Boy.

But I really do dig this series and it was commemorated in Japan just a few years back with the release of the CR Super Jetter pachinko machine; there are also some wayward otaku aficionados over here who do remember the man and his spiffy flying car.

One of these is Osamu Kobayashi.

He was the director of the anime fashionista series Paradise Kiss for Madhouse Studios and previously directed Gad Guard, Beck: Mongolian Chop Squad and End of the World; more recently he was a guest director on Gurren Lagann - and way back worked on the 1993 anime reinterpretation of Yukito Kishiro’s manga Gunnm... better known internationally as Battle Angel Alita, the on-again/off-again live-action love project for director James Cameron.


Super Jetter, according to Kobayashi, was his favourite anime when he was a kid, and the reason for his own abiding affection for the 45-year-old show?

“Because I liked the central character, and the science fiction mind-set was interesting,” he quite simply declares.

It's the simplicity that works for Super Jetter as well. Sadly Osamu Ichikawa, the man who did the voice of Jetter, passed away just last year.

Hiroshi Abe's New Trick


I like Hiroshi Abe.

The last time I saw him (aside from in recurrent TV advertising here in Japan) was in the 2008 reshooting of Akira Kurosawa’s 1958 epic Kakushi toride no san akunin (The Hidden Fortress) – the movie that George Lucas has admitted made such a huge impression on the shooting script for Star Wars Episode IV: A New Hope.

As a samurai, General Makabe (in another role played by the late, great Toshiro Mifune) turns out to be perhaps the most fearless and honourable man alive – as well as one of the more charismatic and inspiring. He’s got that rousing leader quality, the sort Russell Crowe delivered in Gladiator, Edward James Olmos brandishes on Battlestar Galactica, and King Hal throws about in the pages of Shakespeare’s Henry V.

It’s also the kind you just didn’t get at all from Orlando Bloom in Kingdom Of Heaven nor Yuji Oda in the 2007 remake of another Kurosawa classic, Tsubaki Sanjuro.

In Star Wars, General Makabe ended up necessarily spliced into the two characters handled by Harrison Ford (as Han Solo) and Alec Guiness (Obi-Wan Kenobi).

And while the original Kurosawa title literally translates as “The Three Villains of the Hidden Fortress”, any mention of villainy and/or camouflaged bunkers were eschewed in the title of the lacklustre 2008 incarnation with Hiroshi Abe, which opted instead for The Last Princess.

Possibly they had Leia more in mind. “With a good script, a good director can produce a masterpiece,” Kurosawa, who also co-wrote the story for The Hidden Fortress, once said.

“With the same script, a mediocre director can produce a passable film.”


In the driving seat this just-passable second time round (or the third, if you want to include Star Wars) was Shinji Higuchi, a man respected for his skills with SFX and story boarding rather than any panache as a director.

Higuchi previously helmed Lorelei (2005) and Japan Sinks the following year; his choice for the role originally played by Mifune and the one that inspired Han Solo?

Former model and regular TV actor Abe – himself a capable individual who unfortunately, in this case, lacked the raw charisma of either Mifune or Ford in their prime.

But as I mentioned I do dig the man's work, in everything from his TV activities to Godzilla 2000 (ゴジラ2000 ミレニアム Gojira ni-sen mireniamu, actually made in 1999).

And his best role to date has been his cynical physics professor, Jiro Uedain, out to debunk things supernatural in the recurring TV series and cinema incarnations of the surreal Trick.

It's witty, pokes fun at a lot of other more dramatic TV programs and movies, has some hilarious recurring and cameo characters, and co-stars the sublime Yukie Nakama... as the hokey failed magician Naoko Yamada.

So the good news is that there's a new Trick movie upcoming in May (the release date is 8th May 2010), starring Abe, Nakama and an array of other suitably oddball characters.

It's called Gekijoban Trick: Reinouryokusha Battle Royale and is directed by Yukihiko Tsutsumi, who did the recent 20th Century Boys movies.

Here's the trailer:

Top 12 Manga Romps Ever (with a catch)


Today I chatted with my student Aiko K, an apprentice mangaka who works on both shojo and shonen styles of manga but personally prefers doing horror stuff herself.

Somehow we got to talking about a few different tomes I'd read myself over the years, and ended up with this list of 12; we then set about deconstructing each and putting them into some sort of order she felt happy with herself. Half of this ordering I don't agree with; a couple I do.

Aiko based her selection on self-admitted biases like over-saturation here in Japan (Leiji Matsumoto's Galaxy Express 999) and a love for the people involved in the anime versions rather than the original comics (director Mamoru Oshii and musician Yoko Kanno on Ghost in the Shell).

Others Aiko couldn't really explain her affection for, apart from the fact that she grew up with them; she loves CLAMP but considered Tsubasa: Reservoir Chronicle their weakest effort, while she felt that Doraemon is the best manga (and anime) ever made in Japan.

Anyway, with further ado, here's the list:

1. Doraemon (ドラえもん) by Fujiko F. Fujio (a.k.a Hiroshi Fujimoto) and Fujiko A. Fujio (a.k.a Motō Abiko)

2. 20th Century Boys (20世紀少年 Nijusseiki Shōnen) by Naoki Urasawa

3. Ghost in the Shell (攻殻機動隊 Kōkaku Kidōtai) by Shirow Masamune

4. Nausicaä of the Valley of the Wind (風の谷のナウシカ Kaze no Tani no Naushika) by Hayao Miyazaki

5. Tekkonkinkreet (鉄コン筋クリート Tekkon Kinkurīto) by Taiyō Matsumoto

6. Kiki’s Delivery Service (魔女の宅急便 Majo no Takkyūbin) by Eiko Kadono

7. Princess Knight (リボンの騎士 Ribon no Kishi) by Osamu Tezuka

8. Akira (アキラ) by Katsuhiro Otomo

9. One Piece (ワンピース) by Eiichiro Oda

10. Battle Angel Alita (銃夢 Gunnm) by Yukito Kishiro

11. Tsubasa: Reservoir Chronicle (ツバサ Rezaboa Kuronikuru) by CLAMP (Satsuki Igarashi, Nanase Ohkawa, Tsubaki Nekoi, Mokona)

12. Galaxy Express 999 (河鉄道999 Ginga Tetsudō Surīnain) by Leiji Matsumoto

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