2004 episode
directed by Toshifumi Takizawa and Toru Yoshida
written by Atsuhiro Tomioka
based on the film SEVEN SAMURAI by Akira Kurosawa, Shinobu Hashimoto, Hideo Oguni
(1954 film)
(previous)
(next)
So far, on their journey to round up some hired blades, farmers Kirara, Komachi, and Rikichi have had to settle with an unlikely pair: Katsushiro, a dedicated but inexperienced teen, and Kikuchiyo, a boisterous brute in a run-down cybernetic body. After some persuasion, master samurai Kambei finally agrees to join the quest, telling the other two to go home so he can round up some real fighters. You know this doesn't go over well, but it does lead us to the fourth member of our growing squad.
Katayama Gorobei (vibrant Tetsu Inada) is a joking giant of a man, gently smiling through the wicked scars on his face. Hard up for money and food, he's renounced his place as a samurai and uses his amazing skills (dude can catch arrows) to scrape by as a street performer. It's an interesting new take on the original, adding a nice bit of suave theatricality to the team, though I did find his introduction a tiny bit forced.
Through a meeting between pampered snob Ukyo (who still wants to get his mitts on Kirara) and his father, master of the domain Maro, we learn just how intricate this new batch of villains is. As far as I can gather, they represent a group of corporate merchants who overthrew the empire and use bandit raids to keep peasants in their place. This group of farmers setting out to hire samurai puts a nasty kink in things, so assassins are of course ordered to wipe out the entire batch of heroes before it can progress any further. It's an interesting bit of social layering on the part of the creative team, one that does naturally set into the story they're trying to tell. My one gripe is that the villains are almost too evil, too perverse, too ... typical. I'd like to see some more complexity on their part.
This impressive series is still unfolding beautifully at a steady clip. I'm starting to realize that there are limitations to the animation, with some of the action shots being a little choppy and clumsy (there's an attempt at a MATRIX-style moment that really doesn't work as one character dodges a wave of darts), but the crisp design, even direction, and intelligent writing more than make up for it.
(series trailer)
(opening)
(purchase)
(purchase)
(purchase)
(official website)
(wikipedia)
(anime news network)
(internet movie database)
August 28, 2009
August 27, 2009
Samurai 7 #2: The Pupil
2004 episode
directed by Toshifumi Takizawa and Makoto Sokuza
written by Atsuhiro Tomioka
based on the film SEVEN SAMURAI by Akira Kurosawa, Shinobu Hashimoto, Hideo Oguni
(1954 film)
(previous episode)
(next episode)
Kirara, Komachi, and Rikichi, representatives of the endangered farmlands, are still on their quest to find samurai willing to help. In a clever spin on the original, they not only go through one samurai after another that turn their offer down with scorn, but these warriors wait to do it until after they've taken advantage of a free bowl of dwindling rice. But there is hope ...
The first to join their cause is Katsuhiro (voiced by gruff actress Romi Paku), a dedicated young man driven by the ideals of the samurai, though he admits up front that he has no genuine experience on the battlefield. They haven't delved into his backstory yet, so I can't say whether or not they retained the original idea of him being a child of privilege, but it's nice to see his disgusted reaction as other samurai take advantage of the peasants.
The next to sign up, largely because the annoying little Komachi looks up to him, is Kikuchiyo, a mechanized street brawler with a freakin' huge sword. He calls himself a samurai, but doesn't seem to have the polish or technique to back it up, instead barrelling into things with brute strength. I was a bit worried that his personality would be lost due to his faceless cybernetic exterior, but sharp writing and the boisterous Mifune-esque roar of Kong Kuwata fully succeed at bringing Kikuchiyo to life.
Though he hasn't yet joined the team, we also get to know its eventual leader, Shimada Kambei (steady Masaki Terasoma). He's every bit the calm strategist I expected, never exerting any more or less effort than each situation calls for, but is hesitant to accept the village's offer because he has a bad history of picking the losing side in a war. Oh, and I love how they capped him with a flowing mane, cleverly contrasting the shaved head of Takashi Shimura in the original.
There's also a fun little new subplot added to the mix, which digs into the political structure of the city and may be setting up other additions to come. Ukyo (prolific Takehito Koyasu), the pampered son of the local lord, sets his sights on the beautiful Kirara and orders that she be added to his harem. It's a perfectly timed kidnap plot, forcing our first few heroes to show off both their skills and weaknesses as they come to terms with the developing team dynamic.
Once again, I'm absolutely blown away by this show. The creative team does a masterful job of meticulously adapting the original work, while seamlessly adding to the mix their own new ideas and characters. I still find Komachi an unnecessary annoyance (especially during a recap letter that follows each episode) and the animation hits a few clunky bumps during an action scene in the second half, but this series largely stands as a representation of everything I think a remake should be.
(series trailer)
(opening)
(purchase)
(purchase)
(purchase)
(official website)
(wikipedia)
(anime news network)
(internet movie database)
directed by Toshifumi Takizawa and Makoto Sokuza
written by Atsuhiro Tomioka
based on the film SEVEN SAMURAI by Akira Kurosawa, Shinobu Hashimoto, Hideo Oguni
(1954 film)
(previous episode)
(next episode)
Kirara, Komachi, and Rikichi, representatives of the endangered farmlands, are still on their quest to find samurai willing to help. In a clever spin on the original, they not only go through one samurai after another that turn their offer down with scorn, but these warriors wait to do it until after they've taken advantage of a free bowl of dwindling rice. But there is hope ...
The first to join their cause is Katsuhiro (voiced by gruff actress Romi Paku), a dedicated young man driven by the ideals of the samurai, though he admits up front that he has no genuine experience on the battlefield. They haven't delved into his backstory yet, so I can't say whether or not they retained the original idea of him being a child of privilege, but it's nice to see his disgusted reaction as other samurai take advantage of the peasants.
The next to sign up, largely because the annoying little Komachi looks up to him, is Kikuchiyo, a mechanized street brawler with a freakin' huge sword. He calls himself a samurai, but doesn't seem to have the polish or technique to back it up, instead barrelling into things with brute strength. I was a bit worried that his personality would be lost due to his faceless cybernetic exterior, but sharp writing and the boisterous Mifune-esque roar of Kong Kuwata fully succeed at bringing Kikuchiyo to life.
Though he hasn't yet joined the team, we also get to know its eventual leader, Shimada Kambei (steady Masaki Terasoma). He's every bit the calm strategist I expected, never exerting any more or less effort than each situation calls for, but is hesitant to accept the village's offer because he has a bad history of picking the losing side in a war. Oh, and I love how they capped him with a flowing mane, cleverly contrasting the shaved head of Takashi Shimura in the original.
There's also a fun little new subplot added to the mix, which digs into the political structure of the city and may be setting up other additions to come. Ukyo (prolific Takehito Koyasu), the pampered son of the local lord, sets his sights on the beautiful Kirara and orders that she be added to his harem. It's a perfectly timed kidnap plot, forcing our first few heroes to show off both their skills and weaknesses as they come to terms with the developing team dynamic.
Once again, I'm absolutely blown away by this show. The creative team does a masterful job of meticulously adapting the original work, while seamlessly adding to the mix their own new ideas and characters. I still find Komachi an unnecessary annoyance (especially during a recap letter that follows each episode) and the animation hits a few clunky bumps during an action scene in the second half, but this series largely stands as a representation of everything I think a remake should be.
(series trailer)
(opening)
(purchase)
(purchase)
(purchase)
(official website)
(wikipedia)
(anime news network)
(internet movie database)
August 25, 2009
Samurai 7 #1: The Master
2004 episode
directed by Toshifumi Takizawa, Toru Yoshida, Yasuhiro Kuroda
written by Atsuhiro Tomioka
based on the film SEVEN SAMURAI by Akira Kurosawa, Shinobu Hashimoto, Hideo Oguni
(1954 film)
(next episode)
After the mixed experience that was KAZE NO YOJIMBO, I have to admit a bit of trepidation when it comes to exploring yet another anime series adapted from a classic Kurosawa film, but there's something about the idea of updating a traditional period piece to a steampunk science fiction future that I find intriguing.
After a stunning prologue set in the middle of a war filled with vast vessels and sword-slinging robots, our story proper opens much like the film, with a poor farming village realizing that the annual bandit raids will start again once their crops are ready to harvest. As with the retro-technological setting, the blending of both old and new story elements is superb, keeping much of the original's writing - the panicking peasants, the bitter young farmer Rikichi, and the elder who suggests they hire samurai - but updating it nicely with Kurosawa's streaming flock of bandit spies being replaced by a monstrous drone that hovers over the fields, scanning the rice, uncaring of whether or not it's seen because there's nothing these people can do about it.
There's two problems right up front, though they are minor. I like the idea behind the new character of Kiara, the young spiritual leader of the town, but she displays mystical powers that feel out of place alongside the rest of this world's logical elements. Now, one could argue that some form of psionic ability is fair, given the setting, but I just wasn't entirely sold on it, though I'll hold off a full opinion until I see how it develops. The second problem is Komachi, Kiara's little sister. I'm sorry, but the last thing we need is an annoying child sidekick, stating the obvious and stumbling over her own impulsiveness, particularly one so prominently featured.
But those are the only two problems I have with the show. Unlike KAZE NO YOJIMBO, which largely ignored it's source material, you can tell these people have studied SEVEN SAMURAI with love and care, mimicking numerous shots, snatches of dialogue, important themes and character traits, the wonderfully exaggerated depictions of weather, and even a nice but unobtrusive score. To this, they bring to the table steady direction that evokes Kurosawa without imitating, crisp designs that capture the original characters while still offering up fresh spins, and some striking animation. This is all best demonstrated by the final sequence where Rikichi, Kiara, and Komachi have travelled to the dangerous city and witness three of our future heroes in an introductory battle that perfectly echoes Kurosawa while still offering up it's own unique take.
I know that any series can flip around in quality over the course of it's run, but if this amazing opener is any indication, then I'm in for one hell of a fun ride.
(series trailer)
(purchase)
(purchase)
(purchase)
(official website)
(wikipedia)
(anime news network)
(internet movie database)
directed by Toshifumi Takizawa, Toru Yoshida, Yasuhiro Kuroda
written by Atsuhiro Tomioka
based on the film SEVEN SAMURAI by Akira Kurosawa, Shinobu Hashimoto, Hideo Oguni
(1954 film)
(next episode)
After the mixed experience that was KAZE NO YOJIMBO, I have to admit a bit of trepidation when it comes to exploring yet another anime series adapted from a classic Kurosawa film, but there's something about the idea of updating a traditional period piece to a steampunk science fiction future that I find intriguing.
After a stunning prologue set in the middle of a war filled with vast vessels and sword-slinging robots, our story proper opens much like the film, with a poor farming village realizing that the annual bandit raids will start again once their crops are ready to harvest. As with the retro-technological setting, the blending of both old and new story elements is superb, keeping much of the original's writing - the panicking peasants, the bitter young farmer Rikichi, and the elder who suggests they hire samurai - but updating it nicely with Kurosawa's streaming flock of bandit spies being replaced by a monstrous drone that hovers over the fields, scanning the rice, uncaring of whether or not it's seen because there's nothing these people can do about it.
There's two problems right up front, though they are minor. I like the idea behind the new character of Kiara, the young spiritual leader of the town, but she displays mystical powers that feel out of place alongside the rest of this world's logical elements. Now, one could argue that some form of psionic ability is fair, given the setting, but I just wasn't entirely sold on it, though I'll hold off a full opinion until I see how it develops. The second problem is Komachi, Kiara's little sister. I'm sorry, but the last thing we need is an annoying child sidekick, stating the obvious and stumbling over her own impulsiveness, particularly one so prominently featured.
But those are the only two problems I have with the show. Unlike KAZE NO YOJIMBO, which largely ignored it's source material, you can tell these people have studied SEVEN SAMURAI with love and care, mimicking numerous shots, snatches of dialogue, important themes and character traits, the wonderfully exaggerated depictions of weather, and even a nice but unobtrusive score. To this, they bring to the table steady direction that evokes Kurosawa without imitating, crisp designs that capture the original characters while still offering up fresh spins, and some striking animation. This is all best demonstrated by the final sequence where Rikichi, Kiara, and Komachi have travelled to the dangerous city and witness three of our future heroes in an introductory battle that perfectly echoes Kurosawa while still offering up it's own unique take.
I know that any series can flip around in quality over the course of it's run, but if this amazing opener is any indication, then I'm in for one hell of a fun ride.
(series trailer)
(purchase)
(purchase)
(purchase)
(official website)
(wikipedia)
(anime news network)
(internet movie database)
August 21, 2009
The Sea is Watching
2002 film
directed by Kei Kumai
written by Akira Kurosawa
based on the novel by Shugoro Yamamoto
With the success of posthumous efforts AFTER THE RAIN and DORA-HEITA, it was only natural that an unproduced screenplay Kurosawa penned in 1993 would be filmed. However, instead of the project being helmed by a colaborator of the legendary director, it was handed over to a filmmaker who, while largely unknown in the states, is held up alongside Kurosawa in his native homeland as a peer of equal skill.
Late one night, a young samurai (child Kurosawa vet Hidetaka Yoshioka) dashes into the red-light district of a 19th century town. In a drunken brawl, he slashed a man and is on the run from both the law and a dishonored father. He ducks into a brothel, handing over a healthy portion of cash, and the girls disguise and coach him into passing as a regular, a peasant.
I know what you're thinking, another solid Kurosawa story about a wandering samurai seeking redemption, but there's a twist. This isn't the warrior's tale, it's the balad of O-shin (Nagiko Tono), a beautiful woman who slipped into prostitution to care for younger siblings and frequently ill mother following the death of her samurai father. O-shin is sharp, compasionate, and has a tendancy to fall for her clients. As is the case here.
Ah, but the samurai isn't the only one who tempts her away from the world's oldest profession. There's also Ryosuke (Masatoshi Nagase), a poor, suicidal drunk bitter about all the hardship life keeps tossing in his path. While the earlier fellow swoops in like a shining knight on his white steed, this man stirs up her deeper compasions and a desire to fix what has long been broken.
I've yet to see another film by Kumai, but he more than lives up to the challenge here. Instead of trying to emulate Kurosawa's directorial technique, he and his regular crew add their own flavor to the mix; a calm camera and flowing editing that drift like the steady waves O-shin occasionally pauses to watch outside her window.
Given the visual, structural, and thematic simularities to RED BEARD, I sincerely have to wonder what this story would have been like under Kurosawa's direction. Though a largely female cast and point-of-view were rare in his works, he'd proven capable of such material early on with THE MOST BEAUTIFUL and NO REGRETS FOR OUR YOUTH. It's the frank sexuality that has me the most intrigued because, while he wasn't one to shy away from the topic, Kurosawa never once had it as openly on display as it is here. Now, that's not a criticism of the film, as it's handled beautifully, but merely a speculation of one master filmmaker's technique verses that of another.
If I have one criticism, it's a sacrifice near the end that really doesn't feel necessary. While I can see where they're going from a dramatic perspective, the presented situation offers up too many alternate possibilities.
But that's a minor flub in this gorgeous, heartfelt film that approches its subject intelligently, perfectly paints the world around her in all its beauty and horror, and even slips in a fantastic demonstration of how trivial all of humanity's squabbles can be in the face of a watching, angry sea.
Sadly, this would be the final work of Kumai, who passed away in 2007. Thus, it not only caps the legacy of one filmmaker, but two.
(trailer)
(purchase)
(internet movie database)
directed by Kei Kumai
written by Akira Kurosawa
based on the novel by Shugoro Yamamoto
With the success of posthumous efforts AFTER THE RAIN and DORA-HEITA, it was only natural that an unproduced screenplay Kurosawa penned in 1993 would be filmed. However, instead of the project being helmed by a colaborator of the legendary director, it was handed over to a filmmaker who, while largely unknown in the states, is held up alongside Kurosawa in his native homeland as a peer of equal skill.
Late one night, a young samurai (child Kurosawa vet Hidetaka Yoshioka) dashes into the red-light district of a 19th century town. In a drunken brawl, he slashed a man and is on the run from both the law and a dishonored father. He ducks into a brothel, handing over a healthy portion of cash, and the girls disguise and coach him into passing as a regular, a peasant.
I know what you're thinking, another solid Kurosawa story about a wandering samurai seeking redemption, but there's a twist. This isn't the warrior's tale, it's the balad of O-shin (Nagiko Tono), a beautiful woman who slipped into prostitution to care for younger siblings and frequently ill mother following the death of her samurai father. O-shin is sharp, compasionate, and has a tendancy to fall for her clients. As is the case here.
Ah, but the samurai isn't the only one who tempts her away from the world's oldest profession. There's also Ryosuke (Masatoshi Nagase), a poor, suicidal drunk bitter about all the hardship life keeps tossing in his path. While the earlier fellow swoops in like a shining knight on his white steed, this man stirs up her deeper compasions and a desire to fix what has long been broken.
I've yet to see another film by Kumai, but he more than lives up to the challenge here. Instead of trying to emulate Kurosawa's directorial technique, he and his regular crew add their own flavor to the mix; a calm camera and flowing editing that drift like the steady waves O-shin occasionally pauses to watch outside her window.
Given the visual, structural, and thematic simularities to RED BEARD, I sincerely have to wonder what this story would have been like under Kurosawa's direction. Though a largely female cast and point-of-view were rare in his works, he'd proven capable of such material early on with THE MOST BEAUTIFUL and NO REGRETS FOR OUR YOUTH. It's the frank sexuality that has me the most intrigued because, while he wasn't one to shy away from the topic, Kurosawa never once had it as openly on display as it is here. Now, that's not a criticism of the film, as it's handled beautifully, but merely a speculation of one master filmmaker's technique verses that of another.
If I have one criticism, it's a sacrifice near the end that really doesn't feel necessary. While I can see where they're going from a dramatic perspective, the presented situation offers up too many alternate possibilities.
But that's a minor flub in this gorgeous, heartfelt film that approches its subject intelligently, perfectly paints the world around her in all its beauty and horror, and even slips in a fantastic demonstration of how trivial all of humanity's squabbles can be in the face of a watching, angry sea.
Sadly, this would be the final work of Kumai, who passed away in 2007. Thus, it not only caps the legacy of one filmmaker, but two.
(trailer)
(purchase)
(internet movie database)
August 19, 2009
After the Rain
1999 film
directed by Takashi Koizumi
written by Akira Kurosawa
based on a short story by Shugoro Yamamoto
When he died in 1998, Akira Kurosawa left behind a legacy of 30 films which, to varying degrees, demonstrate the art of cinema at its finest. Though a hard act to follow, a group of The Master's collaborators - led by Koizumi, Kurosawa's assistant director since 1980 - decided to take one of his last scripts and do their best to bring it to life.
Lanky and dependable musician-turned-actor Akira Terao, a welcome face from Kurosawa's last few films, shines as a bit of an atypical wandering ronin. Ihei Misawa is sweet, polite, and generous to a fault, participating in illegal prize fights not to earn money for himself, but to help others, best demonstrated when he treats a struggling group of peasants to an entire feast just to settle a minor argument. Tagging along is a wife who truly loves him (Yoshiko Miyazaki), but doesn't approve of the way by which he gets his pay.
Stranded at a small inn while the flooded river gradually drains to a crossable depth, he breaks up another senseless fight and catches the eye of the local Lord, Nagai Izuminokami Shigeaki. Shiro Mifune (son of Toshiro) gives Lord Shigeaki his father's endearing roar, but never quite brings the man to life as he offers Ihei a job on the cabinet. Though our hero states there were problems that separated him from past lords, this could be the ticket he's been looking for; a place to settle with his wife, and a way to help people without abusing his sword skills.
I've seen some complaints that this film never really captures the look and feel of a Kurosawa flick, but have to disagree. While, no, the images aren't as sharp or exaggerated as the stuff he did from the 60s on, the scene staging and shot setups are equal to the films Kurosawa was doing before his love affair with a telephoto lens. That change in style also brought with it a bitter cynicism, so I think it's appropriate that a resurgence of the somewhat more optimistic and sentimental view of his earlier work brings with it a return to that style. Besides, with his last two films, especially MADADAYO, this seemed to be the path Kurosawa was interested in returning to.
It's surprising just how perfectly they capture Kurosawa without struggling to slavishly impersonate him. All these veterans just do the best they do with the skills The Master helped them to hone, and it all beautifully comes together. The precise staging and photography. The even, distinctive performances. The firm pace. The use of striking scenery both natural and manmade. The subtle placement of music. It's all so very Kurosawa.
I couldn't think of a better tribute to their mentor and friend.
(trailer)
(wikipedia)
(internet movie database)
directed by Takashi Koizumi
written by Akira Kurosawa
based on a short story by Shugoro Yamamoto
When he died in 1998, Akira Kurosawa left behind a legacy of 30 films which, to varying degrees, demonstrate the art of cinema at its finest. Though a hard act to follow, a group of The Master's collaborators - led by Koizumi, Kurosawa's assistant director since 1980 - decided to take one of his last scripts and do their best to bring it to life.
Lanky and dependable musician-turned-actor Akira Terao, a welcome face from Kurosawa's last few films, shines as a bit of an atypical wandering ronin. Ihei Misawa is sweet, polite, and generous to a fault, participating in illegal prize fights not to earn money for himself, but to help others, best demonstrated when he treats a struggling group of peasants to an entire feast just to settle a minor argument. Tagging along is a wife who truly loves him (Yoshiko Miyazaki), but doesn't approve of the way by which he gets his pay.
Stranded at a small inn while the flooded river gradually drains to a crossable depth, he breaks up another senseless fight and catches the eye of the local Lord, Nagai Izuminokami Shigeaki. Shiro Mifune (son of Toshiro) gives Lord Shigeaki his father's endearing roar, but never quite brings the man to life as he offers Ihei a job on the cabinet. Though our hero states there were problems that separated him from past lords, this could be the ticket he's been looking for; a place to settle with his wife, and a way to help people without abusing his sword skills.
I've seen some complaints that this film never really captures the look and feel of a Kurosawa flick, but have to disagree. While, no, the images aren't as sharp or exaggerated as the stuff he did from the 60s on, the scene staging and shot setups are equal to the films Kurosawa was doing before his love affair with a telephoto lens. That change in style also brought with it a bitter cynicism, so I think it's appropriate that a resurgence of the somewhat more optimistic and sentimental view of his earlier work brings with it a return to that style. Besides, with his last two films, especially MADADAYO, this seemed to be the path Kurosawa was interested in returning to.
It's surprising just how perfectly they capture Kurosawa without struggling to slavishly impersonate him. All these veterans just do the best they do with the skills The Master helped them to hone, and it all beautifully comes together. The precise staging and photography. The even, distinctive performances. The firm pace. The use of striking scenery both natural and manmade. The subtle placement of music. It's all so very Kurosawa.
I couldn't think of a better tribute to their mentor and friend.
(trailer)
(wikipedia)
(internet movie database)
August 13, 2009
Kaze No Yojimbo #25: So Long
2002 episode
directed by Hayato Date
written by Katsuyuki Sumisawa and Satoru Nishizono
based on the film YOJIMBO by Akira Kurosawa and Ryuzo Kikushima
(1961 film)
(previous)
From my review of the previous episode, I made it clear just how damn disappointed I was in what appeared to be the climax. They went for big action instead of deep characterization, but with such week animation, they never had a chance of pulling it off. Certain revelations were already obvious and a few potentially major confrontations severely fumbled. But it ended. Most of the major plot threads and character arcs were brought to a fiery conclusion. Where could it possibly go from here?
Well, surprisingly, it gets better.
Much, much better.
I won't go into all the details so as to not spoil anything, but the majority of the episode takes place on a lakeshore as various members of the cast show up to shoot things out and clear up the few remaining threads. While there's a twist involving the wife of old-blood politician Tanokura that never completely sells, everything else is staged to perfection, with some characters redeeming themselves, our calm hero George finally unleashing his pent up rage, and a brilliant revelation throwing everything for a loop and leading to a damn rousing battle in the woods.
And then there's Rin, the sadistic member of the Ginzame cartel who just loves finding news ways to play with that revolver of his. Things have been coming to a boil between him and George as we've painfully waited for these two skilled warriors to clash. I thought we gotten it last episode, with a disappointing bit of poorly animated stumbling, but the creative team completely redeemed themselves here, putting the two into a standoff which, while going off in a completely unexpected direction, is more than worthy of the pair. And bonus points for slipping in references to both the original film and Kurosawa's sequel.
While the previous ep was severely done in by obvious cuts to the animation budget, I'm guessing that was all so they could double their reserves here. This truly was the most beautiful episode of the series, with cleanly illustrated characters, striking shot setups, astonishing character animation (the way some transition from one emotion to another is just beautiful), and the entire climax takes place during a thick daytime snowfall, adding a stark beauty to the tense confrontation. It really did feel, appropriately, like a moment staged by Kurosawa and shot by Sergio Leone.
And then we all come to the ending. I'm sure there will be some left disappointed by the ambiguous fates of several characters, as they never do give us a clear idea of where they go from here, but we are left with a sense of growth, a feeling that they're already moving on from these recent events and now have a chance to make something of themselves. We'll never know because, just like our hero, our business here is done and we're already booked for the next train out of town.
Though it wrapped up beautifully and there are moments within the broader series where it rises to greatness, I'm still not certain whether I should recommend the show. If you're willing to sit through the frustrating stretches so as to better appreciate the points where it shines, then, yes, give it a go. For most people, though, I can see why the series has slipped into obscurity. If it weren't for my dreaded obsessive completism, I sincerely doubt I myself would have made it past the first few episodes.
(series trailer)
(opening titles)
(purchase)
(wikipedia)
(anime news network)
(internet movie database)
directed by Hayato Date
written by Katsuyuki Sumisawa and Satoru Nishizono
based on the film YOJIMBO by Akira Kurosawa and Ryuzo Kikushima
(1961 film)
(previous)
From my review of the previous episode, I made it clear just how damn disappointed I was in what appeared to be the climax. They went for big action instead of deep characterization, but with such week animation, they never had a chance of pulling it off. Certain revelations were already obvious and a few potentially major confrontations severely fumbled. But it ended. Most of the major plot threads and character arcs were brought to a fiery conclusion. Where could it possibly go from here?
Well, surprisingly, it gets better.
Much, much better.
I won't go into all the details so as to not spoil anything, but the majority of the episode takes place on a lakeshore as various members of the cast show up to shoot things out and clear up the few remaining threads. While there's a twist involving the wife of old-blood politician Tanokura that never completely sells, everything else is staged to perfection, with some characters redeeming themselves, our calm hero George finally unleashing his pent up rage, and a brilliant revelation throwing everything for a loop and leading to a damn rousing battle in the woods.
And then there's Rin, the sadistic member of the Ginzame cartel who just loves finding news ways to play with that revolver of his. Things have been coming to a boil between him and George as we've painfully waited for these two skilled warriors to clash. I thought we gotten it last episode, with a disappointing bit of poorly animated stumbling, but the creative team completely redeemed themselves here, putting the two into a standoff which, while going off in a completely unexpected direction, is more than worthy of the pair. And bonus points for slipping in references to both the original film and Kurosawa's sequel.
While the previous ep was severely done in by obvious cuts to the animation budget, I'm guessing that was all so they could double their reserves here. This truly was the most beautiful episode of the series, with cleanly illustrated characters, striking shot setups, astonishing character animation (the way some transition from one emotion to another is just beautiful), and the entire climax takes place during a thick daytime snowfall, adding a stark beauty to the tense confrontation. It really did feel, appropriately, like a moment staged by Kurosawa and shot by Sergio Leone.
And then we all come to the ending. I'm sure there will be some left disappointed by the ambiguous fates of several characters, as they never do give us a clear idea of where they go from here, but we are left with a sense of growth, a feeling that they're already moving on from these recent events and now have a chance to make something of themselves. We'll never know because, just like our hero, our business here is done and we're already booked for the next train out of town.
Though it wrapped up beautifully and there are moments within the broader series where it rises to greatness, I'm still not certain whether I should recommend the show. If you're willing to sit through the frustrating stretches so as to better appreciate the points where it shines, then, yes, give it a go. For most people, though, I can see why the series has slipped into obscurity. If it weren't for my dreaded obsessive completism, I sincerely doubt I myself would have made it past the first few episodes.
(series trailer)
(opening titles)
(purchase)
(wikipedia)
(anime news network)
(internet movie database)
August 12, 2009
Kaze No Yojimbo #24: The Close Call
2002 episode
directed by Hayato Date
written by Katsuyuki Sumisawa and Satoru Nishizono
based on the film YOJIMBO by Akira Kurosawa and Ryuzo Kikushima
(1961 film)
(previous)
(next)
Up until now, the penultimate episode, this has been a frustrating series, filled with missed opportunities, poor choices, and lacking quality. The times where it does rise above its own shortcomings seem to come in single, heroic leaps before everything wheezes back down to a stumbling trot, making me wonder if the series was truly directed in its entirety by Hayato Date. There's no consistency between the look, the pace, and the staging from week to week, so I would really like to know whether or not he was just the supervising director, or if there was something going on behind the scenes. Anybody out there know?
This episode is no different. After a fantastic pair of potboilers that set the stage for one hell of a climax, everything comes to a rather disappointing head. The remaining Shirogane brothers, piercing Samekichi and sadistic Rin, are screeching through the countryside on a train; Miyuki, the teenage daughter of their rival, tied up in back. Sanae, the ambiguous inn keeper, has joined their ranks, and our hero, George, is rapidly catching up on a motorcycle. Sounds exciting, right? It should be, but it instead comes off as a neutered version of RUNAWAY TRAIN, complete with a crazy mustached man (the angry leader of the Ginzame cartel who wants to take out the Shirogane bros. before they tear the organization down with them) ridiculously swooping around the roaring engine in a fully armed Apache helicopter.
There's so much that should have been great. The true history of Sanae? A rushed over bit of exposition that gives us nothing we haven't already guessed. The confrontation between George and Rin? A terribly staged bit of stumbling. The final showdown? A ridiculously contrived explosion straight out of a Schwarzenegger flick.
And on top of it all, my worst fear seems to have been realized. The quality animation used in the last two episodes must have burned through their budget, leading the team to their typical fallbacks: largely static imagery interspersed with moments of choppy animation and an overabundance of superimposed closeups that should never ever be used outside of interstitials in an SNES game.
Fuck you, creative team, for raising my hope only to throw it to the ground and take a steaming dump in its face. You've got one episode, one last chance to win me over. Don't blow it.
(series trailer)
(opening titles)
(purchase)
(wikipedia)
(anime news network)
(internet movie database)
directed by Hayato Date
written by Katsuyuki Sumisawa and Satoru Nishizono
based on the film YOJIMBO by Akira Kurosawa and Ryuzo Kikushima
(1961 film)
(previous)
(next)
Up until now, the penultimate episode, this has been a frustrating series, filled with missed opportunities, poor choices, and lacking quality. The times where it does rise above its own shortcomings seem to come in single, heroic leaps before everything wheezes back down to a stumbling trot, making me wonder if the series was truly directed in its entirety by Hayato Date. There's no consistency between the look, the pace, and the staging from week to week, so I would really like to know whether or not he was just the supervising director, or if there was something going on behind the scenes. Anybody out there know?
This episode is no different. After a fantastic pair of potboilers that set the stage for one hell of a climax, everything comes to a rather disappointing head. The remaining Shirogane brothers, piercing Samekichi and sadistic Rin, are screeching through the countryside on a train; Miyuki, the teenage daughter of their rival, tied up in back. Sanae, the ambiguous inn keeper, has joined their ranks, and our hero, George, is rapidly catching up on a motorcycle. Sounds exciting, right? It should be, but it instead comes off as a neutered version of RUNAWAY TRAIN, complete with a crazy mustached man (the angry leader of the Ginzame cartel who wants to take out the Shirogane bros. before they tear the organization down with them) ridiculously swooping around the roaring engine in a fully armed Apache helicopter.
There's so much that should have been great. The true history of Sanae? A rushed over bit of exposition that gives us nothing we haven't already guessed. The confrontation between George and Rin? A terribly staged bit of stumbling. The final showdown? A ridiculously contrived explosion straight out of a Schwarzenegger flick.
And on top of it all, my worst fear seems to have been realized. The quality animation used in the last two episodes must have burned through their budget, leading the team to their typical fallbacks: largely static imagery interspersed with moments of choppy animation and an overabundance of superimposed closeups that should never ever be used outside of interstitials in an SNES game.
Fuck you, creative team, for raising my hope only to throw it to the ground and take a steaming dump in its face. You've got one episode, one last chance to win me over. Don't blow it.
(series trailer)
(opening titles)
(purchase)
(wikipedia)
(anime news network)
(internet movie database)
Kaze No Yojimbo #23: The Great Excursion
2002 episode
directed by Hayato Date
written by Katsuyuki Sumisawa and Satoru Nishizono
based on the film YOJIMBO by Akira Kurosawa and Ryuzo Kikushima
(1961 film)
(previous)
(next)
"This is a town of sinners. It's filled with those who must pay for their sins." That's a sentiment familiar to every fan of Kurosawa's original film, where a complete stranger comes upon a town bubbling over with crime and drugs and violence and prostitution, and decides to use equally brutal and underhanded tactics to cause it to crumble under its own evil. Here, when that line is uttered by the increasingly ambiguous innkeeper Sanae, it doesn't quite have the same sting, feeling much more like a comment on herself then the broader town. And that speaks to one of the major flaws of the series, that the town of Kimujuku isn't bubbling over with crime and corruption. Sure, those elements are there, but more as a glorified turf war between an old-blood noble and a criminal corporation, with most of the remaining population just being average everyday people who don't even seem to know.
What's nice, though, is that they've taken the most innocent character in the piece and made her the unintended victim of others' sins. Miyuki, the teenage daughter of old-blood Tanokura, has fallen into the mitts of the struggling Ginzame cartel, who are no longer willing or able to keep dancing around the issue of the town's hidden treasure. I was highly critical of the exploitative way Miyuki was handled in the last episode, slipping in a long, gratuitous sequences of nudity that had nothing to do with anything else while so many anything elses were going on around her. Here, they had a chance to continue that display and kick it up a notch, but the creative team thankfully passed. Sure, there's a genuine looming sexual threat from her captors, but the way it's handled here, with the sadistic Rin taunting her with his pet revolver, is much preferable to the perverse display it could have been.
Elsewhere, her broken noble of a father waits for Ginzame to make contact. I have to give the creative team points for slipping in some nice references to Kurosawa's HIGH AND LOW, complete with a bespectacled detective overseeing the operation, though I don't think old-fashioned tape reels are still used to trace and record calls, especially those of a cellular nature. And extra points for the recurring cameo of steady Detective Sato and his eager young partner, both of whom come from another Kurosawa classic, STRAY DOG.
While not entirely up to the quality of the previous episode, this was still a solid transitional chapter with many characters falling in place for the final conflict, some great humor from a drunk Raccoon, and the setup of what will likely be a great action sequence, should the animation hold up next episode.
(series trailer)
(opening titles)
(purchase)
(wikipedia)
(anime news network)
(internet movie database)
directed by Hayato Date
written by Katsuyuki Sumisawa and Satoru Nishizono
based on the film YOJIMBO by Akira Kurosawa and Ryuzo Kikushima
(1961 film)
(previous)
(next)
"This is a town of sinners. It's filled with those who must pay for their sins." That's a sentiment familiar to every fan of Kurosawa's original film, where a complete stranger comes upon a town bubbling over with crime and drugs and violence and prostitution, and decides to use equally brutal and underhanded tactics to cause it to crumble under its own evil. Here, when that line is uttered by the increasingly ambiguous innkeeper Sanae, it doesn't quite have the same sting, feeling much more like a comment on herself then the broader town. And that speaks to one of the major flaws of the series, that the town of Kimujuku isn't bubbling over with crime and corruption. Sure, those elements are there, but more as a glorified turf war between an old-blood noble and a criminal corporation, with most of the remaining population just being average everyday people who don't even seem to know.
What's nice, though, is that they've taken the most innocent character in the piece and made her the unintended victim of others' sins. Miyuki, the teenage daughter of old-blood Tanokura, has fallen into the mitts of the struggling Ginzame cartel, who are no longer willing or able to keep dancing around the issue of the town's hidden treasure. I was highly critical of the exploitative way Miyuki was handled in the last episode, slipping in a long, gratuitous sequences of nudity that had nothing to do with anything else while so many anything elses were going on around her. Here, they had a chance to continue that display and kick it up a notch, but the creative team thankfully passed. Sure, there's a genuine looming sexual threat from her captors, but the way it's handled here, with the sadistic Rin taunting her with his pet revolver, is much preferable to the perverse display it could have been.
Elsewhere, her broken noble of a father waits for Ginzame to make contact. I have to give the creative team points for slipping in some nice references to Kurosawa's HIGH AND LOW, complete with a bespectacled detective overseeing the operation, though I don't think old-fashioned tape reels are still used to trace and record calls, especially those of a cellular nature. And extra points for the recurring cameo of steady Detective Sato and his eager young partner, both of whom come from another Kurosawa classic, STRAY DOG.
While not entirely up to the quality of the previous episode, this was still a solid transitional chapter with many characters falling in place for the final conflict, some great humor from a drunk Raccoon, and the setup of what will likely be a great action sequence, should the animation hold up next episode.
(series trailer)
(opening titles)
(purchase)
(wikipedia)
(anime news network)
(internet movie database)
August 11, 2009
Kaze No Yojimbo #22: Tanokura Manor Ablaze
2002 episode
directed by Hayato Date
written by Katsuyuki Sumisawa and Satoru Nishizono
based on the film YOJIMBO by Akira Kurosawa and Ryuzo Kikushima
(1961 film)
(previous)
(next)
Things aren't going good for Samekichi Shirogane, head of the local Ginzame cartel. He lost the group's gambling train, every opportunity to find old-blood Tanokura's hidden treasure is painfully foiled, George escaped their clutches in blazing fashion, and his brother was gunned down by a hidden sniper. Now, when he gets the final ultimatum to deliver or be "cast aside" by the larger organization, he gives into the extreme sadistic ideas floating around in his remaining brother's head.
We caught a glimpse of Tanokura's mansion going up in flames last episode, but here we flash back on the incident and watch it play out into an increasingly irresolvable situation; the noble's men failing to make any headway with buckets or extinguishers, the fire department showing us just as it's spread to the point of no return. All of this is captured through some of the sharpest, most intricately staged setups and character animation we've see in the series to this point, paced to perfection with so many subtle little character moments that reveal more than words ever could. I hoped this show would gets its act together in time for the finale, and here they don't disappoint.
No, the disappointment comes from Tanokura's daughter Miyuki. She's a great character, but the opening titles alone reveal that the creators seem divided between those who want to develop an interesting relationship between her and George, while others just want to pimp her out for fan service. The former side has been the victor so far, with her being one of my most unexpected favorites among the cast, but that may have changed. Here, we're treated to an extended nude scene that not only comes out of the blue, but is staged in a way that completely distracts from the broader situation at hand rather than naturally building from it. The sequence was likely conceived to make her seem meek and vulnerable in the face of a game-changing twist, but it comes off gratuitous and inappropriate.
Another issue I have is that the creators have finalized their portrayal of the two factions, with one being good and noble, the other being vile and wicked. Once again, I have to ask if they even watched the original movie? That wasn't about the hero choosing a side and saving the day, it was about him recognizing that everyone was a villain and manipulating them into tearing each other down. At the very least, though, I have to give them credit for giving George some much needed motivation to kick into action. He's been far too passive lately.
But then there's Rin. Oh, man, what a beautiful little sadist he is. Though there's a bit with his final bullet that maybe toed the line into weird territory, the way he goes from steely calm to twitching with blood lust is superb.
It really is a damn good episode. Not only in comparison to this largely lackluster series, but tv in general. I hope they haven't kicked the quality up too soon, though, because there's only three episodes left and I've seen how quickly these guys can take a turn for the worse.
(series trailer)
(opening titles)
(purchase)
(wikipedia)
(anime news network)
(internet movie database)
directed by Hayato Date
written by Katsuyuki Sumisawa and Satoru Nishizono
based on the film YOJIMBO by Akira Kurosawa and Ryuzo Kikushima
(1961 film)
(previous)
(next)
Things aren't going good for Samekichi Shirogane, head of the local Ginzame cartel. He lost the group's gambling train, every opportunity to find old-blood Tanokura's hidden treasure is painfully foiled, George escaped their clutches in blazing fashion, and his brother was gunned down by a hidden sniper. Now, when he gets the final ultimatum to deliver or be "cast aside" by the larger organization, he gives into the extreme sadistic ideas floating around in his remaining brother's head.
We caught a glimpse of Tanokura's mansion going up in flames last episode, but here we flash back on the incident and watch it play out into an increasingly irresolvable situation; the noble's men failing to make any headway with buckets or extinguishers, the fire department showing us just as it's spread to the point of no return. All of this is captured through some of the sharpest, most intricately staged setups and character animation we've see in the series to this point, paced to perfection with so many subtle little character moments that reveal more than words ever could. I hoped this show would gets its act together in time for the finale, and here they don't disappoint.
No, the disappointment comes from Tanokura's daughter Miyuki. She's a great character, but the opening titles alone reveal that the creators seem divided between those who want to develop an interesting relationship between her and George, while others just want to pimp her out for fan service. The former side has been the victor so far, with her being one of my most unexpected favorites among the cast, but that may have changed. Here, we're treated to an extended nude scene that not only comes out of the blue, but is staged in a way that completely distracts from the broader situation at hand rather than naturally building from it. The sequence was likely conceived to make her seem meek and vulnerable in the face of a game-changing twist, but it comes off gratuitous and inappropriate.
Another issue I have is that the creators have finalized their portrayal of the two factions, with one being good and noble, the other being vile and wicked. Once again, I have to ask if they even watched the original movie? That wasn't about the hero choosing a side and saving the day, it was about him recognizing that everyone was a villain and manipulating them into tearing each other down. At the very least, though, I have to give them credit for giving George some much needed motivation to kick into action. He's been far too passive lately.
But then there's Rin. Oh, man, what a beautiful little sadist he is. Though there's a bit with his final bullet that maybe toed the line into weird territory, the way he goes from steely calm to twitching with blood lust is superb.
It really is a damn good episode. Not only in comparison to this largely lackluster series, but tv in general. I hope they haven't kicked the quality up too soon, though, because there's only three episodes left and I've seen how quickly these guys can take a turn for the worse.
(series trailer)
(opening titles)
(purchase)
(wikipedia)
(anime news network)
(internet movie database)
August 4, 2009
Kaze No Yojimbo #21: The Search for the Truth
2002 episode
directed by Hayato Date
written by Katsuyuki Sumisawa, Satoru Nishizono, Akatsuki Yamatoya, Daisuke Yajima, Michiko Yokote
based on the film YOJIMBO by Akira Kurosawa and Ryuzo Kikushima
(1961 film)
(previous)
(next)
After a brief, unexplained trip out of town, Sanae returns to find her inn brutally ransacked. Searching the rooms, she finds the tavern-keeper and our hero, George, both of whom are still healing from recently received beatings. What begins is a conversation between these three that finally sheds some light on just what the hell is going on.
Throughout the series, we've picked up on snatches about a train car full of money that mysteriously disappeared 15 years ago, but here, through the confessions of George, we finally get a clear answer of what was taken, why, by whom, and how. Some of this was already strongly hinted at or made obvious thanks to moments of poor storytelling, but it's wonderful to see it all laid out. And kudos for having George finally open up about not only his connection to Genzo Araki, but the real reason why he came to this town and started digging around. It's wonderful, wonderful stuff which not only gives him a renewed depth, but intricately ties him to the town in unexpected ways.
And, thanks to Sanae and the tavern-keeper (haven't talked about him much in the reviews so far; he's been a catchy little bit of ambiguity known only as The Master) we not only get the final word on the fate of Genzo Araki, bringing that thread to a close, but the few remaining pieces of backstory are clarified.
What an amazing little episode, taking what has been till now an interesting yet under-thought and poorly executed mystery and showing just how rich and central to the state of the town's current situation it really is. Bravo to them. And not only was the writing spot-on this episode, making a three-way expository dialogue captivating and character driven, but the animation and direction have kicked it up. Whereas the last episode was chaotic and choppy and grotesque, everything here is clean and crisp, offering some of the sharpest (yet still grounded) visual storytelling since the excellent episode #13. I really have a hard time believing every episode was directed by the same man. Unfortunately, the credits on the U.S. dvd release aren't fully translated, so I guess I'll never know for sure.
With a huge chunk of the backstory now revealed and a clever little cliffhanger making me eager to catch the next chapter, this series is definitely off on the final leg of its run.
(series trailer)
(opening titles)
(purchase)
(wikipedia)
(anime news network)
(internet movie database)
directed by Hayato Date
written by Katsuyuki Sumisawa, Satoru Nishizono, Akatsuki Yamatoya, Daisuke Yajima, Michiko Yokote
based on the film YOJIMBO by Akira Kurosawa and Ryuzo Kikushima
(1961 film)
(previous)
(next)
After a brief, unexplained trip out of town, Sanae returns to find her inn brutally ransacked. Searching the rooms, she finds the tavern-keeper and our hero, George, both of whom are still healing from recently received beatings. What begins is a conversation between these three that finally sheds some light on just what the hell is going on.
Throughout the series, we've picked up on snatches about a train car full of money that mysteriously disappeared 15 years ago, but here, through the confessions of George, we finally get a clear answer of what was taken, why, by whom, and how. Some of this was already strongly hinted at or made obvious thanks to moments of poor storytelling, but it's wonderful to see it all laid out. And kudos for having George finally open up about not only his connection to Genzo Araki, but the real reason why he came to this town and started digging around. It's wonderful, wonderful stuff which not only gives him a renewed depth, but intricately ties him to the town in unexpected ways.
And, thanks to Sanae and the tavern-keeper (haven't talked about him much in the reviews so far; he's been a catchy little bit of ambiguity known only as The Master) we not only get the final word on the fate of Genzo Araki, bringing that thread to a close, but the few remaining pieces of backstory are clarified.
What an amazing little episode, taking what has been till now an interesting yet under-thought and poorly executed mystery and showing just how rich and central to the state of the town's current situation it really is. Bravo to them. And not only was the writing spot-on this episode, making a three-way expository dialogue captivating and character driven, but the animation and direction have kicked it up. Whereas the last episode was chaotic and choppy and grotesque, everything here is clean and crisp, offering some of the sharpest (yet still grounded) visual storytelling since the excellent episode #13. I really have a hard time believing every episode was directed by the same man. Unfortunately, the credits on the U.S. dvd release aren't fully translated, so I guess I'll never know for sure.
With a huge chunk of the backstory now revealed and a clever little cliffhanger making me eager to catch the next chapter, this series is definitely off on the final leg of its run.
(series trailer)
(opening titles)
(purchase)
(wikipedia)
(anime news network)
(internet movie database)
Kaze No Yojimbo #20: Bingo
2002 episode
directed by Hayato Date
written by Katsuyuki Sumisawa, Satoru Nishizono, Akatsuki Yamatoya, Daisuke Yajima, Michiko Yokote
based on the film YOJIMBO by Akira Kurosawa and Ryuzo Kikushima
(1961 film)
(previous)
(next)
It was bound to happen, sooner or later. In the original film, our hero's manipulations are eventually uncovered by one of the town's two opposing factions, and he finds himself beaten, questioned, and on the verge of being killed. Such is the case here as George falls into the clutches of the Ginzame cartel, who realize it was he who ratted them out to police and old-blood Tanokura a few episodes back.
Right from the start I have to wonder what tragedy befell the production crew. Adopting a color scheme that goes from empty blue to what can only be described as diarrhea green, this episode seems to proudly display the absolute worst animation I've yet to see from this already struggling series. Fights involve still figures jerked from side to side. Seemingly interesting camera angles and stagings collapse all over themselves due to ridiculous execution. Hell, even quiet closeups are glaringly hideous, with the show's clean designs (its strongest suit till now) having morphed into clunky, grotesque, awkwardly shaded works that look as though the animation department took a week off and handed production over to their children.
And it's a shame, too, because the scripting is actually pretty tight. George plays it cool, taking the severe beating and refusing to either give away information or respond when their own logical deductions hit close to home. As with the original film, his eventual escape is believably hectic and poorly planned, just barely managing to slip him through the villains' fingers.
And then there's Raccoon, the lovable Ginzame thug who idolizes George. Though he probably rambles off more than he should during an interrogation of his own, it's wonderful that our hero's escape initially owes credit to Raccoon's decision to finally pick a side. His actions, though simple, are still clever and believable, and the way they partially backfire on him is not only hilariously in character, but the highlight of the episode.
I'm really concerned about where this series is going. It improved greatly near the middle but, while the writing has largely remained consistent, the direction and animation have been disastrously chaotic. There's only six more episodes to go and I honestly have no idea whether to look forward to the conclusion, or run screaming.
(series trailer)
(opening titles)
(purchase)
(wikipedia)
(anime news network)
(internet movie database)
directed by Hayato Date
written by Katsuyuki Sumisawa, Satoru Nishizono, Akatsuki Yamatoya, Daisuke Yajima, Michiko Yokote
based on the film YOJIMBO by Akira Kurosawa and Ryuzo Kikushima
(1961 film)
(previous)
(next)
It was bound to happen, sooner or later. In the original film, our hero's manipulations are eventually uncovered by one of the town's two opposing factions, and he finds himself beaten, questioned, and on the verge of being killed. Such is the case here as George falls into the clutches of the Ginzame cartel, who realize it was he who ratted them out to police and old-blood Tanokura a few episodes back.
Right from the start I have to wonder what tragedy befell the production crew. Adopting a color scheme that goes from empty blue to what can only be described as diarrhea green, this episode seems to proudly display the absolute worst animation I've yet to see from this already struggling series. Fights involve still figures jerked from side to side. Seemingly interesting camera angles and stagings collapse all over themselves due to ridiculous execution. Hell, even quiet closeups are glaringly hideous, with the show's clean designs (its strongest suit till now) having morphed into clunky, grotesque, awkwardly shaded works that look as though the animation department took a week off and handed production over to their children.
And it's a shame, too, because the scripting is actually pretty tight. George plays it cool, taking the severe beating and refusing to either give away information or respond when their own logical deductions hit close to home. As with the original film, his eventual escape is believably hectic and poorly planned, just barely managing to slip him through the villains' fingers.
And then there's Raccoon, the lovable Ginzame thug who idolizes George. Though he probably rambles off more than he should during an interrogation of his own, it's wonderful that our hero's escape initially owes credit to Raccoon's decision to finally pick a side. His actions, though simple, are still clever and believable, and the way they partially backfire on him is not only hilariously in character, but the highlight of the episode.
I'm really concerned about where this series is going. It improved greatly near the middle but, while the writing has largely remained consistent, the direction and animation have been disastrously chaotic. There's only six more episodes to go and I honestly have no idea whether to look forward to the conclusion, or run screaming.
(series trailer)
(opening titles)
(purchase)
(wikipedia)
(anime news network)
(internet movie database)
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