No convention has been a greater boon to animation as a whole than the anthology. Granted, I love anthologies in most mediums. A collection of short stories from a slew of diverse, creative minds can expose audiences to all kinds of stories and genres they wouldn’t normally see or seek out themselves.
In terms of animated anthologies, works like Batman: Gotham Knight, The Animatrix or recent experiments like Love, Death, & Robots are perfect examples. They expand upon established works and introduce their own lore spanning myriad genres and subject matter, all while experimenting with myriad art styles.
The best part is that you can hook the audience with at least one story and they’ll surely be curious enough to see how the others fare. Maybe they don’t love all of them, but even one or two great stories can make the entire collection worth it, especially if the whole package is an hour and forty-five-minute film with three stories.
In 1995, Madhouse and Studio 4°C collaborated to create Memories, a collection of three short films based on short manga stories written by Katsuhiro Otomo, the man who created Akira. Since Otomo seems to always be involved in the animated adaptations of his work, he was the executive producer for Memories and even directed the third and final short himself.
Together with Darker Than Black director Tensai Okamura, Studio 4°C co-founder Koji Morimoto, and legendary director/writer Satoshi Kon, Memories was an ambitious fusion of three very different kinds of stories. If the objective was to make something that would stick in your mind, then they certainly picked a fitting title.
At the end of the much-acclaimed third season’s final credits, a fourth and surprisingly final season of Attack on Titan was announced to be greenlit.
We went from waiting years for a second season to getting subsequent sequels at a reasonable pace to the point that now I’m a little shocked that the end of both the manga and anime are syncing up accordingly. However, long-time fans became concerned as soon as it was suggested that Studio WIT would NOT be animating it.
In the wake of the world burning down, we were blessed with quite a climactic trailer for the final season. And the editors wasted no time telling us who would be helming it.
There are some shows that I immerse myself in and binge within 24 hours, totally content and happy, only to find myself going blank when I attempt to assess the show’s quality. Certain genres are hard to critique because the magic that makes them click for audiences are more difficult to put into words. The Promised Neverland is one of those shows.
Specifically, this is a show depicting a mental tug of war between two sides trapped together. The tide is constantly shifting in one side’s favor and it all builds to an elaborately constructed conclusion, the complexity of which I- an aspiring writer- could only dream of creating. It’s… a lot to unpack, but the short version is: It’s really good.
At the risk of understating this film’s message, showbusiness sucks. Satoshi Kon’s 1998 thriller by Studio Madhouse, Perfect Blue, was a must-see for me during its re-release in theaters last month. I had always heard about the film and seen glimpses of its iconic moments, but without the full picture, I was still in for a lot of surprises.
Kon’s films have stretched close to the same critical acclaim here in the west from adults as Miyazaki and Ghibli have achieved with… well, everyone. The late and great creator’s films have also inspired many auteurs to take inspiration. Such as the late Mamoru Oshii’s Ghost in the Shell inspired the Matrix, Perfect Blue inspired Darren Aronofsky’s Black Swan from 2010. So it is especially criminal that I had not previously seen any film by the late Mr. Kon before this one. And this was quite the start. Continue reading →