Between watching the new season of That Metal Show on VH1 Classic, blasting Black Country Communion late at night to stay awake, and the usual end-of-semester scramble, the so-called “12 days” flew by before I had a chance to do anything. So here’s what you get instead. Panic ulti rendition, just in time for the 25th. It’s the 12 faces of 2011.
#12. Berserk will be taking a short break
Obligatory shout out to Miura.
As if lured by the Greek sirens, he entered the innermost chamber, the pistil of the rose. There it was again, the enigmatic notes echoed far off into the distance. In front of him, a light shone upon a grand piano, a memento of the opera singer’s former glory. He carefully approached the pedestal, the grease and oil indicative of mechanical parts oozed from its crevices. With the deafening sound, the vestige sprang to life as if it had received the signal it had been waiting for all these years. The music hits its crescendo in full stride. As if to pay homage to Aquarela do Brasil, the camera falls back to reveal green pastures and rose-tinted bushes replacing the scrap metal present only a moment ago. A voice can be heard, “I love you, Carlos!” Thus, he was doomed.
Although I was completely unaware of it, I had just been exposed to Satoshi Kon for the first time. Magnetic Rose is a brilliant short film directed by 4°c founder Koji Morimoto (consequently another first exposure) as part of Katsuhiro Otomo’s Memories anthology. Kon, an aspiring manga artist turned animator, wrote the screenplay. At the time, I was about as much a fan of anime as a clueless casual who resolved to watch random things when curiosity struck. Little did I know of writers or even directors for that matter. Eventually, I learned of the name Satoshi Kon. It was later still, when I began to actually pay attention to his work, that I realized this was the man responsible for some of my favorite titles. By then, however, his time had already been drawing to a close. “Well shit,” I thought as I happened upon the ANN article dated August 24th 2010 (then only a month old). Since that day, a number of internet denizens have written their own little tributes and eulogies reflecting upon Satoshi Kon’s life and works. As if anything more needs to be said about the guy, here’s one more for the record books. My personal late-as-hell tribute and salute to Satoshi Kon.
Look what finally decided to show up.
Okay, straight the point. I have two problems with this episode and the way the show(?) is progressing. The first is characterization.
Recall “the old times.” Words spoken by one Batou, character from the Ghost in the Shell universe. The phrase refers to the ass-kicking police duo consisting of Batou and Major Kusenagi. The Major was boss, so naturally she took point. Batou covered the back side. From a practical standpoint, his large frame could potentially limit vision in close quarters if he had taken point instead (also explicitly stated by Togusa in Innocence when he and Batou team up). Below the surface, however, this simple arrangement reveals some of the subtle intricacies that permeate the characters. Namely and obviously, the Major’s status as “Point man” both on and off the job.
Odin: Koushi Hansen Starlight or Odin: Photon Space Sailer Starlight is notoriously known as Yoshinobu Nishizaki’s failed attempt to bring back the magic of Space Battleship Yamato. Originally slated to be a series of films, it featured the talents of many returning Yamato staffers including composer Hiroshi Miyagawa and co-director Toshio Masuda. In many ways, this was supposed to be the Yamato of the 1980s. It was, however, not meant to be. It exists today as an object of ridicule for fans and an embarrassment for its staff. Did Odin’s failure put a curse on its creators? Let’s find out.