#34 : Anne of Green Gables

aogg_1Families can come in all shapes, sizes, or colors. Many times unlikely circumstances can bring about the formation of a family that may not have been planned. On another subject, how is it that Japan made some of the best adaptations of beloved western children’s novel? And another subject, the work of Isao Takahata before Studio Ghibli. Now to put together all three ingredients… and what we get is one of the trilogy of World Masterpiece Theater Series that Takahata directed. We shall look at the third and final, a beloved story around the world, 1979’s Anne of Green Gables.

aogg_2Before I begin I will say that I have yet to read the original book written by Lucy Maud Montgomery at the time of this writing. I was aware of another animated version that aired here in the U.S. on PBS as well as the famous name of this classic. But of course if a version was created for the Japanese market, in my eyes, I have to watch it. And watch I did as I have been getting into much of the World Masterpiece Theater Series and enjoying them immensely. Add in Isao Takahata’s directing vision and the skills of Nippon Animation and  you have a combination of fine pedigree. Though the first five episodes were a slow start, at least for me, it began to turn into a typical Takahata production of an investigation into the intimate lives of characters.

aogg_3The beginning of this story has Marilla and Matthew Cuthbert, an elder pair of siblings who live in rural Canada and are in need of a child to aid in the farmwork of Matthew. Hoping for a boy they end up with a scrawny red headed girl, Anne Shirley, who has had bad luck in finding a lasting home. Marilla’s strictness, Mathew’s gentleness and Anne’s imagination and firecracker temper all seems to meld together as the three learn what it is to be a family unit. Not only does Anne grow from childhood into adulthood, but the Cuthbert siblings also evolve. Almost in a direct opposition of Takahata’s Grave of Fireflies, Anne of Green Gables shows what happens with the community and child relationship working together to create the greater whole.

aogg_4Like many of the other World Masterpiece Theater Series shows I had my moments of joy and moments of tears. Anne’s friendship with Diana is adorable and real as things are not always picture perfect… just watch out for the raspberry cordial. Anne’s temper is also a fun thing to watch, much to the dismay of Gilbert Blythe… don’t call her hair carrots! Though the ending was a little disappointing on my end personally as Anne lets go of a great opportunity, but she has her reason. And that reason was justifiable in regards to the circumstances. I wish I read more books when I was a kid, as this anime is a good example. But the benefit of watching them now is seeing them with character designs I know and love.

aogg_5Released the same year as more ‘revolutionary’ shows like the original Gundam and Rose of Versailles, Anne of Green Gables can seem like a more tame family oriented affair. It is since much of the World Masterpiece Theater Series are basically adaptations of literature, but never, ever, discount these shows. I am honored that Japan back in the day gave the attention to bring stories like Anne of Green Gables a place in the sun. Not only does it show Japan’s willingness to be open to other cultures (because anything foreign is awesome, right?), but it gives those of us in the west to see familiar stories in a different style. Anne of Green Gables you are a fine classic. Who needs Cliff Notes? But you should still read the original… and so should I.

#33 : Neo-Human Casshan

cass_1If you want to be a superhero, there is one main rule to follow. True you need to have some kind of power that makes you… super? But, even more important, you have to have a great costume. Casshan’s uniform is second to none and has left an influence onto future creations, not unlike Megaman. A helmet clad cyborg hero in a world that has flipped upside down trying to make it right again, while looking awesome in the process. I call that worth a watch! Tatsunoko redefined the concept of the superhero in the early 1970s and this was their second concept to hit the market. A reborn human, or a cyborg, better known as Neo-Human Casshan.

Say Casshan… one thing before I begin. The spelling as ‘Casshern’, what is this? Hearing the original language track and I hear something closer to ‘Cassharn’ so ‘Casshan’ is more appropriate? Enough of the being on the soapbox. …

cass_2Oddly I came to the original Tatsunoko production of 1973 not first in my journey of watching all that is Casshan, but last. I watched the 90s OVA first (I thought it was ok), then Casshern Sins (I loved it) and then the original. For some weird reason I thought the original series, before even watching a minute of it, was going to be a little bit of a brighter and more fun series. Of course I had seen the original Gatchaman, Tatsunoko’s first superhero series (and a good one), and that was a bit of a more serious affair and the same was also true for the original Casshan. My gut instinct was wrong, just don’t ask me what I ate that day to have me come to that original conclusion.

cass_3Casshan like in every other adaptation is the lone warrior, the anti-hero, the one who is unjustly given a role to make right in a world that has gone wrong. The cause of these issues was an accident that brought a robotic creation of his father’s, BK-1 or Braiking Boss, to life. Braiking Boss’s awakening corrupted his logic and function, which in turn makes him the main bad guy of the series. To counter this error, Dr. Kotaro Azuma’s son Tetsuya volunteers to be reborn as a cyborg to fight the robot army of Braiking Boss. And it is this army that has taking over humanity. Their purpose is to eradicate the human race because these robots think the only way to clean up the pollution and problems of Earth is to destroy the inhabitants that created it. Kind of like Frankenstein meets Fist of the North Star? And speaking of FotNS, Braiking Boss you sound a bit like Raoh (Kenji Utsumi voiced both roles).

cass_4Mixed with the social responsibilities are Casshan’s personal struggles of the break-up of his family and his distancing behavior of forgetting his former identity of Tetsuya Azuma. His personal angst is most apparent to his friend Luna, a long time friend and maybe a love interest. But to me the most touching moment of his troubles are his interactions with Swanee, a robotic swan who acts as a spy for Casshan, but also Swanee contains his mother’s soul or essence. The interaction between these two are the most heartfelt as Casshan, or should I say Tetsuya, really wants to reconnect with a relationship with family. And who says being a super hero is easy? With every duty comes a cost.

In terms of western story telling, Casshan reminds me of the lone cowboy, but to be eastern appropriate, Casshan is the lone samurai. Except he is not alone. Fighting along side is a re-invention of the Azuma family dog Lucky now known as Friender. And if dogs are man’s best friend, then robot should be added to the equation as well. The pairing of these two make a formidable combination and to state it again, both are great examples of design. And speaking of design, Casshan has the great look of the early Tatsunoko shows of the 1970s and perhaps 1970s anime in general. This show looks like it was made by hand with heavy emphasis on strong lines that scream pencil and ink. Beautiful and rough.

Heroes come and go, but legends never die. Thanks to a couple reinventions the name Casshan will live on longer. Much like Yamato and Gundam, remakes can sell ideas to a new generation, but never hold the honesty of the original. Neo-Human Casshan you are a one of a kind.

#30 : Mobile Suit Gundam

1979 was a breakthrough year. And Mobile Suit Gundam was a breakthrough series, or was it? I see Gundam as a continuation, an evolution and a product of it’s time expressing the then fashionable mecha genre with space opera not unlike Space Battleship Yamato or Star Wars. But where Yamato was emotional and Star Wars was heroic, Gundam was intense passion. And that passion became a franchise bigger than it’s own name, an elephant in the room that now seems to define mecha itself. But nothing compares to an original and for me when you go back  ‘the’ original, it is hard to move ahead to what seems like a copycat for cash.

msg_1The original Gundam may have broke the mold in regards to looking at the large robot as a piece of utilitarian hardware instead of this super hero deus ex machina. But, Gundam did not happen in a bubble or was a happy accident. The mecha genre had been building through the 1970s and the likes of Yoshiyuki Tomino (Gundam’s creator/director) and Tadao Nagahama both pushed story and character development through the later part of the decade. Two shows from 1977 deserve the place as major stepping stones leading to Gundam, Nagahama’s Voltes V and Tomino’s Zambot 3. If you love mecha and consider Gundam to be the true beginning of mecha as serious storytelling, you may have to scratch that surface again.

msg_2Why do I love the original Gundam so? Simple answer… it’s good. Damn good… no great. An epitome of the concept of the large epic space opera. Top it off for it being harder sci-fi as well. Warp drives and far out deep space are out. We are going to stay close to the Earth sphere for this story. Let’s strip out a bit of the super fantastic and make it about political ideals. A corrupt unified government, the Earth Federation, versus an even more corrupt family dictatorship, the Zeon (Jeon?) Empire that can likened to the Godfather or I Claudius. And everyone else is in between and by due fact of geography resides to one of those sides, which is where a majority of our main cast resides. Many aboard a Federation ship called White Base, which houses the Federation’s newest prototype, the RX78-02 Gundam.

msg_3And this tale has one of the greatest rivalry combinations pitting an electronics obsessed otaku kid who wants nothing to do with fighting or war against a blonde elitist pilot who must be in disguise in order to carry out his own personal revenge for the wrong done to his family. Amuro vs. Char, a combo remade too many times in each successive Gundam series that may look good on paper, but never approaches the original. In between both men are two women, Char’s distant sister Sayla Mass, who is close to Amuro, and the woman of mystery who flirts with the hearts of Amuro and Char, Lalah Sune. It is more than a rivalry of who is a better pilot, or for which side of the conflict they fight for. It is personal and full of blind angst that can’t be expressed except between two lost souls needing conflict to justify their existences. As Marshall McLuhan says “Violence as a Quest for Identity.” This is a bonafide soap opera.

msg_4And this is just another robot show? Well at least it was in 1979. Ratings were not too hot, but a certain group of fans caught on, very similar to original Yamato. And both would get a second chance in the theaters. My chance to experience original Gundam came after encounters with first Gundam Wing, which left me a little empty, and the first half of Zeta Gundam, which left me a little confused. I tried original Gundam next and I could not go back. Zeta Gundam made much more sense and I became a die hard fan of the Universal Century timeline with two conditions: first it has to be helmed by Yoshiyuki Tomino and two, it has to feature Amuro and Char. Gundam is not Gundam without these combinations for me similar to the way I see Macross as being the story of Hikaru, Misa and Minmei.

msg_5Of all the hype for Star Wars or the newest Gundam release, the original Mobile Suit Gundam will always stick out to me. Well Zeta Gundam is a love of mine as well, but there would be no Zeta Gundam without the original. Also no Macross as well, so it is to be said if Gundam never came out who would have known where or if my fandom would have occured. If you ask me where do you start with Gundam, I have only one answer. Start at the very beginning with the original Mobile Suit Gundam.

#29 : Lupin III (Series 1)

No anime collection is proper without the adventures of Lupan San Sei, Lupin III. A product of the late 1960s counterculture in style and attitude, only one production of the famous thief can claim to be the closest to Monkey Punch’s original manga… sort of. The original Lupin III TV series of 1971, the ‘The Green Jacket’ series, is a study of two different visions in regards to production and outlook. Beyond that, this is the series that is official swinging 60s cool.

liii_s1_1The two visions in question look at being authentic to the original source material and a softened version by following the source material’s source material. The original concept of the show was directed by Masaaki Osumi and followed the approach of Monkey Punch’s manga. That being said, for approximately the first third of the show, the direction was hard boiled and mature. Adult oriented programming is often taken for granted today as normal, but for the early 1970s, this was untested ground. Ratings suffered and Osumi was soon shown the door to be replaced by the young and hungry Hayao Miyazaki and Isao Takahata. Not overly enthusiastic, they took the job and followed the marching orders to clean up the show and make it appeal more for families and children. At first there were a handful of transitional episodes that became out and out fun and non-offensive adventures of the week.

liii_s1_2And due to the split nature of Lupin III, I have a love/hate, well more disappointed than hate as I can’t hate this show. As famous as Miyazaki and Takahata are and as well produced and fun the later episodes are, I really love the original vision of Masaaki Osumi. The attitude and grittier look are just brilliant. Lupin is not as much of backstabbing bastard as the manga, but he is still a bit of a scoundrel. And this kind of goes for the so called team of four: Lupin, Jigen, Goemon and Fujiko. It seems all four of them will one up each other to be on top (maybe not so much Jigen?) and that is a nice thing to see as it is four egos on a rampage. Particularly Fujiko, who I think suffers the most during the change. The big haired bombshell who would shoot Lupin in the back and have him in the sack as well gets a hair cut and her hemlines extended. Fujiko is a strong, independent and sexy woman who may be the most cutthroat of the bunch becomes almost a backup figure. Big mistake. Let Fujiko be Fujiko.

liii_s1_3So with all the grit and angst of the original one third of episodes, it should be a dark show with nothing funny. OH NO! Funny is the word of this show from the word go. My favorite episode, One Chance to Breakout, is comedic genius. After all what would happen if Lupin gets caught by Zenigata? He stays put and acts like a crazy man for months and months and months until he decides to leave. And poor Fujiko tries to break him out and every single time Jigen pulls her back to say let Lupin do his thing. It’s mature comedy, smart comedy that if you love Monty Python or Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb you will get it and in spades. Funny and bit bizarre on the side of being experimental. It is a shame they left the original intention behind, but at least that much got through the system.

liii_s1_4Also to make a small comparison to the Patlabor OVA to Patlabor 2: The Movie, we see a couple storylines in the Lupin III TV Series that ended up being used… again! After all episodes six and seven of the Patlabor OVA are similar to the plot of Patlabor 2: The Movie (similar yes, same no, Patlabor 2 is beyond perfect). As for Lupin III, you have an episode with a guy who makes counterfeit money with a clock tower/mountain and another featuring an odd guy named Mamo. I think these sound like a couple movies that featured Lupin a couple years later? Recycling done right.

Beyond the matter the of vision or production, the adventures of Lupin have always been about style. Cool style baby, YEAH! And that style looks damn good with a green jacket, a good addition over the red (not saying one is better, but from style preference, I like green). And I give the original Lupin III credit for the audacity to push animation into a more mature waters. After all, grown up kiddies still need cartoons too.

#27 : The Rose of Versailles

rov1I’ve got my cake and I am eating it too! The French Revolution was a time of insanity. Political overthrow, bloodshed and ideals permeated the landscape of 18th century France. Fast forward to 1970s Japan, mangaka Riyoko Ikeda would pen a story of love, politics and gender identity into this historic environment. Historically accurate, hardly, but a passionate soap operatic historic shojo masterpiece, indeed. Liberté, Egalité, Fraternité live on forever and ever in The Rose of Versailles.

rov2The house of de Jarjayes is expecting a child. This military family of the commander of the Royal Guard expects, no, demands a son, but alas a beautiful baby girl is delivered instead. In haste General de Jarjayes demands that this child be raised as a boy instead, after all a male heir is crucial. This child christened Oscar Francois de Jarjayes (say it three times fast, isn’t French a sexy language? L’amour!) is our heroine and by the time she comes of age she becomes the guard for a future future queen of France, Marie Antoniette (a.k.a. spoiled brat). Who says being born into nobility or privilege is an advantage? There is always a price.

rov3Oscar without question has too be one of, if not the most honored, strongest and most well rounded female characters in anime or otherwise. And beautiful as well… flaunt that hair. And with issues as well, being forced to be a man, when she is definitely a woman and has natural feminine tendencies that cannot be repressed. Trans peeps you know what I am talking about! One of my favorite moments that highlight this idea was when Oscar went to a ball and rid herself of the military uniform to wear a gorgeous gown and have all her hair done up. She looked damn good, I remember cheering at the top of my lungs… Go girl go! And she stole the show at the ball and yet no one knew it was Oscar. After all Oscar is just a boyish soldier… yeah hardly.

rov4And of course there has to be love interests. The first being her childhood friend, a commoner, André. Now these two are one good looking couple, imagine the children if things could have been. Andre is genuine, honest and always supportive to the woman he loves. Contrast this to ‘Mr. Captain von Handsome’ himself (I need to trademark that), the blonde Swede aristocrat who also has feelings for Madame Oscar as well, Hans Axel von Ferson (actually a real person as well). He is also a decent soul, but the dude needs to decide Oscar or Ms. Antoniette (brat). Of course he has pedigree over André, but where does Oscar stand? You going with the nice country boy or the sophisticated suave dude?

rov5Production was done by the awesome TMS (Tokyo Movie Shinsha) and two directors held the high post of being in charge. Tadao Nagahama, who is noted for the Robot Romance Trilogy (great mecha!), began the series and in traditional fashion told a very straight forward and emotional story. Sadly at about half way through production, he would succumb to a fatal case of hepatitis leaving the director’s chair to go to one of the masters, Osamu Dezaki. With more intense lighting, triple takes and pastel stills in hand (all signature to Dezaki) the show became even more dramatic all the way to the tragic ending.  Osamu Dezaki equals genius (can you tell I am a fan?). From start to finish it is 40 episodes of win; a soap opera turned up to 11. All those who are nice get a little pushed over by those who are a bit too arrogant. Madame du Barry I am looking at you! I looked up bitch in the dictionary and there was a portrait of her… no surprise 😉

For those of you in Europe I am envious that you got this show amongst many others as well back in ye olden days. Icon may be the best word to describe The Rose of Versailles. But also yardstick as well. No show can equal it before or after and true there have been elements borrowed in other shows, but it’s not The Rose of Versailles. Great shojo or otherwise have to measure up to this gem. The Rose of Versailles est très belle et magnifique. J’temps beaucoups!

#26 : Future Boy Conan

fbc_1Time to show us what you got to prove Mr. Miyazaki because you are now in charge of a full length TV series. Having worked his way for the last several years as a key animator, episode director, storyboard artist, etc., Hayao Miyazaki finally got his hands on a project where he got to take the drivers seat. The year is 1978 and the production is a loose adaptation of a sci-fi novel, The Incredible Tide by Alexander Key. The end product is a rarity as most know Miyazaki for his film work, but the hard work and passion is still there in this 26 episode adventure. Let us travel to the past to see the future in Future Boy Conan.

fbc_2If there is one thing I got from this series is that it is signature Miyazaki though and though. It looks like his work. It feels like his work. Maybe even smells or tastes like his work? The humor and hijinks are there with elements of drama as well. All of this on a much smaller budget compared to what he has had to work with on the big screen, but then again Miyazaki knows how to make every little detail count. The only big difference is the fact he had a longer time frame to tell this story. If only some of his film projects could have been TV series as well?

fbc_3Two of his later films always crept into my thoughts as I was making my way through the series. It might be me, but I could see later elements that would become Nausicaa of the Valley of the Wind and Castle in the Sky. Nausicaa for the fact that we have a sci-fi fantasy adventure based on our planet and not some over the top space opera with robots or aliens and Castle for the adventure of a couple kids trying to restore a sense of order in the world. And of course there is the love of environmentalism and the possible corruptions of mankind when we think we have the technology to conquer Mother Nature. The World Masterpiece Theatre meta series, Nippon Animation’s yearly adaptation of western children’s novels, also comes to my mind. Future Boy Conan is an ‘unofficial’ cousin (muy opinion) due to the fact that this again is based on a book and the production was also done at Nippon.

fbc_4Enough of the details, who is Conan and what is this show about? In a post apocalyptic world after a major war, most of the continents have sank into the sea. On a small island two remaining survivors from an escape group live and thrive. One is our young hero Conan, the other is an older man who he calls grandfather, not sure if he is biologically related, but that is besides the point. One day as Conan, who by the way is an exceptional deep sea diver, was partaking a little revenge on a shark who had been causing trouble for the island discovers a girl on the shoreline. Her name is Lana and thus begins their journey to thwart the corruption of the so-named Industria. Along their journey they meet friends including the goofy Captain Dyce, feral child Jimsy (he loves frogs) and Lana’s long lost grandfather, Dr. Briac Lao to aid them on their quest.

Future Boy Conan is what a great kid’s show should be. It’s enjoyable for the whole family, fun and endearing, which of course is what Miyazaki specializes in. If you love Miyazaki’s work and you have not seen this show… then you have homework.

#18 : Space Adventure Cobra (TV)

Is that a psycho gun in your left arm or are you just happy to see me? Mr. Cobra… I am always happy to see you. Science fiction and space opera often fall to the hands of being serious and thought provoking. But then you have the other side of the coin where it is all about just plain and simple good time entertainment. Space Adventure Cobra is enjoyment at it’s best and maybe the best at adding ‘Pulp’ elements into science fiction ever?

cobratv1Here is a weird thing I often do. I am not a fan of top 10 lists as really how can you ONLY have 10 qualify as qualifiable. Case in point from time to time I think of a 1980s anime top 10 and when I look at it. 99% of the time I don’t include the Cobra TV series. And then I scratch my head… WHY? Cobra may have been one of the easiest shows I have ever watched and why is that? It’s fun. Really, really, really, really, really… fun. The official meal of watching Cobra should be a big tub of popcorn and a soft drink. This is a simple straight forward and fairly short show that when finished makes me want more, a whole lot more.

cobratv2Cobra is in the spirit of the original Star Wars movie with all the Flash Gordon and Buck Rogers action and entertainment. But, it has more… sex appeal, a lot more. Odd how this was a manga that ran in Shonen Jump because this more than a boy’s fantasy. Grown men often lust after wild adventures like Cobra and I would say the ladies do as well. All we need to do is add in some Barbarella and James Bond. And with all this influence we have beautiful women galore, including his android sidekick, and Cobra as a buff stud of a man. This show is just too sexy for it’s own good, but it is all within good taste. After all the sci-fi and sexiness are only two parts to this equation. The other is the comedy. And now I have to pull in Lupin III. Cobra the man is a bit like Lupin; he’s a rogue, a ladies man and a screwy goofball. Maybe even a bigger goofball than Lupin. The most reassuring moment I have had was during an interview with the creator of Cobra, Buichi Terasawa. Looking at our hero Cobra, I saw influence of Steve McQueen and one Jean-Paul Belmondo. And when I heard Terasawa pulled Belmondo as an influence from that interview I jumped off the couch in glee. KNEW IT! He has his nose after all.

cobratv3I mentioned earlier that the original manga ran in Shonen Jump. This adaptation for the most part follows the stories of the printed page. At least that is from what I could tell from the manga that was released by VIZ in comic sized single issues  (I am sure this was an unfinished partial release?). The movie of course takes greater liberty and is almost at time psychedelic, but I reserve that for it’s own posting. For me what makes Cobra really shine is two separate yet similar factors. One is the studio TMS (Tokyo Movie Shinsa). They always have done great work and I often felt like they had a polish and color palette that was unrivaled at the time. The other is the director, a long time employee of TMS. Osamu Dezaki’s signature fluidity, triple take shots and pastel freeze frames are all present. The man was a genius and for my money had the best handling for making anime look and feel like manga come to life. If you are in the know, you know what I am saying, but if Dezaki is new to you, check his other work as well (Ashita no Joe, Aim for the Ace, the second half of Rose of Versailles and The Professional: Golgo 13 to name a few).

cobratv4So for Space Adventure Cobra the only thing I have to leave you with is WATCH IT!!! Now or maybe tomorrow, but don’t let this one slide away. I don’t have to wrap this up with an over convoluted message, so I will leave this. Are you ready to have a great time?

And as a personal note to myself… don’t forget to include Cobra on those top 10 lists!