#107 : Cyborg 009 (1966 movie)

Cyborg 009 equals the epitome of ‘Old School’. Or, perhaps that is a mistranslation; I prefer ‘Old is Cool’. Because with age comes wisdom, or so I keep telling myself as I keep adding up solar cycles and still retain the heart and soul of my youth. A product of the 1960s, Cyborg 009 reflects the era with the rise and hope of big technology, growing social equality and Cold War politics. Cyborg 009 represents a story about brand new heroes in a (once long ago) modern age heading towards an uncertain future.

C009_movie_1Many adaptations of this Shotaro Ishinomori manga have see the light of day, but this film from 1966 was the very first time the cyborg soldiers of Professor Gilmore came to life on a screen brought to you by the great old studio, Toei Animation. The story begins simply with a young race car driver, Jo Shimamura, becoming involved in a nasty crash (knife in a tire, yikes!) and is subsequently hauled off in a mysterious ambulance. He soon awakens to find he now has incredible powers, including an ability to run extremely fast, and new clothes as well (I like the new threads man). Jo has had cybornetic enchantments and is now known as Cyborg 009 (you are the star of the show my friend, hooray), a tool for the evil counter organization Black Ghost (great name). 009 also meets eight other cyborgs, his new fellow comrades, who rebel against Black Ghost in the name of justice and freedom. An uprising ensues as the team of nine cyborgs kidnap Professor Gilmore and escape.

C009_movie_2Often Cyborg 009 can be seen as Japan’s version of the X-Men. Yet I see them as one of the great early examples of a sentai squad. Ishinmori should know that concept very well as he is the creator of the Super Sentai live action genre. But then again, I see the cyborgs as a reinvention of family. There is a tight bond between these nine individuals and even though they all come from different countries, ethnicities and backgrounds, they fight together and care for each other. Very forward thinking and yet perfect for the 1960s and even today to show that no matter who you are, or where you are from, we are all brothers and sister of the human race. It’s the formation of the greater family you can build when you embrace diversity and individuality. We all have a role and a part to play to help the greater good, it’s just all of us lack the technological enhancements of our brave nine heroes.

C009_movie_3There are a few oddities I caught from this release compared to the more popular, or better known releases of Cyborg 009. First, 009, is clad in white while the others have their uniforms in purple. All except 003, she gets to be closest to most adaptations with a pinkish shade of the standard red. And red is also the color of her hair, instead of the usual flaxen hue I am used to. Do blondes have more fun? Not this time around, it’s all about the auburn. And for some reason 007 (who is British, love the James Bond in joke) is portrayed as a kid. These characteristics are also carried into the second film, Cyborg 009: Monster Wars (on my radar to find) and the first TV series of 1968.

C009_movie_4Though the art style might be archaic to our more modern eyes and honestly this may not have been the most sophisticated film made at the time, Cyborg 009 makes up for it with pure fun. This feels like a period television series amped up just slightly, including cinemascope widescreen (fancy), that still retains much of the simple limited animation used during the era. Think Astro Boy and Speed Racer as a frame of reference. Yet it is a very attractive movie with bold colors and designs. If you are looking for a basic starter into Cyborg 009, this movie is a great option as it is action packed and about an hour long. Plus you’ll get to experience Cyborg 009 during the time of it’s genesis with all the hope, innocence and at times cheesiness that made the 1960s so great. For without the likes of Cyborg 009Speed Racer, or Astro Boy, we would not have the fruits of all the great animation that we treasure today. Thank you Cyborg 009 and thank you Shotaro Ishinomori.

#105 : Speed Racer

SR_1Auto racing… I love the sport. Always have, always will. Mix that love of dancing on a knife’s edge with four wheels with animation and I am one happy otaku. Speed Racer was already an established classic by the time I was first exposed to the property in the mid-1990s when it made its way to MTV and more importantly in my case, home video. My diet of Robotech and Voltron with Indycar and F1 now had a killer combination in a couple tapes I rented from the local video store. What I did not realize at the time was I was viewing a cartoon that has touched many a generation and in many ways connected me to others whose only connection to anime was this singular show. Thus is the power of Speed Racer.

1967 was a great year for motor racing. Parnelli Jones nearly won the Indy 500 with a jet turbine powered car, Dan Gurney and AJ Foyt won the 24 Hours of LeMans in a Ford GT40 (and thus was born the first champaign spray, thanks Dan!) and Team Lotus debuted the iconic Lotus 49, which featured the classic Ford Cosworth DFV engine in F1 competition. Also of note from F1 was Honda’s second victory in the hands of John Surtees at the Italian Grand Prix. But another, perhaps more subdued, victory for Japan would be the television debut of Tatsunoko’s Mach Go Go Go (well, ultimate victory for us cartoon lovers). Tatsuo Yoshida’s manga had come to life… guess it helps the fact that he is head of Tatsunoko Studios (don’t you love that seahorse logo?). Thats all fine and great, but when Mach Go Go Go’s translated/adapted version came to the west as Speed Racer in the fall of 1967, the real race truly began.

SR_2Consisting of time and true shonen standards of fun, action, adventure and friends, Speed Racer combined it all around a young man trying to become a top race car driver with one of the coolest cars ever, the Mach 5. Is it me or does the Mach 5 look like a late 1950s Ferrari Testarossa mixed with period James Bond gadgetry? Speed with his family (including everyone’s favorites Spritle and Chim-Chim?), girlfriend and friend/mechanic travel all over the globe proving his skills and many times getting into side adventures as well. Often times Speed meets up with the mysterious Racer X who is so much like an older brother to him… oh yeah, right… he is is older brother, just in disguise. Hope that doesn’t spoil the party for some of you, but it is one of those in show details you pick up on quite fast.

SR_3My greatest joy with Speed Racer is the fact that this is a series in which I can connect with people who are usually older than me. Many fans of this show may or may not be fans of Japanese animation per se, but their love and fondness for the adventures of Speed and crew cannot be denied. If you grew up in the 1960s or 1970s, Speed Racer was a keystone in your upbringing and to see fans still connected with this show makes me feel a little less alone in the world. Great examples of Speed Racer references include an experience from work in which I was asked about the artwork in my cube, “Are you the one with all those Speed Racer type images in your cube?” Also conversations with my dentist during appointments about animation in general. Even though he is not up to par with most anime, he did grow up with Speed Racer and still loves it. In fact both of us had to instruct the hygienist on how cool this show is. The magic of synchronicity through Speed Racer… puts a smile on my face.

SR_4This is a show that shows its age with the jerky movements, simplified shapes and that machine gun dub that makes me say they don’t make anime like they used to. I appreciate the archaic nature of Speed Racer, both in terms or visual and acting (thank you Peter Fernandez for giving us an English version). Sadly though, I don’t follow professional racing anymore due to lack of interest. And yet I have vintage races to see, AND… I still have Speed Racer amongst other car and racing related anime (Initial D as an example). All is good! …Go Speed Racer, Go Speed Racer Go!

#103 : Horus: Prince of the Sun

Horus_1I often wonder, was Horus: Prince of the Sun ‘born under a bad sign’? Many circumstances attempted to derail this early gem of the modern era of Japanese animation. It went over budget, it took more time to finish and even the parent animation company of Toei and it’s producers wanted to shelf this film. Why? This film had and even still has so much potential; it took chances and sounded a battlecry for a new generation of animators. And there in lies the answer as Horus: Prince of the Sun attempted to break free of the conservative standards of the day by telling a different story in both concept and direction. The results of this would honor Horus with critical notoriety over the years as one of the crowning achievements of the 1960s.

Horus_2By 1968 Isao Takahata had become a solid veteran in the animation industry and gained a reputation as a leader of those younger up and coming members of the industry in the 1960s. With both TV and film work of various degrees under his belt there was one achievement that this young man had left to fulfill and that was to direct a feature film. This opportunity came, but at a price. As mentioned before from the start this movie had some nasty karma associated with it. Producers at Toei, money and time all had a hand in stopping this film, but Takahata with his quiet demeanor and steadfast approach to being a director made sure that this film would get made, finished and then released.

The major controversy of this film can be traced into the story itself. The Norse mythology and look that was used was nothing more than a cover for another story that existed underneath. Japan’s native population, the Ainu, had for generations been looked down upon yet their culture was rich and diverse. A new generation wanted to adapt a traditional tale of the Ainu and present a more serious subject matter to give animation a more mature option. Both progress and change are a part of civilization and this new generation of artists and animators wanted to be at the vanguard of this movement. This was the 1960s after all and be it America, Europe, or Japan, the youth of the period were questioning and protesting against the rules and the establishment of their day.

Horus_3The story is a quintessential tale of the ‘Hero’s Journey’ (all hail Joseph Campbell) where our young hero Horus, sometimes translated to Hols, must integrate into the greater whole of civilization. This is a common theme I find in Takahata’s work and both sides of the extreme can be seen in Grave of the Fireflies (going against society and/or being ignored by society) on one end of the spectrum and Pom Poko (the community coming together for a common concern) on the other. Horus soon settles into a town and becomes a local hero after conquering a giant pike (fish) that prevented fish from being a food source to the local people. Soon afterwards he meets a wayward girl, Hilda, with a mysterious and unknown past and a large, very large, chip on her shoulder. Hilda is quite a complex character and her relationship with Horus is complicated and becomes a key element for the plot of the story as the film progresses forward.

Horus_4Horus: Prince of the Sun not only took more seriously the storytelling, but also on a technical level, the animation itself. This film amongst other examples of the era raised the standard of the quality of Japan’s output. Disney was the standard and Horus: Prince of the Sun is on par with the quality of the venerated classic Disney films. In certain aspects it excels, in particular with the action sequences with the pike fight and the final showdown. Of course Japan has always had an edge (my opinion) in regards to action and the movement and fluidity required to make those sequences work.

This is a film that has taken a few views on my part to fully appreciate the greatness to what Horus: Prince of the Sun truly is. Due to the issues with the production of the film it has it’s own way of unfolding the plot, which took me a little getting used to, but once I understood the whole of the scope of this film I came to love this movie. It’s classic Takahata and I recommend you to watch this one at least once to see where anime once was, where anime was going and see where this film has left it’s influence today.

… on a personal note, I dedicate this posting to the memory of Isao Takahata who passed away recently. Thank you good sir for your work and I for one will never forget the stories you shared with us all.

Isao Takahata
Oct 29, 1935 – Apr. 5, 2018

#101 : Ulysses 31

U31_1Ancient Greek mythology is awesome! Don’t you agree? Such a wonderful storehouse of great storytelling and wisdom from a bygone era. We can take these myths on the exoteric level as historic documentation to the richness of Hellenic culture and esoterically as metaphors for you, the world we live in and greater spiritual envelope of our whole universe. Film and animation have had many adaptations from Jason and the Argonauts to Clash of the Titans. Japan has animated many examples as well with Saint Seiya and Arion coming to mind. But!… there is yet another example, a collaboration between the French company DiC and an old favorite here, TMS (Tokyo Movie Shinsa), that actually adapts the old myths into a 31st century universe instead of borrowing elements like the other two mentioned before. Have you seen Ulysses 31?

U31_2Hey look, it’s Space Jesus! I have heard that before in regards to our hero who does have an uncanny resemblance to the Christian icon. Yet alas, this is Ulysses my friends, the guy just has really awesome hair and that beard. He is readying his crew to return to Earth aboard the spaceship (that looks like a giant eye?), the Odyssey (well named). But first, we need to celebrate the birthday of his son Telemachus as the young boy is given a robot companion, Nono. You have to have that lovable, but kind of annoying robot character. Reminds me of Oon from Jayce and the Wheeled Warriors. Soon Ulysses and his companions set off when all of a sudden Telemachus becomes kidnapped. And like an awesome dad, Ulysses sets course to save his son.

U31_3Telemachus awakes to meet two Zatrians, Yumi and her older brother Numinor, to learn that they are to be sacrificed to the Cyclops to keep the priests vision intact. Far fetched, but amazing and those priests are scary too! Ulysses soon find the children and destroys the Cyclops and in typical fashion, Ulysses has to deal with that time old issue, Karma. This act angers the gods and now Ulysses has to find his own way back to Earth, via the Kingdom of Hades. That and all his companions, plus Numinor, fall into a sleep state and will awaken once he gets beyond the Kingdom of Hades. This leaves Ulysses to work with his son Telemachus, Yumi, Nono and the Odyssey’s onboard computer, Shirka. So begins the ‘Odyssey!’ Homer would be so proud.

U31_4A strength of this show is the fact that you can casually watch any episode in any order, except episodes one and 26 as these are the bookends for the series. Hooray this show has a solid openner and a satisfying closing episode! …No loose ends here… Take Ulysses 31 in any order you like, kind of like the old Choose Your Own Adventure book series. If you are aware of many of the tales of Ancient Greek myth you will be pleased to see the variety that have been chosen. We see interpretations of Oedipus’ trial with the Sphynix, the punishment of Sisyphus, Thesseus and the Minotaur, the enchantment of Circe and many more. The most surprising episode has our heroes going back to Ancient Greece itself where they meet their legendary counterparts.

In case you are a fan of The Mysterious Cities of Gold, both dubs feature the same cast. I have never seen the original Japanese dub, but if you have give me an update; same with the French dub as well. The show looks very much the era it was made, 1981. You might say it looks very Star Wars, but I want to think it looks more like the era’s Flash Gordon since this had a European influence, though it is not campy. Sci-fi had a certain flavor from the late 70s/early 80s that cannot be recreated. The technology may not have been up to far of today and the costuming at times can be a little goofy. Yet you get a lot of heart, which is what makes the era’s sci-fi and mecha so desirable (at least for me). Ulysses 31 is a solid show where heart and soul reigns supreme. May your journey to find the Kingdom of Hades be immortal and full of discovery.

#95 : Silver Fang: Shooting Star Gin

SF_1Often times shonen fighters are a time tested formula much like a twelve bar blues. Everyone has their rendition of the young boy setting out into the world and in the process makes friends, fights adversaries, then make friends of former adversaries and get involved in lots of training. Now for this time round let’s drop the whole idea of our hero being a human being. How about a tale from the animal world and in particular the world of our canine friends? A shonen fighter about dogs? This is Silver Fang: Shooting Star Gin (Ginga: Nagareboshi Gin).

SF_2Here is a mashup for you… let’s combine some older more serious Shonen Jump properties like say Fist of the North Star and Saint Seiya, add a little bit of the classic adventures of famed writer Jack London (White Fang and The Call of the Wild comes to mind) and for good measure lets also add a little bit of Watership Down. This is how I interpret Silver Fang in a basic tidy package. The presence of dogs are nothing new to anime, examples include: Casshan’s cybernetic Friender, the large mecha-like Yatter-Wan from Yatterman (I need to see more of this show!) and Ein in Cowboy Bebop. All three of these examples show the dog as a sidekick, a minor character, but to have the dogs themselves be the main attraction and more ‘human’ like with a complex structure of language, society and free will is a nice change (hence the Watership Down reference). Living life, having the human experience in the guise of a dog.

SF_3Gin’s origins trace him to a family of hunting dogs. His father, Riki, accompanies his master in the hunting of the great super villian, Akakabuto (an insane giant bear). Dogs versus bears… interesting. During this hunt Riki goes missing and is presumed to be dead. In the meantime Gin’s birth occured and would be soon he would be reared under a little boy named Daisuke. A boy and his dog, so cute! This sort of childhood for Gin would end once Daisuke’s grandfather, the hunter mentioned earlier, begins to train and toughen up little Gin to become a bear hunter. Again dogs versus bears, amazing. Gin’s time in the wilderness would get him acquainted with another hunting dog who eventually tells Gin about a colony of dogs who have gone wild to fight Akakabuto. Gin tastes the ‘call of the wild’ and sets off onto the hero’s journey. And on this journey he will meet many a sempai who helps him grow up, but one question remains. Who is the leader of this group of dogs and what actually did happen to Gin’s father, Riki?

SF_4For a Shonen Jump manga that ran for 28 volumes can you imagine how many episodes made it into final production? Perhaps 100 or so… no. OK, maybe 52… ah nope. 26!? The correct answer is 19. Wow, thats not many for back in the day, but let’s look a little deeper. Silver Fang debuted in 1986 under the shadow of two other higher profile Shonen Jump brothers and all three of these were animated at Toei. The siblings Silver Fang had competition with was none other than Dragon Ball and Saint Seiya; David vs. two Goliaths in a nut shell. And yet in the shorter span of story telling you get what you need, so not much filler. Kind of a relief in a way, yet with the longer run of the manga I wonder how much was cut to make this production?

Shonen Jump celebrates 50 years this year (2018). The big names will get another day in the sun; Dragon Ball, One Piece and Naruto will most likely have lots of exposure. But, I say why remember and stay with the nostalgia of familiar properties when you can try another show you may not have seen before. Being that 2018 is the year of the dog in the Chinese Zodiac, I nominate Gin as the mascot for this year. All the more reason to give Silver Fang: Shooting Star Gin a chance in your playlist.

… lions and tigers and DOGS versus BEARS, oh my!

#94 : Rainbow Brite

RB_1Magical girls are not mutually exclusive to Japan alone. After all the influence of the original magical girl Sally the Witch was based off of the character Samantha Stevens from the popular 1960s TV show Bewitched. But what if the west could create a property that pays homage to Japan’s homage to something that was in the west previously? Or, is it more like the Hallmark Card company gave a toy concept to the production company DiC and they thought, hey we can make her a magical girl? It doesn’t matter how it all happened, the only thing that matters is that it’s time to talk about a legend among legends. Miss Rainbow Brite herself… Hip Hip Hooray!

RB_2Before I begin I will be the first to say that Rainbow Brite is not officially an anime, but she belongs here at CAM. First she was created during the 1980s (1983 for the toys and 1984 for the first animated installment). Two, Rainbow Brite, at least according to Wikipedia, was broadcast in Japan as well as the west. Three, the preproduction was all American and French via DiC, but the heavy lifting, being the drawings and animation, was completely Japanese in origin via TMS (Tokyo Movie Shinsa). And not just TMS the company, but one of their best directors (and one of my all time favorites), Osamu Dezaki, worked on the show. Though this show looks nothing like Dezaki’s signature style. And four… number four… I love Rainbow Brite and since I am the boss here, the verdict stands. After all I need some more color and happiness around here. …and more 80s cartoons as well for nostalgia and to prove that my generation had awesome entertainment. 🙂

RB_3The premise is very simple… a little girl named Wisp is cast into a world of darkness and  meets up with various friends (the Color Kids and Sprites), a “magnificent horse, the glory of the galaxy” (Starlight’s got some confidence) and the powerful color belt to spread joy, happiness and color all over Rainbowland and our world as well. Together they hold back the naughtiness of the ill-behaved Murky and his second in command Lurky (HEY MURKY!!) by halting their plans of bringing gloom and darkness into the world. Can’t we all just get along here? This is yet another simple story of duality where our hero takes on an antagonist and triumphs in the end. Except we have it all in nice full color; I mean you would expect nothing less from a show titled Rainbow Brite? I think so. That and being a product of the 1980s, a colorful decade in more ways than one, expect nothing less.

RB_4So here is a fun exercise, in what ways does western Rainbow Brite differ to other magical girls of Japanese origin? Perhaps the biggest and most obvious, is the fact that Rainbow herself does not transform from a mundane identity. She is all who she is and lives in the wonders of Rainbowland and not in our world as some average middle, or high school girl. Therefore, she does not have the typical magic wand which aids in the transformation process. Rainbow has her fingers, loads of star sprinkles and the previously mentioned color belt as tools for her magic. As a character Rainbow is almost a mediatory between the later (1990s) hero type of magical girl, like Sailor Moon, and the contemporary (1980s) idol good girls of Creamy Mami and Minky Momo. What of these differences in the grand scheme of things? I say they are welcome!

Now here is a question… why only 13 episodes of content? I believe the initial episodes were more geared for direct to video while the later filled out a run for Saturday morning broadcast. Still, Rainbow Brite had possibilites here. Yet why cry over what did not happen and celebrate what did come to fruition instead. After all, Rainbow wants us all to have a great day. Actually, that should be more like… A GREAT DAY!

#93 : Galaxy Express 999 (movie)

If one must set out for a voyage to the stars, you must do it with an element of style. An ordinary spaceship will work for many, but come on now… let’s push the boundaries of imagination. What about traveling through space in a train? Hmm?… I like it… all wood grained and classic black iron, now that is classy! As well, a voyage to the stars should be something personal, a journey to not just discover what is out there, but also what is within yourself. Galaxy Express 999 is such a journey that once you ride this train line, you will never be the same.

GE999_movie1Here is an idea… let’s say you want to honor your goal to achieve immortality by adopting a mechanical body and the only way to do that would be to board a train to the stars that will take you to this fated destination. Only problem is that this train ticket is quiet expensive and sought after. Plus, you also wish to avenge your mother’s wrongful murder since you have so much spare time with all this other stuff going on. Are you in consensus with our hero Tetsuro Hoshino for a ride on the Galaxy Express 999? Great… we have a ticket for you, except you have to have the classiest lady in all of anime join you in your journey.

GE999_movie2Leiji Matsumoto’s vision of science fiction is beyond brilliant. What sets him apart is his use of tenderness and emotion. I always shed some kind of a tear due to the enduring qualities and almost simplicity of Galaxy Express 999. That almost motherly womb of nurturing I get from this movie is summed up in that lady I mentioned earlier, Maetel. Her name is derivative of mother, matter, maternal, Mary, or mare (sea/waters) at least that is my hypothesis. Beyond being a near protective saint, she has the longest blond hair I have yet to see and dresses in a Russian styled black fur coat and hat. So classy! If the story tells the meat of the experience, Maetel represents the symbolic image of this story. I hate to see her as a mascot, more like an ascended master in the form of an anime heroine.

GE999_movie3The essence, or perhaps theme of Galaxy Express 999, is beyond the awesome space operatic elements. Often we are watching a story set in the future, but the true teachings are of the present moment. Life is something to be cherished and in two ways particularly. One, the fact that we are mortal and the time that we have is precious and our presence in this very moment is precious. And two, love yourself for who you are and what you believe in; your highest dreams and aspiration. Love yourself, love the environment and welcome all opportunities, you never know who you may meet on your journey when you just go with the flow. Just ask our hero Tetsuro.

GE999_movie4Galaxy Express 999’s movie adaptation is more than just a basic re-telling of the epic TV series. True we follow Tetsuro Hoshino’s path of maturity, which is sped up and abbreviated due the compression of the mammoth length of the manga/TV series original, yet we also have the inclusion of Matsumoto’s other great sci-fi epic which ran concurrent with Galaxy Express 999. That being of course Space Pirate Captain Harlock. This movie could be the ultimate expression of the constant retelling and reimagining of all that is the Leijiverse. And not just Captain Harlock the character, crew and mythology, but also that TV series’ director, Rintaro. Always a visual feast, so typical of Rintaro, this may be his most coherent film where the story does not get lost within the presentation of powerful imagery.

Stories of the hero’s journey number in the infinite and often times we are telling the same over yet again with a slightly different veneer. The origins of Galaxy Express 999 may borrow elements of Night on the Galactic Railroad and Star Wars (or perhaps Yamato?), but in the end it is something far different. A classic among classics, a step above the rest, Galaxy Express 999 may be one of the best coming of age stories ever created. Thank you Leiji Matsumoto and Rintaro for this great gift.