#230 : Greed

One and only one reason why I searched ever far and wide to track down this obscure OVA from the year of 1985. OK maybe two… 1985 is my beloved heart and home when it comes to anime years, but the major reason for acquiring and watching this hour long production belongs to a single name, Tomonori Kogawa. A veteran of the Japanese animation industry, he is well known to me from his signature character designs which were on feature in this OVA as well as his rare directing and scriptwriting skills. Kogawa would helm two projects where he had total control during the 1980s, the later being 1986’s Cool Cool Bye and the earlier, our feature this time round, 1985’s Greed.

Greed_1Most of Kogawa’s character work can be seen in a variety of mecha shows from the early to mid 1980s. Southern Cross (Robotech: The Masters) would be the first time I enjoyed his slightly angular elf-like faced figures, but it would be his work on shows like Ideon, Xabungle and Dunbine where I would grow a strong appreciation. Like many talents in the industry at the time, Kogawa too would have an opportunity to make an OVA where he had total creative control and have his hands in many areas of the production. And to be honest… I wish he had someone help with the script. Visually Greed is nice and the story has a lot of potential, but it lacks direction flowing from one event into another. I scratched my head many times going, where the heck is this OVA going?

Greed_2Certain elements of Greed reminded me of Ideon and Dunbine, sans the giant robots of course. We begin with what seems to be a fantasy styled sword and sorcery hero’s journey when we first meet protagonist Lid Kyle (Kail) who hears from his father’s deathbed to venture north, seek comrades and defeat a great evil; OK then. Lid sets off and meets a girl and a big guy who can morph into a dragon like creature that leads into meeting a mute warrior who shares the same red spot on his neck as Lid… and I thought it was a unique birthmark, or a production error. Then they get caught in the land of the fairies and then move into a mechanized city where again they meet more people, three to be exact.

Greed_3Turns out one of the three also has the red post on her neck as well and they soon realize they need to take to the stars to combat this great evil. Then they repair a spaceship, head into space getting through some psychedelic light show that they have to endure to end up fighting this guy named Vailly who reminds me of a gremlin. The devilish creature is eventually defeated, thanks to our heroes’ ability to fly in space without oxygen (?), but it does not change anything. WHAT!? Perhaps what Vailly said about the inhabitants collective greed being the real problem was what needed to be addressed instead? The end.

Greed_4Honestly I loved the characters, the artwork, the setting, but Greed was a bit of a disappointment. Perhaps I am being too greedy to expect so much from many anime, but maybe I need to curb my expectations at certain times. Kogawa is a genius designer and artist and has much creative talent, but it did not come to full fruition on this OVA. Would I watch it again, yes (but that is me!), but do I recommend it unless you love Kogawa’s work… except for one fun oddity. The character Mimau has some of the most awesomely teased out BIG hair I have ever seen… girl how much hairspray did you use?

#228 : Megazone 23 Part III

And I thought this was a 90s anime… goes to show I need to read the release dates more carefully. Megazone 23 is supposedly not done telling it’s cyberpunk mecha storyline just yet. The original from 1985 is a personal favorite of mine and the 1986 sequel is quite good as well, but I thought the story was over? As much a sequel as well as a reboot, Megazone 23 Part III would bring back the legendary red Garland motorcycle and virtual pop star Eve Tokimatsuri one more time to finish the decade of the 1980s with this third installment in the guise of a two part OVA.

M23_3_1Here is a question… can you have too much of a good thing? In terms of Megazone 23 I sometimes say yes. I was satisfied with the original as a complete stand alone story. I accept the second part as a possible alternate ending to conclude the first, but where do we go from here? Into the even farther future after mankind has resettled onto the Earth and yet similar problems have re-emerged, such is the fate of humanity. The more we change, the more we stay the same? Potential is possible here, but much of Megazone 23 Part III feels like borrowed re-hatching from the initial installment of Megazone 23 from a certain point of view. The dynamic of young man on a motorcycle meeting a girl and a stoic rival and unraveling a mystery of the underpinnings of the structure of society are very, very similar. So how much is truly brand new here?

M23_3_2Welcome to the world of Eden, the new civilization for humanity, and meet a new face Eiji Takanaka. Our new protagonist has been hired by EX, a large tech giant, for his computing skills as well as his exception abilities in the arcade galleries. Eiji’s game of choice is the big hit of the moment, an immersive cockpit shooter that makes the SEGA classic Afterburner look like amateur child’s play. The name of this game he dominates with his friends is none other than… Hard On? (yes you can laugh here) Yet there is another name that seems to follow Eiji’s high scores and that name is Sean, a name that seems to be familiar to the girl Eiji just met, Ryo. Eiji’s later meetup with Sean would become a twist of fate where Sean parlays to Eiji to meet Eve in the heart of Eden. And when I mean meet Eve, I mean the real Eve… wait a minute… I thought she was a virtual idol?

M23_3_3Design consistency is something this series needs to learn. Following the trend from the previous two incarnations of Megazone 23 we get yet another character designer to join the group and new directors to run the show. Hiroyuki Kitazume would lend the his hand to character designs and as a fan of his work (Starlight Angel, ZZ Gundam, Char’s Counterattack as examples) I welcome it, but I miss the originals from Toshihiro Hirano. Directors Kenichi Yatagai and more importantly Shinji Aramaki would run the show behind the cameras. Aramaki had been with Megazone 23 since the beginning, as a mechanical designer (a skill he is quite good at), but now he flexed his directorship muscles which for this OVA came out pretty good… just don’t give this guy CGI films, the are really a snore fest (my opinion).

M23_3_4There was a song and album by the band King Crimson known as Three of a Perfect Pair and how fitting it is for this final installment of Megazone 23 as this was the third part and comprised of a pairing of episodes. But is it perfect? Well… It’s a sharp looking OVA, perhaps one of the most polished looking cyberpunk stories I have ever seen. And by being polished I mean very fashionable. Cyberpunk usually gets a little gritty, or has an air of danger, but Megazone 23 Part III is like a mix of Vogue and GQ stylings circa 1989, gamer and hacker culture, a sterile dystopian fantasy aesthetic, that could pass in Hollywood, and mecha fighting in the even farther future. Megazone 23 Part III parlays a whole lot of style and even adds to the progression of the history of the Megazone 23 universe. So in its own way, Megazone 23 Part III is kind of perfect. …except for Hard On, lol.

#226 : Giant Gorg

You know, sometimes there is nothing better than a show about a young boy and his giant mechanical companion. Mix that with a mysterious island in the South Pacific, natives, a corporate organization bent on owning the secrets of the island, a rogue criminal outfit, a small group of friends and the possibility of an ancient alien civilization. This sounds like one stiff cocktail to drink, care for a taste? I like this basic premise as I believe this could be a winner of a TV series. Let’s look now at a show that did mecha a little differently way back in 1984 by harkening back in a way to how mecha used to be. Have you ever seen Giant Gorg?

Thirteen year old Yuu Tagami is in for a big adventure. After the passing of his father he travels to New York City to meet one of his father’s colleagues Dr. Wave. He also meets Dr. Waves sister Doris and their Great Dane Argos. We begin to learn about the mysterious Austral Island, a place where Drs. Tagami and Wave both did research on, when all of a sudden they are attacked! Fleeing for their lives and also making headway towards Austral Island, they meet the Skipper who acts as their strongman of the group. They trek their way across America and eventually the Pacific where they sail the rest of the way to Austral Island. Again they are attacked leaving Yuu separated from his comrades when soon he encounters a new friend. This is someone much taller and more metallic whose size is threatening, but whose eyes and outreached hand shows a very compassionate demeanor.

Imagine this… if Hayao Miyazaki could have made a mecha series, Giant Gorg would have been a close possibility… and I mean close. Released in 1984, Miyazaki was busy working on Nausicaa of the Valley of the Wind, Giant Gorg on the other hand was created, directed and designed by the one and only YAS. That’s Yoshikazu Yasuhiko folks, the guy who designed the characters for the original Mobile Suit Gundam, the director of the Crusher Joe and Venus Wars movies and the manga artist and overall director of the OVA adaptation of Mobile Suit Gundam: The Origin. Yeah that guy! Giant Gorg is a unique part of YAS’ portfolio as this was his lone auteur project produced for television. As stated earlier Yasuhiko had a hat and say in many areas, but it was definitely not created by him alone… or was it? Either way what you get is one sharp looking, well polished release from a studio well known to many of us, Sunrise.

Giant Gorg may remind me in many ways of Miyazaki, but this 26 episode TV series belongs totally to YAS. Certain elements appearing in Giant Gorg would never appear in a Miyazaki production. Yet my reference of Miyazaki for Giant Gorg is due to the fact that Gorg reminds me so much of Miyazaki’s Future Boy Conan. A boy on a quest in the South Pacific joined by friends and going up against adversaries are similar to both shows. Maybe YAS also drew some inspiration from his work on Brave Reideen, a series from a decade earlier? This was a show that featured a found artifact type of mecha from an unexplainable origin. Yet in reality we have to go back to the giant robot origins appearing in the 1950s and 60s where the robot was more of a guardian for a kid than a piloted machine. No matter the influence, Giant Gorg was a modern retelling of classic ideas brought forth into a 1980s aesthetic.

There is that old saying that a dog is man’s best friend. In terms of Giant Gorg I think we could say that a guardian like giant robot is a boy’s, or girl’s, best friend. A metallic angel strong and brave with eyes as kind as a warm hug could be the best friend we all wished we ever had. Giant Gorg brought many of the elements of classic mecha tropes back into circulation that were left in the dust years prior. I must say… I like the change. There is something magical about Giant Gorg, almost wholesome in a way, that appealed to me from the start among other things including ending every episode on a cliffhanger… Tune in to the next, The same Gorg time, The Same Gorg Channel.