Kai and Aki dream of building a giant fighting robot based on a super-popular anime, but that's going to be impossible if they don't get more members into their school's Robot Research Club. They'll take anyone they can talk - or force - into joining them, including an eccentric robotics champion with a secret identity and a l33t video-game designer who's spent one too many late nights online. Finally, their goal looks like it's within reach. But when a sentient AI program tells Kai about mysterious documents hidden on the internet, things start to get strange for everyone. As the club members track down the secret messages, they realize that the information might be far bigger - and more dangerous - than they expected. Contains episodes 1-11 Spoken Languages: English, Japanese, English subtitles.
Robotics;Notes could be called You Can Build Your Own Giant Robot! It’s about geeks engaged in a preposterous project; building the mecha they’ve seen in anime for real. The show’s aimed at viewers who might think they really could. After all, they’d probably heard of otaku who have built oversized robots for real.
Melissa Francis on the hell-spawn creature-feature
If we look back at the 25 episodes of the TV series, Blue Exorcist: The Movie seemed more cohesive in comparison – there were certainly less of those ‘for the hell of it’ moments (no pun intended) and more well-connected, relevant events.
Jasper Sharp reviews a book-length collection on the “God of Manga”
Tezuka’s Manga Life is a scholarly and much-needed attempt to sort out the wheat from the chaff of the Tezuka myth, with its 22 contributors spread over 300+ pages attempting to put the vast output of the prodigious manga artist into context.
Monkey Majik first shot to fame in Japan in 2006 when their second major-label single Around The World became the opening theme to TV drama Saiyuuki, an updated version of the famous Chinese tale Journey to the West. A fitting introduction for the band, considering the story is widely known as Monkey in English. Magic.
Andrew Osmond on the history of animation’s corner-cutting secret
Rotoscoping and its descendants are an important part of American cinema, and recognised today. Many film fans know, for example, that Gollum, Peter Jackson’s King Kong and the rebel anthropoid Cornelius in the Planet of the Apes reboot are all based on physical performances by one actor, Andy Serkis. Again, it’s common knowledge that the Na’vi aliens in Avatar were human actors ‘made over’ by computer – the digital equivalent of those guys wearing prosthetic foreheads and noses in the older Star Trek series.
The hyperrealism of the “cartoon” Akira and the cartoonishness of the live-action Tetsuo struck Western viewers unaccustomed to such mould-breaking cinema with equal force, and it is no real surprise to note that Manga Entertainment was responsible for the subsequent releases of both Tsukamoto’s big-budget colour rerun of his debut, Tetsuo II: Bodyhammer (1992) and his later Tokyo Fist.