They arrived in silence and darkness, descending from the skies with a hunger for human flesh. Parasites - alien creatures who must invade and take control of a human host to survive – have come to Earth. No one knows their secret except high school student, Shinichi Izumi, who’s right hand has been invaded by an alien parasite. Shinichi and Migi, the parasite in his hand, begrudgingly form a friendship and find themselves caught in the middle of a war between humans and parasites.
Andrew Osmond catches the live-action premiere of Hitoshi Iwaaki’s Kiseiju
The Tokyo International Film Festival closed with the live-action Parasyte, a superb blend of SF, comedy and primarily horror, where the levity of the early scenes freezes into a drama with an ice-cold alien grip.
Arthur Rankin Jr, who died last Thursday, was not often thought of in connection with Japanese animation, though he played a major part in its history. In America, he’s best known as the co-founder of Rankin/Bass Productions. A stateside brand, the Rankin/Bass name is linked with handmade family cartoons as fondly as Oliver Postgate or Aardman are in Britain. But while the studio’s cartoons – especially the stop-motion Christmas classic Rudolph the Red-Nosed Reindeer (1964) – are evergreens, few people know their animation was Japanese.
The tradition of the solitary animator continued past the establishment of an anime industry, with notable luminaries such as Yoji Kuri, Kihachiro Kawamoto and Tadanari Okamoto positioning themselves outside it and creating works that challenged what could be done with the medium, often using other media such as stop-motion and silhouette.
Opening with a running fight down a freeway where anti-tank missiles and heavy vehicles are tossed around like party favours, the first episode never lets up, setting a standard that the show maintains throughout.
Paul Browne on the songstress behind the dramatic ending theme
‘Utsukushiki Zankoku na Sekai’ (This Beautiful Cruel World) is, on the whole, a wistful and enigmatic song that seems strangely disconnected from a series that regularly deals with death and despair. Yoko Hikasa’s mesmerising vocals manage to draw the viewer in, lending an air of reflection and regret.
Remembering the anime master who shunned the limelight
Toshio Hirata, who died on 25th August, might be reasonably said to have avoided publicity. Over the course of his career, he did gather a number of credits for directing, as well as storyboards, key animation and lowlier tasks, but he often obscured his own achievements by using the pseudonym Sumiko Chiba. In some cases, such as for his work on Azuki-chan, he simply asked not to be credited at all, claiming that his contribution was not really worthy of recognition.
More than one way to skin a catbus, in our 24th podcast
Jeremy Graves is joined by Jerome Mazandarani, Andrew Hewson and Jonathan Clements, for a series of rants and ill-informed commentary about anime, manga, the storm over the Hugo Awards, and your most awkward convention moment.