Several hundred years ago, humans were nearly exterminated by giants. Giants are typically several stories tall, seem to have no intelligence, devour human beings and, worst of all, seem to do it for the pleasure rather than as a food source. A small percentage of humanity survived by enclosing themselves in a city protected by extremely high walls, even taller than the biggest of giants. Flash forward to the present and the city has not seen a giant in over 100 years. Teenage boy Eren and his foster sister Mikasa witness something horrific as the city walls are destroyed by a super giant that appears out of thin air. As the smaller giants flood the city, the two kids watch in horror as their mother is eaten alive. Eren vows that he will murder every single giant and take revenge for all of mankind.
Andrew Osmond reviews the reviews from 20 years ago.
On its explosive arrival in the West, Akira crossed the Pacific to catch the generation that grew up on the films of Spielberg and Lucas; it was also the generation that read adult superhero strips such as Watchmen and The Dark Knight Returns. Akira, though, offered the shock-and-awe widescreen violence akin to that of enfant terrible live-action director, Paul Verhoeven. For example, both Akira and Verhoeven’s Robocop (1987) have a gory money-shot scene in their early minutes, in which a luckless bit-part player is graphically torn apart by a hail of bullets. Unsurprisingly, such imagery excited reviewers.
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.
Pacific Rim opened a new gateway to ’bot sagas for youngsters, and for oldsters too. They’ll see del Toro’s film, learn how much he was inspired by Japanese cartoons, and then check out the originals. If they choose Eureka Seven Ao, they’ll find elements also seen in Pacific Rim, embedded in a very different show.
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.
Fans who are fully up-to-date and casual viewers and newcomers alike can both enjoy the One Piece movies! Each is entirely self-contained, with entirely new plots not found in Eiichiro Oda’s original manga, but are every bit as enjoyable.
Some sci-fi plots are staples of anime. The boy who pilots a fighting robot; humans who evolve into cyborgs; cute space girls who fall for the biggest doofus in Japan. Compared to these, time-travel has never been a big anime genre, though it’s been used on many occasions.
The second collection draws the entire Dragon Ball opus to a fierce close
Dragon Ball GT sees Goku and his allies fighting against some of the toughest foes the universe has ever seen. Take a look at some of the faces you’ll meet as the second collection draws the entire Dragon Ball opus to a fierce close!
It’s going to be a tough journey – but who’s along for the ride?
Dragon Ball GT presents an all new adventure for Goku and his allies, sending them on an interplanetary quest to find the mysterious Black Star Dragon Balls and save the Earth! It’s going to be a tough journey – but who’s along for the ride?