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.
Stephen Turnbull asks what (if anything) went wrong with the 47 Ronin?
When T. H. White’s great Arthurian fantasy The Once and Future King was first published the New York Times described it as “a glorious dream of the Middle Ages as they never were but as they should have been.” A very similar comment would not be inappropriate to describe the strange world of old Japan conjured up in the movie 47 Ronin.
Sports have been around in anime from very early in its history, but the first identifiable sports anime, Yasuji Murata's Animal Olympics in 1928, didn't feature soccer. In fact, the beautiful game was a latecomer to the anime sports world. Compared with baseball, soccer had few fans.
Andrew Osmond tries to make sense of Sunrise's mad new anime
As regular subscribers to Manga Entertainment’s podcast and twitter feed will know, there was some confusion about whether Sunrise’s new comedy-fantasy-action-fanservice series was called (deep breath) Horizon on the Middle of Nowhere or Horizon in the Middle of Nowhere. We’re calling it the former in the UK, although releases elsewhere have plumped for the “in” option. Either way, it sounds less weird and Escheresque once you know that Horizon is the name of a pivotal female character in the series. But it reflects the inescapable fact that Horizon is, well, confusing.
Andrew Osmond on Miyazaki’s love for a French classic
The King and the Mockingbird was one of the films which taught Miyazaki and Takahata that you could make an animated feature without following studio formulae – something they strove for themselves as early as Takahata’s 1968 Marxist epic The Little Norse Prince.
The Japan Foundation’s annual touring film programme is back for another year, and kicking off at London’s Institute of Contemporary Arts at the end of the month. Now in its tenth iteration, the season offers audiences across the UK an insight into Japan and its cinema by way of a wide-ranging and accessible selection of titles assembled under a certain theme. This year, that theme is youth, with the eleven-film ‘East Side Stories: Japanese Cinema Depicting the Lives of Youth’ programme travelling to eight venues across England, Scotland and Northern Ireland from 31 January to 27 March.
Andrew Osmond talks to the director of Shin-chan and Colorful
As the eleventh Japan Touring Film Programme heads through Britain (see here for venues and here for our write-up), we took the opportunity to speak to the director of the anime entry, the feature film Colorful. Keiichi Hara has been working in anime for thirty-odd years, gaining experience through working with two of Japan’s most popular kids’ characters, Doraemon and Crayon Shin-chan. He then graduated to his own projects, and is now a freelancer who pushes at the boundaries of what anime can be.