Karma – it’s a funny old thing. One dastardly deed and somewhere down the line the repercussions will bite you on the backside. Likewise, karma can also bring great rewards. The concept is one with which Japanese songstress KOKIA is all too familiar – not least because it’s the title of her single from the opening of Phantom: Requiem for the Phantom.
It also defines her career as a musician. She had been involved in music from the tender age of two-and-a-bit, when her instruments of choice were the violin and piano. Later in life she had stints at music school in America and Japan before being snapped up by a major label while still at university. She provided the theme to a PlayStation game, and her first few singles had been penned by the same team behind one of the biggest hits from the previous year. If that wasn’t enough, the singles had also found their way into dramas and anime. Yet, even with such a large amount of backing, exposure and her own extensive musical background, her releases barely made the top 100 of the Oricon chart.
Yet, karma wasn’t going to let all the hard work go unwarranted. As if by divine intervention her fourth single ‘Arigatou...’ made her a star. Though, not immediately. And not in Japan. In fact, KOKIA’s debut album failed to chart in her home country at all. Fortunately for her, its release in the rest of Asia was an entirely different story and can be credited to Hong Kong’s super star diva Sammi Cheng. She released a cover of ‘Arigatou...’ the same week that KOKIA made her Asian debut, catapulting the Japanese singer to the stardom she was unable to achieve back home. KOKIA’s original version was eventually awarded third best song in Hong Kong’s Best International Song Awards. Suddenly, her career was back on track.
And thank goodness. Without Sammi Cheng’s success, a second major KOKIA album would have been highly unlikely. And without a second album, her continued career in the world of the anime-song would have probably died as well. The opening to Gunslinger Girl: Il Teatrino would not exist as we know it, the ethereal and haunting vocals that set off the beginning of Origin: Spirits of the Pastwould simply not be, and a whole line of yet-to-be- anime would have very different theme songs.
Her relative success outside of Japan, particularly Europe, has come from the exposure anime has given her voice. In 2010 she conducted her first world tour (and by ‘world’, she clearly meant Europe and Japan) which included dates in London and Ireland, the country which inspired the creation of her seventh studio album Fairy Dance – it also includes three covers of traditional Celtic songs. The album, along with seven others are available digitally from the iTunes UK store courtesy of Wasabi Records, yet both singles taken from Phantom (‘Karma’, as well as closing theme ‘Transparent’) remain unreleased in this region.
KOKIA’s ‘Karma’ and ‘Transparent’ feature in Phantom: Requiem for the Phantom. Part 2 of the series is out on 12th March on UK DVD from Manga Entertainment.
From The Director Of Madoka Magica Comes The Breakout Anime of 2014! Raku Ichijo is an average high school student. He also happens to be the sole heir to the head of a Yakuza Family called the Shuei-gumi. 10 years ago, Raku made a promise… a secret promise with a girl he met. They promised one another that they will “get married when they reunite.” Since then, Raku never let go of the pendant the girl gave him.
Boy meets girl; boy and girl hate each other; boy and girl learn they’re both children of gangster families and must pretend to be lovers to prevent gang war. Naturally there are rival suitors on both sides of the fractious pair, ranging from a sweet girl-next-door type to a pistol-packing assassin.
Matt Kamen on the “Evangelion of magical girl shows”
Magical Girls can be traced as far back as the 1960s, with the likes of Fujio Akatsuka’s Secret Akko-chan or Mitsuteru Yokoyama’s Sally the Witch – the first manga and anime, respectively, to dabble in the genre of girls gaining powers from a piece of jewellery or trinket of some kind. Hundreds more would join their ranks over the years, some merely using their powers for twee but ultimately everyday adventures, others transforming into battle-ready warrior women fighting for the safety of the entire planet. Ever since Naoko Takeuchi’s Sailor Moon exploded in popularity in 1992, the more superheroic approach has dominated the field.
Actually, Aesthetica should be called The New Boobfest where Girls Fight Monsters and Lose Panties, From The People Who Brought You Master of Martial Hearts, Queen’s Blade and the Ikki Tousen Franchise. That tells us where we are!
Andrew Osmond says, if you like that, you might like this…
Summer Wars and Sword Art Online are made for a generation who’ve grown up with and within virtuality: social networks, video streaming, games without borders or ends. Both anime are adventures about things going wrong in cyberspace, but neither are technophobic; on the contrary, they’re all about hugging the avatar.
Eric Khoo's film focuses on one of the founders of gekiga, Yoshihiro Tatsumi, who died on 7th March. The framing story is Tatsumi’s account of his life and development, growing up with a difficult family. He had none of the technology and luxuries that we take for granted, no reason to think he could ever make a living from the fledgling manga industry. And yet he was utterly driven to draw comics, like his hero Osamu Tezuka.
Bleach series 13 continues the clash between Soul Society’s Shinigami and Sousuke Aizen’s Arrancar army. It also brings with it a new talent in Japanese pop-rock: miwa. This fresh-faced female, armed with a guitar and an arsenal of upbeat pop-rock songs, provides the series’ twelfth opening theme, ‘chAngE’.
Jonathan Clements on the movie that turns anime on its head
Boy-meets-girl has never been so strange as in this feature, in which the leads must literally cling to each other or fall away to an uncertain fate. Patema Inverted winningly plays with matters of spatial awareness, perspective and weight, regularly flipping its angles until the viewer literally can no longer remember which way is truly up.
Kaguya has plenty to please Oscar voters. Unlike some of Takahata’s films, it’s extremely accessible to Western viewers. As MyM magazine put it, “You watch Takahata’s film and you can hear the underlying millennium-old tale as if it’s being read to you aloud, at bedtime surely, to your childhood self.”