Andrew Osmond searches for hidden links in Eden of the East
Production IG’s political-romantic-comedy-thriller-borderline-SF saga Eden of the East concludes – perhaps! – on November 21st with the film Paradise Lost. Continuing the story from the King of Eden film and the preceding 12-part TV series, it sees protagonists Akira and Saki return to Tokyo for the last acts in the game to “save” Japan. There are bonus prizes on offer, like Akira’s backstory, and perhaps even the unmasking of the game’s enigmatic sponsor. In keeping with Eden’s copious cinephile references, here’s a clue for you; think Martin Scorsese.
If you’re chewing over the plot, bear in mind that one of the deep conflicts in modern Japan – perhaps even more so than in other countries – is between the old and the young, especially in the workplace. Japanese society had a terrible shake this March, but many of the country’s youth still perceive Japan Inc. as run by entrenched old men – the “gerontocracy” denounced at the end of the TV series. But Paradise Lost is complex enough to contain multitudes; stay around for a vital last scene after the credits, which up-ends what’s gone before.
Some viewers may complain that a few big questions remain unanswered, especially about Akira’s tendency to flush his own memories as casually as a Star Wars droid; though it’s arguable that his reasons are implicit in Eden’s central theme of a pure-hearted hero playing humanity’s most corrupt power games. But there’s another question left hanging at the film’s end, one that was set up at the very start of the story.
In the second TV episode, there was a passing reference to a plane crash in which a 6-year old boy and girl were the sole survivors. Now, bear in mind that Eden of the East is the creation of Kenji Kamiyama, who also directed Ghost in the Shell Stand Alone Complex… and that in the second series of SAC,we learned that Motoko Kusanagi survived a plane crash as a child, together with a little boy. Is this just a tease, or an indication that the changing Japan of Eden is actually the same world as Stand Alone Complex, only a few decades earlier? If you’re not sold, then consider Eden’s dulcet-toned A.I. “Juiz,” voiced by the same actress as the ever-evolving Tachikoma robots in SAC…
Interviewed last year, Kamiyama seemed slightly cagey about whether Eden had finally ended, though he said that Paradise Lost concluded the “save Japan” game. The mind boggles at the prospect of a series bridging Eden and SAC, though any such venture would presumably need the blessing of Masumune Shirow, creator of the original Ghost in the Shell. Then again, Shirow seems happy to see very different interpretations of his world running in parallel, from the Salinger-inflected themes of Stand Alone Complex, to the art-house musings on dogs and dolls in the Innocence movie.
If you’re interested in following Kamiyama’s criss-crossing motifs, then watch his fantasy series Moribito Guardian of the Spirit, which features another steel-strong woman warrior who physically resembles Kusanagi but has a quite different psychology. And then there’s Kamiyama’s current project, which is a fantastically glossy-looking movie remake of the vintage Cyborg 009 science-fiction manga by Shotaro Ishinomori. Just watch the trailer and see if it doesn’t remind you of something...
Eden of the East: Paradise Lost is out on UK DVD and Blu-ray from Manga Entertainment.
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!
Unlike a number of the bands featured on the Manga UK blog, W-inds haven’t had much of a history with anime tie-ins despite their massive success. In fact, in 14 years they’ve only ever done two anime themes; their first in Akira Amano’s Katekyo Hitman Reborn!, and more recently with Hiro Mashima’s Fairy Tail, where their 29th single Be as One became its sixth ending.
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.
Stephen Turnbull risks nine deaths in the eye of the ninja storm... or does he?
There is more to the ninja myth than meets the eye. By 1638 all wars had ceased under the police state of the Tokugawa family, yet within twenty years armchair generals were busily writing manuals of military theory, including speculations about sneak attacks, night-fighting and backstabbing.
On sale now at the San Diego Comic Con in a limited edition of only 325 prints, Kilian Eng's beautiful Ghost in the Shell poster for Mondo. It's a thing of beauty made specially to commemorate the 25th anniversary.
Paul Browne rewinds from Naruto Shippuden: The Lost Tower into the past
In the latest Naruto film The Lost Tower, the title character and his comrades embark on a mission to capture Mukade – a missing ninja who has the ability to travel through time. Mukade’s plan is to travel into the past and take control of the Five Great Shinobi Countries. During the battle with Mukade, Naruto and Yamato find themselves hurled back twenty years in time. Will Naruto and his friends be able to return to his own time? And will their actions in the past save the future?
Does the future of anime lie on the big screen, and if so, will developments in cinema exhibition technologies redefine its form, content and audiences in the digital age? These are questions many are asking as pundits declare conventional anime’s glory days to be a thing of the past.
“Try ‘n boogie, guns n’ tattoo” – there’s no greater embodiment of Kenichi Asai’s work than that opening line. As the words are dragged across the bluesy, rock n’ roll riff of Mad Surfer – the Japanese rebel’s song used as the 20th closing of Bleach – it’s difficult not to imagine smoke filled bars, motorcycles or leather jacketed misfits sporting hairdos your mother wouldn’t approve of.
"The action scenes remain superlative, designed and executed in a way Western live-action directors would do well to study. The way character moments are woven within elevates them above mere technical exercises. The Prague shoot-out and Tokyo car chase are the sort of gems that prove that anime can still trump live-action in the same creative arenas when it wants to."