I Watch Things Too: Something for the Bebop Fans

Wolf’s Rain- Humanity has fallen, the world is dying, and the end times have arrived. For such an oppressive world to birth an inspiring journey around friendship, brotherhood, love, and faith would seemingly be out of place. Leave it to Cowboy Bebop veterans Keiko Nobumoto (creator/writer), Tensai Okamura (director), and Yoko Kanno (composer) to pull such a tale off against all the odds.

Initially the meager setting explanation and how four wolves came to be able to shift back and forth between their human and lupin forms is slightly off putting. Fortunately the mystery surrounding what happened and what’s going to happen is reason enough to carry on. By the fifth or sixth episode there are enough breadcrumbs to become engrossed in the sympathetic cast.

Giving human forms to the wolves could have been a lazy and cheap tactic for character relatability, but their lupin core is at the forefront. Wolves are not played up as this downtrodden minority grasping for acceptance in society. The dynamic is inherently beneficial at avoiding cliches and thusly each episode ends on a profound high note.

When getting into a groove of several episodes, you’re not watching from the comfort of your home. You’re apart of the journey. Kiba, Tsume, Hige, and Toboe’s struggles and successes are your own. You not only desire to see what happens next; you want to watch them reach their ultimate goal: Paradise.

For lack of a better term, the 30 episodes provide an extremely heartfelt story. Not a single character is a weak link, and the ever-amazing Yoko Kanno captures all the right moods with the expertise you’d expect from one of the best composers in anime.

Clearly no compromises were made during production. There was a vision and it was achieved near flawlessly. So commit Wolf’s Rain to memory. It quickly became a favorite of mine and I’m positive many of you will enjoy it too.

Agents of S.H.I.E.L.D.- I’ve been known to harp on American action in the television format fairly often. It’s been some time since I’ve been captivated by such a thing, but I went into Agents of S.H.I.E.L.D. with an open-mind. I do enjoy The Avengers- and much of Joss Whedon's work- so what was the worst that could happen?

Imagine The Avengers and Firefly having a child? Sounds pretty terrific right? That’s the clear intentions here, but the result is a mildly lovable bastard.

The above picture is actually rather helpful in explaining. See those outer most, generic looking folks? Well, they’re exactly what I expect out a CBS show. Not too risky, and cliched as could be. Then the pair on the left, well they’re not too bad. Whedon’s scripts are often known for their wit, and the scientific duo manages to hold their own. The Chinese women,- she’s actually Chinese, I’m not being ignorant- well she’s obviously a stone-cold badass and master of the martial arts. Really flexing those creative muscles there, boys and girls.

There is of course Phil Coulson, chosen solely because everyone else of note from The Avengers would have put them in the poor house or are too busy. Of course they forgot he died and now some sort of silly narrative retconning is being used as the big tease.

Despite these fairly significant flaws, I’m still willing to watch the second half when it comes on in 2014. Watching an inconsistent cast fly about the world and attending to matters Iron Man and friends couldn't be bothered with is surprisingly fun. The mystery surrounding the shadowy Centipede operation carries enough drama to keep from starvation. As much as I harp on the lack of creativity behind the cast, they do get the job done, albeit in a spectacularly average manner.

Can I recommend AoS? Not easily, but if your access to a variety of shows is limited and you’re dreadfully bored, give it a whirl.

Outbreak Company- If pandering can be done right, then Outbreak Company has achieved such a goal.  

In the world of OC, young otaku Shin’ichi has been hired as a diplomat and sent to a fantasy world, with anime and manga in hand. Why? Because the Japanese government desires to profit off the export. That’s as complicated as the story ever gets and the comedy is almost entirely reliant on hyperbole of the very culture it focuses upon. Chances are if you’re a more casual anime fan, Outbreak Company isn’t for you.

However if you are a member of the insular community, you very well may get a kick out the inside jokes. Are they terribly clever? No, it’s mostly “Ha ha ha! The boy who was a hikikomori, is now surrounded by the real versions of the 2D things he idolized.”

Early on there did seem to be some sort of message. Not terribly deep, mind you, but more than most comedic anime. In the fantasy world there is all sorts of racism and classism, but otaku culture brings them together. Considering the mudslinging otaku are subjected to from time to time, this is a right bit of irony, but quickly dissipates by the halfway point and then reappears in the final two episodes for a rushed conclusion.  

Outbreak Company isn’t great by any stretch of the imagination, but the cheap jokes are entertaining, even if they mostly boil down to having a laugh at one’s self.  In 12 episodes not a whole lot of note happens. So if you’re looking for something lighthearted and self-indulgent, by all means, watch Outbreak Company.

The World’s End- As a fan of both Shaun of the Dead and Hot Fuzz, it seemed certain I’d enjoy the final piece in the Cornetto trilogy. And surprise, surprise I did.

TWE is your standard fare of friends getting drunk, and causing a ruckus. Thing is, while reluctantly revisiting their old stomping grounds, they uncover an alien plot to assimilate Earth’s population. By Cornetto standards this is nothing too unusual and certainly gives way for plenty of hilarity.

Unusual though is the semi-serious tone the movie takes in the latter portion. I won't outright spoil the intended message of the social commentary. Think a more modern Dr. Strangelove. Although I’m sure plenty will call me crazy for comparing anything to the “holy grail” of comedy.

Holistically, The World’s End keep the laughs going at a steady pace with the occasional dry spell, and brings a fitting end to a strong trilogy of films.

World War Z- My expectations were low. Another zombie flick is not exactly something we so desperately need, and opinions were mostly negative. I came out the other end kind of surprised though. It’s not great, or even good really. Now applauding a film for being average may seem odd, but I mean it when I say my expectations were low.

The plot of Brad Pitt’s character globe trotting runs out of steam thirty minutes in and there’s not a whole lot of substance to speak of, but man did they nail those moments of mass hysteria. In the initial Philadelphia outbreak and subsequent Jerusalem one, when the shit hits the fan, it hits hard. The cinematography and set designs give a great sense of scale. There’s not only up-close streets shots, but sweeping ones encapsulating the fear of an entire city.

Oh, and bonus points for not pretending the concept zombies has never existed in the film’s universe. It’s more of a pet peeve of mine wisely avoided, but it always seems silly when you hear everyone asking “what are these things?” Zombies you dolts! Don’t pretend like you’ve never heard of them.

While I’m not suggesting you go and watch World War Z right this second, it wouldn’t hurt to catch it on a rainy day.

I Watch Things Too: Viggo Mortensen is Satan!

Samurai Champloo- As the second brainchild of Cowboy Bebop director, Shinichiro Watanabe, it’s safe to say my expectations for Samurai Champloo were through the roof. As far as I’m concerned, Bebop is a near perfect testament as to what anime can achieve. Samurai Champloo is, well it’s not as good, but it’s still a fantastic piece of entertainment.

Japan’s Edo period is no stranger to anime, but the great thing about Wanatabe’s work is the oozing of soul. Pre-industrial revolution Japan melds with the hip-hop themes at play in a charming fashion.  It’s mature, yet playful in its brazenly stylized action, but never forgets to drizzle in the proper amount of levity.

Much like in Bebop, most episodes are loosely tied to the main plot. They’re by no means filler, but it’s the double episodes archs which really progress the story. As a result, some episodes lack a sense of impact no matter how enjoyable they are. For example, one episode has the three protagonists- Mugen, Jin, and Fuu,-  experience a psychedelic trip, with no ramifications to the overarching narrative.

As far as characters go, it’s a very inclusive cast. Mugen, Jin, and Fuu play off each other extremely well. They each rely on the “secret past” cliche but how they develop along the way is what really matters. For example, Mugen, my favorite of the bunch, is an all-around cocky asshole. He epitomizes the anti-hero early on, but eventually peels back his crass exterior, revealing a sympathetic sob-story.  

But what is an anime critique without a discussion of the animation itself? Several phrases and terms come to mind, those being stunning, eye-candy, visual ecstasy, and ocular bliss. Each and every character has a unique sense of fluidity and the color palettes make the environments leap out and slap you with the caressing and supple hand of art. Tor bring up Mugen again, oh good lord does is his spastic fighting style an utter joy to watch. In fact, other than Fuu, most character don’t adhere to the typical anime art-style.

Much like Cowboy Bebop, Samurai Champloo is an all-around refreshing experience. It’s always clear when your watching Watanabe's handy-work, thanks to the shear individuality and high level of craftsmanship to it, and Champloo is a prime example.

The Evil Dead &  Evil Dead 2: Dead Before Dawn- The other day while playing some Poker Night at the Inventory 2, I had knocked Ash Williams off the table and realized something. Army of Darkness is a thing, and thing that I have not seen in years. So I booted up Netflix , but to my disappointment they didn’t have it. They did however have the first two movies of The Evil Dead trilogy.

After watching the films I was reminded how batshit crazy it is. The first movie is remarkable bit of horror. It’s a blood bath, but not in the same sense we receive them today. The Evil Dead’s horror initially starts off as the more traditional physical threat, eventually mixing in some physiological debauchery for good measure.

Evil Dead 2: Dead Before Dawn on the other hand, well that movie is fucking bonkers. The Camp-O-Meter is cranked up to full-blast as Ash, the protagonist, even dukes it out with his own possessed hand while dishing out one-liners and catch phrases like “Grooooooooovy!” The first 20 minutes even contradict the events of the previous film. It’s a drastic departure, but still rather enjoyable when approached with the right mindset. I’ve  chalked up the differences to Ash’s descent into becoming a blithering lunatic, but maybe that’s more work than necessary on the viewer's part.

All in all, they’re entertaining movies. The first is certainly more grounded and therefore approachable. The second seems to almost go out of it’s way to piss-off fans of the first while being too incoherent to to be enjoyed by newcomers. Nonetheless, if you’re looking for a creative coupling of horror, set your peepers upon The Evil Dead.

The Prophecy- You know those movies that are so bad they’re almost good. Well this isn’t one of them. The Prophecy is simply bad and I knew that going into it. So why did I bother? Well, I was told Viggo Mortensen plays an excellent Satan. Truth be told, he does. The sad thing is he doesn't show up until the final 30 minutes.

The story goes along the lines of a war between angles. Although this war seems to be more low key and between Gabriel (Christopher Walken), one other dull-as-dirt angel, and a few inconsequential mortals.  There really is nothing redeemable or the least bit captivating.

Back to good ol’ Viggo though.  The reason for his involvement is just...well so apropos of Satan. He wants nothing more than to remain the only embodiment of evil and Gabriel’s rebellion threatens that. So he comes, fucks shit up, cuts a deal with the humans, and leaves.

You know what, let me save you the trouble of watching the whole film for a single scene. To the YouTubes!

Into the Wild- Chances are at one point in your life you’ve had the urge to drop everything and go off the grid. For most of us, this is a passing desire. For Chris McCandless, this is exactly what he did 1990 after graduating college.

Into the Wild is based on the novel of the same name which in turn based on the true events of McCandless’ life as wanderer. As a college student  it’s a very endearing and sympathetic tale. Society really can be a drag, and every now and then I want nothing more than to forgo all the rules and travel the world. While the Alaskan wilderness is beyond me, I still fully understand the sentiment. So much of Into the Wild is handled with the utmost care. The acting, cinematography, and retelling of McCandless’ story are remarkable. My only gripe would have to be the pacing. At times certain chapters can drag on. It’s a minor slip in an otherwise enjoyable experience.

I’d elaborate further, but this is a film best begun blindly. Just know it’s worth your time.

Sons of Anarchy- For four and a half seasons I’ve watched Sons of Anarchy and in all that time I’ve been mildly entertained. It’s goes back and forth between just about everything. Attempting to straddle the line between a rough and tumble bro-drama and a serious piece of entertainment shooting for the Emmy’s. The problem is, the machismo never really lets up enough to allow a whole lot of character or plot progression. By the fifth season you’re pleading to have Clay and Jax finally stop their dance. For fives seasons you wonder why no gets fed up with Gemma’s constant shitty attitude and troublemaking.  Consistency is important, but too much will drown the audience in boredom.

It’s not all bad though. Jax, Opie, and a few others are able to carry the action longer than the inconsistent acting deserves. Jax is especially sympathetic as he’s one of the few who realizes the biker gang life isn’t all that grand. His constant struggle to keep his friends happy while finding a way out and do what’s best for his family manages to keep a palpable level of tension.

Sons of Anarchy’s biggest problem is pretty darn obvious. It’s okay to try and straddle the line between mindless action and a well written story, but when you do such a humdrum job on either front, nothing becomes particularly memorable. The action is cheesy and the writing meddles in the putrescent waters of mediocrity.  

Oreimo- I’m a sucker for analyzation and subversion. Oreimo is no Attack on Titan or Evangelion, but as far as slice-of-life comedies go, it’s shockingly good. Albeit a bit odd, even for anime standards. Okay, maybe it actually gets really odd by the end, but that’s part of the magic. 

When high schooler Kyosuke Kousaka finds out his little sister’s, Kirino, humiliating secret there cold-war relationship goes by the wayside as the two become close friends. Of course Kirino's secret isn't all that typical. She’s not only an otaku, but a fierce fan of eroge. For most of the duration of Oreimo, the story plays second fiddle to the characters. It’s a colorful cast who each possess a number of flaws but never fail to bring a smile to my face with their goofy antics.

Cliches and idiotic episode systems be damned! Oreimo's playing-up of anime tropes ends up working in it's favor in tongue-in-cheek sort of way. I don't want to pretend it's all clever, but it's laugh-worthy, and isn't that the point?

I usually avoid spoiler territory, but you’ll have no such luck from here on out. So if you’ve not finished all of Oreimo, steer clear.

That ending. So after a series of clever reveals, Kirino and Kyosuke act on their taboo feelings and see each other in secret. Seeing such a thing was cold slap across the face. I also began contemplating one matter in particular.

By all accounts society views such things as strictly forbidden. I’d wager that more than a few would be disgusted by the content in Oreimo, especially the positive light in which it’s shown. But in comparison to how poorly some entertainment handles far more heinous material, is Oreimo really all that bad? Shows like the aforementioned Sons of Anarchy casualty glorifies gun/drug trafficking, patriarchy, and the killing of our fellow man. All three of those things have been undeniably more cancerous to our society. Yes, relationships between family members instantly comes of as strange within our culture, but consider this. They’re not harming anyone, and it’s bringing happiness two consenting adults, fully aware of the ramifications of their actions. It may not be my cup of tea, but I’m willing to take a live and let live approach.