Kizumonogatari III: Reiketsu-hen

Araragi Koyomi has beaten Dramaturgy, Episode, and Guillotinecutter with relative ease, and secured his master Kiss-Shot’s four extremities.
This third movie isn’t about that mission; that’s over now. It’s about everything that comes after, and how we get to Kiss-Shot being at full power to the greatly diminished state in which we were introduced to her in 2009’s Bakemonogatari.

Kiss-Shot promised Koyomi she’d make him a human if he got her arms and legs back, and while Oshino was meant to be Koyomi’s fourth opponent—he in possession of Kiss-Shot’s heart—he is satisfied that the balance has been restored. He not only surrenders the heart, but forgives Koyomi’s 5 million in debt before taking off.

So, will Kiss-Shot keep up her end of the bargain she struck with Koyomi? She’s certainly happy to be in her 26-year-old form; giddy, even. They meet on the roof of the cram school and talk simply like two old chums.

Kiss-Shot tells Koyomi about her first servant, whom she lost to suicide (she tells him more about this during Onimonogatari), and pulls Kokoro-watari, a memento from that time, out of her body.

After watching Kiss-Shot frolick on the roof, Koyomi realizes he’s a bit hungry, so volunteers to pick up some snacks at the local 7-Eleven while Kiss-Shot ‘prepares’ to restore his humanity.

Upon his return, he discovers the nature of that preparation: Kiss-Shot graphically devouring Guillotinecutter, then wondering where Koyomi’s “mobile snack”, i.e. Hanekawa is.

It’s a devastating revelation to Koyomi that yeah, when Kiss-Shot is talking about food she’s talking about humans. She feeds on humans, and he not only saved her life, but restored her to full power. As he rages in the gym equipment room, blaming himself for Guillotinecutter’s death, Hanekawa pays him a visit.

As far as Koyomi’s concerned, he doesn’t deserve to get his humanity back after everything he’s done. He doesn’t even deserve to live, and certainly doesn’t want to live to the point where he sees Tsubasa as food. He’s already disgusted with the fact that the three hunters he defeated were on the side of justice.

Tsubasa, not surprisingly, has his back when he doesn’t have his own. She’s made her selfishness known to Koyomi, and she wants to see him next term, so he can’t die. Besides, throwing away all he’s accomplished thus far would just be running away. Even if he eats her, she’s fine with it, because she wouldn’t call someone a friend unless she’s willing to die for them, no matter the reason.

No, pointing the blame on and killing himself isn’t the right path for Koyomi. Not when he’s the only one who has a chance against a Full Power Kiss-Shot. Knowing he has to go up against her, Koyomi asks, for the first time ever, if he can touch Tsubasa’s boobs, in order to “build up his tolerance” for Kiss-Shot’s own substantial bust.

That attempt goes bust, however, when Tsubasa is more than willing to let him fondle her boobs and even take her maidenhood if he likes, but he chickens out and instead gives her a weak shoulder massage.

Hitagi may end up being Koyomi’s beloved, but there can be no doubt who his best friend is after watching these movies. Because all this takes place before he even meets Hitagi, Tsubasa is free to be the one and only girl, and thus one hell of a best one.

Alright, no more fooling around, it’s time to fight his master Kiss-Shot, who makes one hell of a fiery, explosive entrance in the stadium, the venue of their duel. Kiss-Shot know realizes she was insensitive in being so casual about how she took her meal. With that in mind, she asks him to return to her side, but of course he can’t, because she ate someone.

Koyomi saved her life, and won back her limbs, because she was weak. Once she was no longer weak, and Koyomi saw what she was capable of, he essentially woke up from the spell he had been under. At an impasse, they begin to go at it.

Because they’re both immortal, quick-healing vampires, it’s an absolutely bonkers fight, with heads and limbs flying all over the place, oftentimes sprouting back up before the old parts faded away. But as bloody and brutal as it is, the fight is a stalemate, with neither party able to inflict lasting damage on the other.

Once again unable to stay away when her friend is in need, Tsubasa tells Koyomi something isn’t right, and it’s something everyone but Koyomi would have realize by now: Kiss-Shot wants to be killed; it’s the only way for Koyomi to get his humanity back.

When Kiss-Shot tries to lash out at the interfering Tsubasa, Koyomi (or rather, his head and some neckbones) latch on to Kiss-Shot’s neck, and he starts sucking her blood, a lot of it, until fully half of it is gone, leaving her shriveled and powerless.

But he doesn’t want Kiss-Shot to die.

Instead, he wants everyone to get what they want; everyone to be satisfied. So he calls out to Oshino, whom he knows is watching, and hires him (for five million) to come up with a solution. Unfortunately, no amount of money will change the fact that it’s impossible for everyone to be satisfied.

So instead, Oshino, true to his nature of attaining balance everywhere he can, proposes a way for everyone to be dissatisfied in equal measure. Kiss-Shot can live on as pseudo-vampire mimicking a human, robbed of all her power and dependent on Koyomi to survive.

Koyomi, meanwhile, will become a pseudo-human mimicking a vampire; and both will continue to live, and the risk to humanity will be greatly reduced, but not completely eliminated. Koyomi won’t let Kiss-Shot die, so he takes the deal.

Fast-forward to August and the beginning of a new term for Koyomi and Tsubasa. He still heals quickly for a human, but not nearly as quickly as he was. He also views the world differently now that he can walk in the sun again, something Tsubasa thinks is very positive.

Koyomi pays a visit to Oshino at the cram school to give what’s left of Kiss-Shot some of his blood. On the roof, Oshino characterizes the situation thusly:

What you remember of a vampire eating someone…is like the disillusionment of watching a cute cat devour a live mouse.

And here you are, having chosen to keep your own little vampire like a pet.

You’ve dulled its fangs, pulled out its claws, crushed its throat and neutered it, right?

You, who was once treated as a pet, are getting back at your former master by treating her as one…not a moving tale, is it?

Well, it was, and is, most definitely a moving tale, but I prefer Koyomi’s more poetic way of characterizing it:

We, who hurt each other so terribly, will sit here licking each others wounds. We damaged goods will seek the other out in comfort.

If you are to die tomorrow, I’m fine with my life ending then as well.

But if you want to live for me for one more day, I’ll go on living with you today as well.

And thus begins a tale of kindred bound by their scars.

Soaked in red and written in black, a story of blood.

One of which I’ll never speak.

Our very own, precious as it is, story of scars.

And I have no intention of reciting it to anyone.

It’s not just a beautiful way to end this fantastically epic prequel trilogy, but an artfully powerfully-stated mission statement for all of the stories in the Monogatari Series that follow chronologically. It’s inspired me to re-watch Nekomonogatari (Kuro) and then Bakemonogatari from the beginning, with a new appreciation for where Koyomi has been, andthanks to the recently completed Owarimonogatari—where he’s going.

Finally, major kudos to Kamiya Hiroshi, Horie Yui, and Sakamoto Maaya; all three elevated these movies that much more with their layered, engaging performances.

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Kizumonogatari II: Nekketsu-hen

Just because Araragi Koyomi is a vampire doesn’t mean he has the slightest idea what he’s doing, so in preparation for his fight with Dramaturgy—a fellow vampire, and vampire hunter—he bones up on both Aikido and baseball.

One thing Koyomi knows for sure is that the battle, and indeed his presence in general, is no place for a human, in particular the lovely Hanekawa Tsubasa, who shows up at the place where he’s to fight.

Koyomi decides to get rid of her—for her own sake—in the most expeditious way possible: by cruelly deleting her contact on his phone, demanding she stop following him, and basically telling her to piss off.

Dramaturgy is a kick-ass name for a vampire hunter, and Dramaturgy himself is terrifying to behold in his sheer size, speed, and purposefulness. Koyomi tries an Aikido approach, and loses his left arm in the first blow. Ovetaken by pain and horror, he runs away screaming.

But he forgets himself, quite literally: as the subordinate of Heart-Under-Blade, he can instantly regenerate his limbs, and so does so, then switches to a baseball approach until he beans Dramaturgy straight in the eye with some cheese.

To Koyomi’s shock, this is enough to get Drama to concede their duel and surrender Kiss-Shot’s leg. After all, he’s just a regular vampire, not of her lineage; he can’t regenerate nearly as quickly as she, and by extension Koyomi. The moment Koyomi figured that out, he’d lost.

In the immediate aftermath of his fist victory, Tsubasa emerges from her hiding spot; she’d watched the entire battle and wants to know what the hell just happened. Koyomi starts off with his ‘none of your business’ business, continuing to say mean things he doesn’t mean, even telling Tsubasa he only cared about her body, and asking her to show him her panties again.

But Tsubasa does show him her panties, because it’s what she wants to do, and knows that the Koyomi she knows wouldn’t have said such hurtful things unless he was trying to protect her. He sees right through his mean guy act, and the real Koyomi emerges, contrite and appreciative of her friendship.

Back at the cram school, Kiss-Shot is presented with her leg, and devours it, much to Koyomi’s shock. While she digests, Koyomi and Oshino give her some privacy, during which time Oshino explains how by methodically taking her limbs, her three (now two) hunters also managed to take her vampirism and all the abilities it entails.

Koyomi isn’t 100% trusting that Kiss-Shot will fulfill her end of the bargain by making him human again, and Oshino rightfully calls him an ingrate for it. If you can’t trust the person you saved your life, who can you trust?

When he goes back inside, he finds that Kiss-Shot has morphed from a young girl to a teenager. Somewhat creeped out by his reactions, she hides behind the lectern and sticks out her tongue at him.

Koyomi’s next opponent is Episode, a half-vampire filled with hate for his vampire side because it keeps him from truly fitting into either the vampire or human worlds. But before that, Koyomi introduces Tsubasa to (a soundly dozing) Kiss-Shot, thus sating her curiosity.

Tsubasa blames herself for somehow summoning vampires by simply bringing them up in conversation, and laments she can’t do more to help her friend, but Koyomi assures her that bringing him fresh clothes and moral support is more than enough.

Tsubasa also gets a measure of revenge by caressing Koyomi’s shirtless, suddenly much-more-built (as a result of his vampirism) body, which turns her on enough to make her a little uncomfortable when he gets too close to thank her. Still, before departing, she promises she’ll continue to support him in any way she can.

As with Dramaturgy, Koyomi’s battle with Episode doesn’t start out so well for him, as Episode is able to teleport from place to place in a blink of an eye, making him hard to target, not to mention his massive cross which he heaves at Koyomi like a projectile.

Tsubasa appears to help Koyomi out with a vital tip—Episode is turning himself into fog—but gets caught in the cross-er-cross, and she gets a nasty disembowling wound to her side, a most gutwrenching and upsetting sight to behold, for both me and Koyomi.

Seeing her urge Koyomi to keep fighting even as she bleeds out motivates him to stop going easy on Episode, and he flies to a nearby stadium to kick up a tremendous amount of dust in order to scatter the fog, which is only water, after all.

Once he has Episode in his clutches, he recalls flashes of holding the dying Tsubasa in his hands, and those hands tighten around Episode’s throat. He’d have killed him if not for Oshino stepping in to stop him, warning that he’ll “lose his humanity” if he carried out the execution.

Oshino also extracts an extra fee of three million yen in exchange for the key to saving Tsubasa, which Koyomi could have figured out for himself but for the fact he’s panicking—he cuts himself open and pours his vampire blood all over her, and she is immediately healed and wakes up.

Koyomi is so happy to see her alive and okay, he foregoes bashfulness regarding her torn uniform and cuddles with her a little longer. Kiss-Shot gets her other leg back, and upon re-absorbing it, morphs into a young adult, having very nearly recovered her immortality, but still unable to use any vampire abilities.

Last up, Guillotinecutter: neither a vampire nor a half-vampire, he’s merely a human, if a particularly well-built human. Rather than professionalism or hatred, he fights for faith, and his ability to exorcise vampires means Koyomi will have to be both extra-careful and extra-ruthless. In fact, Kiss-Shot suggests the only way to beat him is for Koyomi to abandon the humanity to which he’s been trying so hard to cling.

Before this third and final fight, Koyomi meets with Tsubasa once more, this time in the wheat(?) fields that surround the cram school. She provides sandwiches, (which he doesn’t eat since he’s a vampire) Coca-Cola (with a refreshing taste even vampires can’t refuse), and more moral suppport.

Koyomi tells her once more to stay away from him for her own safety, especially now. When she got hurt, he thinks it hurt him more than if it were him getting hurt. He’s recoving Kiss-Shot’s limbs so she’ll restore him to being a human, but he won’t sacrifice Tsubasa for that goal, and thinks Tsubasa is being too selfless, too bright for the likes of him.

Tsubasa reiterates that she’s not doing what’s good or right, but what she wants to do, no more, no less. Indeed, she sees herself as being selfish, self-centered, deceitful and stubborn, but she won’t apologize for any of it. But if there’s nothing more she can do for him regarding his current mission, she’s willing to step back.

To that, Koyomi tells her there is one more thing she can do: Wait for him. Wait until after Spring Break when they’re back in school, and be someone he can have fun talking with again. Koyomi says this romantically enough to literally make Tsubasa surrender her panties, with the implied promise that he’ll give them back when next they meet.

Koyomi, being pervy, isn’t super-committal about that last part, but he does want to see her again, so he’ll likely give them up when the time comes. With that, they part ways.

Unfortunately, when he faces Guillotinecutter, the priest immediately takes Tsubasa hostage and threatens to kill her if Koyomi challenges him. Tsubasa, of course, urges Koyomi to carry out his mission and not to worry about her, but there’s no way he can’t.

But as Kiss-Shot said, the only way Koyomi can defeat Guillotinecutter without killing Tsubasa is by going further than he went in his battles with Episode and Dramaturgy; beyond the point where Oshino stopped him. He has to be utterly inhuman in his strength, speed, and ability.

And so he does: Transforming his arms into vine-like tree limbs, he plucks Tsubasa from Guillotinecutter and crucifies him. Tsubasa is safe in those tree-like arms, and Kiss-Shot’s arms would seem to be free…but can Araragi Koyomi, Human recover from what he had to do? It’s left to the third and final film to decide.

Kizumonogatari I: Tekketsu-hen

I haven’t read any of the Monogatari novels, but I have seen the events of Kizumonogatari before—in extremely condensed form, in the cold open of Bakemonogatari way back in July of 2009.

That immediate Tsubasa upskirt, followed a dark, bloody, brutal, prologue was one hell of an introduction to the agony and ecstasy of the Monogatari Series. Ever since, I’d hoped we’d get a proper telling of those intense events. Seven-plus years (and a hell of a lot of Monogataris) later, we finally get that story; in the form of a three-part film, no less.

Right off the bat, I have to say the franchise has never looked or sounded better: Shaft and co-directors Oishi Tatsuya and Shinbo Akiyuki pull out all the visual and auditory stops to really give this story the weight (sorry Hitagi) and grandeur it deserves. Familiar buildings and vistas are given a bit of a makeover with no expense spared.

We start with that upskirt from the very beginning of Bakemonogatari, in which Araragi Koyomi happens to catch a good long look at the lacey undergarments of one Hanekawa Tsubasa.

Rather than react the way your typical anime character would after such an incident, Tsubasa laughs it off and discovers that it’s very easy—and fun—to talk with Koyomi, despite the fact he’s a loner-by-choice with no friends.

By the end of their encounter, she’s given him her contact info and declared herself his friend. Tsubasa’s friendly down-to-earth manner is infectious, and Koyomi is over the moon by his encounter, and gets so excited he ends up racing to the adult bookstore.

While talking with Tsubasa, she informs Koyomi of rumors going around town about a hauntingly beautiful blonde woman with piercing gaze. That prepares us for when he discovers a very long trail of blood that leads him deeper and deeper into a deserted subway station that feels like a descent into the underworld.

With Kubrickian precision, a marvelous tension is built up as signs of a horrendous struggle mar the otherwise pristine metal, tile, glass, and white of the station. And then he finds her: our favorite super-vampire, Kiss-Shot Acerola-Orion Heart-Under-Blade, lying in a pile of her own blood, relieved of her limbs, and near death.

She beseeches, or actually more like commands Koyomi to give him her blood to save her—all of it will probably do—but the kid is understandably terrified beyond rational thought, and his first instinct is to run the fuck away screaming, even as she too screams and pleads for help.

Eventually, however, the thing we all knew was coming occurs: Koyomi has a change of heart, and decides to head back down and offer his blood, which he believes to mean his life, to the vampire, hoping to earn the right to have a next life that isn’t so horribly fucked up.

But that’s just the thing: his life doesn’t end; his ‘clock’ starts right back up in a revamped-for-film, more impressive than ever abandoned cram school. Beside him is a dozing little blonde girl who isn’t ready to wake up yet.

Koyomi steps outside, and we return to the dramatic cold open of the film in which he’s set ablaze. I thought at the time it was just a nightmare, but no, his flesh actually bursts into flames upon exposure to the sun, but is continually regenerated.

Kiss-shot runs out and brings him back inside, and warns him not to go out during the day now that he’s an immortal vampire, and her second and newest servant.

As Koyomi points out, she’s no longer as “mature” as she was when they met, but it’s to be expected: Koyomi’s blood alone was not enough to fully restore her; she must be content with her smaller form. And while she’s been reduced in size, her personality is as big and imperious as ever.

Kiss-shot has little power remaining, and so must rely on Koyomi to destroy her enemies: three specialist vampire hunters whom she initially underestimated and allowed to attack her all at once. She believes if Koyomi takes them on one-by-one it should be a simple matter.

Of course, Kiss-shot’s perspective is somewhat skewed by the fact she’s over 500 years old and did things like jump from Antarctica to Japan over three centuries before the Meiji Restoration. If Koyomi can pull it off and get Kiss-shot’s limbs back, she promises she’ll turn him back into a human.

Unfortunately, when Koyomi first encounters these three hunters: Dramaturgy, Episode, and Guillotine Cutter, not only does he have no idea how to fight the extremely tough customers, they come at him all at once just like they did Kiss-shot.

All Koyomi can do is crumple into a ball and wait for another inevitable end, but the universe ain’t done with him yet, because one particularly badass dude stops all three specialists in their tracks at once.

We know this guy, even if Koyomi hadn’t yet been introduced: he’s Oshino Meme, who describes himself as a keeper of “balance” between the worlds of humans and oddities (AKA monsters).

In this instance, at least, maintaining the balance means helping Koyomi and Kiss-shot get her limbs back so she can return to full strength and restore Koyomi’s humanity. And so off we go!

There’s a unique exhilaration in watching earlier versions of characters I’ve known for years meeting for the very first time, particularly a Koyomi who is new to all this oddity stuff and extremely out of his depth.

Prequels are notoriously tricky to pull off, but if the first of three parts is any indication, with a neat balance of levity and gravitas, Kizumonogatari is one of the rare ones that succeeds and excels; actually more powerful and engaging for arriving so long after the series it precedes.

Kimi no Na wa. (Your Name.)

Simply diving into a review immediately after watching a film as devastatingly gorgeous and emotionally affecting as Kimi no Na wa is probably not a great idea, but this is an anime review blog, so here goes.

Kimi no Na wa isn’t just a charming body-swap rom-com, or a time-travelling odyssey, or a disaster prevention caper, or a tale of impossibly cruel temporal and physical distance between two soul mates, or a reflection on the fragility and impermanence of everything from memories to cities, or a tissue-depleting tearjerker.

It’s all of those things and more. And it’s also one of, if not the best, movies I’ve ever seen, anime or otherwise.

After a cryptic prologue, Kimi no Na wa starts out modestly: Miyamizu Mitsuha, Shinto shrine maiden and daughter of a mayor, has grown restless in her small town world, so one night, shouts out tot he night that she wants to be reborn as a boy in Tokyo.

This, mind you, happens after an odd incident in which Mitsuha essentially lost a day, during which all her family and friends say she was acting very strange and non-Mitsuha-y…like a different person.

That’s because she was. She and a boy from Tokyo, Tachibana Taki, randomly swap bodies every so often when they’re dreaming. As such, they end up in the middle of their couldn’t-be-any-different lives; the only similarity being that both of them yearn for more.

Despite just meeting these characters, watching Mitsuha and Taki stumble through each other’s lives is immensely fun. And because this is a Shinkai film, that enjoyment is augmented by the master director’s preternatural visual sumptuousness and realism. Every frame of Mitsuha’s town and the grand vastness of Tokyo is so full of detail I found myself wanting to linger in all of them.

As the body-swapping continues, the two decide to lay down “ground rules” when in one another’s bodies—albeit rules both either bend or break with impunity—and make intricate reports in one another’s phone diaries detailing their activities during the swaps.

Interestingly, Mitsuha makes more progress with Taki’s restaurant co-worker crush Okudera than Taki (she like’s Taki’s “feminine side”), while the more assertive Taki proves more popular with boys and girls when Taki’s in her body.

Taki happens to be in Mitsuha’s body when her grandmother and sister Yotsuha make the long, epic trek from their home to the resting place of the “body” of their Shinto shrine’s god, an otherworldly place in more ways than one, to make an offering of kuchikamisake (sake made from saliva-fermented rice).

While the three admire the sunset, Mitsuha’s granny takes a good look at her and asks if he, Taki, is dreaming. Just then he wakes up back in his own body to learn Mitsuha has arranged a date with him and Okudera—one she genuinely wanted to attend.

Okudera seems to notice the change in Taki from the one Mitsuha inhabited; she can tell his mind is elsewhere, and even presumes he’s come to like someone else. Taki tries to call that someone else on his phone, but he gets an automated message.

Then, just like that, the body-swapping stops.

After having cut her hair, her red ribbon gone, Mitsuha attends the Autumn Festival with her friends Sayaka and Teshi. They’re treated to a glorious display in the night sky, as the comet Tiamat makes its once-every-1,200-years visit.

Taki decides if he can’t visit Mitsuha’s world in his dreams anymore, he’ll simply have to visit Mitsuha. Only problem is, he doesn’t know exactly what village she lives in. Okudera and one of his high school friends, who are worried about him, decide to tag along on his wild goose chase.

After a day of fruitless searching, Taki’s about to throw in the towel, when one of the proprietors of a restaurant notices his detailed sketch of Mitsuha’s town, recognizing it instantly as Itomori. Itomori…a town made famous when it was utterly destroyed three years ago by a meteor created from a fragment of the comet that fell to earth.

The grim reality that Taki and Mitsuha’s worlds were not in the same timeline is a horrendous gut punch, as is the bleak scenery of the site of the former town. Every lovingly-depicted detail of the town, and all of its unique culture, were blasted into oblivion.

Taki is incredulous (and freaked out), checking his phone for Mitsuha’s reports, but they disappear one by one, like the details of a dream slipping away from one’s memory. Later, Taki checks the register of 500 people who lost their lives in the disaster, and the punches only grow deeper: among the lost are Teshi, Sayaka…and Miyamizu Mitsuha.

After the initial levity of the body-swapping, this realization was a bitter pill to swallow, but would ultimately elevate the film to something far more epic and profound, especially when Taki doesn’t give up trying to somehow go back to the past, get back into Mitsuha’s body, and prevent all those people from getting killed, including her.

The thing that reminds him is the braided cord ribbon around his wrist, given to him at some point in the past by someone he doesn’t remember. He returns to the site where the offering was made to the shrine’s god, drinks the sake made by Mitsuha, stumbles and falls on his back, and sees a depiction of a meteor shower drawn on the cave ceiling.

I haven’t provided stills of the sequence that follows, but suffice it to say it looked and felt different from anything we’d seen and heard prior in the film, and evoked emotion on the same level as the famous flashback in Pixar’s Up. If you can stay dry-eyed during this sequence, good for you; consider a career being a Vulcan.

Taki then wakes up, miraculously back in Mitsuha’s body, and sets to work. The same hustle we saw in Taki’s restaurant job is put to a far more important end: preventing a horrific disaster. The town itself may be doomed—there’s no stopping that comet—but the people don’t have to be.

Convincing anyone that “we’re all going to die unless” is a tall order, but Taki doesn’t waver, formulating a plan with Teshi and Sayaka, and even trying (in vain) to convince Mitsuha’s father, the mayor, to evacuate.

While the stakes couldn’t be higher and the potential devastation still clear in the mind, it’s good to see some fun return. Sayaka’s “we have to save the town” to the shopkeep is a keeper.

Meanwhile, Mitsuha wakes up in the cave in Taki’s body, and is horrified by the results of the meteor strike. She recalls her quick day trip to Tokyo, when she encountered Taki on a subway train, but he didn’t remember her, because it would be three more years before their first swap.

Even so, he can’t help but ask her her name, and she gives it to him, as well as something to remember her by later: her hair ribbon, which he would keep around his wrist from that point on.

Both Taki-as-Mitsuha and Mitsuha-as-Taki finally meet face-to-face, in their proper bodies, thanks to the mysterious power of kataware-doki or twilight. It’s a gloriously-staged, momentous, and hugely gratifying moment…

…But it’s all too brief. Taki is able to write on Mitsuha’s hand, but she only gets one stoke on his when twilight ends, and Taki finds himself back in his body, in his time, still staring down that awful crater where Itomori used to be. And again, like a dream, the more moments pass, the harder it gets for him to remember her.

Back on the night of the Autumn Festival, Mitsuha, back in her time and body, takes over Taki’s evacuation plan. Teshi blows up a power substation with contractor explosives and hacks the town-wide broadcast system, and Sayaka sounds the evacuation. The townsfolk are mostly confused, however, and before long Sayaka is apprehended by authorities, who tell everyone to stay where they are, and Teshi is nabbed by his dad.

With her team out of commission, it’s all up to Mitsuha, who races to her father to make a final plea. On the way, she gets tripped up and takes a nasty spill. In the same timeline, a three-years-younger Taki, her ribbon around his wrist, watches the impossibly gorgeous display in the Tokyo sky as the comet breaks up. Mitsuha looks at her hand and finds that Taki didn’t write his name: he wrote “I love you.”

The meteor falls and unleashes a vast swath of destruction across the landscape, not sparing the horrors of seeing Itomori wiped off the face of the earth—another gut punch. Game Over, too, it would seem. After spending a cold lonely night up atop the former site of the town, he returns to Tokyo and moves on with his life, gradually forgetting all about Mitsuha, but still feeling for all the world like he should be remembering something, that he should be looking for someplace or someone.

Bit by bit, those unknowns start to appear before him; a grown Sayaka and Teshi in a Starbucks; a  passing woman with a red ribbon in her hair that makes him pause, just as his walking by makes her pause. But alas, it’s another missed connection; another classic Shinkai move: they may be on the same bridge in Shinjuku, but the distance between them in time and memory remains formidable.

Mitsuha goes job-hunting, enduring one failed interview after another, getting negative feedback about his suit from everyone, including Okudera, now married and hopeful Taki will one day find happiness.

While giving his spiel about why he wants to be an architect, he waxes poetic about building landscapes that leave heartwarming memories, since you’ll never know when such a landscape will suddenly not be there.

A sequence of Winter scenes of Tokyo flash by, and in light of what happened to Itomori quite by chance, that sequence makes a powerful and solemn statement: this is Tokyo, it is massive and complex and full of structures and people and culture found nowhere else in the world, but it is not permanent.

Nothing built by men can stand against the forces of nature and the heavens. All we can do is live among, appreciate, and preseve our works while we can. We’re only human, after all.

And yet, for all that harsh celestial certainty, there is one other thing that isn’t permanent in this film: Taki and Mitsuha’s separation. Eventually, the two find each other through the windows of separate trains, and race to a spot where they experience that odd feeling of knowing each other, while also being reasonably certain they’re strangers.

Taki almost walks away, but turns back and asks if they’ve met before. Mitsuha feels the exact same way, and as tears fill their eyes, they ask for each others names. Hey, what do you know, a happy ending that feels earned! And a meteor doesn’t fall on Tokyo, which is a huge bonus.

Last August this film was released, and gradually I started to hear rumblings of its quality, and of how it could very well be Shinkai’s Magnum Opus. I went in expecting a lot, and was not disappointed; if anything, I was bowled over by just how good this was.

Many millions of words have been written about Kimi no Na wa long before I finally gave it a watch, but I nevertheless submit this modest, ill-organized collection words and thoughts as a humble tribute to the greatness I’ve just witnessed. I’ll be seeing it again soon.

And if for some reason you haven’t seen it yourself…what are you doing reading this drivel? Find it and watch it at your nearest convenience. You’ll laugh; you’ll cry; you’ll pump your fist in elation.

The Garden of Words (Film Review)

Tokyo is one of the largest, busiest, most lively cities in the world, but there’s an oasis of tranquility right near its heart, and I’m not talking about the mostly off-limits Imperial Palace Grounds. I speak of Shinjuku Gyoen National Garden, once a private estate in the Edo period, and also the primary setting of Shinkai Makoto’s 2013 film The Garden of Words.

I’ll admit my review comes very late—so late, in fact, in the time between the release of the film and the day I’m writing a review of it, its co-lead Akizuki Takao would be 19 (not 15), making a potential romantic relationship with Yukino Yukari, who would be 31 (not 27) more socially acceptable. But here it is!

Akizuki loves rainy mornings. He loves them so much, he’ll skip school to visit Shinjuku Gyoen and enjoy it. One day, while preparing to sit at a sheltered bench overlooking the gardens, he encounters Yukino: a beautiful, mysterious woman in work clothes drinking beer and eating chocolate alone.

While 15, Akizuki is wiser and more mature than his years. He finds high school a major drag, and mostly stresses about a practical way to support himself doing what he loves: designing and making shoes. But when he visits the park and shares the bench with Yukino, he feels like he’s in a more mature environment, where he can sketch shoes or just shoot the breeze with her.

Their encounters also become important to Yukino, who we learn is preparing to quit her job, and is clearly in the park to escape said job and the stress/pain it causes, which was apparently bad enough that she lost her sense of taste for a time, only being able to enjoy beer and chocolate.

Not only is the hard-working Akizuki a shoemaker-in-the-making, he’s also a part-timer at a restaurant and cooks a lot at home, making him a better cook than Yukino. Thanks to the meals he shares, Yukino starts to enjoy eating again.

Wanting to help him with a woman’s shoe design, Yukino removes her shoe and lets Akizuki hold and measure her bare foot, in an intimate, even sensual scene that also happens to be practical.

That intimacy is heightened by the made-for-a-couple sheltered-bench and the gorgeous environs. But while she’ll give him her foot, Yukino never talks about herself, her life, or her struggles, no matter how much Akizuki talks about his.

Unfortunately Akizuki has to find that out when he spots Yukino, or rather Yukino-sensei, at his school—she’s a teacher there. He had no idea of that, or that she’d been taking days off because the boyfriend of a student fell for her which led to unsavory rumors about her being promiscuous and verbal and emotional abuse from her upperclassmen students.

Yukino is pained to hear all this treatment, and that she’s quitting because of it, but likely also hurt that Yukino never told him anything, or that she could even possibly have known he was a student at the school but kept him in the dark.

Whatever the case, he decides the injustice done to Yukino should have a response from someone who has come to care about her, so he confronts the upperclassmen, starts a fight, and loses. After school, they meet at the gardens, but he doesn’t tell her he fought to protect her honor.

After giving her the correct answer to her tanka poem from their first encounter, Akizuki and Yukino find themselves caught in a torrential downpour, and even when they get back under cover, they’re both soaked.

They apparently take it as a good omen, and go to Yukino’s apartment, where they change into dry clothes, and while he’s waiting for his uniform to dry, Akizuki makes Yukino a delicious meal, both noting they’re having some of the happiest moments of their lives, right there and then.

Like the sunlight, it doesn’t last, and as the sky darkens with more rainclouds, a sudden confession of love from Akizuki is countered by Yukino correcting him: “Yukino-sensei”. Akizuki hears her loud and clear: he’s a kid; she’s not, and that’s the end of it. So he changes into his still-wet clothes and storms off, just as the storm outside picks up.

Yukino doesn’t want to leave things there, so after stewing, suddenly alone in her apartment, with even Akizuki’s coffee still steaming, she does the romantic movie thing where one comes to their senses, rushes out of the house, and chases after the one they love.

When she finds him paused on a balcony, he takes back his confession and starts spewing vitriol about her intentions, but later in the rant it becomes more about why she couldn’t simply tell him, a stupid little kid, to piss off and stop bothering her. Why she never said anything to him while sharing that bench.

Yukino’s response, also classic romantic movie, is to run into his arms and sob just as the sun peeks back out from between the clouds, finally telling him why she went to that bench again and again, and how being with him helped her “learn how to walk on her own” again; how he essentially saved her.

Yukino still moves out of that apartment, back to her hometown, where she’s still a teacher. But she later writes to Akizuki, and as he reads the letter in the park where they met and spent so much time and where they taught each other how to walk, he seriously considers going to her hometown someday to see her.

The Garden of Words is gorgeous, as is expected of a Shinkai film, with its near-photorealistic exteriors, lived-in interiors, and fantastic lighting and details all around. At just 46 minutes, it runs brisk but never feels rushed, but rather feels just as long as it should be.

It also felt like a particularly intimate/personal film, though not for the reason you’d expect: I once sat at the exact same bench in Shinjuku Gyoen they sat at, unhurriedly sketching the gardens and writing about my day (though as you can see, the real one has an ashtray.) If you’re ever there I highly recommend it, just as I recommend this lush and moving little film.

Gantz:0 Review

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The Gist: a feature-length CG movie covering the Osaka Arc from the Gantz manga. This arc is between halfway and two-thirds through Gantz’ 383-chapter long story, which means the movie had to shed several characters and a ton of build-up to present a manageable story. For example, the manga’s co-protagonist Katou gets a modified introduction right at the beginning of the arc, which serves as a brief introduction to the rules and world of Gantz for the viewer.

Generally, the changes ‘function,’ from the standpoint of making a coherent movie, but that movie is not very compelling. Despite cutting characters, the arc requires introducing the Osaka team, which is huge, even if its only there to be blown apart. The arc also pits our heroes against a massive challenge, with no room for that core cast to build-up credibility for taking on that challenge, nor an emotional connection with the viewer should they fail.

The result is somewhat like asking the third Lord of the Rings movie to work as our only ‘movie’ adaptation for the novels. The viewer will probably understand what is going on, but why would they care?

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The Verdict: From a technical standpoint, Gantz:0’s character models, lighting, and sets are decent but not mind-blowing. The lip sync isn’t spot on, the lighting and framing don’t feel like they highlight scenes clearly, and the shakey-cam is oh my god stop it! Overall, it lacks thought or style.

There’s some irony to this because Gantz’ weapons and vehicles were already CG-rendered in the manga, and the manga did a great job framing out scenes and conveying what was going on.

Unless you are already a Gantz fan, it’s difficult to see a reason for you to watch this. Unfortunately, if you are a Gantz fan (especially if you’ve read all 383 chapters of it like myself), you’re not going to get much out of this either.

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PSYCHO-PASS: The Movie

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I am a professed fan of PSYCHO-PASS, but was among those who thought the 2014 sequel couldn’t quite match the greatness of the 2012 original (You can read my reviews of PSYCHO-PASS and PSYCHO-PASS 2 by following the preceding links). I’ve also always had a soft spot for Tsunemori Akane, the ever-conflicted super badass detective and one of seiyu Hanazawa Kana’s most compelling roles.

This 2015 movie (which will have a limited theatrical release in the U.S. later this month) is Akane’s biggest stage to date. Rather than focus on another Japan-based mastermind, the franchise turns its gaze outward to the mainland: the Southeast Union or SEAUn, where the Sybil System has been transplanted on an island utopia called Shamballa Float.

Akane heads there because after armed terrorists from the union launch a failed assault on Tokyo (the film’s action-packed beginning), she learns that they may have been sent by none other than her former enforcer, friend, and romantic interest, Kogami Shinya. Their reunion in a foreign land forms the character crux of the film.

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When Akane arrives at SEAUn and gets a tour of the place outside Shamballa, it’s both her and our first look at the world outside Japan where Sybil doesn’t yet hold full sway. It’s seething with unrest and violence, much of it being meted out by a military police force that rules with an iron fist.

We are forced along with Akane to weigh the pros and cons of Japan and SEAUn as they relate to the implementation of Sybil technology, which is still in its harsh “teething stage” in the latter nation. There’s even more overt segregation, with latent criminals wearing neckbands that will sedate or poison them if their hues cloud too much.

The movie does a good job quickly rendering a very oppresive and unpleasant place where I definitely would never want to live.

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Fueled by her intention to find Kogami and get to the truth of matters ASAP, Akane rides along on a military operation led by Colonel Nicolas Wong, who is also her escort and the first official she met in SEAUn. While initially friendly and accommodating, he has a big problem with Akane running off on her own, to the point he suspects she’s joining the terrorists.

Kogami is pretty surprised to see Akane, considering a war zone is no place for a metropolitan detective and they haven’t seen each other in years, but they don’t have time to reminisce and escape the combat area to Kogami’s base camp.

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Kogami, who calls Akane “Inspector” for old time’s sake, explains himself simply by saying he’s part of SEAUn’s democratization movement. SEAUn’s military dictator Chairman Han may have a bunch of Sybil toys, but he can’t believe the fight is hopeless.

Kogami brings Akane to his movement’s headquarters, where he’s revered almost like Colonel Kurtz in Apocalypse Now, only without the insanity and disease (though the exotic Angkor Wat-esque buildings definitely look the part). Akane can respect what he’s trying to do, and certainly understands Kogami’s power to draw people into his orbit with his natural charisma (a part of her still likes the guy), she still asks him to turn himself in, a request he declines.

To Akane’s releif, Kogami didn’t send terrorists to Japan. Rather, they were extremist comrades of his who broke off from his movement to do their own thing. But the fact that group got to Japan and were able to get as far as they did in their assault tells both Akane and Kogami that they must’ve had official support on the downlow.

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In the meantime, Kogami impresses upon Akane the importance of getting back to Shamballa Float before she ends up tangled up in more unpleasantness. Her reluctance to leave is overridden when a band of ultra-elite mercenaries with cybernetic prostheses hired by Wong attacks the headquarters. It’s all Kogami can do to get Akane out of there safely, and while he puts up a rather implausible fight, he’s eventually taken prisoner, and later beaten for information.

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Akane is arrested upon her return to Shamballa, and Wong lobbies for her immediate, but Han steps in and allows her to stay, albeit under closer observation. That gives Akane a chance to use some pillbugs Shion gave her to infiltrate Shamballa’s Sybil System, gather data, and even release her attendant Yeo from her latent criminal collar.

However, by the time Shion discovers that military officers like Wong were illegally bypassing cymatic scans that would cloud their hues to a tremendous extent, Wong has Yeo drug Akane’s drink in exchange for the promise of having her little brother’s collar removed. Wong welshes on the deal and shoots Yeo in the head, proving beyond a shadow of a doubt he’s an evil opportunistic bastard.

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When the mercs deliver Kogami to Wong, he arranges for him and Akane to be shot and cover up their deaths in an abortive helicopter escape attempt. I must say, I really didn’t see how Akane and Kogami were going to get out of this one, even if I knew they were.

Ultimately, the choice of killing them out in the open on rooftop rather than a location Wong could fully control proved his undoing, as Akane and Kogami are saved by the cavalry in the form of the Bureau of Public Safety, who kill Wong and either lethally eliminate or take into custody his men.

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All of the mercs save their leader are killed in the attack, and Kogami goes after him, while after having metaphorical cold water splashed on her head by Mika, Akane confronts “Chairman Han”, who is really a cybernetic body double inhabited by the collective brains of Sybil System itself.

Akane has another one of her patented Big Picture Verbal Spars over law and the will of the people with Sybil, ultimately convincing it/them to make Han step down and open both leadership of SEAUn and the choice to implement Sybil up to the people, via democracy.

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Oh yeah, meanwhile, Kogami has an intense but ultimately pointless final battle with the merc leader, who is only still alive so Kogami has someone strong to fight and Gino has to rescue him. After taking care of the merc, Gino lets Kogami go, making him promise not to burden Akane anymore, and also gets a good punch in.

Akane’s mainland adventure thus wrapped up (shame she didn’t get to say a long and decent goodbye to Kogami), she and the other bureau members leave Shamballa and SEAUn in the hands of the new, more populist regime. And there you have it: Inspector Tsunemori Akane was singularly instrumental in changing the course of an entire nation, hopefully for the better.

I watched this because I’m not sure I’d be able to make the theatrical release, and feared it would be dubbed in English. Turns out, more than a quarter of the dialogue is in horrible English anyway (as attempted by the Japanese seiyus) which was extremely irritating. But aside from that, this was a sufficiently fun, exciting flick that moved briskly and gave us some welcome quality time with Akane-san.

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Rakuen Tsuihou: Expelled from Paradise

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Hannah Brave (Braverade): It’s been a while since we last got together and watched a movie as a trio, so when I came upon a solid-looking film written by Urobuchi Gen (Aldnoah.Zero, Fate/Zero, Puella Magi Madoka Magica, Psycho-Pass, Gargantia) and directed by Mizushima Seiji (Fullmetal Alchemist, Gundam 00, Natsuiro Kiseki, UN-GO), I thought I’d corral the staff (everyone but the busy Oigakkosan) and kick back for some shared big-budget sci-fi entertainment. Here’s Zane to start us off.

Zane Kalish (sesameacrylic): Let’s see…BOOBS! Agh, let me start over. 98% of humanity has left earth (or, to my mind, expelled themselves) and abandoned their physical bodies to live in the Utopian cyber-society called DEVA.

Our heroine, Angela Balzac (not un-ironically named for the author of The Human Comedy, and voiced by the awesome Kugimiya Rie), comes from that all-digital world, and as an officer in System Security, is responsible for preserving the status quo.

That means going where she’s sent. So when an Earth-based hacker named “Frontier Setter” offers the citizens of DEVA the chance to travel the stars aboard the Genesis Ark, Angela transfers her consciousness into a artificially-created body and travels to Earth to deal with the threat.

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Preston Yamazuka (MagicalChurlSukui): Once there, she meets her guide Dingo, a charming, Han Solo-esque rogue. Following close behind him is a huge swarm of giant sandworms, and he has her help slaughter them so he can sell the meat to locals. Then Dingo deactivates the network link on her mecha, rendering it a useless hulk that he sells for scrap.

At this point you may be saying “Wow, this guy’s a dick!”, but taking Angela off the network was actually a good idea considering she’s after a master hacker. And Angela gives as good as she gets, dick-wise

Hannah: Indeed. The opening act is all about the clash of cultures between Angela’s clean, gleaming, sterile Utopian DEVA and Dingo’s dusty, dirty, slimy, crude world. The Angela of this early part of the film is insuffrably arrogant and condescending, which makes sense considering where she’s from. She also refuses any kind of help or offers of food and rest, stating that time is of the essence and she wants to complete the mission by herself.

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Zane: Those refusals, borne out of her independent spirit and her pride (she’s not going to rely on some primitive earth ape!) come back to bite Angela pretty hard, as she learns that living on earth, in a body, isn’t so easy. When she gets cornered by some unsavory sorts in a town alley, she can only fight them so long (and a kick-ass fight it is) before she runs out of gas.

Either due to a lack of food and rest or some kind of bug, Angela takes ill, and Dingo must nurse her back to health. This is the first time her armor starts to crack and I feel sympathy for her, but it won’t be the last. But it wasn’t just arrogance that led to her illness; it was ignorance, having never been in a physical body, she had no baseline for what was supposed to feel normal or abnormal.

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Preston: Once Angela’s better, she and Dingo track down a supplier of a substance that can be used for rocket fuel, who lets them monitor a buy. Curiously, Frontier Setter sends only remote-controlled vintage robots, many of them custom-designed, on the deal.

Then the couple finds a lone robot that seems like more of a welcoming party than a sentry, and they learn the truth: “Frontier Setter” isn’t a human being, it’s the AI for the Genesis Ark project, which has been left on for more than a century, and is not only carrying out its original directive (remotely building the Ark up in orbit), but has gained sentience. Enter WALL-E comparisons (especially since DEVA is a lot like that film’s Axiom)!

Hannah: This encounter and revelation is the point at which the film becomes more than a sci-fi unlikely buddy flick and enters more philosophical ground, the likes of which Asimov and Dick often tread upon. Frontier Setter is an independent sentient artificial Intelligence in a world where most of humanity has adopted virtual collective existence out in orbit.

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Zane: What’s fascinating about Setter is how Dingo has more in common with him, with regards to everything form what humanity is and should be, to rock music (Setter even writes his own based on what he’s heard), than Dingo has with Angela. Angela, and the place she’s from, is far more alien. Body of flesh, body of metal, doesn’t matter; they think the same.

Hannah: The encounter also marks the successful completion of Angela’s mission. When Setter arranges the necessary equipment to zap her back to DEVA (he lives to serve humans, after all), Angela prepares to leave, but not without offering her heartfelt thanks to Dingo for all he’s done for her.

She also offers him DEVA citizenship, and without putting on the hard sell, simply asks him why he prefers Earth. His powerful response is a veritable thesis on the human condition and questions like “Where are we going?”.

Preston: Angela considers physical bodies a kind of “flesh prison”, but Dingo thinks she’s swapped that prison for an even more insidious prison of the mind, in which society is always assessing and judging itself and doling out resources proportional to a person’s usefulness to society.

That’s ideal for Angela, but anathema for Dingo, and probably Setter to, were he to upload to DEVA. It’s a great exchange because neither party is totally wrong or right; humanity has always survived by compromising between extremes.

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Zane: Angela was clearly on Earth too long, because upon making her report to her superiors, she is surprised to learn they don’t recognize the handshake promise of a “rogue AI” that could potentially destroy DEVA (even though he’d never ever do that), and consider Angela’s return to DEVA without “completing her mission” a serious blunder on her part. Then she refuses to return to Earth to destroy Frontier Setter, and the DEVA brass imprisons her into a frightening void that eventually takes the form of an eerie forest of loneliness.

Hannah: So Angela did catch a bug down on Earth: a bug in the form of a different way of thinking from the rigid dogma of DEVA, which believes all potential threats must be eliminated without review. And in her and particularly Dingo’s interaction with Setter, she’s come to think of the AI as just as much a person as any human, digitized or no.

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Preston: That new-found respect and empathy for Setter and his desire to explore the galaxy has thoroughly transformed Angela from smug, superior, arrogant, advancement-obsessed automaton to a passionate, independent, thinking, feeling human being.

Setter proves he deserves the esteem when he comes to rescue her from her prison, resulting in an awesome journey through cyberspace that briefly transforms Setter into a pixelated hat with an “F” and Angela into a blocky SD figure.

Zane: Blocky Angela was awesome! But so is regular Angela, who once Setter takes her to the armory of a DEVA defense ship, licks her chops like a kid in a candy store and starts to devise a way to repel DEVA’s massive attack on Setter’s launch site.

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Hannah: After so much time on God’s green earth, it was good to see the film move into space for some truly beautiful kinetic space battle scenes, in which Angela’s Setter-equipped and multiple support-ship-escorted mecha is a far better flyer and shooter than the virtual humans pursuing them.

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Preston: One thing the show is definitely very light on for such an expansive setting is actual human characters with lines, so it’s startling to suddenly see other DEVA security officers screaming across the desert in their mechas, headed Setter’s way.

These girls are exactly like Angela was earlier in the film: absolutely loyal and firm in their belief what they’re doing and only what they’re doing is right and good. As in The Matrix, anyone still “plugged in” is a threat to anyone who isn’t; there’s a relentlessness to their outright refusal to negotiate or even speak to their targets before opening fire.

They still have their proverbial heads in the sand where now Angela has popped hers out and now sees with her own eyes. But it says something about these DEVA humans that it’s just as likely these girls would undergo the very same transformation as Angela if they had the same experiences she had.

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Zane: The show wisely avoids adding a romantic angle to things, with Angela and Dingo having more of a platonic friendship of mutual respect/esteem and lots of mutual life-saving. This is good for two reasons.

First, there’s already a lot of stuff going on in this film, so we didn’t really need a love story as well. Second, in an effort to get a head start on her fellow officers, Angela stopped her physical clone body’s growth prematurely, leaving her with the appearance of a 16-year-old girl.

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Hannah: When confronted with lots and lots of awesome sci-fi action, I’m usually quick to say I could watch this stuff all day, but even I got a little fatigued by the final siege, exciting and amazing a technical achievement as it is. I respected the sequence more than I loved it, simply because it contributes to the fact this film was nearly two hours long and didn’t really have to be.

Preston:  Though things like Angela’s fierce battle faces, jumping from ammo store to ammo store, and Dingo doing what he can with his dune buggy and hidden arsenals, were all very impressive and fun, I won’t deny I too felt some tighter editing was in order leading up to the big finish.

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Zane: As for that big finish, I kinda assumed Setter would find some volunteers aboard DEVA to accompany him to the final frontier. Alas, there were zero takers. Dingo can’t go, ’cause he’s scared of heights. Even Angela declines.

Even though she’s been expelled from the “paradise” of DEVA to live a dirty physical world in a meat cage that requires daily sustenance and sleep, she already has plenty left to experience and explore on earth; she’s not ready to leave it.

Hannah: Setter laments that his century-long mission has failed, but his human friends disagree: to whomever he finds out there on his interstellar travels, Dingo and Angela are confident he’ll make a very good representative of mankind; certainly better than most DEVA inhabitants, and maybe even better than the two of them. He too is a child of humanity, with mechanical feet in both Angela’s world of rules and technology and Dingo’s world of dirt and guitar riffs.

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Steins;Gate: Fuka Ryouiki no Déjà vu

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I approached the Steins;Gate movie with an unusual amount of glee and anticipation, and doggone it, the movie was just as good as the TV show. Far from superfluous as one can get, it actually ended up tying up a few loose ends from the show, serving as a second season of sorts, compressed into 90 minutes (or four TV episodes’ worth).

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A year has passed since Rintarou achieved the Steins Gate World Line (SGWL), and Kurisu finally returns to Tokyo, ostensibly for lectures, but actually to visit the lab, and Rintarou in particular.

While there’s initial tension and combat between the two as neither seem all that comfortable being overt about their feelings for one another around the others, but after Kurisu drinks a beer or two her facade comes down and she just wants Rintarou to hold her. (Also, Rintarou gives her “my fork and my spoon” as a gift)

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Everything is happy and lovely, were it not for the proverbial chickens coming to roost in the form of side-effects from all of Rintarou’s time travel starting to become a bigger and bigger problem. Things in the SGWL are causing flashbacks that are giving him a vertigo and threaten to break his mind’s grip on which world line is the real one.

As this is going on, a shadowy figure, who is, of course, Suzu, follows Kurisu to her hotel room and gives her three words that make no sense to this Kurisu, but will mean everything soon enough. You have to leave it to Suzu; she always seems to pop by from the future to steer people in the right direction.

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Leave it to a cruel and torturous universe to give Rintarou everything he ever asked for in a world line: no WWIII down the road; both Mayushii and Kurisu alive and well, only to make it so he can’t live in that world. I assumed his flashes of other lines would get worse and worse, but I was frankly shocked to see him literally vanish into thin air just as he was putting on the lab coat Kurisu repaired.

Yet even when Kurisu and the others realize Rintarou is missing from their world line, and build the time leap machine to go back to the rooftop barbecue, he’s still fluctuating, and Suzu explains that it’s because the SGWL is very close to another line, one only a tiny fraction of a percent different from it. The only difference between it is that Okabe can only exist in one.

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Kurisu wants to fix things, but Rintarou doesn’t. As he said, he has the world the way he wants it. If he can’t live in it, so be it. Better for there to be peace and for the girls he loves to be alive than to risk altering the world line and causing more damage just to save him.

Despite the fact Kurisu really doesn’t Rintarou to vanish or to forget about him, that’s exactly what Rintarou asks of her, in a heartbreaking scene at the train station before dawn.

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But he might just be sabotaging his own cause by kissing her, because forgetting Rintarou proves extremely difficult due to all the titular deja vu, which was earlier identified as a form of Reading Steiner. Kurisu tries to get on with her life, but every time she thinks she’s forgotten him, some detail in her life reminds her of him anew. She even changes her mind and runs to the lab as fast as she can, but before she can say anything to Rintarou, he vanishes again.

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Suzu’s still there, not just with wisdom form the future but from Kurisu’s future self, who inevitably invents the time machine. The same stubbornness that has made Kurisu so endearing for so long is also the stubbornness of sticking to her promise to Rintarou not to alter the world lines for his sake.

Suzu tells Kurisu that if she’s able to imprint a powerful memory in Rintarou within the SGWL, his mind will be able to keep him in that world line, so he won’t vanish in 2011. In other words, if Kurisu is honest with herself and doesn’t give up on him, she can save him.

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Kurisu takes Suzu up on her offer to take her back in time (in the time machine she herself built in the future) and chooses a particular day in 2005 she knows to be significant in Rintarou’s life. But when she tries to get his attention, she slips and falls in the road, and as he runs out and gets hit by a truck.

This setback spooks Kurisu, who literally shudders to think not only how much worse Rintarou’s fate could become if she keeps meddling, but also just how much death and suffering Rintarou went through for her and Mayuri’s sake. She’s just not sure she can go through all that.

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But then, every other interaction with every other lab member seals it: nobody who knew Rintarou will ever entirely forget him, even as the world and their lives go on without him, Kurisu doesn’t want to live in that kind of world. All the lab members end up seperately recalling snippets about Okarin and Hououin Kyouma, culminating in Kurisu donning a lab coat and roleplaying as Kyouma himself in a masterfully adorable performance.

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Reassured that bringing Rintarou back is the right thing to do, she returns to 2005, remembering what he said when they first kissed when he had to say goodbye to her: that it wasn’t his first. Kurisu remedies that by meeting with the younger Rintarou, who is on his way to see Mayuri at the graveyard (which is when he declares her his hostage). Kurisu tells him the story of the Mad Scientist Hououin Kyouma, and then steals his first kiss. It’s another momentous scene firmly grounded in the continuity of the show that for lack of a better term causes all the feels.

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It also does the trick, as Kurisu is able to reunite with Rintarou, who was sitting alone in an empty Akiba. Empty as in it looks like no one in the SGWL ever existed where he is, just as he never existed there until Kurisu fixed things. This results in another happy ending, which we always seem to get in Steins;Gate, which would seem indulgent if those endings—including this one—weren’t so gosh-darn earned. They’re not created by conceits, but by logical conclusions to the story; Kurisu figuring out what she needs to do, pushing past the difficulties, and doing it.

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And if Kurisu’s final smirk doesn’t melt your heart like artisanal butter in a skillet, you might not have any. Heart…not butter.

This movie did the improbable by intensifying my already unreasonable fanaticism with Steins;Gate. S;G has it all: baller writing; hard-hitting drama, laugh-out-loud comedy, breathtaking twists, not-totally-ridiculous science, world-class voice-acting, unique design, ethereal soundtrack and immersive atmosphere. The movie makes me that much more excited about a future sequel in the works. Whatever risk that move entails, no show is worthier of the benefit of the doubt than this one.

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RABUJOI World Heritage List

Puella Magi Madoka Magica the Movie: Rebellion

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I’ve always been more a fan of continuations than re-tellings or re-imaginings, so among the three Madoka movies, this was the one that I anticipated the most. I only skimmed through the first two, which were only recaps of a show I finished watching over four years ago, but which remains burned in my brain as one of my all-time favorites. Heck, Sayaka is my avatar.

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I also recently dropped Sailor Moon Crystal, because a straightforward magical girl tale just never appealed to me as much as a subversion or deconstruction of same, which Madoka is. With Rebellion, the recaps are over, and I finally get to see what happened after Madoka sacrificed her very existence in order to save Homura and her friends. And I have to say, I liked what I saw.

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After Madoka, Sayaka, Mami, and Kyouko dispatch a “nightmare,” Rebellion begins as if a reset button had been pressed. Madoka awakes and goes through the same morning motions as she does in the first episode of the tv show. Then a twin-braided, bespectacled, friendly and cheerful Akemi Homura transfers in, befriends Madoka and the others, and soon joins them in their periodic nightmare battles.

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Even when their classmate Shizuki turns into a nightmare, they’re able to change her back into a normal human without any harm done. This is an ideal world in which everything is too good to be true. Ironically, it’s a world I, as someone who wants these girls to simply be able to enjoy such a life without further hardship, don’t have that big a problem with! Everyone’s alive; everyone’s friends; everyone is working together; and there seem to be no consequences to being magical girls.

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Homura goes through enough of this that she eventually begins to suspect something is very wrong, as memories of past worlds she inhabited begin to surface. In this way, the movie starts with the “Happily Ever After.” But Homura’s returning memories, vague as they are, become a splinter in her mind she cannot ignore, so both the Happy and the Ever After eventually fade for her.

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Homura takes Sakura with her to the town where Sakura says she used to live, yet doesn’t remember much about it. Yet no matter how many times hey take the bus or even walk, they can’t seem to leave Mitakihara City; as if there’s nothing beyond it. In a movie full of memorable sequences, this entire surreal journey to nowhere is particularly goosebump-inducing, with sound and image in perfect strange harmony.

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This leads Homura to believe this is a false city where she and the others are being imprisoned. She suspects Bebe, Mami’s familiar whom we’ve never seen before, of being a witch, but Mami, having no idea what’s going on, intervenes and threatens punishment if Homura hurts Bebe. But Homura isn’t about to let the mastermind behind this plot go.

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That can only mean one thing: Mami and Homura square off with lots and lots of guns and acrobatics in what I’d describe as one of the best one-on-one battle sequences in the Madoka franchise. It wasn’t just the speed and complexity of the battle that excited, but all the twists and turns it took, from Homura threatening to shoot herself in the head, causing Mami to drop her guard so she can shoot her in the leg, only for her target to be a decoy Mami set up. All because these two girls couldn’t talk it out and let tempers flare.

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Sayaka flies in frees Homura from Mami’s custody, while a Bebe in human form comes to explain things to Mami. When they’re alone, Sayaka asks Homura why things can’t just stay the way they are if everyone’s happy. But her knowledge that something isn’t right is proof that while this is the “real” Sayaka, she’s more than just a magical girl now.

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Later that night, Madoka finds Homura drifting in a canal boat (another gorgeous, lyrical sequence), and they discuss what’s eating her: that being the thought that nothing here is real and there was another time when she lost Madoka and tried desperately to bring her back. Madoka assures her those were all just bad dreams; they’re together here and now, that’s all that matters.

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Homura is convinced this Madoka is the real one too, but she wants to test one last thing: whether she herself is even a magical girl. She does this by tossing away her soul gem and traveling past the maximum distance she can be from it (a tried and true method from the original show). When nothing happens, she knows things aren’t right in the world. Then that world starts to deteriorate around her, and the reality descends upon her that she is a witch, and this false city is a construct of her own making.

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The world around her starts to deteriorate, as the reality descends upon her that she is a witch, and this is false city is a construct of her own making. Then Kyuubey shows up and starts talking. More precisely, Homura is a magical girl on the cusp of becoming a witch, due to the despair of losing Madoka and being the only one who remembers her. The Incubators placed her in an isolated space as an experiment to lure the godlike Madoka, the “The Law of Cycles”, whom they hoped to control in order to maximize the energy they can harvest from magical girls becoming witches.

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When Madoka came to where Homura was, she lost the memory of her duty and powers as the Law of Cycles, and became trapped in the false city along with her two assistants, Sayaka and Bebe. While this sounds a little convoluted on paper, in practice it’s perfectly consistent with vulnerability of the damaged Homura the TV show (and previous movie) ended with, and the cold opportunism of the Incubators.

It also makes sense that Homura would choose to complete her witch transformation at the cost of her own soul, in order to keep the Incubators from screwing with Madoka anymore. Because it’s not a self-preserving move, it’s a move they don’t see coming. But the other magical girls arrive and go against her wishes, freeing her from the false city and find her real body in a desolate wasteland.

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It’s a move that restores Madoka’s memories and powers as Law of Cycles back, but at a price: Madoka is once again exposed to the Incubator’s meddling, not to mention the still-alive Homura’s own desires. When she descends upon Homura to clear her soul gem of despair, Homura grabs her and releases the contents of the gem, which isn’t despair, but love, the ‘most powerful of emotions’ and the one Kyuubey is least equipped to understand. This is Homura following through on her promise never to let Madoka go, having been given an opportunity she didn’t ask for, but did hope for.

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Things get more and more out of hand from there, with Homura suppressing Madoka’s godlike powers and transforming into a kind of Anti-Law of Cycles, calling herself a “demon” in contrast to Madoka’s angel-like form. With her new powers, she rewrites the laws of the universe just as Madoka once had, only this time both of them are alive and well in a real world, not a mere illusion caused by the experimentation of the Incubators.

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In this new world, Madoka is the transfer student rather than Homura, and sports a yellow ribbon rather than red, which Homura sports instead. Homura still has all her memories of what went on in the previous universes, and it shows on her universe-weary, glasses-less face. Her love for Madoka is a twisted, possessive love now, borne from pressing countless reset buttons and literally going to hell and back.

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So, all’s well that ends well, right? Well…no. This is Madoka we’re talking about. Homura merely suppressed Madoka’s Law of Cycle powers, and her memory of them. The powers are still there, and even while she’s showing Madoka around the school, a momentary recollection has her suddenly about to transform back into that godlike being.

Homura has to embrace her tightly to stop the transformation, but a time will probably come when she can’t, and the angel and demon will become enemies with opposing goals. In other words, all’s well that ends well for the time being, if you happen to be on Homura’s side. This is very much in keeping with the franchises refusal to hand out happy or even easy endings, preferring qualified, ambiguous, or just plain strange ones. After all that’s happened, consequences and compromises were inevitable. The show doesn’t rule out future problems…nor future rewrites of the universe.

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The post-credits sequence is strange indeed, but again, nothing new for this franchise. Sitting high above the city she in effect controls, apparently content with the way things are (again, for now), and fully equipped and prepared to defend the way things are, whether it’s keeping Madoka from rising back to godhood or keeping Kyuubey neutralized.

If Homura has to be “evil” in order to share the real world with the one she loves by suppressing her true nature, so be it.

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The Secret of Kells

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Thursday night is movie night in my neck of the woods, and sometimes we want something short and sweet rather than a three-hour action blockbuster. That’s when a friend happened upon the Oscar-nominated The Secret of Kells. As it was his week to choose, we went with it, and I’m glad we did. It’s only 75 minutes long, but it makes full use of that runtime to create and achingly gorgeous world where danger is always lurks but hope endures thanks to the titular book.

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We follow Brendan, a redheaded young monk under the care of his uncle, the stern, stoic Abbot Cellach (voiced by veteran Irish actor Brendan Gleeson), whose Isengard-like Abbey is ringed by the tents of refugees escaping the scourge of the horn-tipped, beast-like “Northmen” (read: Vikings). A thick high wall surrounds the abbey and its grounds, but that wall looks like Swiss cheese, and some aren’t even sure it would keep the barbarians out even if it was completed, which is the Abbot’s one and only concern.

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Because he only wants the wall completed before the Northmen arrive, he is frustrated whenever Brendan is doing anything other than contributing to that goal, like asking the other monks about the Book of Iona, then getting into the practice of making ink and drawing his own pages with brother Aidan. This is a really neat reference to the fact that in the darker ages of civilization in Europe (and likely elsewhere), it was the monks who preserved the history that had come before in the form of elaborately bound and illustrated books, which you can still see in museums and even open up and read in old libraries.

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This surprisingly ambitious little movie is just as lush and imaginative as much of that almost impossibly intricate real-world work; rich in color and texture. Every character has its own distinct look and manner of movement, be it jerky or smooth; lightning-quick or molasses-slow. The film also features one of the best fictional cat’s I’ve seen in a while: Pangur Ban. All characters and animals are full of expressiveness and verve. My favorite of these was the mystical fairy-wolf-girl Aisling, whom Brendan meets when looking for seeds to make ink.

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Aisling is kind of a perfect storm of cuteness (in both appearance and voice) and utter badassdom, who saves Brendan’s life (more than once) and befriends him because, well, why not? Brendan’s nice to her, and also clearly enchanted. When Brendan ends up imprisoned in a tower for disobeying the Abbot Cellach, she breaks him out by singing a hauntingly beautiful song to the cat, transforming it into an ethereal specter that can pass through bars and spring him. The jist of the Irish lyrics:

There is nothing in this life but mist,
And we are not alive,
but for a little short spell.

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When the Northmen arrive at Kells it’s an almost instant rout, and the Abbot immediately regrets such a short-sighted strategy for the abbey’s defense. It’s sad to see the beautiful environs of Brendan’s home go up in smoke and flame, but not all is lost. Years pass, during which he completes the Book of Iona with Aidan, renaming it the Book of Kells, which is a real and very revered thing, incidently.

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After Aidan passes away, Brendan arrives back in the woods outside his home, where the wolf-Aisiling leads him to the abbey. Just as Abbot Cellach is about to lose hope, his nephew arrives and shows him the great book, providing him comfort in his waning days. At once a gorgeous and inventive story steeped in stirring Celtic mythology and a moving coming-of-age tale in which a sheltered boy expands his world and finds his calling, The Secret of Kells is a must-watch for any fan of animation.

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Film Review: Guardians of the Galaxy

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Like many highly anticipated anime I know next to nothing about and intentionally try not to learn ahead of time, I was very excited about going to see Guardians of the Galaxy. I had a feeling it was going to shake up the monotony of the last few Summer blockbusters I’d paid good money to see, and boy, did it ever.

Yes, this film crammed a bunch of shit on the screen, and yes, since this is the first time the director has done anything this huge before, it isn’t all perfect, but GotG has in spades what so many films—including other Marvel films—have lacked: genuine heart, soul, wonder, and side-splitting comedy in impressive harmony.

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Franchises in the same vein as GotG I’ve cherished, like Farscape and Firefly, put out (relatively) big-budget cinematic romps in The Peacekeeper Wars and Serenity, respectively. But those efforts failed to capture the magic of the TV shows they were based upon, and only served to remind me how how difficult it is to capture said magic.

GotG isn’t hamstrung by a deep and acclaimed canon (at least for me) or abrupt television cancellation, so it feels new and fresh. It has no past failure it tries desperately to redeem here, so it never feels like it’s trying too hard. But it takes some of the best qualities of Farscape (human pop culture in an utterly alien universe), Firefly (cleverly juxtaposed genres).

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The band of underdog misfits becoming the family they all lacked before they met each other is not a new premise, but it’s executed pretty damn nicely here, because for all its eye-popping visual effects, the film never for one second forgets that the characters are the most important thing in this film, and takes care to make each one of the titular Guardians sympathetic, likable, and hilarious.

Some big-budget films are often strained by their own sense of self-importance or dead-serious tone. Not here. Don’t get me wrong, GotG never plays like one big guffawing joke that takes you out of the fantasy. I fully believed the fantastic galaxy and everything in it. The film just found that sweet spot between cheese and awesomeness that so many films fail, often miserably, to find.

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Really, it reminded me most of The Fifth Element, my favorite live-action film, which also combined stylish, otherworldly visuals and barely-controlled chaos with a firmly-grounded human heart. Eric Serra’s score, which ranged from ethereal to zany, brought all its disparate elements (no pun intended) together the same way the 70’s pop music does here.

To conclude, GotG was the most fun I’ve had in the theater in a long time, and I’m elated by the fact that a sequel is already in the works. I haven’t gone into too many details about the plot and characters because I urge you to check it out for yourself. If your recycling bin nets you rewards like $2 off movie tickets, like mine, so much the better!

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Patema Inverted

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Even though we’ve collectively logged over 1,900 hours of anime, we still consider ourselves humble tourists in the field. As such, we’ve developed and clung to assumptions more experienced and/or knowledgeable parties might find quaint. One of those is that the Miyazaki/Ghibli juggernaut has classically had the “wondrous fantasy with wide appeal” market cornered.

After this film (originally released in November), the first work we’ve seen from 34-year-old Yoshiura Yasuhiro (Eve no Jikan) which is ostensibly his magnum opus (so far), that assumption has been…inverted. SPOILERS THROUGHOUT.

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Hannah Brave (Braverade): I’m still reveling in the afterglow of this phenomenally gorgeous film. There honestly wasn’t a bad shot in the whole running time. From the opening moments depicting a wide-scale calamity to the transition to an underground world, it just kept dishing out awesome, exquisitely-detailed environments, determined to out-do Ghibli in sheer density of memorable imagery.

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Preston Yamazuka (MagicalChurlSukui): I too found myself spellbound by the sights, but even the best-looking film can be undone by subpar music or voice-acting. This had neither of those problems: the stirring orchestral score, the hauntingly beautiful theme song; the voice-acting and ambient sounds—all conspired to complete our transportation to this new world.

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Zane Kalish (sesameacrylic): The sights and sounds were spot-on (and very Ghibliesque at times, I might add), but where this film really shone was in its premise, brilliant in its elegance and almost universally approachable: what starts as a humble fish-out-of-water tale balloons into an epic tale of two worlds with opposite gravity connected by two young, open-minded representatives of said worlds, who share a passion for exploration and a yearning for the new.

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Hannah: Yeah, I sure did think this was just going to be about the Adventures of Upside Down Girl, but the film became so much more than that as it progressed. The science of what exactly happened to cause this phenomenon is wisely kept vague; it’s the impact of the phenomenon on society that really impressed.

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Preston: To returning to the genesis of the Ghibliverse, Patema sure did resemble Princess Nausicaä, and her village was the kind of individualistic egalitarian utopia ruled by a kindly king the Valley of the Wind was. Meanwhile, gravity may be “correct” in Age’s world (in that the sky is up, but more on that later), but feels like Nausicaä’s unseen Tolmekian Empire; run by a man not afraid to spill blood to validate his ideals.

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Zane: Forget just Ghibli: Aiga, a stark, authoritarian nightmareland where it’s taboo to look up, called to mind Nineteen Eighty-Four, Blade Runner, Brazil, and Pink Floyd’s The Wall. In any case, no where you particularly want to be. Once Patema arrives in Age’s world, the cameras favor Age’s perspective, making her inverted, but it’s Aiga world that’s “upside down” in terms of philosophy.

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Hannah: When Age (pronounced “Eiji”) hides Patema in that little shed, we knew it was only a matter of time before the “anti-invert” state got wind of her and brought the hammer down. If we had to give this film a demerit, it would be for having such a Laughably EEEEVIL Antagonist in Governor Odious Izamura, who spouts dogmatic bullshit but at the end of the day only worships the god Izamura, believing the vast power he has entitles him to keep Patema as a pet…or worse.

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Preston: I can kinda forgive the scenery-chewing arch-villain, because while this film is often broken up into extremes of good and evil or up and down, it’s just as concerned with the “in-between”, the “third way”, and in finding a way to connect the two worlds, which starts with the two kids Patema and Age. And even Izamura’s evil is diluted by his right-hand man, who operates in more of a moral gray area for most of the film.

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Zane: Izamura’s character was definitely informed by the old-school bad guy immortalized by Muska, whom even Miyazaki said he was a bit disappointed in, but when two crazy kids start makin’ eyes at each other, you need a strong, unrelenting force to break them apart in order to make their reunion that much more of an accomplishment. And I loved everything about the friendly love triangle of Patema, Age, and Porta, including how the two guys put their rivalry aside to save the girl.

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Hannah: That was one hell of a rescue…even though it technically failed! But while Patema and Age’s escape back down (or up? Oh dear…) to her world was delayed, the standoff on the roof of the skyscraper left us breathless, and led to one spectacular aerial vista after another, until they grow so close to the stars in the sky, they learn they’re actually lights from a huge network of structures. I have to say, I wasn’t expecting that.

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Preston: Actually, when Age and Patema watched the stars together for the first time, I was truly hoping against hope they were actually the lights of another city. That the film actually went there really made my evening. And in a glorious moment of continuity and coincidence edging on kismet, Patema finds her backpack, which just happened to land right beside the Age’s dad’s wrecked flying machine.

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Zane: Kismet or not, I really liked the way one life-threatening situation after another led to the Patema and Age growing to trust each other implicitly with their lives, and even becoming comfortable in their inverted hugging. The tender romance takes an important step forward up there in the “stars” where Age is the Inverted, and thus truly understands what Patema went through. As a recovering acrophobe, every instance of someone looking at their version of “down” generated a visceral response, a combination of primal fear and excitement. Unfortunately, there was no Spider-Man (or girl, in this case) kiss.

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Hannah: Part of me hoped the lovebirds could just stay up there, but not only did practical issues preclude that (it gets really hot up there during the day, plus there’s no food), they’re the hero and heroine of the story; they can’t just run away from their responsibility—and their desire—to serve as the bridge between their worlds. When they arrive at Patema’s village, it’s in the middle of her memorial service—now that right there is some Huck Finn/Tom Sawyer stuff!

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Zane: Yes, Duty Before Booty.

Preston: Please don’t type that. Also, you cut in line, it’s my turn to write something.

Zane: You going to subtract points and revoke my citizenship?

Preston: No, there’s no need to go Aiga on you. Ahem…anyway, yeah, Izamura’s plan to invade Patema’s realm with a handful of men using a flying device he has no idea how to operate seemed a bit short-sighted. You’d think someone who has that many weapons on his person would more carefully prepare for such an operation. It was akin to Dennis Hopper’s President Koopa travelling to Manhattan armed with Super Scopes in the live-action Super Mario film.

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Zane: Damn, nice reference. That was a properly nutty movie. But regarding Izamura, he was so obsessed with crushing the Inverted and taking personal possession of Patema (best illustrated by his tirade about why she chose Age – because he’s the same age and not a dick, duh!) it dulled the survival instincts he’d ostensibly cultivated as ruler of Aiga, resulting in his excellent death-by-falling-up into an endless sky.

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Hannah: Izamura’s was a Bad Guy Death you can set your watches to, made more deliciously ironic by his long-held belief the sky swallowed up sinners. By then, his right-hand man is fed up with his evil shit and saves Patema, Age, and Porta with his trusty casting-net gun. That leads to a happy ending in which the first steps towards amity between the worlds are taken. And at that point, Patema and Age have been holding each other to prevent the other from falling to their doom for so long it becomes second nature. What do you think guys: too tidy an ending?

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Preston: I don’t think so. The happy ending felt earned, after all the heavens and hells they went through together. Their success is also a handy allegory for real world conflict: Just because my up is your down and your down is my up doesn’t mean we have to be enemies. A difference of perspective, literal or not, will always lead to isolation and strife…but there will always be outliers in those groups who realize it doesn’t have to be that way, and work to unite rather than divide.

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Zane: I second Preston’s opinion. By the end, Patema and Age are sweethearts, pioneers, and diplomats, but also very important symbols of the viability, and benefits, of harmony and accord. Aiga’s hardcore Orwellian society is far more brittle than it looks when exposed to the sight of a cute couple soaring through the sky like birds. I like to imagine a sequel taking place a decade or so later, when the two societies coexist amicably in a new shared infrastructure resembling Escher’s Relativity.

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RABUJOI World Heritage List

MAL Score: 8.31