Monday 28 July 2014

How Much Is Too Much? - Dragon Ball Z Movie 14: Battle Of Gods.

Dragon Ball Z is seemingly the godfather of modern Shounen animes, at least in terms of ones that have been localised for Western audience. It is, for many, the ultimate animation when they were growing up. If you watched it you were in the majority, not the minority (in my surrounding anyway). I am sure everyone who watched it wantedd Goku's powers and probably tried to do kamehameha in a number of private situations. It had such awesome enemies, Freiza, Cell and Buu, and such admirable heroes, Goku, Gohan, Trunks, Vegeta and Piccolo. Nowadays it is sort of a cultural touchstone, with numerous memes showing its importance to the internet generation ("over 9000", "this isn't even my final form"). All that being said when I look at Dragon Ball Z objectively I must ask whether or not the creators of the series went too far. Having recently watched the newest novel instalment to the anime (not DBKai), the 14th Movie: Battle of Gods, I really asked myself this question after seeing the new incarnation that Goku turned into, the Super Saiyan God. I definitely do think the creators have gone overboard with this and the more I think back over the series, and especially the movies, I think more and more that the series went a touch over the top, especially when we consider the "power" that Freiza, or even Vegeta (as an antagonist at one time), had. So the question becomes when did it get too much? 


DBZ has such an immersive universe: http://www.zerochan.net/1741295#full


First, when I try to recall the whole journey I feel like DBZ had a few too many unnecessary enemies and story arcs. So we should try to narrow these down. When is it time to end an enemy? Did Broly really need to return twice? I really disliked Bio-Broly as a movie, the other two were acceptable as Broly was Broly, the legendary Super-Saiyan, not some pile of goo. Likewise, is Cooler's return as a regenerating robot thing really acceptable when Freiza's return was so lacklustre? Or when is it right that an enemy is just created used ideas that other enemies had? Super Android 13's ultimate form is somewhat like Cell's rise to Perfect Form and did not feel satisfying. One of the problems with DBZ and Sounen anime in general (in the case of not overdoing it) is having good, well thought out enemies that can reasonable fit into previous canon. I would accept Broly, because he was kick-ass and because he fits into the whole prophecy about Freiza being defeated by a Super Saiyan, but when he is turned into goo it just gets a tad silly. Buu could reasonably rejected as he is a fighter of legend but no one mentions him in previous arcs before he turns up. Likewise Cooler is not mentioned by Freiza or King Cold. However, I would say these backstories need to be well fit into the canon. Bojack, Super Android 13 and Cooler just seemed to be tacked onto the main series. Bojack (rather conveniently) is released when Cell destroys King Kai's planet, Super Android 13 is just another Android with the same sort of powers and Cooler is just the unmentioned brother of Freiza. All these enemies just feel tacked onto the main story as lame excuses to have more fights and make more money rather than say Broly, who was more intricately worked into the main storyline. 


BioBroly, for me, was one of those unnecessary enemies. He just seemed like a way to cash in on the Broly name. 
http://th05.deviantart.net/fs70/PRE/i/2013/247/5/a/bio_broly_by_leorine-d6l09oh.png

These are only the memorable enemies though, other ones I would take out, purely as unmemorable: Garlic Jr (from Dead Zone and the main series after Freiza but before Cell), Dr Wheelo (from the World's Strongest), Lord Slug (from the movie of the same name) and really any movie enemy before Cooler (so the guys from the Tree of Might too). This is purely because they felt (and looked) more like Dragonball enemies, rather than Dragon Ball Z enemies. When I think of DBZ I think of DragonBall I think more of Earth based enemies. I suppose everyone has a different opinion on who is a worthy villian and who is not, but my pickings are very slim I suppose in hindsight. However, there are other issues that DBZ has not to do with the just amount and varying quality of its various antagonists. Another big issue this anime has (because of the numerous every stronger enemies it must use to keep the series going) is the forms that the protagonists must take. 


These forms the protagonists must take, like the backstories of returning and new enemies, get more and more farfetched as the enemies get better and better. Saiyans, as the protagonists of the series, got more forms that were stronger and stronger in order to deal with these more powerful villains. Throughout DragonBall and the start of DBZ there is the Great Ape, but this is acceptable, Saiyans are aliens after all, so I do not have a problem with this. Nor do I have a problem with the idea of a Super Saiyan, as in order to beat Freiza, the ultimate evil, Goku had to become this, so it is again acceptable. What I don’t really accept is how many forms and tricks a Saiyan has beyond this. I admit I do like the idea of the Ascended Super Saiyan, where is it not another form but Saiyans just pushing themselves and their limits. This results in the speed vs raw power question which was cool to see. However, when Super Saiyans have other levels it really just gets a bit silly. With SSJ3 and SSJ4 (in DBGT) it kind of gets farcical. Most of all I was motivated to make this sort of post after seeing what I thought was the most ridiculous thing ever: the Super Saiyan God. I mean fusing was perhaps a cool way to make a more powerful fighter but when they can turn into a God, it gets a bit over the top. I mean it was like they couldn't make SSJ5 for DBZ because it only happens in DBGT and this would break the universe so that made the Super Saiyan God. It was definitely way over the line, for me anyway.


The real problem when we get down to it with the different forms for our heroes is not believability. These are aliens who can do strange things and basically have superpowers. All believability in terms of our reality is thrown out the window. Plausibility within an established universe is what I am talking about. Yes one form of Super Saiyan is definitely plausible, because there were legends, ones that other characters (namely Freiza) believed. However, the legends said that one had not come about for over a thousand years. The universe that had been established showed that being a Super Saiyan could be achieved but it was a very hard task. So due to how hard it is, is it really acceptable that those other than Goku can do it, and at such a young age in the case of Trunks and Goten? And is it really plausible that even when it was so hard to become a Super Saiyan that there are multiple unseen forms of it? I can accept within the universe that there is one form of Super Saiyan but not really two or more forms, or that anyone other than Goku and maybe Gohan could transform into it. Also it is believable that Namekians can fuse (they do it numerous times), but I don’t think Saiyans should be able to do so (this is more based on personal preference). Likewise I think it is plausible to have these omnipotent God characters (like in the newest movie) but I don’t think that Super Saiyans should be able to create one on the spot, no matter how mystical the ceremony may be. So in terms of forms I don’t find anything beyond Goku and Gohan really going beyond Ascended Super Saiyan as truly plausible within the universe. I mean if we look at Freiza’s, Cell’s and Buu’s various forms they are all given reasons. Freiza had to change many times to suppress his power, Cell got a new form as he absorbed the Androids and got closer to “perfection” and Buu got his new forms from just eating different opponents. The Super Saiyans forms are just them getting angrier and stronger really, not a great explanation to be honest.

Gotenks as the Super Saiyan God. Would this ever happen? http://fc03.deviantart.net/fs71/f/2011/236/8/1/gotenks_all_forms_by_mrgekon-d47p4r9.png

Just as the forms our heroes take to defeat increase and get more ridiculous so do the power levels for both heroes and enemies. Now power levels, or ki, didn’t have to be a thing for the DragonBall universe but they were established and measured with the scouters Raditz, Vegeta and all of Freiza’s minions had them. Originally ki levels did a good job of showing how much of an obstacle our heroes had to overcome and how much they had grown in strength. That being said as it goes on these get out of control as more and more enemies are established and these enemies must be more powerful than previous ones. Enemies must be stronger in order to keep the series interesting (obviously). This is alright, however as soon as there are numbers brought into things it starts getting difficult. Without numbers, everything gets a bit better as we don’t feel as much of a need to compare the relative strengths of everyone over the course of their journeys. At the start of the series, Goku had a power level of perhaps 1000 in the Saiyan saga (as he couldn’t beat the 1200 Raditz alone), is then calculated to have power level of 40,000,000 even without turning Super Saiyan. I know he learnt many new training techniques (such as training under high gravity) but could Goku really grow 40,000 times as strong?

Power levels are so established Sony used them to advertise how much more powerful the PS4 was than the PS3: http://www.junkiemonkeys.com/hilarious-dragon-ball-z-chart-explains-how-powerful-the-playstation-4-is/

Let’s take another example. Krillin during the Saiyan saga is just over 200 but is then calculated during some of the later movies to have a power of 3,000,000, if not more. Is it really plausible that someone could increase their strength by a multitude of fifteen thousand? I don’t really think so, even within a universe where you can create your own energy (I mean he is fully grown throughout it). I fully understand that the later power levels are pure speculation by fans and those who wish to rank and compare enemies. Yes they are not canon, at least (not beyond the Freiza saga) but when a universe establishes a set of rules, like ki levels being measurable by numbers, then it must be able to stick by those rules. However, in the case of DBZ, something had to give, as power levels, it seems, were too out of control and so these things should be considered beforehand. Before I wrap things up I would like to mention that One Piece, like DragonBall Z, gives its characters a number ranking (with bounties) but it is a bit more plausible. This is because, rather than being based solely on their power, it is based on what they have done and it is not grown by ten-thousand-fold.

Someone’s cool product design for scouters: http://www.deviantart.com/art/Scouter-Product-Display-200429685

In terms of story arcs, I would say that the destruction of Cell would be my limit. Although Cell was a great enemy (some might say the perfect one), his back story is very convulutated with the timetravel, Android absorbion and just creation in general was a little improbable. You might say this should eliminate Cell but I think Cell and the Androids. However, although he was Earth based, he was more of an evolution of a DragonBall character (with Dr. Gero and the Red Ribbon army) than say Garlic Jr was and so he seems acceptable. Likewise the story telling and characterisation within this arc seems good with it ending as Gohan unlocks his potential and takes over the role of his father, after Goku sacrifices himself. Also the build-up enemies (the Androids and Cell Jrs) do all have their place in the story and it all seems fine enough. Although the Super Sayian form of SSJ2 is a bit of a cop out I suppose I could live with it. Buu on the otherhand feels over the top. Although he is the most fearsome enemy in the universe, he is no mentioned beforehand. Cell cannot be mentioned beforehand because he was being created in a laboratory. Likewise, Buu's build-up enemies feel not so well worked into the plot (with the multifloored base of Babidi's hideout), and the many forms of Buu just feel tiresome after a while (as all he does is lose and then absorb the next Z warrior). Likewise the forms of the Z warriors start to feel overdone, as here is where fusion, Gohan's ultimate form and SSJ3 come into play. Also this story represents a passing of the torch from Goku to Gohan. Gohan has unlocked his hidden potential (not really if we include the Buu story) and is ready to protect the world. With the end of Buu yes we have Uub but he is a new character entirely so it seems out of the woodwork, like most things in the Buu arc. So I think Buu goes too far but Cell could be my limit.  


In terms of enemies Cell is really my limit. Buu’s arc is just too much: http://www.deviantart.com/art/Frieza-Cell-Wallpaper-182285869

However, this being said in short and to be honest anything beyond Freiza on Namek gets a bit farfetched really and he should have been the main antagonist, with Broly as an after series movie. This should have been the end of it. Freiza was seemingly the ultimate hill to overcome, the one who could only be beaten by the first Super Saiyan. This was it the ultimate end, when Goku ascended above all else who had tried and saved the Galaxy (not just the Earth). This is when the "Z" warriors became interplanetary heroes, not just ones for Earth. This is also the point at which Goku, the young boy we followed from Dragon Ball, became the best fighter in the universe. His journey and thus our story is over. When it comes to other aliens like Buu, (and from the movies) Bojack, Cooler, they don't feel as hyped up as Freiza and are thus easy to cast out. We never hear about them until they turn up but Freiza was sort of the ultimate boss of the Saiyans who invaded Earth. In terms of numbers (a problem that plagues long running Shounen) Freiza was a nice round seemingly unobtainable number of one million. Once we get beyond Freiza the numbers certainly blow out of portion, considering one of the most famous lines was "over 9000" (over 8000 in the Japanese original). The Freiza arc also answers many questions about the mysterious dragonballs themselves, which were not answered previously, such as where they were from. Admittedly there is no real redemption for Vegeta and thus no Trunks etc but it doesn’t matter as the story is over.

Freiza vs Goku should have definitely been the end of the series. http://www.deviantart.com/art/Dragon-Ball-Z-Freiza-Saga-320012596

Many think that Akira Toriyama originally intended to end the entire Dragonball story with the conclusion of the Freiza saga but because the series was so popular that he was more or less "forced" to work on it. This maybe true maybe just rumour I feel like I have laid out my reasons for this theory. In conclusion, for DBZ I think Freiza, with Broly (and perhaps the first Cooler) as an acceptable after series movie or two, should have been the end of the series. This being said I could accept Cell as well. But I think the latest movie with its "Super Sayian God" form just shows how seemingly farfetched DBZ, one of the most beloved series of all time, got before it ended. Series, like One Piece or Fairy Tail, need to end sometime and I think it is better to end it sooner than leave it hanging forever. Pokemon likewise feels this way. Arcs (movies or series based) begin to feel formulaic, the power "level" of enemies feels unnecessarily bloated compared to the early antagonists and only way to keep the heroes interesting is to beef up their powers with some more ridiculous form for them to take. Basically the problem is that as the world gets deeper and deeper it all gets less and less worthwhile as the feeling increasingly goes from one that thinks the story is progressing to one that it is stagnant and will never reach its goal. For me the best series end at the right time. 

I would have liked Broly as an after series movie though: 
http://www.zerochan.net/1741330

Tuesday 22 July 2014

There is no Handbook for Being a Mother - The Wolf Children Ame and Yuki (Ookami Kodomo no Ame to Yuki)

Occasionally anime films come along that rival Studio Ghibli in both visuals and storytelling. One that definitely does this in recent years is Ookami Kodomo no Ame to Yuki. This translates to "Wolf Children Ame and Yuki". What the film's title promises is accurate, but this is secondary to what the film is actually about, because this movie is entirely about the enduring and triumphant nature of maternal love. The story covers 13 years about a college student named Hana who encounters and falls in a "fairy tale-like" love with a were-wolf. After marrying him, Hana gives birth and raises two wolf children: an older sister named Yuki and a younger brother named Ame. The story then follow Hana's struggles with this new maternal role (especially after the father's death) and how she deals with the difficulties it throws forward. Anyway, I was truly taken aback by the way this film was able to show me the struggles and perspectives of being a mother. I would like to point out that this is obvoiusly an exaggerated version of events, obviously because it is impossible to have wolf children (or is it??). Despite this the things The Wolf Children Ame and Yuki showed are true nevertheless.

Great piece of fanart showing the parents looking down on their journey: http://www.zerochan.net/1554658#full

First, this movie displayed the hardships a mother must go through and how she works hard for her children. Hana works hard everyday cooking and cleaning for her family, just as the father works hard to earn money for the family. This however becomes intensified after the father's death (during a search for food in his wolf form) as Hana must also manage what little finances the father left behind. Hana is of course the perfect character to face these struggles as her name reminds her fight through her trials and keep smiling. So although she spends long restless days and nights looking after her two overly demanding (because they are animals as well as being human) children. We see how this takes its tole on her as she goes about her daily chores in the beginning of the film. She must stay up all night to comfort her children if they are ill or sad, and she must be attentive in the day when they want to play and misbehave, not to mention she must cook, clean and balance the books. She must also make sure her children are behaving and take the blame from neighbours and fellow parents if her children are not. Being a mother is certainly a struggle. Just when she gets used to everything in her life new struggles are thrown forward: school and helping kids get adjusted to this, helping kids accpet themselves and their personalities, and helping them find their paths for later life. I will discuss these in more detail below. Furthermore, a mother must help her children stay safe and healthy. 

One can only imagine how many things Hana would have had to deal with whit such children: http://www.zerochan.net/1207354

Obviously this continues throughout the film, but is especially emphasised when she moves to her new house, which is really a symbolic and crucial part of the film in portraying this idea of struggle. To start with it shows how mothers must effectively give up their life for a totally new life. Hana's physical relocation represents the relocation of her responsibilities from study and part time work (trivial things compared to what she must do) to raise her offspring. Likewise the house she rents represents her family. It is rundown and in disrepair, just like family was after the father's death, especially financially. Just as Hana works hard to repair the roof and clean the place she is working hard to improve her family life and give her kids what they need. When she scrubs the sink hard enough she gets rid of the dirt and discovers the shining stones underneath, just as she works hard to improve her children she will discover the shining personalities they have. And although the hard she works on the house the more cuts she must cover up on her hands, the happier she is for her effort, the same with the effort she gives for her kids. At the same time as she cleans the floor and the wolf in the children (namely Yuki) dirties it with the frogs and bugs she finds, as Hana works to help her children the duality (usually the wolf part) of them will throw a spanner in the works and create more hardship. 

People visiting the house that became a symbol of Hana's maternal love: http://img.scoop.it/ammOiOHdfl_R79kvX6q1J4XXXL4j3HpexhjNOf_P3YmryPKwJ94QGRtDb3Sbc6KY

During her attempt to build a nice family life for her wolf children Hana, still stuck in her student ways, reads books on parenthood and gardening, in order to grow food for her family and save what little money they have in the process. However, Hana only succeeds in this venture when she seeks and receives help, namely from the grumpy yet concerned old man Nirasaki. For me the second piece of maternal life that was displayed in The Wolf Children Ame and Yuki is how difficult motherhood is, not only because of the hardwork it demands, but due to being a first time mother is something that women have never done before. This is of course sounds obvious but if is not really something we address in real life looking at our parents. Hana constantly admits her ignorance at being a mother, especially for two such challenging children. She knows she must teach them how to live but does not know how to teach them. Yet throughout her time in the city she must hid her children due to their duality, becuase she cannot risk revealing their wolf side for fear of the unknown, yet almost certainly disastrous, consequences. She cannot take them to the doctor or to the vet if they are sick and she cannot ask the government for help. One of the purposes of moving to the mountainside was to hide them from the public. Even when in her new place she tries to hide them from her new neighbours. Thus Hana attempts to hide her children and face all her hardships by herself. 

After the father's death Hana is left to raise the kids alone: http://daishota.deviantart.com/art/Ame-to-Yuki-409227062

However, the more she tries to bear the load by herself, the more difficult it becomes, exemplified by her garden situation. At the same time as hiding her kids however, she looks for help. She constantly wants to know how to raise her wolf children and looks for the answers in books and from the wolf at her new work. However, it is only when she seeks support from those around her does she find what she is looking for. She is able to grow more than enough crops and as she partakes more in the community the more they help her. Although Hana cannot ask someone about her problem directly (which I am sure she would love to do) or ask some family member for help but when she looks for support she finds it. The film shows how mothers are new at their job and may not feel as though they should look for support but they certainly should, because if they hide all their problems away it is very hard to get things right (and there are thigns you cannot learn from books). Although mothers       themselves are new at their job, there are others who are not new at it, and they must be looked to for help and advice. Hana even realises this after the community support her.

Although advice really helped Hana, the children could not show their wolf forms: http://fc08.deviantart.net/fs70/i/2013/114/b/7/wolf_children_yuki_and_ame_grown_up_by_kibawolfheart-d62gatb.png

This then leads to the next part of The Wolf Children, which shows what a mother's true job is. As mentioned above (briefly) Hana's struggles to be a mother includes helping her children to love themselves and who they are. In particular she must help Yuki, who was more inclined to be a wolf, to love herself as a human and help Ame, who perfers to stay in his human form, to accept and embrace the wolf side of himself. For Yuki this is particularly established in her desire to go to school and be like a normal kid, despite the fact she is anything but normal and is all too easily excited and quick to transform into a wolf. Hana helps Yuki with this though by making her a nice dress and by giving her a "magic spell" (more of a calming mantra) to say in order to stop her transforming. Both of these work as Yuki loves her new life at school as a human and from then one wants to be a human. Likewise (yet in total contrast, Ame dislikes his wolf form and struggles with it. This stems from the fact that he is untalented at hunting (sort of like a test for true wolves I guess) and that when he read a book about wolves they are hated by people. Hana must convince him to accept and love that he is part wolf. She says how she loved his father and his wolf side and that not everyone hates them. She also brings himto her new work to communicate with the encaged wolf and help Ame embrace the other side of himself. This again works and we see that Ame learns to love this part of himself and often wanders off into the mountainous woods as a wolf. 

Hana had to get each child to love a different part of themselves, which they did to an extend of role-reversal: http://www.zerochan.net/1515631

Hana does such a great job, in fact, of getting her kids to accept and embrace those parts of themselves that they did not originally like, that there is an almost total role reversal. Ame is now more inclined to the ways of the wolf, whereas Yuki prefers her human state. This all leads to conflict within the family and the next task of Hana as the exemplary mother emerges from this. The two fight between the two children is about which path is the right one to choose, with Yuki saying Ame should come to school more often as he wasting his time as a wolf, but Ame voices the opinion that Yuki is just hiding he true self, the wolf part, and that she needs to let go. This fight gets physical as both turn to wolves and set upon each other. Ame, who has obviously spent much more time as a wolf, easily has Yuki on the ropes quickly and chases her into the bathroom. Hana thus must pick up the piece and assert that anyway in life that they choose is the right way. In fact, Hana realises early on that as a mother she must not only help her kids accept themselves but let them choose their own paths. One key reason she moved to the country side was to allow the children to choose their lifestyle. She even tells them they must make this decision soon after they move to the mountains. 

Hana must get the children to choose the life of the wolf or the human life: http://farooky.deviantart.com/art/The-Wolf-Children-Ame-and-Yuki-301936177

It is one thing to let someone choose their own path, it is another to support them fully and let go of what control you have over them. Hana then does the best she can to support Yuki's life and when Yuki does not want to go back to school Hana helps push her back on the horse per say after she turns into a wolf and scratches Souhei. She also helps Yuki reconcile with Souhei. Hana likewise continues to support Ame in his decision to be more wolf like and is impressed with how he has found a mentor in the old fox who is the guardian of the forest. However, Hana starts to rethink and resist this decision when this means that Ame is put in danger, as he must help his mentor do dangerous tasks (like help out during the heavy storm) and because it means she might lose him because he will take up residence in the woods as his mentor's replacement. Ame goes against his mother's wishes and during the storm goes into the forest, instead of travelling with his mother to pick up Yuki from school. In an attempt to guard and protect Ame, Hana follows him but this all proves futile when treking through the dangerous woods, she slips and is left semi-unconsious. Ame rescues her and only then does she realise she must let go and let him take up the place in the world that he desires to occupy, only wishing that she could have done more for him. However, after she makes this decision she feels happiness, seeing him howl in the sunlight, realising she has done all she can. It seems as if Hana learns and grows from this experience. At the end of the film we learn Yuki goes off to boarding school. This time there is no fight from her mother, there is only support. Hana has learnt that she cannot change the past and that the only other thing she can do for her children is to let them go on, without her by their side, following their dreams. It is alright to guard them from dangers but too much becomes more restriction than safety. This it seems is the hardest part of motherhood, letting go of those babies you raised into the world, with the feeling that you could do more to help. 

The snow day was when Ame grew to love his wolf side and embrace it fully: http://yamiik.deviantart.com/art/Live-your-life-Ame-358394731

Although Ame creates the main problem in the film and for mothers (namely Hana), Yuki is not unimportant even if we are talking about maternal love. It is during Hana's biggest task that Yuki is able to communicate with Souhei, the boy whom she avoided, attacked and then began to like. He lets us into a bad example of a mother's love, as illustrated by his mother. He tells of how his mother is ignoring and basically abandoning him because she will marry a richer man and is pregnant with his baby. This of course is the complete opposite of Hana, the good mother, who abandons all her desires for (or rather transforms them to become one with) the needs of her children. Souhei's mother abandons her child, who says he will become a boxer to survive. I think it is important, not that we see this happening, but hear it from the victim Souhei, the forgotten son, so that we can get a better perspective of the pain and hardship it causes if a mother neglects her maternal duty for her own desires. Souhei's mother was already shown as nasty when scolding Yuki and Hana but now she comes across as downright despicable. We reflect on Hana's struggles and think of how great a mother she really is. 

Souhei tells Yuki of his despicable mother: http://www.zerochan.net/1554661

There is one last observation that can be made about mothers from this film and that is a mother's perspective of what the worse thing in the world is. This is that they would lose their child, ie their child would die. This is addressed when Ame, starting to accept his wolf side, tries to catch a bird s he has never been that good at hunting, especially when compared to his sister, and now that his mum has vitalised his spirit he feels the need to prove himself. He suceeds, however, in the process he falls into a stream. Although Yuki is able to save him from the rushing waters, because it is winter with snow on the ground, the cold really affects him and we can see the fear in Hana's face. They are able to help him recover, partly (I assume) because he is part wolf but we learn from Yuki's narration afterwards this was her mother's scariest moment. More than anything else Hana feared losing her baby. I think that this is why, later in the film, letting go for Hana, and I guess mothers in general, is such a struggle. When your greatest fear is losing the one you love and you must let them go with no control of their outcomes it can be a daunting prospect, however it is, as we have seen, the best thing to do.

Although they are happy now, Hana's scariest moment was almost losing Ame to the cold: http://www.zerochan.net/1666884

The closing theme nicely summises all the issues within the film. It mentions danger, responsibility, looking after kids, loving their inner personalities, their symbotic relationship for happiness, and most importantly how mothers must let go eventually. Although the film is named after the children this film is truly about their mother and what it takes to be a mother. Sure the wolf children are extreme and obviously imaginary examples, but the idea of motherhood being a struggle is true nevertheless. This film not only is an amusing and interesting but it also makes me thankful for my mother due to the way it presents Hana and her trials as the mother of two wolf children. Often it is hard to see these things when you are in the middle of the mother-child dynamic so it is great to see a film that allows the audience to view our own relationship through a third party perspective and become better for it. It is easy for us to forget things like how difficult motherhood is and how this is a new experience for women who are expected to be perfect right off the bat. A film that can convey such a message and give an enjoyable story at the same time is definitely worth a watch. 

Wednesday 16 July 2014

"You are who you choose to be" - The Iron Giant

Warner Bros is usually known (in terms of animation) for its various projects surrounding the Looney Toons and all the DC superheroes. However, it did venture unsuccessfully with other projects such as Osmosis Jones. Another film it made was The Iron Giant. Although it was successful critically, it failed at the box-office. This film was about a giant robot that crashed into Earth from somewhere else in the universe and how a boy befriends it and struggles to keep it a secret from the government. This film is an enjoyable watch, but more than that it is heart-warmingly inspirational with other messages included too. 
The Iron Giant is a very intriguing film just from the idea of the robot alone. But it turns out to have a lot of depth behind it. http://www.deviantart.com/art/The-Iron-Giant-121846187

First and most obviously the film presents anti-war and anti-gun messages. To start with the film is set during the Cold War and at a time when paranoia was at its pinnacle as the Russians had just launched a the first satellite into space, showing their capability to bomb America from a very long distance. In Hogarth's school there are video warns of how to "protect" oneself from this sort of attack. Not only that but Hogarth's dad died as fighter pilot, leaving his family struggling to survive. Thus when it emerges the Iron Giant is from space some are scared it was from the Russians to destroy America. However, the robot never wants to destroy anything other than guns themselves and wants to protect and save all that he can shown throughout the film. When he first encounters guns they are they cause of the death of an innocent woodland deer, whom the giant has a certain affinity for. Guns, Hogarth tells him, are bad. Thus whenever guns, even if just toys, are around the robot he goes into a selfdefense mode. He sees guns as an evil force and whenever he is accused of being a gun he vehemently denies it. At the same time as showing all this it does not show the army itself and its generals as the bad guys. They were willing to stop and listen to reason. The real bad guy is the one who would use war for nothing more than personal power, and under the guise of protection or justice. 

Although this film is very anti-gun and anti-war the army is not the antagonists, it is a private citizen, Mansley. http://www.deviantart.com/art/Play-Nice-Iron-Giant-307538794

However, the main message I got from the film was more about what you want to do with live and how you should pick your goals and follow them no matter what because this will make you happy. We can see this is played out by the robot's inner battle between being a gun vs something more. This problem is first posed to the Iron Giant when Hogarth brings him his comic books. Having fixed the railway (not entirely successfully), Hogarth claims the robot is like Superman, he is a good guy. However the robot sees a comic book underneath about an evil robot called 'Atomo the Metal Menace' who seemingly destroys all in his wake. Despite looking more like Atomo, Hogarth reassures the giant he is who he wants to be. When confronted with guns and the stag's death the giant realises he does not want to be a gun obviously because of what they create, or rather destroy. The iron giant will endeavour to be like superman and not like Atomo or like guns that only aim at destruction. However, due to the setting of the film, where the mass population is paranoid of Russian attack especially with weapons from space (because this is just after Sputnik's launch). This is precisely what Mansley thinks of the giant and this is what means that, when Mansley is able to produce evidence of the giant for the army's general, a large amount of men, tanks and even battleships are sent to destroy the giant.

The Iron Giant choose to be Superman, not Atomo the Metal Menace. http://fc09.deviantart.net/fs71/f/2013/060/6/b/the_iron_giant_by_harrybognot-d48u3d3.jpg
 
Throughout the film, the Iron Giant shows he is really gentle giant. The fact that he lived in the forest and his connection to nature showed how peaceful his spirit is to begin with. The way he can play with Hogarth and help Dean with his art further show he is not out to destroy humanity. However, the fears surrounding him become true when he is playing with Hogarth and Hogarth points a toy gun at him. The giant, acting in self defence and anger towards guns, produces a laser beam and fires at Hogarth. Dean thus kicks him out. Likewise when the army meets him and attacks him he eventually turns into this walking medley of laser guns destroying all in his path. However, before this we are reminded this is not the Iron Giant's inclination as first the giant saves a child from falling to his death, Dean realising his mistake and more importantly, when the army is shooting at him, especially as he is flying and the fighter jets shoot at him, the giant tries to control his anger/self-defence mechanism. Although this is unsuccessful Hogarth is able to calm him down, saying "you are what you choose to be". This leads to the giant's redemption and metamorphosis, not into Atomo again, but into Superman. He is now the protector, telling Hogarth not to follow rather than the other way around, and his change into Superman is emphasised with the S on his chest. During this the robot is happy, "I am Superman" he says to himself in complete joy, having fulfilled his dream. He is not the angry force of destruction he despises but utterly happy. This joy is continued even past his destruction as his pieces are rebuilding around his smiling head in Iceland.
 
Although the giant was thought by many, under the paranoia of the setting to be just a big gun, he had to fight off these urges otherwise this would happen. http://maxkennedy.deviantart.com/art/Iron-Giant-273590062

Overall this idea of being what you want to be is further emphasised by how childlike the giant is shown to be throughout the film. The giant does not know how to speak and has to be taught this, along with the difference of a rock and a tree. Admittedly is world could be much different but the way he repeats and asks questions of Hogarth was so childlike. The fact that he is lead and commanded by someone as young as Hogarth shows how immature the giant is. It really seems like he is Hogarth's younger brother who tags along with him. The giant continues to act childlike through the film, playing with Hogarth in numerous different ways. The iron giant thus represents all children and the film says how they have the potential to be and do whatever they want. We should not expect them to be something in particular like everyone in the film (bar a few) expected the giant to be a gun. We should encourage them just like Hogarth and Dean encouraged the giant to be what it wanted to be.
 


The Iron Giant chooses to be Superman and fulfills his dream with an act of heroism. http://geektyrant.com/news/2013/8/4/iron-giant-superman-reflection-art
 
In fact, this whole idea is actually played out by Dean, the scrapyard artist who turns his pieces of scrap metal into pieces of art, if you could call them that. Dean sometimes talked about his life as a struggling artist and said how people buy and steal his pieces of scrap metal for their value but when he turns it into art they won't touch it, implying how bad it is. However, he keeps pushing on with his dream despite probably being more financially sound if he just bought and sold pieces of scrap metal, rather than spending all his time making them into art. However, this is what Dean loves and during the ending of the film we learn that he is the one who made the statue of the Iron Giant and he continues to live his dream happily. Although never directly confronted on his lifestyle choices I think we can tell from Dean and his conversations with Hogarth he had this in the past or does it himself. He is in fact the one that tells Hogarth that "You are who you choose to be", which is then later applied to the robot in its internal conflict. In addition, after telling the robot to get lost, Dean is the first one (well after Hogarth) to see that the giant wants to be peaceful and was acting in self-defense. Dean then becomes the robot's biggest defender in talking to the army. Dean has lived this life of being what people expect and what is the easy route but choosing to live the way you want to live and he thus sees this conflict within the robot and tries to help it. 

Although Dean did not start of liking the Iron Giant all that much they grew closer over time. http://jbsdesigns.deviantart.com/art/Iron-Giant-142231022
 
The Iron Giant is a great watch for many reasons. It was one that had a happy ending but unlike most cliched kids' movies it was not overly expected to happen this way. The happiness I felt at the end wasn't forced like many other children's animated movies. But more importantly it portrayed messages about war and being who want to be that I felt were slightly inspiration and heartwarming. The Iron Giant has a cult following nowadays, not just for the character it shows but also for the values it represents. I would also like to add how this was based on a book but was changed dramatically to portray similar values in a different way, which the original author was delighted by with the results. 




 

Monday 7 July 2014

When is a series not a series? When it's a movie! - Blade of the Phantom Master

Many many animes, including films, have been adapted from an original manga source. Usually these become series in the case of attack on Titan and death note to name just a couple. Obviously it is easier to make longer mangas into a series of anime episodes than it cut it down into a film. Two very famous films, Nausicaa of the Valley of the Wind and Akira, have done it superbly, by taking part of the whole story, or one arc, and explaining it fully with no loose ends dragging and presenting it as one complete story. Blade of the Phantom Master, a Korean-Japanese animated film based on a Korean manhwa series, did not adapt very well. It is the story of Munsu, an Amen Osa (one who controls a spirit army as a policeman of the king), and his life after the kingdom of Jushin falls after its king is killed, thus leaving Munsu with no one to serve. It showed some promising aspects but did not feel like a complete movie. Instead it felt like the beginning of a tv series, not a feature film.


A manhwa cover of Blade of the Phantom Master.

The characters, especially the protagonist, Munsu, felt multidimensional but at the same time undeveloped. Munsu experiences in the desert alone show various sides to him. He is kind to Monlyon and grateful for the water but at the same time he is willing to use the body of the guy he looked to be about to save to block numerous spears. Likewise he shows compassion for the citizens of the city Lord Byun controls, but at the same time anger at their trust in others and lack of initiative. In the same way he shows care for the boy Jyun but then is quick to give him a lesson in tough love. He is someone who seemingly has a strong sense of justice but at the same time he is often overly vicious in his manner of retribution. I would love to see this internal struggle continue and perhaps come to a head when he meets his nemesis. Thun Hyan is also very interesting. She is quite a determined strong-willed individual, who at one time tried to commit suicide by biting her own tongue out due to the restraints she was under. Her fighting prowess is amazing to boot. At the same time she is quite weak too, seemingly needing to hang onto others and lacking in independence after she is rescued. She almost willingly becomes Munsu's slave. She doesn't speak in the first half of the narrative but finally finds her voice towards the end. This too would be interesting to build more upon. 


A nice piece of fanart of the two main characters: http://www.zerochan.net/483425#full

In fact, the relationship between the two main characters also showed some development. At first Munsu feels sympathy and pity for Tyun Hyan and her situation, but when she wants to accompany him it turns into displeasure and him ignoring her as they trek through mountains and over streams, etc. When he finally does accept her it is more as a slave than a bodyguard. Then when she fails to follow his orders, stepping in to save him from Juite's minion, she is scolded and told to leave as he had not told her to do so. She finds her voice, and promises to follow his orders, which she does, until he is almost killed by Juite himself and she saves him. This time it is gratitude not a scolding she is met with and their relationship is allowed to grow. Most interesting of all was how Munsu straight out said he was not her dead lover, and would not replace him. However, this dynamic was not explored and this relationship generally, like the main characters themselves, was underdeveloped in terms of its potential. Although there was conflict between them at one point there could have been more. Basically I would have liked to have seem them get closer and then have a fight and reconcile again, or something along those lines, maybe even have a romantic part that tested Munsu's resolve as an Amen Osa (as he is thus not allowed to have a lover) and Tyun Hyan's dedication to her dead lover, Monlyon.

This piece of fanart shows where I would have liked the relationship to have gone: http://www.zerochan.net/full/483427

Despite all this the biggest downfall of the film was the big plot hole left open. This is that we learn of Munsu's nemesis, his ultimate enemy named Ajite, only after he has defeated Juite, the main antagonist of the film. It is most irritating to learn of who could be the main antagonist only in the final minutes of the film. In fact it somewhat devalues the film as a whole knowing what we watch did not bring any closure to the protagonist, only to the supporting cast first Monlyon and then Jyun, both of whom are dead already in fact. Furthermore, after the credits role we get another glimpse of Munsu and his Sando wandering around, imparting justice and presumably looking for Ajite. I suppose this would all be fine if this film was planned to have a sequel, but it wasn't. It was made to be a standalone and annoyingly so. If this film was to be a standalone film from a manhwa series it should have followed the precedent set by Nausicaa of the Valley of the Wind or Akira. These were both made from manga series, but both took a single ark and treated fully as if it were a single story without naming main enemies in the last ten minutes.


Fanart of the mysterious Ajite, who is the nemesis mentioned but I suppose he appears in the manhwa: http://fc00.deviantart.net/fs70/f/2010/065/6/d/SAO___Aji_Tae_by_Amarevia.jpg

So due to all this I felt as though the film in terms of its writing and adaption was incomplete and should have been made into a series and not a film. I mean the opening song comes thirty minutes into the film where there is a break in the action and seemingly between what could have been the opening episode and the second one. Quite literally nothing is said, and although it sets up the relationship between the Amen Osa and his Sando (bodyguard), with her following him around and not being acknowledged, it really did feel like a break between episodes. I feel like this movie could have been made into a Trigun-esque series where, like Vash, Munsu goes from town to town helping it until he eventually has to find his nemesis, Ajite, and defeat him. 


Man, I really feel like this, as a series, could have been as good as Trigun. http://bellbomb0.tripod.com/shin/shn_wll6.jpg

Before i end this post I would also like to bring up how each part of the movie, through Munsu's speeches, brought up a different issue and message. The first part of the film somewhat touched on politics or more how to make your life better. Munsu said how the people of the town that had been overthrown were useless because they just waited for help namely from Monlyon, who was of course killed in the desert. Munsu called them worthless and threaten to slaughter them too because they did not take matters into their own hands. Both Munsu and Monlyon talk about "miracles" and how they are nonexistent. He then praises the townsfolk for killing the feudal lord themselves after he had destroyed the army and was fighting Tyun Hyan. Likewise we feel sympathy for Tyun Hyan because she tries to all she can but is physically restrained from doing so, to the point where she tries to commit suicide by biting out her own tongue. Although this will not fix the issue, she does not submit to the situation. This is a nice play on the Korean folk tale of Tyun Hyan where she promises to marry Monlyon, not become his Sando, and (when he leaves) she waits for him eventhough she terrorised for doing so by other suitors. In other words, what would be the first episode tells never to give in to circumstances, no matter how bleak and if we want to change things we need to take action ourselves, not wait for things to happen for us. 


The "second episode" seeming touched on the issues of drug abuse to escape from reality. It pitted the importance of the truth we find in reality against the happiness we find in hallucinations and believing what we want to. This is played on with the demon guy Juite who, posing as a doctor, makes all the people on an isolated island happy through giving them mandrake extract. It turns out all the island actually died in a horrible plague and were not saved by the "miracle worker" doctor. This reality must be faced by Jyun who must shoot his already dead sister, which he does after a flashback, and then he eventually realises he too is dead and thus disappears, at peace. The battle between Munsu and Juite is the personification of the battle between reality and hallucination. Of course Munsu wins and after Jyun is laid to rest, within whom this battle also raged, Munsu asks him (rhetorically) what is the best thing in life. Munsu answers it himself, it is not pure happiness, but instead being able to look up into sky (facing reality) and be proud of yourself. There is an implication of happiness in it but the main focus is on being able to be face reality or the truth of life and not hiding for it behind happiness. The film, or rather the series (could have), had some interesting ideas and again I would have liked to have seem more.


Wicked drawing of the Amen Osa and his Sando: http://raykit.deviantart.com/art/Shin-Angyo-Onshi-43975670

Overall, this film left me with mixed thoughts. On one hand it presented good messages, showed glimpses of interesting characters and relationships between these characters, as well as creating a fairly interesting (post-apocalyptic come fantasy) world. On the other it felt very incomplete, in terms of plot and characterisation. What I came away with was more on the feeling that there should have been more, this should have been made a series, not a film. Really I would have wanted Blade of the Phantom Master to have been a series and I think it could be remembered as fondly as say Trigun, which shares a similar post-apocalyptic setting, deep characters and rather philosophical messages sprinkled throughout the series. 

Movie poster (Korean).

Links:


http://anidb.net/perl-bin/animedb.pl?show=anime&aid=2190

http://myanimelist.net/anime/884/Shin_Angyo_Onshi 

http://www.animenewsnetwork.com/encyclopedia/anime.php?id=5182