Tag Archives: anime

Review: Banner of the Stars

Banner of the Stars continues three years after the beginning of a galactic war that started in Crest of the Stars. Lafiel, an Abh from the royal Abriel family, is made captain of an assault ship called the Basroil. Among her crew are two other Abh, and two humans, one a commoner and the other a noble.

The bulk of the show follows Lafiel and the crew of the Basroil, with the core of the focus being Lafiel and the human noble, Jinto, her companion from the prequel series. While these two do remain the main characters, I would say that in contrast to Crest of the Stars the new series focuses more time on Lafiel while Jinto takes a more supportive role. The story is told from Jinto’s perspective, but Lafiel is given a much larger role. This is all well and good, because I think Lafiel is a much more interesting character than Jinto.

There is no real villain in this season, as there was in the first season; however, interestingly, Lafiel is put under the command of Baroness Loy Atosuryua, sister of the antagonist from season one, Baron Klowal Atosuryua. The uncertainty between Lafiel and her commander—due to the circumstances surrounding the death of the Baroness’s brother—provides a very interesting section of the series. Lafiel is not sure what to think of her commander and her motives. Perhaps my favorite episode is a birthday celebration for her late brother being thrown by the Baroness, in which she meticulously reproduces the dinner that Lafiel and her brother the Baron had. Lafiel is unsure how to interpret this and what results is one of the best episodes in the series.

Miho Yamada plays Loy Atosuryua, Lafiel's commander and perhaps the best looking character in the show.

Miho Yamada plays Loy Atosuryua, Lafiel’s commander and perhaps the best looking character in the show.

Beyond that, the major event driving the series is the galactic war. It begins with an explanation that both sides (the Abh Empire and a coalition of human nations) first exhausted almost all of their military capabilities in the opening stages of the war, and both sides spent the next three years rebuilding their forces. Lafiel is given command of an assault ship, much to her dismay. This position causes much distress to Lafiel, because as a member of royalty she is not accustomed to being subordinate to others. This, by the way, is another point that adds much to the richness and development of the characters. Lafiel being put in these challenging situations—despite her expectation and desire to command a fleet—is one of the best parts of the show, because it allows the series to play around with the lore that was developed. Families and class ranking are an important part of the series, but instead of being pointless details the series plays with it.

Well, finally to war itself. The way the war is handled would be best described as similar to Legend of the Galactic Heroes. In that sense, characters will discuss the enemy attack entire episodes before it actually happens. The series is minute in detail; everything is looked at. Lafiel’s position as a commander of an assault ship makes this possible, because part of her duties is reconnaissance. That aspect of warfare is probably given its greatest look in this series than any other, because I do not remember any other series that would devote so much time towards scouting and skirmishing. It is similar to Legend of the Galactic Heroes in that the warfare is depicted after they show you the lengthy preparation that went into it, but differs in that it focuses on the smaller units. Large capital ships act more as a cavalry reinforcement that saves the scouting ships from doom.

Strategy and tactics is also discussed extensively, and this is one portion where the show fails. Strategic location domination seems to be the most important aspect in galactic warfare strategy, but Lord help me if I know anything about it. The characters will debate which fleet should defend where, but I find it hard to follow along if I have no idea where these places are and why they are important. This is one of those shows where I had to look up a map and read explanations online just to understand what these people were saying. Also present in this show is a pet peeve: maps are displayed as 2-dimensional planes, which makes no sense in space!

Strategy and tactics play a bigger role in this season. Some of it is easy to follow; some of it is not.

Strategy and tactics play a bigger role in this season. Some of it is easy to follow; some of it is not.

Banner of the Stars is a huge improvement from season one. Space battles are much more plentiful, and I find the show’s approach to them to be a breath of fresh air. However, many aspects still remain: the dialogue is still dry and very wordy. Characters will have conversations that could easily take up half of the episode, as they discuss seemingly whatever comes to their mind. I do not think I have ever seen characters so thorough in their self-reflection. The original creator, Hiroyuki Morioka (who also writes the novels this series is based upon), seemed more interested in making a fictional world than a story. Regardless, the characters are much more interesting this time around, particularly Lafiel. She is one the best parts of the show, perhaps one of my favorites in anime.

Would I recommend Banner of the Stars? I would, but with one precaution: you will either find it engrossing or extremely boring.


Neon Genesis Evangelion is a fun experience, but nowhere near a great anime

I have been watching Neon Genesis Evangelion again recently. I just finished watching episode 16, the infamous one in which Eva-01 violently rips its way out of an Angel. At this point, I think my thoughts are set in stone somewhat.


Neon Genesis Evangelion is a franchise that I adore very much; I am one of those types that just eats up the merchandising like Homer Simpson eats, well, anything. I am not exactly wealthy, so I do not own nearly much as I would like, but I can guarantee that if I had the means I would buy anything related to the series. Even that infamous NERV bucket. Which, at around 4,980 yen (roughly $40.00 in 2015), is a giant rip-off compared to the Home Depot Bucket at about $4.00. Yeah, well, it’s a NERV bucket! Limited edition! (It’s also a steel bucket, FYI, whereas the Homer Bucket is plastic).


I own the Perfect Edition of the original TV series, plus the Director’s Cut versions of the last few volumes (so, if memory serves, around the last six episodes). I also own The End of Evangelion, two versions of Rebuild of Evangelion 1.11 (one DVD and one Blu-Ray), two versions of Rebuild of Evangelion 2.22 (the official FUNimation DVD release and an imported copy from… I don’t know where).

As for reading material, I own some volumes of Yoshiyuki Sadamoto’s official manga, the first volume of Angelic Days (which I actually like), the “Der Mund” artbook by Yoshiyuki Sadamoto. I am tempted to get Ayanami Raising Project, but I do not want Campus Apocalypse and Shinji Ikari Detective Diary, thank you very much.

I, of course, own those figures. Those two small ones were actually by lottery; they come in these little pink capsules. In Japan, they are dispensed at vending machines, and they are supposed to be random (if you have seen A Certain Scientific Railgun, Mikoto would go to a Gekota machine whenever she saw one; kinda the same idea, but I don’t think those come in capsules). Not pictured are two Revoltechs, one of Eva-01 and the other Eva-00, still in the boxes (you can kinda see the boxes at the bottom).

Of all the merchandise I own, Evangelion merchandise beats the rest by far.

There’s more, but I think you get the point.

Considering all of that, would it be strange for me to say that Neon Genesis Evangelion is not my favorite anime? (for those curious: it’s The Girl Who Leapt Through Time). In fact, would it be strange for me to say that I think Neon Genesis Evangelion is not even great?

Perhaps I could get away with saying something like that, if I were more specific: Neon Genesis Evangelion the franchise is great, while the Neon Genesis Evangelion the show is not.

What is it about this show that I do not like? Well, most of it can be summed up as: it is just too inconsistent.

Let us forget about the animation (which is more famous for being inconsistent), and let us focus instead on one important element that the show cannot decide upon: tone.

In the beginning, the show manages to nail down a pretty bleak tone. I have the feeling that Hideaki Anno was trying to capture a world on the brink of extinction; the use of Christian symbolism, the world shadow government, huge amounts of resources being devoted towards fighting off the Angels. Chairman Keel tells Gendo that the Human Instrumentality Project is humanity’s last hope, and carrying out that project is NERV; NERV is a global effort, operating in at least a dozen countries, completely devoted towards defeating the Angels and carrying out that Project. It all has a very “End of Times” feeling to it. Heck, you might even say that the Second Impact is the Great Tribulation (both events marked by mass suffering, war, catastrophe, famine, etc.) and that Third Impact is the Second Coming (Eva-01 becomes God and all humanity transcends into heaven)*. It seems that humanity is preparing for one last (catastrophic) event, and that event is so important that the entire human race is contributing towards it.

Not only did the tone start out dreary, but the show also made it clear that its characters are suffering. Episode 4, “Hedgehog’s Dilemma,” (one of my favorite episodes by the way) in particular focuses on the stress that Shinji is feeling. One thing that many people seem to have missed is that Shinji is a child soldier; at fourteen years old, he was conscripted into the paramilitary organization NERV. Shinji is a child expected to engage in armed combat. Episode 4 conveys this stress by creating an “other worldly feeling,” in that Shinji wanders around Tokyo-3 but always ends up in situations in which he feels like he does not belong. He begins to feel lost. Hideaki Anno creates one of my favorite scenes in the entire series in this episode. Shinji is standing in the middle of the park. He can hear nothing but the things from faraway, and instead of painting the scene with predominantly orange colors (as it is the afternoon) the scene is painted with purple. Purple is not necessarily symbolic for anything, but the point is that the world feels alien to Shinji; afternoons in anime are generally orange, and rarely are they purple anywhere (I, at least, do not remember any). Shinji hearing things from far away, rather than what is next to him, further adds to the “other worldly” feeling. Shinji’s stress manifests itself as detachment and lack of direction.

This is the sort of thing I like about Evangelion. I think perhaps the best thing about the series is that it satisfies the sadistic aspect of people. I like to watch these people suffer. Not because I hate them, but because watching them suffer is just so entertaining.

The big weakness of the series, then, is that its characters are not suffering all the time. The tone of the series is not always dreary and bleak; sometimes I forgot that this world just came out of the greatest catastrophe in human history (and it preparing for an even bigger one). Sometimes, everything is just happy, normal, typical. In other words, I feel that the show loses its focus. It took what made it strong, shifted itself away from that, and then returned to it about halfway through. I do not watch this series for the teenage comedy antics of Shinji, Rei, and Asuka crawling through an air duct; nor do I watch this show so I can see Shinji and Asuka play twister. The happy humor episodes are, well, boring. While those were fine episodes, I feel that they were placed in the wrong series. I watch this show to be entertained, and the most entertaining parts are when the characters go through trauma.

When the series finally snaps out of it and puts the suffering at the forefront, it becomes great again. All of this culminates in The End of Evangelion, which I consider better than the TV series because it knows exactly what it wants to accomplish (a lot of suffering).

The End of Evangelion is, then, supposed to be the best part of the story. It should be the part that made its influence last for so long, right? I do not think that it was the talent of Hideaki Anno and Studio Gainax that made the show memorable. There are definitely many other anime that I enjoy more than Evangelion, but none of them have taken as much money from me as Evangelion. More impressively, none of those can claim that they were so dominant in the anime industry for almost 20 years and counting. If I were to pinpoint a reason, I would say that the franchise’s greatest strength lies not in the show but in its marketability; in other words, Neon Genesis Evangelion may not be the best anime, but it is the best at selling.

*In which case, Chairman Keel is the Antichrist that united the world under one government.

Short film “Playground” from animater Ryosuke Oshiro

*Synopsis: a lone wolf student draws a pictures on a wall; another boy comes and does the same thing. They use their imaginations to quarrel.

*Ryosuke Oshiro, born in Okinawa. Graduate of Okinawa Prefectural University of Arts, where Oshiro worked as a research student a year. Moved to the Tokyo University of the Arts, Graduate School of Film and New Media, Department of Animation in 2011. He became an animator in 2014.

English translated entry of Satoshi Kon’s French Wikipedia page

I have been learning French lately. In order to help me, one of the things I started doing is to read Wikipedia. I think it would help to read something that interests me, but I also suspect that a lot of internet French has colloquialism that would confuse learners so I decided that Wikipedia is probably the best.

One of the articles that caught my attention was the article for Satoshi Kon. It is quite different from the English article. I have not read either one in their entirety, however, so perhaps they have similar information but they are placed throughout differently. Either way, an interesting and different viewpoint.

Note that the French language can describe things a little more compactly, I think, so these are not literal translations. Doing a literal translation would be confusing, I feel. However, there are some interesting things to note, which I put at the end. I do highly recommend you read the notes at the end.

Satoshi Kon (今 敏, Kon Satoshi?) est un mangaka et réalisateur japonais, né le 12 octobre 1963 à Kushiro et mort le 24 août 2010.

Satoshi is a Japanese mangaka and director, born on October 12th 1963 at Kushiro and died on August 24, 2010.

Après des débuts brillants et touche-à-tout (mangaka, coscénariste pour le cinéma) auprès de Katsuhiro Ōtomo, Satoshi Kon s’engage dans le cinéma d’animation. Toujours sous la coupe du maître, il travaillera aussi avec Mamoru Oshii (Patlabor 2, 1993). Puis il se lance et réalise son premier film d’animation avec les Studio MadHouse.

After a brilliant debut as a mangaka and scriptwriter for live action cinema with Katsuhiro Otomo, Satoshi Kon entered into animated films. He always worked with talented people; for example, he also worked with Mamoru Oshii (Patlabor 2, 1993). Afterwards, he attempted and released his first animated film with Studio MadHouse.

Dès son premier long métrage d’animation (Perfect Blue, 1997), l’artiste montre son talent en proposant une approche graphique très réaliste pour ce thriller. Loin des concepts occidentaux de l’animation de l’époque, ce film – interdit aux moins de 12 ans – fait sensation par la justesse du rendu des émotions des protagonistes, son introspection de la psychologie humaine tout en traitant un phénomène typiquement japonais, les idoles. S’il traite d’autres sujets par la suite (Millennium Actress, 2002 ; Tokyo Godfathers, 2003), son style conservera cette approche de la réalité subjective, faisant de lui un réalisateur atypique. Il réalisera la série d’animation Paranoïa Agent, prémisse au chef-d’œuvre Paprika qui obtiendra une reconnaissance internationale.

For his first animated feature film, he displayed his talent in proposing a very realistic and detailed approach to thrillers. Far from Western concepts of animation at the time, the film – which should not be watched by children – looked at the emotions of the characters. The film provides an introspective look at the human psychology of the characters, who are involved in a typical Japanese phenomenon, the idols. Looking at his later films (Millennium Actress, 2002; Tokyo Godfathers, 2003), his style continued to focus on a subjective truth, making him an atypical director. He also directed an animated series called Paranoia Agent, and then he created the masterpiece Paprika which got international recognition.

Au-delà de son travail, l’auteur s’engage et participe à la création de la Japan Animation Creators Association (JANICA) afin d’améliorer les conditions de travail des jeunes animateurs. Il a également animé une master-class en France en 2003, au Forum des Images dans le cadre du festival Nouvelles images du Japon.

Beyond his work, he also worked and participated in the creation of the Japan Animation Creators Association (JANICA) with the objective of improving the working conditions of young animators. He also was at a master-class in France in 2003, at the Forum des Images in the Nouvelles images du Japon festival.

  • The article also refers to Satoshi Kon as “l’artiste” and “l’auteur,” which means “the artist” and “the auteur” respectively. “auteur” literally means “author” or “writer,” but in English it could refer to a director that displays a powerful creative vision in his films. Seeing as Satoshi Kon also worked as a scriptwriter, I decided not to translate this.
  • The French article states, “Toujours sous la coupe du maître” which literally means “always under the stroke of genius” – in other words, Satoshi Kon was always surrounded by talent. I find this interesting, because it is not something you would see in an English encyclopedia. My impression is that this article is more interpretative, whereas the English version is more descriptive.
  • I translated “fait sensation par la justesse du rendu des émotions des protagonistes” as “looked at the emotions of the characters” but it literally means “made a sensation for the accuracy of rendering the emotions of the protaganists” – which sounds weird in English to me. I might be off here. To me, it means “he created a detailed depiction of the emotions.”
  • The French article literally calls Paprika a “masterpiece” – “chef-d’œuvre Paprika.” Again, interesting for an encyclopedia…

Should You Watch Patema Inverted?

I absolutely love Patema Inverted. It is another fantastic entry to Yasuhiro Yoshiura’s line of directorial works with an interesting plot and an amazing ending.

The film follows two character, Patema and Age, who come from completely different societies. Patema is a princess living in an underground society. She is in line to be the next leader of this tribe-like group. Age lives on the surface world, in an Orwellian society calling itself Aiga. Led by a religious fanatic and kept in power by his Kerberos lookalike secret police, Age is expected to fall directly into the image dictated by his Glorious Leader. The big difference between the two, however, is that Patema (and her people) are upside down. As in, literally, When Patema comes to the surface world, she is floating to the sky and is only saved by Age. In order for her to live on the surface world, Age takes her to a cottage where she stands on the ceiling.

The story oddly reminds me of the novel series Left Behind. In Patema Inverted, the government of Aiga basically claims that Patema is part of a groups of sinners, and as punishment they were cursed to float to the sky. They call this event The Great Change. The people of Aiga are basically what’s left of humanity. The Aiga and their apparent rule of the rest of humanity, the whole concept of people flying to the heavens for their supposed religious sins, and the religious function of the Aiga’s leader really reminds me of certain stories; that is, a world government setup by an anti-Christ, an apocalyptic event, and a select few sent into the sky (“heaven”) for a religious reason; further, Yoshiura even meshes it with science fiction. I always love works that manage to explain the same narrative from a (albeit fictional) scientific perspective and a religious perspective. It adds believability while simultaneously being mythological or even epic. It does not perfectly mesh into the Left Behind series, obviously, but I think the religious elements, meshed well with science fiction, result in such an interesting take on an already interesting premise.

patema inverted movie poster

I will say that the premise alone is a big determining factor in one’s enjoyment of the film. The film does not make a joke of its premise, but instead presents it as something that everyone in the setting believes. The film never pokes fun at the ridiculousness of itself, as in “haha, yeah, this is kinda stupid, but just watch and it will get better!” Obviously, to me, this whole concept is a little funny – and I will admit, despite how much I love this film, there were some instances that I laughed at the absurdity of what was presented. However, never does the film stray away from its commitment to its premise. In fact, it uses it to very useful affect.

The ending is perhaps one of the most satisfying endings I have ever seen in anime. Not to spoil it too much, but the ending is basically ironic. It reminds me so much of a certain Kate Chopin short story, that I nearly jumped out of my seat. Not only because of that, but because it managed to genuinely surprise me. It comes off as a plot twist, but Yoshiura had already thrown a couple of those at the audience that by the time I got to the ending I was baffled. Those earlier plot twists are barely even talked about by the characters, and are almost ignored, so the final revelation at the end brings together so many seemingly insignificant details so that the final revelation is that much more surprising.

While I do love the ending, there are some bumpy roads. Patema herself is not that significant; in fact, I think she is almost useless. I am frustrated that her impact on events was so minimal, and that she acted very much as a supporting character to Age. Patema is the first major role of the voice actress Yukiyo Fujii. To be honest, she is not a bad voice actress, but her character is the high-pitched voice, which I despise.

Another frustrating character was Lagos, who was very important but is barely in the film at all. Patema is obsessed with him, especially after his disappearance. However, the film does a poor job of explaining why she likes him so much. And, in fact, once we do find Lagos, not much attention is paid to him, and is almost kinda forgotten. Lagos is a MacGuffin – a plot device that serves only as a motivation. However, my frustration lies in the film’s simultaneous attempts at trying to make me care about this elusive disappear-o-tron. In a flashback , Yoshiura attempts to create a heartbreaking farewell scene between Patema and Lagos. The films refuses to explain why Patema is so upset about this; she is just upset about it and that is as far as that goes. Lagos is a MacGuffin, but the film tries to make him sympathetic; he is a character that is given very little development or explanation, but whom we are told is an emotionally important person to Patema. The result is their relationship comes off as very forced.

Yoshiura’s cinematic style does take a bit of a departure here. He plays with the depth-of-field quite a bit, and honestly I think he went overboard with it. Another thing I noticed, a few scenes looked like they were heavily inspired by the work of Mamoru Oshii. Mamoru Oshii loves to have segments of his movies devoted towards setting a certain mood. I cannot really explain it well in words, so here are some examples: as it was in Patlabor 2 and in Ghost in the Shell. Heck, even Hideaki Anno used it in Evangelion 2.22. There are a couple scenes like those in Patema Inverted. I just love watching those.

The music was done by Michiru Oshima, one of my absolute favorites. She also did the music for Sound of the Sky, which perhaps my favorite soundtrack of all time (at least in anime). Her music is golden. Most of the music is memorable, but I think “Father Floating in the Sky” is the most memorable.

All in all, Patema Inverted is a wonderful film. It has an interesting story, great music, and a fantastic ending. It suffers from poor character development and the animation is not fantastic for a film, but it has its good parts and even so Yoshiura can make it look appealing. In terms of eye-candy, actually, I would say that this one is the most boring of his works, as it lacks the interesting character designs of Aquatic Language or the atmosphere of Pale Cocoon. Still, I would say that this is a must-watch, particularly for fans of his previous works.

Characters from Dengeki light novels (Sword Art Online, A Certain Magical Index, Toradora, Durarara) duke it out in Dengeki Bunko Fighting Climax, an arcade game being brought to the PS3/PSVita

This looks absolutely awesome!

It features many of the popular franchises from the Dengeki Bunko imprint – basically, light novels. Here is the full list:

  • Asuna – Sword Art Online
  • Kirino Kosaka – Oreimo
  • Kirito – Sword Art Online
  • Kuroyukihime – Accel World
  • Mikoto Misaka – A Certain Magical Index
  • Miyuki Shiba – The Irregular at Magic High School
  • Rentaro Satomi – Black Bullet
  • Shana – Shakugan no Shana
  • Shizuo Heiwajima – Durarara!!
  • Taiga Aisaka – Toradora!
  • Tomoka Minato – Ro-Kyu-Bu!
  • Yukina Himeragi – Strike the Blood

As it is published by SEGA, it will also feature two SEGA characters: Selvaria Bles from Valkyria Chronicles and Akira Yuki from Virtua Fighter. Here is some gameplay of Selvaria and Yukina:

Here is some gameplay of Misaka Mikoto and Shana:

As some might notice, the game uses the original artstyle of the light novels. I think that is pretty neat.

Preview: “Under the Dog,” the latest anime to appear on Kickstarter

“Our enemy is the light of humanity”

The latest animation production to hit Kickstarter is “Under the Dog.” It needs $580,000 to reach its goals and they currently have $181,303 pledged. This goal trumps previous Kickstarters such as Masaaki Yuasa’s “Kick-Heart” goal of $150,000. On the “pledged” side, both “Kick-Heart” and the already-produced series “Time of EVE” had made over $200,000.

Set in the year 2025, the International School for Boys and Girls operates as a cover for recruiting minors into its “elite death squad,” as the “Under the Dog” Kickstarter page puts it.

The catalyst for the International School for Boys and Girls was a deadly terrorist attack on the 2020 Summer Olympics. Created by the United Nations, its intended purpose is to hunt down anyone with “special abilities.”

The Kickstarter page makes no mention of it, but my impression of it is that this story has some sort of “super powers” thing going on. They use terms such as “specially enhanced groups of terrorists” and “gifted high school students, each with their own special abilities.” The one that stands out, however, is “These troops are tasked with ferreting out and exterminating all individuals with powers like their own.” I read that, and I can only imagine something similar to X-Men. Except in this instance, we are given the perspective of the hunters. However, nothing about super powers was stated explicitly.

On the other hand, I am reminded of series such as “From the New World.” Here we have a society that heavily tries to trample out these “new humans.” In “From the New World,” we saw humans trying to control a specific group through mythology, folklore, culture, and illusion. Here, we are given murder. Further, “Under the Dog” establishes the hunters as not being ruthless killers, but reluctant heroes. The Kickstarter page offers us this definition for the phrase “under the dog”:

when one is in a situation so disagreeable that they would wish to rather be “under the dog,” a place of dishonor, misery, and filth, in order to escape their current state of affairs

While they are hunters, their situation is not rosy. Last, the recruits of the International School of Boys and Girls are forced into service by threat of their and their family’s lives. Failure means the death of the recruit and his/her family.

Is the fact that “Under the Dog” feature minors operating in a military combat capacity an oversight or social commentary about reactionary tendencies? They are high school students, after all. Let’s look at the official definitions for “child soldiers.” The United Nations (the creators of the International School for Boys and Girls in the setting) has stated that anyone over the age of 15 may enter military service. As stated on the UNICEF website,

The Convention also set 15 years as the minimum age at which an individual can be voluntarily recruited into or enlist in the armed forces

It goes further on to state,

States must also raise the minimum age for voluntary recruitment into the armed forces from 15 years but does not require a minimum age of 18. The Protocol does, however, remind States that children under 18 are entitled to special protection and so any voluntary recruitment under the age of 18 must include sufficient safeguards. It further bans compulsory recruitment below the age of 18.

“bans compulsory recruitment below the age of 18”? Of course, the UN does not pay attention to that part in this setting – possible social commentary? The catalyst was a terrorist attack, so the very fact that the UN is forcefully recruiting soldiers into its “elite death squads” could be a comment that organizations will change their attitudes because “terrorism.” Whether it’s a simple oversight or social commentary, one thing is for sure: we have another story about terrorists.

Let’s start with the production staff. Under the Dog actually features an international staff so far. On the Japanese side, we have Masahiro Ando as director, Yusuke Kozaki providing character and mechanical design, Hiroaki Yura as producer, the story provided by Jiro Ishii, Kinema Citrus as the main animation studio, and Orange Co. providing the 3d CGI. On the international side, we have Kevin Penkin providing the original score and John Kurlander as Mixing and Recording Engineer. Keiichi Momose, a Japanese, works with those two as Audio Director.

Masahiro Ando started as a key animator and has worked on series such as “Neon Genesis Evangelion” and “Jin-roh: The Wolf Brigade.” Pinpointing down exactly what he has animated in those works is a bit tricky, but fortunately for us he has been credited for animating the first “opening” for the series “Monster Rancher.”

As you might notice, his style has highly detailed body movements. Taking that, crediting Masahiro Ando at Sakugabooru for this scene in “Jin-roh: the Wolf Brigade” seems more believable to me:


Yusuke Kozaki is perhaps best known for providing the character designs for “No More Heroes” and “Fire Emblem: Awakening.” Here are the character designs that they have posted so far on the Kickstarter page:

underthedog1 underthedog2 underthedog3

He has also completed designs for the “Trike.” These are pretty cool.


There are a lot more images of the “Trike” design on the Kickstarter page.

Perhaps the strangest of the bunch is Hiroaki Yura. He brings with him very little animation production experience. He does, however, have a successful career as a musician. According to an interview of Hiroaki Yura by the Anime News Network, he was awarded a scholarship to the Sydney Conservatorium of Music at the age of twelve, and he is one of the youngest recipients of an Associate Diploma from the Australian Music Examination Board. Nowadays, he is the founder and Artistic Director of the Eminence Symphony Orchestra in Sydney, Australia, and he is also the founder of Central Intelligence Arts, Inc. who created the Kickstarter page and most likely acts as the production company.

As producer, he is most likely responsible for bringing all of this talent together. Websites are unfortunately quite scarce on his professional history, however, the Kickstarter page claims that Hiroaki Yura has worked on anime such as “The Disappearance of Haruhi Suzumiya” and “Steins;Gate Fuka Ryōiki no Déjà vu (movie)” (which Anime News Network confirmed as “Orchestra Conductor”). For Disappearance, no one has listed his contribution, however, he has stated on an AMA on reddit that he was “Music Director.” Here is what he had to say about that:

I worked on the two films as Music Director / Supervisor.

What I did was to direct music recordings to make sure it suited the story and the picture at specific times so I knew the story back to front and knew what we had to convey through the music.

I had great fun working on Haruhi as we spent a long time trying to hone in on the details of the emotion that the picture and the VAs were trying to convey.

Very interesting.

The story was originally produced by Jiro Ishii, director of the critically acclaimed video game 428: In a Blockaded Shibuya. He created the story back in 1997. That video game was also semi-adapted into the animated series CANAAN, which was incidentally directed by Masahiro Ando, director of this animated production. He has also worked for Chunsoft and currently works for LEVEL 5. Not much more information is available on Jiro Ishii, unfortunately.

Now, onto the sound crew. We have a very interesting team here so far – two foreigners, John Kurlander and Kevin Penkin.

John Kurlander is the more famous of the two, having worked on films such as Peter Jackson’s “Lord of the Rings” trilogy. He is a “Balance Engineer / Remixer,” according to his website. Working on the “Lord of the Rings” trilogy earned him three Grammy Awards.

Kevin Penkin is the younger of the two, but he is impressive in his own way. His first professional gig was at the age of 18 when he collaborated on a Japanese video game with Nobuo Uematsu (best known as the composer for the Final Fantasy series). He has worked with Jiro Ishii before on the video game “Phoenix Project.” He actually tweeted about “Under the Dog”  on August 8th:

He seems to be quite excited about this project.

Last but not least, we have the Audio Director, Keiichi Momose. He is primarily a sound director and has worked on series such as Mitsuo Iso’s “Dennou Coil,” Katsuhiro Otomo’s “Steamboy,” and Masaaki Yuasa’s “Kaiba.”

Now that we’ve gotten to this point – will you fund the project? I have not decided. I do think it could turn out to be a pretty decent anime. If they get enough money, they will produce movies as well, which I would watch as well. On the other hand, I am not too keen on being an “amateur investor.”

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