You heard right - a Japanese live-action version of the now-classic manga and anime property is coming our way, with all kinds of interesting implications in tow
Mamoru Oshii's live-action project is a sad misfire — ponderous, pretentious, and worst of all, nothing he hasn't done before (and done better, too)
Available at last in English after decades of anticipation, this broad-gauge space opera doesn't require the justification of its fans to be considered worth the wait
Use the word "ambitious" to describe a creative work, and you typically mean something positive. The people behind it have something on their mind, and they seek to embody those ideas in a work that aims to do more than merely entertain. Concrete Revolutio has so much ambition to burn, it almost self-immolates. But how bright and colorful the fire!
The easy interpretation of the news that Funimation is holding a Kickstarter to partly finance a new English dub track for their HD re-release of the '90s anime The Vision of Escaflowne is that crowdfunding for anime re-releases is becoming the new normal. It's not the future of anime re-releases in the U.S., but it's indisputably part of that future from now on.
Some folks I've spoken to about this state of affairs have wrinkled their noses and pursed their lips, and repeated some variant of the line that a company of Funimation's stature hardly needs to resort to crowdfunding to make something like this happen. I have to wonder how much of that is because established, well-financed companies that launched Kickstarters in this vein have not always done the best job of it. It's not the fact they do it, but that they've handled it badly. The way Funimation has handled this one so far has been an encouraging sign for how Kickstarter and crowdfunding generally are being integrated into the Western experience of licensing, distributing, and maybe even producing anime.
(In the interest of full disclosure, I should note that I'm a supporter of this Kickstarter, and that I've previously backed other Kickstarter projects as well: AnimEigo's Bubblegum Crisis and Otaku no Video releases, and the still-in-the-works Under the Dog.)
Dear Kentaro Miura: Stop with the tease, already.
You are the creator of Berserk, easily one of the greatest ongoing series of modern manga, and that has become both your hallmark and your albatross. Berserk is great enough that I am willing to forgive the way you have drastically wound down its production schedule, delivering new chapters more or less whenever you feel like it.
Clearly you still want to draw something, even if it isn't Berserk, and so you produced Giganto Maxia. The worst thing about this series is not that it's bad. It's actually pretty good. But it ends right when it gets interesting, and that means all it ends up doing is teasing us as to how we could have received that much more Berserk instead of something that promises a little, delivers a little more, and then pops like a balloon on a griddle.