A Genocidal exhibition

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The late lamented Project Itoh had three of his works adapted as anime: Empire of Corpses, Harmony, and Genocidal Organ. The last of those three, after some production delay, is finally coming to theaters courtesy of Funimation on July 12th and 13th. Like many other such specialty screenings by Funimation, this is likely to be a one-night-only event, so grab it while you can. After the dystopic health-horror of Harmony and the steampunk-zombie adventure of Corpses, the final chapter in the Itoh Trilogy shapes up as a nuke-pocalypse prequel to Harmony. I have the English translation of the book, so expect discussion of both book and film side-by-side.

Gintama unveils a second peek

Trailer 2 of the live-action adaptation of the satirical smash-hit manga looks fairly bad:

This was more or less what I feared about trying to adapt something as deliberately cartoonish and farcically exaggerated as Gintama. There's little to no way to do it without being thunderingly literal. Worse, it looks like the satirical bite of the original has been lost as well. Maybe, like Bleach, this is one property that's just best left right where it is.

... but the Kino came back

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Kino's Journey, a personal favorite of mine and a deeply underappreciated piece of work, is returning to print thanks to ADV. It has the same peripatetic and mythic flavor as something like Galaxy Express 999, but with an entirely different atmosphere to it. A shame the original novel's brief appearance in English was such a cock-up; maybe someone over at Seven Seas or Vertical can rectify that shameful situation.

ADDENDUM 2017/06/11: Let's also not forget an entirely new anime adaptation of the original light novel is on the way. The re-release seems timed to capitalize on that in part.

You kids get out of my lobby!

Today I found out that "lobbyconning" is a thing: it's when you congregate in a hotel where a convention is taking place, but don't bother to buy a badge. Instead, you just hang out to mingle with everyone who passes through. Sounds innocent enough, but there's a good argument to be made against such behavior.

The designs of our possible futures

A nice showcase of the HUD/GUI design work that went into the live-action Ghost In The Shell. Whatever else you could say about the movie, the meticulousness of its visuals are worth cherishing on their own level. (I have my own defenses of the film's other qualities, but they're not shared by many people, and I'm prepared to accept that I'm in the slender minority there. But everyone agrees the movie looks good.)

Setting down the crown

Japan is preparing to allow a one-time exception for Emperor Akihito to abdicate the throne, the first time something like this has happened in two centuries.

Slightly off-topic: Martin Scorsese on standing up for cinema

A link from the Times Literary Supplement. The bold is mine, and seems relevant to points I've made before about how a given anime or manga can be an entirely different experience at different times in your life.

“In a book”, writes Mr Mars-Jones, “reader and writer collaborate to produce images, while a film director hands them down.” I disagree. The greatest filmmakers, like the greatest novelists and poets, are trying to create a sense of communion with the viewer. They’re not trying to seduce them or overtake them, but, I think, to engage with them on as intimate a level as possible. The viewer also “collaborates” with the filmmaker, or the painter. No two viewings of Raphael’s “Madonna and Child Enthroned with Saints” will be the same: every new viewing will be different. The same is true of readings of The Divine Comedy or Middlemarch, or viewings of The Life and Death of Colonel Blimp or 2001: A Space Odyssey. We return at different moments in our lives and we see things differently.



About the Author

Serdar Yegulalp (@genjipress) () is Editor-in-Chief of Ganriki.org. He has written about anime professionally as the Anime Guide for Anime.About.com, and as a contributor to Advanced Media Network, but has also been exploring the subject on his own since 1998.
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