There are those who are against modern anime because they perceive its too fetishizing. In their eyes, anime has become less about the stories and the brilliant visuals and everything that made anime special and has become all about cute girls and panty shots and little sisters saying, “Onii-chaaaan.”
In other words, if you are one of these people, you dislike how something innocent like anime has been perverted and twisted to the sexual desire of others. You want to protect anime because it’s done so much for you, and you feel emotionally connected to it, and if there’s one thing you want to save, you want to save anime’s reputation, its purity.
JAM Project is a music band that stands for many things, but primarily they stand for what JAM stands for: Japanese Animationsong Makers. The philosophy that has brought together such musical greats as Mizuki Ichirou, Kageyama Hironobu, and Matsumoto Rica is a beautiful one: anime songs should be made for anime. In other words, while fine in moderation, opening and ending themes should not simply be a popular artist’s song tacked onto the head or tail of an episode. Anime music should be anime music.
JAM Project formed in 2000 and is currently approaching its 9th anniversary. Members have come and gone, so it’s only reasonable to think that as JAM Project continues along it’ll pick up new members. Keeping in mind the founding philosophy of JAM Project, I’d like to list possible future candidates for JAM Project, musicians who at least appear to understand what it means to make “anime music.” Keep in mind that the singer does not necessarily have to be known primarily for their anime music, or for them to have a large repertoire of anime themes. Former member Sakamoto Eizou is known more as the lead vocalist of hair metal band Anthem than anything else. They’re also chosen for how well I think their voices would mesh with the current members of JAM Project, and how well they sing live.
(In no particular order)
1) TM Revolution
While TM Revolution is more than successful enough on his own, I feel that I have to list him first. Listen to any of TM Revolution’s themes he’s used for an anime- it’s clear that the man knows what it means to sing for anime. Whether it’s Soul Eater or Rurouni Kenshin, his songs capture the spirit of the show. Lyrics make sense given the titles, the music is always passionate. Compare the appropriateness of his Gundam SEED work to that of the 4th Destiny opening by Chemistry. It’s really like night and day.
Sample: Invoke, Gundam SEED Opening 1
2) Mizuki Nana
The voice of Fate Testarossa and Hyuuga Hinata also frequently lends her vocals to the musical side of anime, and the results pretty much always make an impact. Say what you will about the quality of the Nanoha anime series or its fanservice, but there’s no denying that Innocent Starter, Eternal Blaze, Secret Ambition, and Massive Wonders all capture a sincerity for the show itself. Besides, she already has experience working with Okui Masami.
Like Mizuki Nana she’s both a voice actor and a singer. It’s not guaranteed, but I think that combination can lead a person to being able to better understand an anime and thus the music appropriate for it. She’s done a lot of work for some very different shows, and in every case, from Cardcaptor Sakura to RahXephon to Escaflowne to Lodoss, she manages to capture the tone of the show right in the opening.
Sample: Hemisphere, RahXephon Opening
4) Gojou Mayumi
One might say that the problem with a lot of today’s anime musicians making music specifically for anime is that they pull in primarily an otaku crowd, while a guy like Kageyama has much more mass-appeal. I think Gojou Mayumi, famous for her work on Pretty Cure, has this quality of being able to pull in those kids who just grew up watching anime and learned to love its music that way. Of course, that’s not the only reason I chose her. She’s got a nice, recognizable singing voice, and her recent collaboration with the other Precure singers for the Precure crossover opening shows that she knows how to collaborate to create even more powerful anime themes. The other Precure singers are also good potential members, but I think Mayumi makes for the best one.
Sample: DANZEN! Futari wa Pretty Cure, Futari Wa Pretty Cure Opening
5) Wada Kouji
Wada Kouji is the man behind every Digimon opening, and I think they bring him back every time for a very good reason. Like Mayumi, Wada Kouji is someone with more mainstream appeal at least as far as anime openings go, with the vocal strength to back it up. Each Digimon opening is very different from the previous one yet they’re all unified by Kouji’s voice. It can quickly go from soft to powerful, and leaves you with a sense that what he’s singing about matters. Also, if Matsumoto decides to return to JAM Project having the Pokemon AND Digimon singers on there would just be dandy.
Sample: Biggest Dreamer, Digimon Tamers Opening
As a last word, I want to say that I’m no expert on musicians, not even anime ones, so my list is limited. For that, I more than welcome your suggestions below.
Yes, despite Ogiue and Genshiken having nothing new to offer otaku this year, at least a few faithfulacolytes are still keeping the dream alive.
Ogiue is a bit of an anomaly in regards to doujinshi. If you’ve ever kept up with that scene, you’d notice that an increase of character-specific doujinshi tends to occur when a manga gets adapted for animation. There might be a few doujinshi out there beforehand, but it’s the anime which brings the pencil to paper. Not so with Ogiue; her doujin heyday was shortly after the climax of Genshiken’s story. Powered by love, care, and perhaps other things, by comparison the amount of Ogiue doujinshi when Genshiken 2 came out was rather sparse. Makes sense though, seeing as the anime never even got to that climax.
Comic Market 75 is to be held this year from Sunday, December 28 to Tuesday, December 30 at Tokyo Big Sight. Don’t forget that there’s something special happening with the Eureka Seven movie too.
It’s not Pretty Cure All Stars, it’s Pretty Cure All Stars DX: We’re All Friends – The Miraculous All-Member Grand Gatheringwith the DX pronounce “Deluxe,” which shouldn’t come as a surprise for anyone who played Game Boy Color re-releases of classic NES games or watches videos of Japanese Smash Bros Melee.
The trailer uses the same theme song as the crossover game, and the movie is set to release March 20, 2009.
With a (sort of) movie budget and Precure’s trademark well-choreographed fight scenes combined with the sheer appeal of the Crossover, I am looking forward to this.
And maaaaaybe like one or two people were concerned about this, but according to the trailer Saki and Mai still have the ability to turn into Cure Bright and Cure Windy. Not that anyone watched Splash Star.
The fact that I love looking at anime’s history should be no secret to anyone who’s kept up with this blog since its inception. I’ll watch shows new and old in a desire to understand better anime’s history. At some point I’ll spout facts about some show that aired 30 years ago and the effect it had on the industry and the fans, but then I’ll take a step back when I realize that as hard as I argue about the strength and influence of a show 30 years old, the fact that I was not alive 30 years ago means that my words lack personal involvement. I can watch Evangelion. I can read about how significant it is to Japan from the words of a Japanese person intimately familiar with it and its effects. And yet, I was not actually there.
“You had to be there” is a phrase which implies that the idea that hindsight or observation from the rails of history cannot accurately convey the totality of an experience. If someone posts a video of the Otakon 2008 JAM Project concert on Youtube, and doesn’t think much of it, I’d probably say the same thing. The problem here however is that when I’m deep inside the fandom, when I’m keeping up with shows as they come out and experiencing things firsthand, I feel it difficult to step back and simply observe. The classic example as it relates to me is that while I can talk about my experience living in Japan, I cannot talk about anything i did not do there. I can relate my personal feelings on a topic, having seen what I’ve seen first-hand, but the scope can seem narrow. Sure I can talk to friends and friends of friends and ask online about something going on right now, but it’s hard to get any indication of what’s actually going on.
And yet, when people talk about the anime of year’s past, the information seems most real when it is relied by the people who were knee-deep in it. Their words and stories are fueled by recollections of their own emotional involvement. At the same time, it’s difficult to actually get an accurate image. I guess it’s the task of those of us observing from afar to piece together various sources into something resembling a sensible answer. Still, I can’t help but feel that doing so detracts from the authenticity of my voice.
How does one argue about an anime from 30 years ago with a person who watched that show 30 years ago?
Oshii Mamoru, director of Ghost in the Shell and its sequel, is very well known in both the American anime fandom and the American artist’s community for his striking visuals, attention to environment and detail, and philosophy-charged narratives. With that in mind, I attended the US premiere showing of Oshii’s latest movie, The Sky Crawlers, adapted from a novel by Mori Hiroshi. Even if it didn’t turn out to be a good movie, I at least knew that I was in for something interesting. In recent years, the declining birthrate has beeen a major issue in Japanese society, and a lot of the suspects fingered have to do with the idea that the youth of japan is having a difficult time accepting the responsibilities of adulthood. The Sky Crawlers, being a movie about literally eternal youths, seeks to address this topic.
The Sky Crawlers is set in the middle of a long war where battles are mainly fought up in the sky by small groups of planes. Kildren, humans who cannot age past a certain point, are a common sight on the battlefield. Kannami Yuuichi, a skilled pilot called into a small base in the middle of nowhere as a replacement, is himself a kildren. Upon arriving, Kannami is initially struck by a strange sense of déjà vu, especially around the female base commander and fellow kildren Kusanagi Suito, but is quickly drawn into the daily routine of a war with no end in sight, unsure of where life will take those who refuse to grow up.
Whatever the intended message is, the delivery used in Sky Crawlers is very unusual. Yes, there are characters. Yes, there is a plot that I’ve described to you. How much they actually matter to the movie as a whole, however, is something I am unable to determine, at least not without a second viewing. Major plot points are delivered quickly and casually, with no clear distinction that they’ve just occurred, and overall the purpose of the movie seems to go beyond telling a story about people doing things to achieve a goal. Whether it’s fighting, talking, relaxing, or having sex, the events in the movie and the elements of the story all intentionally blend together into a disorienting haze, like trying to recall what you ate or what you wore exactly ten years ago.
On a visual level, the movie is as expected of Oshii, who places a strong emphasis on environmental shots. Like his more recent works, Oshii continues to push the incorporation of 3-D and 2-D animation, and though the difference is glaring at first, your eyes will eventually adjust to it and treat it as being a natural part of the movie. The Sky Crawlers also does a very good job of making the viewer lose all sense of proportion. A seemingly endless sky separates one base from another, and for all the advanced technology incorporated into the planes, when they disappear into the clouds they might as well not exist.
I came into The Sky Crawlers expecting at least something interesting, but what the movie did was destroy my sense of distinction between interest and boredom. I kept watching, unable to tell if I was being entertained or if my mind was drifting away. My memories of this movie are blurry at best, and I can’t help but feel that this was the intention all along.
Based on the above image I assume that Pocket Full of Rainbows will be about Eureka’s ascent to the throne of Kei.
Last week the official Eureka Seven website updated with not only a release date (some time during Golden Week 2009) but also an official title. Prepare yourselves for Psalms of Planets Eureka Seven: Pocket Full of Rainbows.
Just the knowledge that this movie is indeed being made and that it hasn’t been inexplicably canned brings me great joy. The title also tells me to play this game and just pretend the little girl is Eureka, or rather Eureka’s tiny alternate movie version.
The movie is described as “One More Love Story.” Also remember that the Eureka Seven PS2 games were described as “Another Boy Meets Girl,” so if you haven’t caught on yet love is an important theme in Eureka Seven.
As for the information at Comic Market, the website says that on Sunday December 28, 2008 they’ll be selling special “Bare Tickets” (I have no what this means) to the first 2000 people to get to their booth. This will allow them to see an advance screening of Pocket Full of Rainbows.
Date: Sunday, December 28, 2008
Location: Anime Booth (Tokyo Big Sight West Building, 4th Floor Industry Booth No.255)
Based on the above image I assume that Pocket Full of Rainbows will be about Eureka’s ascent to the throne of Kei.
OGIUE MANIAX 