Real Robot Sincerity: Pacific Rim Uprising

I enjoyed the hell out of the first Pacific Rim. Being able to see a big-budget film directly inspired by the giant robot anime I love was all I could ask for. At the time, the film under-performed at the US box office, which made the prospect of a sequel fairly unlikely, but against the odds (OSCAR AWARD-WINNING DIRECTOR) Guillermo Del Toro managed to produce an update in Pacific Rim Uprising.

Taking place ten years after the original film, Pacific Rim Uprising focuses on Jake Pentecost, son of the deceased hero Stacker Pentecost from the first movie. A prodigal son, Jake appears to be a scoundrel in every way his father was a shining example of humanity, but a chance encounter with a mechanically gifted young girl named Amara Namani leads Jake on the path to redemption. Originally kicked out of the military despite his skill for piloting the titanic Jaegers that helped defend humanity from the vicious Kaiju all those years ago, he reluctantly returns to fight and train a new generation of fighters.

I have not seen the first film since I originally watched it in theaters, so my memories of it going into the sequel are faint. That being said, the general impression I got from Uprising is that it’s simply a superior film in most respects, and especially in terms of being a piece of giant-robot fiction. The action is snappier and more stylish, with plenty of robot fighting to satisfy genre fans. The acting is much more fluid and natural, thanks in large part to John Boyega’s performance as Jake Pentecost being amazing compared to the wooden performance of Charlie Hunnam as Part 1’s protagonist Raleigh Becket. The characters are developed just enough to get a sense of their characters and their personal development without slowing down the pace of the film or its emphasis on combat (see Girls und Panzer der Film for a similar example). In a way, the film feels a little more “cartoonish,” like it’s really trying to bring more Mazinger Z into its world, but the sincerity of the performances also makes it feel more serious as well.

A lot of the film takes place on a Chinese military base, and both mainland Chinese and Taiwanese characters have a much greater presence in Pacific Rim Uprising compared to its predecessor. I believe this has to do with the great success China had in bolstering the first film’s box office success. The US might not have been so keen on super robots, but it looks like Asia took to them like young boys to combination sequences.

Pacific Rim Uprising is worth watching for any mecha fan, and it doesn’t even require seeing the first film to really get it. As excellent as I think the film is, however, I feel a bit hesitant recommending it to skeptics. What makes the film work is how it embraces the tropes and the feel of giant robot shows and movies, because sincere fondness for that type of storytelling is what holds the film up and provides the structure by which viewers can delve deep into the fast-paced and emotional world it presents. On the flip-side, an open mind can do wonders, and Pacific Rim: Uprising will likely be rewarding to those willing to extend their hand first.

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Where the American Anime Fandom Goes

I’ve been living outside of the United States for the past few years, though funnily enough I’ve spent every 4th of July in the US. This year is an exception, but at the same time I will also be heading back home soon. So at least for the foreseeable future, this is my first and last Independence Day in Europe. What better time then to talk about America? I haven’t done that in a few years either.

Specifically, there are a bunch of thoughts related to Americans and anime fandom that have been whirling around in my head as of late, and I’m using this opportunity to try and organize them into some cohesive ideas. Not sure if I’ll succeed or not but that’s part of the entrepreneurial spirit or somesuch. AMERICA.

Two pieces of news that caught my eye over the past few weeks have been the announcement of a sequel and animated television series for Pacific Rim, and the fact that the recently revived Toonami block on Cartoon Network is doing better and better. In the case of Pacific Rim, one of the biggest talking points concerning the first movie’s release was that it didn’t do well in the United States, but in contrast found some success nternationally, especially in China. The idea permeating Pacific Rim and its “failure” was that it needed to do well domestically for it to have any real hope of continuing, but this news has shown otherwise. Scott Mendelson over at Forbes argues that this is the first movie that has received a sequel despite of its lack of success at the American box office, and may hint at the increasing importance of that overseas market. Various arguments have been made for why Pacific Rim didn’t click with American audiences, from idea that “mecha” isn’t a popular genre in either the US mainstream or among its anime fandom, to the opinion that it was just a bad movie, but there’s something intriguing about the idea the US is not the epicenter of this property’s future.

In contrast, it looks like anime is in a certain sense “rediscovering” its American fandom through Toonami. For a long while anime looked like it was on its way out of the American geek culture, as the presence of Japanese cartoons on Cartoon Network faded from their heyday in the early to mid 2000s. The “Toonami” concept itself, a block dedicated to anime and anime-like cartoons, even went away in 2008. And yet, whether it was because the folks in charge smelled profit in the air from anime once more or there was just some personal desire somewhere to bring anime back to the fore of Cartoon Network, Toonami has returned and is doing quite well.

Historically, anime has not needed its American fanbase. Sure, there have been a lot of viewers, but anime’s domestic market is Japan, and it also finds success around the world, in Europe, South America, and Asia. The US certainly has an online presence when it comes to anime discussion and enthusiasm, but over the years it’s been easy to get the impression that this fandom is a paper tiger, especially when it comes to popular shows among the internet fandom not translating to home video sales. Of course, this also has something to do with how expensive anime was for a long time (and still kind of is relative to other forms of media), but overall it wouldn’t be surprising if people perceived American audiences of anime as just somehow lacking. Now, however, not only are American viewers tuning in to catch Toonami and its latest anime, but the shows people are most interested in are also the ones that have developed large fanbases online as well.

It would be remiss of me to minimize the importance of the actual shows themselves, as I think regardless of anyone’s opinions of these anime, it’s fairly easy to see why series such as Sword Art Online (MMORPG plus swords and sorcery), Attack on Titan (violent post-apocalyptic world with large cast of interesting characters), and Black Lagoon (guns and action) would do well with an American audience even if all three are significantly different from each other. One thing that I find interesting, however, is that at least for the first two their Japanese fanbases are also quite substantial. In this situation, you have the support of a hardcore Japanese fanbase, a mainstream Japanese audience (especially for Attack on Titan), a hardcore international and American fanbase, and a relatively mainstream presence in the US as well. It’s as if the division between fan and casual has been collapsed, and interests that are often viewed as mutually exclusive now overlap.

So on the one hand, you have a property in Pacific Rim where the American audience turns out to not be as important as originally thought, and on the other hand you have in Toonami the rediscovery of an American audience that is, while arguably not significant, still good to have. I feel like there’s some connection or relationship here but I’m not exactly certain of what it is. One thing that might help is that I recently read an academic article from 1998 on Sailor Moon, which was written during the time that Sailor Moon was already a runaway hit in Japan and was beginning to air in the US. Though Mary Grigsby’s “Sailormoon: Manga (Comics) and Anime (Cartoon) Superheroine Meets Barbie: Global Entertainment Commodity Comes to the United States” is more about arguing how the series is influenced by cultural hegemony (essentially the continuous and subconscious reinforcement of how things are in society) yet somehow defies it, what caught my attention is the fact that a note at the end mentions how by the time this article was published Sailor Moon had already been a commercial failure in the US.

Sailor Moon was not the profit machine that the various companies supporting its US distribution had hoped, but in light of a new  Sailor Moon anime in celebration of its 20th anniversary and the clear continued significance it has to American anime fandom, it’s clear that the show has had an impact, and possibly that what was seen as a failure of the show at the time may have been more a failure of marketing. To some extent, this may have had to do with the cultural landscape of the US in the 90s. After all, in contrast to the revising of Sailor Uranus and Sailor Neptune from lesbian lovers to cousins back then, currently more and more people in the US are accepting or at least tolerant of same-sex relationships. However, there’s another important point to consider. In the Pacific Rim article, Mendelson also writes that “The deciding factor separating Pacific Rim 2 from Robocop 2 may be the passionate fan base of the former. It’s easier to talk financial parties into a sequel to a somewhat under-performing original if paying audiences actually liked said original.” Sailor Moon grew a powerful fanbase that the models for success at the time couldn’t properly account for. As the American anime fandom grows once more, now may be the time for both old and new fans to find some common ground.

 

 

 

Pacific Rim Podcast

I was recently on The Cockpit discussing the recent giant robots ‘n monster film Pacific Rim along with the host Patz, as well as the Reverse Thieves. The podcast is super spoileriffic so it’s recommended for people who’ve already seen it.

If you have any love for giant robots and/or giant monters, you might not necessarily love the movie, but you’ll at least like it a fair deal.