labingi: (riki)
(I will now surprise no one by writing about Akira again.)

Akira (1988) is timeless. If you’re okay with violent anime, watch it. If you saw it a long time ago (and are okay with violent anime), watch it again. You may be very pleased at how well Katsuhiro Otomo’s twenty-five-year-old anime film, loosely based on his lengthy manga, stands up both as a story and work of cinematic art.

Akira is a near-future dystopian drama set in a post-apocalyptic Neo-Tokyo run by corrupt a government, a nefarious military-scientific complex, and—nearer the ground—by teen motorcycle gangs. The story centers on teen bikers, Kaneda and Tetsuo. Kaneda is the flashy, badass gang leader, Tetsuo the runt of the pack, who, we can guess, is only included in the gang because he’s Kaneda’s best friend. This power dynamic changes, however, when Tetsuo is abducted by the sinister Akira project, concerned with channeling massive energy through children. Tetsuo becomes the latest in a line of young test subjects, including the eponymous Akira, to have their lives and health devastated in exchange for superpowers. To save Tetsuo, Kaneda joins a band of revolutionaries and infiltrates the top secret Akira installation, only to discover that the friend he set out to rescue is no longer the boy he knew…

Read the rest at The Geek Girl Project.
labingi: (Default)
Rambles in which Gungrave and the Iliad are a central examples for thinky thoughts on the nature of narrative, archetype, modal displacement, history, and personality typing.

Now that I've lost all my readers...

Gungrave has made a whole lot more sense to me since I figured out that its theme can be summed up as Achilles and Patroclus if they broke up. Of course, Achilles and Patroclus don't break up. Why? This begs comparison between ancient Greek epic and contemporary seinen anime.

Enneagram, Wheel o' Modes, Nature of Tragedy, Tori Amos, with Spoilers )

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