Origin: Spirits of the Past

When Funimation claims a gem from Gonzo, they put their heart and soul into doing a great job. Origin: Spirits of the Past is a great gateway anime for people waiting for the next Miyazaki flick.
The story is post-apocalyptic and easy enough to follow. Years ago, “the forest” became a dragon and attacked from its secret base: the moon! Now, the remains of mankind live in the overgrowth ruins of toppled-over cities, trying desperately to coexist with a very dominant and sentient forest. If they do not respect the forest’s authori-tah, the forest will go Swamp Thing on mankind’s ass and steal back the remaining water. Our protagonist, a young boy named Agito, discovers a girl from the past sealed in suspended animation, Toola. Together, they will learn what caused Earth’s drastic shift and discover a way to bring the forest and man together. For hardcore environmentalists, this is yet another film that caters to your self-righteous dogmas.
Origin is a bit of Princess Mononoke without the animals, a bit of Naussica without the flying, and has a walking volcano fortress. Thus, something for everyone. It follows a perfect three-act structure, though several scenes and character choices and seem unearned and rushed for the sake of preserving an hour-and-a-half runtime. The visuals are astounding, from tidal waves to the vehicle designs to the encompassing forest, which is as gentle as it is hostile. This film really captures the beauty of a skeletal sky-scraper sheathed beneath a mossy skin. The soundtrack has the heartfelt ambience you’d expect from an anime aimed at Japanese teenagers. Which is fine for me considering I still think of myself as a teenaged Japanese girl.
The American voice acting is superb, and the script matches very well with absolutely no awkward translation errors, so kudos to John Burgmeier’s work. Burgmeier also provides the voice of Shunack, the film’s very believable and sympathetic villain. Great performances also spring from the well of talents named Christopher Patton (Agito) and Carrie Savage (Toola).
Origin does well to create an original world of decay and growth, destruction and creation. It does very well as a cautionary tale about the corruption of power (both by the forest and man’s technological drive for success.) Frankly I wasn’t expecting such a well-constructed argument. The philosophy of Origin lies somewhere between Transcendentalism and Buddhist detachment from past desires; and oddly enough the difficult dramatic decision lies with both Agito and Toola. Still, in the end, forest=good, fire=bad, drop-kicking a flaming hunk of magma=badass. This was an all-around excellent visual romp that planted its seed in my heart and took root.

Basilisk

“To the one I love; prepare to die.”

A time of ninjas and shoguns. The 400-year-old peace pact between the warring Iga and Kouga ninja clans has been abolished. Now, to decide the political fate of Japan, the top ten of both clans must battle to the bitter bloody end. Yes!
Tragically caught in the middle are Gennosuke and Oboro, leaders of each clan, who must bury their love and hopes of peace to carry out the bloody fate of their clans. No, not love! It’s West Side Story without the dancing. Yes! It’s Romeo and Juliet except Romeo could use Samurai Jack as dental floss! Halleluiah!
What sets Basilisk apart is its stunning production budget. Fast-moving action scenes are balanced with white-outs, magnificent landscape shots and surrealist super-powers that make Naruto’s displays of power look like a dollar-store Christmas wreath.
Basilisk, despite being a ninja show about ninja blowing apart other ninja using ninja techniques, is loaded with driven, believable and empathetic characters. By halfway through the series, when we are down to the final five on either side, trust has been betrayed, loyalties have been forsook, and slaughter is impending. Yes! Granted, the ninja powers defy logic in a way that would make Stan Lee blush, but it doesn’t worry about creating a magic system for the sake of marketing and video game copyrights. Sure, the old guy with the elf ears can stretch his arms infinitely and the paraplegic has a 12-foot sword down his throat, but so what – bloodshed!
The deaths can be just as sudden and surprising as the narrow escapes. You feel the imminent danger in every scene, and the consequences are palpable. These are awesome fights that are spaced out very well with compelling, though predictable, scenes of loyalty, fury, and startling compassion.
Funimation grabbed a hold of this series as soon as they could, though its constant soft core rape scenes and oceans of blood will keep it off Adult Swim indefinitely. I chose to watch the whole series dubbed, and it turned out far easier to follow than the subtitles. Though some characters seem mismatched, and the choppy rhythm falls short as it many dubs, it still holds together well. What hurts Basilisk is the melodramatic performance on both ends for the part of Oboro, who is sadly a flat, generic innocent girl, and there is only so much you can do with imaginative dialogue like, “I love you too much to fight you,” and “Anakin, you’re breaking my heart.” Hint, hint, George Lucas.
I didn’t expect much from Basilisk, but now I have seen its true power, and I will never underestimate Gonzo again.

Slayers - Spells, Swords and Slapstick at its Best

Every fantasy anime falls into many formulaic pitfalls: spells with English names, guys with big swords and even bigger hair, and demon beast resurrections. Slayers, the mid-nineties classic anime, has long ago been recognized as the standard for fantasy/action/comedy. There are many good reasons for this.

Newer fans may be interested to learn that Slayers was announced last month to begin production of a new season, hopefully airing next year. So the excitement has actually yet to begin. Think of this review as bringing an old friend into a new light before that friend is exhumed and revamped by today's computers to remove those unsightly wrinkles and mummy bandages.

Explaining the plot to Slayers would waste more time than the filler arcs of Naruto. Simply put, Lina Inverse is the young, powerful sorceress who can claim more adversaries than Vash the Stampede. She and her badass (though thick-headed) swordsman companion, Gourry, traverse the land avoiding bandits, robbing from the rich to give to their stomachs, and blowing up everything else in between. Every thirteen episodes, an evil monster is reborn to destroy the world until Lina smashes it.

The first season, a convenient boxset sold by Funimation, can be found pretty cheaply these days, which only adds to the bargain of owning this series. Slayers, though slightly younger than Record of Lodoss War, plays through standard adventures with a barrage of zany characters that grow on you, delivering as many laughs as it does explosions. It features that old school cell-framed animation that your grandpappy remembers, which only contributes to the vintage pacing. One of my favorite situations takes place in a city populated by self-proclaimed “champions of justice.” As people charge forward to collect the bounty on Lina’s head, she and Gourry take turns keeping track of how many “champions of justice” they blow away in one blow, knocking down adversaries until Lina proves herself not to be the bad guy. Which is like selling pot to your parole officer.

What I love about the characters is how stereo-typical they can be while breaking the molds at the same time. Though morality is very clear-cut (good versus evil) anyone who proclaims themselves a force of either ultimately turns out to be false. Initially, the homunculus Zelgadas (eat your heart out Moonlight Knight) quickly shifts from villain to ally. The Red Priest Rezo is a world-renowned White Mage/Mother Theresa only until he can cure his own blindness. And best of all, Lina and Gourry never claim to be good or evil, just hungry.

I’m a sucker for old anime humor and mayhem on a medieval scale. Sometimes the pacing brings the action to a rough halt, especially when Lina explains the intricacies of the three schools of magic, but these scenes are few and far between. Slayers loves nothing more than blowing up the monster and getting to the next one. The voice acting is a very early job, one of Crispin Freeman and Lisa Ortiz’s firsts. Just for that, I’m gonna cut them a lot of slack on the mediocre production value.

Not the fantasy genre rewriter that Scrapped Princess turned out to be, but a Hellsing of a lot funnier. Grab your friends and dive into Slayers. Okay, so start at episode five, then grab your friends and dive in.