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Anime Thread


As some of you know, I am a huge anime geek. (You can check out my collection here.) I’m always looking for new anime to watch. Please, do tell me which shows/movies you’re currently loving, and I will do the same.

I’m going to start out with “Welcome To The Space Show”:

It’s a story about a group of friends that go on a crazy adventure through space during a school trip. I am in love with this anime. The colours are vibrant, the animation top notch and I really enjoyed the storyline. I’ve been recommending this anime to anyone who will listen. It’s a lot of fun.


I was in a Costco the other day (for Europeans, think Tesco and multiply by 100); next to their display of Disney Blu-rays and dvds, they’ve added a display of all-ages Japanese anime like Miyazaki’s Spirited Away, which led one suburban mom to say “What the f*ck is this?”

Me, I was secretly thrilled that anime is breaking through into Big Box culture.


I’ve been watching and/or rewatching a lot of stuff recently, and I finally got around to watching the back half of the Patlabor TV series.

The only recent thing I’ve been watching is Reconguista in G, which has begun serialisation on the Gundam info YouTube channel. It’s quite different from the standard Gundam fare thus far, which I have no problem with. The last time Tomino returned to Gundam we got Turn A - another of the older shows I watched recently - which I loved. I have high hopes.


Disney has done a pretty good job of releasing Miyazaki films over the last few years. I wish they would release everything but at least most of it is out there on blu ray. I want them to release Ocean Waves.

@Lorcan_Nagle Do you have any interest in the live action Patlabor? I haven’t seen much video for it but I’ve seen a few posts.

Another show I’ve enjoyed lately is the CG adaptation of Space Pirate Captain Harlock:

Oh, and check this out: Live action Attack On Titan teaser.


Do you have any interest in the live action Patlabor? I haven’t seen much video for it but I’ve seen a few posts.


I’ve only seen the trailer for the live-action Patlabor but it looked pretty cool. It’s on the list of stuff to track down.


The Boy and the Beast trailer. I like the look of this anime. I really dig this animation style. Same studio as Wolf Children which also had some really nice animation (Reminds me of Eden of the East). Same director as Summer Wars.


PARASYTE THE MAXIM and TOKYO GHOUL are the ones I’m watching lately. Parasyte is very good and close to the Manga. Haven’t read Tokyo Ghoul but the series is tolerable. It is on the edge though, as it has a lot of “typical Anime” things about it that usually turn me off.


I recently watched the Space Dandy series and really enjoyed it. I loved the art style and it has great colours. The stories are funny and the animation is top notch. It’s kind of like a cross between Cowboy Bebop and Desert Punk.


I still need to watch the second series of Space Dandy. The first one was highly amusing.


Excellent! I wasn’t sure if there were more episodes. Happy to hear that.



I think there’s only 26 in total, it was 2 short series


Knights of Sidonia, season 2 trailer. Premieres on Netflix, July 3rd.


Attack on Titan (Live Action Movie):


I have a good friend who’s an Otaku, and he’s got me curious about Anime. I watched Steins;Gate at his recommendation, and now I’m watching Naruto.


Hollywood’s Anime Whitewashing Epidemic: Nat Wolff to Star in ‘Death Note’

Death Note. Akira. Ghost in the Shell. All of these popular anime films are getting the blockbuster remake treatment—starring white actors. It’s wrong, and it has to stop.

On Tuesday, word began circulating that the American film adaptation of Death Note, a wildly popular Japanese manga and anime series, has found the actor it wants to play Light Yagami, the deranged teenage antihero who finds a supernatural notebook that allows him to kill anyone he desires, as long as he know the victim’s name and face. That actor is Nat Wolff, the talented and magnetic star of The Fault in Our Stars and Paper Towns. This should have been wonderful news.

Instead, fans of the series—and of anime in general—emitted a now well-rehearsed, weary sigh of disappointment (and a couple of groan-worthy “White Kagami” jokes on Twitter). It’s the same thing that happened when news broke that America’s big-screen adaptation of Akira, Japan’s landmark 1988 post-apocalyptic movie, would star Garret Hedlund and Kristen Stewart (it has since been shelved). It happened again when Scarlett Johansson was cast as Motoko Kusanagi in the upcoming Ghost in the Shell movie.

It happens every time a beloved Japanese or East Asian-influenced animated work filters its way through Hollywood studios, producing a live-action American version where “American” is taken to mean “white.”

This is nothing new, of course—rewriting Asian stories to fit an American narrative has yielded film treasures like The Magnificent Seven, an Old West cowboy retelling of Akira Kurosawa’s 1954 masterpiece, Seven Samurai. (The 1960 classic is now due for its own retelling next year, this time including Denzel Washington and Ethan Hawke.) Even Martin Scorsese’s Oscar-winning gangster saga The Departed was a remake of the excellent 2002 Hong Kong crime-thriller Infernal Affairs.

But more often than not, the story is taken cut-and-paste style, keeping its fantasy setting and context, and substituting white faces for Asian ones. The results have mostly been stinkers like Dragonball Evolution, which tried passing Justin Chatwin off as Goku, and Speed Racer, which starred Emile Hirsch as the titular character. Even Avatar: The Last Airbender, an American-produced Nickelodeon cartoon series that happened to star Inuit and East Asian-influenced characters, gave all but one of its main roles to white actors in M. Knight Shyamalan’s critically maligned 2010 live-action version. Casting missteps was just one of many issues plaguing these movies, but the extra inauthenticity sure didn’t help.

But they’re just cartoons, right? What’s the harm?

The simple answer is that all-white castings of Asian remakes subtract that many roles from the already scant number available to Asian actors. While incremental progress has been made over the past few years, minorities still accounted for fewer than 16.7 percent of leading roles in 174 American films released in 2013, according to a comprehensive report by UCLA’s Ralph J. Bunche Center for African American Studies. By contrast, minorities now make up close to 40 percent of the U.S. population—and Asians in particular will make up 14 percent of America as soon as 2055, according to a recent study by the Pew Research Center.

In 1965, five years after The Magnificent Seven’s release, Asians were just 1 percent of the population. Turning a cast of Japanese-speaking samurai into gun-toting, white cowboys wasn’t just an exciting creative move, it was a savvy business decision. But now here we are, 50 years later with a very different-looking America—making Hollywood’s perennial reluctance to have Asian actors lead films based on Asian stories seem woefully short-sighted.

The global market for major studio films like Death Note, which is being made by Warner Bros., would also seem to testify in favor of minority actors. Movie ticket revenue in the U.S. and Canada went down 5 percent between 2013 and 2014 alone; but internationally, it increased 4 percent in the same time period, according to a report on theatrical market statistics by the MPAA.

China and Japan, unsurprisingly, were the top two international box office markets in 2014, grossing a combined $6.8 billion—so no one can say they had the global market in mind while casting a non-Asian Light Yagami, either.

So the conundrum remains: America changes, yet Hollywood stays stagnant—especially when compared to the small screen, where minority-led, critically acclaimed TV shows (including one led by Asian-Americans, Fresh Off the Boat) are on the rise. No surprise then that it was the Emmys where this year’s greatest rallying cry for onscreen diversity took place, in Viola Davis’s rousing, tear-inducing speech, when she reminded viewers that actors can’t win awards for roles that are simply not there.


Ping Pong is one of the coolest animes I’ve seen this year. The story is really good and the art style is incredibly cool. I really, really enjoyed this series.



Funimation Aims to Release Evangelion 3.33 in Early 2016

[quote]North American anime distributor FUNimation Entertainment announced in ANNCast that it plans to release Evangelion: 3.33 You Can (Not) Redo on home video in Early 2016. Funimation also confirmed over Twitter that it is aiming for late 2015 or early 2016.

Funimation announced last year that it is working directly with Hideaki Anno’s Studio Khara for the home video release. Studio Khara has decided it will create its own special subtitle tracks for the release.

Funimation planned to release the film on Blu-ray and DVD on February 18, 2014 but noted that the date was subject to change. Manga Entertainment’s release has also been delayed indefinitely.

Eleven Arts and FUNimation Entertainment screened the theatrical print of Evangelion: 3.0 You Can (Not) Redo in theaters across the United States and Canada in January 2014. Funimation is not planning a theatrical release for Evangelion: 3.33 You Can (Not) Redo.

The third film in Hideaki Anno’s four-part remake of Gainax’s Neon Genesis Evangelion anime series earned more than 5.1 billion yen during
its theater run. While the first film hewed closely to the original
television series, the second film went in a different direction, and
the third film went still further in its own storyline.

The planned fourth movie has no listed release date. Director Hideaki Anno is working on TOHO’s upcoming Shin Godzilla film, but said in April that he is making both that film and the new Evangelion film with all his effort.[/quote]


Is that the UK release? Will I never get to see this film!?


I believe it is. I’m sure it will make it’s way there eventually but this delay is frustrating. We Canadians always have to wait so long to be able to purchase anime. It drives me crazy. Sure, I could buy a region free player and buy import copies, or download subs online, but I would prefer to buy region 1 releases, preferably dubbed. It’s probably legal jousting that keeps them away for so long.