By Kambole Campbell.
When compared to the decompressed pace of a manga series, the film adaptation Children of the Sea could never feasibly provide all the answers a viewer might seek. With a script adapted by Daisuke Igarashi from his own manga, director Ayumu Watanabe was naturally restricted as to how much of the film’s events he could explain, because for everything to be crystal clear would be to completely hold down their film with leaden exposition. Instead, Watanabe reworks the story into a tale surrounding a girl’s coming-of-age, but also leans into the confusion, turning the film’s wild final act into an almost purely sensory experience, aligning the audience with the surge of the protagonist’s own incomprehensible emotions.
Following the release of the Season 1 soundtrack vinyl earlier this year, we're delighted to announce that our upcoming Attack on Titan Season 2 Soundtrack vinyl releases will be arriving in February 2021!
There will be Deluxe (pictured below) and standard edition vinyl versions available, plus a CD version too!
Pre-orders for these will launch this coming Friday (11th December) at our AllTheAnime online shop and our North American partners stocking this as well. (Details further below.)
If you want to skip all the details on this and get straight to listing at our shop, see them at the link below.
And if you're a North American customer you'll be able to order at RightStufAnime.com (Please note at time writing listing may not be present on the site)
By Andrew Osmond.
Planetes is an anime space series that doesn’t have any giant robot suits. Nor does it have any aliens, androids, cyborgs, terraforming, telepathy, black holes, interplanetary empires, galaxy-spanning travel, chatty computers, cloning, time travel or freakishly gifted adolescents.
Planetes is also widely hailed as one of the best science-fiction anime ever made, winning Japan’s prestigious Seiun SF award for Best Dramatic Presentation in 2005. The source Planetes manga by Makoto Yukimura had already won the Seiun’s comics prize three years earlier, making it a rare case of the same story winning Japan’s top prize in two different media. In both manga and anime form, Planetes can be described as “hard SF” – that is, science-fiction that’s rigorously grounded in real science or carefully extrapolated from it.
The hard SF label can have misleading connotations, suggesting something cold and clinical like 2001: A Space Odyssey. That image was busted in the 2010s by recent, rousing hard SF films like Gravity and The Martian (and perhaps Interstellar, though its “hard” credentials are debatable). But all these films were made years after Planetes, which is an immensely human, humorous series that just works very hard at making its fictional future plausible. Continue Reading
By Jonathan Clements.
Koichi Uehara (Takahiro Yokokawa) is the only kid in town who isn’t going somewhere exotic for the holidays. His friends are off to Hokkaido and Bali, but he’s stuck in boring old Tokyo. Even a trip to the grandparents’ place is hardly exotic, as they only live a few miles away in Saitama. But just as My Neighbor Totoro was a virtual vacation for a latchkey kid, Summer Days with Coo delivers a magical experience for the Tokyo teen stuck looking out the window all through July. Koichi finds a rock by the river, which turns out to contain the hibernating body of a kappa – a Japanese water sprite. He brings the beaked, turtle-like creature home...
By Jonathan Clements.
With three hundred years to serve in consecutive life sentences, three hardened criminals in the 29th century are given an offer they can hardly refuse. If they are prepared to take on dangerous law enforcement cases, they can knock years off their sentences. But if they disobey orders or try to run, they will literally lose their heads.
Cyber City Oedo 808 (1990-91; UK 1994-95) focusses on just three of the crooks-turned-cop in the Cyber Police, the anti-social hard-nut Sengoku, the boxer-turned-hacker Gogol, and the androgynous master-thief Benten. From the opening shot, in which the camera pulls back from the view in Sengoku’s orbital prison cell, the production is marked out unmistakeably as a work by director Yoshiaki Kawajiri, much beloved by foreign audiences in the 1990s for his moodily lit, flashily shot works of urban gothic, and who would go on to make the fan-favourite Ninja Scroll.