Memories

Due to a sudden restructuring of the MAL database, what you're reading is a review of only episode 2 and 3 of the Memories OVA: Stink Bomb and Cannon Fodder:

STINK BOMB:

Directed by a guy who has been involved in plenty of great anime, Stink Bomb is a gloriously insane depiction of what not to do in the face of a bio-threat in the shape of an utterly witless Japanese salaryman with a cold and penchant for surviving military strikes.

The set-up is simple: dude takes wrong medication at his workplace; everyone around him starts to die. The brilliance is in the farcical nature of the ... anime, the Dr Strangelove-esque incompetence in handling the national crisis. Wherever the poor bastard goes, he wrecks havoc and has no idea why; he doesn’t question it, and he shouldn’t because this black comedy would never work otherwise.

The music is light-hearted and quirky, totally in sync with the irreverent style. The animation is decent, pleasant to look at whether we're watching characters interacting with each other or landscapes being destroyed by attack helicopters and tanks. The direction is solid, with lots of hilarious pay-offs.

A comedy classic, with an ordinary man in an extraordinary situation who doesn’t help matters by escalating them for our unbridled pleasure. Thanks must also go to the countless numbers of soldiers and generals who died in the name of comedy. I salute them all.

CANNON FODDER:

Cannon Fodder. Literally. Humans are made to fire cannons. That is their life, their purpose, their reason for being in Katsuhiro Otomo's brilliantly directed tale.

By this point we can successfully call him an auteur; his creative stamp, his identity, is clear in all his works. The unconventional character faces, the extremely detailed backdrops to his stories. The physicality of the technologically advanced society, draped with heavy duty cables and dirty pipes everywhere; bikes and bullets in Akira, steampunk in Steamboy, no clinically clean and sleek holographics in Otomo's worlds.

And its like so in Cannon Fodder. A military-minded society where every human being's life revolves around the habitual firing of gigantic cannons into a far-off indistinct target. Yeah, there's shades of dystopian literature at play, like Orwell's 1984 poking its head. It's not forced or clichéd though; Otomo has made this dystopic nightmare his own creation for us to marvel at.

His direction is brilliant, so good that it might actually pass you by without you even realising it. He's not into blowing you away with over the top theatrics, he doesn’t fling his camera about like a hyperactive child. This is a master of cinema at work here; he follows the action like he was born with a steadicam attached to his hip. We revolve, flow, and pan around his military industrial complex in service of the narrative, not just for style.

Some scenes just go on for over a minute without a single cut. It's like he's channelling Martin Scorsese, Paul Thomas Anderson, or to be more current Alfonso Cuaron, into the anime medium, always keeping the visuals fresh, inventive but never sacrificing narrative coherency in the process.

All this is never more clear than in the firing of the first cannon. Watch and marvel at the flawless direction. Pay close attention at the movement of the camera, it refuses to cut away, everything is staged to service the story, Otomo makes this long sequence look easy. It's probably one of the greatest scenes in the history of anime.

Then I realised something. After this scene, the camera never cuts away all the way to the end. I went back and watched the movie from the beginning and realised the camera never cuts away during the entire movie. Not one of the greatest scenes in the history of anime after all. Cannon Fodder is the greatest one-take in the history of anime, and if it were in live action then it would be the best in cinema, period.

It's nothing but one ingenious transition to another, creating the feeling of being immersed in a city swarming with life at every corner. Katsuhiro Otomo is one of anime's greatest directors, tragically underrated or brushed off as just 'the guy who made Akira', but he is so much more than Akira, he's a visionary filmmaker continually striving to define anime as a brilliant medium to show us all the wondrous possibilities of the animated moving image.

Memories is an anime movie co-produced by Madhouse Studios and Studio 4°C, and it also was co-directed by Tensai Okamura, Kouji Morimoto and Katsuhiro Otomo. It is a collection of three short movie, each directed by one different director and every one are adaptations of three of Otomo's short stories.

I am going to address every story separately, as I think everything will be clearer this way. I am also going to say my final remarks at the end.


Magnetic Rose:

This is the only short of the three that deserves to be called Memories. The atmosphere is done in an incredible way that always leaves the ... viewer on the edge of his seat, expecting something to happen and creating even more tension in the process. The visual style plays a big part on that and it also is pretty and well-detailed, but visually old.

This short as a whole is incredible, actually, I think that it would have been actually better as a sole and full-length movie, as that way we would have been able to explore this wonderfully tragic story with more time and it wouldn't have to be paired with the other movies. Needless to say after that, Magnetic Rose is my favorite short of this collection and the best one, by far.


Stink Bomb:

Supposedly, this short was comedy, but no one in the room I watched it laughed. More than that, the story feels unimaginative and the characters are so ridiculously dumb that it makes you wonder how they became scientists of that level. Despite that, I got to say that it is very pretty, albeit a bit old-styled.

This was, for me, a terrible short. I actually was glad that it ended. The quality drop between the two first short is astounding actually. I can't really recommend it to anyone.


Cannon Fodder:

This short is, at least for me, a well-defined criticism to some cultures and elements of our society. In that it is pretty successful, but it doesn't manage to tell a particularly interesting story in the process.

Its most marking characteristic is its visuals, specially when paired with the awesome soundtrack that accompanies it. I would categorize the visuals as experimental and unique. Also, it is not really possible to explain it, you just got watch it to understand it. Also, it uses a trick similar to the recent Birdman to make it seem as if the movie is just one continuous shot.

Cannon Fodder is experimental and interesting, but it definitely isn't something everybody would enjoy. I would recommend it to people who enjoy experimental stuff or this style of criticism.


Final Remarks:

As a collection, Memories fails, its title doesn't fit, the themes have nothing in common and, overall, it isn't that good. The only great short it has is Magnetic Rose, that is an incredible sci-fi. Because of that, I can't recommend it whole-heartedly to anyone. My advice is: watch only the first short and, maybe, give the third one a try if you enjoy that type of stuff; just skip the second one, for your own sake.

Probably the most underrated anime piece of all time.

Magnetic Rose really shows how far animation can go in terms of direction and perfect pacing. Some of this was probably the inspiration to much of Cowboy Bebop, redefined space sci-fi anime by allowing music to take a much larger role in the story telling. There is some nice CGI that doesn't distract from the film.

STORY/CHARACTER
The story, which I heard was co-written by Satoshi Kon, is very memorable and well-plotted. It's obvious that much work has gone into perfectly balancing the scenes and using them wisely to help develop the characters in such a short time.

ART
The artwork ... and animation are almost unparalleled. I rarely see animation so fluid, detailed and beautiful, in either anime or western animation. The characters are always doing something, even while they are talking, albeit subtly, it helps to develop who the characters are. I think the animation rivals that of Akira, Wings of Honneamise and Angel's Egg.

SOUND
The music is beautiful, fully orchestrated and operatic. It's very well paced with the progression of the scenes to such a high degree, it is a work of technical expertise. Even if you dislike opera, you will still probably enjoy how it fits with the scenes, the story, and the plot. It gels nicely.

OVERALL/ENJOYMENT
Overall, Magnetic Rose is my favorite sci-fi anime. I wouldn't really consider the short length a flaw, since I consider that this film is a piece, and makes good with the time it's allotted to. Had it been longer though, we could learn a bit more about the characters, which could increase its lasting appeal. However, I firmly believe that this beautiful piece of art is a masterpiece.

Memories is a collection of three anime shorts: "Magnetic Rose" directed by Koji Morimoto, "Stink Bomb" by Tensai Okamura and "Cannon Fodder" by Katsuhiro Otomo, and Music by the amazing, outstanding and perfect Yoko Kanno.

Magnetic Rose-

the best of the 3 no doubt about it, this story is all about reality and illusion. Would you want to live in a perfect world, where there is only happiness? Of course you would. But what if this perfect world is nothing but an illusion? That's the question this movie asks.

The movie handles the question very well and doesn't really give an answer, leaving the viewers to ... form their own opinion. The last scene in particular is extremely beautiful and will keep you thinking long after the credits roll.

Stink Bomb-

This is the most lighthearted of the three movies, as you might expect from its hilariously absurd premise. It belongs to the genre of dark comedy. People die all around our helpless hero, the upbeat, weird-fun, jazz soundtrack makes this even more awesome. The lighthearted Stink Bomb was meant to be just that: A fun little romp that should elicit a smile after the grim Magnetic Rose.

Cannon Fodder-

"Everyone is provided for ... but no one is truly happy", the best thing one can aspire to be is the commander of a cannon. The setting itself is simply neat to watch in its industrial glory, and the message it tries to convey seems to be an indictment on the extreme level of conformity inherent in socialism.

Overall- This was an amazing experience for me and without a doubt i will be re-watching it every year for the rest of my life.

Memories is a 1995 animated anthology film series composed of three unrelated sci-fi stories, focusing on the individual themes of each story than a core theme throughout. However, they do all share a technical and inspired approach to their visual style, boasting some of the most spectacular animation Japan had ever created for its time. All three shorts were based on stories written by Katsuhiro Otomo, known for creating the visual spectacle that is Akira, and here he serves as producer and the director for the last episode, working with some of the industry’s biggest names to deliver arguably the greatest anthology series in all ... of anime. Because of the structure of Memories, this review will look at each separate part in chronological order, starting with the most “memorable” part.

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Magnetic Rose
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To put it in one word, impressive. It boasts some of the most resplendent animation and music that compliments the unnerving tone and setting, along with the script being in the hands of Satoshi Kon. The short chronicles how the Corona, a salvage freighter in deep space comes upon a strange space station after responding to a distress signal. The two engineers of the crew, Heintz and Miguel, enter and discover a luxurious European interior that once belonged to famed opera singer named Eva. As the two engineers further explore they both become engulfed in Eva’s memories through a series of paranormal encounters, with both men each reliving their own memories.

For a ghost story, this is one of the best I’ve ever seen. In a 40-minute duration it delivers on capturing the essence of the anthology title, creating a haunting yet intriguing world of one’s past, and presents a disturbing message of the dangers of living in the past. Eva is a literal representation of that very message and attempts to lure both men into her past, and while some may resist, others might be more willing to fall into the trap, seeing it as an escape to a better place. Magnetic Rose explores love lost and the desperation of a lonely person determined to regain a kind of love so precious, no matter what the cost. This idea is woven masterfully into the plot, making it as thought-provoking as it is terrifying. Kon’s style of storytelling is also present here, blurring the lines between reality and hallucinations and keeping viewers thinking throughout its duration. Fun fact for any film buffs out there: This short also holds references to other sci-fi films such as Alien and 2001: A Space Odyssey with certain scenes, yet never feels cheap or derivative. Magnetic Rose has these familiar elements and makes them feel fresh, a testament to the staff behind this show. The overall story exudes intrigue and ends in a way that answers enough questions to feel satisfying and make sense, yet leaves enough to viewer interpretation to leave its mark.

Satoshi Kon was also behind the art direction and like the story, it’s stunning. The fluid animation, cinematic techniques and overall attention-to-detail make Magnetic Rose a marvel of animation. Considering this came out over 20 years ago by the time I’m writing this, and still looks incredible. The scenes in space alone demonstrate how impressive the show is on a technical scale. Despite looking dated with its art style and not being vibrant or colourful, Magnetic Rose shows that there is more to animation than simple visual look. Meanwhile the sound was composed by Yoko Kanno and is mostly operatic, matching the setting and tone of the tragic story perfectly. Voice acting was great all around with Eva’s voice actress in particular being breathtaking in her role. Her version of “Madame Butterfly” is awe-inspiring, even if you dislike like opera, you will still probably appreciate the piece and the overall music in general with how it complements scenes so effectively. Magnetic Rose excels in so many ways that the only way I could see it have been better is if it were its own stand-alone movie. And on that note, I am very surprised this story has not even been rumoured at all for a potential Hollywood adaptation considering the high potential for a successful anime adaptation. It is the highlight of this anthology and is the part of Memories that you will strongly remember.

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Stink Bomb
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Here Memories transitions from haunting beauty to a dark comedy that uses satire to demonstrate how stupid humanity can be. The change of tone and pace can be seen immediately from the start, showing a rather overly cheerful television program with fitting music and colourful art compared to Magnetic Rose. Stink Bomb follows Nobuo Tanaka, a young lab technician of a hospital trying to cure his cold and when trying to find a new cold medicine under development, he takes the wrong pill; the ‘red pill’. But instead of finding enlightenment, this buffoon finding all his fellow employees dead and panicked, rushes to deliver the experimental drug he mistook for cold medication to headquarters in Tokyo. Unbeknownst to Nobuo, his mistake is the cause behind everyone in the hospital dying, with him now spreading death and destruction everywhere he goes without him even knowing. Because of this, Nobuo becomes a target of assassination and kidnapping by the government.

Most people find Stink Bomb easily the worst of the three entries, feeling like a 40-minute long dumb joke that wasn’t funny to begin with, however I feel as though Stink Bomb gets too much negative buzz than it deserves. It’s a light-hearted take on how foolish our species can be when in dire straits ala Kubrick’s Dr. Strangelove, ridiculing such in over-the-top comedic fashion. The idea that a lab technician is so unbelievably stupid is not something that I consider detrimental to the show; his density fits the kind of comedy the show is going for and is the perfect example for how one man can cause such disaster and trigger-happy militants can further the damage with both ease and lack of common sense. Even if you did not find the comedic style to your liking and I myself will admit that I did not find it that hilarious apart from some overexaggerated missiles, it is definitely an entertaining short that I never once found dull.

The animation is the weakest of the three, lacking the technical quality, art direction and sheer unique look of both Magnetic Rose and Cannon Fodder. It also looks the most dated, but still holds up enough to not lessen the experience and contains some of the most action-packed scenes with fluid animation to match. The music is arguably the best part of the short, composed of lively jazz expertly incorporated throughout and is surprisingly appropriate for Stink Bomb’s chaotic style of comedy. Both the animation and sound add to the story’s light-heartedness, and that’s exactly what Stink Bomb strived for. If you come into this looking for some sort of hidden meaning, you will be disappointed. Its intentions are purely to elicit a smile on your face, and for me, it succeeded.

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Cannon Fodder
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Cannon Fodder is aesthetically the most intriguing of the three shorts, creating a world comparable to a communism dystopia filled with massively-oversized cannons that fire at an “enemy moving city” that is never visually confirmed by the show; clearly an allegory on society. Cannon Fodder is the most literal title this show could have had. Everyone’s life revolves about firing cannons; the men work the cannons, the women make the shells, and the children are taught on the mechanics of firing cannons. Cannon Fodder looks at the life of an average family on an average day in this bleak world. We see the father going through the motions as he loads cannons, only living to work, to the naïve child aspiring to someday be the man who fires these cannons. It’s a dreary 30 minutes that leaves you in a bleak state, having seen how bleak these characters’ lives are and that it won’t change.

Cannon Fodder is certainly not for every anime fan. It’s a short similar to artistic anime like Texhnolyze that are merciless in their depiction of a hopeless world. It’s also a highly political film, with its critique of militarism, socialism and propaganda very noticeable throughout the story. It’s shown the leader of the city is nothing more than a chubby man, yet is portrayed through portraits and such as a fit, powerful leader and worshipped by civilians. An interesting fact: none of the characters are ever given names, another result of living in this kind of world where cannons are valued more than the individuals that work on them. The premise and story of Cannon Fodder is simple and not subtle in the slightest, making it even more frustrating to some viewers. However, considering how political first-world countries have gotten in recent years, I feel like this short is worth the 30 minutes it takes to watch.

The artstyle for Cannon Fodder is ugly, no doubt about it, and it complements the dark, depressing vibe the world has. The palette of greys and browns gives the city a decaying, decrepit look that mirrors the people belonging to it. Steampunk elements blend into the city seamlessly, with cannons sticking out of every building present. The people themselves don’t even look human, with sickly grey skin and sunken eyes look more like they can straight out of a nightmare than anything resembling the kind of world we live in. From a technical perspective, the attention to detail is perhaps the best of the three shorts, but what really makes Cannon Fodder’s animation so great is Otomo’s direction. The entire short is one continuous sequence without a single cut. Can you recall an anime you’ve seen that has no cuts in its entirety? Otomo utilizes an array of cinematic techniques and transitions that blend in with the story and animated scenes so well that they may go unnoticed to the average viewer, and that is in my opinion the sign of a master of cinematography. Cannon Fodder is quite possibly one of the greatest one-takes in the history of cinema in general and like Akira, is a testament to Otomo’s ability as a director.

In conclusion, Memories is not your typical anthology series; it does not have any overarching narrative that ties the three entries together. But what Memories does contain is a unique collection of short stories that individually showcase some of best animation the industry had at the time and it still hold up. But saying that its value only resides in the animation undermines other great aspects of Cannon Fodder and Stink Bomb such as directing, atmosphere, themes, etc., and nearly everything about Magnetic Rose. None of these films should be ignored and are all worth the time it takes to experience each of these wonderful pieces of animation.

This movie has three lil movies inside, I'll name them in order of appearance -"Magnetic Rose", "Stink Bomb" and "Cannon Fodder".

The first episode "Magnetic Rose": I felt that it reflected the title pretty well- the theme definitely correlates to memories. This was probably the most impressive in terms of story and art- the only complaint is that this would've been ideal if it was turned into a full-length movie instead of being thrown into a 3 episode movie. But that's just me. The story is basically about two space dudes from the future exploring the interior of what was once home of a famous ... opera singer of the century (our generation).

The second episode "Stink Bomb": I'm not sure how it relates to the title at all. This was the most humorous and light-hearted of the three. It's about a chemist who takes a pill right before he sleeps and then he wakes up with everyone around him dead- it sounds very dark and depressing but they managed to keep it surprisingly mellow somehow believe it or not. I enjoyed this one a lot as well.

The third and final episode "Cannon Fodder": This felt a bit underwhelming in comparison to the first two, no offense. In terms of visuals this was probably the most unique- it's very rough and gritty but it can be very charming. Its about something comparable to the Industrial Revolution and the war around the early 1900s. I always kind of waited to see the little boy the majority of the time as he felt to be the main character but sadly he doesn't get as much screen time as i hope he would. The only thing that corresponds to memories is the little boy saluting a general from the past and he dreams of eventually becoming one instead of being a cannon launcher like his father.

Overall: It's pretty good- but if i were you i'd watch it all in reverse (episode 3 first, episode 2 second then episode 1 last). It'd probably be more satisfying than if you did it in order. There isn't a chronological order to it anyway it's just three different movies with some connection ..with i guess the theme of memories tucked inside.

Memories is a package film consisting of three short films: "Magnetic Rose", "Stink Bomb" and "Cannon Fodder". Below are the short analysis of each.

Episode 1: "Magnetic Rose"

Although this episode was directed by Koji Morimoto who directed The Animatrix I must note that the script was written by director Satoshi Kon who is much more well known today for such films as Perfect Blue, Millennium Actress, Paprika and shows like Paranoia Agent.

This is a story of space junk collectors who embark a space structure while trying to respond to an SOS call. There they find a luxurios European Neo-classical interior, the owner of it ... being a once famed opera diva, Eva. While still trying to locate the distress call the story leads the characters into the world of memories of Eva who does not wish them to leave. Thus this science fiction story turns into a thriller ghost story. Although they seem to enter her memories they also end up re-living their own memories. The story moves at the a slower pace but the spectacular visuals and thrilling opera music is what keeps you waiting and puts you in a little corner of yours. Thus, you not only watch this story enfold, it includes you and makes you think about the things that you yourself would end up hallucinating if you were there with the two crew members. It is interesting how such a short story would get you to care about and get to know the characters even though they are "only" space junk collectors.

The animation is beautiful with wonderful visuals ranging from the European Neo-classicism to the science fiction/futuristic graphics mandatory for such a setting. The animation thus complements the story excellently as well as the music does.

What one would not like in this episode is perhaps the slower story and perhaps the psychological games that are being played, but I assumed this would not please only a select few.

Otherwise, I would call "Magnetic Rose" as the best out of the three episodes from the collection. If not for its art and music, then for its story most definitely.



Episode 2: "Stink Bomb"

Stink Bomb is about the a young man working in a lab who after getting a cold takes a new medicine developed by his boss. He takes a nap and after he awakes he finds everyone at the company dead. He is soon contacted by the superiors who tell him that he must bring the pills to Tokyo as those pills were developed secretly by the government and police must not find out. However, on his way to Tokyo we find out that his body is releasing a stink that makes everyone around him die. The government has a new objective: to kill the man.

Even though the story has presented us with a serious matter, it could be seen as more comedic than serious. However, although less serious in its development, the story can be seen as a criticism of politics, news reporting and blind order-following in the present day society. We have a government in secret, conspiring with another government (the U.S. in this case) for military reasons. On the other hand, news reporters are risking their lives in order to not just save a human life but get the best news story. And finally we have a young man following the orders of his superiors without even caring about what happens around him and without noticing that everything around him dies. His will to follow his orders is seen in the twist in the end when he takes human stupidity to the next level.

The animation in this episode is fine, nothing you have not seen already. However, seen as the part of the collection it is the weakest one, and the most conventional and less creative. It may be possible that the creators wanted to focus on other things like the themes I briefly discussed above but it gives a good comedic addition to the collection.

The comedic atmosphere is even more supplemented by the funky and jazzy music.

What one might not like about this episode is the conventional artwork and more conventional premise (the government secretly developing a unique pill) and conventional problem-solving (seen in the U.S. already having a suit that was recently developed) but it is all working out in the end.



Episode 3: "Cannon Fodder"

The last episode in this collection is Cannon Fodder by Katsuhiro Otomo. The story focuses on a boy, his mother and his father on a typical day during which they all work in different departments in the maintenance of huge cannons that are on almost every building in their city.

The story features a firing of a cannon at the enemy. The people are shown as well disciplined and organized and they do get punished for a single mistake made by them. The military official who would push the firing button is presented as theatrical and very procedural. The story then shifts to lower levels of the city and we are shown the factory where the boy's mother work with other women. The lunch break is in process and we see unsatisfied woman not willing to cheer and salute but is only pushed by another woman to show solidarity. We see that they are unsatisfied yet no one is openly revolting except the environmentalists. These environmentalists are shown in the streets protesting the air pollution caused by the cannons, but no one is talking about the enemy or the economy, or the terrible situation they are in. This just shows how no one dares questioning the government and their "war efforts."

We are left with questioning who are these people fighting and why and that answer was left unanswered. We are only told that the enemy has a "mobile city". If we look it through the Orwellian perspective then we might come to the conclusion that there is no enemy city, that the country's economy is based on having an imaginary enemy, which they fight and which leaves citizens abiding the militaristic/fascist government. To make its citizens satisfied the government does opt out to report on great success achieved by their subjects.

At the end the boy asks what we would want to ask the director and the father tells him that he will understand when he gets older. The boy goes to sleep wishing that he becomes a great soldier, thus showing us the brainwashing he has been gone through and showing us that there is no brighter future for the city with its future cadre having goals like that in their childhood.

This episode is characterized by Otomo's visual departures from the conventional anime. At times the character design does not even look human. Almost all the buildings are equipped with large cannons. It very much Orwellian and militaristic, thus the art very much reflects this bleak atmosphere. It does, however, resemble Otomo's steampunk style and work. The art borrows not only from steampunk visuals but also dieselpunk and Nazi German military outfits, as well as typography that is a combination of Cyrillic, SS symbols, Latin characters and imaginary typography to spell out English words. These details would just even more involve you and make art unforgettable and impressive. And story-wise it criticizes societies and wars wether they are "Democratic West" seen in English words, "Communist East" seen in Russian Cyrillic or the "Fascist/Nazi Ideology" seen in the SS symbols. Thus not only visual for the sake of visuals but very smart and symbolic employment of such details.

The music is very much reflecting and complementing the atmosphere of the film with orchestral music mixing with avant-garde structures.



Overall:

I would highly recommend this film. It is an important step in the history of anime, as it tries to depart from the norms of anime at that time and clearly is one of those that succeeds. Moreover, as a collection it has everything you would ask for in an anime, from science fiction, through horror and thrills, to comedy. It is, however, a serious take on anime, so no melodrama or brainless attempts at attracting the viewers attention. Each story has a unique atmosphere to it, and even though they are around 40 minutes each it would feel as if you watched three movies, yet the time would no take as much.


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‘Memories’ is one of the more well-known compilation films out there, so chances are you’ve probably heard of it, but in case you haven’t, it’s an animated movie consisting of 3 films and each one is helmed as usual by a different director. I wouldn’t really consider this a short of sorts as the film overall lasts over 112 minutes, but for formalities sake these are three shorts. Each one of these shorts differs from the one that came before it, well except for the one thing they all hold in common, the fact that they’re amazing, and masterfully directed. It’s no wonder the people ... who directed these shorts are considered to be the best in the business because they shine here and demonstrate just how much they are indeed capable of. These 112 minutes will have you taking in a whole gamut of emotions and will leave an impression on you long after the credits stop.

‘Memories’ is the brainchild of Katsuhiro Otomo (Akira, Steamboy) and is based on the Manga written by him (Memories of Her…) which itself consists of many short stories, three of which were adapted here for your viewing pleasure with the last of the three shorts also being directed by Otomo.

MAGNETIC ROSE:
The first of the three shorts is called Magnetic Rose and is a beautiful sci-fi tale chronicling the space expedition of a bunch of ‘space salvagers’ who go around collecting wreckages and such in order to make a living. Directed by Kouji Morimoto (Studio 4°C Founder, assistant animation director on Akira, animation director on Mind Game, Genius Party, The Animatrix, Robot Carnival) and legend in general and a script by Satoshi Kon. On what seems like just another day on the job they receive an SOS transmission from someone and go forth into the unknown in order to respond to it. The music (Yoko Kanno) is of an operatic nature and blew me away at the opening scene alone and this moment alone cemented the fact that I’d go on to love this piece. The music makes heavy use of Giacomo Puccini’s Madama Butterfly (Maria Callas) and it works with the art in order to conjure up feelings of awe and wonder as you gaze into the dark abyss that shrouds the main characters as they drift around the endless space. The music is seriously phenomenal and is masterfully composed and adds an unrelenting punch to each and every scene.

This would be praiseworthy enough, but when coupled with the fantastic visuals it really goes hand in hand to create something that honestly upsets me, because I doubt I’ll see many other pieces that match this. The character designs are strong; everyone looks distinct but wholly realistic and tangible. The mechanical designs are grounded in reality and are intricate and well thought-out. Voice acting is superb and the script is grown up and in the end accumulates to what is a bunch of realistic and human characters that become host to a cluster of emotions in the 44 minutes that they are on screen for.

The story is haunting, sad, emotional and just downright powerful and will leave you thinking about it long after it’s over. Beautiful music, great characters and gorgeous art come together for this tsunami of emotions that will whisk you away.

STINK BOMB:
The second of the three shorts is called Stink Bomb and is directed by Tensai Okamura (Medarot, Darker than Black, Wolf’s Rain) of Madhouse fame, the studio coincidentally bringing you this short and a script again by Satoshi Kon. The music here was composed by Jun Miyake, and unlike the first short this makes use of jazz and funk which works incredibly well with the nature of this film. The film itself is a black comedy of sorts and one that had me in stitches throughout its 40 minutes run time. Without delving too deep into the plot, the story revolves around a lab technician named Nobuo Tanaka who happens to have a bad case of the flu. After taking his flu shot he decides to go back to work where he spends most of his day sneezing at the detriment of his co-workers, one of which recommends that he take an experimental pill that they’ve been developing to rid his flu. Unfortunately for him the pill in questions happens to be something else entirely and reacts badly with his aforementioned flu shot as he starts to excrete a deadly odour that kills everyone near him...but of course he doesn’t know that!

The short is seriously hilarious and had me laughing the whole way through and I find that it is the perfect supplement to the first short which is super serious. Don’t let the comedic nature fool you however, the animation is top notch and looks superb with some spectacular scenes. A good laugh is needed every once in a while and this happens to be just what the doctor ordered.

CANNON FODDER:
The last of these shorts is Cannon Fodder and is both written and directed by Katsuhiro Otomo himself and is animated by Studio 4 °C. The music in this short was composed by Hiroyuki Nagashima. The whole thing is very unconventional from its art style to the way in which it appears be told in one shot with no breakaways throughout the 22 minute duration. The art style presents a bleak, smoggy world but one focusing on a young boy who is full of zest. This works well as juxtaposition between the innocence of the young boy and the grim world in which he inhabits. The world is one that is in a constant war as the city fires its cannons at an unseen enemy, and they do so ritualistically. Day in, day out they fire their cannons. The camera never pulls away from the action, swinging and swaying seamlessly from one scene to the next as you see the life of this one family in a world that never sleeps, one that is dark and bleak but one where the young ones still dream, even if it is misguided in what they want to become.

A futile world, presented with a beautiful art style, unique character designs and a strong message. A sad story, but one told in a way that isn’t heavy handed and one that will have you smile from time to time at the banter between the family members which adds to the emotional impact of it all.

SUMMARY:
These three shorts are phenomenal alone, each delivering something worth watching, but together as a compilation they truly complement each other and work together in order to create an astonishing visual/audio tour de force. The music blew me away in each of the three shorts, as did the art and visuals. It’s all remarkably high quality, undoubtedly so but truly distinct and gripping in presentation. You truly won’t be forgetting any one of these shorts any time soon and I without a doubt recommend you all to take 2 hours out of your day to watch these as soon as you get the chance. You’ll be left spellbound, you’ll laugh, and you’ll cry but one thing is for sure, you’ll be left with some great memories.

"Memories" consist of three entirely different short movies, which, as I'm going to argue, may be not bad individually but as a compilation aren't probably worth anyone's time.

It's not even fully comprehensible why these films ended up bundled together. They are not tied by any single concept. E. g. first two look like adaptation of some short-story of the month from random SF magazine, while the third much more resembles short-film with focus put on visuals (and it's the only one which is actually short). The first movie has significantly more complex plot than second and third - the latter ones explore one idea ... only in a hit or miss manner. The first and third movie are dead serious, second one is supposedly more light-hearted. Of all of them only the first has some connection to the title of the collection. And all have distinguishably different art style. Thus it's quite probable that the viewer will like only one or two of them, while not liking the rest.

Therefore it's probably more reasonable to watch the movie in more than one go. Also diversity makes it difficult to rate this as a whole or even particular parts relative to each other. But I'll try to do it briefly anyway. In the order they were in the movie:

MAGNETIC ROSE
6/10 - It's a story about fateful encounter in deep space - crew of garbage disposal ship answers SOS call from a dangerous region. Standard SF concepts ensue. It's not bad, but most people probably saw/read something similar many times before. And animation is beginning to show signs of age. I was a little bit bored by it, but generally, it's pretty average. I'll give it +1 point on assumption it was not as behind the times in 1995 as it is now.

STINK BOMB
?/10 (my personal enjoyment - 1/10) - It's essentially "Akira" made shorter, simpler and goofier. This story works only if one finds its idiot protagonist funny. I didn't, so I found Stink Bomb daunting and irritating. And much too long - idiocy of the protagonist is the only source of humor (and driving force of all the events) for almost 40 minutes. Nevertheless, many people don't share my sense of humor (or lack thereof), so you can give it a try.

CANNON FODDER
8/10 - The shortest one which I liked the best. But it's only good as a short movie, when compared to Magnetic Rose it comes out as shallow. Its main strength is creative art style and depressing dystopian setting. When one doesn't like it one won't find anything interesting in it.

OVERALL
?/10 (my personal rating 5/10)
I think most people would like at least one of these stories. It is questionable however if it's good investment of your time to sit through all three parts to find out which one you'd like. I strongly suspect it is not, all the more neither is particularly exceptional. Find yourself something more fitting your taste.

The movie is set into three episodes that are completely unrelated, with only the first episode having anything to do with the title. Each episode had a different art and animation style to it as well as a different story, timezone and setting. Also, each episode lasts approximately 37 minutes each. If I had to rate the “movie” as a whole, I would have to give it a 5.5/10. Now, to review them individually.

Episode 1: Magnetic Rose
The first of the three episodes which takes place in the year 2088 (if I remember correctly) and has to do with four members of a space waste ... disposal and salvage team. The team is initially getting ready to go back home after their missions are complete and suddenly receive an SOS. The team then tracks the SOS signal to a place similar to a space graveyard. They then proceed to go to the graveyard and attempt to help whoever this SOS signal belongs to, but when entering they find that the spacecraft they’re entering is richly decorated and very old. It’s also been abandoned it seems as it’s completely empty… and has a nasty memory leak, so to speak.

Of the three, this was by far the best episode with the most interesting plot, well paced story and a higher quality of artwork and style than the others.
Rating - 9/10

Episode 2: Stink Bomb
The episode starts out simple. There’s a nasty cold going around and you mainly follow a single character throughout the experience. He obtains a shot to help aid him in fighting his flu and he goes to work shortly after, which is a drug testing center. Since he’s sick and the company in question tests medical products before they go out to the public, one of his coworkers tells him to test a type of medicine that’s in the “chief’s” office that should help him out. Problem is that this guy is a complete idiot and takes the wrong medicine followed by a nap afterwards. He then wakes up and everyone in the building is dead. Turns out the company was working for the government to create a biological weapon and he takes the wrong pill. He then comes in contact with the big wigs and they tell him to bring the medicine and some paperwork pertaining to the weapon to their headquarters. Problem is that he’s now a walking biological weapon.

Now this sounds interesting and was interesting for a while, but mid way through became a snooze-fest. The story takes very obvious turns and shows a huge over exaggeration of what the state might do to stop it as well as, somehow, their utter failure.
Rating - 7/10

Episode 3: Cannon Fodder
Following the life of a small family living in a walled city under a Military Dictatorship with a steampunk setting. The lives of everyone in this city revolve around shooting these giant artillery guns at the enemy “mobile city” that’s never shown. You follow the families daily lives throughout the episode.

It’s as boring as it sounds. The art was unique but not to my taste and I thought poorly animated. The episode was also very slow paced and, I felt, boring. The point was obvious of what was trying to be represented from the moment it started.
Rating - 4/10

A chemist with a cold takes the wrong pill and becomes a living biological weapon unwittingly as a frightening and funny story develops.

Conclusion:
Some good ideas eclipsed by its pessimistic message of incompetence on every level of society.

Positives: Gorgeous artwork, fitting background music, brilliant idea
Negatives: Weak message, frustrating plot devices, frustrating main character


In more detail:
...
Story: 7

A very simple premise used to great effect. Idiot + wrong pill = disastrous result. it's very believable, and it's easy to accept and get into. Of course, as the story progresses it becomes more surreal. With a length of 40 minutes, the pacing is good too, thanks to the director: Okamura Tensai (who also directed Wolf's Rain, read what you will into that comment). However, the short running time is to both the advantage of the viewer as well as the director. He's able to get his message, about the incompetence bred into modern life by bureaucracy, across very well, and the viewer is able to sit through it.

Art: 9

The artwork was very good. The backgrounds are incredibly detailed, yet the characters are drawn slightly simpler - giving them a cartoon-like feel. This detachment from reality was a good move. Whoever called the shots recognised that many of the characters, especially in this sort of comedic allegorical tale, will be caricatures as it is. By taking advantage of the fact that the story is slightly unbelievable, the art is used for good humour and clear exaggerated emotions. Simple and clean, the art is just great to look at.

Sound: 8

The soundtrack behind the anime reflected the spirit of the piece. It was nice, making an otherwise morbid anime funny. There is a lot of jazzy music and it fits well with the increasingly absurb situations that Nobou faces.

Character: 7

Tanaka Nobou, the main character, is an everyman. It's his unwillingness to question the decisions and circumstances he's in that leads him into so much trouble. He is useless. In terms of character development, there's none. However, the intention of this short film was not to develop it, but to get a message across.

The other characters are also generic. The incompetent bosses of the chemical plant. The arrogant Americans, the angry general... all of the do add to the experience. I personally have no problems with cliches as long as they are done well, and here, they are. Each of them add some entertainment to the short, but not something new.

Enjoyment: 7

It's not the character that's the focus, the viewer comes along for the ride. A very gassy ride. Full of death. I know that the story is meant to frighten as much as entertain. Unfortunately, this humour will only work for some people. Some slapstick, but mainly from people dying. If people dying from getting close to a guy because of his gas still makes you laugh the sixty ninth time it happens then you're onto a winner. Another issue I have with this is that it's not only the army that suffers but the civilians as well, because of the clueless protagonist. I cannot accept that as funny.

Alternatively you can watched the pretty pictures and try not to take it too seriously, that can be quite enjoyable.

Overall: 7

The story is incredibly frustrating. I do not enjoy pointless death. I do not like a protagonist that does not understand why everyone dies when he gets close / why he's the only survivor in the lab etc. How the hell did he become a scientist, researcher person in the first place? He sure isn't smart enough to be. The story tries to be deep but it doesn't manage to pull it off, and as much as they try to obscure it with humour it's still very heavy-handed, not to mention depressing. However, it does have its moments, such as the eventual results of the smell. While not perfect, Stink Bomb is a very entertaining ride - and deserves a very solid seven. Feel free to make it an eight if you mainly enjoy pretty pictures, and make it a nine, or even a ten, if you like your anime short, sweet and Strangelove-esque.

If you specifically enjoy a tenacious yet useless protagonist with incredible survival abilities then I recommend you go watch Naruto or read Love Hina, after you've watched this of course.

Memories: pleasant remembrance of the past, or an inescapable prison of long gone thoughts?

Note: this review is for Magnetic Rose, Part 1 of the Memories collection.

I'm going to try something a little different for this, since these three movies are standalone titles, but there's only one entry for them on MAL. I'll edit and add to this when I've seen the other two movies, but first: Satoshi Kon and Magnetic Rose.

Overview:

Space is cold and dark. Space is empty and unfeeling. Space never ages. Within an iron cage deep in space, a team of four scavengers discovers a monument to the memory of a ... bygone age, one of the former glory of an opera star, but everything is not what it appears. Whether or not the singer herself is, her memories are very much alive- and they're after one thing: love.


Art: 9 (Artwork 9.5, animation 8)

Outstanding background artwork. Very reminiscent of BG art from Akira or Ghost in the Shell 95'. Idle animations are excellent, key frames decent. Character animations are good (WITH HAIR ANIMATED!). Mouths and body parts move appropriately and aren't the repetitive mannequin mouth or shadowed face when speaking. Some action sequences lost a bit of fidelity and frames, but overall very good, especially for it being the animation of 20 years ago.

Grotesque and typically crisp visuals, dark grays and browns mixed with more vibrant greens and reds in the hallucinations. A nice dynamic of color. The darkness and isolation of space are really set when seen from the exterior, with the old metal parts surrounded by deep blacks.


Sound: 9 (10 for Yoko, 8 for SFX and VA)

Soundtrack by Yoko Kanno, what can I say? Her talents are made excellent use of in this movie. To quote Stefan, "this club has everyhing: Haunting tones, opera music, a guitar, and screaming."

VA is fine, nothing much to report. Crunchy, satisfying metallic noises, guns sound decent.


Story: 8

There's not a whole lot I can say without getting into spoilers, but the basic premise is what I laid out in the overview: A team of explorers come upon a mysterious SOS signal emanating from an abandoned ship graveyard, which they're required to check out by law. Two of their men, Miguel and Heintz, infiltrate what appears to be a giant, rough hewn space station formed from the hulls of derelict ships in the graveyard, and find that the inside is actually someone, a former opera singer and international celebrity's home.

A series of inexplicable hallucinatory experiences later, and they find that there's something else alive within what was otherwise a metal tomb: the Memories of its previous occupant. What was previously a search and rescue quickly turns into a scramble for survival.


Characters: 6 (fair by MAL rating)

I rate 6 because I felt that the character development was somewhat incomplete, due to the short runtime and quick pacing of the movie. Two characters are not even addressed at all, other than as supporting the two mains, Heintz and Miguel. While we got some interesting insight into the aforementioned mains, I would have like to have seen more, but alas, the time did not allow for that, so not a whole lot to say here.


Enjoyment: 8

I enjoyed this all too brief movie. I feel that It could have benefited from another 15 or 20 minutes in length, to cover more of the backstory that was only seen in flashbacks and hallucinations. I didn't get a real feel for the characters in the show, but it was more of a mind trip than a character drama, so I can live with that.
Visuals were very good, Kanno's music was spectacular as always, and the symbolic ending was quite nice as well.

Irrelevant Side Note: Something I frequently see in animation and live action movies are when a character has a weapon, and subsequently encounters danger, that they abandon the weapon and later WISH THEY HADN'T LEFT IT IN A FIT OF PANIC. Well, they thought about that in this movie and addressed it: one of the characters not only retrieves his gun after losing it, but also picks up that of his friend's, AND makes use of them. +1 for that.

Overall: 8

Not a real mind blower, but intriguing and engaging.

+Satoshi Kon's writing
+Yoko Kanno's music
+crisp visuals

+/- Short runtime

-not enough characterization/unused characters

When Akira was released in 1988, Katsuhiro Otomo became a household name in the anime industry with the film and if it wasn't for Akira, anime would have never gain the huge exposure both on the East and West. Later in 1995, Otomo came back to produce an ambitious animation project called Memories, a compilation of anime films that consists on 3 stories that were all written by Otomo himself and the purpose of this compilation is to showcases different styles of animations that can be successful for the animation industry. The result is a unique experience for those who want to see animation in ... a whole new way and boy, does Memories impresses on the animation by a mile. Since this is a movie of 3 stories, I will review each anime story separately on this review rather than just review them all at once. Let's get started then!

Episode 1: Magnetic Rose

Directed by Koji Morimoto and animated by Studio 4C, it's about a group of engineers who received a distress signal from a salvaged ship called Corona and 2 engineers, Heintz and Miguel, decided to answer the distress signal from the ship and find out if there are survivors on the salvage. What they found is something more sinister and crueler than reality itself. This is regarded as one of the best parts of the compilations and it's easy to see why. It combines elements of fantasy, science-fiction and horror perfectly while portraying a heartbreaking story that deals with love, eternal loss, betrayal, murder and being blinded by our own reality in life. Top it off with breathtaking animation that conveys an atmosphere of fear and loneliness that will make Dead Space jealous and a fantastic score by renowned composer Yoko Kanno, Magnetic Rose is such a masterpiece in both the story and animation department that it deserves it's own full length animated feature film. Truly, this short film is a spellbinding experience from beginning to end.

Episode 2: Stink Bomb

Directed by Tensai Okamura and animated by Madhouse, this comical short film is about Nobuo Tanaka, a lab technician who's battling with a terrible cold and one of his partners decided to tell Nobuo to take a pill from a blue case because they though it was fever medicine that would help Nobuo get rid of the flu instantly. However, what he doesn't know is that once he swallowed the pill, Nobuo becomes a living biological weapon that is set to destroy everything in his path, including Tokyo. This short, while not as strong and perfect as Magnetic Rose, is still a fun story on what would happen if a clueless lab technician became a massive weapon and destroyed everything in his path including people and animals around him. The best part of this short is the epic chase scene that has the entire Japanese military army hellbent on stopping Nobuo from reaching Tokyo with all matter of missiles, tanks and jets, which ends up being both hilarious and intense. The animation is very impressive with some gorgeous detail in the character models and excellent use of contrast throughout the whole short. While not as strong as Episode 1, Stink Bomb is still an interesting but fun as hell short with some top-notch moments of tension and humor.

Episode 3: Cannon Fodder

Directed by Katsuhiro Otomo himself and animated by Studio 4C, This is probably one of Otomo's most interesting takes on animation because this entire short film is animated with no editing or scene transitions. The short is basically set in a city with cannons and why? Well apparently, they are fighting against an unknown enemy of some sorts and they decide to shoot with their cannons every day without any use of strategy or patience. What's fascinating about the short is that while nothing really happens a lot in the story, it does talk about an interesting social commentary about the addiction of humanity with weapons and if their addictions of using weapons of destruction will ever stop. The animation is also deserves huge kudos for having a different and interesting take on animation that Otomo used in this short and the entire sequence uses no cheap editing tricks, everything is a long animated shot sequence that goes fluid and steady all the way to the end. Overall, it doesn't end with a bang but the animation alone is worth the look.

On the whole, Memories is a very ambitious compilation of anime films that showcases the amazing use of hand-drawn animation by experimenting with different techniques that will surely be used for future animated projects to come. If you're a big fan of animation, Memories is worth the time of admission. Now, if we could only get Otomo to make a full-length movie of Magnetic Rose then my life might be complete right now.

In 1995, Studio Madhouse made a film that was split into three completely different stories with three different directors. Needless to say, this is odd and different. What stands out is not just that, but the musical direction each film seems to compliment the stories it is involved with so well.

Part one (Magnetic Rose) is a creepy science fiction story about a ship and the crew in space responding to an emergency beacon and a space station that is reminiscent of the old Alien movies. Part two (Stink Bomb) focuses on an average salary man being the focus of a mass bio-threat and the militaries ... over-the-top reactions to the situation. Finally Part three (Cannon Fodder) is more or less a story about humans living in a dystopian future where they are basically born and bred to follow orders and fire cannons.

Stink Bomb is the weaker of the two by far with a comedy aspect that is almost insufferable at times. Cannon Fodder is a marvel in direction and camera work, but a slow story overall. From start to finish, Cannon Fodder never once has a camera break in the scene. Magnetic Rose is on another level than the other two. With almost prefect direction and pace, and even some CG elements put in that still holds up in modern times, Magnetic Rose almost redefined the space sci-fi drama. A reviewer could say Stink Bomb was a bit of a bomb, Cannon Fodder was ok as a film but inspiring, and then Magnetic Rose is perfect.

Focusing on Magnetic Rose, from start to finish, the audience is entranced with the environment. What is in that space station? Are they going to be alright? Why is the fully orchestrated opera music so good and creepy at the same time? Basically, this is really the only film out of the three that will be retained in any memories.

Together, Memories falls pretty short, but as a stand-alone for Magnetic Rose, a must watch. The atmosphere, music, direction, and so-on are all done so well it leaves the viewer on the edge of the seat.

Memories Magnetic Rose is about a lone astronaut, who finds himself in an astro-relic.

Whats unique about this piece is how many levels of mystery it contains, the and nostalgia it employs, while being essentially a sci-fi piece. The movie does well to captivate its audience similarly to live action classics like 2001, using the space itself as a theme as well as further developing the theme of imperfect technology, by exploring the idea of the mortality/obsolescence of technology.

This is a RIVETING and PROVOCATIVE piece. A must see for anyone who calls themselves a love of sci-fi, and a necessary primer for all cyber-punk appreciators ... and aficionados .

Two balls, one strike.

If we assume the anime studio is the pitcher, in this metaphorical game of baseball, then out of the three pitches (i.e. anthology films), only one was a success — a strike, if you will. One was mediocre at best, and the other was, well, let’s call that one a wild pitch. Considering that this comes from the creator of Akira (Katsuhiro Otomo), which, in my humble opinion, was a train-wreck of a movie — let the hate commence — and is only revered by people who prefer to look through the lens of nostalgia. It comes as no ... surprise that this weird amalgamation of three diverse ideas is, as a whole, fairly unremarkable. There are glimmers of brilliance throughout the three works, but not enough for this to be considered a landmark in anime achievement. Perhaps I was wrong to expect profundity, when mild intrigue would have been more than sufficient. But enough bemoaning over my own misjudgment, let’s take a look at each story as it was intended to be received: individually.


Magnetic Rose: 6/10

The screenplay comes from none other than the brilliant Satoshi Kon (Director of Perfect Blue and Sennen Joyuu), yet, chronologically speaking, this work predates his later “master works,” and it is evident in his lack of detail. An abbreviated version of the story goes as follows: a renowned opera singer loses her voice, and, as a result, her desired husband, Carlo. Not willing to accept her unfortunate circumstances, Eva — the renowned opera singer — murders her husband, and creates a simulated environment to lure in unsuspecting men to play her “new” Carlo. This poignant, melancholic script has Kon’s hands all over it, but, unlike his future works to come, it lacks a certain level of refinement and character development that was sorely needed. To illustrate this point, look no further than Miguel, who is so focused on being with Eva, that he completely disregards the obvious illusions that Heintz points out to him. In fact, this happens several times, until he finally relinquishes himself to Eva. It is obvious that Miguel was intended to serve as a plot device, rather than participate in a meaningful way in the story.

Heintz, on the other hand, is more level-headed than his libidinous friend. Be that as it may, his function in the story is relatively basic all the same, as he reveals the main philosophical idea the anime was attempting to achieve, without allowing the viewer to figure it out for themselves. Spoon-fed answers never go down quite so well, as they insult the viewer’s intelligence, making the experience exceptionally lackluster. Fortunately, Satoshi Kon learns from this mistake, as the ambiguous Perfect Blue permits the viewer to contemplate several alternatives without ever knowing the actual truth.

On a positive note, I did enjoy the atmospheric juxtaposition between the Victorian architecture (representing Eva’s past), and the modernized space equipment. The artwork in this episode was especially on point, creating a frightening environment that felt palpable for the entirety of the episode.


Stink Bomb: 2/10

Easily the worst contribution of the three films. Nabuo exemplifies the “captain oblivious” trope, proving once again, that a terribly written character can dismantle an otherwise interesting idea. Do anime writers seriously think that this sort of naive ignorance portrays a realistic, grounded character with several levels of emotional depth? Because it doesn’t. It simply reminds the audience that capturing authentic human tendencies is difficult work, and rather than strive for originality, its much easier to use “tried and true” formulas. Also, I understand that Nabuo’s gas emission was scrambling the electronics on the various missiles sent towards him, but come on! Are we really suppose to believe that tanks, jets, and battleships were all incapable of hitting one man riding a scooter?

“But Krunchyman, it was meant to be a dark comedy. Stop taking it so seriously.”

I don’t remember laughing with or at this film. I felt like I wasted 40 minutes of my life, watching a film without an overarching message, and no semblance of constitutes comedy. If you want dark comedy, then watch the Frank Grimes episode of the Simpsons (“Homer’s Enemy”). Frank represents the struggles of the common man, in which he works hard, but receives none of the adulation that he feels he deserves. This is applicable to almost any person, as we all have felt this way at some point in our lives. Nabuo, on the other hand, has no universal human qualities, except for the fact that he has a cold — big whoop.


Cannon Fodder: 8.5/10

Remember how I criticized Magnetic Rose for spoiling the underlying theme it was attempting to convey? Well, no need to worry here, because Cannon Fodder understands the power of ambiguity, deciding to say very little through the use of dialogue, but, instead, allowing its artwork and character designs to do the talking.

I believe the strength of this particular episode comes from its implied commentary on our own social values. We tend to believe that our thoughts/attitudes are the result of our own choices; nevertheless, Cannon Fodder demonstrates that governments, educational systems, and our parents (indirectly, by avoiding their “failed” life choices) shape our reality, and by default, who we ultimately become. This doesn’t only occur in the dystopian society pictured, it happens in freely elected Democratic societies, as well. As a point a reference, compare Howard Zinn’s, A People’s History of the United States, with any generic high-school history book — I guarantee the difference will be substantial. Yet, the selectively distorted history from your high-school textbook is what a large majority of the population tends to believe as the truth (shaping their reality like the little boy in Cannon Fodder). This is why Cannon Fodder, despite its murky atmosphere, shines through as the best offering in the Memories series. It showcases relatable attributes to each one of us, whether we acquiesce to the norms of society and go with the flow, or whether we strive to modify the current paradigm, despite the hardships of swimming upstream — just like the protestor’s at the factory.


Overall: 5.5/10

It’s a bit confounding to me why these three particular films were lumped together in a single offering, especially because each film represents a different philosophical message. Perhaps Otomo could not visualize expanding each idea into a feature length film, and thus, decided to roll them all out to clear his desk for future projects. Whatever the case may be, it was an intriguing trio of films that, besides the Stink Bomb episode, was worth the investment in time, yielding memorable moments, and exhibited what the medium can/should be capable of in the future.

The first short's the best, the second's the most fun, and the third one's just boring. As any anthology, it's a very mixed bag.

It's an incredibly animated work, starting with a space adventure, with a cosmic tone of slight horror. Beautifully animated, interesting story, but not that entertaining. It explores grief with the likes of futuristic technology, and it's pretty good at showing the mysteries of how the future can entail personal pain. It's the best, no doubt, but even then, I didn't find it that memorable. 7/10.

Even if the second one doesn't try to explore an important theme, or something with a higher ... concept, it's probably the one I'll think about the most. I always love massive scale, stupid plots, that make a situation worse, and worse in each passing second. Explosions, bioweapons, it doesn't even try to be serious. Simple, tasteful, well-animated, I don't have many complaints. 8.5/10.

Look, I appreciate what the third one tried to do. But, I couldn't get invested, or find anything to really cling to. It's a one-take, day in the life of a family in this war-ridden world. Cool, but there's nothing else there. They set up realistic elements for the family, such as a scholarship that the child has to get, a salary that doesn't get enough, but then it results in absolutely nothing happening. The story ends, and they just turn off the lights to repeat it again tomorrow. The point could be about the mundanity itself, framed with the philosophy of the film "Birdman". "When you open your eyes, the day is a one take, you don't cut scenes". In any case, I wish it was more interesting. 5/10.

6.8/10. There isn't much that really makes this anthology worth it, only the pretty colors and potential for animated features. It's just okay.

Memorable experience (notice the pun) as a whole, re-watch value feels high too. First of the trio (Magnetic Rose) is an outstanding piece of mind-blowing scifi creativity. The other two are also good in their own ways but Magnetic Rose kind of outshines them in my opinion, that's all. Would most definitely recommend this.

MAGNETIC ROSE:
A true masterpiece of space science fiction. Hands down one of the most memorable and creative pieces of anime I have seen. Suprising and mesmerizing, visually stunning, clever and quite an emotion/thought-provoker. Every part works well in this audiovisual space novel thriller masterpiece, is that enough hype? Also flows ... extremely well with the overall theme of "Memories".

STINK BOMB:
Tragicomical chain of events, laughing at military and a nice play on the risks of warfare? Thought-provoking and the music gives it a nice weirdly light and playful vibe, despite all the cruelty. Art style is smooth and fitting and the animation flows well. Fun, cleverly tragic ride.

CANNON FODDER:
Portrays the war ideology and human history of violence in a straightforward, over the top way. Distinctive art style on this one, with nice litte animation tricks here and there. The perspective has been chosen well to deliver the message. Least favorite of the trio but a great thought-provoker (term of the day?) on the utter tragedy of war.

This anthology pairs Katsuhiro Otomo (of 'Akira' fame) and Satoshi Kon (creator of 'Millenium Actress' and 'Paranoia Agent'); It contains 3 unrelated stories, all three of which are nuanced in their execution and beautifully animated.

The first section, 'Magnetic Rose' is an sci-fi ghost story. It feels like what happens if the life story of Marie Callas were re-enacted on the deck of the 'Event Horizon'; haunting, sad and utterly absorbing.

The second section, 'Stink Bomb', lightens the mood by engaging in broad slapstick. In this dark comedic romp, an inept salaryman is chased by the National Defense Forces after becoming the vector of a new, experimental ... bio-weapon.

The film is closed out by a short, moody piece called 'Cannon Fodder'; in it, we see into the a dreadful single day in the life of a family of a dead end culture, obsessed with the empty minutiae of (possibly imaginary?) war.

See it, Learn it, Love it.

I rated this film low, because I did not enjoy two of its three parts. It's an anthology movie whose parts are Magnetic Rose, Stink Bomb, and Cannon Fodder.
AVOID Stink Bomb and Cannon Fodder, because their plots are weak. Stink Bomb bothered me in particular, because it's unbelievable (and physically impossible) for one man to create a cloud of noxious gas that out ways himself. As for Cannon Fodder, unless you like watching men load a shell into a cannon for ten minutes, you won't enjoy the film. Cannon Fodder doesn't even bodder to explain why the people are at war. I gave ... these two movies both a 4/10. They don't even have anything to do with the concept of "Memories."
HOWEVER! I gave Magnetic Rose an 8/10, because the plot was enjoy, the animation was great for 1995, the Music was good, and the characters were mostly enjoyable. The only real qualms I had with the film involved the slow opening scene and maybe the character of Miguel. Of these films, it's the only one that has anything to do with "Memories," which is the title of the overall film. As it stands, though, this film is not just made up of Magnetic Rose, it contains those other two "films," which is why my average score came out to be a 5.33/10.