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Excuse me, I don't usually write in English. If you want you can read my review in Spanish.

Masami Yuuki is known for being the author of Patlabor (1988-1994), but also of other works such as Assemble Insert (1985-1989) or Birdy the Mighty (1985-1988). The latter, like the previous ones, received its own anime in the form of 4 OVAs. The responsible was Yoshiaki Kawajiri, director of films such as Ninja Scroll (1993) and Vampire Hunter D: Bloodlust (2000), although this time he did not have much creative freedom to shape his interests. Hence, it is difficult to identify the style of the prestigious author, with ... only a few signs such as his predilection for action or spider monsters.

Birdy the Mighty is an action miniseries with science fiction elements that tells the story of a student and an interspace agent, both united in the same body due to an unfortunate incident, who must collaborate to defeat the evil extraterrestrial organization. The main attraction, therefore, is the fact that the main couple live together in the same body. An infrequent change because the usual thing is that the hero ends up in the body of his partner and vice versa, both having to deal with situations that he is not used to. See living the life of another completely different person who reaches the sex, age, occupation, etc.

On the contrary, here we speak of a different experience, in the sense that they must find a way in which both guests are satisfied. On the one hand, Birdy must preserve Tsutomu's life in the same state he was in before. On the other hand, the boy must accept Birdy's mission and collaborate with her. Contrary to what might seem, coexistence does not take long to take place, with some initial friction before Tsutomu's annoyance and Birdy's abruptness that are resolved by the need to cancel the threat. In other words, the dramatic and emotional dimension does not have much of a journey, despite the fact that the nature of the situation could be used to strengthen ties at a more intimate level. They also don't take much advantage of the comedic realm, settling for some jokes that Birdy plays on handling his body around the city or hugging his friend. At least, the experience serves to get us out of unnecessary romances and that the protagonist is an easy target in the face of enemy attacks.

In the same way, the potential of the couple did not reach its maximum either. Neither together nor apart. Like many others, Tsutomu and Birdy are a duo whose interactions are sympathetic, but lacking a singular team chemistry in the absence of contrasts or bonding elements. The exception is on the battlefield, as each brings their own: Birdy the strength and Tsutomu the decisive ideas. Which, by the way, one wonders where he gets them from because the boy is not the brightest or the most interested in science. Either way, the true pillar of the group is Birdy. Facing the ordinary student with no more conflict than recovering her previous life, we have a woman of action endowed with a certain spark due to her beauty, strength and fighting character. Unlike the teenager, the intergalactic agent has a personal goal: to get revenge on Christella Revi for the murder of a loved one. Hence her commitment and responsibility for her work since she is always attentive to any signal and patrolling the area. Unfortunately, we did not get to explore her personal drama because the story is incomplete.

Of the secondary my opinion is shorter. They serve mainly to configure the personal environment of the protagonist, allowing us to better understand why he wants to preserve his intact life. At the same time they also fulfill a comic function. Be it the family with the overprotective mother, the annoying sister and the clumsy father or the classmates who dedicate themselves to teaching you erotic magazines. In a higher place is Tsutomu's friend: Hayamiya. We can point out the same topics about her as about other classmates with the same role, but the most disappointing thing is the resolution of the conflict in which Birdy's identity is revealed. The reason is that he ends with a simple "tell me when you are ready", returning to the status quo.

On the enemy side we have something more of value, although nothing to make coherent. Starting off, we have the main village: Revi. Undoubtedly, the presence of women draws her attention because she is always surrounded by luxury and an interest in fashion and personal beauty, but by depriving ourselves of a direct conflict with her there is nothing more to say. Instead, we have the antagonist of the arc: Seichiro Hikawa. He is a researcher who experimented with human beings during World War II to create perfect soldiers, but after these events he could not continue and his "work" was never recognized until Revi's arrival. He is perfectly suited to the classic narcissistic scientist who trusts in his evil genius, but does not bring a fresh approach. At the very least, he does not stay in something more generic thanks to the background granted by the police investigation and the Machiavellian plan to transform the inhabitants of Tokyo into monsters with psychic powers.

Despite the fact that the work does not stand out in the previous aspects, at least it gives greater emphasis and attention to the action and the development of the combat. A very favorable point when the intellectual pretensions are of such a small size. The clashes involve Birdy and the organization's enemies, who are capable of using superhuman or psychic powers. In general, these encounters are remarkable for several reasons. First of all, it hardly uses limited animation resources. You will not witness static images or recycling of sequences or substitution of backgrounds. Instead the movement is clean and fluid. Second, the battles are free from the most obnoxious obstacles in fighting shonen like annoying exposure or deliberate slowness to stretch.

Afterward, he has enough choreography and visual effects to put on a little show. In this sense, some animators like Yoshiyuki Ito (Cowboy Bebop, 1998; and Soul Eater, 2008) have contributed some sensational action scenes. Of course, the action manages to be clear to the viewer. On the other hand, there is plenty and variety in the fights, changing the enemies and the locations (buildings, aquariums, amusement parks, train tracks, etc). However, they are far from perfect. For example, music is far from memorable, however fitting. Some impact on the action is also missing because Birdy is almost never seriously injured, even if they can put her in trouble. As a last detail, it would have been better not to omit certain punches or kicks at the moment of impact. If you asked me what the best battle is, I'd say Birdy vs. Ondine.

You can read my review here: https://elarmarioanimados.blogspot.com/2018/06/resena-birdy-mighty.html

Excuse me, I don't usually write in English. If you want you can read my review in Spanish. This review is longer and more complete in Spanish.

Last year, I had the opportunity to delve into a genre that is often the delight of sweet-hearted hearts: love comedies. Of the works tasted, none of them I liked as much as Ijiranaide, Nagatoro-san (2017). The manga scripted and illustrated by Nanashi, an author previously dedicated to hentai, had caught my attention because it was one of the best sellers in Japan. By July 2020 it had exceeded 1.2 million copies in circulation and its animated adaptation is ... going to release in spring. However, I'm not going to talk about popularity but about the qualities of a manga that is generally known as the dark version of Karakai Jouzu no Takagi-san (2012). Let's see what is true in that.

Ijiranaide, Nagatoro-san belongs, in my opinion, to a group of romantic comedies encompassed under the expression "Bad girls teasing weak guys". This popular category is characterized by complying with a pattern consisting of a pretty student annoying and blushing a regular boy daily. As it is obvious to those who have tried it, the hook is to observe his daily routine. A routine in which the female nuisance is not uncomfortable for the boy, but rather fun for the mischievous and ingenious game in which both participate and enjoy. Although both intervene, the young woman always occupies an active role and the boy takes the passive role. Broadly speaking, this is the functioning of the romantic and youthful dynamics of the aforementioned subgenre.

Nagatoro's daily habit is to habitually annoy Senpai through actions that imply embarrassing him and make him feel ashamed when reacting to the situation. She is aware that when there is something that embarrasses her she can take advantage and tease her to check her inaction and increase her embarrassment. A personal and irresistible pleasure. She usually accompanies him with small burlesque insults —especially, the frequent “disgusting” —of her, slapping and slapping her arms —in the form of noodle— and much insistence that she agrees to participate. On occasion, Nagatoro's antics and games end up accidentally turning against him, sharing a portion of the shame and blush that were destined for the protagonist.

Here it is worth commenting that, at first, Nagatoro's attitude was much closer to bullying than to a friendly relationship. In particular, the problem lies in the first six episodes, although from the third the problem begins to be solved. The initial interactions were clearly uncomfortable for Senpai and lacking in complicity, constituting a harassment in which Nagatoro was not taking into account the feelings of the victim with his attacks on the boy's dignity. It even gets to the point where she makes him cry and in the first chapter she even humiliates him by wiping her tears even though she told him to leave. A similar riot also occurs in chapter two by cruelly mocking his expectations and insulting his drawing. Fortunately, the author and Nagatoro herself associate these actions with bullying. To fix it, she opts for greater restraint and introduce gaffes that embarrass the young woman, small apologies and situations not exclusively limited to annoying. Consequently, a bug that was finally fixed without any presence since then.

Greater presence, on the other hand, is exhibited by the topics of the genre to which the author resorts to continue to preserve the interest of the readers in the daily adventures of the couple. We talk about episodes and arcs in which we attend the typical events and situations of romantic comedies: marathon, local festival, cultural festival, visit to the temple in New Year, day at the beach, indirect kiss , Valentine's Day, etc. While some may point to this as a problem due to the lack of conceptual originality, Nanashi mitigates the problem thanks to Nagatoro's expressiveness, charm, and liveliness, who is capable of bringing more life to situations seen hundreds of times. In particular, the couple's interactions sweeten the reader's heart. An example would be Senpai's delirium when the high fever made her believe that Nagatoro was her wife and that she was taking care of him with special affection and dedication. From time to time, however, this is insufficient because it does not apply any solution to seniors to appease the absence of news.

It is also necessary to mention many other typical situations that incorporate the presence of Nagatoro's group of friends. Like Nagatoro's older sister and the President, they are complementary characters that serve to unfold other kinds of stories and situations of a less intimate nature. Their characterization is very simple and the narrative does not give them any prominence. Initially, they did not even have a face like most of the secondary ones —the author is very lazy in this section—, although in the end they became recurring characters. Like Toro, they go from contempt and cruel mockery to being more friendly acquaintances, although they are somewhat malicious and their dynamic involves catching Paisen — Senpai backwards — to have fun at his expense until Prince Charming Nagatoro comes to the rescue. However, they are not bad girls and tend to give a partner a push at the evidence of their feelings.You could almost say that now this is its main function.

One last issue that we must touch is the relationship and its evolution throughout the manga. As in many works of the genre, conventions are the fundamental pillars of this romance. One of them is the correspondence of loving feelings and the difficulty of manifesting them through actions such as confession. For that reason, the romantic tension is maintained, without progress based on decisive changes but on small moments that consolidate and reinforce what they feel for each other. Consequently, the feeling is that the two are getting closer and closer, but never close enough to take a step that changes the status quo. That is, let's go from "we are friends" to "we are boyfriends". A wanting to be unable to materialize easily. I hope they finally manage to take the final step.

You can read my review here: https://elarmarioanimados.blogspot.com/2021/02/resena-ijiranaide-nagatoro-san.html

Excuse me, I don't usually write in English. If you want you can read my review in Spanish.

After Animatrix (2003) and Genius Party (2007), the next famous anthology is the one dedicated to the bat man. Surely more than one of them will find his existence curious, but it makes sense when you realize the popularity of the hero in the second half of 2000 with the Cristopher Nolan films like Batman Begins (2005) and The Dark Knight (2008) ). We are facing an American and Japanese co-production. On the one hand, these shorts were produced by various Japanese studios such as Bee Train, Madhouse, ... Production I.G and Studio 4ºC. Additionally, each of these short films were directed by Japanese professionals such as Shojiro Nishimi, Hiroshi Morioka, and Yoshiaki Kawajiri. On the other hand, the script was the task of American writers such as Greg Rucka, David S. Goyer or Brian Azzarello.

The link that unites these six shorts would be the presence of Batman, but each one focuses on different aspects of the hero: the myth, his work as a vigilante, his ideal of not taking other lives (no matter how criminal they are), etc. Most simply put the issue on the table up front and then, through a confrontation or dangerous situation, come to a conclusion about it. To be honest, they don't tell us anything special. They do a little zoom, which gives us a clear idea, but they don't go very far. The only short film that really points far is "Have I got a story for you."

This first work was created by Studio 4ºC, a studio more than known for its experimental and creative side. Anyone who has seen a few of his anime will be able to notice his style in the character designs, the use of color, etc. Leaving that aside, the subject of this story would be the myth and reality of the Batman character. As many of you know, several ancient heroes such as Alexander the Great or Julius Caesar were greatly mythologized by later historiography for their great military feats and deeds. The same could happen with the most famous heroes of fiction. For example, Superman, Batman or Spiderman. Not a single one of them has a single image, but various authors have represented them in multiple ways.

Hence, everyone has their own image of the hero, as shown by the three skaters in history. When the three of them meet at the skating rink, with a friend of his who has not seen Batman, they tell him the version of him. Although they have the fundamental actors in common, that is, Batman and the Man in Black, each one places his story in a different place and time. But the most important thing would be that this Batman has very different abilities and powers depending on the version. In one they describe him as a living shadow capable of appearing and disappearing. In another he takes the form of a giant bat endowed with claws and the ability to fly. In the last one, the boy opts for the strange idea - you can tell it came to a Japanese man - of turning Batman into a combat robot capable of launching lasers and jumping great distances.

As you can see, the stories can be a bit crazy. They point it out themselves, correcting themselves on more than one occasion because they tried to make it too spectacular. The truth does not surprise me because people like to exaggerate and create incredible stories to praise someone's figure, attributing unusual qualities or enormous feats to them. This is how great legends are born. However, behind all those myths that portray a heroic character, there is a real person. That man would be the Batman of the last story, when we are really sure that he is authentic because he starts fighting with the Man in Black in front of them. There we can see a weaker Batman, without special powers or amazing gadgets. Someone who goes through a lot of difficulties to win and capture the criminal. Even this one manages to win thanks to the intervention of the boy, who, unlike the others, was not a mere spectator.

You can read my review here: https://elarmarioanimados.blogspot.com/2018/09/batman-gotham-knight.html

Excuse me, I don't usually write in English. If you want you can read my review in Spanish.

When I was younger I blindly believed that this film had been adapted from the manga since it made sense within the context of the series. And he certainly had it because, unlike the Dragon Ball Z movies, where events incompatible with the point in the story are related, here they simply tell us some events from the past. Fortunately, they place him in the Freezer saga, giving more drama to the future confrontation between Goku and Freezer. But the most important thing is that it constitutes a ... significant contribution in relation to the franchise, since they tell us an important fact in this work that has nothing to do with saving the world for the fifteenth time.

Dragon Ball Z Special 1: Tatta Hitori no Saishuu Kessen (1990) is a 45-minute film that tells the last moments of the Saiyans from the point of view of a new protagonist: Bardock, Goku's father. From the start, the film implies a novelty compared to the series because neither Goku nor his friends are present, allowing the exploration of other characters from the Dragon Ball universe. In addition to this, this special has an advantage as the dragon balls are not present, thus avoiding the problem of lack of tension that affected the series. However, the interesting thing is that this time we come across a story about an inevitable destiny: the destruction of a civilization. Fact that our antihero will try to prevent, although we know in advance that the misfortune will end up happening.

Despite the fact that this devastation was to take place, the truth is that no one could have foreseen it. To understand it, you have to understand the context of the Saiyans. In some episodes of the series they already provide it to us, but the medium-length film also draws a basic portrait about the way in which this race of warriors lives. And I say basic because about society, economy, culture, political organization and others we have very little. The fact is that being an alien race with an innate force, most of the inhabitants of the planet Vegeta work as mercenaries, specifically under the command of Freezer. Thanks to an agreement, they have access to more advanced combat technology (combat suits, radars, etc.), but above all they get more planets in which to unleash their violent nature and destructive instincts. As shown is the destruction of the planet Kanassa and its inhabitants, where Bardock's group transforms into Ozaru.

This beneficial pact explains that the Saiyans will trust Freezer, except for King Vegeta. However, the effectiveness of the Saiyans in their missions and the appearance of extraordinary warriors like Vegeta sowed the seeds of fear in Freezer. Certainly a recurring theme among leaders, who fear what cannot be fully controlled or the unknown. As an example of this unknown nature are the Kanassians, beings with a strange power that disturbed the sovereign of the universe. Unfortunately, and although it is a valid factor to justify the annihilation of the Saiyans, a second factor was missing: the possibility of a real rebellion. As much as Freezer feared them, to some degree, they were still a very valuable asset. Zarbon and Dodoria comment on the first question without referring to the second. In fact, it is strange that they participate in the discussion while Freezer just smiles. In the end, the decision rather than reflect fear for the legend of the Super Saiyan and the potential Saiyan manifested arbitrariness and ineptitude.

However, the image of Freezer as a benefactor begins to waver in Bardock because one of the inhabitants of the planet Kanassa grants him the power to experience premonitions. In them he contemplates the destruction of the planet, although he is skeptical. A skepticism that ends soon because Freezer's henchmen murder all of his companions, convincing themselves that the premonition is very real. Of these companions, by the way, like the rest of the Saiyans, we must point out their null characterization. No longer at the individual level - nor do the names give us - but in terms of their relationship. Was it so difficult to offer a portrait that included how they get along or what roles they have in the group? Okay, they ask about his son, but much more could be added. It is not surprising that the death of these subjects hurts little, although for Bardock it is a good blow.

An important issue in Bardock's premonitions is precisely his newborn son: Kakaroto. At first, the "barbarians" bring up the subject, but the father is indifferent. Worse than that, he shows contempt because his son is weak. Something that may seem horrible to us, but within a race of warriors that prides itself on its strength, weakness is a serious defect. However, this man's mentality will change soon, as his visions show him the progress of his son over time and how he will grow stronger to the point where he will face Freezer in the future. It is a pity that for this they had to resort to a recycling of images from the series instead of exposing his growth with a montage of new images where Bardock interacts with his vision. In fact, the instant he is transferred to Namek is the only one truly effective because he enters the vision. Please, how crappy.

Finally, the climax comes with Bardock facing off with Freezer's invading forces. Right now, he is not the impassive man from the beginning who only cared about fighting and detested his scion. For that reason, we care more about his personal crusade. But the ending is already written, as much as Bardock seems like he has a chance by defeating a few underlings. Freeza personally goes out to assassinate the saiyan with a sphere of energy that he destroys everything. However, Bardock receives one last vision where he sees how Goku will face Freezer in the future. So he decides to entrust him with his last will to take charge of avenging him and all of his comrades.

You can read my review here: https://elarmarioanimados.blogspot.com/2018/10/resena-dragon-ball-z-bardock-el-padre.html

Excuse me, I don't usually write in English. If you want you can read my review in Spanish.

Although Moto Hagio is one of the most important authors of the Group of 24, along with others such as Ryoko Ikeda or Keiko Takemiya, due to her contributions to the shōjo manga, her extensive work has not found a niche in the extensive anime production. The only exception, of course, is the work that we are going to review at this time. A film that, although it does not adapt all the material of the manga, is an interesting piece within the mediocre set of medium-length and ... feature films of the 80s. It had no great luck with the studio because the animation is provided by Magic Bus. However, it is a film whose approach is attractive as it reminds us of a novel by Agatha Cristie with the particularity that the action takes place in space.

They were eleven (1986) is a film starring Tadatos and 10 other aspirants who want to enter the Galactic Academy, a training institution reserved for the elite. However, to pass the final test the examiners place on them, they will have to combine their survival skills and collaboration as they try to figure out who the phony among them is. In connection with this, the mysterious link between the protagonist and the spaceship where the test takes place will also be revealed. Is it really the stowaway of the ship?

As I have already said, the approach of the film may remind us of a mystery novel where there is a group of individuals locked up with a murderer. The spatial theme, on the other hand, leads us to think of feature films like Alien (1979). None really fits perfectly with what unfolds during its almost ninety minutes of footage. The "unexpected guest" factor leads to the existence of an impostor who seeks to assassinate the rest of the crew while he conceals his identity from him. But here what the "murderer" seeks is to discover if the applicants to enter the Academy have the necessary skills. For me, this particularity gives it extra points, since at least in the anime of the time there is no film or series with a similar idea.

When facing a test designed by an academic institution, it is to be assumed that the level of danger to which the characters are subjected cannot be very high. Otherwise, the candidates could die and it would not suit them. Without a doubt, the emergency button that is presented from the beginning helps to generate this idea in the viewer. If something goes wrong, everyone can press it and survive, even if that means suspending the whole group. However, the author did not fall into this error because in the course of the fifty-three days of living together a series of eventualities and setbacks not programmed by the Academy occur and that, therefore, put their lives at risk. The drift of the ship's trajectory, the red spot virus, or the possibility of the ship exploding all serve to add enough tension to the story. In this sense, the survival aspect seems to me more than correct.

Too bad my opinion is not so favorable regarding the mystery. At first, the author succeeds in trying to confuse us using the protagonist's memory loss. The fact that he knows the ship necessarily leads us to think that he was there previously and that the past events that explain the abandonment of the transport are related to it. Thanks to this distraction maneuver, the viewer distrusts the protagonist more than the rest. The problem with the mystery lies, however, in the scarcity of clues that lead us to discover the identity of the impostor. Virtually nothing that happens, except for the initial ruse of the stowaway, serves to get to him. If he had offered any clues as to who the telepath was, they would have helped us, but they didn't. Observing the immaturity of some characters, on the other hand, helped to rule out several for sure. But the impostor was among the secondary ones who hardly participated and were precisely not few. A mystery should give guarantees to be solved because otherwise it is of little use.

From my point of view, the film did not choose the best approach by placing a greater emphasis on mystery. The real key point of the film is in its message: the need that all passengers have to cooperate in order to survive, despite mistrust and the deep differences that distance them. A mission that is not easy at all because it requires learning to trust others and accept each other's differences. The play does a competent job of introducing us to the peculiarities of each of these characters because it spends part of its time allowing them to talk about their aspirations, their home of origin, the traits of their species, etc. It is as if in the same place people of different social classes, ethnicities and races were mixed, with all that that entails. Although this diversity is not so much the engine of the conflict as it is the fact that they are facing strangers, among whom one is an impostor who can be blamed for the problems they are going through. In any case, this fact greatly enhances the message of acceptance, union and cooperation. At the end of the film, the change of mentality in the crew crystallizes in an appropriate way, after an intense interaction and joint problem solving.

Before putting a full stop to the review I would like to mention a problem related to the group of characters. Although it was clear that the eleven could not count on the same attention, it is clear that about half are left over to tell the exact same story. Of the eleven passengers, less than half stood out enough for us to be aware of them. The participation of the rest was much less active and their characterization was very poor, almost inferring their characteristics from their appearance. A bug that could have been fixed by narrowing the group slightly and paying attention to them in a more balanced way. Being positive at least they contributed from a thematic point of view by showing that they are a very plural crew. Speaking of diversity, it manifested itself in matters of sex and gender roles with the hermaphroditism of Frol and Vidmenir or the position of men and women on the planet of Frol's comic relief.

You can read my review here: https://elarmarioanimados.blogspot.com/2020/07/resena-quien-es-el-11-pasajero.html

Excuse me, I don't usually write in English. If you want you can read my review in Spanish.

When someone intends to immerse themselves in the Blood franchise, it should be noted that the starting point is found in the 45-minute medium-length film directed by Hiroyuki Kitakubo (Roujin Z, 1991; and Golden Boy, 1995-1996): Blood: The Last Vampire ( 2000). At the time this film triumphed, winning awards at film and animation festivals and praise from numerous fans and some critics. Part of this success was due to the fact that it was a film designed to reach foreign audiences, with attractive plot elements for a ... non-exclusively Japanese audience and the filming practically in English. But its success also lay in the use of digital animation for various stages of the production process, such as coloring. At a time when anime was changing traditional methods for digital ones, it made it stand out among the majority, especially since the result was much more spectacular.

Unlike other works in the same franchise, Blood: The Last Vampire can be classified as a simple introduction to its universe. In fact, very brief because it barely provides information on who the secret organization, Saya and the Chiropterans, would become. In simple terms, it is an action movie with horror elements that is about a powerful vampire slaying evil beings that threaten the human species. Nothing more. It could almost go through a chapter of some action series without much pretense because it is, from the point of view, basic even for the action cinema of that time. It hardly has a minimal context capable of answering the viewer's questions about the key elements of the narrative.

However, outside of its excellent production we can point out more than one notable trait. One of them corresponds to its atmosphere, characterized by being gloomy and dull. The weak lighting, the brown, gray and black colors, the pale skin of the characters, the dominance of the night or the last moments of sunset, the silence or the cold demeanor of Saya. All the elements contribute to leaving this feeling that the whole is quite gloomy. A merit that is rare in Japanese animation, where even in horror works there are too many flashy and extravagant facts. Although what is most striking is that it is subtle in limiting dialogues and prioritizing silence, demonstrating that he knows how to communicate without words. An example is the scene in which Saya expresses compassion for the monster, since she is dying and she prefers to kill him using her blood.

Another highlight is, of course, the action. Despite lacking the distinctive disproportion of the more violent anime, Blood: The Last Vampire is characterized by confrontations with monsters in which the action is gory and agile. He would have said fleeting, but Saya's fighting is complicated due to the lack of an effective weapon. A fact that, by the way, gives tension since Saya is not exactly a weak girl. Not having her sword in good condition and having to take care of a hostage, Saya experiences various situations where she is on the ropes. My biggest but, however, is that there are no great encounters. It all comes down to enduring and slowly damaging the monster while she waits for her new weapon to be brought to her. Mind you, the moments when she carries out her execution are incredible. See when she kills her prey on the train, with the lights flashing and the camera thrown.

Unfortunately, the good points I've just listed and explained don't excuse a big problem with the movie: the characters. The protagonist, Saya, is the biggest drawback because the character is dry and cold. At no time does she open herself to the viewer, but she limits herself to fulfilling her mission and looking for a way to carry it out. We know that she is characterized by being lonely, surly and antisocial with those around her, but at no time are the reasons behind it explored. Obviously, the subtext gives us to understand that her character carries an internal conflict related to the fact that she is the only one of her species and with her distance between her and us. In fact, the brief relationship between Saya and the nurse brings out this problem a bit because of the way he interacts with her in the midst of danger. However, the conflict finally remains in the shadows and the image that remains of this relationship is that of a woman who is screaming and another who tries to get rid of the first. There is less to speak of enemies because of the very "bright" hole in it. They could be replaced by other monsters with the same attributes and there would be no difference. Beyond suggesting a certain desire to survive, I find no question linked to these. The only credit I can find is her gruesome design, which illustrates how she is a creature less than a vampire.

You can read my review here: https://elarmarioanimados.blogspot.com/2020/10/resena-blood-last-vampire.html

Excuse me, I'm Spanish and I don't usually write in English. If you want you can read my review in Spanish.

Kenji Miyazawa is one of the best known Japanese authors internationally. One of the reasons for his "relatively" recent prestige has to do with the adaptation of part of his works to anime. The first of them was Night on the Galactic Railroad (1985) thanks to the Group TAC study. But the period of greatest abundance was the 90s. This interest in the author materialized in animation with the medium-length film Spring and Chaos (1996), but also with the work reviewed: The Restaurant of Many ... Orders (1991). There is a later version in the same decade, but it lacks the benefits of the Tadanari Okamoto version. He is sorry that the independent animator died before completing it because of liver cancer. His place would be taken by Kihachiro Kawamoto, another relevant animator, who managed to finish his work.

The short film presents the story of two British hunters who were walking through a forest in order to shoot some animal and take the trophy home. However, the hunt ends abruptly after the death of their hunting dogs in unknown circumstances. Faced with such a setback they try to get out of the forest, but on their way they find a peculiar restaurant called "Wild Cat". Exhaustion and hunger push them to enter the establishment, but they soon realize that various strange events are happening around them ...

Unlike Disney films, the early versions of many children's stories tend to be dark. The Restaurant of Many Orders would fall into this category, so it is not appropriate for a child audience. Despite this, the adaptation of this story still has a lesson to offer. What is it about? Well, the issue is related to recreational hunting and the behavior of those hunters who kill for mere entertainment, with no need other than to have fun and show off their expertise with firearms. Such frivolity would deserve punishment. Through an exchange of roles, in which men become the object of the hunt and the animals become the hunters, the former will be made to savor the fear their prey experienced.

Now, how do you punish this pair of heartless? Well, inviting them to satisfy their hunger in a restaurant. Although I clarify that more than an establishment we are facing a haunted house. And not because there are ghosts but because it contains traps and horrors unfit for this world. With all this it is not the first thing or what attracts the most attention. In fact, it's the most harmless and least supernatural aspect of all: your guide signs. These signs inform visitors that they must comply with a series of “requests” before sitting at the table. They guide them through the restaurant, preparing a few chilling surprises. Among them, the stained glass room and the peculiar feline dance stand out.

The first event is triggered by a spider that scares armed hunters. However, instead of keeping calm, the man decides to use his shotgun. Big mistake because dozens of insects were contained in the windows: butterflies, flies, spiders, etc. Consequently, the situation becomes chaotic with the males unloading their ammunition and the critters emerging uncontrollably from the destroyed crystals. The second event, instead, was planned. The hunters finally arrive at the indicated place, but before savoring the food some dancers entertain them with a unique show. As they gaze in amazement at the strange dance, these beautiful women turn into monsters with sparkling eyes and sharp claws. Although they don't make them their dinner, the scare is so tremendous that they will never be the same again. It should be said that their penance is well connected with their actions because it is the animals who make them go crazy and flee in terror. I just miss a greater initial exemplification of these acts.

As is customary in short films originating in non-commercial environments, the short dispenses with dialogue to tell its story. The fundamental pillar is the image. Of it, by the way, it should be noted her pictorial appearance. The level of detail is palpable when we pay attention to elements like the grass and trees in the forest. There are many strokes in the drawing that denote enormous care and dedication. The choice of colors, mostly brown tones, and the use of shadows and lights are in accordance with the mood you intend to convey.

But let's not limit ourselves to the realm of the visual, since the story excels in the sound with the intention of obtaining a greater immersion. To explain myself, I felt like I was able to transport myself to his world in the blink of an eye. Without realizing it, go. The reason? The sound effects were extremely realistic, corresponding to the locations both hunters were exploring. If I had to divide them, they would be on one side, those sounds caused by the hunters themselves with their footsteps in the grass, the firing of their shotguns, etc; and on the other hand, those that emanate from the forest like the trees shaking by the wind and the squawking of the birds or the restaurant like the creaking of wood. No wonder I remembered those days of my childhood when I was walking in the mountains near dusk.

You can read my review here: https://elarmarioanimados.blogspot.com/2020/09/resena-restaurant-of-many-orders-1991.html

Excuse me, I'm Spanish and I don't usually write in English. If you want you can read my review in Spanish.

Push is a 4 minute short film about the disaster of war, told in a humorous way. The theme of the work isn't new. In almost all Tezuka's short films -even outside of them- this issue can be located. Just like his interest in narrating it in a satirical way. And also like Osu (1962), he reserves the surprise for the end, without forgetting the irony that characterizes him so much.

The film opens with what appears to be a lifeless wasteland, with an army vehicle ... driven by the protagonist, who has all the earmarks of being a soldier or mercenary, soon occupying the screen. Both he and his uniform and vehicle are damaged, so it is likely that he was not long ago on the battlefield and did not emerge unscathed. This world gives the feeling that it was the scene of that battle and the result was this desert. Next, we look at how it stands at various points. In each one there is a machine capable of meeting different needs: drinks, clothing, vehicle, pets, etc. All this at the touch of a button and choose the option that best suits what you want.

Later, we come to what appears to be God's dwelling place. This confirms that the previously seen would be another world, where it seems that it is possible to create anything in an instant. Here there are those who see a criticism of the excessive promptness and comfort of the advances of the modern world. It is true. If we make a comparison with our reality, we can see that every time human progress is capable of making our lives easier. The Internet may not yet exist in Tezuka's time, but the truth is that it would be the paradigm of what I speak. With the Internet, one is able to have a multitude of options with just a couple of clicks. Putting it in connection with what is seen in this work, the human being has the feeling that there is nothing that cannot be achieved or fixed.

But the surprise comes when our protagonist, now presentable, decides to appear before God and ask him to create a new Earth. If there are all those machines, you could do it, right? Well, what do you think he answered? That it was impossible. There is no other new Earth. Ironically, they make use of the word pulsar for the first time. According to God, the human being pushed the wrong button. And if we look closely once God disappears, the desperate man looks at the horizon. Here the camera changes the frame to a wider one and moves so that we can see what there is: an immense wasteland fruit of having used deadly weapons of war. Presumably, I think it is clear that he refers to the nuclear bomb. Hence the "wrong button."

Undoubtedly, this also makes a powerful impression on the viewer, who despite the irony used by Tezuka reflects on this fact. We live with the idea that everything can be fixed, but if we took on the world there would be no possible solution. As far as we go, there is only one Earth. Despite the moral blow, Tezuka is not satisfied and ends with a "Thank you very much", ironically that we got what we asked for.

You can read my review here: https://elarmarioanimados.blogspot.com/2020/06/cortometrajes-de-osamu-tezuka-anos-80.html

Excuse me, I'm Spanish and I don't usually write in English. If you want you can read my review in Spanish.

Like Phaedrus and Aesop, Osamu Tezuka likes to make fables. On this occasion, we will talk about Muramasa (1987), an eight-minute short film that tells the story of a man who one bad day obtains a demonic sword with a great capacity to cut anything, but which distorts the perception of its owner by point that for him all human beings are straw dolls that must be cut. The short film is a simple allegory about the madness of war.

At first the cursed sword, as ... an instrument made to kill, is exhibited as a wonderful object. Everything in its path is easily cut off. In one way or another, the samurai notes that the spirit of his former owner, now an undead, emanates from the sword. A fact that serves, as with the samurai, to indicate the danger of the artifact. Yet the man is blinded by his power. Hence he ignores the monk's warning about discarding the sword. As a result, he ends up murdering a man by mistaking him for a straw doll that he cuts almost instinctively. Despite his understanding of his mistake, the process repeats itself over and over until a law enforcement officer dies. Persecuted and unable to get rid of her, he tries in vain to curb his urge to kill, the only exception being a small boy. However, the end of him is around the corner because he turns into a straw doll like the ones he saw.

As can be guessed, the short film recounts the process of dehumanization of the samurai through violence carried out with the cursed sword. Swords, like other weapons, were created with the primary objective of taking someone's life. Therefore, it is to be expected that taking the life of someone implies undermining our humanity. And because violence begets more violence, this samurai is unable to stop his murderous impulse. A story that, by the way, does not end with the man's conversion into a straw doll and his death, but continues with the next one that takes hold of it just as our protagonist did. A circular ending that is new to Tezuka's filmography, who is more fond of the unpredictable and ironic.

It also emerges from his usual humor, but not from the images as the main means of telling his story. The director combines still images and slightly animated images, achieving a narrative sequence effect that allows us to understand the story while appreciating the art. The set of images, on the other hand, is supported by traditional instrumentalization. It's clear that Tezuka intended to get out of his comfort zone to try something new and I think he succeeded.

You can read my review here: https://elarmarioanimados.blogspot.com/2020/06/cortometrajes-de-osamu-tezuka-anos-80.html

Excuse me, I'm Spanish and I don't usually write in English. If you want you can read my review in Spanish.

When I watch this film, I wonder: What adjective is the most appropriate to define this short film? So, the one that comes to mind is undoubtedly “brilliant”. Here we find a parodic tribute to the western, one where Tezuka limits himself to narrating a story known to all: a cowboy saving a damsel in distress. You may wonder what is so extraordinary about something that sounds as unexciting as throwing a tissue in the trash can. However, my praise is justified by how it ... carries out the imitation.

The idea of ​ Tezuka is basically to imitate those classic tapes where the problems to reproduce them on the cassette were counted by the hundreds. And boy did he make it. The presentation is so perfect that the short film pretends to be a spoiled movie. By clicking "play" we already noticed how the image and sound quality are very poor. The background music is a lively melody, but very repetitive. The drawing style is reminiscent of American animation from the first half of the 20th century. In case it no longer appears sufficiently old, the film's titles indicate that it is from 1885.

This presentation can be misleading, so much so that there have been few unsuspecting people who, ignoring the date of the first animation in history, have thought for a minute if they had made the wrong short film to play. However, in the middle of the footage there is a wink of about half a second where an angry lady appears hitting a television to improve the quality of the image. Although this is the most important clue to realize that there was a planning here, there are plenty of signs that allow us to capture the author's intention regarding this short.

What are these clues? Well, nothing more and nothing less, than a series of audiovisual problems. Tape playback encounters obstacles such as dust, scratches, skewed planes, poor sound, or temporary loss of picture, among many others. Each of these inconveniences is a hindrance for the cowboy, who did not have them at first. However, as if he were the wise Bugs Bunny, he applies his ingenuity to break through. Is there an out of square plane? Well, I move it with the gun to place it well. Can't see well because of the dust? I clean the image. Can't I stop the train in time? I take advantage of the damsel's “Help” sandwich to throw it at her and stop her going. In other cases, bad fortune works against him and he only has to get angry without the possibility of doing much. Clear examples would be when he becomes entangled in a tangle of cables that looked like dust on the screen or when a sudden red line prevents him from kissing the rescued.

The visual humor of the film and the way it takes advantage of all these resources is simply brilliant. As if he were a magician capable of inventing a new trick in a few seconds, also playing with our expectations. Proof of this would be when the image is miraculously restored and the color returns, although as expected the joy of the spectator and the cowboy does not last long. This lively wit is likely to cause huge laughter to those who see it, especially with the funny solutions that the protagonist adopts. As I mentioned before, he takes advantage of them to his advantage, especially with the villain by stealing his gun when there is a stop in the image or the way he goes from frame to frame to catch him off guard. Anyway, I can say little else that explains the genius of this short film.

You can read my review here: https://elarmarioanimados.blogspot.com/2020/06/cortometrajes-de-osamu-tezuka-anos-80.html