Nausicaa was the first film to capture Miyazaki's deeply rooted environmentalist spirit and turn it into a sweeping, epic sci-fi story. The film stands as a landmark of animated cinema, even outside the realm of anime, that can be attributed best to its vision and heart. It can be easily compared to his later masterpiece, Princess Mononoke. In a way, the two complete each other, illustrating the never ending battle of man against nature in both its beginning and post-apocalyptic stages. Both films also sport dynamic female leads that story tellers these days can learn a thing or two about portraying females from.
Let's take a look at our first main character, Nausicaa. She has all the makings of a young, pretty pacifist heroine. She is compassionate, yet strong willed at the same; altogether she is an extremely likable character. With these attributes you could make her out to be another Disney princess cutout. And yet I consider her to be one of the best examples of a lead female role in anime. Nausicaa has another side to her nature that she constantly has to hold back- her own hatred. Hatred is a reoccuring theme in the film, and when Nausicaa kills several guards in a blind rage after they murder her father and later when she lashes out against those who put her loved ones in danger it is apparent that the hatred which afflicts the rest of this world lies within her as well. She knows that such anger and contempt will only cause more destruction and learns from her own mistakes. Throughout the film she is constantly battling her impulse to lash out against those who wrong her or the innocents she is trying to protect. In the end, it is her capacity to love rather than to return hate that ultimately spares the world. She also makes great sacrifices for her pacifistic actions; in this aspect, Miyazaki shows us that those who strive for peace are far stronger than those who reciprocate hatred and vengeance.
You could say that Princess Mononoke's lead female is the epitomy of unbridled hatred at the beginning of the film. San is fierce and animalistic in nature, risking life and limb to destroy the one who threatens her forest without mercy. Being raised by wolves, killing comes naturally to her and to curb that impulse seems unthinkable to her. However, her character develops throughout the story, the way Nausicaa did, to realize the destruction that hatred can cause. Through Ashitaka's message she comes to terms with her own humanity and works with him to solve the conflict that seeks to destroy both humans and nature, similar to what Nausicaa does at the end of her film. A profound love for nature and the creatures who call it home is also a driving trait between both of these stand out heroines.
I have been aware of the Ah My Goddess series ever since I first started getting into anime and manga. It's concept always seemed interesting, even though it seemed based along the lines of the ever popular "nerdy guy surrounded by beautiful women" story mould that is brought up in Samurai from Outer Space. I can see how the idea works both ways however, with average guys wanting to be attractive to beautiful women and girls wanting to be adored by more sensitive, submissive guys. Nevertheless I never really ended up watching any of the series. Upon seeing the movie for the first time it seemed a bit confusing being thrown into the story with only a little beginning knowledge of the characters and the world. The relationship of the two main characters, Keiichi and the goddess Belldandy, is put to the test throughout the movie. Upon the arrival of Celestine, Belldandy must overcome the loss of her memories, a powerful virus and the force of her own emotions. With the help of Keiichi, she is able to protect the earth from destruction as well as spare her former mentor. The movie puts its characters through a great deal of emotional turmoil to illustrate the virtue of loyalty and the lasting strength of true love.
Perhaps what Ah My Goddess does best is telling a story full of strong women. Not only that, they do a particularly good job of making them more than one dimension. It shows that women can be tough, though weak and everything in between; they are emotional but able to step up and defend when the circumstances call for it. The goddesses are supernatural but they feel rather like real people in personality; in Belldandy's case she is a very relateable character who we feel for when she is torn in different ways by her emotions. All in all, the character development of Ah My Goddess stands out over the plot, much like many animes of its kind.
Saying that I like Princess Mononoke is a bit of an understatement... in my humble opinion it is a classic in every sense of the word, anime or otherwise. Hayao Miyazaki poured a great deal of heart and his own personal beliefs into this sweeping epic. It is an ingenious concoction of period drama and environmental story that also makes for a great fantasy tale with the addition of powerful talking animal gods. While all of his films are works of art in their own right, there is something about Mononoke's raw, savage nature that sets it apart from the others. I would call it Miyazaki's most ambitious work; an example of Studio Ghibli at its absolute peak. I could sit here and praise it generally all day, but when it comes down to it, the fact that it is just all around well told story is what really matters.
The thing I enjoy most about the story of Mononoke Hime how morally ambiguous its characters are. Their conflict with one another is the soul of the story, and yet there is no universal "bad guy" to be found. Yes, there are greedy characters like the monk Jiko Bou, vengeful characters like the Inoshishi Gami(the Boar God), and even the power hungry Lady Eboshi who seems at first glance to be the story's ultimate source of destruction. Upon closer look, however, you'll find that this is far from your generic plot of evil humans trying to destroy the natural world. These characters are motivated by their drives to live, provide for the less fortunate, to defend their homes and the ones they love.... and of course, in this imperfect world, their motives clash with each other.
San, the wolf princess herself is melding of the human and animal worlds. She was raised by the wolf goddess Moro and instilled with a fierce loyalty to her family, just like any other wolf would. San is a brave warrior who cares deeply about her home and is willing to die for her cause; however, she harbors a burning hatred for Lady Eboshi and wishes more than anything to kill her mercilessly. She represents everything savage in nature in the body of a human, thinking like an animal entirely until Ashitaka appears and slowly but reluctantly widens her gaze.
Lady Eboshi is San's greatest rival who stands equally strong on her own beliefs and is in many ways just as savage. Eboshi has a soft spot for caring for outcasts and the weak, just as San does for her fellow beasts. Her hunger for power, to conquer the forest and take its resources for the prosperity of iron town leads her to a destructive end, however well intentioned her means were. Her conflict with the wolf princess is comparative to two great opposing forces meeting- the strength of iron against the agile ferocity of nature.
In the end we see these characters brought to level ground, as the power of the forest spirit is able to restore nature after the destruction that hatred and conflict caused. Whether the peace between them will last isn't difficult to guess- clearly the film implies that this is a cycle that will continue through the ages.
The film's final lasting message is that the world is imperfect. Conflict will always exist between the human world and the natural world for as long as it remains so, and true peace is an ephemeral thing. However, Miyazaki wants us to realize that this fact doesn't make our responsibilities as a species any less. We need not look for a perfect happy ending, but only to try our best to see with eyes unclouded by hate.
If I could make a reading suggestion, I would like to pitch Hayao Miyazaki's Starting Point (1979-1996) as a great read if you're interested in the man behind these incredible movies. It is a collection of translated thoughts and interviews and essays by and of Miyazaki himself as he talks about his life, movies, philosophies and everything in between. I had to buy a copy of it myself and it was worth every penny; chock full of insight that anyone interested in great storytelling can use- especially if you're a aspiring fiction or screen writer yourself.
These days it is honestly rare to find a film that could be considered universally moving. We've reached an age where the box office is dominated by flashy action films, brainless comedies, films that are simple to understand and be entertained by. Even war movies have become something of an entertaining spectacle. Though they often teach a meaningful message, I personally consider many films showing actual war and battle kind of a glorification of war itself. Like it or not, stories and films do effect the way we view the world and specific issues, like the way we regard war. Even though the images you are seeing in these films are horrible and the story may show the negative effects of war or just tell a story from history, there is still something about them that speaks to our fascination with defeating the enemy and being victorious. That doesn't make them bad, it just makes them another form of entertainment.
Grave of the Fireflies is not a war film. There is nothing glorious about it. It is a survival film, something like Roman Polanski's The Pianist in concept. It takes two vulnerable human beings- mere children- and puts them in a situation that they cannot possibly conquer on their own. From the beginning of the film it is clear that they do not meet with a happy ending, as the brother is shown dying. This bleak opening scene sets the stage for the perfect cautionary tale powered by a simple, long understood idea: war breeds suffering. When everything they once knew is destroyed by air raids, Seita and Setsuko find themselves at the mercy of a society that is breaking down. Without parents to guide or provide for them, an extreme weight is put upon the older brother's shoulders. He tries his hardest to be a man, responsible to a fault, and in any other film we may expect his actions to be rewarded in the end. Instead, he gets to watch his sister waste away from malnutrition while under his care. His guilt over her death drives him to give up on his own life. The happy times in their past are contrasted with the hopelessness of the children's current state throughout the film, and themes of fleeting joy followed by despair are always present. The film as a whole paints a perfect portrait of mono no aware. In a way, it honors a sort of beauty that can only be found in misery. That is why we can even stand to watch it, not for entertainment, but rather for its poignant beauty.
Maybe we could stand to be reminded every once and a while what war is really about.
Grave of the Fireflies leaves its audience with a deeply unsettling feeling even after its credits roll. It should; it's the kind of film that reminds us of our humanity, just how weak we are when the world starts to crumble around us. I would go as far as to say it is one of the most important films of all time. Everyone should see it at least once in their lives. The worst thing we could possibly do is forget about the horrors caused by war, regardless of what side we are, were or may be on in the future.
Suffering is universally understood. War is universally hell.
"Look straight at the people you kill. Don't take your eyes off them for a second. And don't ever forget them, because I promise that they won't forget you." - Kimblee, from Fullmetal Alchemist: Brotherhood.
can't argue with Roger Ebert- this is an incredible film
I think I went into watching Harp of Burma with my expectations a little too high. After seeing Grave of the Fireflies several times over my life, I guess was expecting a more depressing war story out of this movie. Harp of Burma is simply a melancholy tale that tells only part of a full story; it tries to get the viewer to see a part of war through the eyes of the soldiers. However, it goes about this in a non-traditional way. Instead of showing the hardships of war, it focuses on its outcome and the effect it can have on the human spirit.
The animation in Harp of Burma was unimpressive and definitely showed its age, but I can understand the story it was trying to tell clearly. At times the artwork was distracting with how silly it was in a story that was trying to be serious, but that has to be overlooked to actually consider the point of this movie. Peace is the point. Mizushima as a character learns to respect peace above all things, not something a soldier is traditionally known for. After he is separated from his troop he is confronted by the reality of the massive death toll that has befallen the Japanese army. The grief that consumes him upon witnessing this tragedy is so great that it overrides his will to return home, or to the soldiers who had once served as his family. He gives up everything he once knew to bring peace to the dead. The fact that he is putting so much of his effort to simply bury corpses is a major statement of his belief. He is genuinely concerned with his fallen comrade's well being in the after life. He works out of a need for peace; since he has seen so much death he feels that he needs to counter it with good, peaceful action and respect for the dead who have been left to rot. It is his way of bringing a sort of justice to the world.
Overall, Harp of Burma is an interesting little story, but it is just that- little. There was nothing spectacular or new about what it was trying to portray, but it does serve as a reminder that we shouldn't take the dead for granted. In a time when real war is so distant to us, it's important to remember to honor those who give their lives in war.
The first time I ever saw Ghost in the Shell was at a homecoming-ditch party at a friend's house a couple years back. After a few hours of anime marathoning we settled on watching this well-known classic.... I ended up falling asleep halfway through. Whether I was just tired or really uninterested, Ghost in the Shell wouldn't be a film I would come to appreciate until later on. It simply looked like another beautifully animated action anime. Upon a second- and full- viewing of the film I realized how much its themes had in common with other great animes I had seen before, like Serial Experiments Lain and even Fullmetal Alchemist, because of the very real, internal issues it deals with. This film takes the idea of questioning the soul, the identity, and the value of being human and examines it on a grand scale.
Ghost in the Shell's futuristic setting seems to be extremely plausible. The fear of machines taking the place of humans is not a new idea, but Ghost in the Shell takes it to a more philosophical level, rather than going the "robots are out to destroy us" route. The real threat in this film lies not in a true "enemy" but within a rapidly advancing society. The character of the Puppet Master is a curious being in itself; it describes itself as a sentient being because it can recognize its own existence, even though it was developed as an artificial being. There is nothing inherently "evil" or "benign" about it, only naturalistic as it acts in order to preserve itself and carry on by merging with Major Kusanagi's ghost.
One thing Ghost in the Shell does that I particularly like is leave the questions it asks open to interpretation. It never tries to fully resolve the Major's identity crisis- whether or not she is human or otherwise- or offer an obvious moral lesson. What it does best is provoking the viewer to question the existence and worth of the ghosts in our own shells. What, exactly, makes something human when you take away the physical wrapping? The film wants to draw awareness to a connection to something within ourselves that technology may be blocking out over time. If we begin to blur the line between human and machine, what consequences will that raise regarding our own identities and self worth? Since mankind is so constantly searching for ways to advance, special care should be taken that we don't lose that connection to the part of ourselves that truly makes us human beings- the soul.
Another anime that questions the relevance of the human soul/the human identity and does it incredibly well is Serial Experiments Lain. You could make an easy connection between Ghost in the Shell and Serial Experiments Lain; both confront the reality of technology's impact on the human "consciousness". In Lain, humans can upload their souls into this internet-like system called The Wired in order to abandon their "imperfect flesh" and further evolve. The main character thinks much like The Major in Ghost in the Shell, often times questioning who she truly is as she finds out more about what lies "within herself"; both stories also involve hackers and the main characters serve as keys to reaching their goals of ultimately bringing together the virtual and material worlds.
I am glad I finally got to finish watching Ghost and the Shell; while it isn't my favorite anime film of all time, it certainly is a landmark in the genre. No self respecting anime fan should go without seeing it, and the deeper questions it asks should not be overlooked.
I have to admit, I couldn't care less about vampires. These days they have been shamelessly overexposed, their legends rehashed over and over again in different settings, different time periods and in all different manners of storytelling. People never seem to tire of vampires for some reason; to write a popular movie or book these days all you have to do is add them into the mix.
The only thing that Vampire Hunter D. did for me, essentially, was strengthen my hatred of vampires. It's animation is unspectacular, pretty standard for its time. It's story is bearable at best, incredibly confusing at times and in many instances pointless. Don't even get me started on the awful, dated English dub(though I doubt watching the film with subs would have made it any better). However, I digress. I want to talk about Vampire Hunter D. by comparing it to better anime films.
To me Vampire Hunter D., seems somewhat like a failed mixture of Ninja Scroll and the early- and super classy, if I do say so myself- Hayao Miazaki film Lupin the Third: Castle of Cagliostro... but with vampires being the driving point of the plot. As I watched, I couldn't help noticing the similarities between these movies, even though those similarities may seem superficial.
In comparing the film with Ninja Scroll, the presence of supernatural powers and mutants are mutual in both movies. It is a favorite element of anime to have the hero fight a lineup of monsters or deformed bad guys. In Ninja Scroll, however, there was method to the madness- each of the "mutants" serves a certain purpose for testing the main character and he actually learned some from fighting them(when he battles the blind ninja, for example). The villains in the vampire movie were simply there to be one dimensional monsters for the hero to slice through. Vampire Hunter D. boasted one strong-ish female supporting character, the count's daughter- while the main girl fulfilled the need for the whiny damsel in distress; Ninja Scroll had several powerful women characters and even made one a very important element of the film.
Between Vampire Hunter D. and Castle of Cagliostro, it is obvious to see the tried and true plot formula of "evil count captures an innocent girl and the outlaw-type hero figure must save her" in both. The difference is that in Castle of Cagliostro, we see that trite plotline done in a unique and entertaining way, mostly using a loveable cast of well fleshed-out characters, gorgeous animation and great moments of unexpected twists, suspense and action.
Lupin is not the same kind of "silent outcast" character that D. is, but is in fact a mistrusted, often misunderstood character who falls in love with a damsel in distress who he must save from a powerful count as well. D. is very withdrawn and brooding, while Lupin, on the other hand, is spirited, flirtatious and something of a trickster(well, he has to be. He's a thief). Still, they both set out to accomplish their goals with great bravery and skill, and without selfish gain in the end. D. is in a constant struggle with what he is and those around him, making him that iconic misunderstood anti-hero that we're supposed to root for. I found him unlikable, even for all of his heroics, and feel like I've seen a million anime characters just like him, but maybe they actually had a personality somewhere along the line. It must be said that Lupin truly is the more complex character; he changes immensely throughout the film from selfish thief to knight in shining armor. If D. changes any throughout his film he certainly doesn't show it outwardly; he is hardly relateable and just plain uninteresting to watch, even if he is half vampire.
The love interests in both films are borderline bland and needy, but at least Clarisse from Cagliostro tries to save herself on occasion and has an interesting back story, something the lead girl from Vampire Hunter D. genuinely lacks, along with subtlety. I can't even remember the girl from Vampire Hunter D.'s name, whether it was just because she was an unmemorable character or because I honestly wanted to forget who she even was. The way she kept throwing herself at D. was completely tasteless; Clarisse, on the other hand, always acted like a lady and acted to save Lupin when he was vulnerable. Cagliostro also has one strong supporting female character, just as Vampire Hunter D. does, but at least Fujiko both likable and kickass, in contrast to the the vampire count's useless daughter.
And what of the villains? The counts in both movies are powerful and conniving, yet, while the one in Vampire Hunter D. only kidnaps the girl out of boredom(because being a vampire should be boring. Will someone explain to me what's interesting about them again?); the count from Cagliostro does so in order to unite their families' houses and unlock a secret treasure to appease his own greed- it is easy to see that he is by far the better written villain.
It may be unfair to judge these two movies side by side, given that they were about very different thing, but the similarities in plot simply would not stop scratching at my mind; during Vampire Hunter D. I think I was just wishing that I could be watching Castle of Cagliostro instead.
Overall, I assume that the Vampire Hunter D. manga is of better quality based on its stunning art alone. I've flipped through a few of them on the shelves of the Books-a-Million back home and always thought the illustrations were incredible by manga standards. This movie simply fails to impress, at least in my opinion. There may be vampire lovers out there who think otherwise.
Watch this movie instead; it's a classic and angsty vampire-free.
I hate horror movies; they are, in a word, ridiculous in their attempt to try to scare or shock people. You can have all the blood and guts flying everywhere that you can imagine, but if a film doesn't delve into the depths of the human psyche to pull from the real origins of our fears and carefully manipulate them, you are practically left with a brainless comedy under all of that gore.A good psychological thriller, however... that's something I can go for.
The films Perfect Blue and The Black Swan are just that- stories meant to disturb the audience by blurring the line between the real and surreal, piling on multiple layers of reality as they plunge into the insanity of the distressed human mind. Both movies take a young woman character, innocent and unassuming, and have her tormented by the uncertainty of her indentity and her perception of herself. There are a good handful of similarities between the two women in these films.
Nina from The Black Swan falls prey to her own insecurities in the need to fullfill a role that imbodies both light and innocence as well as darkness and untamed lust. This later on causes her to lose grip on the person she truly is; she begins to have hallucinations about actually becoming a black swan as her reality takes a turn down a dark, twisted path in order to create a new image for herself. This is fueled by the desire to be a star. She wishes to be flawless in the eyes of her audience and in the eyes of the people who influence her; her identity is practically their possession.
Mima's sense of reality in Perfect Blue is victimized solely by those around her who impose what they think she should be over her real identity. However, none of these changes to her image make everyone happy at once; two characters in particular, Mr. Mi-mania and Rumi, are determined to force a certain image upon “Mima”, or their perception of her at least. Mima's real self is the only thing that stands in the way. It isn't long before idolization is taken to a murderous extreme. All three of these characters are driven to insanity by this need to fullfill their idea of who “Mima” should be.
When main characters from these two films cross over that line into their new personas, both begin to lose touch with their ability to tell what is real from the illusions brought upon by their fears and these facades of themselves. Ultimately, at points in both of the films, these two women come to fear what they have become. With the loss of control over their identity- Mima loses hers to Rumi's “version” of Mima, and Nina loses hers to the role of the Black Swan itself- comes the loss of control over their own behavior. They feel threatened by what has come to take over their perception of themselves and are soon enough owned by their fears. Both characters begin to have violent hallucinations. Mima hallucinates revenge upon the people who forcedly manipulated her image; Nina invisions herself commiting acts of violence upon her overbaring mother, her rival, and, eventually, the part of herself which was the innocent “white swan”- her former reality. The Black Swan murders the White Swan; Nina's succumming to her dark persona causes her to lose her touch with reality and her own life. Mima is nearly murdered by her “pop idol” persona when Rumi decides to try to dispose of the the tarnished “real Mima” in favor of her imagined “innocent Mima”.
What is most interesting, perhaps, about Perfect Blue is that it not only blurs reality in the main character's mind, but crosses the perceived realities of several characters and their hallucinations. In this way, it is difficult to distinguish at some points in the film whose point of view we are looking through, or if who and what we're seeing is what we think we are seeing. This adds to the confusion that makes for excellent suspence. By the end of the film, I was completely unsure whether the envents that occurred in the film had actually been from Mima's point of view or it was all from Mima's manager Rumi's warped perception of reality until I read more into the story to understand.
There is much more to these two films than meets the eye. With each viewing I find more and more hidden elements within them that I may not have considered before, new ways of perceiving the ideas they express as well as their visual symbolism. Perfect Blue and The Black Swan are two of my favorite examples of the psychological thriller genre. No matter how many times I watch them, I always end up on the edge of my seat.
Watching Botchan was a definitely a new experience; not one I was particularly entertained by, but there were a few things to take away from it. It is obviously a very traditional anime in every sense of the word, portraying Japan's recent past that still effects its culture today. On the surface I saw it as a simplistic, silly story of a man and his misadventures as a teacher in the Japanese school system, but underneath that it is yet another critique of the way a part of Japanese society functions. In the two other films we watched there were also underlying criticisms of these functions. The way the Japanese use stories and animation to reach its viewers about social issues is an inventive idea; a story always tends to stay in one's mind rather than a blatant argument against something. In Botchan we see in interesting satire of the corruption and shortcomings of the school system in Japan and how people simply acting like the imperfect, selfish creatures they are causes it.
Within a society that is so rigid and strict, human nature always finds little cracks to seep through. In Botchan we see it come through the actions of the story's flawed characters. Botchan himself is a rather flustered guy. The students at the school find it easy to anger him and so they take advantage of that; the teachers seem to pick up on this as well, making him their target. He is new to the town he comes to work in, straight from Tokyo, and so is treated as somewhat of an outsider because of that. His rash, impulsive personality clashes with the people of the town. This puts him in several bad situations, including being forced out of the house he was living in for being accused of flirting with the landlord's wife. The way Botchan reacts aggressively when things turn against him only eggs on his tormentors. The bullying behavior displayed by the young men as well as the adults shows that, underneath their professional appearance, the grown men are still self-centered and immature. The crafty Red-Shirt is a prime example of corruption in the film. He uses his sly ways to manipulate those around him to get what he wants. His pawns are the people around him and he is never punished for his actions because of his status, until Botchan stands up to him. Status plays a big role in their society and ultimately creates a hierarchy where those lower on the food chain are easily pushed around by their higher-ups(the teacher, 'Weakling', for example is denied the woman he loves because of Red-Shirt's greed. He is taken advantage of because of his lower status.) This only illustrates how easy it is for a system that looks stable and sure of its goal to educate can be easily polluted by an imbalance of power.
Ninja Scroll immerses the viewer into a legend told in a way only the Japanese can. The roaming samurai at its center is a figure of freedom, power and justice among the unjust. Jubei's story is the perfect example of a classic Japanese tale seeped not only in lessons of morality, but critiques of government and human nature as well.One of the movie's most important themes, the power and weakness which are both found in a woman's sexuality, gives its story an intense, intriguing edge. Sexuality itself, in the film, is portrayed much like a two edged sword. It can attract but also destroy, making it the "perfect" weapon in and of itself.
The ninja girl Kagero is a prime example of that two edged sword, sharpened to its deadliest potential. The way she carries poison throughout her body, killing any man who sleeps with her, is a device used to give power to a being that is generally considered weak- a woman. This is her strength in times where she is being abused; this power that she has causes her to live without fear of men, and, coupled with her skills as a ninja, makes her a genuinely strong individual. However, she finds her weakness in Jubei. Through the course of the film it becomes evident that she is both emotionally and sexually attracted to him. This turns her power against her and it becomes her weakness. Being unable to love is a source of great pain to her, and when she realizes that she can save Jubei by sleeping with him and countering his poison with hers, she is more than willing to oblige him.
The samurai, however, refuses her offer. He understands that even though he would be saving himself, sleeping with her out of selfish reasons would be just like playing with fire. Morally, he knows it would be unjust to her, even if she is willing, and that it would lead to corruption in their relationship. Just as he believes that the “end does not justify the means” when it comes to dealing with corrupt government, the same idea applies here. The romance in the film is highly tragic and probably one of the story's most realistic elements. It is an excellent portrayal of the power and pitfalls found in human sexuality- one of the most mysterious elements of our nature.
Part of what Akira is at its heart is a cautionary tale about the control, and loss of control, of power. Through themes such as social injustice, corruption of the government, and rebellion it shows the abuse of power to an extreme level that effects its entire society. Through one of its main characters, Tetsuo, the film demonstrates how a hunger for control and to become a stronger, "greater" being can eventually lead to destruction, both internally within the character, and outwardly as he impacts his environment.
Tetsuo and the remains of "Akira"
The way Akira takes a weak teenage character and gives him incredible power is one of the elements that makes its story so interesting. It brings the idea of corruption of power down to a more personal level. It is definitely easier to relate to Tetuso's character than to an unjust government or group of people who hold ultimate control. He is essentially an unstable character who, against his will, comes into the possession of superhuman abilities. He is pushed forward by the circumstance he finds himself in, his beliefs and his fears. The great power he has is simply the result of the control the scientists and government take over his own life that is only heightened by his own personal potential. This raises the question of whether it is essentially the fault of the scientists who gave him the power, Tetsuo's abuse of the power, or a combination of the two. This question translates over well to our own society. To what extent are we responsible for the power we have through technology, weapons, science, government, etc.? Should the blame be placed on the origins of these things that have potential to do great harm, or upon those who abuse them? How we deal with these issues is very relevant to our modern world. Since 'Akira' itself is basically potential energy- potential to do incredible good or incredible harm- we can see that potential for power Tetsuo gains within ourselves, figuratively. Those who find themselves in control of great power should consider first and foremost how they intend to use it.
On a personal level as well, it is simple to understand the impact that the character Kaneda has had on Tetsuo's life. Part of what drives Tetsuo to use his power in destructive ways is how he compares himself to Kaneda and the way Kaneda and his friends treat him. For example, he is upset by the fact that Kaneda will not let him ride his bike simply because he is not strong enough to control it. He develops a sort of "Napoleon complex" as the weakest member of the gang and fights throughout the film to show that he can be strong and powerful. The repression that all of these young characters experience from the overbearing society in which they live has such a negative effect on their actions and motives, especially in Tetsuo's case. They find themselves fighting for survival, and the idea of "only the strongest survive" has a devastating effect when one of them literally becomes the strongest of his species, so to speak. Tetsuo pushes everything he once knew aside, such as his girlfriend Karori and all of his friends, to seize power over the society that abandoned him.
In the end we find, with the revealing of what Akira actually is, that the 'ultimate state of power' is actually a form of incredible energy. Akira's purpose, hypothetically, is to cleanse all of this corruption and deterioration that the world has undergone and start everything anew. With the intervening of the Espers(the children who were also test subjects and hold incredible power) Tetsuo fulfills his true potential and "joins" with Akira. At that point it could be said that all power is meant to eventually be corrupted, that society and human nature is and will always be flawed, but that when after it crumbles down upon itself and is destroyed there will always be some hope remaining for the future(symbolized in those left remaining after the great destruction Tetsuo causes at the film's end). There will always be potential to do bad or good.
While it is easy to look at the grand picture that Akira paints, a story about a post-apocalyptic sort of world in which the corrupt government controls society with an iron fist, it is also important to consider how some of the main characters develop and display the themes of the corruption and use of power. It may even prove to be more important.
----
Just as a useless extra, here's a spoof of Akira if an "American version" of it were made:
Me and voice actor J. Michael Tatum at MechaCon 2011
(voice of Sebastian from Black Butler, Kyoya from Ouran High School Host Club,
France from Hetalia, Scar from Fullmetal Alchemist Brotherhood, and many more)
Why hello there. I am Sydney Brouillette and welcome to my fabulous anime blog. I have been watching anime since I was very young, but only in the past three years has it become a significant part of my life. As a kid I grew up watching 'Sailor Moon' and many of the early Tezuka series such as 'Unico' and 'Kimba the White Lion', having no clue how huge the world of anime really was. About three summers ago, when a friend and I stumbled upon many of the works of one of the masters of anime, Hayao Miyazaki, we spent a great deal of time marathoning his movies and I ended up falling back in love with this highly diverse genre. My favorite film of all time, to this day, is still Princess Mononoke- I end up watching it at least once a month. I now have a pretty nice sized collection of anime movies and series that I often share with friends, and has even brought me closer to a few as a common interest. My top five favorite anime series (and why):
Kino's Journey (The only anime to really change the way I view the world/my life in some way.)
Baccano! (I really enjoy Quentin Tarintino films. And the prohibition era. This is the anime version of those two things mixed together- it's great stuff.)
Wolf's Rain (All around beautiful and stirring. It really makes you think into its deep ideological and religious subtexts while still being action packed and entertaining.)
What else is there to know about me? I am a fiction writer in my spare time. I love taking ideas, mythology and characteristics from different cultures, mixing them together and including them in my writing, the way the Japanese often do in anime. I was also a theater/choir "rat" all four years of high school and have had leading roles in plays such as 'Beauty and the Beast' and Rodger's and Hammerstein's 'Cinderella'. My favorite musical artists are Fleet Foxes, Florence + the Machine, Brett Dennen and Regina Spektor. I also love horseback riding, drawing and, of course, Asian food.
I am currently minoring in Asian studies, taking classes in Japanese as well as self teaching, and plan on studying abroad in Japan either my sophomore or junior year. After I graduate, no matter what field I plan on going into, I want to take the opportunity through the JET program to assist teaching English in the Japanese school system in the city of Mitaka in the Tokyo prefecture (if they will allow me the choice).
