Raku’s life is getting more complicated by the day. Not only does he have Kosaki Onodera as his object of affection, his fake girlfriend Chitoge Kirisaki is starting to have doubts about whether she’s still faking being in love or if she actually loves Raku. On top of that, Raku gets Marika Tachibana, the daughter of the local police commissioner, who was promised Raku’s hand in marriage by his father when they were five (not this promise stuff again!). So will the path of true love run smooth? Not by a long shot, from the strength of these episodes.
I don’t like Mamoru Oshii as a filmmaker. I’ll make no bones about that. While I’ll always love Ghost in The Shell and the Patlabor series, the rest of his work both before and after these two are what drives me nuts about the guy. One of the worst offenders is a title he collaborated on with Yoshitaka Amano which I suppose represents the worst excesses of the animation boom in Japan in the 1980’s and the best example of where some creators were trying to push the industry. It’s called Angel’s Egg and it is rotten.
Raku Ichijo loves Kosaki Onodera but Kosaki thinks of him as a friend. Ichijo is the son of a Yakuza boss and life for the most part is pretty good with the occasional headache from his family. One day, to prevent a bloodbath between his father’s gang and an American gang who’ve moved into town, Raku’s father agrees for the American gang leader’s daughter, Chitoge Kirisaki, to pretend to go out with Raku for the next three or so years. Chitoge is none to happy with this since she’s already gotten off on the wrong foot with Raku by literally landing on his face. In the middle of all this is a locket that Raku wears in honour of a promise he made to a girl when he was five. The girl in question has a key that will unlock the locket and identify her to Raku. Guess which girls in class have a key of some sort? So Raku likes Kosaki but has to go out with Chitoge.
I didn’t think I’d be writing this at all. Today was a pretty good morning. It still is a pretty good afternoon. But I’m a bit down at the mo. See, while I’ve been enjoying writing for other websites and reviving the Capricorn Theater, this site has been severely neglected. The last time I wrote anything for it was..what..March? That was only to update you that I was busy on other websites. Not acceptable.
Just a quick update to say I’m writing but I’m almost exclusively writing for other people’s websites at the moment. Check out my reviews of the first clumps of Gundam Reconguista in G, my Ani-Gamers column is starting its windup with the last few posts coming in the next two months or so. I’m also doing other people’s podcasts, check out my appearances on Dynamite In The Brain with Giant Robo and Lupin the 3rd, Secret of Mamo. I’m also trying vainly to finish multiple reviews for MangaBookshelf.com before the next Trap Door is out.
I’ll get back to writing here as soon as I can. Talk with you all soon.
Please note: this was written in 2011 so hence things like REDLine had just come out and my recent trip to Otakon.
Usually, when you discover a new anime series, it’s a case of “Hmm, interesting, but it’s too generic and samey. Could have used a vampire.” It’s a sad fact that the bulk of shows made today pander too much to a really, really, small niche market. I’m fine with people liking whatever it is they like but once in a while, just once in a while, I like to get a show or movie that I can really start chewing on. So, I heard and then read the central premise of Rideback. I looked for fansubs of it but by the time I did, FUNimation has already licenced it and so I decided to wait for my DVD or blu ray of it. So, when I realised that I’d be at Otakon this year and FUNI would have a sales booth I decided to buy it. And then it sat on my ever widening shelf of anime that I hadn’t watched. But unemployment will make a person want to fill the spaces when they aren’t looking for a job. So, I found myself watching the show. And it might be my favourite show of the year and I’ve had a lot of candidates for the title.
The other day, DMP sent out a survey request to people who have been backing their Tezuka Kickstarter projects asking them about what they wanted from the next lot of Kickstarter campaigns and what they didn’t want in the next few campaigns.
OK, so I’ve written over the last few weeks about DMP and their attempts to capitalise on their initial successes with Swallowing the Earth, Barbara and Unico. They tried to fund one enormous campaign that didn’t succeed even after trying to explain itself further. Finally, after all that, they decided to push reset on their efforts and started with a short Tezuka story, Ludwig B. , so I thought maybe they could learn from it and move on. So when they sent out their email, I thought “hey, great, I’ll fill this out and be as helpful as possible!”
Showing that you can learn from your mistakes, Digital Manga Publishing is back with another Tezuka kickstarter project. The previous one ended in fire, just as myself and a lot of other people predicted it would. Looking for $380, 000, they barely scraped together under $27k. We went to town on them over the problems with the amount required, the tier problems and well, dammit, everything. See the link for particulars. So when DMP launched their next Kickstarter for the two volume biopic of famed German composer Ludwig Van Beethoven, titled Ludwig B., I was surprised. Check out their campaign video with its more modest goal of $21,000 and I’ll join you after the jump.
So, DMP promised they would get back to their customers who had questions about the Tezuka kickstarter on the 28th of this month. Get back to them, they did. But some of their responses are making me uneasy still.
Why I can’t support this kickstarter and why I’m happy to pledge to future ones.
(Note: RRP is the same as MSRP and P&P is Hibernian English for Shipping and Handling)
Normally, I’d be lazy and not bother one wit to write about manga on my own website. You can tell with the amount of updates on the main page how wedded I am to keeping it up to date. But, a bee in my bonnet I have, and a bee in my bonnet I must address. I’ve been supporting Digital Manga Publishing with their Kickstarter projects for a while now having only missed out on the Swallowing The Earth project (I ruminate somedays on whether or not to pay the crazy marketplace secondhand prices). I like the idea of getting to read Osamu Tezuka’s work in printed form because he’s an important author and a great storyteller. His body of work stretches over decades and incompasses all genres and mediums. So when DMP decided that their Swallowing The Earth KS could give rise to more such ideas, I eagerly followed them. I’m the proud owner of Barbara, Unico, Triton of the Sea, Atomcat and I’m looking forward to their Captain Ken releases. But there is a seriously hard pill to swallow with their current project.