Police Story: Lockdown

Putting the competition on lockdown.

Released in China as Police Story 2013 and distributed in America last year by Well Go USA, Police Story: Lockdown is a reboot of Jackie Chan's Police Story film series. In Police Story: Lockdown, Jackie Chan plays Detective Zhong Wen - an aging law enforcement official who has seen more tragedies than he's able to forget. One evening he receives a call from his estranged daughter Miao Miao (Jing Tian) who wants Zhong to meet her at Wu's Bar. Zhong walks off the streets of Hong Kong and into a San Francisco hellscape as Wu's Bar is a hipster's paradise. While there, Zhong meets the bar's owner - a sly fox named Wu Jiang (Liu Ye) who is also his daughter's new boyfriend and Zhong isn't pleased to say the least. A fierce father-daughter quarrel erupts and Miao's words cut her father to the bone. Before cooler heads can prevail, an argument breaks out between the bar's patrons and a gang of thugs uses this as an opportunity to put their plan into motion. The leader of these criminals is actually Wu Jiang himself who lured Zhong to settle some unfinished business. Unarmed and outnumbered, Zhong must use all of his wits and training to save his daughter and the other patrons, but this hostage crisis may be his last.

Jackie, try to remember some of the basics of CQC.

If you're familiar with the Police Story series you know these films are some of Jackie Chan's best. The traditional series had an excellent blend of action and comedy which is what Chan is known for. Of course age and the numerous injuries from a life-time of doing his own stunts has crept up on Chan over the years and he's had to change the way he makes films. While this is probably raising some eyebrows for action movie buffs, make no mistake. Jackie Chan is still on top of his game and this film is an excellent example of that. He still does his own stunts, but they're considerably less crazy and while his fight scenes have gotten shorter they're still expertly choreographed and Jackie Chan retains his signature style.

 

A dark past?

Much like Jackie Chan himself, Detective Zhong Wen is no spring chicken and there's a limit to what he's able to do. There is a lot of tension in the action scenes because Zhong is up against thugs who are younger and often bigger than he is, as well as armed. So he uses his speed, agility, and his environments, often surprising his opponents who take him for some feeble old man. The fight scenes are very well-done as one would expect from Jackie Chan, but there is also a heavier emphasis on drama too. There is a physically brutal and emotionally powerful cage fight where Zhong struggles against one of the villains who happens to know Muay Thai. Zhong changes up his style between Kenpo, Karate, and even MMA as he struggles to take down this younger, more powerful foe - all the while being torn down by Wu Jiang who reminds him that he's too old to win this fight.

 

Can't fake good kids.

There's a subplot revolving around Zhong and his daughter Miao. At first Miao comes off as your typical adult-age brat with daddy issues, but when you learn more about her relationship with her father this family turmoil comes into focus with painful crystal clarity. While Jing Tian didn't do an awesome job playing Miao Miao per se, I felt she was believable as Zhong's daughter.  This movie places a heavy emphasis on drama and Jackie Chan's performance is powerful.

He's still got it!

Zhong's personal struggles are worn on Chan's face and reflected in his eyes. He's getting too old for this sh!t and there's nothing he'd love more than to take his daughter home and let someone else handle the hostage situation. But he never stopped being a cop and he's not going home until he ensures everyone else does as well. His conviction drives him to protect everyone no matter how reckless that might be. A lot of the characters are carrying some kind of emotional trauma and while some are able to grow from it, others become completely undone. The third act of this movie nails the characters (and the viewer) with revelation after revelation that left some characters utterly destroyed. While Police Story: Lockdown isn't as action-packed as Jackie Chan's earlier films, it's a great movie that puts its two hour run-time to good use. There's combat, drama, betrayals, and a tension that grips you from the inciting incident until the final scene. Jackie Chan may have gotten older, but he's not going quietly into the night. 

A Company Man

This is going to be a heavy one.

Ji Hyeong-Do (So Ji-Sub) is a seemingly ordinary salary man; he starts his day with a balanced breakfast, he carries a briefcase and wears a suit to work. Everything about him from his hairstyle to his manner of walking makes him indistinguishable from the average Korean working man. However, Hyeong-Do's job is anything but ordinary. Working as a hit-man for a company specializing in assassinations Hyeong-Do has been with the company for a long-time. Having never failed a mission and always completing his assignments without question, his boss Representative Jeon (Jeon Guk-hwan) plans to leave the company in Hyeong-Do's hands. That is until Hyeong-Do falls in love with a woman named Su-Yeon (Lee Mi-Yeon), a single mom who is also the mother of Hyeong-Do's most recent target. Hyeong-Do is forced to choose between his duty and his heart. When he chooses wrong he finds himself hunted by the very same organization that trained him.

 

He was a model employee.

If you follow me on Twitter you're probably aware that I'm a huge fan of Asian cinema - Korean cinema and shows in particular. Undoubtedly my favorite Korean film (and one of my favorite movies of all-time) is 2010's The Man From Nowhere which has since become the standard by which I judge these films. While 'A Company Man' won't be taking the crown I'd put it right next to 'The Man From Nowhere' as one of the all-time greats given that this movie was filled with drama, suspense, action and very deep characters that made me care about them. The story hooked me in from the word go and I was captivated by this world and the very real sense of pain and loneliness that was felt throughout.

It's hard out here for a killer.

Actor/rapper So Ji-sub plays our lead Ji Hyeong-Do. With 20 years of acting experience under his belt he's no slouch and he does a fantastic job portraying Hyeong-Do. When we first meet Hyeong-Do he appears to be a ruthless assassin, even going so far as to kill an underling with no remorse despite the fact said underling has a family. Orders are orders after all. He is both feared and respected in his organization and his boss likens him to a perfect killer. He's almost mechanical in nature. However this is only on the surface. Beneath that Hyeong-Do is a very lonely man who feels isolated even when he's surrounded by other human beings and it seems his only human contact involves the people he's sent to kill. As time goes on and his missions become more and more complex, we see and understand why he's had enough of this life and wants to move on. He's a quiet character, but the nuances in his body language speak volumes about what he's thinking. Verbally or non-verbally, So Ji-sub commands these scenes.

Learning to be human.

Actress Lee Mi-Yeon plays Su-Yeon a single mother struggling to raise two children on a tailor's salary. Caught between a rebellious, teenage daughter who'd rather make a career out of running the streets and a son whose super secret job happens to be contract killing similar to our main character and Su-Yeon has a lot on her plate. When she meets Hyeong-Do, his support and quiet understanding eases her financial hardships, but more importantly the emotional weight she's carrying. He helps her rediscover what it means to dream again and even brings her closer to fulfilling said dreams. Su-Yeon in-turn helps Hyeong-Do rediscover his humanity and live for something other than killing.

 

Don't cross the boss.

Any corporate structure is bound to have a completed hierarchy and this one is no different. A Company Man has a large assortment of characters connected with the organization - some good, some bad. Jeon Guk-hwan (above right) plays Representative Jeon, the leader of the organization. He's easy-going and friendly, but don't let that fool you. It takes a special kind of crazy to operate a business where the main product is murder. He's the mastermind behind everything and there's no line he won't cross to keep the organization's existence a secret. Serving directly under him is his stooge Kwon Jong-tae played by Kwak Do-won. Do-won does a great job portraying Jong-tae as this character you love to hate. He's scheming, double-crossing, woefully inept, and is basically an amalgam of every bad boss you've ever had. Yoo Ha-bok plays Jin Chae-gook, who was Hyeong-Do's handler before tragic events force him to turn rogue and place him into direct conflict with our lead. There are other characters including Ban Ji-hoon (played by Lee Geung-young) who is a washed-up, old assassin who has nothing in his life but money with no one to spend it on and a fancy car with no one to drive around in. Ban Ji-hoon is particularly interesting because he is in many ways an uncomfortable picture of Hyeong-Do's future. The lives of these characters all intertwine to create a compelling crime drama told through tears, bullets, and bloodshed.

 

Giving one HELL of a two weeks notice!

Any Korean crime drama worth its salt better have some good action and 'A Company Man' is no slouch. The film does an excellent job of having fights play out in very close quarters which makes the action more visceral. Hyeong-Do knows how to throwdown and whether he's up against multiple opponents or people older and more experienced than himself he knows how to bring them down all the same. The fight scenes also have an emotional weight because many of Hyeong-Do's enemies are people he's known for years and in some cases decades. There are times when he asks them to stop fighting for their own sake and when they don't he has to put them down. In addition, there's an office shootout that will make fans of Max Payne 3 proud.

The film's impressive score is composed by Mowg whose resume consists of films from east and west including The Last Stand, I Saw the Devil, Memories of the Sword, The Fatal Encounter, and more than a dozen others. His music perfectly captures the tone of each scene and the ending track carries with it this real sense of finality.

What lay at the end of his road?

A Company Man weaves a powerful tale, but it's certainly not a light-hearted one. This isn't your typical bang, shoot em up action movie. It's a gritty romp through the dark world of contract killing where innocent lives are lost in a war between men who can only find peace at the end of a gun. From the opening hit to the final moment when the last shell casing drops, A Company Man gripped me from beginning to end and I highly recommend it.

Kiba Gaiden (2011)

The Dark Knight Kiba

Released in theaters in November 2011, Kiba Gaiden takes place before the last three episodes of the original GARO and is centered on series antagonist Barago (The Dark Knight Kiba) and explores Barago's origins and his call to darkness. Due to this movie's place in the Garo canon it is highly advised that one watch the original series then the gaiden entry as some spoilers are inevitable. I'll start by saying in many ways, you could call this film Amemiya's tour de force as many of the elements in GARO and Garo: Makai Senki are not only on full display but are taken to some very impressive heights. Amemiya did so much, with very little, in a very short amount of time. The results are so well-done and wonderfully imaginative that I found myself consistently impressed throughout.

Life and death are simple concepts.

The film opens with Barago's soliloquy about the darkness in his heart and whether a light was ever there to begin with. The scene then shifts to Amemiya's signature brush work where we see a Horror attack a woman before being slain by Kiba. We are then taken to a dark room which uses a blend of western gothic ornaments with makai symbols where the three main characters in this film take center stage and it is in this scene and many others like it where Amemiya shows how good he is as both the creator of the property and this series. He doesn't spend a large amount of time introducing our characters because with the exception of maybe Elda, we know them from the series. Amemiya also carries over the design elements of the original series, keeping all the franchise's aesthetics in place. In addition, the absence of visible light sources, the presence of dark colors, and sharp almost sinister designs of the objects in the room give the film's opening location a very oppressive atmosphere which made Kaoru's imprisonment feel every bit as discomforting to this viewer as it was to Kaoru herself. Perhaps even more so because while Kaoru is in disbelief that someone closest to her is threatening her life, I was fully aware at this point that Barago was a monster. Of course he wasn't always this way.

Childhood

Barago recounts his childhood which I found added to not only his character development but also Amemiya's creativity. Contrary to most villains Barago did not have a tragic past. Rather his childhood was mostly an idyllic one and very similar to most families in Makai, his mother being a Makai Priest and his father a Makai Knight, and like most children Barago was trained to be strong so as to one day become a Makai Knight himself.

She is more precious to him than any other.

People deal with loss in different ways and when Barago's mother took ill and was claimed by a Horror soon thereafter, in his mind it was because neither he nor his father were strong enough to protect her. Once Barago lost his father it simply meant his father was weak. Barago's psychological approach to dealing with pain and loss revolves around his perception of power and the applications thereof.

Barago meets Messiah, The Origin of All Horrors

I found Barago's character and indeed the development thereof quite different from many other villains because initially he doesn't seek power just for the sake of it, nor does he subscribe to the "survival of the fittest" or "might makes right" theology of villainy. Power is simply everything and the natural objective of everyone who calls themselves a Makai Knight. Barago's quest for power leads him to break many Makai rules and delve into his share of taboos such as seeking out the power of darkness and even Messiah, both of which being the ultimate evils in Makai teachings. What I also found captivating about Barago is his lack of hesitation when speaking in absolutes. Barago is hands down one of the most powerful characters in Garo if not the most powerful, and his willingness to adopt a mentality of absolutes is rooted in his convictions that anything can be accomplished with strength. Even so, he never boasts about his strength and recalls his accomplishments as mere matters of fact.

He is a nightmare.

The movie has a short, but very effective montage that shows us how much stronger Kiba has gotten overtime. Even if you haven't seen the series, it's easy to see why he is a nightmare to Horrors and Makai Knights alike, demolishing his enemies with unrelenting force and even devouring them and taking their strength for his own. Kiba's theme is played during this montage for that extra touch of badassery and is almost spine-chilling. Whether he is up against Horrors or Makai Knights, Kiba is unfettered, brutal power, and doesn't really have to do much to completely overwhelm his opponent. That is until he faces down Garo and the struggle between the two is a soul-shattering showdown so epic, so over the top the battle alone makes the film a must see.

Dark reflections.

The acting in the movie is mostly good. I say mostly because Mika Hijii who plays Kaoru in both the series and this film doesn't appear to bring her A game. It's possible that she wasn't given much to work with or just didn't have the most screen-time to be anything more than a damsel in distress but I didn't feel as though she gave a believable performance here. I suppose Kaoru as a character is so taken aback by Barago's betrayal that she can't wrap her head around everything that's going on but I just didn't really feel Hijii in this role.

Darker designs.

Leah Dizon plays Elda, Barago's right hand. I felt she received a decent amount of screen-time and didn't phone in her performance at any point I could notice. While her character type was cliche I still remember her quite vividly. I felt that not only was she a good actress but I also have an appreciation for Amemiya for giving her a fully fleshed out and believable origin in her own right which made her feel like a round character.

Stealing the show. Like a boss.

Singer/actor/guitarist Masaki Kyomoto steals the show as Barago. Kyomoto is no stranger to acting as he's been in the business since the 1980s. Much like in Garo where he played two characters, he brings that duality to his role here. Kyomoto portrays a character that is affable and forthcoming, but at the same-time he's very good at keeping Barago's cruelty firmly in mind. Even when he's being gracious there is a cold, oppressive nature about him. When he treats Kaoru or Elda as people it's done in a way where he seems to be merely humoring them even if it's not overt. Kiyomoto has a soft but masculine voice which is very attention getting and I found myself hanging onto his every word. He has a strong onscreen presence and makes very subtle use of his facial expressions and eyes, the latter technique I found particularly captivating because he never seems to look at the other characters even when he's making eye contact with them. It seems as though he's looking through someone, or rather he looks passed them, his eyes always on his ultimate goal and giving no pause to anything in between.

The Lightning Baron will strike down evil.

The film's epic orchestrated score comes across particularly well during the fight scenes. One especially noteworthy piece plays during the battle between Garo and Kiba which makes the battle feel and sound every bit as monumental as it looks. Kiba's theme is a really intense, dark, horrifying piece that makes an excellent use of only a small handful of instruments with some very audible trumpets which is fitting given what trumpets sometimes symbolize. One piece that stood out for me just as much, if not even more than Kiba's theme is the theme of Barago. For all his power and evil, Barago strikes me as a sad character if not in nature then certainly in circumstance and his theme is a very soft, almost quiet piece which mixes violins and pianos and while there's a sinister tone in the reverb I found the theme tragic and moving overall.

Was there ever light in that heart?

Kiba Gaiden was a very enjoyable film. I didn't think a gaiden about Garo's antagonist would provide so much characterization and such epic thrills when I first heard about it. It's clear that Keita Amemiya doesn't phone it in and I felt he really outdid himself with Kiba Gaiden. While it's not the longest film (run-time is less than 60 mins.) it's definitely unique and more entertaining than many films I've seen that cross the two hour mark. I felt it's also one of the stronger GARO films and with a tokusatsu this good that says quite a bit. There are some interesting twists and shocking turns in this movie which combined with great acting, fantastic fight scenes, and a powerful ending really left an impression. Definite must see.

GARO (2005 - 2006)

GARO The Golden Knight

Since ancient times creatures called Horrors have preyed on mankind. Possessing terrible strength, magical powers, and the ability to shape-shift, Horrors have been the stuff of nightmares. Mankind's only defense against these creatures are the Makai Knights; human beings who possess superb martial arts skills and powerful magic. Over the centuries, the Makai Knights have been successful in repelling these monsters, and to the people of today Horrors and Makai Knights are just obscure myths. However, the threat of Horrors is very much real and now as they stand on the edge of complete annihilation, they will call on Messiah the Origin of All Horrors to exterminate mankind forever. Only one man can stop the Horrors from bringing about their terrible plan. That man is Saejima Kouga. That man is Garo The Golden Knight.

Name: Saejima Kouga, Occupation: Undisputed BADASS

Created in 2005 by Keita Amemiya, GARO is a dark fantasy set in the modern era. More so than its successive series, Garo is a masterful blend of horror, fantasy, drama, and martial arts that creates a tokusatsu that is on par with many Kamen Rider series, and speaking as someone who feels Kamen Rider is the greatest tokusatsu out there that is no small statement. The cast, presentation, and writing go a long way in making this show standout. There is a lot of world building that uses small details like introducing terms such as Makai Knights, hoshi, madou fire, watchdogs and so forth to gradually and effectively build a captivating horror fantasy. I thought taking in all the complex terms and rules of this world would be daunting at first but by the second or third episode I knew a great deal about this world and never felt lost as the series went on. The show follows Saejima Kouga (Garo) who is played by Hiroki Konishi who seems to be channeling his inner-Blade era Wesley Snipes. We get the feeling very early on that despite Kouga's archetypal construction there's more to his character than he lets on. While he's mostly a reserved badass, Kouga usually has a witty quip or cold remark which in addition to suiting a particular situation, also goes a long way in exploring his hidden depths.

Kouga, Gonza, and Kaoru

When he's not cutting down Horrors, Kouga isn't particularly outspoken and I feel that Konishi does an absolutely amazing job with this character in communicating his thoughts and feelings with non-verbals. Whether it's the speed of his gait, his posture, facial expressions, or just certain glares or glances of his eyes, Konishi's acting enables Kouga to speak the most when he's not saying anything at all. It's a quiet performance that's hardly silent. As a character Kouga is all business and has little interest in anything outside of his duties as a Makai Knight and this either by whole or in part has stunted how he associates with other people. In doing so, it builds a believable wall between our male and female leads.

Sleeping Beauty

Played by Mika Hijii, Kaoru Mitsuki serves as our female lead who strangely enough, is effective because she's completely average. Kaoru is a starving artist who is trying to achieve her dream of becoming a world class painter and has to take odd jobs in order to eat and pay her rent to the best of her ability. At her core she's a single woman trying to make it out here. She has an unfortunate encounter with a Horror and while Garo prevents Kaoru from being killed, he doesn't technically save her life. Kaoru gets stained with the blood of a Horror which infects her body and attracts other Horror to her like a beacon. And even if they don't kill her, in 100 days she'll turn into a Horror herself so it goes without saying Kaoru's days are numbered. What's compelling is that despite being hunted by these monsters Kaoru refuses to give up. She keeps aiming for her dream while at the same-time, trying to unravel the mystery of her father's final masterpiece which is an unfinished picture book of a strangely familiar figure in golden armor.

Character development. We don't have this in the states.

Kaoru builds a believable, albeit predictable romance subplot with Kouga which I actually didn't mind much to my own surprise. It doesn't feel shoehorned into the plot and the relationship is a very slowburn as Kouga's character arc has to take him from the person he is i.e. someone who doesn't care about forming bonds and is solely dedicated to being a Makai Knight, to the person he needs to be i.e. someone who is compassionate and understands that the monsters in his own heart are every bit as dangerous as the Horrors themselves. I point this out because it is Kouga's relationship with Kaoru that forces him to reflect on who he is and why he is and opens the door to further characterization and bits about his background. As the story progresses, we encounter other characters including rival Makai Knights.

Suzumura Rei The Silver Knight

Played by Dustz lead singer Ray Fujita, Suzumura Rei serves as Kouga's bitter rival, foil, and unwilling ally depending on the situation and his mood which is liable to change in a heartbeat. Rei can best be described as ruthlessly efficient as he'll cut down Horrors (and anyone tainted by Horrors) with merciless ferocity. He develops an interest in Kaoru that some times takes a left turn into creepy land, and he also holds a grudge against the Golden Knight for reasons known only to himself. The script (and the franchise as a whole) gets a lot of mileage out of Rei's character right from his introduction because it shows us that Kouga isn't the only Makai Knight and there are others fighting against the Horrors. It also shows us that different Makai Knights have different regions of the world they're supposed to defend and they're not actually supposed to crossover into each other's jurisdiction. On top of that, the inclusion of Rei helps the plot move closer to the larger conflict.

Power Up!!

As per the norm with tokusatsu the villains of the series tend to be your Monster of the Week variety starting off. Kouga receives assignments from the Watchdogs (his bosses) and intel about Horrors while other times he must hunt them on his own with absolutely no information to go on. These Horrors lure humans often targeting them based on their character flaw such as greed or taking advantage of people's desperation or regret on other occasions. Essentially if there's someone out there that has a psychological, emotional, or spiritual weakness there's a Horror that will prey on them. Some of the scenarios in which people fall victim to Horrors makes perfect sense such as when a Horror poses as a doctor and kills people in his private hospital because it would go unnoticed if there was a mishap on the operating table. Other scenarios do seem contrived such as when one Horror poses as a broker and attacks the people she meets. But she meets people out in the opening, at night. Who meets a broker in the dead of night? I admit these are minor gripes and this is typical of most series of this kind. It's not a jab at the convention but I do wish the reasoning behind some encounters was more creative.

The Dark Knight Returns

Around the halfway point Kouga learns that his father's nemesis Barago is not only alive but in his very city. The conflict between the two not only turns the world of Garo upside down but brings the city to its knees. The action is top notch due in large part to excellent choreography, some creative wire work, and relatively simple use of CG except for the most over the top battles. One of the things I appreciated about this Garo and a major advantage it has over its successive sequels is that it uses costumed stunt men for most of its fight scenes. I feel the action is more effective in this manner not only because its the tradition of tokusatsu but also because by not using CG, the battles look more real and the combat is a lot more interesting because even with the use of wires, there is still a guy in a suit executing these moves rather than a CG model. It also says a lot about the presentation and the remarkable level of care put into this series because Horrors and armor worn by the Makai Knights all look really complicated so there was certainly a lot of effort that went into building this world.

Garo is ready for action!

When CG is used it's done where it makes sense such as in the creation of some two story tall Horrors and fight scenes which could not have been done any other way. Perhaps the most jaw-dropping use of CG combined with live action comes during the series climax which I won't spoil but I will say it was the most stylish, action packed finish I've seen this side of Karas. Simply put, Platinum wishes they made something this over the top.

"He fights battles and doesn't afraid of anything."

The series isn't perfect. Some of the writing toward the end gets inconsistent, for some viewers it may take too long to set up the ultimate conflict, and series villain Barago doesn't get a lot of characterization. While he does get an entire movie dedicated to his story (Kiba Gaiden), I feel that he should have been explored more thoroughly in the series in which he was introduced and not a separate movie. However, what is here is quite good. Opening and ending themes by Jam Project (The Soultaker) along with a fantastic score by Shinji Kinoshita and Kōichi Ōta gives each scene a life and a mood of its own. Garo blends drama, horror, martial arts, and transforming super heroes to create an imaginative series that launched an entire franchise and for very good reason. Like an RKO out of nowhere Garo definitely took me by surprise and it's a series I won't forget anytime soon. While I can't vouch for some of the later entries, the original Garo is very much a must see.

Claymore (2001 - Ongoing)

Claymore

Created in 2001, Claymore is a dark fantasy manga written and illustrated by Norihiro Yagi. Taking place in an unnamed world, creatures called yoma prey on humans and people live in fear. In response to this fear and the threat the yoma possess, a mysterious group known as The Organization has created half-human half-yoma hybrids to combat yoma. Often called silver eyed witches on account of their appearance, or Claymores because of the large swords they carry on their backs, these women warriors are the only thing that stand between yoma and the extinction of the human race. However, because Claymores are half yoma themselves, not only are they seen as objects of fear by normal humans, but Claymores run the risk of awakening and turning into a creature consumed by their own demonic power. Once they become Awakened Beings, they are relentlessly pursued by their own organization until they are destroyed.

Clare turning monsters into cold cuts.

Claymore opens with a young recruit slaying a yoma effortlessly, and then the scene switches to a village where its inhabits discover the body of a person who had been killed by a yoma. The increasing body count has the villagers worried and they put in a request to the Organization who sends in the recruit we saw earlier. Raki, a young boy from the village is curious about this warrior and after much insistence on learning more about her we learn that her name is Clare. It is soon discovered that the yoma Clare is hunting was masquerading as Raki's brother and while Clare makes short work of the creature, Raki is now alone and is cast out by the village. Eventually the two reunite and Clare agrees to take Raki on her journey, a journey wrought with peril.

Claymore is a difficult title for me to review not because the material is challenging but because Claymore has some very stand-out qualities early on that gradually and noticeably disappeared as time went on to the point where - at least to this reviewer - it barely resembles its original premise or even its own setting and narrative structure.

Priscilla, The Dreaded

Claymore does a good job of setting up Clare's motivation early on which - predictably enough is a revenge tale which involves her trying to take down a renegade warrior named Priscilla who after having awakened is now the most powerful being on the planet. Clare's retainer Rubel tries to dissuade Clare from going after Priscilla who is far beyond her level, and much stronger than any other awakened being but because Clare is persistent, Rubel sends her on an awakened being hunt so she can learn firsthand the difference in power. While on this quest Clare meets up with other Claymore who have been given the same assignment and this works rather well because at this time Yagi isn't just dropping in characters with no explanation, but carefully introducing them in a logical fashion.

Phantom Miria

In addition, he establishes the different personalities of our starter team in a very short-time with Helen being the hothead, Deneve being the calm one, and Miria being no-nonsense team leader. While these character traits are more akin to tropes rather than anything else, they start to flesh out a bit more evenly after a few chapters. Another aspect of the narrative takes shape and that's the hidden nature of the Organization which Miria aims to investigate. There is an added element of suspense, even horror when the characters start to question the nature of yoma, Claymore, and the nature of the Organization itself. When you think about it the Organization is making biological weapons and while it is for the protection of the human race, is that really the ultimate goal? It is the need to answer these and other questions that broaden the narratives focus and Clare's story expands from there. Over-time, Clare and her friends come across Awakened Beings who - while not being as powerful as Priscilla - are highly dangerous in their own right.

Isley, King of the Northern Lands

As these and other questions slowly but surely creep their way closer and closer to the forefront of the narrative and puts Clare in a very complicated position on three fronts: 1) Clare has to work for the organization because given what she is she can't live a normal life 2) Working for the Organization is the only way to get Clare what she wants i.e. Priscilla's death and 3) Desertion isn't something the Organization takes lightly. It also has the added advantage of justifying why the Organization keeps dangerous and unstable Claymore in their ranks and also makes the story bigger than Clare's revenge tale. Another positive that Claymore has in the early goings are Yagi's character designs.

God Eye Galatea

The character designs in Claymore are Berserk-esque, well-drawn, and no two characters look alike. Even though all the Claymore wear the same uniform you can easily tell them apart due to the shape of their eyes, cheeks, chins, ears, and of course their hair styles. The Claymore themselves are hauntingly beautiful and there is an almost otherworldly air about them which in addition to being a minor element of the narrative comes across in the way the characters are drawn. There is an almost uncomfortable level of perfection in their appearance that is masterfully juxtaposed with their dangerous and at times monstrous nature.

Clare in the shadows.

The beauty of the Claymore not only works as a way to contrast the horror of their nature but also contributes to the aesthetics of the manga as a whole because while the world in which Claymore is set seems harmless enough, the yoma terrorizing the people and the death toll of the Claymore themselves make it apparent that this is not a romantic tale of swords and chivalry.

Alicia and Beth, The Black Ones

These warriors lead lonely, dangerous lives, and despite their untarnished beauty they are destined to die in the darkness. It's a mature read to be sure not only because of the nudity (which is used more sparingly than you think), and the gore (ditto), but because of the tone. Unfortunately, whether it was due to the demands of his editor or if Yagi wanted to shift his focus, there were extensive changes made to the narrative, character designs, aesthetics, and the overall tone of the manga and to this reviewer, these changes were not for the better.

If these characters all look alike your eyes aren't playing tricks on you.

As was popular at the time, Claymore went on hiatus when a major game-changing event took place in the manga. Predictably enough, as is also popular with manga, when Claymore returned it did so after a seven year time-skip which while moving the narrative forward and changing the players in this game, also brought with it a decidedly jarring shift in tone. After volume 11 or 12 Claymore no longer reads or looks like a dark fantasy manga but resembles a typical shonen title with all the cliches and tropes to boot. Yes it is true Claymore was shonen from the outset, but the dark tone, themes, settings, imagery, and narrative structure were much more mature and really made it stand out against other titles. After the time-skip however, it has lost most if not all of the qualities that made it unique. This is clearly apparent in the art style first and foremost, with the characters losing a lot of their definition and unique physical characteristics. It's no exaggeration to say many of the characters now look so much alike that I couldn't tell them apart on more than one occasion. And I've been with Claymore since the beginning.

I think Ridley Scott is going to sue someone over this.

Another problem caused by this shonen heavy tonal shift is that it removes a lot of the suspense of the conflicts because the characters aren't in any real danger. In the first part of Claymore, our cast didn't rush headfirst into any battle with reckless abandon because the tone was more serious and the stakes were high. There was an awareness that death wasn't just a possibility but a likelihood so the warriors always kept a certain level of maturity about them. After the time-skip however they're trash talking during fights, toying with their enemies, and basically act like frat boys. The fan argument would be "Well after the time-skip they were much stronger so they knew they could handle just about enemy", but the logical counter to that would be even on those occasions where the Claymore fought yoma who were far weaker than them, they still maintained an air of seriousness because bravado was not only showy but unnecessary. While character growth and even changes in personality are always welcome, our heroes seem somewhat immature after seven years.

Ah the good ole days.

The battles no longer have any tension or believability to them because the Claymore are never in any real danger of losing much less dying. Even when they're up against enemies that are many times more powerful than them and they manage to escape, the enemy in question never gives chase. And even when one enemy (Priscilla) does pursue them, said foe never kills anyone despite having entire volumes to do so. And when the characters do overcome their enemies it's never because they are more skilled, as was the case in earlier volumes, but because they believe in themselves and their friendship. Playing the friendship card to explain how and why characters have inexplicably gotten stronger in addition to defeating enemies which the Claymore themselves explain how and why said enemies are dozens of times more powerful than them, is a weak move on Yagi's part which is not only cliche but almost regressive.

The Resurrected Number Ones

Another issue I have is the nigh indestructible nature of the Claymore. Yagi was very good at establishing the rules for the Claymore's durability, healing factor, and explain what kinds of wounds they could and could not regenerate from. After the time-skip however, the Claymore regularly survive getting disemboweled, massive hemorrhaging, even multiple stab wounds in the exact same spot which we're told a Claymore would instantly die from. If they're not shredded like cheese rest assured you didn't put them down. This would be fine if 1) Yagi established this from the beginning 2) Yagi did not already establish specific rules and limitations to their survivability or 3) this nigh-unkillable nature was unique to our main character instead of shared among pretty much every Claymore we meet. Yagi tries to increase the tension when the Organization brings out the big guns but by that time it was far too late for me to believe these Super Claymore or any enemy for that matter posed any serious threat to our main characters. Especially when characters start returning from the dead and no, no I am not kidding.

The most epic battle you will never witness.

Another complaint I have is that when the Organization's darkest secret is revealed and Yagi never does anything with it.  We are given the smoking gun, the Roswell event of this manga, we see what everything has been leading to and just like that it's dropped the very next chapter and it's suddenly so not a big deal the characters don't even talk about. We're given the stinger and then the plot does a complete 180 and centers entirely on the conflict between Clare and Priscilla. Also, like most other shonen titles Claymore seems to jump from one big battle to the next because readers love action and heaven forbid you provide an above decent narrative or close up those plotholes.

These are the girls you don't take home to mama.

This review was painful for me to write because before the time-skip Claymore was in my top three favorite manga of all time. After the time-skip however it doesn't even break my top ten. To me this manga started as something fresh, something unique among the shonen titles out there and I waited on pins and needles for the latest release. Today is a different story entirely. Claymore will probably appeal to people who read shonen regularly but the second part will likely lose readers looking for a sophisticated story. The mainstream affect on this manga is apparent and for this reader that's not a positive, it's a detriment.

Gankutsuou: The Count of Monte Cristo (2004 - 2005)

Let the die be cast.

Written by Natsuko Takahashi and Tomohiro Yamashita, Gankutsuou: The Count of Monte Cristo is an anime loosely based on the classic French novel  "Le Comte de Monte-Cristo" by Alexandre Dumas. This science fiction themed retelling opens on Luna which is enjoying a carnival. Two childhood friends, Viscount Albert de Morcerf and Baron Franz d'Épinay, are taking part in the festivities and endeavor to close their evening with a trip to the opera. While there, Albert catches a glimpse of the enigmatic Count of Monte Cristo, a charismatic figure who is the talk of the town and the focal point of many rumors. Some say he isn't actually a count but a ruffian who made it big in outer space, others say he's a conman, some say he's an alien, and there are even talks that he's a vampire or worse yet, something which is neither man nor beast. These rumors and the protests from Franz does little to deter Albert from trying to befriend the Count and when a messenger from the Count himself appeals to Albert for a meeting all seems to be going better than expected. However, it soon becomes apparent that Albert is a pawn in the Count's game of deception, ruin, and revenge.

Let the games begin.

Gankutsuou is quite different from most anime out there. First it's not based on a manga, game, or visual novel, but rather a French novel. The anime is also quite a ways more mature than many anime out there as it mainly emphasizes drama, social and political intrigue, and a fair amount of reflection on how people judge themselves and those who are different from them, as well as dealing with the demons from ones past, and the lengths men will go to for greed, power, and revenge. While it's not exactly action packed it's certainly quite sophisticated and it steps outside the box by centering much of the narrative around a villain protagonist.

The Count contemplates why it's hard being a pimp.

As anyone familiar with the novel is aware, the Count is not a good person. He isn't above using any means to achieve a certain end, whether the means in question include money, influence, or people. And he's not above destroying families if it means fulfilling his objective. Simply put, if the Count is out for revenge he's going to get it. What's especially interesting is how the Count takes revenge on those who have wronged him, often times by using the very things they cherish most to take everything away from them. Also of note is that the Count isn't comically or flamboyantly evil. He's affable, soft spoken, and far more refined than many of the characters who hail from high society. His outer character hides his villainous intent so well even the viewer will find themselves doubting whether or not he's one of the bad guys. Unlike many villains in anime who have cliche reasons behind their heel turn or some Freudian complex behind their villainy, the Count has a very striking background and one heck of a good reason for a heel turn if I ever saw one. I won't spoil it but I will say I found the Count very easy to relate to given his past, but I can't say I felt any similar connection to the other characters.

Franz (left) and Albert (right) The Ambiguously Bland Duo

Albert is the other main character in this anime and at the same-time he's also one of the larger detractors from the story. Albert's character arc is a coming of age story and while that is a fitting position for him to be in on the other side of the coin, Albert seems to only serve to test the viewer's patience. He's very naive in the ways of the world and human nature and while a certain level of ignorance among society's upper crust is to be expected, one would never think Albert could be this unwise in the ways of the world given how much he travels and how often he parties. We start to understand why this is as Albert is the type who seems to be unable to learn many of life's lessons. For example, Albert gets kidnapped on Luna because he wanted to have a fling with a girl who had "easy" and "trouble" written all over her. After Albert is rescued and Franz advises them to leave Luna, Albert protests because he already made plans to make a second attempt at a fling with the same girl. Eventually, Albert does start to show some signs of maturity but the anime is roughly three-quarters over by the time that happens and it was far too late for Albert to enter my good graces after he had fallen out by the fifth episode.

Franz is there to balance out Albert's immaturity but he doesn't do this by being wiser or more learned in the ways of the world, rather he is simply more prejudice in nature than Albert. In essence Franz doesn't assert himself as a better person but is at the opposite extreme of Albert's disposition towards others. Whereas Albert will trust anyone and befriend anyone naive though it is, Franz does not trust anyone different from him and if an individual is outside Franz's social class he regards them with prejudice and outright disdain given his interactions with the Count. Long before it becomes apparent that the Count is a villainous sort, Franz clearly disliked him because the Count was different from him. Albert actually called Franz out for this. Our heroine isn't exactly endearing either.

If Eugenie was your fiancee you wouldn't want to marry her either.

At the risk of exciting the feminist crowd I'm going to be blunt and say Eugenie's character is defined entirely by her mood swings and I'm just as upset as you are. When we first meet Eugenie she's yelling at Albert and deriding him for being friends with someone outside their class i.e. the Count who she wrote off as a conman before she even met him. And then when Albert points out that she shouldn't judge someone without knowing them (rightfully so Albert), Eugenie calls Albert naive. And while it's true he is, she labels him this only to justify her own prejudice of the Count which is quite a despicable character trait to have. When Albert ignores her she gets angry and acts passive-aggressive and when Albert does respond to her taunts she regards him as a child. While she could have the classic dog syndrome (she bites him because she likes him) it doesn't come across that way as Albert seems to be infuriated by her behavior and finds her less endearing than the viewer does.

Still a better love story than Twilight.

When Eugenie and Albert do fall in love with one another it not only comes from left field but one wonders from where did these emotions magically come about. I've seen this anime more than a few times and I still don't see how these characters got together outside the fact that they had to because the narrative says so. When Eugenie's father ends her engagement with Albert and Eugenie is outraged, her own father asks, "Why are you upset? You didn't want to marry Albert in the first place." Eugenie counters with a solid "You don't understand at all" and it's just left laying there. Now with all these characters I can only tolerate you'd think I wouldn't have too many good things to say, but much like the novel Gankutsuou succeeds at building a striking drama because even though not all the characters are endearing, the cast is rather large and there is so much suspense, backstabbing, and intrigue that kept me riveted especially because the characters are affected in different ways by the developments within the story.

Money In the Bank

As mentioned before the Count will often use a person's most cherish possession to destroy them but the action thereof and the result therefrom will affect a character in different ways. Baron Jullian Danglars for example often has his mind on his money and his money on his mind. When the Count targets his financial well-being it remains Baron Danglars sole focus, eventually becoming his obsession and his actions to hold onto as much of his wealth as possible causes him to not only neglect his family but take actions which actually bring his family to ruin.

Chaos is fair.

Eyes honed on revenge rarely see anything else and the Count is not above harming even the people who love him if it means bringing about the downfall of his enemies. I feel that this pathology is fascinating because not only is it very telling of the type of person the Count is, but it also gives the drama weight and leads the viewer to ask what could this character have possibly endured to make him go so far. The actions of the Count affects so many characters, building a believable drama that kept me watching. While the dialogue between some characters can sound melodramatic at times the script is solid overall with some very powerful lines delivered by the Count in particular.

Gankutsuou: King of the Caverns

"I am no longer alone in abject solitude. For I am surrounded by the Furies, the goddesses of vengeance. In the darkness, I awaited the dawn. And once dawn came, I cursed my flesh until night fell once more. I even prayed that I would lose my sanity. But those prayers went unheeded. I strove for death, but the Devil’s cold, pitiless hand held me back".

The score is impeccable, featuring several classical pieces as well as some which have been altered for the anime. Additional music has been provided by Jean-Jacques Burnel of English punk rock band The Stranglers. It doesn't sound at all out of place and it fits the setting really well. The animation itself is absolutely stellar which has numerous jaw-dropping backgrounds and some unique character designs. According to Wikipiedia: "Gankutsuou's unusual visual style layers Photoshop textures into digital animation, with backgrounds often rendered in 3D."

The Count and Haydee

Gankutsuou: The Count of Monte Cristo won't appeal to everyone. As previously mentioned the anime has little in the way of action as it's almost entirely dedicated to drama. There are a few violent encounters between various characters but if you're expecting action in a traditional sense you won't find it here. Also, how the Count comes into possession of an nigh endless number of resources to destroy his enemies is a bit perplexing as it's never explained. The futuristic science fiction setting may also be a turn off for traditionalists who enjoyed the original novel. I'm a traditionalist myself but I still found this anime very satisfying because even though liberties were taken the drama remains authentic. Brilliant performances from the Count's Japanese and English voice actors kept me hanging on his every word. While I didn't care for all the characters, the soap opera esque content of the anime made me invest my full attention into this series. A mature anime for a sophisticated audience, I thoroughly enjoyed this take on a classic novel.