Kara no Kyokai: Overlooking View (2007)

Poster for movie one.

Written by author Kinoko Nasu (Fate/Stay Night, Tsukihime, Melty Blood) and illustrated by Takashi Takeuchi, Kara no Kyokai: Garden of Sinners began as a series of light novels that got its start in 1998. It was picked up by publisher Kodansha in 2004 and then animated by Ufotable (Fate/Zero) in 2007. In 2010, it became serialized in manga form. A profoundly captivating entry in the Nasuverse, Kara no Kyokai: Garden of Sinners has spawned not one but ten thought-provoking movies, of which Overlooking View is the first.

Kara no Kyokai follows our heroine Shiki Tohno who along with her friend Mikiya Kokuto, are called in by private investigator Toko Aozaki to help solve the mystery revolving around a series of bizarre deaths believed to be connected with the supernatural. For several weeks now, the Fujyou Building has been the site of multiple suicides. The police cannot find any connections between the victims, and the victims don't appear to have any of the traits normally associated with people who commit suicide. Shiki has little interest in the case until Kokuto falls into a trance - the one connection between the suicide victims and a supernatural one to boot. While Aozaki has placed Kokuto under her protection, Shiki is in a race against the supernatural to discover who or what is responsible for these suicides. But will she be able to save her friend before it's too late? Or will Shiki herself be the next victim?

Mikiya Kokuto - Dude In Distress

Garden of Sinners: Overlooking View is a fantastic but challenging movie to review because in keeping with the original source material, the stories told within this series are not in chronological order. While Overlooking View may be the first movie, it's actually the third or fourth "episode" within the supernatural stories of this universe. When we enter this movie, our characters already know each other, they've already been through several life-changing events, and Kokuto falls into his trance mere minutes after the movies opening. The effect is a little jarring at first because the only way to understand this universe in its entirety is to see all ten movies. However, there is a certain level of creative genius here because Nasu didn't create this universe to cash cow it like other writers, rather his approach to story-telling is to do so in a different manner than what is typically the norm and build a very strong cast that pulls you in psychologically and emotionally.

We're given a very brief snippet of the friendship shared by Shiki and Kokuto in an early scene and while it's quite short - three minutes tops - it tells us so much about the relationship of these two characters. Kokuto knocks and waits for Shiki to open the door to her apartment despite the fact that Shiki has told him he doesn't need her permission to enter. He makes himself at home and not only does Shiki not mind, it almost seems routine. The emotional weight and importance of their relationship doesn't kick in fully until you've seen the other movies which shows how far the pair have come but the tone, music, voice acting, and directing of the film does a great job of giving it enough to weight to make these characters and the relationship shared between them captivating and very strong too.

Shiki taking a break from kicking ass.

This move is less than an hour long and there were three parts therein where I could feel the waterworks coming from different reasons. The characters don't wax lines from a big book of cliches and there isn't so much "telling you" how you should feel about them or these events, but rather there is a certain level of salience where it just happens. I mentioned that Shiki isn't concerned with the case until it becomes personal and while she's not an emotional character, you can really feel the fear etched in her heart when she hears about another victim and assumes it's Kokuto. When she does find him - still in his coma but alive - you can feel the levity in her heart. Another scene that was especially powerful for me is when we see Shiki walking through the city streets, completely soaked by the downpour, thinking only of Kokuto while the series theme plays in the background. This scene is both sad and thought-provoking because it ties into a narrative discussion as to the role of human relationships and how people often cut themselves off from each other which is relevant in a society like Japan and even America where everyone is doing their own thing. And of course the music, art, and animation really makes this scene pure art.

Mystic Eyes of Death Perception - AKA Shiki Solos

Throughout the film, Shiki seems like our atypical emotionless badass and to some extent she is. But we quickly learn that where Kokuto is concerned she's anything but cold despite trying to appear so on the surface. Now this isn't done in a melodramatic way like we've seen in disasters like Rosario Vampire where a badass female quickly turns into a shrinking violet or damsel in distress. The toll that Kokuto's coma places on Shiki is not made readily apparent because Shiki isn't the type of character to wear her heart on her sleeve and situations which carry that kind of urgency does not affect her in the way it affects other characters because for one - while she is our heroine and she has certain traits, Shiki herself is not "a type."

Shiki in Aozaki's secret workshop.

You can scour Japan to find similar characters in other manga or anime and I doubt you will find them. Second, Shiki as a character isn't all there. That's not to say that she's completely crazy but due to certain elements in her back story which I won't spoil but not only is it brilliant writing but it ties into Tsukihime, Shiki isn't the most psychologically well adjusted character so she won't react to the world in the way someone who is completely sane might. What is intriguing about this aspect of Shiki's character is that elements of her psychoses are not played up for entertainment value or to make her less or even more empathetic, they are there not to make Shiki different for difference sake, but because her psychological state plays such an important role in her character arc and the commentary which the Nasuverse, and this franchise in particular make about society and human relations. Can you love someone if they aren't as psychologically well-adjusted as you? Are you the type of person you think you are or does society define you? I can't say much about these questions or explore the others therein because Kara no Kyokai has so much narrative and so much in terms of excellent story-telling that you have to see for yourself. In addition, because this ties in with other titles in the Nasuverse, I can't risk saying too much about this title that might spoil one or two of the others.

Stay off the west side.

As expected of the Nasuverse the anime deals with the supernatural but it's not necessarily played to the same hardcore level as Tsukihime. True there are ghosts, sorcerers, and such within, but the terror seems to be much more localized and this I feel is more effective because some of the characters or "things" we see in this anime are reactionary - responding to what people do or have done rather than being evil in and of itself. That's not to say this anime takes the soft approach of not rocking the boat. While Garden of Sinners: Overlooking View doesn't preach to the viewer, it doesn't pull back and claim everything is black and white either. Some characters in this movie are unarguably good, some are misguided, but there are some that are hardcore evil and the anime is making the viewer aware that yes, this is a thing. Overlooking View isn't afraid to tackle cultural and social issues as well. The first movie deals with suicide and while it's not the largest part of the narrative, we do see the question tackled by more than one character with the consensus being that there's no justification for suicide no matter what you believe. This I feel is very important and needed to be said when looking at a culture like Japan. It's all the more interesting and fitting because Overlooking View - as an anime is a part of Japanese culture - and it's making a statement about Japanese culture. The movie has a point to make and a story to tell and it's not willing to skimp on the details in the former or the later which I feel makes the movie very effective and this ties back to the presentation as well.

Surfing on rooftops.

As an avid watcher of anime for more than 20 years I've seen all the greats such as Escaflowne and Vampire Hunter D: Bloodlust, in other words anime that define art and I was amazed by the animation in this film. The still shots I've posted here don't even begin to do the anime justice. It has the art of Tsukihime but the animation quality of Fate/Zero which means superb lighting effects, fluid character movement, lightning quick movements during fight scenes, and vibrant colors and very noticeable level of detail that makes every scene one to appreciate. Everything from how Shiki's kimono creases when she moves to the rust and chipped paint on the abandoned buildings is animated with almost minute detail. I especially liked the fight scene at the end because - a bit of a cheat I know I've read a good chunk of the manga which made me appreciate Shiki's character development - but I feel the final battle of this movie stuck with me because the combination of the music, animation, presentation, and Shiki herself actually had me cheering her on with a certain pride as though I was witnessing the birth of a new hero.

The movie isn't perfect per se but I feel that's a shot at the film it doesn't warrant. If you're looking for action from start to finish you'll be disappointed but the movie isn't about that. Kara no Kyokai: Garden of Sinners has its action sure, but it's more focused on telling a dramatic story which I can only describe as remarkable. The movies do require an investment of time though because there are ten of them and while you can appreciate Overlooking View on its own merits, you'll gleam a lot more from this entry in the Nasuverse if you engross yourself in it fully. What you put in however is what you definitely get back because these movies are truly in a class of their own. The movies are hard to track down, very rare, and ridiculously expensive which is why I advise you to stream them or purchase from their American distributor Aniplex or Rightstuf.

You need this in your library.

The series as a whole is amazing. The quality in the writing, animation, and characters truly warranted all ten of those movies. While this level of brilliance isn't foreign to the Nasuverse, I feel that anime as a whole benefits from titles like Kara no Kyokai because it doesn't need to be this years hypefest or talk of the pop culture message board. It has the following it does because its unique, very well made, and it has the level of sophistication Nasu is known for - able to tackle tough subject matter and doing so in a meaningful way while maintaining an absurd level of quality in terms of animation, character development, and story-telling. I am very glad to know anime like this is out there.

Sky High (2003)

From the Director of VERSUS. Aww yeah!

Detective Kanzaki has been investigating a series of bizarre murders in which the victims have had their hearts cut out. These murders take on a gruesome new dimension when it hits too close to home as Mina Saeki, Kanzaki's fiance is killed - on their wedding day. After dying, Mina finds herself before Ikuzo, Guardian of the Gate of Rage who presents her with three choices.  To haunt the Earth forever as a ghost, to pass on to the afterlife and await reincarnation, or to curse one person and spend an eternity in hell. Unable to deal with these choices nor come to grips with her death, Mina is given twelve days to decide her final fate and is allowed to walk the earth as a spirit. At the same-time however, Kanzaki is obsessed with finding the killer and swears vengeance. Knowing that killing another human being will cause Kanzaki to go to hell, Mina must somehow stop his quest for revenge, uncover the mystery of her murder, and make the choice that will determine her fate and the fate of her dearest loved one.  

According to an interview in New-Type USA, Kitamura’s idea going into this was to ask, “How far would one go for love?”  In Sky High, some of the characters are willing to do just about anything from condemning themselves to damning the entire world. This provides a layered narrative for several reasons. Kitamura is exploring human relationships and using this movie to really delve into terms like acceptance, love, redemption, and other concepts which other movies treat as mere words. Kitamura's approach takes deep and at times uncomfortable subject matter (man vs God) and uses them as the main ideas of the film. He is able to incorporate these complex themes because he doesn't allow himself to be confined by the limitations of a typical action/suspense film.

Mina facing down her destiny.

There are few cliches to be found in Sky High because in keeping with Kitamura's unique tradition, he's breaking from the confines of typical film making. The most immediate example is that this isn't a case where a cop's fiance is kidnapped or his family is threatened, rather the female lead dies before the title card even hits. Not only is this a jarring departure from what the average viewer was expecting, but immediately out of the gate Sky High forces us to experience the movie on its own narrative rather than try to predict it or regard it as a genre film. Also, Sky High does not present us with a damsel in distress who needs saving because not only is Mina already dead, but she's actually trying to save Kanzaki, rather than the other way around.

There is a subplot that follows multi-billionaire Tatsuya Kudo who stacks so much paper he can literally buy Japan if he wants to. However, the man who has all the money in the world wants the one thing money can't buy and that's the health and well-being of his wife who currently lay comatose because of a debilitating brain condition that is slowly killing her. Despite advances in medicine, technology, and genetics, many of which came from Kudo's own corporation, he isn't any closer to finding a cure for his wife than when he first started and it quickly becomes clear that he'll do absolutely anything to save her.

This is no mere cat fight.

Kitamura is known for his incredibly deep movies and omni-directional symbolism and Sky High is a prime example of this. The dichotomy among our characters exists in sets. This becomes apparent as our protagonists and antagonists are all working towards the same ends but are employing largely different means - to a degree. Kohei Kanzaki is a cop willing to damn himself if it means avenging his fiancé while Tatsuya Kudo is willing to do very much the same in order to restore his wife's health.  In some way our male protagonist and antagonist are inverses of one another. The same is true of our female protagonist and antagonist. 

Rei Miwa AKA The last thing you'll ever see.

Rei Miwa is Tatsuya Kudo's secretary and bodyguard. Deadly though she is, she isn't exactly silent as her verbal and non-verbal cues clue us in to the fact that her motivation in working for Kudo is largely personal rather than professional. While she has an adoration for him, she respects his commitment to his wife and she is actually helping him do whatever is necessary to restore her health. However, her love and admiration towards Kudo is almost mutually destructive as, contrary to Mina who tries to stop Kanzaki from committing atrocious acts, Rei not only helps Kudo but is an integral part of machinations. 

Even ghosts need help sometimes.

Mina is in an interesting position because the only thing keeping her fiance going is his quest for revenge. This makes Mina's dilemma one of profound difficulty because to some extent she finds herself preventing the death of the man who killed her in order to protect the man who loves her. At the same-time she is trying to uncover why Kudo murdered her to begin with all while coming to terms with her death and trying to decide her destiny in only twelve days, and not only does she hold herself together while all of this is happening but she even finds time to guide another spirit while dealing with her own troubles. To say Mina is the strongest character in this film would be quite the understatement. Not only that, but both the male protagonist and antagonist are both so focused on one singule temporal goal that Mina's character becomes all the more intriguing as she is looking at these events from an eternal perspective and the existential implications that comes with it.

The setting is a futuristic Japan which works surprisingly well as the future isn't portrayed in a hard science fiction kind of way so there are no flying cars, laser guns or spaceships, rather it is simply a realistic interpretation of a period some years from now. In essence it appears to be mostly modern but with certain futuristic edifices.  For example, Kudo has a cryochamber in his house where his wife is frozen while Kanzaki’s car radio uses a 3D touchscreen. The Gate of Rage is ancient and imposing and almost feels like a character in its own right.

The acting in Sky High is quite good. Yumiko Shaku (Mina Saeki) did a wonderful job as Mina. Shaku brought out Mina's innocence and devotion to her loved one. She also showed how Mina was compassionate, not just towards one person but people in general to some extent. Through Shaku's performance we see Mina evolve from victim to hero in a very believable fashion. Shosuke Tanihara (Kohei Kanzaki) really gave off that tortured cop vibe and the way his character changed so dramatically and so quickly early on was both impressive and understandable. 

Point a gun at Tatsuya Kudo. You're gonna have a bad time.

Takao Osawa (Tatsuya Kudo) has come a long way from his role in Aragami.  No longer is Osawa fresh faced to Kitamura’s world but he seems to have been here awhile.  Although Osawa is not used to playing bad guys, he almost stole the show as Tatsuya Kudo.  Osawa also has that certain talent about him where he can portray his character’s hidden emotion with little effort.  Kanae Uotani (Rei Miwa) is used to playing more subdued characters as we've seen in Aragami and this is her strength as she's very good at the non-verbals. You can feel that there is more to her motivation for helping Kudo besides the fact that she is his secretary. She also has a deceptively fragile appearance and temperament which work well for her character because even though Rei looks harmless, she's much more dangerous than Kudo himself.

Told you I got HYDE on the track.

While it is true that Sky High received mixed reviews, I found that it was thought-provoking and entertaining. In addition, I was surprised that I could empathize with the characters to varying degrees. The set pieces were very well designed, the acting was top notch, and the writing kept me intrigued. It wouldn't be a Kitamura movie without a fight scene and while it wasn't as pulse pounding as what we've seen in VERSUS, it was done well enough. The movie's ending theme, Horizon by Hyde was the tear jerking icing on the cake. I'm very glad to have seen this movie and I highly recommend it.

Ah! My Goddess (1988 - 2014)

25 years and counting.

Morisato Keiichi isn't who you would call the luckiest guy in the world.  In spite of his good nature, he has few friends, he isn't popular with the ladies, he always has a shortage of funds and good things generally do not happen to him. When he tries to make a call from his dorm one day, he mistakenly calls the Goddess Help Line and almost immediately, a goddess of unprecedented beauty appears before him. Her name is Belldandy and she will grant him one wish. Keiichi, thinking that this is a joke being played on him by his dorm mates, wishes for Belldandy to stay with him forever. After all, since it is just a prank there is no way she could grant his wish. Much to his dismay, Keiichi's wish is granted and so begins Keiichi’s and Belldandy’s experiences with life and love.

Normally I'm not a big fan of love stories but not only do I enjoy Ah! My Goddess it is one of my favorite manga of all-time and there are numerous reasons for this. The common fault of love stories - especially those of the magic girlfriend genre is that they rely too much on cliche, too much on fanservice, and there is too much lip-service to the idea of love which manga (and anime by extension) tries to propagate. Most series portray love in a manner that barely scratches the surface of the complexity of interpersonal relationships. So when manga and anime try to tackle such complex subject matter, it comes off as juvenile in addition to being shallow and pedantic.

K-1 about to drop the mic.

Ah! My Goddess is completely different in this regard due in part to the number of challenges facing Keiichi and Belldandy. The manga handles complex challenges with the very unorthodox approach of juggling all of them at the same-time and structuring the narrative to balance the not so serious issues with comedy while dealing with heavier issues but maintaining an overall hopeful tone even when the manga hits its dark points. Here is just one example of this juggling act. Keiichi is your average guy and Belldandy is a drop-dead gorgeous goddess so of course there are various people at Keiichi's university who are jealous for this reason or that. Toshiyuki Aoshima is the school playboy who tries to take Belldandy away from Keiichi while Sayoko Mishima is (was) the school idol who wants to take Keiichi away from Belldandy. This is played up largely for laughs as Aoshima and Mishima are always foiled but it explores complexities in human relations. Aoshima doesn't see Belldandy as someone to love but simply as an object. Mishima is similar in this manner as she had no interest in Keiichi until Keiichi lost interest in her and fell in love with Belldandy. Mishima begins to pursue Keiichi only to prove that she is superior to Belldandy but in the process - really starts to fall in love with him.

Belldandy Goddess Unlimited

Of course Ah! My Goddess explores other more serious issues as well given the very nature of the existence of our main characters. Keiichi being human and Belldandy being an immortal goddess, there are a number of complexities in their relationship including how they relate to each other and those around them. Belldandy and Keiichi don't immediately fall in love just because of Keiichi's wish. In fact, not one minute after Keiichi makes the wish, Belldandy sees if there's a way to get out of it. What's interesting is that the manga presents us with a more authentic view of love by proxy of this because Keiichi and Belldandy grow to love each not because of their similarities but because of their differences. Through the relationship of our two characters the manga raises an interesting point in loving others not always because they are the same as you but because they are different from you. The two characters put their whole selves into the relationship rather than 50/50 and they put effort to make it work. The manga also explores other facets of interpersonal relationships while throwing in a bus load of good feelings, humor, and additional characters - all superbly written as well.

Big Sis Urd

Keiichi encounters numerous characters including Belldandy's sisters Urd and Skuld. This is something of a treat as if you're at all familiar with Norse mythology you'll recognize Belldandy as a Japanese spelling of Verthandi who in Norse mythology is one of the Norns - goddesses of time and in this case the one who presides over the present. Urd is a take on Uld the goddess of the past and thus Belldandy's older sister, while Skuld is the goddess of the future thus making her the youngest of the three. Urd shows up and makes it her objective to bring Belldandy and Keichi closer together because she wants what will make Belldandy happy while Skuld tries to break the two apart because she doesn't want her sister to be with Keiichi.

Skuld - The Youngest of the Three

What makes this complicated situation humorous is that Urd and Skuld machinations tend to have an opposite effect. Interestingly enough, the two sisters grow to love Keiichi albeit differently from Belldandy but hardly any less because they develop an appreciation for who Keiichi is as a person. But Skuld and Urd aren't just here for the sake of our main characters. Rather, they have their own stories and events that happen to them within the same canon as Belldandy and Keiichi's love story. In essence they're not side-characters just because the main plot doesn't focus solely on them. They're not the only goddesses who get in the mix either.

Peorth Goddess of Eros and Lind The One-Winged Angel

The inclusion of a Peorth adds a very entertaining and believable love triangle. What's interesting is that Peorth isn't just a character dropped in to spice things up, rather she already had a long history with Belldandy towards whom she feels more than a bit of hostility. However, she sees Keiichi not as a way to get back at Belldandy but rather, Peorth believes in her heart that she is a better match for him because she understands his needs better than Belldandy does. This leads to some drama which is riveting because Peorth's presence causes our two love birds to re-evaluate how they feel about each other and ask themselves if Peorth was right all along.

Belldandy and Peorth

The love triangle works here and not in other titles like say El Hazard or Tenchi Muyo, because Keiichi has qualities which others find endearing. He's not just building a harem because he's the main character. Also, Peorth does make very valid points when she questions Belldandy on whether or not she is serious about Keiichi or leading him on. Further still, with this entire situation being new to Belldandy, she has to ask herself what Keiichi means to her.

Lind and Twin Angels

In recent years (say the last three or so) Fujishima has added Lind to the foray but her relationship with the cast is a bit different as she's largely an outsider to deities and mortals alike. Far more Spartan in her conduct and paying little heed to friendship and sorts, the relationship Lind builds with the cast is heartwarming and meaningful because we quickly see that despite outward appearances she has a great deal of depth and her character development was very captivating which says a lot in a manga which already has a well-written cast. Lind quickly became one of my favorite manga characters. Fujishima never inserts a new character for the sake of it either. Rather, everyone in this manga is placed here for a reason legitimized by the narrative canon rather than plot contrivances.

Hild - Urd's BADASS Mother

Ah! My Goddess isn't just a love story though. While the tale is mostly light-hearted, Fujishima turns up the intensity when more serious events unfold - which they do throughout the manga. The gang will find themselves in contention with ancient beasts from Norse mythology, demons, and the like, but Fujishima doesn't just drop in pointless action scenes. There is a natural and well-planned lead-up to those arcs where action and suspense play a major role. On top of that, Fujishima continually elevates these scenarios because the characters never face the same threat twice and with that said, can't rely on the same set of tactics to prevail in those ever-changing scenarios. In addition, just about every member of the main cast gets a chance to throw down and these goddesses do not play. From someone like Belldandy - who is normally pacifist - kicking demons through walls, to Lind putting her Valkyrie background to work all over Hild's face. When things get real, these ladies put boots to asses. As you may be aware, Fujishima's art is every bit as brilliant as his writing.

Amazing detail put into Eri - a side character.

Ah! My Goddess is one of the longest running manga out there - having been in serialization for 25 years as of 2013. The writer and artist Kosuke Fujishima is also known for having worked with Namco-Bandai for a good amount of that time as he also handles some of the artwork and all the character designs for the award winning Tales of... RPG series. So whether you're a fan of anime or video games you're probably somewhat familiar with the level of artistry Fujishima is known for. You can see the evolution in Fujishima's art style particularly in this series as it has been his career defining work. The characters today share only a slight resemblance to the characters in 1988 and this speaks volumes of Fujishima's art; from the characters clothing and hair to their fingers, everything is drawn with great detail. What's even more impressive is that Fujishima doesn't skip on those details even when he's bringing in a minor character. Eri (pictured above) is barely in the manga four chapters and you can see how well she's drawn.

Keiichi's Mom gives her seal of approval.

While I haven't read Ah! My Goddess for 25 years, I have read all the chapters released thus far and I've seen every episode of every anime and OVA released under its umbrella. I point this out because as jaded as I am, I find this franchise compelling. For a manga that's been around so long, it's amazing that Fujishima has managed to keep Ah! My Goddess fresh and fun by always outdoing himself, expanding on his creativity, and keeping the title focused on its own verse rather than imitate other manga. 

Although Ah! My Goddess is part of the magical girlfriend genre it doesn't try to copy other titles nor does it try to keep up with current trends. The manga has action but it's not overly violent, the manga has a bit of fanservice but what is here is not only tastefully done but is also so light you've probably seen more risque content on the Disney channel. Most importantly of all it's just fun to read. I highly recommend you start reading this manga if you haven't already.