Kizumonogatari Part 1: Tekketsu

Does it live up to the hype?

Monogatari (Japanese for “story) refers to a series of light novels written by Japanese novelist Nisio Isin and illustrated by Taiwanese artist Vofan. Published by Kodansha more than 20 light novels in this series has been released since 2006. Due to its success it was later given the anime treatment thanks to Studio Shaft and it basically prints money. The stories center on a high school student named Koyomi Araragi who after surviving an encounter with a vampire, becomes embroiled in a number of paranormal incidents revolving around ghosts, gods, mythological creatures, and other supernatural entities referred to collectively as ‘oddities’. The anime series much like the novels they’re based on introduce different characters who get wrapped up in the supernatural including Koyomi’s friends and family and he must use his powers and his growing knowledge of oddities to protect them. Kizumonogatari Part 1: Tekketsu is based on book two and serves as a prequel to the Monogatari series by showing us the incident that first drew Koyomi into the world of the supernatural. Minor spoilers ahead.

 

Shinobu is having a really bad day.

Koyomi meets the vampire Kiss-shot Acerola-orion Heart-under-blade (we’ll call her Shinobu because I’m not typing Kiss-shot Acerola-orion Heart-under-blade more than I have to) who was brutally attacked by a group of vampire hunters. Mutilated and dying, Shinobu pleads with Koyomi to give her his blood. After much resignation Koyomi saves her life by offering his own, but finds that instead of being killed by Shinobu he’s been turned into a vampire and Shinobu has reverted to the form of an eight year-old girl. Shinobu informs Koyomi that while the hunters are in possession of her limbs she has only a fraction of her powers and is stuck in this form. If Koyomi defeats the the vampire hunters and returns Shinobu’s limbs to her, she will use her power to turn him back into a human. However, in the world of the supernatural nothing is ever what it seems.

 

Shinobu having a somewhat better day.

Going into this review I must mention that while I’ve never read the light novels, I have been following the anime series since 2009. I point this out not for some imaginary, internet nerd-cred, but because having followed the series so long I started to get tired of it around Tsukimonogatari (2014). I wasn’t hyped for this movie, but I was quite pleased with it because it has a lot of elements from Bakemonogatari I liked, and many of the elements seen in later series which I didn’t care for are downplayed if not absent altogether.

 

Meme is still the Man!

Kizumonogatari’s art style, animation and overall direction differs from the post-Bakemonogatari series. Tatsuya Oishi directed Bakemonogatari and left successive series in the hands of Akiyuki Shinbou. While the series retained Oishi’s experimental art style, it didn’t have the same feel or influences as Oishi’s take on Bakemongatari. Tatsuya Oishi returned to direct Kizumonogatari and brings back the elements he’s known for. There’s a greater emphasis on the personal story, human interactions and the emotions that lay under the surface of a normal conversation. The slapstick humor, play on words, and over the top character traits are subdued. Almost every bit of dialogue is used to express something about the characters or their feelings toward their current predicament. And there are some scenes with absolutely no dialogue and everything you need to know comes across the characters’ expressions. The film has long scenes of silence, a lot of moving camera shots, and a peculiar use of 3D CGI backgrounds which – while not my thing – did provide a unique visual element.

 

BEST GIRL!!

The film opens in medias res where things have already hit the fan and then we get a flashback to Koyomi first meeting his schoolmate Tsubasa Hanekawa and it’s easily one of the best scenes in the movie and I’d go so far as to say the series as a whole. Tsubasa is very kind and more outgoing than she would appear. She’s admired Koyomi from afar, but never interacted with him in the past despite going to the same school and even having the same classes. She’s upbeat, but not to the extent of being bubbly or annoying and she gets Koyomi to open up to her with ease. Not only that, but despite the fact that something is clearly off about Koyomi she seems to accept him immediately. She really is the Best Girl. The scene is short but sweet, allowing them to learn more about each other before Tsubasa shares an urban legend about a vampire with golden hair – a “ghost story” if you will which is thematically appropriate.

 

Pre-Creep Koyomi

One of the biggest positives in the movie is Koyomi himself. Koyomi has yet to become the character we know him as in the anime series and to an extent I feel this makes him more interesting. If you’ve seen the Monogatari series you know Koyomi is somewhat of a morally ambiguous, chivalrous pervert. When he isn’t groping his sisters or beating up an elementary-school girl, he’ll give his all to protect his loved ones. True his odd behavior works for him, but as the series goes on his debauchery becomes less humorous and more by the numbers. Here in the film, those traits are muted if they’re there at all. Koyomi is a lot more down to earth and fairly normal. He’s socially reclusive and has a hard-time making friends as indicated by the fact he doesn’t have any and he has trouble interacting with Tsubasa. When he first meets Shinobu he outright objects to helping her and flees in sheer mortal terror, but eventually comes around largely in part because he feels that helping someone will make up for the fact he’s a bad person. Koyomi’s normality in the movie sharply contrasts his over the top series counterpart and this makes him a more interesting character. Some fans might not like this version of Koyomi, but I felt it made him a stronger character who was easier to relate to.

 

Vampire Hunters

The film isn’t perfect. With a run-time of only 63 minutes certain parts (like Meme’s introduction) feel rushed. The film also makes a big deal about the vampire hunters, but their menace falls flat to anyone who has seen the series. It’s obvious that no matter how strong or dangerous the vampire hunters are Koyomi and his friends will be just fine in the end because there’s 20 novels set after this. I understand that this is one of the caveats of prequels, but the big conflict looming over the film didn’t interest me nearly as much as Koyomi’s interactions with the other characters.

 

Lulz. Just lulz.

Most anime reviewers are singing the movie’s praises from the mountains and claiming “You’z guyz dis is the BEST VAMPIRE ANIME EVA. The hype iz real. Hype levelz over 9000”, but it’s not on the level of Noblesse, Hellsing: Ultimate, or Vampire Hunter D. It’s not the best vampire anime ever, but it is an excellent, dark story of a normal, unassuming young man who gets sucked into the horrifying world of the supernatural and who must overcome all obstacles to protect his friend(s) from a fate even worse than his own. Newcomers will find Kizumonogatari Part 1: Tekketsu to be a good jumping on point, while long-time fans of Monogatari will find that this is a promising start in what is sure to be a great trilogy.

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.

Vampire Hunter D: Bloodlust (2001)

Charlotte Elbourne has been kidnapped by the vampire Meier Link. Her father, desperate to see his daughter returned to him has called upon the services of the most dangerous vampire hunter ever to walk the earth. His name is D. It is D’s mission to rescue Charlotte and bring her back to her father. This time however, D has some competition. While D's reputation precedes him, the Marcus Brothers are regarded as the best of the best. They've killed hundreds of vampires and they have never failed a single mission. Yet still, there is more to this kidnapping than our would-be heroes know. It is a race against time as D competes with rival hunters, the powerful Meier Link, and his own nature.

Vampire Hunter D: Bloodlust is an elegantly woven tale that continues the exploits of one of the most enigmatic characters of all-time. It also improves upon the original by providing a deeper view into D’s personality, showing us how D relates to the world around him, and even greater variety in how other characters in this world see D and his kind. The interplay of good and evil in the central confrontation also takes forms not often seen in the genre.

Vampire Hunter D: Bloodlust is based on the third novel in the series entitled Demon Deathchase. D is present but the third book mostly centers around the Marcus Brothers who are completely different from they are in Bloodlust. Demon Deathchase is dark even in comparison to the other novels while the film is almost entirely absent of certain mature content in the novel. With that in mind, the liberties that were taken with the source material gives the film a different and much more enjoyable experience. The film also places a greater emphasis not only on D but the relationship between D and the other characters. The changes that were made served to better the story while at the same time, preserving the original plot.

Bloodlust explores the relationship between Charlotte, Meier, and D. If any approximation can be made of Charlotte's and Meier's situation it would be they are star-crossed lovers, and D is willing to destroy what ever bond they think they have. In D's eyes vampires are an abomination, and the very thought that love can bloom between a human and a vampire is not only incredulous but something D sees as impossible.

There is also a captivating relationship between D and Leila as well. Leila sees D in the same manner D himself sees Meier Link. In Leila's eyes D is a monster that cannot and should not be trusted by proxy of having vampiric blood, half-breed though he is. While Leila shows ill-intention towards D he never regards her as a threat or even competition. When Leila is nearly killed, D tends to her wounds with little hesitation and without expecting anything in return simply because he is that kind of person. The major thread in the relationship between Leila and D is not so much a matter of love as it is respect. Circumstances bring the pair together and changes how at least one of them sees the other.

Bloodlust shares the techno-frontier setting familiar to the novel and 1985 film. The environments are created with such stunning attention to detail that it's easy to believe one can touch them. Whether the characters are in small towns, forests, glades, or castles everything is simply stunning and it's truly a feat of animation as quite simply there isn't a single anime on the market that looks even half as good as this. The clothing effects, hair movement, rippling grass, flowing streams of water, even the characters' reflections are a testament to Japanese animation and it looks like you're watching a moving painting.

Similar to the art and animation, the voice acting in the film is in a class of its own. Bloodlust wasn't dubbed in Japanese then re-dubbed with an English translation when it first released. Rather, the English dub came first and the script and animation was made with the English voice acting in mind. There is no noticeable delay in lip-synching, the dialogue is written very well, and conversations flow naturally between characters, not just because of a solid script but because the conversations themselves are delivered by an amazing cast who keep the personalities of their characters at the forefront of their performance.

Wendee Lee is no stranger to voice acting and she delivered a knockout performance as Charlotte Elbourne. While she shares the spotlight with lesser known voice actors their performance is nothing short of incredible.

Meier Link was voiced by John Rafter Lee who conveyed the regal dignity of a classical vampire. In addition, he was also able to capture a certain emotional quality of the loneliness some vampires feel after living so long and becoming disenchanted with eternal life.

Pamela Adlon does a good job portraying Leila as an extremely headstrong hunter. This woman is tough as jerky and harbors an intense hatred of vampires. This hatred seems to waver albeit slightly after meeting D, and Adlon did an smashing job to portray the ebb and flow of Leila’s emotions.

Andrew Philpot however steals the show. His lines though few, speak volumes of D's character. Philpot has a deep, almost darkly melodic voice which helps to tell D's story in its own right. Philpot balances D's angst with the character's determination and sense of purpose. D is thought to be an emotionless character but this has always been due to the fact that D believes actions speak louder than words. However, Philpot's performance gives a view into not only who D is but what D has been through. It's one thing to give us the idea of a character, it's another matter entirely to help us understand what makes the character what it is, and Philpot does this exceedingly well.

Vampire Hunter D: Bloodlust brought anime into the the new millennium with style, depth, and intensity on a level that few if any anime can match. Even if you've never been a fan of Vampire Hunter D or anime in general, every movie lover owes it to themselves to see this title. It's half animated and half amazing.

VERSUS (2000)

Prisoner KSC2-303 is on the way to his execution when he escapes and flees to a mysterious forest in the mountains of Japan. After meeting up with his liberators, he learns that they are actually part of the Yakuza and they have no intention of leaving the forest until they receive orders from The Man.  Easily provoked and quick to resort to violence, Prisoner KSC2-303 kills one of the them and the scene quickly devolves to a Mexican Standoff. Everyone is surprised when the thug rises from the dead. After the initial shock, the Prisoner kills the man again and escapes with a female captive.  The two quickly find out that they have escaped to the Forest of Resurrection which is filled with dozens if not hundreds of bodies buried there by the Yakuza over the years. Plagued by zombies and thugs, the Prisoner and the Woman must find some way to escape, but when the Man shows up, he will reveal to them a horrifying destiny they could have never imagined.

The plot of VERSUS is actually very layered, having its origins in a movie that came out years before this one - Down2Hell.  It should be noted that VERSUS is an extraordinary film that is truly one of a kind. It's no exaggeration to say that this film made Ryuhei Kitamura's career and exposed his artistry to millions of overseas audiences despite it’s meager budget (it would have been impossible to make this film in America). VERSUS became a huge success because it had both style and substance.

There's even a subplot within VERSUS that makes meta-commentary about itself, but it was so well-written it's one of the most standout high-points of the film. Hilarious and unnecessary, the sub plot revolves around two cops who are trying to track down Prisoner KSC2-303.  They show up as comic relief and serve no other purpose than to constantly remind us that our main character is an escapee.  What’s great about them, is that they have that cliche dynamic of good cop/bad cop taken to the extreme and played for laughs. Despite the fact that one cop is a hothead and the other is calm and collected neither of them handle any situation in the best way. These two characters became so popular they received two shorts in the Japanese re-release of the film.

Ryuhei Kitamura grabs the mainstays of cinema, throws them in a blender, and hits frappe. He has taken zombies, swordfighting, Yakuza, marital arts, shoot em ups, and shaped them into a spectacle of an action film and he makes it look easy. Despite the numerous details and events going on in the movie every thing fits well together largely due to a script that is airtight.

The cast of VERSUS play their roles with finesse if over the top at times and even then it's within the range of their respective characters.  Instead of scouring Japan for actors who are already known, Kitamura was interested in people who could not only act, but fit his world.  The two cops are simply priceless and deserve a movie so that they might explore their acting caliber.  Kenji Matsuda is just too cool.  When he is not acting crazy, he just has this casual style, this swagger and this attitude that gives the impression that he runs the show which isn't far from the truth as he chews up the scenery and his character really stands out.

Tak Sakaguchi (Prisoner KSC2-303) and Hideo Sakaki (The Man) steal the show.

This is Sakaguchi's debut as the Dark Hero and it is this role that people associate with him. Prisoner KSC2-303 is not a nice guy.  He is not wrongly accused or thrown in prison for a crime he didn't commit. Everything on his rap sheet is legit. It's more accurate to call him a villain-protagonist because all it would take is a shift of focus to set the audience against him.

Hideo Sakaki is in a league of his own.  He is the cold calculating bad guy taken to the next level.  When he's told most of his men have been killed he already knows what really went down and doesn't make a big deal out of it. Even after he loses all of his henchman it's just business as usual to him and he ensures that even after experiencing a setback he'll hold the upper-hand. The movie has layers but it's not subtle. Betrayals are easy to see coming, it's easy to tell which characters are going to be alive by movies end, and when The Man shows up all hell breaks loose.

Kitamura didn't skimp on the details when it came to casting. With the exception of two or three of the cast members, every person in the film is a true-to-life martial artist and their skills are on full display in the film. What's great is that we see a wide array of styles including Judo, Kick Boxing, Shotokan, and Ken Po. Also, VERSUS does not overuse special effects. There are a few camera tricks with the lens to change the appearance of the daylight hours and there is some wire-work at the very end of the movie but none of these things are distracting. Kitamura relies on pure creativity and ingenuity in order to tell his story. Also, this is one of the better scores for Japanese action movies. The music doesn't just fit the scenes but also plays into the personality of some of the characters, giving the score a unique feel especially during the high intensity fight scenes.

It has action, style, a genuinely interesting plot, and some really funny scenes despite it's dark theme. The only real complaint I have about the film is that it ended with a cliffhanger and there was supposed to be a sequel to conclude this film. VERSUS was released in 2000. We're currently in 2013. That's all I'll say about that. If you aren't squeamish and if you aren't turned off but a sequel hook which obviously didn't lead to a sequel then I can't think of any reason you shouldn't check this film out. It was a very popular movie that saw three DVD releases so make sure you purchase the Ultimate VERSUS if you want the full experience.

- Jetstream Rev

Vampire Hunter D (1985)

Vampire Hunter D takes place in a post-apocalyptic future where the world has long since been devastated by nuclear war. When the last bomb was dropped and the remnants of mankind emerged from the destruction so did something else. All manner of supernatural creatures emerged from from the ether, animals and some humans mutated from the fall out, but the worst of all was the advent of the vampires. No one knows where they came from or why they are here. The human race didn't have time to ask these questions because just as they had come back from the brink of extinction, they were once again fighting for their lives.

Nearly a millennium after the war against the vampires ended with the victory of the humans, mutants and supernatural creatures still posed a constant threat and some say, somewhere out there still exists the last vestiges of the vampire race. Only one man stands between the forces of the dark and mankind. He is a Dhamphir; half-vampire and half-human. Walking between the worlds but rejected by both, he will not rest until every last vampire has been destroyed.

He is The Hunter.

He is D.

Vampire Hunter D started as a series of novels written by famed author Hideyuki Kikuchi. Kikuchi-san noted that western movies and Bram Stoker were among his inspirations for the work. At the time of this writing there are more than twenty Vampire Hunter D novels in print and many of them have been translated and sold in America. You can find them at just about any online book retailer including Amazon, Barnes & Nobles, and many others. The 1985 film is based on the first Vampire Hunter D novel. Before we continue it should be said that while this review is safe for work, the anime is not for kids. Most anime isn't but this one is certainly meant for the teens to adults.

The script is solid and stays true to the source material as it was Hideyuki Kikuchi who oversaw the creation of this movie and he ensured that it closely followed the novel it's based on. This works marvelously well as Vampire Hunter D stays true to it’s source material and Hideyuki Kikuchi was able to have his work reach a wider audience.

The film opens and we meet Doris Lang, a skilled hunter in her own right protecting her land from mutants until she encounters something far more terrifying; Count Magnus Lee. In the next seen we see our dark hero riding into town like a cowboy draped in nightmares. D encounters Doris Lang who attacks almost without warning. This minor distraction barely slows our hero down as he continues on his way until Doris stops him and reveals she has been bitten. Within days she will be completely transformed into a vampire and it is only by killing the vampire who bit her can she be spared from the curse. D takes the job without hesitation and so our story begins in full.

Vampire Hunter D had a basic, but well-written plot loaded with one very big twist. The twist isn't what I revealed in the opening because they reveal D's mixed heritage in the first 20 minutes or so of the film. Rather than dwell on spoilers or non-spoilers it's worth exploring what the plot does right and these things are many. Unlike many anime today, VHD is very easy to follow - not because it in anyway is dumbed down but because the plot ties in very well with its setting. Vampires are evil. People hire vampire hunters to bring them down. What makes VHD work is that it's very plot driven but it also has a great cast of character that not only feel authentic to this world but actually make you care for them. Doris Lang doesn't feel at all out of place despite the feel of the industrial-frontier-punk world. She has a nice blend of believable heroine and sensitive female character who serves as something of a moral guide to her younger brother and even D at times. Doris also serves as something of a damsel in distress but it's not as outlandishly trite and offensive as some other female characters might be portrayed because for the most part Doris can hold her own physically and emotionally. But when dealing with the 5,000-year-old Count Magnus Lee, it's understandable that she's in over her head.

D is one of the earliest incarnations of the anime anti-hero - if not the first. While some aspects of his characterization stems from westerns which author and creator Hideyuki Kikuchi has mentioned were his inspirations, D is a type of character anime had not seen at this time. D rarely talks, opting to speak only when he has something worth saying, which is a very essential aspect of who he is. He doesn't have many people who are close to him and he doesn't labor to make bonds of any kind or even interact with others outside the demands of his job. He's always looking forward, always looking for something, and never slowing down to wait on those who would tarry to follow him.

Magnus Lee is every bit as villainous as you would expect from someone who terrorizes people because according to him, "It keeps me entertained." He doesn't sparkle, he doesn't cry, and he's not reciting poetry to Doris Lang. He is a stone cold villain whose heart is blacker than his cape and it works for him. What's interesting is that the contrast between Magnus Lee and Doris Lang isn't just a difference between pure good and pure evil, but it also shows the stark schism between how humans and vampires view the existence and each other respectively. It adds an intriguing dichotomy to the film that would not have worked if Magnus Lee was not the type of villain he was.

It's interesting to note that Vampire Hunter D addresses the issue of specism. Humans hate vampires and everything about them as they fear vampires are evil incarnate. At the same-time vampires feel as though humans are nothing more than cattle. D who is half and half, is caught right in the middle.  He has to live in a world where he is hated by both vampire and human alike.  In spite of that, D lives as he wants to live and does not allow himself to be bound by the prejudices of those around him.  “I am what I am. How you see others is of no concern to me.”

The voice acting is very good given the time this anime was dubbed (1988) and especially in comparison to some of the ear-gratingly awful dubs we get today. Even though this was one of the earlier anime to come to the states and the American actors weren't the most experienced crew, they really got a feel for their characters and brought something unique to the table. I actually find myself preferring the American voices over the Japanese seiyuu.  Michael McConnohie doesn't have many lines as D because D doesn't speak very often. When he does, his lines are delivered with a kind of determination, confidence, and even a hint of melancholy that characterizes D. In an interesting dynamic, D’s Japanese seiyuu is also very good but he portrayed D as a younger character than his American counterpart.

The animation is amazing for a movie this old. The movement of hair and clothing is very realistic, when they're outside of battle. VHD has the signature style of early anime with speedlines, technicolors zigzagging in the backgrounds, and the fact that D's cape seems to expand like wings whenever he leaps are very nice touches. If you grew up watching anime during the 80s and 90s these things are not only noticeable but make it all the more classic.

There is also a great deal of mist and a substantial amount of blood (which looks like fruit punch). The scenery transitions almost seamlessly from foreboding to beautiful. Most of the best imagery is drawn around D.  His fight between Rei-Gansei is especially spectacular.  It is dark and only the two can be seen.  After D blocks Rei’s kick, he throws Rei high into the air and jumps after him.  We see D’s cape and hair billowing magnificently while the moon is behind him causing Rei to look insignificant. The cels then show one side of D’s face, and then it switches to the other side, his hair and hat animating spectacularly.

The score in this anime is absolutely brilliant. It's moody, grim dark, but at the same-time there are tracks that are beautiful, and soothing if a bit repetitive at times. D's theme played at the end of the movie is one of the more simple tunes but also one of the best anime themes I've ever heard. It conveys the triumph and the tragedy, the magnificence and the sadness that is this character and when D rides off into the sunset it's a scene that sticks with you.

If you're a fan of classic anime, horror anime, or anime in general then I can't think of any reason you shouldn't pick this up.