Ghiblisgiving: Porco Rosso

Up to this point all the films covered were movies I had never seen before, but as we enter the 90s phase of the studio we also enter the movies I’ve seen. None moreso than another fun adventure, Porco Rosso!

Porco Rosso, the Crimson Pig, was a man turned pig-man and the fiercest bounty hunter in the Adriatic. When a group of his foes, a collective of seaplane pirates, hire an American hotshot named Donald Curtis to hunt Porco down, Porco must come to terms with getting help from unlikely places and deal with his past as an Italian fighter pilot in the Great War.

The film is a freaking blast of a good time. It really leverages and builds on the adventure feel of Castle in the Sky. Building on some of the tropes in that film, the gang of misfit criminals, much more cartoony aesthetic contrasted with well lived in world, and message. From frame one it is just so clear how much fun and energy was put into every frame of animation. The dogfights, in particular, are real standouts. With complicated and overlapping animation along with a strong sense of weight and dimension. It’s clear so much time went into that one aspect while not leaving even the smallest detail outside that to go unnoticed. It’s just a party on display the whole time and that is deeply appreciated.

Of course what makes it special is how it seems like just a fun adventure flick on the surface, but does have a message underneath. This message being unique to Ghibli films, a look at what it means to be a pig. Neither choice, making the main character a pig-man, or the fact it is set between World War I and World War II, was purely for aesthetics. Though let it not go unsaid that the team certainly takes advantage of both. Instead both are used as an examination on what it means to be piggish, boarish, and selfish. Porco, real name Marco, often lifts his nose to the rest of society. He sees so little of it to be of any importance and looks out for himself. This puts him in opposition to the pirates, a group of individuals looking out for themselves, and Curtis, a man obsessed with his own status and building up fame. They’re all taken to task in some regard but does come back to Porco as he grows to care about people, or care about them again if he lost that part of himself. It is why the owner of the Not-Casablanca hotel cares so much for him. Porco can be a good guy, and ends up being one once he sees past the front he puts up. He just has to realize he doesn’t have to be as much of a pig. Which, it’s also fun that he says he’s a pig and not a fascist. A line that strikes just as hard as Nausicaa’s “If I take my mask off for five minutes I would die.”

The American dub for this film is more hit or miss, but overall great. The biggest weakens is Michael Keaton. He is by no means bad. He gives Porco a lot of weight and regret behind his words, but doesn’t get the fun most everyone else does. Cary Elwes in particular gets to have a great time as Curtis, and Susan Egan is able to thread that needle of being weighty while also giving the character a sense of having a good time.

Porco Rosso feels like an easy film to overlook. Because, again, on the surface it seems like just a good time with some mild misogyny and focusing too much on how attractive this 17 year old girl is (which Castle in the Sky kind of did too know that I think back on it), but it’s more than that. Even the weird stuff it does with said 17 year old mechanic builds on Porco and his fight to remain a pig inside or not. The film is almost ahead of its time in the way it seeks to criticize middle-aged men like that. But even as it does that it is still a gorgeous film that is just an amazing time to watch. Also Porco shoots at actual fascists and we need more of that.

Film Ranking:

Porco Rosso 

Nausicaa: The Valley of the Wind 

Castle in the Sky 

Kiki’s Delivery Service 

Only Yesterday 

My Neighbor Totoro

I’m cleaning house and selling some media. If you would like to buy comics, manga, or cards I owned and used follow this link: https://ebay.com/usr/connorfahy1013 say you’re a reader and I’ll be happy to discount any item for you!

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Ghiblisgiving: Only Yesterday

It’s hard to remind ones self, but Stuido Ghibli is more than just Hayao Miyazaki and his fantastical stories. There is a whole studio full of talented directors, writers, and animators. Famous of all is Isao Takahata. We should have covered his downer Grave of the Fireflies had it been available for streaming, but his next film, a grounded drama based on a novel, is available for streaming and is unlike any of the other movies thus far.

Only Yesterday follows Taeko, a businesswoman in the city as she take a summer vacation trip out to the countryside and work the fields. Only she isn’t going alone as memories of her fifth grade life flood back into her and color her week long trip living with the farmers and their son, another former businessman turned farmer.

The film feels incredibly ahead of its time. The mid-life crisis film is an incredibly common genre of fictional film, but the quarter-life crisis less so. Those films, ones like this one, featuring people who are just starting careers and yet already feel unsatisfied and wanting more from life have been gaining in popularity more recently. That makes this one about a girl being restricted as a child due to how she was brought up and following that path into adulthood feeling unsatisfied in what that life brings at such a young age so refreshing. Even the fixation on decades old foibles and flops feels like something a more modern film would focus on as a thing millennials talk about now, but making a film in the 90s about it is so shocking.

It is unfortunate then that the film isn’t more watchable. That’s in no way saying it is a bad film. Ill-paced for sure. Some of the flashback to childhood segments go on too long or don’t feel connected enough with the springboard. Similary, continuing to introduce new elements of her past even near the end feels off when a setup earlier wouldn’t have made it feel so forced. Also the constant hyping up of farm life does get tedious from time to time. Regardless, it’s a contemplative movie. Fun only in the academic sense, but oddly enough the best written movie yet. Written meaning the dialogue and exchanges. The previous films were all mostly transactional. They were used to get across a direct point without any flowery language or doublespeak. Only Yesterday goes the extra mile of having words say less or more than they imply. The use of silence is also awe inspiring.

Similarly awe inspiring is the use of animation in a film that could easily have been live action. Most of the Ghbili movies could have been, but used the fantastical as the excuse. This film, instead, uses changes in art style to get the changing emotions across. The use of a more cartoony art style that grows from sparse watercolors to more solid backgrounds as the memories get more concrete in the flashback segments is great and contrasts with the realistic present scenes so much more. The scenes in the present have their own grounded feel that’s carried more by the soundscape and ambiance than flashy cuts. That’s to say the animation is consistently smooth without going that cartoonish extra mile the previous films did.

This is also one of the more recent dubbing attempts. It makes sense to an extent. Ghbili was under Disney and this is a hard film to market to that demographic, so waiting till now makes sense. Getting talent like Daisy Ridley and Dev Patel to give really weighty and serious performances while also fighting their English accents back at every corner is great. They also contrast well with the more seasoned voice actors in the cast to feel distinct but not bad.

See what I mean. All of this is good stuff. Fun to talk about and analyze in this hypothetical space. Looking at how the last scene on the train plays with everything that came before is neat, but that doesn’t make this a joyful experience to watch. That makes it doubly hard to judge because it wasn’t fun. Kiki, for all its poorly mixed flaws and odd pacing, was still fun. This has a place and a strong message to send but isn’t a constantly rewatchable film. It’s a quintessential Oscar drama. A film to watch once and get its meaning (maybe twice or three times to really absorb it), but not to put on when you’re having a bad day or just need something on in the background. It’s a great film. The one I was most looking forward to in fact because of its more mature nature, and I guess I got what I wanted out of it. Heck, even this malaise feels almost intentional, but it doesn’t make it more fun or one I would rewatch.

Film Ranking:

1. Nausicaa: The Valley of the Wind

2. Castle in the Sky

3. Kiki’s Delivery Service

4. Only Yesterday

5. My Neighbor Totoro

I’m cleaning house and selling some media. If you would like to buy comics, manga, or cards I owned and used follow this link: https://ebay.com/usr/connorfahy1013 say you’re a reader and I’ll be happy to discount any item for you!

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Ghiblisgiving: Kiki’s Delivery Service

Despite the classical nature of Ghibli and Miyazaki’s films it is odd how the only adaptation up to this point was of Miyazaki’s own work. However that changes after this point and lends more credence to the Ghibli as Disney comparison (I bet they feel bad letting that license slip now that Disney+ is around. That would have been a killing for them). Disney usually stays to well worn fairy tales while Ghibli likes to branch out into newer tales.

Kiki’s Delivery Service, based on the novel of the same name by Eiko Kadono, follows burgeoning witch Kiki as she goes out on the rite of passage for every witch at her age. She must leave home and make a place for herself among a new town and find out who she is. Kiki finds herself in a port city where she uses her singular talent of flying to make a name for herself as a delivery girl. She is a teenager, so of course the winds of passion can change and she must find a way to make those passions her own with her powers and friends she makes along the way.

The movie has a problem. Not the base film but movie posted to HBO Max. I am unsure of this problem persisted in the original 90s Disney release or there was a change made in the transition to streaming, but the vocal mixing on Kiki in particular, but everyone at certain points, is terrible. Her voice is often incredibly tinny or like her voice is coming from a blown out speaker (having since watched the next set of movies on the same system with the same settings and this problem never repeating it is definitely something wrong with this movie). What’s worse is how it happens to everyone at certain moments, and it only seems to affect the voices and no other sound effects. This made it a harder film to watch than intended because literally hearing the characters speak was testing. It’s an unfair thing to criticize a movie on, but it was still part of the experience and must be taken into consideration.

Outside of that (far, far outside) the film is incredibly cozy. Watching Kiki make her deliveries and deal with the residents of the town is just nice. It has the feel of a kids TV show that could go on forever. It means the pacing on the whole is not as good. It takes too long for Kiki to really make her way and for the movie to really show what it is about. However just seeing Kiki being nice to people as she works and watching that kindness come back to her (hypothetically. Her voice is grating to listen to because of the aforementioned mixing problems, but I get the intent)

The animation even reflects that TV feel. It feels even more restrained this time around with more focus spent on the mechanics of her flying and what that would realistically look like. That’s not to say there aren’t little touches thrown in. It’s a Miyazaki movie so of course there are. But on the whole it feels more like it wants to be a long running series over a splashy movie.

The advantage to it being a movie is it’s more individual focus on the idea of growing up. This is a consummate coming of age story, but what sets it apart is what it’s all about. At first glance it seems to be about trying to maintain old traditions in an evolving world. It is about that to a certain extent. The struggle Kiki finds when she first arrives seems to be in contrast to what her mom went through. Meanwhile scenes like using the old school oven in place of an electric one to bake a pie shows how not all old things need to be discarded. However it comes into focus that it’s about Kiki finding her passion and what she wants to do in life, and be accepted for it. Having to deal with burnout as well is an interesting choice, and provides a neat way to rethink it. But I don’t think it’s handled nearly as well as it thinks it is. That comes mostly from the lack of conveying why she doesn’t feel accepted. I mean I understand it being a completely internal struggle for her, but that struggle is not given an external example (some would argue her losing her powers is that example, but that’s the consequence not the inciting reason). Everyone she meets likes her and thanks her and even still she feels exiled from everyone. That’s a fine feeling but never shown in a way to understand it from her perspective. But her inherent drive to help and friendly nature does come through in why she is accepted and finds her place. It just could be conveyed better.

This is a film I want to watch again. Not just so I can see if that vocal issue persists in other copies of the movie but because it’s just kind of a nice world to live in. If it were a series I could see it still going to this day, and totally see why it was one of the highest grossing movies in Japan. It’s charming, cozy, sweet, and has a good character guiding us along the way. Her arc could have just been conveyed better.

Movie Rank:

1. Nausicaa: The Valley of the Wind

2. Castle in the Sky

3. Kiki’s Delivery Serivce

4. My Neighbor Totoro

I’m cleaning house and selling some media. If you would like to buy comics, manga, or cards I owned and used follow this link: https://ebay.com/usr/connorfahy1013 say you’re a reader and I’ll be happy to discount any item for you!

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Ghiblisgiving: My Neighbor Totoro

I am aware there is a moving missing. Grave of the Fireflies by Isao Takahata came out before this film. But, due to what I must assume are licensing and rights issues it’s not streaming anywhere (thanks why I use Surfshark… no NordVPN… no, I’m not cool enough to get sponsored). Doesn’t mean there aren’t ways to watch it, but for now I’ll power through and circle back if I find the time.

In the meanwhile I always wondered what the Studio Ghibli logo looked like before Totoro came out. I mean they needed to have something, but it seems odd that I can’t imagine the study without it. Odder still that I never saw the film.

The film, by the way, follows sisters Satsuki and Mei as they move to the countryside with their father. While moving in and exploring their new home the girls find that they have some unexpected but not unwanted spirits in the troll (interesting translation) Totoro and his mythical friends. Of course their life is not perfect. With a sick mother in the hospital, and a busy father they must find ways to live and fill their days with life, and their neighbor can help.

Ghibli and Miyazaki are often compared to Disney and their stable of animated films. Interestingly the previous films don’t really feel like Disney films. Totoro on the other hand totally feels like one.

Totoro feels like a storybook. It’s mundane world made fun by a trickster character and his minions and friends are the plot to many an actual children’s book. Classics like Cat in the Hat and Puff the Magic Dragon and the like all come to mind and all feel true to the spirit of this film.

A film, by the way, which should be incredibly boring yet is not. Most of the film is just hanging out with Satsuki and Mei. Watching them go on adventures or spend time with their dad or Totoro and his forest spirits. Not much honestly happens but the characters are honestly so fun loving and hyper-energetic that you fall into their rhythm. Seeing the world both normal and magical from the perspective of the little girls makes even the boring act of laundry or growing seeds into something fun.

It’s helped immensely that the sisters, played by real life sisters Dakota and Elle Fanning, having an amazing chemistry (for obvious reasons) and totally fit the roles of the girls. Satsuki has to act more mature than she lets on while Mei is far more emotional but open to new things. Their interplay, especially early on, sells the film the most. Well that and the father.

It would be easy to overlook their father played by Tim Daly (the voice of the best Superman). He’s kind of nothing. Just a generally nice guy who works hard and cares for his family. Of course it’s in the details that he shines. His ability to turn any event into a supernatural game or fun adventure builds the themes of the movie without even thinking of it. He just so easily and naturally turns the mundane into the games the girls play with simple framing. He is the backbone of the story more than a giant cat guy.

Not to say the giant cat guy isn’t important. But Totoro, the movie, is about facing life with the imagination and heart of a child. When seeing the world through their inventive eyes everything becomes fun. It’s not just dust but soot spirits. Acorns don’t grow because of rain and sun but from a cats magic. The wind blows because it’s a cat bus carrying its passengers across the fields. These are great visuals that help both us and the sisters keep their mind off the hardship in their life. Only the secret is that anyone can do this. They face hardships in the film, but they are often worse because they don’t try and find whimsy in it. Not to say you always need to. It’s okay to be sad, but being only sad doesn’t help you grow.

The animation this rime around is still smooth but far subtler than Castle in the Sky. That movie focused more on the grand adventure. This decides to keep it tight like the story. The character movement is far more detailed. The scene of the girls running around the house is great for all the little touches. Same can go for even simple interactions or Totoro moving. A lumbering furball like that needs to really feel furry and he does. Of course the standout is interior of the cat bus and how it moves and breathes with the ease of a real cat. It’s not as visually stunning as a train chase, but just as impressive.

It’s hard to place this film. On one hand this type of slice of life family film is not my thing. It’s valid and a really good story, but not for me. On the other it is just so incredibly charming that having to rank it as 3rd only because it’s not nearly as fun as Castle in the Sky is sad. It’s a movie that kind of deserves its spot. It’s simple, but so is the life and eyes of a child, and that’s okay sometimes.

Movie Rankings

1. Nausicaa: The Valley of the Wind

2. Castle in the Sky

3. My Neighbor Totoro

I’m cleaning house and selling some media. If you would like to buy comics, manga, or cards I owned and used follow this link: https://ebay.com/usr/connorfahy1013 say you’re a reader and I’ll be happy to discount any item for you!

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Ghiblisgiving: Laputa – Castle in the Sky

Nausicaa was a major passion project for Miyazaki and his team. It was also based on his own manga series of the same name so of course he would want to do it justice. Of course he can’t rest on his laurels forever and had to come back with a new hit, Castle in the Sky.

Laputa: Castle in the Sky is far more of a classic family adventure film than Nauscaa was. In that this film follows Pazu, an assistant to the coal miners in a small town. His life changes when Sheeta, a mysterious girl floats down from the sky with a Crystal both pirates and the military are after. The two then must band together in order to find the secret behind the crystal and how it connects to the floating city of Laputa all while dodging the military colonel Muska and female pirate Dola and her family of misfits.

The film is less story or idea driven than Nauscaa was, but that doesn’t mean it’s any less energetic or has worse pacing. It’s even arguable that the pacing in this film is better. There is far more connective tissue between scenes and events. The structure is tighter, and there is more setup and pay off. The fact that we are given time to sit in Laputa before the plot shows up gets us more invested in the location and it’s meaning than the quick bursts of location in Nauscaa.

Even with the better pacing the characters are weaker than in Nauscaa. Well, the main duo of Pazu and Sheeta do not hold a candle individually to Nauscaa. They are much younger and more generic. Both hardworking, adventurous, and forced to grow up early, they work great as a pair and seeing their bond grow is legitimately sweet. It is kind of easy that Pazu just so happens to want to find Laputa just as the person to help him shows up, but the initial jumpstarts for these far more family affairs are like that. Once it gets going it works. Mostly. Their voice actors, James Van Der Beek and Anna Paquin, do their best to match the characters but just don’t fit the more throwback look of the character designs.

This vocal problems seems to only affect them as they try to give much more grounded performances. The rest of the cast seems to get it let loose like the film wants. The standouts in that regard is the pirate captain Dola played by Cloris Leachman, and her family. They get to be totally wacky but earnest. They fit perfect in a far more cartoonishly evil world. Same can be said for Mark Hamill’s Muska. Muska, the secret king of Laputa, gets to go all out and hit every vocal range he can. From the more subdued Skips like performance to the menacing Ozai, and off the wall anger of the Joker. He gets to have a ball and it shows in his voice.

It also shows in the movies animation, which was clearly where most of the focus went. That is not a bad thing. A simple story told well, but with some of the most expressive, colorful, heightened-realistic animation you can see it is worth it. So much thought and time clearly went into how everything would move. From the fantastical airships, to the machinery, to the people who live in the world. The little touches Nauscaa had are taken to the next level. The characters scramble, I mean like a dog on hardwood, scramble. It’s more impressive, though with the crowd shots of individual people moving and doing their own thing, and the drifting of the giant planes. It was all taken to the next level and just looks amazing.

That doesn’t mean there is no story. It’s just a lite version of Nauscaa’s appeal and purpose of nature along with how humans need to act in order to get along with it. Muska’s hatred and annoyance at Laputa getting overrun with nature contrasted to Sheeta’s awe being the best example. That’s as far as it goes though. It is not nearly as deep as Nauscaa but is a better time.

Both this and Nauscaa felt like passion projects to an extent. This just felt like more of an animation showcase than a serious story. It is far more commercial and has kid appeal. That’s not a problem. It is one of the better child focused adventure films. It is incredibly inventive and thrilling but doesn’t feel nearly as personal. Not every movie has to be. Sometimes it’s okay for a movie to just be fun and show really cool imagery and it succeeds at that.

Film Rankings:

1. Nauscaa

2. Castle in the Sky

I’m cleaning house and selling some media. If you would like to buy comics, manga, or cards I owned and used follow this link: https://ebay.com/usr/connorfahy1013 say you’re a reader and I’ll be happy to discount any item for you!

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Ghiblisgiving: Nausicaa Valley of the Wind

This might come as a surprise to hear, but writing and maintaining a blog (functionally solo – no shade. We’re all busy people) by writing for five days a week is tiring. It makes the process of enjoyment a task and I needed a break but instead crafted a months long project, Ghiblisgiving: a look at all the Stuido Ghibli movies since they’re available to stream on HBO Max. So it’s best to start at the beginning!

Nausicaa: The Valley of the Wind is an incredible first showing for a new studio. It certainly helps that Miyazaki was a veteran director before this point, but even with that experience it is impressive what he and his team could accomplish in one film.

Set 1000 years after the end of modern society the film finds the world plagued by toxic jungles filled with unnatural and mysterious insects while humans have been cordoned off into seperate kingdoms. The film follows Nausicaa, the princess of the Valley of the Wind. When a bug and spore infested airship from a neighboring kingdom crashes into their village, followed quickly by that kingdom invading and killer her father, Nausicaa must set out and explore more of the world to find the truth behind the spores and forest while the other kingdoms seek to use old world technology to burn it all and reclaim their place in the world.

Despite being incredibly dense the film has great pacing. It does throw a few too many concepts and has a couple pieces of throwaway dialogue explanations for some events, but outside of that it manages to pack tons into its two hour run time without it feeling too rushed. The balance of exhilarating action paired with incredibly calm and quite moments, and daring adventure all make it feel totally complete.

It helps that most of the film is from Nausicaa’s perceptive because she is an absolute joy of a main character. She is incredibly reminiscent of what JJ Abrams and the team would do with Rey decades later. A high spirted, resourceful teen with incredible compassion and intuition. She brims with personality from the first scene and just keeps building. It’s even more impressive that her arc is kind of completed in the first act so she spends the rest of the film trying to convince others of her new mindset. Of course it helps that her actress, Alison Lohman, gives her such a range of emotions.

The whole American voice cast is strong. Patrick Stewart makes an appearance as Lord Yupa, a world traveler and skilled fighter with a strong edge, and Uma Thurman gives a good snark to the invading ruler, Kushana. They help bring what could be and kind of are unmemorable characters to life. The biggest surprises are a young Shia LeBeouf and Mark Hamill making an appearance as citizens of another land. They don’t get enough screen time to really shine, but their presence gives them a weight unknown actors couldn’t give.

This is a Ghibli movie so it of course looks amazing. The art direction is incredibly solid, and the small details are nice to see. It is, however, primative compared to what they will be able to do in later films. This can be seen most of all in how simple some of the bigger elements like the airships and giant bugs move. What would be done with more detail later now moves in bigger chunks. It makes them see slower, but doesn’t take away from the heft and feel. This is not to say it’s bad. It’s not at all. But they are shooting to do a lot and have to make some compromises.

A Ghibli film is also not without its messaging, and from the plot description it seems pretty obvious what that message is. Humans need to live in harmony not just with the world around us but with each other. It is more complicated than that and for what American animated features were doing at the time. The idea that there could be multiple factions that are wrong, and that nature reacts to humans and looks out for us more than we think is novel and true without being nearly as heavy handed as things like Ferngully.

This film was clearly a passion project and a jumping off point for many peoples careers. It is a film brimming with life, personality, and a unique visual style. Hard to believe that it can get both up and down from here.

Film Rankings:

1. Nausicaa: The Valley of the Wind

I’m cleaning house and selling some media. If you would like to buy comics, manga, or cards I owned and used follow this link: https://ebay.com/usr/connorfahy1013 say you’re a reader and I’ll be happy to discount any item for you!

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The Idhun Chronicles: The Most Anime of Anime that Ever Animed (a Review)

Netflix has had an incredibly diverse track record when it comes to the anime they either distributed and/or produced. They have really ranged the gamut. From incredible shows like Beastars and Devilman Cry Baby to the uneven B the Beginning, to the congealed mess of traits that made up the energetic Cannonbuster and parody Neo Yokio. However, none seem to compare to the barest or bare bones, the recently released Idhun Chronicles.

The series, a Spanish production based on a trilogy of Spanish novels called The Idhún’s Memories, follows Jack. When he comes home one night to find his parents dead and himself about to be killed by the intruders he’s saved by a seperate factions of magic users and taken to a space between worlds. There, Jack finds out about a world of magic called Idhun, and a group of assassins sent from that world to earth in order to kill all magical refugees. Jack takes up arms to protect himself and avenge his parents.

The series is rough, clearly done on a tight budget, and poorly written. If I was someone who cared more about concise speaking than anything I could end it there. No additional words could describe the mind numbing process of watching the poorly animated and stiff looking production. The art direction and characters design for the whole series is barebones at best, and inconsistent at worst. For example, when one shot will have a piece of jewelry in one location but cut and it’ll be in a different location on the person and it does that constantly, that’s a minor problem when compared to what the show does.

All storytelling regardless of story, medium, and theme is all about a give and take. Anime, and anime inspired series like this one, are a prime example. They leverage consistent art and often limited animation for bigger payoffs in more key scenes. This series seems to have all the limitations with none of the payoffs or rewards. The animation and art doesn’t suck in some scenes but get good during fights. It is just always of low quality. Same with the dreary and lifeless voice casting.

I always watch in English if I have the option. Similar to the animation trade offs, in aware that I am getting the convenience of understanding at the cost of the translation not being accurate and the acting being lesser from time to time. However, based on posts by the author of the original book series and one of the head writers, the voice acting was a problem in the original cast as well. The only good proof is that the series has Johnny Young Bosch and Erika Halacher in key roles and they both are muted, boring, and stiff. Which seems impossible when they, JYB specifically, have more expressive lines and deliveries with less dialogue in Persona 5 than this series. It’s almost impressive they could tune them down to nothing.

It should be impressive, but they also don’t have anything to work with in terms of characters. Jack is the only character with a personality. Saying that being impulsive is a personality is woefully overstating him as a character. He wants revenge and to generically help, but that is it. Everyone is more flat than that 2D world they live in. This goes for the villains as well. The team might think that they are just posturing and menacing. Villains of few words and mostly actions. Instead they have no personality. They just appear, kill whoever and then disappear with I’ll defined magic.

Shocking, I know, the magic system and mythical world is at once over explained and needlessly complicated while also not being explained well enough, coming off as vague instead of anything concrete. That’s not to say I don’t appreciate the incredibly fairy tale world the characters come from, but other than a bad case of the Dark Lords and magical oppression there isn’t anything unique. Something, after doing base reading on Wikipedia shows it’s an adaptational issue over a source material one. The world of Idhun seems kind of neat and has interesting lore that is dropped on us instead of being the story we are watching (a problem lots of fantasy stories have).

This is to say nothing of the story we are watching. It is bargain basement portal fantasy. That’s not bad alone, but it’s executed with all the skills of person finding out about portal fantasy for the first time. Every episode is a slog. The show has no energy, and the dialogue boarders on being a parody. Two characters jump from a high wall and one says that it felt like they are flying… I mean, have they never been on a trampoline before? So awkward, and not even purposefully so. Completely by accident. That makes it almost endearing if that wasn’t the high point of that episode. Because, overall, it’s a lifeless story.

To give one positive, I enjoy that this ostensible kids show does have a lot of blood and death used incredibly casually. Cuts and stabs produce blood and that was surprisingly mature.

This is a series who I don’t know the audience for it that couldn’t watch a better version of this story on the same platform. Its not told well enough to be a good starting point, not creative enough to be for veterans, not epic enough for those wanting a big fantasy story, and not well drawn and animated well enough for starving anime fan in need of new content. It’s cheap, not well told, and dull. All the worst things a show can be.

I’m cleaning house and selling some media. If you would like to buy comics, manga, or cards I owned and used follow this link: https://ebay.com/usr/connorfahy1013 say you’re a reader and I’ll be happy to discount any item for you!

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Avatar: the Impossible Followup – A look at The Legend of Korra Seaon 4

We have come to the end of this journey. A look at a series that I have more to say on an upcoming editorial, but seasonally has reached its end. I don’t have a whole lot of preamble. After season three ended I didn’t keep track of season four cause I wanted to wait and watch it when it was over, and I heard no one talk about it except for one specific element I’ll get to (it’s Korrasami, duh), but other than that it seemed to have been forgotten.

Forgotten just like the shows pacing. Instead of only a few months or weeks, the series jumps three years – about the length of the shows run – into the future to see how the world changed since Zaheer’s attack on the Earth Kingdom, and crippling of Korra. In that time the Earth Kingdom has been brought back together under Kuvira, a minor character we only caught a glimpse of near the end of season three helping care for the wounded men after their failed attempt to stop Zaheer’s Red Lotus and save the airbenders. In the meantime she worked to restore order with the help of Varrick, one of Su’s kids we did not see last season, and Bolin. Meanwhile the Air Nation is doing their best to keep the peace with their limited numbers, a new Earth King is about to be crowned, and Korra has gone missing. Everything goes wrong when Kuvira takes total control and Korra is shown to be majorly off her game. She must work to restore balance to herself before Kuvira can force balance onto the Earth Kingdom.

This is a strange season. Not strictly in terms of content, but there is some of that we’ll get to, but instead in terms of energy and passion. Last season felt like the series they always wanted to make. This season feels like they have to deal with consequences, but don’t have the passion to do that. Like the team got all their ideas out and now have to follow through, stuck in the rut they made.

This might stem from their idea for a villain this season. In order to make sure they get all the elements down they made the final villain an earth bender who seeks to unite the Earth Kingdom under her rule in a not to subtle nod to classic fascist and totalitarian imagery. Unfortunately for the team it is going backward and copying some of what the Fire Nation was in the previous series, a bland evil-faceless empire and its not as good because it is not nearly as developed. It starts in a strong place. When a state is overrun by bandits and Kuvira shows up offering help in exchange for control of the town that all works. It shows why people might flock to her, but doesn’t show the aftermath of that choice. They talk of re-education camps and forced labor but only the remnants of that are shown.

The real problem might be Kuvira herself. She is plenty terrifying as a villain. Menacing and clearly capable, even if they have to weaken Korra for most of the season to make this plot work, she is definitely a force to be reckoned with. But the failure is in showing how she grew so powerful or what led to being a full dictator. The finale tries to give her some sympathy of being scared and pushing a nationalistic idealology to feel safe. As true as that may be not enough of it is in the show. It doesn’t tap into how clearly ruthless she is either. She nearly annihilated her fiancée in order to keep her power. I’m shocked there was never a point she said she would kill Korra and scour the Earth Empire in search of the next Avatar in order to control them. But that might have been to far, and they wanted her sympathetic.

If Kuvira was all control then Prince Wu, rightful Earth Kingdom heir, is her opposite the season is paralleling. To be totally contrary, Wu is a cowardly wimp who would rather have fun than rule. Focused fully on womanizing and partying over the crown, or rather only wants the crown for that. However it is seen over the season that he clearly does have a way with the public. He can make people follow him through sheer charism and exuberant energy. He also would never give up his people just for a chance at freedom. That makes it all the stranger when he steps down to allow a democracy to come in. Which, despite how poorly monarchies were used in the history of the show, could clearly not be an issue if the right leader is in charge. The best example being the Fire Lord, Zuko’s daughter whose name we get but I forgot. She is still in charge and they don’t seem to have any issues (actually it’s odd how the series was so focused on every place but the Fire Nation. I’m aware they did a whole show about it, but it would be interesting to see how life has changed since the Hundred Year War-and I’m saving that for the editorial).

For returning characters, Toph finally makes her appearance and she is about as perfect a return as you can get. She is wise and helpful without being around purely for fan service or exposition. She plays well with the theme of unity and forgiveness, and still sounds like herself in the writing even if no one else has been. Also it is fun to watch her call out people who would think Katara should have joined and helped in the Civil War… as a fighter. She defiantly should have been someone advisor at least but that’s not here or there.

When it comes to the main cast it is a mixed bag. Mako, poor Mako, gets nothing to do this season. He’s bodyguard to Prince Wu, and just sort of around. In fact, I bet if he was cut from the season it would have made no difference. Except for how he plays into the relationship with Asami and Bolin. Asami, similarly doesn’t get a lot to do, but is more important overall than Mako in terms of plot and theme. When it comes to plot she is around to make amends with her father, who has been in prison since his working with Amon, and working with Verick to help build defenses for Republic City when Kuvira plans to invade. In both instances she must work with men who have betrayed her in order to prove her strength of will. For Verick it makes sense. He’s always been a complete cheeseball looking for a thrill, but her father. While I see the logic in giving him a chance to prove he is better than the revenge that overtook him, it being introduced so late into the series and season feels off. A build where he learns to respect benders like Korra and why his daughter turned to them over him would help build his case. He does get to die a noble enough death whether he deserved it or not. Asami, sweet Asami, is also part of a romance I will get to later.

Following her is Bolin, my hunky marshmallow. After his journey last season he started working with Kuvira to bring peace and help people. All of that is in character for him. He’s a stand up guy who wants a nice life and do the right thing, while being dim enough not to ask follow up questions. This changes when he finds out the truth of what she is doing, and how crazy she can get and teams up with Verick to escape and help save Republic City. He too is shown to be a very empathetic leader, and is an interesting parallel to Prince Wu in those terms. Well meaning, but not that bright people who honestly want to help are shown to be the best leaders. Well them and the Avatar.

Korra’s arc feels like the only one truly thought out, and gave the writers an out by making her underpowered for most of the fights she gets into. Following last season, Korra was physically crippled by the mercury-like poison coursing through her body. Turns out it was more than just physical. She was haunted by the events that led her to that moment, and the trauma of near death. On top of that her friends of New Team Avatar all were able to move up and do great things in their life. They saw it as just keeping her informed, but to her it made her feel like she was just standing still as everyone passed her by, making her feel useless and unnecessary. That is strong groundwork laid in one of this series better episodes, Korra Alone. It is also handled well after that. She trains with Toph who gets her to help see she needs help and was literally holding onto the past by still holding pieces of the metal in her body. Then, forcing Korra to remove it on her own and teach her how to see using sprite vines is all wonderful growth that tracks. Where it fails in her needing to see Zaheer, the person who traumatized her and almost killed her. Though I have never been nearly killed by someone, I can imagine forcing to confront them is a painful experience, let alone going to them for help. I do not follow message boards (God I’m old… Discord Servers or Subredits), but I gather there was some backlash to that decision. The team played it well by not redeeming him but rather had it be a tenuous alliance at best, but it still felt rather tone deaf to force Korra to go to her abuser, make her relive the moment the abuser tried to kill her, and give that same person the speech that she had to go through that. And for what?

One of Korra’s best moments is near the end of the season when she is able to reason with Kuvira after her plan goes breast-plate up. She realizes that Kuvira was just a scared girl using her power, just like Korra was. Only she grew from that. She then relays that to Tenzin near the finale when she says that nearly dying and going through that trauma made her more compassionate to even the most haneous of people. That all works in the abstracts. However I would posit it was not, in fact, the poison, and crippling trauma that drove this. It was her finally going out, seeing the world, and working to become her own woman with no baggage. This came with consequences she had to deal with. That would make her using those skills to finally talk Kuvira down all more impactful. Unfortunately the team did not see it that way… or the character but with it being one of the final exchanges it’s impossible to know and doesn’t matter. But her saying she had to go through that that trauma in order to be as compassionate doesn’t track anyway. It was shown last season that she was able to empathize with the new airbenders, except the basement dweller (so maybe they had a point), so it doesn’t seem like she needed that lesson.

Maybe part of the reason it feels off is how they use the time to advance her and Asami’s relationship, which again, is coming.

Another piece that feels off and contributes to this whole wonky tone is the lack of action this season. Sure there are fights and chases and a city siege, but it feels all so tame. This has always been, or wanted to be, a more talkie show. It wants to have big ideas, themes, and characters. It has a less then stellar track record at achieving that, but that was always its goal. The previous seasons had this too, but when it was action time it was always strong, dynamic, and punchy. This season it feels all so drab. The best example is the final fight with Kuvira. In theory it should be great. A giant mech attacks the city and they must stop it as a group. It builds the theme of teamwork to stop a common goal, and is totally original. The issue is that the mech is a lunky CG, and the plans they come up with don’t match the epic scale. It all feels too easy, even if having one direct force works better than branching ones like Avatar’s finale had. It just all feels so subdued, which is fine. Trying to constantly top yourself each season can lead to problems. But the ending doesn’t feel as satisfying because of it.

To really throw a curve ball, this season has a clip show, something the rest of the show could avoid. It could be argued Avatar had a clip show episode in the Fire Island play, but that was a creative retelling of the series. This is a bland recap with additional banter thrown on top for comedic effect. It slows the seasons overall good pacing to a screeching halt to not advance much story other than small character moments. These moments don’t feel important enough to be substantial or important enough to build an episode around and filled in with show clips.

All of this has really been staving off the inevitable conversation about Korrasami. Korrasami, the romantic pairing of Korra and Asami the show leaves us with, is underwhelming. I fully support them as a couple, and actually want to read the comics about them to see if they get development because, as it stands now, it doesn’t work. It’s arguable how much the team tried to get them together or were allowed with getting away with by Nickelodeon, but the source goes deeper than that. Korra and Asami have no chemistry. I don’t want to blame anyone, but it feels like it’s Asami’s problem because she is such a nothing character. She is in the first season to be a strict romantic rival and provide support for New Team Avatar, but once that concludes she seems to just be around with no point. The show failed her. She’s a women in STE(A)M after all. She should be the one coming up with plans and strategy. She’s both a nerd and an empath. There is just so much potential never touched by the writers. I don’t know how much was planned based from the start of the season to the final scene, but if they wanted her and Korra to get together then more of the arc should have been around that instead of… or maybe both, around her rekindling some feelings for her father and caring for Korra in a new light.

There are some subtle attempts to pair them in our mind. The fact Korra can really only write to Asami after her crippling. The use unreasonable arguments to help build that Korra and Asami act as couple similar Korra and Mako, and the fact, and this is from the creators, they mirrored the shots of the wedding scene with them to show a romantic interest. Also this:

As frustrating as it is that they got such little growth as a couple it bothers me more that Nickelodeon tries to push Korra as LGBT (and all the wonderful letters after) representation even as they did not let them go into a full relationship, and removed Korra from their channel, but then want to act like they had representations all along. That truly maddens me. It would be like saying Spongebob is asexual… oh wait no!

As the series draws to a close Korra and Tenzin remark on how much Korra changed the world. It should feel epic. Governments are changing, the spirits and humans are flowing, there is no evil spirits. All massive stuff, yet, it feels so small. It doesn’t feel like anything changes from the first episode despite so much happening. Compared to Avatar, which felt suitably epic all the way to the end. It’s the same feeling some people get after watch The Last Jedi. So much happened yet it feels like filler. I think the reason is because as much as stuff happened there was no journey. There was never a clear endpoint. I don’t get why Korra ended with season four and not with whatever is going on in the comics. It reached and end, but hardly a conclusion.

Though this is the end of The Legend of Korra but that’s not the end of Avatar: The Impossible Followup (but this is defiantly a break from it. I need to watch some other stuff). If you study the credits as I do, then eagle-eyes viewers know many members: Lauren Montgomery, Joaquim Dos Santos, Joshua Hamilton, Tim Hedrick and more go on to create Voltron: The Legendary Defender. Meanwhile Aaron Ehaz, the story editor and lead writer for Avatar along with other co-writers have gone on to make Dragon Prince. Both series try and fail to live up to the path Avatar made, because, truly, it is impossible to follow up.

I’m cleaning house and selling some media. If you would like to buy comics, manga, or cards I owned and used follow this link: https://ebay.com/usr/connorfahy1013 say you’re a reader and I’ll be happy to discount any item for you!

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Avatar: The Impossible Followup – A look at The Legend of Korra Season 3

As alluded to at the end of my season 2 look, Korra was removed from Nickelodeon and put onto the web for streaming. Though I cannot remember an exact day or episode, I do recall that it was at the start of this season. This is strange and doesn’t truly effect the series other than maybe one scene they probably couldn’t have aired.

It’s removal from the network is a bothersome topic for much later, either my look at season four or an my post watch editorial, but it is not the most interesting thing about this season. Instead this season decides to shake everything up, and feels like a full embrace of what the team wanted to do, but had to work to achieve.

Getting ahead of myself again, this season takes place only a few weeks after Korra bear Unalaq and opened the portals to balance the spirit and human worlds. This decision has come with a lot of push back by Republic City and it’s citizens as they want a normal life back, and Korra tries and fails to help. Everything comes to a head when new Airbenders start appearing all over the world. Korra, exiled from Republic City due to her disposition of causing more probalmes then she solves, goes with Tenzin and the rest of Team Avatar to help rebuild the Air Nation. This will be harder than first thought as a dangerous criminal, Zaheer, also awakened to his Airbending and plans to use it to free his band of criminals called the Red Lotus and write the world in their image. That includes kill the Avatar.

This season feels like what Korra, the show and character to an extent, was what the show wanted to be all long. All while using the previous season as a building block to tell a story they really wanted to tell. There is very little padding or unclear narrative. An example would be how much time is spent with Bolin or Jinora setting up their arcs when most of the time was not necessary and used more to extend the story. Same with the excised boring relationship drama. There is some lip-service paid to it, but it is mostly dropped, except for comedy. Whether that part, the lack of mentioning past relationships at all, makes sense can be argued, but it’s exclusion doesn’t make the show worse. In fact it is by far the most cohesive season. It’s themes are explored in multiple ways and the villains feel like proper foils even if they have less of a point than Amon or Unalaq.

Zaheer is only an interesting villain insofar as he contrasts Korra in every possible way. A naturally spiritual person who seemed to be able to adapt to his Airbending powers quickly and sees him seek total disorder as a way to unlock humanities true balance. He’s a complete foil the Korra and much closer to a “Dark Avatar” than Unalaq was. In fact, Zaheer’s whole Red Lotus team feels like they are supposed to be analogous to the past team. They have a skilled water bender, an earth bender who uses a new type of bending, and a fire bender with a close relationship to the air bender. Sure, Aang and Zuko were in no way romantic (except in all my fan fics. God, it sucks using these as both jokes and extenuating points to express free thought cause now no one knows if I’m joking), but did have a deep friendship and respect that defined them. They also have names the show wants to ram into our heads, but I forgot.

Zaheer’s anarchistic beliefs work only on a thematic level. I won’t go over how it’s okay to have a character, especially a villain, have the wrong idea and no “point,” but I guess I just did. His idea of letting nature run its course and being loyal to only one’s self is blatantly wrong. The fact it’s a group who holds that belief is proof enough, but he stands in opposition to Korra’s challenge of trying to find a balance in the disorder of a post-convergence world. Though that is not really solved, the importance of leaders, leadership, and what constitutes a good leader are all thrown into question through in-text/character examples. The Earth Queen, Su (who we’ll get to later), Tenzin and Jinora, and even bit characters like an airship captain are all examples of the importance of leadership and where they can go astray. That’s also part of the whole setup with Korra’s argument with the President of Republic City. His gut reaction to look good for his people helped spur all of this on. It’s clear what happened in that scenario was wrong, but was caused more by societal pressures on the government than the government existing.

With Amon and Unalaq they were both wrong on many fronts of their ideals. Though we do find out Unalaq was a member of the Red Lotus and wanted her even as far back as childhood, which was why she was held in a protective area most of her life (that makes sense, but then Tonraq and Tenzin should have said they did it cause terrorists were trying to abuduct her and not just sulk about being restrictive, but I digress). In both cases they were wrong. I cannot decide if Zaheer’s ideals are just wrong, if they’re presented wrong, or if their is a piece missing. A whole part of Zaheer is the will to remove all earthly possessions in order to fly. He achieves this once his girlfriend dies, so it would seem clear that he would want everyone to be free of earthly possessions like him. He wants them to have total freedom, which is kind of the same thing, but this also values individuality which makes him having a group a thematic problem, but not a story one because he also adds friends into his individualist ideals (I wonder if that includes the Steven Blum guard. I only mention him cause Amon comes back in a hallucinogenic sequence and then cut to a guard who uses a similar voice to speak. So weird).

The villains are not all that makes up this season. In addition some new characters are introduced. One is Su, Lin’s sister and Toph’s second daughter. She is the leader of a Metal-Bending city that is cool looking, but are also sealed at night which seems weird. Almost fascistic, but I’m getting ahead of myself. She and Lin have a tense history of when Su was a much freer spirit, a lost child trying to find herself and the stress it caused Lin and Toph. It is interesting she is a half-sister. I like the idea that Toph did not marry her first love. Feels subtly mature, and I can imagine she isn’t the easiest person to live with. Along with her comes her family who are all quirky in specific ways. The only standout is Opal who is in love with Bolin, and is a new air bender.

That takes us to the air benders. Which, even though they are all different people, like Kai and Otaku, function as a group. The idea of balancing the world spiritually also corrected the imbalance of benders is great and makes sense. Korra also working to recruit and train some of the members pays off her training in season one. However it also gives Jinora a chance to become a master by taking over training and leading the group when Tenzin goes down during the end of the season. It does go further, though. Above, I said Kai functions with the group, but that’s also not true. He’s also part of that theme of being part of something and having guidance from a leader is important as he goes from street rat to hero, helping save the air benders at the end. Outside of him the rest are just a group that has to learn and grow into their newly given powers and accept the responsibility with it.

This season shows the return of Zuko. Though it’s harder to see him as him because Zuko only gets one scene to really be himself, and is relegated to sounding board and exposition. His learning of Iroh’s existence in the spirit world is good, but doesn’t get a chance to linger long enough

Outside of Jinora and Lin, no one on Team Avatar changes too much. Mako is just kind of awkward, which gives him some character. That and being a studious cop (ACAB, sorry bud), but that’s really it. Asami continues to be more of an emotional sounding board and rock for the group, but is relegated to the background, except when they remember she can fight. Korra is still the headstrong, direct person she has always been. She has learned to be more empathic, which helps when she sacrifices herself to save the Air Nation. I’m not sure if that’s her being headstrong and direct again. She knew something bad was bound to happen if Zaheer took her, but leaving her totally drained as a result is incredibly interesting. Despite restoring to messing with the Avatar State, again, leaving her crippled is much more complicated than just killing her. It gives her places to grow.

The exception to all of that is Bolin. What Bolin goes through is my only video essay idea, that being how to properly setup a twist. Bolin, in this season has been struggling with learning metal bending. He tries and fails constantly only to figure out he can lava-bend. Considering he’s been fitting an opponent who can do it, it doesn’t come out of nowhere, and he makes a big sacrifice. After stopping lava he says how he just learned, meaning he was ready to die in order to help save Mako and Tenzin. That’s big stuff, and a great, built-up reveal.

The lava-bending is evidence of how this season really plays with, and expands, the fights in the series. This season has, by far, the best and most intricate fight scenes by far. That comes from the new bending and revising bending like octopus arms, and combustion-bending, but also figuring out ways to make air bending far more acrobatic. This leads to so many fights wher everyone has to move, counter, and react quickly. No combat scenario stays the same for too long. The balance constantly shifts. The standout is when Tenzin fights Zaheer with Kya and Bumi holding their own again the other Red Lotus members. The constant shifts in power and viceral hits matched with relatively low stakes (yes it’s for the Air Nation, but it’s not on a big scale) makes the ending so hard. The same can be said when Korra fights Zaheer with her dad when she is chained up. That has the team playing with more inventive moves and strategies that keep the fight constantly engaging. It’s all good stuff.

This is the only season to setup for the next. It’s not clear that’s what’s being done, but it sets up the next threat. This is also the first season to have the villain not die at the end. That, along the Air Nation being a group of worldly peace keepers, and Korra being crippled leaves it in a far more complicated place than before. Unfortunately it still didn’t solve the inciting incident of spirit/human cohabitation means and what can be done. It’s just left to sit there, making it feel all less interesting and giving the story less places to go.

I’m cleaning house and selling some media. If you would like to buy comics, manga, or cards I owned and used follow this link: https://ebay.com/usr/connorfahy1013 say you’re a reader and I’ll be happy to discount any item for you!

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The THIRD best thing Disney+ Can Do (A look at Heroman)

Since the release of Disney+ they have done a total of two good things, both of which I covered. The first is making the forgotten X-Men Evolution available in full for all. The second is releasing a version of Hamilton for everyone… with the service. But there is a third thing they can do: dub and release Heroman.

Oh, you don’t know what Heroman is? Well strap in!

Heroman, an anime series created by Bones studio, of FMA, Soul Eater, and My Hero Academiafame and along with other great series, associated with Stan Lee’s Pow Entertianment is everything that combination sounds like it would be.

The series is a mix between a classic Marvel ongoing drama and boy and his dog (if the dog is a giant robot) story. When a school teacher sends a radio signal into space it gets the attention of an insectoid race of conquerors who found their next watering hole. When they arrive they create a storm that awakens best-boy and resident protagonist, Joey Jones’s newest animatronic figure into a Hulk-sized hero. With his new hero he teams up with teacher, Mr Denton, friend Psy, a love-interest Lina to help save he world once the aliens, called Skruggs, land. Of course everything gets more complicated when tech-billionaires, high school jocks, and government bureaucracies get in the way of saving the world.

The series feels like an early progenitor of what future series like My Hero Academia would become. It’s an exceedingly earnest series through and through, and that’s where the fun comes from, but feel superhero inspired all the same. However, instead of being an X-Men a-like, it’s closer to an Iron Man, Hulk, or Spider-Man series.

The series feels closer in pacing and structure to those above series (also, does it bug, no pun intended, that Spider-Man is hyphenated while Iron Man is not), and a closer comic pacing in general. Each episode focuses on overcoming a specific challenge, a related character arc attached to that challenge, and a longer story running throughout all of that. It’s 26 episode run is also reminiscent of conics in that way, since most runs on books only last around 20 issues anyway.

It’s pacing is not the only comic book element about it. The flowing nature of the series, as it weaves through different arc types, villains, and structures is all very comic book. Starting with a weighty and dramatic alien invasion, to a mad scientist story that focuses on character drama, to smaller one offs like an island infected by monster vines, or a kidnapping plot by the remnants of the aliens, to its final conclusion with everything coming to a head, and tease that being a hero is never over. It all screams comic book.

Just because it screams comic book doesn’t make it good. The characters are what bring the whole story to life, and how those characters are both archetypes and subversions of said archetypes weaved into one. Joey is the prime example of this. He is the all too earnest and eager kid thrust with great power. Instead of a Peter Parker arc where he learns to use his power for good, he already knows it needs to be used for good, but doesn’t know what that means. Thankfully evil aliens show up to make that an easy solution, but following that he remains steadfast in his conviction to help people even if messes with his personal life from time to time.

The changes and evolutions don’t stop with him. Lina, the love interest, though a cheerleader is not a typical love interest. She starts outwardly interested in timid Joey and throughout the series grows to have a deeper interest in him because of his good heart and bravery. She is also far feistier than she looks, leading to great moments. Similarly, Psy, Joey’s best friend is a jock who was injured in a football injury, but charges into battle all the same, and acts like a realist. There is also their teacher-friends Prof. Denton and Ms Collins, along with Joey’s sister Holly, and Agent Hughes from the NIA. Each one has a little more under the hood, and are revealed to be far more thoughtful than first expectation seem. All of them led with amazingly striking character designs.

The show isn’t perfect. Though it is still gorgeous, it’s age is showing in some places. Mostly with the use of CG vehicles. The comic pacing is also hindered by the overly-long initial invasion arc, and a reliance on new powers coming too easily. The powers are centered around Joey’s resolve, but they do feel contrived at times. Even those problems don’t hinder the great, earnest time this show brings forth.

It’s a great series. So what? Many shows are great and don’t need to be on Disney+. Same with stuff created by Stan Lee. He did an entire series with DC about reimagining their big characters. Doesn’t mean they need to be on Disney+. So what sets this apart? It was supposed to air on Disney XD!

https://youtu.be/WgEjAeaO5tc

The series was planned to be dubbed and aired on Disney XD, with many different dubbing houses across Asia and America creating pilots to test, but none of them making it further in development than test dubs. It’s unclear why they did not move forward, but it is a shame because it feels so much like a show perfect for Disney.

On top of that, there is precedent for it. On Disney + sits the Avengers anime series. Marvel’s Future Avengers or Marvel Disk Wars: The Avengers. Was a sub only anime series done by Toei and released on Disney XD only in Southwest Asia was in a similar boat as Heroman, but was ported over to Disney+. This shows they can get the rights to a work only named after a Marvel series, let alone a series created by the father of the Marvel universe. It screaming out to be taken just like that was and dubbed!

Additionally, the series needs more anime options. I know that might seem odd considering it’s for all Disney properties. But, considering even the most normie streaming services like HBO Max and Amazon Prime also have anime to some degree. That makes it all the stranger Disney, one of the most massive conglomerates doesn’t. It’s also fairly child-friendly which would work out well too. And if a scene is not it can often be edited either in dialogue or physically remove to match. I wouldn’t love that, but it would make some sense.

In th writing of this it was revealed that Marvel got the rights to make an Ultraman comic. Ultraman being one of the longest running tokusatsu series in Japan, is getting a Marvel comic adaption. That’s breaking news. It reminds me of the days when the Transformers and GI Joe were all part of the same universe as well. It’s. Far more interesting direction, especially is Ultraman stays as an Avenger or something. And that, that is what I want for Heroman. The characters, designs, and story transcend the barrier or location and could be something just as fun and exciting for people over here, and give them a true, perfect hero.

I’m cleaning house and selling some media. If you would like to buy comics, manga, or cards I owned and used follow this link: https://ebay.com/usr/connorfahy1013 say you’re a reader and I’ll be happy to discount any item for you!

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