Initially daily but now sporadic blog about anime and world animation with a specific focus on the artists behind the work. Written by Ben Ettinger.
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Archives for: June 2012, 30

Saturday, June 30, 2012

03:01:00 pm , 662 words, 6331 views     Categories: Animation, TV, Lupin III

Lupin III: A Woman Called Fujiko Mine #11

Fujiko goes on a spree impersonating Lupin, Lupin cuts himself shaving, and Oscar dreams of wedding dresses. That, and lots and lots of owl men.

This episode is devoted to exploring Oscar's character with a story about how he impersonates Fujiko in an attempt to get Zenigata to try to kill Fujiko. Why he has a vendetta against the "spitpot" I'm not exactly sure, other than that she slept with his heartthrob Zenigata. A little bit of back story is finally revealed about the relationship between Oscar and Zenigata, but it feels like too little too late. The character remains just as annoying and misplaced as before, with his overplayed melodramatic screaming and shouting that don't make any sense and ridiculous costume that doesn't look like a regulation police uniform to me. (high heels?) The writers may be telling a very deep and powerful story through Oscar and Fujiko, but it's too bad they forgot to let us in on what it is.

It feels completely arbitrary how one of the side-characters will without fail be absent. This time Goemon and Lupin were there so Jigen had to be absent even though he and Lupin seemed to have formed a pretty close relationship already by the time of the previous episodes. Goemon's and Lupin's scenes were reminiscent of the old show, with Goemon going around splitting things and Lupin defusing a bomb, and wound up being the parts of the episode that were the most fun to watch, which is to say the least annoying. The shot where Goemon buys a falafel right before Lupin does the same was fun, reminding that they still haven't met each other. The odd thing is that Fujiko doesn't play a very big part in her own show. She's either absent or zoned out and doesn't do anything a lot of the time other than have flashbacks.

They're obviously trying to do something very postmodern with the schtick about the owl-men observing Fujiko as if they were the author of a story observing the character whose story they were writing, but it is done so repetitively without any clear meaning that it just comes across as a pretentious attempt to be artsy and sophisticated. Scenes such as the infant Fujiko being electroshocked in a room full of stuffed animals are clearly meant to, well, shock, but they occur over and over without us understanding the context, so they have no impact other than to seem like self-indulgence for shock effect on the part of the writers.

The episode was fairly competently directed and interesting otherwise, even with a cute little section done in Michel Ocelot cutout style explaining how Oscar planned to steal the wedding dress. Whoever storyboarded and directed the episode decided to use a silly pen name, so I don't know who it was. The storyboarder was 袋小路ピーチク and the co-director was 梟小路パーチク, which is a pun that's hard to translate, but basically involves cul de sac, owl, and the onomotopoeia for a bird's chirping - which is an obvious reference to the line in the episode where Oscar sits down on the stairs in despair when cornered by the owl men and asks them, "Go on, chirp away!" Clearly this suggests the point of this episode - about exploring how Oscar came to feel cornered.

The episode also featured another person using a pen name, Hiromichi Kojinanokuni, which is Tomonori Kogawa of all people. He has apparently gotten a second wind after an extended period away from the front lines and now does lots of animation on various TV shows using pen names. I'm curious what part he did, although I'm sure his style is nothing like what it used to be during the days of Ideon and Xabungle.

Another person present was Kaichiro Terada, whom I presume animated the water effects during the bridge scene at the beginning and the smoke effects during the tiara scene. I like his effects work. Motohashi Hideyuki was again present.