Hide And Seek Mecha-Style

My Neighbor Totoro

The stunning animation and storytelling of Hayao Miyazaki in My Neighbor Totoro. The Bus Stop scene is one of those great, classic, cinematic moments.

"Hayao Miyazaki's greatest work, and hence probably the best anime ever made." - Jonathan Clements & Helen McCarthy

Rule: Fans of anime are always fans of Hayao Miyazaki. Fans of Hayao Miyazaki [and other Studio Ghibli productions] are not always fans of anime.

Yes, ho hum another Hayao Miyazaki masterpiece of cinema for all the world to adore. It could certainly appear that way. The quality of the work appears effortless. The man is a machine of animating genius and works pure, unadulterated animation magic into every thoughtful story. As filmmakers know, it’s certainly no easy task to come up with one masterpiece, let alone one after another and continue to produce at Miyazaki’s level, but Miyazaki does it every single time. He is one of those rare, elite filmmaking talents that is able to out-Disney Disney itself. In fact, My Neighbor Totoro [Tonari No Totoro in Japan] [1988] may be his most Disney-esque picture, but they all have a kind of magic that lends itself to those comparisons. When you get right down to it, Miyazaki films are uniquely Miyazaki. And thankfully Disney found the good sense to import his special brand of animation that even Disney can't quite replicate. He is special indeed. His pre-Princess Mononoke [and Mononoke included] films contain the elaborate, skilled, hand drawn beauty and majesty often associated with the pictures of Disney. My Neighbor Totoro may be the odds-on sentimental favorite that gets you weak in the knees akin to something like Bambi.

Like Kiki’s Delivery Service, My Neighbor Totoro soars with enchantment and the wide-eyed discovery of a child seeing an animated classic for the first time. Walt Disney would agree by striking a licensing deal with Miyazaki's Studio Ghibli for distribution of each and every one of his works stateside along with other studio productions by the likes of Directors Isao Takahata [Grave Of The Fireflies, Only Yesterday, Pom Poko and My Neighbors The Yamadas] and Yoshifumi Kondo [Whisper Of The Heart].

A tip of the cap certainly goes to Mickey for the move! That said it makes you wonder how a major studio/ company like Walt Disney couldn't have been aware of other anime classics that allegedly may have influenced other Walt Disney productions. The late Director Osamu Tezuka's Kimba The White Lion [19650-1966] was believed to be the uncredited inspiration for Disney's The Lion King [1994]. Nadia The Secret Of Blue Water by Studio Gainax and Director Hideaki Anno bore some significant resemblances to Disney's Atlantis: The Lost Empire. Certainly much has been made of the similarities between these productions, but those are stories for another day.

Disney was wise to recognize one of Japan's greats in Miyazaki by bringing his feature films to the shores of America. Each of these Studio Ghibli productions are given professional voice dubbing treatments and a healthy dose of extras. My Neighbor Totoro is a family gem, pure and simple, because it is a work that timelessly reaches across generations with its wholesome innocence. It is powerfully moving in its understated, simple joys and like all of Miyazaki's work it is loaded with heart. It is considered one of his finest moments. Truth be told, a case for his best film could easily be argued and endlessly debated for each and every one of his cinematic treasures.

Not anime, but rather the classic, simple drawing of a child. You gotta love that!

My Neighbor Totoro centers on the daily discovery of the natural world by two young sisters, Satsuki and Mei, who move to the country with their father while their mother remains in a nearby rural hospital. The adorably likable, irresistible kids are led into a kind of Alice In Wonderland-like spirit world where joy-filled freedoms, lead to all sorts of unearthings with a wide-eyed wanderlust. The two protagonists or shojos [a Japanese term for young, cute, independent girl] are often the focal point for Miyazaki's films. Author Susan J. Napier makes a terrific point regarding Miyazaki's films playing against a cultural type in Japan in her book Anime From Akira To Howl's Moving Castle. In the male-dominated culture of heroes, Miyazaki's female heroines are a unique take and the male director knows how to work these wonderful characters despite the gender difference. He understands his characters and they are written with a greater depth and realism than most characters, male or female.

Sweet family moments like this one would be sadly considered politically incorrect by today's standards.

Napier writes noting Miyazaki's trademark style, "Miyazaki is perhaps best known for two particular elements in his works, his richly realized fantasy worlds and his female characters are always recognizable Miyazaki creations. His intensely colored animated worldscapes filled with his trademark images of flying machines, soaring clouds, and supernatural creatures take on a breathtaking life of their own while his brave, inquisitive, and risk taking young female characters are far removed from the identity confusion that characterizes many shojo [young girl] characters." This is expertly put by Napier describing these distinctive constants in Miyazaki's characters as "often quite assertive and independent." My Neighbor Totoro is no exception.

It wouldn't be anime without the ever beautiful shot of powerlines. Miyazaki accentuates his message of man and the natural world by offering the juxtaposition of the two in shots like this one.

Mei and Satsuki discover cute, but dirty little soot sprites in their new home. The creatures appear as a kind of natural protector and extension of the forest. Their wise, older neighbor they call Granny smiles upon their innocent delights. She also knows only through a child’s eyes of wonder can these creatures really be seen. Totoro and company play out like fantastical imaginary friends. Mei is the link to a world of fantasy and Satsuki too, both open to the possibilities. It is their first encounter with the forest spirits and the introduction of Miyazaki’s tender theme of harmony within the natural world between man and nature, the past and present; he so eloquently merges into his tales time and again. The sweet adventure begins.

Do you remember the joy of catching tadpoles?

The theme of Forest spirits and the spiritual world are often stunningly represented in Miyazaki’s fantasies [Spirited Away, Princess Mononoke] as a reminder of our living Earth. Through his fearless, young protagonists, the audience is awakened to the ancient past and our precious natural history. Miyazaki allegorically sprinkles Buddhist temples and shrines across his landscape symbolizing his attempts at reconciling the beauty of past tradition with modern culture. Miyazaki’s colorfully painted forest characters represent the children’s mental connection to the natural treasures to be discovered in the physical world.

The fictional world is slowly revealed as Little Mei spots and follows two small mini-Totoro creatures down a proverbial rabbit-hole straight out of Lewis Carroll’s literary classic, Alice In Wonderland, except Miyazaki’s homage is visualized through a rooted grove of bushes tunneling under brush that leads to an incredibly muscular and fantastic Camphor tree. Through a hollowed chute Mei stumbles down inside the tree and is greeted by a warm cavity. It is there Mei discovers nestled and slumbering one gigantic and fluffy Totoro, an almost updated version of Miyazaki's own Panda from Panda! Go, Panda! [1972]. Totoro is a wonderfully over-stuffed beast, a simple but spectacular looking thing. The images in the film are unforgettable and this moment is no exception.

Miyazaki’s further Alice In Wonderland-styled deference comes by way of an immense, orange, magically-propelled, 12-legged, grinning cat bus that looks eerily like the infamous Cheshire cat from Carroll’s story or to some extent the one from the Walt Disney film version. It's a beauty.

As an aside, in 2003, Miyazaki created a film short for the Studio Ghibli Museum called Mei To Konekobasu or Mei And The Kitten Bus exclusively for visitors at the museum along with eight other exclusive shorts. More reasons why I must go to Japan.

Totoro may be one of the most endearing and lovable animals ever imagined for the screen. The furry, plump giant with striking, thick claws is a goofy, strange beast. Overcome with her great discovery, Mei proceeds to grab the massive, cuddly, bear-like Totoro with innocent, eye-popping wonder and ever-trusting zeal. The innocence of a child as they say. When Totoro’s big eyes meet Mei’s big, sweet smile, it’s not only love at first sight for them but for us too. They bond instantly. Totoro bellows and flashes a wide-toothed grin as only a forest god welcoming pure goodness could. This scene is a classic in the annals of anime moments. The scene leaves you smiling from ear to ear and there are many other moments like this.

The rainy bus stop sequence featuring a clever and memorable interplay between Totoro and Satsuki holding umbrellas is another remarkable one. That moment is frozen in time. Fortunately for Satsuki she remains young enough that these forest spirits speak to her as much as they speak to Mei, and thus, unlike adults can see Totoro. In other words, Satsuki has not been damaged by man and society. She remains open, but that change is coming. The coming-of-age often brings with it a loss of wonder and that reality closes us to the possibilities, the possibilities that clearly still exist for Satsuki.

The girls’ playful childhood existence is made all the more magical by chasing down golden acorns, growing trees with Totoro, mini-Totoro and itty, bitty wee Totoro and gliding through the sky winds above the beauty of the forest. They learn to enjoy and respect their new surroundings with their new found friends. This is the stuff of dreams as a child and Miyazaki brings these feelings to life.

The film’s only restlessness and unease comes when Mei disappears in an attempt to visit her ailing mother. Totoro and the cat bus become Mei and Satsuki’s saviors. The film gradually unfolds and offers us a window into the lives of Satsuki and Mei. The message is clear, but it never intrudes on the simple fact that My Neighbor Totoro is a lovely, vibrant picture that entertains over and over again. It is a mostly sweet, meandering tale. It has a laid back quality that never fails to engage with its many colorful characters. When it's over you’ll be wishing the world were filled with neighbors like Totoro, Granny, Mei or Satsuki. My Neighbor Totoro is all heart.

Miyazaki places many subtle messages throughout his work combining quality film entertainment with important thematic elements. The strong bonds between Satsuki, Mei, their father and mother will make you laugh and illustrates Miyazaki’s important message of respect and love for one another and for our environs. The message is subtle, but it resonates profoundly. When Mei reaches out to her father to express to him what she has seen in the forest, he listens to her rather than discarding her pleas as nothing more than the rants of a young child. The girls, led by their father as teacher, stand before the great camphor tree and pray. “Magnificent tree, it’s been around since long ago, back in the time when trees and people used to be friends. When I saw this tree I knew this would be a good place for our family to live… so let’s give this tree a nice greeting… thank you for watching over Mei and making us feel so welcome here. Please continue to look after us.”

Further, Mei and Satsuki's mother is bed-ridden in the hospital and it isn't clear whether she will die or not, but Miyazaki could be gently reminding us here that we all leave this Earth behind for the next generation's care. We need to remember these things.

The film reminds us of those moments from our own spirited upbringings. It captures the feeling of those liberating early years running unhampered through the yard or field with overactive imaginations and only the wonderment of boundless discovery. He manages to create storybook films that not only entertain, but enlighten. Miyazaki demonstrates a deep respect for heritage and reverence for the land and harmony within it. His experiences easily translate universally, which is why so many connect with his films.

Miyazaki’s enchanting tales also execute an acute sense of place given his strong adherence to Japanese tradition. Each and every one of his films has a refreshing Japanese flavor alongside his many original and fanciful ideas some with European influence. It’s just refreshing to experience actual location shots from another part of the world and see a director remain true to his vision. Of all his films, My Neighbor Totoro feels the most definitively Japanese.

Napier alludes to the messages incorporated in Miyazaki's films, in essence, treasuring the natural world before it is "lost." She writes referring to "what is lost," as "a world in which nature is not yet dominated by humanity and exists as a powerful force in itself, strong in its identity as the nonhuman Other." Look no further than Nausicaa Of The Valley Of The Wind, Princess Mononoke and My Neighbor Totoro as evidence of "Miyazaki's privileging of forests and trees."

The Pixar-favored filmgoer may need a little coaxing, but there's nothing more beautiful than the hand drawn 2D animation of Hayao Miyazaki. Like the earlier Disney animation, these Studio Ghibli pictures are inspired works that are sure to broaden the horizons of any cinephile. This is the beauty of film isn’t it? The gift to bring the world to your home when you can’t take your children there.

My Neighbor Totoro was never on my radar at all, yet it was one of the finest animated family pictures I've ever seen. The script is beautifully written and never insults its audience with the kind of potty humor associated with many of the animated American films including Toy Story. That formula is tiresome and entirely unnecessary and it’s just not funny. My Neighbor Totoro took us all by surprise. We were blown away. It easily rivaled Kiki’s Delivery Service, another favorite with the Girl Wonder. It may have something to do with appealing to the inner child and the child-like wonder that permeates every cel of this film. It amplifies every thing great about being a kid and the explosive joy to explore bursting from every fiber of their being. Kiki’s coming-of-age adventure is equally inviting to youngsters. Totoro is for those who still remain the child at heart. It’s timeless animated perfection.

The animation is warm and the pastoral scenery is filled with lush, rolling green hills, bushy trees and blue skies. It’s like a watercolor canvas come to life. Miyazaki’s gorgeous, hand-painted backdrops always take the breath away like staring out at the vast sea or a mountains skyline. The details are astounding from tree roots to bugs on a plant stem. Key animation contributions apart from Studio Ghibli came by way of upstart Madhouse in the day. Madhouse Inc. is the studio behind the works of the late Satoshi Kon on Perfect Blue, Millennium Actress, Tokyo Godfathers and Paprika, as well as The Girl Who Leapt Through Time [2006]. The company also collaborated with Studio Ghibli on Spirited Away [2001], Howl's Moving Castle [2004], Ocean Waves [1993] and Gedo Senki [Tales From Earthsea] [2006]. Walt Disney lovingly transfers the color palette to its rightful splendor.

The concept of voice dubbing Japanese animation is a particularly tricky proposition for fans. Most true fans often love the original Japanese audio tracks. There are exceptions where the English dub somehow manages to work better than the original. I'm a fan of listening to both. There are nuances and differences in tone and sometimes even content that make the translations interesting. The dubs provided for the Studio Ghibli films are really top shelf with solid casting by mostly professional actors. Personally I love voice actors that work in the business whereby voice acting is their stock and trade. Tiffany Grant comes to mind, the voice of Asuka in Neon Genesis Evangelion [1995]. Actors and actresses like Grant are a pleasure to hear. In the case of My Neighbor Totoro the English dub is splendidly cast by selecting sisters Dakota and Elle Fanning to play the parts of Satsuki and Mei respectively. I'm afraid I have not heard the Japanese audio track though I suspect it is very good. The Fannings offer genuine, natural chemistry to the two sibling protagonists' banter. It's another reason these Disney releases spared no expense.

As far as composers of choice for directors, Mamoru Oshii often turns to Kenji Kawai [Patlabor, Ghost In The Shell], Hideaki Anno to Shiro Sagisu [Evangelion, His And Her Circumstances], while Miyazaki turns to mainstay confidant Joe Hisaishi [Spirited Away, Ponyo, etc.]. He pumps up the jubilation factor with a wonderful score and two bouncy, breezy numbers compliments of effervescent country pop singer Sonya Isaacs [not sounding 'a little bit country' here]. These songs are the English translations of their Japanese counterparts. Unfortunately, these gorgeous Disney-sponsored Studio Ghibli theme songs are unavailable for purchase anywhere, and the film lacks a 5.1 Dolby track. It would have been terrific to hear the rain falling, the cicadas singing or Totoro bellowing those enormous growls in a booming, layered, punctuated surround sound environment.

Trust me, even without children, you'll enjoy spending time and smiling with My Neighbor Totoro. Remember, when those winds blow against your face and through your fingers, give pause to those friendly forest spirits that surround you.

My Neighbor Totoro: A

Writer: Hayao Miyazaki

Director: Hayao Miyazaki

Additional commentary on My Neighbor Totoro: When the initial pitch was made for My Neighbor Totoro it was actually rejected by Studio Ghibli's financiers. The second pitch was accepted. This second pitch included the double bill with Studio Ghibli’s Grave Of The Fireflies by Director Isao Takahata. Producer Toshio Suzuki was desperate to get backing. Two different publishing houses supported the films. Both films needed resources. There were two production teams and two promotional campaigns. Both films miraculously competed despite their dramatically different tones and both were immensely successful. They pushed the envelope of artistic boundaries and expectations set previously within the industry. Grave Of The Fireflies is a harrowing, hardcore depiction of two children starving in Japan as a result of a shortage in the food supply during World War II and those responsible turning their backs on them. You don't get a much starker contrast to My Neighbor Totoro. Roger Ebert was a fervent advocate of Grave Of The Fireflies, but also praised My Neighbor Totoro as “one of the most beloved of all family films.” Nevertheless, they are two masterstrokes of animation. Despite their differences, the films offered an interesting juxtaposition painting powerful portraits of life in the Japanese countryside based upon a significantly dissimilar set of variables. One thing is sure, two classics were born.

The following two images while strikingly similar in their presentation of a boy and young girl inhabit worlds in stark contrast. Takahata's Grave Of The Fireflies and Miyazaki's My Neighbor Totoro, respectively here, played on a double bill. The strength is in the storytelling of these distinct pictures.

Writers Jonathan Clement and Helen McCarthy called My Neighbor Totoro Miyazaki's "greatest work and hence probably the best anime ever" in their book The Anime Encyclopedia. That is a bold statement given all of the wonderful competition surrounding the film not to mention the variety of presentations whether it be film, OVA or TV series [the three Japanese formats]. There's certainly a case to be made for it as much as there are case to be made for others utilizing similar statements. Given all of Miyazaki's work this statement could easily prompt debate among fans of Miyazaki alone. With all of the wonderful works to choose from some would hardly consider My Neighbor Totoro his best. I suspect it would be unfair to denounce My Neighbor Totoro as a mere children's film. There's so much going on in the film and there is so much detail and heart that one simply cannot reduce My Neighbor Totoro's qualities given its widespread appeal to children. It would be easy to place Spirited Away or Princess Mononoke ahead of this work, but My Neighbor Totoro is equal parts substance immersed in beauty. It is a subtle, strong film that should not be discounted by its delicious surface aesthetics, though they are immmense. Clements and McCarthy aren't wrong.

The writers note this is a personal film for Miyazaki in his love for the Japanese countryside and the history of a land that permeates it. The feel good strenth of the film may not appeal to those preferring a darker edge, but the fact of the matter is My Neighbor Totoro is a hopeful, spirited picture. Clements and McCarthy nail the film's jubilant spirit by noting the film is told "through the unquestioning, uncritical, undaunted eyes of a child." And honestly, what's wrong with that?

Director footnote: Hayao Miyazaki [1941-present]: Director/ Screenwriter/ Animator/ Artist/ Character Designer Miyazaki is legend. He founded Studio Ghibli. His works are many and these are some of his best: Nausicaa Of The Valley Of The Wind [1984], Laputa: Castle In The Sky [1986], Kiki's Delivery Service [1989], Porco Rosso [1992], Princess Mononoke [1997], Spirited Away [2001], Howl's Moving Castle [2004] and Ponyo [2008]. His hand can also be felt on a number of other Studio Ghibli productions including Whisper Of The Heart [1995] and Isao Takahata's Pom Poko [1994] and Only Yesterday [1991].

*For all your anime needs be sure to check out Robert's Anime Corner Store.

My Neighbor Totoro Polystone

An image of little Mei, Satsuki and Totoro [complete with frog] at the bus stop in the rain from the classic, delightfully adorable film My Neighbor Totoro. A gorgeous painted Polystone diorama released in February 2006.
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This delightful little collectible was originally slated for the Fancave. It resided there in its box for some time. The Japanese import captures a particularly unforgettable moment in the otherwise entirely unforgettable film My Neighbor Totoro directed by Hayao Miyazaki. Walt Disney purchased the rights to the productions of Studio Ghibli. There's isn't a bad film in the Studio Ghibli bunch. Most of the works of Director Hayao Miyazaki, Isao Takahata and Yoshifumi Kondo are available stateside. I'm still waiting for a release of Isao Takahata's Only Yesterday and the made for Japanese television film Ocean Waves by Tomomi Mochizuki. I'm not sure the latter two will ever see the light of day here in the states, but I remain forever hopeful. Would Miyazaki have it any other way? The works of Studio Ghibli are like paintings come to life. Immense, lovingly detailed, colorful works as represented in this beautiful PVC collectible, a perfect snapshot from My Neighbor Totoro.

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My kids love My Neighbor Totoro and truth be told I do too. It is an infinitely watchable film for all ages.

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So one Christmas I decided the Totoro figure was better suited on display as a conversation piece for my Girl Wonder and her friends than sitting in a box collecting dust. The collectible and film remain popular favorites in our home.

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Actually, I don't have the box any longer unfortunately. It was a rare momentary lapse of reason from this collector to throw it away after opening. Gosh, what the hell was I thinking? I'm not even sure if this item is still available. It seems fairly elusive at this point. The collectible is returning to the Fancave until such time it can safely remain in the loving dustfree arms of a Girl Wonder without a bedroom that looks like a bomb went off in it! It's a miracle that little frog is still around. If you haven't seen the film it's time for you to relive the joys of your youth.

The Japanese Garage Kit, General Products And The Road To Studio Gainax

The Gatchaman G-1 and Impulse compliments of the designers of Club-M. One of a number of splendid Club-M kits.
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I'm a big fan of models, well, sure supermodels are fine too, but I'm referring to garage kits or resin kits, yes the kind of kits literally built in Japanese homes and garages, at least originally.
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I grew up making models. These were normally plastic, pre-colored assembly kits that required model cement or were simple snap-together. I always preferred the glue kits. I always had a sense of pride that I was hand-building something using glue. You always felt like anyone could snap something together, but to connect using glue, well, you were clearly a big deal in the neighborhood. My God, you've handled glue.
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Dinosaur models and Star Trek models were some of my favorites. I remember one where the dinosaur was dying in a tar pit. Great stuff. The Galileo was a popular classic too. As a kid, if there was a plastic model I was on it. It's like a lost art today. Today, it's all about Legos and that's fine too. The Boy Wonder once built legos like an addiction. Personally, my heart has always been about building models. It was clearly my weapon of choice in the house growing up. Painstakingly, lovingly putting them together with tongue tucked to cheek side of mouth and adoring those creations as they materialized before my very eyes was always a great thrill.
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Like any big kid at heart, I rediscovered models some years ago, after being told by the world I had to grow up and be an adult and give all that up. That's right, you can't be a model enthusiast and be a professional. Well, I realized I could be both. Yes, I could have my cake and eat it too, at least in this case. Why not?
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Unfortunately, modelling as a collective past time in the USA is not exactly popular with the kid set at least as far as I can tell like it used to be. It certainly still exists, but by and large, it's a very small, niche market. Companies like Revell are still in business since 1945. Can you imagine? World War II! There are certainly still wonderful little model shops out there too, but they are certainly harder and harder to find. A store not far from my home used to carry the occasional Battlestar Galactica model or random science fiction craft recently closed its doors. It was there for many years. It's a different store now and selling baskets, fake plastic trees [to quote Radiohead] and other assorted lady goods. Gone is the old model shop that pridefully hung remote control aircraft from its ceiling. They were expensive, big purchases and you would take them to big fields and maintain their engines. Just make sure you knew how to land those birds or it was game over. You can still stroll into Michael's and grab a model nowadays. They still have a small section dedicated to fans of models and cars, paint and cement. I recently noted a Star Wars Y-Wing at my local Michael's.
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Well, some years ago as my education of anime, manga and all things Otaku expanded I explored and extended my horizons as I rediscovered more complex model-building. Of course, the Internet has certainly aided and abetted my quest to find the most intriguing items and taking the hobby to entirely new levels.
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Fortunately, for me, Japan is a hot spot for model-making, garage kits made of resin or epoxy and kit enthusiasts. There is just a vast reservoir of wonderful kits to be bought from Japan. It's by no means a cheap proposition, at times, but if purchased when available you can get a whole host of goodies from Cowboy Bebop and Neon Genesis Evangelion to Gatchaman and Godzilla. The fruit is out there for the picking, but, like most garage kits, the items are generally ripe for a very limited time.
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I was inspired to write about the hobby a bit and that very popular Japanese past time while reading the book The Notenki Memoirs. Notenki, by the way, translates into carefree. It was author Yasuhiro Takeda's nickname. Funny that, because The Notenki Memoirs in its Japanese form sounds so much more clandestine and top secret doesn't it? Carefree doesn't quite spring to mind, but it's indeed fitting as I read about Takeda's character. Yasuhiro Takeda, co-founder of my favorite Japanese animation studio, Studio Gainax, reflected briefly on his discovery of that world and his own influence on the development of the garage kit. It's fascinating to me to hear someone talk about the undertaking from the ground up, but Takeda, along with friend Toshio Okada [aided in the co-founding of Gainax; president of Gainax for a period], partnered and opened their own store for a time known as General Products [opened in 1982] assembling those very garage kits I adore.
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One of the reasons I think Studio Gainax resonates so powerfully with me as an animating studio is because many, in fact most, of its employees began their journey inside the science fiction world attending and building upon science fiction conventions and designing said concepts through General Products pre-Gainax. Takeda and others literally travelled to America to study how a solid convention was assembled so that they could develop such Japanese counterparts as the now legendary Daicon 3. The Japanese are a profoundly brilliant people in many ways. I don't think their is a culture that can adapt and usurp an idea, build upon it and make it better, better than the Japanese. It's a studied observation, but I believe it to be a point of fact with plenty of supporting evidence.
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Thus General Products was born and hugely successful to the point of having its shelves empty when customers arrived upon its opening. Takeda and Okada were so industrious they even secured licensing rights from the late Eiji Tsuburaya's company as well as Toho. Toho first denied them the license rights to such properties as Godzilla until discovering, to their surprise, that Tsuburaya had granted a license to the then upstart company.
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To be clear, here is the definition of a garage kit straight out of The Notenki Memoirs: "Limited-production model kits for hardcore fans. They are often produced in places like the designer's home or garage. Unlike mass-produced model kits, garage kits have the feel of a hand-crafted product. Another difference is that mass-produced model kits require advanced design skills and thousands of dollars for each metal mold, while resin kits can be made for a few hundred dollars. With resin, it's also possible to create complex and detailed surfaces that would be hard to duplicate with a metal mold. This is just another reason why garage kits have captured the hearts of hardcore modelers. The kits are pricey because of their small production runs, but as they are made by fans for fans (who have a great knowledge of and interest in the subject) they have remained popular. Finishing a garage kit model takes some fairly advanced assembling and painting skills."
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You don't need to read Japanese to analyze images and build.
Whew, and how. It does take a steady hand. This is a wonderful definition of the model kit and why they are so appealing to me. The kits are often superior to major company designs. I've always found their level of detail stunning. And, just as many readers who visit here know, there's nothing better than a fan building a kit for fans. They are meticulous in their grasp of the material on the subject whether its film, books, models, television. You name it and as the old adage goes, fans know their shit! The fan's knowledge base is generally unparalleled. This is precisely why it is such high quality and can be expensive. This is why blogs can be so endlessly engaging, entertaining and informative. The writers are often passionate and learned.
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Takeda shares his fond memories inside The Notenki Memoirs offering us a real glimpse of the small cottage industry and what it takes to make these kits. When General Products opened its doors the store received 200 customers eagerly waiting to purchase kits. One of those customers was Hiroki Sato. He would one day become manager of General Products in Tokyo and join Takeda on the road to Studio Gainax eventually working for Gainax producing His And Her Circumstances and more.
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Takeda remembers, "We were completely sold out soon after our doors opened for business. We'd prepared what seemed to be an adequate quantity of product, but the unexpected level of patronage quickly depleted our stores. Over half of the customers entered the store to be greeted by nothing but empty shelves." The concept of supply and demand was clearly at work through the roll out of garage kits. There is a great desire for them as Takeda quickly discovered. Takeda and company went back to work around the clock to churn out more garage kits even sleeping on cardboard. Takeda continued "planning and producing garage kits" for a time pouring epoxy and forming resin with college students as employees at all hours. It took years for some to graduate [the classic 5-6 year plan no doubt]. "I discovered the joy of manufacturing your own designs, and seeing that succeed in the marketplace." Takeda recalls, "Basically, it was a great time." The labor of love [literally] poured into these model productions shows and the products still shine today. The keepsakes last forever too. I can't vouch that all resin kits are built in garages anymore, but certainly Takeda was there at the ground level and typically they are still sold in small batches. Get them when you can.
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These aren't perfect and could use some touch-ups on the painting.
Most illuminating, looking at the big picture, is that through Takeda's affection for science fiction, garage kits and coffee houses, he was unwittingly aparty to forming what would inevitably be the "core of Gainax" in Hideakoi Anno, Hiroyuki Yamaga, Takami Akai, Yoshiyuki Sadamoto and Toshio Okada. There was never this great master plan. Things coalesced naturally.
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So the images are a selection of resin collectibles. ... To the Fancave! Club M did some amazing stuff for Cowboy Bebop and Gatchaman. Metal Box is releasing some terrific Evangelion molds. Sega, too, has generated some considerably strong kits. My timing was fairly accurate at one point and despite missing a chance at the G-4 from Gatchaman I was able to acquire the rest. The images of the Impulse, the Phoenix and the G-1 are the kits I have glued and painted. There's nothing better than watching a football game and painting. I still need to assemble G-2 and G-3 [still in their respective boxes]. I have some Evangelion products to work on as well. I'm always busy with kids and family so my free time, like yours, is fairly limited. I've also taken up painting in watercolor. Sketching designs has always been a great joy for me, but I've never actually painted in watercolor. That's another challenge and a post for another day.

Fresh Coat Of Template

I've been attempting to push out the borders of the blog and expand the look a bit. I hope it is well-received and y'all enjoy the new look.

Farscape S1 Ep6: Thank God It's Friday, Again

Thank God It's Friday Again indeed! This entry screamed for release on a friday. It's an unintentional FARSCAPE FRIDAY!








This episode is a real pisser too!
Following the impressive Episode 5, Back And Back And Back To The Future [literally over and over and over for John Crichton], Farscape appears to be picking up steam in its Season One debut with some unexpected ideas and less conventional storylines. Farscape, Season One, Episode 6, Thank God It's Friday, Again, feels like a bit of a step back or set back and easily receives the dubious distinction of the weakest episode entry of Farscape Season One.

The latest dysfunctional tale opens with Luxan Ka D'Argo in the midst of a Luxan hyper-rage. His rage directs anger toward males in particular. In his rager, D'Argo heads to the planet below. The others pursue him in the hopes he's had time to cool off. On arrival, Crichton, in typically humorous form, references his own pop culture to describe the planet, "I think I've seen this one. Mel Gibson. Tina Turner. Cage match. Oh, don't worry, nobody saw a third one anyway."



This debate goes on ad nauseum, I know, but I beg to differ with our dear hero John Crichton regarding his reference to Mad Max: Beyond Thunderdome. I'm not sorry, and I know Mad Max: Beyond Thunderdome is the much maligned third film in the Mad Max trilogy, but I would argue, and have, that it deserves better. I also know I'm in the minority in defense of the film, despite the fact everyone clamors for a fourth film. Mad Max will be forever linked to Mel Gibson in that titular role. Anything else will never be the same for me. It's also not lost on me that I am arguing with a fictional character named John Crichton. Anyway, I bring up the point because John Crichton slanders the film in his own way and quite frankly partakes in the party line on the general opinion of Mad Max: Beyond Thunderdome. I'm here to stand by the fact I still find the film to be a strong, balanced, visual masterpiece, a genuine epic. For a wonderful take on the film and the commentary from detractors and advocates that ensued his write-up be sure to check out John Kenneth Muir's Reflections On Film/TV. Okay, brief side discussion concluded, but do you see how Farscape plays with us? It may be all over the map of pop culture and human nature, but it's always sure to have you thinking, guessing and entertained.

John Crichton, Aeryn Sun, Zhaan and Rygel look for their missing comrade D'Argo. The planet is home to the Sykarans, a colorful lot covered in red chalk. The locals seem happy enough, filled with drink, dance, music and merriment. Crichton spots D'Argo. D'Argo pounces on Crichton who strikes D'Argo in self-defense, thinking his crewmate angry, only to find D'Argo inebriated. He laughs overcome by the sight of Crichton. All is not what it seems in the latest planetside adventure.

Sun surmises D'Argo has been laboring and inquires why their warrior friend would ever do such a thing. Clearly this is illogical to the crew of Moya given their comprehension of the Luxan code. Sun smacks D'Argo on the back willing him to behave like a warrior. D'Argo points out he's been a fugitive and a prisoner longer now than he's been a warrior, suggesting once again that he is young by Luxan standards. D'Argo points out he has purpose on this new planet and with the women around him hanging on his every word it would appear his purpose is to get laid. Crichton suggest he's off to the "promised land," while Sun adds, "yes, and he's left his brain behind." Crichton spots two locals who catch his eye and look more or less sober by comparison to other Sykarans.
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The strange, but beautiful Angie Milliken.
A woman enters the festivities. She is in pure, near virginal white including her hair and face complete with the red eyes of a rabbit. She is an impressive visual juxtaposition to the rest of the population thanks to the amazing make-up team on Farscape. Her name is Volmae and she is played with very deliberate, vocal pacing by Angie Milliken who brings a unique, alien strangeness to the role. She welcomes them to Sykar. She is the leader of the Sykarans. The Delvian priestess Zhaan exchanges an alien hand greeting clearly familiar to Volmae. Rygel extends his own greeting with a BURP. As she speaks in her slow, almost-labored tone, Crichton looks to Sun in a kind of amusement over the arrival of this strange, new bird. I couldn't help but appreciate his reaction to the alienness of the situation once again. This is the hilarious exchange between Crichton and Sun that follows their meeting with Volmae.



As D'Argo slinks off with a red-faced Sykaran babe, one would think his "it's been a long time" wait suggested in Back And Back And Back To The Future may be coming to a fruitful end as he welcomes the "wonders" of the planet. Crichton is thrust against a wall by a woman who informs him he must stay no matter what happens. Farscape is very physical and it certainly portrays itself this way often. There's an unabashed sexual and non-sexual physicality to the show that is refreshing for science fiction.

Moments later, Rygel is literally at the center of a firestorm. He suggests someone may have tried to assassinate him. Sun accurately points out with perfect comic timing, "Nobody knows you here, it's only people who know you that want to kill you." A small explosion occurred while relieving himself suggesting his helium farts may have been adversely affected by his insatiable appetite for the local food sources. Sun takes Rygel back to Moya. Crichton tells Sun, "just get Spanky back to the ship." Crichton's always colorful nicknames and pop culture references remind me of the character created for Sawyer in Lost, who also had a flair for colorful language.

Crichton and Zhaan find D'Argo. It must be noted that Anthony Simcoe offers an expressive, big personality through all of the signficant prosthetic work and it is a testament to his talent in the role of D'Argo. Crichton and Zhaan want to return D'Argo to Moya. All is clearly not right in Luxan land. His behavior is influenced by something on the planet. Zhaan and Crichton decide to stay the night and this awkward little moment is the sort of thing fans of Farscape, myself included, love.



Back on Moya, explosions are occurring and Pilot ascertains they are not ship-related. Sun is weaponized and cautious. Sun closes in on Rygel and he is instructed not to move. She swipes a snot sample from his nose and fires her weapon, which creates a small fireball. There is indeed something in the food on Sykar.

Crichton wakes and carefully relocates Zhaan's hand from his crotch. Sun informs Crichton that Rygel's body fluids have turned explosive. Crichton, the scientist, instructs Sun to isolate it, no fluids or foods, which certainly gets the appropriate rise from Rygel the devourer. On the planet, D'Argo and the happy denizens of Sykar head off to work in preparation for a major celebration. When aren't they celebrating?

Once again, the special effects and matte paintings surrounding Sykar are wonderfully realized and depict a truly alien place. In the earthy, red, fields, Crichton follows the young woman he met earlier to a train. He is grabbed by men and pulled inside the train where a worm creature is inserted into the body of Crichton. An older man insists Crichton must eat to stave off the pain. He must also not tell anyone of the worm he carries within or "they will kill him for it."

Crichton is clearly sickened by the thing within. Crichton relents to the pain and begins eating voraciously. In the fields, Zhaan inquires whether or not D'Argo wishes to stay on Sykar forever. She admits decisions can be made swiftly and reveals a bit about her Delvian background. As a former Delvian anarchist she was an imprisoned savage, but quickly sought to be a Delvian sikh. It was then she knew her true path. D'Argo and Zhaan unearth a kind of root crop. Zhaan, too, is falling under the planet's influence.

Meanwhile, on Moya, Rygel is frozen in cryo-stasis.

Elsewhere, on Sykar, Crichton is sick as a dog. The worm within Crichton protects him from the planet's influence. Crichton pleads with Zhaan to return to the ship. Crichton begins to tell Zhaan of his chance encounter, "they did something to me." Zhaan and D'Argo ask what happened, when Crichton realizes he's uncertain if they will harm him given what he knows. Zhaan and D'Argo aren't themselves and he heeds the warning of the Sykaran elder backing off his statement.

At the celebration on the eve before the day of rest, Crichton is met by his newfound friends. The elder assures Crichton it is the worm that protects him by absorbing the toxins from the crop. Crichton asks if they too have worms, but their immunity is natural. They assure Crichton he must act as though he is one of "them" so he can avoid detection. Creepy old Volmae arrives for this nifty little bit of acting as Crichton pretends to be a happy little Sykaran boy. Good stuff.



His classic bit of pretending is so bad and so appropriately over the top we completely feel for Crichton as the regular guy that he is. His deception is deliciously brilliant.

Meanwhile, back on Moya, Sun must study Rygel in his now inert state. Pilot insists science can be tedious, but that Sun must continue to find the root [pardon the pun] cause of Rygel's dire situation. His life depends on it. Sun is clearly a bright woman, but not a natural scientist, like Crichton. Pilot explains he too has difficulty with "complex sciences." This next sequence says alot about the Henson company's talents in animatronics. Pilot is exceptionally real to us and so filled with emotion. The scene also speaks to his character, Pilot's vulnerabilities as a lifeform and volumes to Lani Tupu's own talent at rendering the voice of Pilot [alongside his role as Commander Bialar Crais], coupled with the amazing special effects work.



There's also that intriguing moment when Pilot informs Sun he trusts her. Why? It is a revealing moment and will foreshadow a link the two share to be revealed in Season Two. Sun manages to cleanse Rygel of his explosive fluids. She assumes Pilot has aided her in the process of leaching Rygel's bloodstream, but he assures her that it was she that saved Rygel's life. Aeryn Sun is indeed finding she is something "more" as Crichton had suggested in Episode 1, Premiere. This is the kind of drama that really elevates Farscape above the pack. It's truly remarkable just how good this series is out of the gate.
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The always impressive tech of Farscape. There's plenty in the entry. Just look at the level of detail in the hard-to-capture shot above.
On the planet, meanwhile, Crichton informs Sun that things have gotten "complicated" due to the fact Zhaan is now under the spell. Crichton happens upon the cute, little blonde Sykaran tart that landed him his worm guardian. He wants to know how to remove it when he pulls her involuntarily inside the train car. Crichton learns a very important point from the girl. The root crop that is harvested is for another race who returns periodically to collect it. Crichton learns Volmae has a worm too and that the worm is very rare. The Skykarans look to Crichton for hope. They know he has Moya and that he could bring aid to their planet. Crichton is certainly sympathetic to their cause. Crichton wonders how Volmae could let this happen to Sykar. The Sykaran girl indicates she is under orders. Sadly, the planet's resources are being depleted by the harvesting of the root plant. Sykar was once bountiful, like a garden, but land is no longer fertile caross the planet's surface as a result of soil exhaustion. The people of Sykar are completely enslaved.
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Later, Crichton meets with Volmae. She asks Crichton about life in space. Actress Angie Milliken does a nice job walking the fine line of bizarre and mildly sympathetic while the scene is played absent of music. She really gets a nice moment here and again this is why we love Farscape.



As they walk the camera pans by a symbol of the Peacekeepers, like those found inside Moya in which Sun and Matala did battle in Episode 5, Back And Back And Back To The Future Again. They enter a cargo hold populated by the militant Peacekeeper motifs. Volmae suspects the Tannot root [as it's called] must have value elsewhere. She demands Sun and Rygel return to Sykar immediately. Crichton appears to comply. Volmae desires to load Moya and leave Sykar. Perhaps even Volmae is the victim of imprisonment to a degree.

Speaking of Moya, Sun has saved Rygel's life. He dubs Peacekeepers killers. Sun reminds him, "so don't forget that this Peacekeeper just saved your life." Sun and Rygel return back to Sykar to aid Crichton. Crichton fills Sun in on Volmae's plan to exit Skyar. This is one of those building moments between Sun and Crichton in their ongoing relationship. They pretend happy as they butt heads and it's all unforgettably amusing.



We love that about their fiery relationship. At the Sykar festivities, Volmae approaches Crichton. Volmae barks a few orders Crichton's way and he makes it clear he's no longer playing the Volmae game. Outside in the street Crichton demands Volmae return D'Argo and Zhaan, but D'Argo refuses to go anyway as a result of the root crop. Crichton gives Rygel the signal.

Rygel, from atop a bridge, proceeds to piss highly explosive bodily fluids on the partygoers below. As piss explodes into fire and rains down upon the Sykarans Crichton explains the Tannot root is fueling Peacekeeper weapons. The planet is enslaved by the Peacekeepers as a fuel source. The little happy plant is essentially mined for killing.

Ultimately, while exploding bodily fluids should pass for weird on Farscape the entry falls short. It's just not entirely successful in selling what was essentially a fairly routine plot as Farscape goes. The conclusion isn't stirring enough to warrant our patience for all that transpired earlier. Additionally, as Crichton reaches out to the people and more importantly his friends with the happy plant explanation and his Peacekeeper enlightenment on the issue, D'Argo and Zhaan appear to shake and supplant their stupor for reason and understanding. This is a problem. There's no explanation for the sobering return to reality. The plant-induced behavior that manifested itself ain their personalities just goes away. Huh? With the final act, all of that is washed away by Crichton's explanation. It defies logic. No matter how much D'Argo hates Peacekeepers or how clever Zhaan truly is, these two characters were drugged hook, line and sinker. They weren't going to pull out of their inebriation simply because Crichton willed it. Without that worm they haven't got a shot. It all flies in the face of the logical framework established within the story. Within mere seconds happy town's music is shutdown and the party comes to a screeching halt. Volmae attempts to regain control, but once again, without warning, the Sykaran people are completely on board with those Sykarans unaffected by the tanoot root. You're left to wonder if you missed a beat? Get it? Beat. Beet. Root crop! Anyone? Bueller?

Crichton' ability to use reason and diplomacy is certainly one of his strengths as he attempts to make sense of this new universe, but his abilities here are almost superhuman. We are simply unwilling to suspend our belief on this one. The Sykaran elder steps forward as a leader. Volmae comes to her senses a little too conveniently and Thank God It's Friday, Again is wrapped up a little too tidily for my taste.

Back on Moya, Sun has removed the worm from Crichton. Crichton asks Rygel "what's up" with Aeryn. He answers, "Oh she thinks she's a scientist now." Sun assures she's no scientist, but that she is however certainly far "superior." Sun and Crichton usher out with a fine bit of character development followed by a lovely exchange between D'Argo and Zhaan.



It is these small connections made within each installment that fill our cups with satisfaction. There are some fine moments in the entry but the sum is definitely not greater than the parts in this case. Farscape takes steps to bring understanding between the characters despite their innate alien natures to pull away, push away or distrust. These six crew members, seven if you include Moya, ultimately rely on one another and need one another and somehow I believe this co-dependence is sinking in.
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Ben Browder and company give Farscape a real magic.
In the end, Crichton remains the fulcrum or foundation for this group of reluctant travellers. With each episode the characters teach each other something new and despite their differences that their needs are really not that dissimilar. Cricton teaches them here to stick together and never give up on each other. Just like humans, Crichton is complicated. Despite this stories flaws or weaknesses, and it's a great looking episode, the strong ensemble cast once again makes the most of it, because they are so entertaining to watch. The actors are so well cast they surely elevate the material even during the weakest story moments.

Thank God It's Friday, Again: C
Writer: David Wilks
Director: Rowan Woods

Pop Culture Reference: Crichton [referring to D'Argo]: "Woodstock has done something to his head."