#da-guard

I wish I could spend this entire month making "Best of the Year" lists for 2016, but unfortunately, it would be disingenuous to do so. Most of the media I consumed this year was either older or just not strong enough for me to promote. However, there is a year-end list that is entirely made up of content not released in 2016 I consumed that I can put out: A List of my "Ten Favorite Anime Home Video Releases". That’s an overly specific title, but pedantry is something that comes with the territory. I am by no means an expert in the field of disk encoding nor would I say I’m well versed in all the goings on with the way anime is distributed, this is just a list containing the anime I was happy to see got a release or a re-release this year with a few honorable mentions. I’m also limiting this list to North American releases, only because I have even less knowledge of other regions' anime markets. Since this post is rather long, I’ve provided a list of the anime I’m going to cover here making it easier for you to search for a particular title.

Table of Contents

Shirobako (Honorable Mention)

Maria the Virgin Witch (Honorable Mention)

Otaku no Video

Belladonna of Sadness

Gundam Thunderbolt

The Girl Who Leapt Through Time

Dai-Guard

The Vision of Escaflowne

Dennou Coil

Only Yesterday

Getter Robo Armageddon

Sword of the Stranger

Shirobako: As impressive as this show is I wouldn't call the anemic release it got this year a must buy. A shame as the release and popularity of Shirobako in the West has aided in the significant change happening to the western anime fandom in recent years. The show opened a lot of eyes to the struggles inherent in creating anime, leading to a greater appreciation of the medium as a whole. I've seen it spur on people already present in a community branch out and diversify the type of content and critique that gets produced about the medium. These claims may be a bit unsubstantiated, but I’ve known a lot of people who after watching and enjoying Shirobako got a fire lit under them to really dive in and give back to the community/industry more than they had before. The knowledgeable and passionate members of our community are creating more content than ever that help breaks down the barriers between consumers and creators that appeared to exist for decades. Slowly we’re coming together to support these fans turned scholars and the medium of anime more and I can’t wait to see what 2017 brings to the table in this way. Unfortunately, as I mentioned earlier, my hyperbolic statements about Shriobako and what it may or may not have done for this community aren't reflected in this two-part Sentai Filmworks release (nor could they ever realistically be). With the show available to stream currently on Crunchyroll as well as Sentai’s oft-forgotten The Anime Network and its license nowhere near close to expiring this is a show you don’t need to run out and buy immediately. Frankly, if you’re still fanatical about the show you probably bought a bunch of character goods or the second pressing of the Japanese Blu-rays. I bought this domestic release an impulse buy because Amazon has decent pre-order discount and I had the leftovers of a birthday gift card. For everyone else who wants to buy I suggest you wait until Sentai inevitably releases a complete series set.  

Maria the Virgin Witch: Another impulse buy, this the result of a Rightstuf.com holiday sale daily deal, but one I’m less regretful supporting early. What pushed me over the edge to buy it is because I am almost certain this gem of the Winter 2015 season will continue to be overlooked. It may be in part due to its title or the fact that a lot of anime fans tend to check out during the winter season. Either way, this show about a witch in an alternate history version of a European conflict is far more engaging and endearing than the one that aired in 2016 (though those are the only similarities between Maria and Izetta I swear). I want to talk about this show for the blog this year, so I don’t want to spoil too much. I will say that you can currently stream it through Funimation or Hulu and with Funimation’s partnership with Crunchyroll I’m sure it will enter their catalog as well next year (which would be a good time to release whatever I’ve written about it). Until then this show is destined to reach Funimation’s S.A.V.E. line in the coming years as a lot of good shows, unfortunately, do in this era of overwhelmingly huge anime seasons.

Otaku no Video: Probably the most impressive complete package I bought this year, Animeigo’s remaster of this classic OVA/Live-Action documentary by studio Gainax is pure shelf candy. I had slept on their remastering of Bubblegum Crisis, but I was enthusiastic in backing their second Kickstarter to give this essential commentary on fan culture the high-definition treatment it deserved. This limited edition comes in a solid chipboard box and includes an 180+ artbook on top of the additional audio commentaries, liner notes and three language tracks provided in the standard Blu-ray release. Though OVA itself looks better than it ever has the documentary, being not shot on 35mm film, looks decidedly more dated but less compressed than it did on the older DVD release. Robert Woodhead and everyone involved deserve high praise for the package they put together, and I would suggest any anime collector to grab the standard Blu-ray copy if they are the least bit interested. While I came from the generation of anime fans that grew after this project, I still find the topics it brings up relevant to fan culture today. There are numerous anime now that star “Otaku” now but the reasoning for almost all of those shows to do so is purely self-referential. The main character/characters are “Otaku” because the writer is one, and it gives them carte blanche to so how genre savvy they are to their majority otaku audience. Very few of these shows tackle the issues brought up about fan culture, and instead the "Otaku" character archetype has become so emblematic that it’s almost become a necessary cliche for a lot of writers to fall back on. So when I see shows that set out to address fan culture it makes me elated to watch. Shows like Genshiken, Welcome to the N.H.K. Comic Party and even Lucky Star to an extent come from a more genuine place. Whether this place is a more critical or celebratory doesn’t matter to me as it does to a lot of other fans and Otaku no Video clear cut between the fun-loving OVA and the far more sobering documentary may turn off some viewers. Sure both halves aren’t as seamlessly melded together as in later series but they are two halves of an essential whole, and I urge you to watch both if you haven't to gain the full experience.

Belladonna of Sadness: I adore this film and relish in its beautiful restoration, but I’m at a loss for words with how to sell it to those not already in the know. Conceptually Belladonna of Sadness your straightforward rape revenge story but its presentation is anything but, not only in the realm of anime but animation as a whole. Belladonna is the final of the three Animerama films made by Osamu Tezuka’s Mushi Productions, a project that aimed to create more adult-oriented animation. It’s by far the shortest of the three films and, from what I believe is due in part to Tezuka’s lack of involvement, by far the most serious. Still, it shares the trilogy's real sense of wanting to experiment with animation on top of showcasing more mature storylines. Belladonna tale is shown through ornate watercolor stills, their elegance worthy of presenting in any art gallery. Despite showcasing limited animation for an animated feature the use of these still images through cinematography manages to make its tale no less poignant. However, in movement Belladonna is a surreal journey unlike anything on celluloid. The closest comparison I have are some of the films of Ralph Bakshi but even the most psychedelic of his sequences appear far more grounded than Belladonna’s phallic parade. The use of color and sound in these moments would be electrifying by themselves, but given the stationary nature of the film these energetic and unearthly sequences stand out even more. Despite all my praise, I understand that not everyone is as willing as I am to watch a 1970s, experimental, anime rape-revenge flick that is made up of mostly watercolor paintings let alone run out to purchase it. Luckily Amazon has it for streaming for Prime members so if you’d like to try it before adding it to your collection or just want to watch something daringly different be my guest.  

Gundam Thunderbolt: In a year where Nozomi was putting out a Gundam release every month, fans of the long time mecha franchise, such as myself,  were downright spoiled for choice when it came to collecting the series on home video. If I was a more die-hard fan I could have made a list consisting of almost nothing but Gundam titles, but I decided to have one release represent the franchise this year. I could have chosen traditional favorites such as Zeta Gundam, 0080 War in the Pocket or Char’s Counterattack. The oft-maligned ZZ Gundam or underrated series like Victory Gundam and After War Gundam X, surprising newcomers in Gundam Build Fighters and Gundam Build Fighters Try are also appealing buys. The glorious trainwreck known as Reconguista in G was at points calling my name to defend it here and if I really wanted to send I could have even chosen the excellent adaptation of Gundam: The Origin which came in some lavishly designed art boxes. However, if I had purchased all of these this year, even taking advantage of every sale and discount possible,  I’d have been downright broke. Besides, I have a much better candidate. Gundam Thunderbolt December Sky, the compilation of the previously released four episodes, is probably the biggest piece of fanservice anime I’ve seen so far this decade. From the action choreography to the mechanical design and fluid animation all nestled in a dour military plot where neither side is the clearly in the right: This is the stuff of Gundam fans' dreams. Thunderbolt demands to be viewed in the highest definition possible, its excellent jazz soundtrack and overall sound design pleading for an appropriate surround system and this minimalistic Blu-ray release doesn't disappoint on that front. Where it does, however, is in the included dub. A dub little to most Gundam fans, especially those willing to import a Blu-ray movie, but after coming off one of the best dubs this decade, Gundam Unicorn, this is a real letdown. I’m sure this will still go over well when this eventually airs on Toonami, but I think this could have been casted a lot better. As of this writing, Gundam Thunderbolt isn’t legally streaming anymore, but hopefully when the planned second season comes out, the original will be made available either through streaming or a domestically released Blu-ray. It may be too much to ask most people to shell out for, but this right here is one of the best looking series this decade. Truly a high point for anime and animation in general. Plus one of the leaflets included in this box announces the Japanese release date for the Mobile Fighter G Gundam Blu-rays, which means they can’t be too far out from releasing domestically. I can’t wait to experience that beautifully godawful dub again, this time in high definition.

The Girl Who Leapt Through Time: Shinkai’s first non-franchise film initially came to the West with far less fanfare as his name carries now. Sure there were fans of Digimon Adventure: Our War Game! And One Piece Film 6: Baron Omatsuri and the Secret Island but the cultural cache behind the director's name hadn’t exploded yet. The Girl Who Leapt Through Time changed that and probably lead to Funimation’s decision to pick up the rights and heavily market his next film Summer Wars, a film which increased his level of notoriety to the point where people began calling him “The Next Miyazaki”. While still beloved post Summer Wars, The Girl Who Leapt Through Time had the unfortunate distinction of being one of the last anime Bandai Visual had licensed before they closed up shop. The film’s popularity combined with the small print run the Blu-ray received lead to massive price gouging on the secondhand market even for the more readily available DVD copy. Having already acquired the rights to Summer Wars, Wolf Children, and the then upcoming The Boy and the Beast it seemed clear to everyone that a Funimation relicense of this film wasn’t far off. In the meantime, many in the collecting community decided to purchase the frankly stunning South Korean Blu-ray set, though others including myself waited for a far cheaper domestic copy. I bought the standard release although Funimation released a limited edition version as well that I hear doesn't compare favorably when up against the previously mentioned South Korean release. Either way, this major film from a now well-established director has finally been made available again so it can reach the wider audience he has now. Funimation’s release comes with a number of extras on the disks the most valuable being the two interviews with Hosoda. The Girl Who Leapt Through Time might not be in my upper echelon of anime films, but it’s certainly one I enjoy on occasion, even with my general lack of interest in time travel and I'm glad to have it back in my collection in an affordable higher fidelity.

Dai-Guard: In this modern era of anime where new giant robot shows, outside Gundam, are infrequent it sure was kind of Discotek Media to redistribute this forgotten title in the genre. Imagine if events similar to those in Neon Genesis Evangelion occurred except that N.E.R.V. was not a ludicrously well-funded organization and instead had a budget similar to many of our real-life underfunded government organizations. Yes, the angel-like, amorphous threat known as the Heterodyne have returned after humanity's destructive confrontation with them twelves years prior but the only weapon capable of defeating them, the robot Dai-Guard, has seen better days. Now used as a mascot for the military Dai-Guard is barely able to make it through a battle without falling apart. This somewhat more comedic take on alien lifeforms set to destroy earth is one of the many things that set Dai-Guard apart from the many anime the share its premise. Unlike a lot of those anime, however, Dai-Guard is piloted by three people and their conflicting personalities and interpersonal stories, along with those of the rest of the 21st Century Defense Security Corporation add a lot of the flavor and weight to the series. The ensemble cast is what makes Dai-Guard more than your average giant robot show and anyone who's been a fan of office comedies, both in and outside anime, in the past decade will find a lot to enjoy here. Dai-Guard itself, while not the most memorable robot in anime history, is well designed and its signature weapons lead to some very well done fights. This show's more light-hearted tone acts as a nice reprieve in between watching more heady programming, for example, I decided to give this show a rewatch after watching Casshern Sins, and it worked wonderfully as a palate cleanser. As always Discotek does an excellent job maintaining the quality of the original release as well as shipping it in solid packaging. The original dub from the ADV release is here and is on par with what they usually produced back in those days. Overall Dai-Guard isn’t the flashiest show, but much like its titular robot it manages to hold itself together to deliver a satisfying punch to fans of a currently underserved genre.

The Vision of Escaflowne: There was and still is a lot of drama in the anime collectors community surrounding the re-release of this well-loved anime from Sunrise. Funimation’s successful Kickstarter to redub the series was already showing warning signs before funding ended and their handling of the aftermath left a lot of people with a bad taste in their mouths. Needless to say, I doubt they’ll consider using crowdfunding again. I was unable to back the project and therefore I wasn’t privy to a lot of the discussion that took place about it. From what I managed to glean, unfortunately, it looks like an actual resolution hasn’t been met which is a shame that will continue cloud this release. Escaflowne was a huge deal in the western anime fandom upon its initial release and while it’s time in the limelight isn’t as constant as its contemporary Cowboy Bebop it is by no means a show that has aged poorly. Sunrise did an excellent job remastering this title in the Japanese release a few years ago, and the show has never looked better. I’m a bit biased toward the style of the show, being a huge fan of Nobuteru Yuki’s character designs since Chrono Cross, and when you add giant robots into the mix, you have a show that hits me right in the sweet spot. Top it all off with one of Yoko Kanno’s most celebrated scores, and you have a series poised to remain a staple in the western anime fandom for decades to come. As far as the new dub is concerned, it is certainly more up to the standards of new anime dubbing than the original, included with Bandai’s release. I never had a fondness for the original, so I can’t say I miss it. Nevertheless, I’ll still be sticking to the original Japanese for this show, unlike so many other Sunrise shows from this period. If this new dub is capable of bringing in more modern fans to enjoy this classic, then I am all for it supplanting the old one. I’m a bit disheartened that due to the new dub Funimation decided to split the series initially like they do with a lot of their newer acquisitions of similar length. They could have charged the combined price and kept everything in one box, but I guess that’ll happen when this show gets reprinted for their Anime Classics line. In the end, I’m for more people viewing this stunning show however possible either through purchasing these physical sets or streaming through Funimation and hopefully Crunchyroll sometime this year. Despite all of the mishegas, I’m glad to add this series again to my collection. However, I decided not to purchase Escaflowne: The Movie. The movie itself is an odd duck, being a pseudo-compilation movie that also alters many characters and events not just for the sake of time. I tend to find a lot of these movies rather substandard, the exception being The Adolescence of Utena which I have grown to enjoy over time and will be pleased to repurchase along with the rest of the series on Blu-ray in 2017. As for Escaflowne: The Movie I may pick it up for the sake of completion but only further down the road when it’s discounted.

Den-Noh Coil: 2016 was going to be the year that I began importing a lot of anime as domestic licensers were either slow or unable to distribute the shows I wanted. Many these series were made available by Australian publisher Siren Visual, whom I’ve purchased from before to get my copy of Welcome to Irabu’s Office. Luckily Sentai Filmworks stepped in to begin distributing a handful of Siren's catalog in Region A including this one (now if only they or anyone would license Monster or Kaiba). Den-Noh Coil had been a show that struck a chord with me when I found it online in 2008 and was one of the big things I shared with my college anime club when I was asked to run nights. I held out hope that the show would officially available in English, but that wish and the little fanfare the show received subsided as the years continued.  It’s a shame the series and its talented creator Mitsuo Iso haven’t become household names, and I’m hoping this late release can help restart the conversation about both. What surprised me most about this release from Sentai Filmwork’s Maiden Japan imprint is that they decided to dub it, and I honestly think it isn’t half bad. I rewatched the first handful of episodes dubbed and while North America’s limited anime VA talent limits it (as it does almost every modern dub) I’d hazard to say it tops Maria the Virgin Witch’s for my personal choice for best dub of the year. Unlike Maria’s I find the dubbing of this show far more important as I genuinely think this is a good show for younger children. The kids in this show look and act like kids and while it gets a bit dark in places there is nothing here that I think would frighten kids more than the cavalcade of horrors I saw growing up watching Don Bluth movies. I also see this show as a good candidate to ease your older friends and family into anime as there isn’t anything here I’d consider objectionable or embarrassing. Besides, a lot of the concepts in this show are moving far closer to the realm of possibility than they were a decade ago. Wearable computers, virtual reality and the omnipresence of technology and how it meshes with where we live are far more relevant topics than they ever were in 2007 due to how tangible all these ideas are to us now especially with kids who grew up only knowing smartphones and tablets. I’m glad I got to revisit this show recently, and I’m hoping more people do in the coming years so I can talk about it with someone. It’s only available to stream through The Anime Network for now but hopefully, some other site (Crunchyroll) will be able acquire it as well.

Only Yesterday: It makes sense that this would be the last of the major Studio Ghibli films to see release in North America. A movie about the growing ennui of a late 20-something business woman isn’t something you can easily sell to kids, especially when there isn’t a randomly inserted fantasy sequence such as with the similarly tonal Whisper of the Heart. Still, as I hasten to reach the age of our protagonist Taeko Okajima I’ve only found this film more relatable and it has managed to climb the ranks of my personal “Ghibli Hierarchy”. There was a lot of buzz around this Disney dub starring The Force Awakens' lead Daisy Ridley, but I can’t say I’ve listened to this one yet. I can assure you that the mixed reactions  I've heard and read from a lot of people haven't affected my decision to do so. My reasoning for not listening to it is rather simple: I don't want to watch a film grounded in 1980s Japan with English voices. The dub is there for those who want it, and if it manages to get more people to see this movie, then it was worth making. Only Yesterday is a fantastic film worthy of placement in your collection alone, but the over 40-minute making-of documentary included in its extra features make it a must buy for anyone interested in animation production or Studio Ghibli.  Not only does this cover a lot of the movie's unique production aspects of the film but the culture of Studio Ghibli at the turn of the decade. Being filmed around Only Yesterday’s 1991 release this is relatively early in the studio’s life, so it’s an excellent snapshot of this period. Being one of Takahata's films we see a great deal of him and his worth ethic both in animation directing and with running the studio, something we, unfortunately, don’t get a lot of due to the cult of personality surrounding Hayao Miyazaki. Of course, Miyazaki is prominently featured here, as well, and this being the early 90s he’s relatively less cynical. Being able to own this documentary that I’ve watched for a number of years is great, and I’m thankful the folks at Disney went out of their way to acquire it again for this release. It's a sizable contribution that makes an already great package truly stellar.

Getter Robo: Armageddon: I tend to have horrible luck when it comes to purchasing old media. Most times I buy something that’s long out of print it gets announced for a re-release within the next few weeks. Getter Robo: Armageddon would surely have been another one of those cases had I not checked Facebook to see Discotek Media’s announcement. I used to show this one as well in my college anime club, and a lot of the folks who were Gurren Lagann fans ate it up. For months I had been waiting for this action-packed OVA to be released in high definition, getting jealous of those who attended summer cons grabbing and early print copies. This gritty, high-octane giant robot show is an enjoyable romp from beginning to end. The remaster not only makes the colors pop, but the improved sound makes all the action scenes for me, that and most of the episodes starting with the second opening HEATS doesn’t hurt either. This entire series scratches that itch for hot-blooded fun and looks marvelous doing it. I’m always happy to support a company like Discotek because time and again they release quality products and Getter Robo: Armageddon is no exception. After the anime crash in the late 2000s, I thought a company like Discotek that only licensed older anime would be a flash in the pan. With every box set and movie, I buy from them I'm reminded how wrong I was in my assumption. Their 2017 lineup is already looking stellar and the fact they announce new licenses almost every other month shows how strong they’ve become.

Sword of the Stranger: You might wonder why I’ve taken a photo of the older Bandai release instead of Funimation’s recent reprinting. This is because despite the Funimation release getting a dub I didn’t feel the need to rebuy something I already owned on Blu-Ray. I’ve heard the dub is fair and the extra features are nice, but neither are spectacular enough for me to double dip so early. Nevertheless, I wanted to bring attention to this great action film’s re-release and if you read until this point in the post you know I’ve already spent my fair share on anime this year so cut me some slack. Sword of the Stranger one of the first names brought up when anime fans want to showcase a great action scene. The choreography the folks at Studio Bones nailed down here is outstanding and worthy of any action showcase. Fans of Fullmetal Alchemist: Brotherhood should be elated in finally getting access to this movie again as that series owes a lot to the style of action created for this film. Not only that but the film as a whole is a solid feature: a simple samurai story told well. There isn’t anything revolutionary going on here plotwise, and the characters are familiar archetypes though not to a fault. It isn’t trying to deconstruct its themes and characters for critique. Rather it comes off as a slick action movie that effortless falls into the greater chanbara canon. I appreciate this film's simplistic approach. It makes for easy sharing with friends and family who don’t usually watch a lot of anime. Sometimes all I want is a good self-contained action movie and Sword of the Stranger delivers and then some even a decade later. My only reservation about picking this one up now is that somehow Funimation failed to include subtitles for the Chinese dialogue, something included in the Bandai release I own. I'm hoping that with the release being so recent and the mistake pointed out that it will be fixed in newer pressings and that those who picked it up early can get exchanges. Maybe 2017 will be the year Funimation also revamps its attitude toward quality assurance? Here's hoping because I'd hate for a great film like this to be dragged down by an easily fixed mistake.

By now I’ve written more than enough about the anime on home video (re)published in 2016. Not only that but some well-beloved classic titles have already been announced for release (again) next year. Featuring plenty of Gundam, Revolutionary Girl Utena Blu-Rays, Urusei Yatsura: Beautiful Dreamer, Captain Harlock: Arcadia of my Youth and if we're lucky more popular Sunrise shows. 2017 looks to be an even better year for those of us who relish in collecting disks and I'll be there, my bank account willing, ready to enjoy it.