#harmony 2015

Hi friends!

It’s Thursday - my last Thursday in America for the foreseeable future, in fact. On Monday I’ll be making a bizarre journey back to the UK via the ‘extremely direct’ route of Norway and Latvia, because it turns out that’s the cheapest way to get across the Atlantic. So that’s gonna be quite an adventure. I’m going to write some kind of post about things I’ve seen in America but probably when I get back for the sake of enjoying what time I’ve got left here...

Anyway, on to movies!

Tonight we’re going to be checking out a curious little sort-of trilogy of movies by different studies and directors from 2015, celebrating the works of the short-lived but influential science fiction author Satoshi Itō, aka Project Itoh.

Here’s a picture of Itoh hanging out with his close friend Hideo Kojima at a book launch (via Metal Gear Trivia)

So who’s this Project Itoh guy? Born 1974 in Tokyo, there’s not a lot of biographical details about Itō’s early life, save that he went to Musashino Art University and worked as a web designer until the publication of his first novel, Genocidal Organ, in 2007.

What we do know is that he loved Metal Gear. Like, a lot. Itō got into Kojima’s games from the very start, and indeed most information about his life comes from Kojima’s account, alongside the blog where he published Snatcher and Metal Gear fanfic. The pair met at the 1998 Tokyo Game Show, at which Kojima was immediately struck by Itō’s devotion to his works, describing Itō as the one person who truly understand what he was writing about - an experience which ‘saved’ Kojima.

The two became close friends - and three years later, when Itō went into hospital with cancer in 2001, Kojima rushed to his bedside, and while there, showed him the first footage of MGS2: Sons of Liberty. Itō responded by promising he would not die until Kojima finished MGS2.

The experience of being hospitalised seems to have been very formative for Itō’s worldview. Youtuber The Canipa Project translates a blog post in which Itō talks about the experience of having his body sustained by scientific means only recently invented, making him a cyborg.

This time, Itō was able to keep his promise; when MGS2 came out, Itō wrote extensive analysis and exegesis of the game’s philosophical themes, getting a lot of attention within the fandom.

As the 2000s went on, it seems he judged it time to spread his wings and try releasing his own original stories under the pen name Project Itoh. The first, Genocidal Organ, was adapted from a fanfic he wrote about Snatcher into an original story. He submitted it to a novel writing competition in 2006, and while it didn’t win, he found a publisher in 2007; the novel became a hit, and so impressed Kojima that he asked Itō to take on the daunting task of writing a novelisation of Metal Gear Solid 4: Guns of the Patriots.

Itō apparently succeeded handily at the novelisation, and off these two successes, seemed set for a great writing career. His next novel, Harmony, dropped in 2008, dives straight into the themes of medical control; a dystopia in a post-nuclear war world where humans in the aftermath managed to cure cancer and most other diseases, only to institute a program of social control in an attempt to complete their utopia by eliminating mental illness as well. A story that’s clearly cutting pretty close to the bone from Itoh’s own experiences, since he was spending the 2000s dealing with recurrent cancer that took him back to hospital over and over.

And, indeed, the inevitable came in 2009, at which point Itō had just begun on his third novel Empire of Corpses. His cancer returned in force and he returned to hospital; once again Kojima went to his bedside and broke NDA to tell Itoh in detail about his next game, Metal Gear Solid: Peace Walker - that’s the odd PSP one featuring the Sandinistas. And once again, Itoh promised to live until Kojima finished the game, and write the novelisation of MGS3 and Peace Walker. But this time, it was a promise he could not keep; Itoh died at the age of 34.

In the wake of his death, a devastated Kojima dedicated Peace Walker to him (and later revealed he had planned to name as a successor following MGS5), and his friend Toe Enjoe took on the task of finishing Empire of Corpses. Once again, I’ll turn to Canipa Effect’s translation of some of the words Itō wrote three months before his death:

Humans dwell in others as a story. People can continue to live within someone else as a narrative. Then, by being part of the variety of spoken words, they become part of the fiction that can shape humanity.

(Words that resonate too strongly with the death of my friend Fall earlier this year.)

So far, a tragic story - but in some sense one with a slightly hopeful touch, in that rather than dying of cancer in 2001, Itō was able to enjoy eight more years of life and write several novels. But what has it got to do with animation?

Enter Noitamina (the word animation backwards), the late-night anime programming block run at the time by Koji Yamamoto as a means to get experimental, creative animation - such as Masaaki Yuasa’s adaptation of The Tatami Galaxy or Kenji Nakemura’s BakeNeko and Mononoke  - out to a wider audience. Yamamoto departed the block in 2015, but in its heyday it was home to a number of radically creative works; you can read more about it over here on sakugablog in a recent post on the context behind The Tatami Galaxy.

So, in 2015, Noitamina announced it would fund three movie-length adaptations of Itoh’s three novels, each by a different studio and director. For all three movies, the character designer would be illustrator redjuice of the ‘band’ Supercell, a somewhat odd musical project consisting of just one musician and ten illustrators and designers who produce materials around the music.

Genocidal Organ would go to the hands of Shūkō Murase, at Studio Manglobe, a unique studio renowned for original works like Shinichirō Watanabe’s Samurai Champloo, Ergo Proxy, and Michiko & Hatchin (the latter of which I covered back on Animation Night 36). Murase seems like a natural choice for a highly philosophical cyberpunk story, given Ergo Proxy... but a spanner was thrown in the works when Manglobe went bankrupt; Genocidal Organ would eventually be saved by the resurrected Manglobe in the form of Geno Studio, but for this reason, it missed the planned simultaneous release of the three movies.

The story concerns a world in which a series of social breakdowns and genocides take place in a short period of time, all seemingly associated with an American named John Paul - who, when tracked down, claims to have discovered a ‘genocidal organ’ which can be activated to incite humans to acts of genocide. Without giving away too many spoilers, it’s basically about the current American-dominated geopolitical order.

On the animation side, the stars of the show would be Bahi JD, the Austrian from the earliest wave of sakuga fandom who became one of the first international ‘webgen’ animators to find a career in Japan... and Shūkō Murase himself, who animated several cuts as well as directing the film. As such, even a quick look at sakugabooru shows a lot of subtle, well-observed movement; I’m looking forward to seeing it fit together.

Harmony - the post-cancer dystopian one - went to Michael Arias at studio 4°C, of Tekkonkinkreet fame (see Animation Night 52 for Tekkonkinkreet, and Animation Night 74 for a more detailed history of 4°C), alongside veteran animator and director Takashi Nakamura who you may remember from the Chicken Man and Red Neck sequence of Robot Carnival. It comes at a point where 4°C had found a lot of comfort with their use of CG, two years before Mutafukaz (Animation Night 105), and even if the incredible background artists of Tekkonkinkreet may not be on this one, I imagine it will look pretty lavish as 4C stuff always does.

Then comes The Empire of Corpses. This one goes to Wit Studio (Animation Night 101), directed by Ryōtarō Makihara - also no stranger to scifi, with his main previous work being Hal, the story about a robot designed to play the role of a deceased partner. Unlike Itō’s other works, which are near-future science fiction, this one is more of a steampunk piece, taking place in an alternate 19th century in which mass produced Frankenstein’s monsters have become the industrial base of society; its characters bounce around the globe unearthing a conspiracy. It sounds kind of wild, honestly, with not just Frankenstein and Babbage but even frigging Sherlock Homes running around; Japanese spins on British characters like this are always kind of fascinating. (Also... there is some tragic irony about a story revolving around reanimated corpses being completed by Itō’s friend after his death.)

So, that’s the plan for tonight: we’re going to be watching all three Project Itoh movies, in the order that Itoh wrote them! I think there’s gonna be some great stuff in here, and I hope I’ve given you reasons to be excited too~