Hollywood Ending? Not here.

"Hollywood Ending."  n.  Def. a typical improbable or simplistically positive movie ending; also, an outcome to an event that would be a more likely film ending than real-life result.

One thing I've grown to love in many of the anime features, series and OVAs is their success in avoiding typical "Hollywood endings."  Yes, yes - these productions aren't from Hollywood so maybe it is not surprising that their endings do not habitually resemble the endings of American productions.  Still, there are plenty of shows and movies from around the world (Japan included) which cleave to happy endings, with all strings tied and all conflicts resolved.

Don't get me wrong, I often want that type of an ending.  I do not always want to have my thoughts endlessly provoked, my stomach tied in knots wondering what happened to the characters I came to care about.  Sometimes the pat ending is exactly what I'm looking for.  The ending where each characters' long term fate is clearly laid out, where villains get their comeuppance and heroes get their just desserts. 

But sometimes that Hollywood ending - or, perhaps more fittingly (since we are talking about an animated medium), that Disney ending - must be eschewed.  More complex, real-world endings often are necessary to fully tell a story, or to honor the source material, or to respect your audience.  Those layered and ambiguous endings can be more satisfying, allowing multiple interpretations and leaving open the option of further tales involving the same characters.  Such endings don't diminish or oversimplify complicated characters and plot lines, don't belittle the intellect of the viewer, and invite further viewings and discussions about the show or film.

These contemplations on how a show or film chooses to conclude came to mind because I finally (finally) finished the show Moribito: Guardian of the Spirit.  I mentioned it in an earlier column about shows that I could not bring myself to finish (mostly because I loved them so much that the thought of watching the last episode was almost unbearable); let's just say that before tonight, the last episode I had watched of this fantastic show was during 2009.  The ending was, unsurprisingly, beautifully done - while it did not end with a cliffhanger or complete uncertainty, it likewise did not answer every question or give a viewer the most positive and emotionally satisfying conclusion.  The major conflict of the show was resolved, but the human aftermath, the way the characters went on with their lives afterward, was only sketched out and not specifically shown.  There were farewells that were not clearly final, one could hope and imagine that some characters would meet again.  There were hints that perhaps some characters would finally connect, but no promise that this would happen.  I was left satisfied, because the ending was as gracefully and intelligently done as the rest of the series, but was also left wondering (and more than a little bit misty eyed).

There are so many anime shows and films that shunned the concept of a Hollywood ending.  Some are so dark that the ending could not even begin to be described as a happy one: such as Gunslinger Girl (a disturbing tale of orphaned or all-but-terminally ill young girls who are brainwashed and physically altered to act as assassins) and Jin-Roh: The Wolf Brigade (a modern, loose and twisted tale which alludes to, directly and indirectly, that dark tale of Little Red Riding Hood).  

Other shows and films utilize ambiguity, so that the viewer can imagine the ending as happy or sad - films like Sword of the Stranger or series like Samurai Champloo.  Still others have intricate story lines and characters with various and realistic motivations; such shows (like Moribito) tie up the major conflict of the series, but leave open other plot points - shows that include Witch Hunter Robin and Welcome to the NHK.

Endings might be impossible to really explain without ruining the point of the entire series (like Paranoia Agent or Paprika); others are more about the journey of the characters than their actual destination (take Kino's Journey); some endings do tie up many details, but cannot be purely happy without making the story trite and/or unrealistic (BECK: Mongolian Chop Squad and Samurai 7).

But perhaps the best example of a non-Hollywood ending - an ending that could be happy or sad, that leaves you guessing and infuriated and satisfied and unsatisfied, curious and frustrated, excited and impressed - is the end to Cowboy Bebop.  I often wax rhapsodic about Bebop, and a big reason for this is because, to this day, I still wonder what happened to Spike.  I wonder if Faye ever found her way.  I wonder what Edward is up to and how Jet Black is holding up.  And I have to continue to accept the fact that I will almost certainly never have the answer to any of these questions. 

Even  more importantly, I have to pray that when Hollywood does its live action adaptation of the venerable and nearly perfect show, it doesn't append the dreaded and eponymous ending, that "Hollywood" ending, which it is so wont to propagate.  The idea of sullying such a show with a simplistic and cheerful ending is nothing if not horrifying.  So let's hope that, as viewers, some questions are never answered, some conflicts are never resolved, and some endings, explanations and events are never fully elucidated. 

See you, space cowboy.

I Wouldn't be Caught DEAD Wearing That

I have yet to take the plunge and try cosplaying (costume play, for the uninitiated).  Cosplay involves individuals (or groups) dressing up in costumes so they resemble their favorite anime (or other fictional) characters.  Really, it is more fluid than that - I've seen people at cons dressed up as the MythBusters, as characters from various U.S. shows, or in outfits that generally adhere to a genre (such as Victorian or Gothic Lolita). 

Most of those cosplaying will pose for pictures and attempt to do so "in character" - so a Strong Arm Alchemist will speak in a booming voice and flex his muscles; an Ichigo will likely yell "bankai!"; and Hinata from Naruto will appear incredibly shy.  As a result, many pick characters that they admire in one way or another, or at least someone who possesses qualities they wish they could embody.
That said, there are multiple characters that I find fascinating and/or admirable, yet would NEVER cosplay on.  That top 6 list follows:


6.  Jo (from Burst Angel) 
As this list will shortly make all too clear, I am intrigued by and at least mildly admiring of kick ass fighting skills.  As will also be made increasingly obvious by this list, when a women in anime wields guns, swords or other weapons, their bountiful fighting skills are not typically accompanied by bountiful clothing.  Jo is a case-in-point.

So we have ass-less red chaps, only those chaps are daisy dukes and not pants-length.  Hmmmm.  Then you have a pair of bikini underwear (bathing suit?) with a midriff-baring, open backed top.  On the side of practicality, Jo does wear boots that are flat.  This would be even more ridiculous if she had to fight in this outfit while balancing atop high heels.  That said, though I enjoy her deadpan delivery and formidable battle skills, her outfit precludes me from ever attempting to cosplay as Jo.


5.  Masane (from Witchblade)
To be fair, Masane (as bearer of the Witchblade) does not get to choose her own outfit as the Witchblade itself initiates the transformation.  That said, you can clearly tell that Witchblade is the product of someone who has spent too much time watching writing "exotic dancers" and not enough time watching women who actually fight.  Otherwise, what could explain the following outfit?

The outfit literally looks painted on and does the minimum necessary to avoid actual nudity.  That is, until she turns around.  Then, depending on what incarnation the Witchblade outfit is in, you might get to see a full moon.  Seriously, people.  We all love women who kick ass, and I understand highlighting the characters assets.  Still, creating such an insane outfit only tempts those with minimum self-control to cosplay in said outfit (if you can call tendrils of spandex barely encasing "the girls" an outfit); and I'm sure everyone can count on one hand how many females they are acquainted with who could even begin to pull off such an outfit without seriously traumatizing anyone who happened to see her.


4.  Yoko (from Gurren Lagann)
Poor Yoko.  Despite being an expert markswoman, a cheerful comrade, and generally a useful and capable character, no one can seem to find her a bikini top that fits. 

Forget, for a moment, that (to my knowledge) no fighting force on earth fights in swimwear (other than Navy SEALS - and their swimwear fits); just consider how terribly uncomfortable it must be to have a top that is at least two sizes too small and thigh-highs (really impractical, considering she typically fights in the desert) that must be cutting off circulation.  And she still manages to hit her target.  Unfortunately, most people who cosplay as Yoko seriously miss the mark, and I will never join their ranks.


3.  Faye Valentine (from Cowboy Bebop)
I really hate to say anything negative about Faye.  She is a central character in one of the best television shows  I have ever seen (and I say that to include all shows, not just those in an animated medium).  That said, as much as I love her, her idiosyncrasies, her sarcasm and sneakiness, her vulnerability and believability, I just can't get on board with her outfit.

First, she only gets to change outfits occasionally.  When she puts on evening clothes, she looks normal.  But in day-to-day life aboard the Bebop, or when they are planet-side hunting down a bounty, more often than not she is stuck in this yellow two-piece number.  And the awkward jacket seems like it would hinder any mercenary activities, not to mention that the suspenders seem to be uncomfortable.  I think one of the leading ladies of anime deserves a better wardrobe.  Unfortunately, her outfit is irrevocably tied to her character, which means any trip to a con will likely include those emulating the most wonderful Faye in that most horrible outfit.


2.  Revy (from Black Lagoon)
I can't say I entirely admire Revy.  After all, she is not only a mercenary, but arguably a sociopath.  That said, there is a vulnerability to her that is slowly uncovered over the 24 episodes of the show.  And her vulgar language, unparallelled skills with guns, and her almost feral fighting style combine to make her almost impossible to ignore on the screen.  She is very funny, very brutal, and incredibly interesting.  She also wears clothing that makes Daisy Duke appear chaste.

Those aren't really shorts.  They are denim underwear.  But I certainly would never have the balls to tell Revy to her face that I find her outfit a bit extreme.  I will say, though, that at Ohayocon 2010 I saw someone dressed as Revy.  And that person shouldn't have been dressed as Revy.  Not to put too fine a point on it, but suffice it to say that if your pants size approaches double digits, you probably shouldn't wear what equates to denim underwear; and the person who was burned into my retina wearing Revy cosplay had to have been sized in at least the single, and likely the double, X sizes.  'Nuff said.


1.  The Major (from the Ghost in the Shell franchise)
How else could this list end?  Among my favorite characters, male or female, in any medium.  You can see my exalted opinion of GitS in general, and the Major in particular, in prior blog entries.  Suffice it to say, if I felt her outfits were realistic, I would love to cosplay as her. 

For those not familiar with GitS (to whom I would say, "What the hell are you waiting for?  An invitation?  Go see it!  It is amazing!!!"), you may be thinking that this doesn't look like all that scandalous an outfit.  You might say to yourself, "hell, anyone could wear that!"  Well, let me offer exhibit B:

And to put your mind at ease, the bottoms are, in fact, a thong.  My general rule of thumb is that if any given outfit REQUIRES the wearer to get a Brazilian, it does not belong in public.  No matter how much I love the Major, those of us who are not almost all cyborg need not venture in public in such a get up.  That said, she does sport other, more user-friendly outfits.  But this is, by far, her most iconic outfit.  And maybe it is appropriate that no flesh and blood person can wear it as well the Major does.

Irresistible

A few weeks ago the "Answerman" column at Anime News Network asked an intriguing question that I've decided to write about here.  The question was directed to those who are collectors (of anime, manga, toys, animation cels, etc.) and asked what keeps your collection growing ... geekery, sick addiction, or something else altogether? 


Well it got me to thinking.  And has since led me to a realization and this column, which is something of a confession.


I have a problem. 

Yes, you have a problem!  Though it is kind of ironic if Izumi Konata (of Lucky Star - a Seinfeld-esque anime about nothing) is calling me out.  After all, Konata is an anime/manga/games otaku herself.  Rather the pot calling the kettle black, I'd say.

I hear that most 12-step programs begin with admitting you have a problem.  Well, I'm admitting it.  When it comes to my growing anime collection, I think the cause is a mix between my extreme "geekery" and an addiction (whether or not to label it "sick," I'll leave to the experts).

It started out innocently enough.  I was introduced to anime in 2008 and started out by renting disks (both via Netflix and the most excellent Cleveland-area library system).  I started out with an odd mix (Gantz, Inuyasha, Naruto; then Cowboy Bebop, Samurai Champloo and Samurai 7).  A few are definite classics - specifically the latter three.  When Samurai 7 became one of the early shows to make the jump to Blu-Ray, I couldn't resist purchasing it.  It seemed silly not to buy Cowboy Bebop and Fullmetal Alchemist, when I loved them so much.  So my anime-purchasing addiction really started out with my purchasing shows I had completed and had loved -- healthy enough, rational, and purchases came few and far between.

Really, at that time my buying habits were nothing if not healthy.  Honest!  Maybe I spent a ridiculous inordinate sizable amount of time online, trying to find the best deals or an out-of-print show.  But still, not yet a compulsive drive to expand the collection . . . .

Then things started to change.  I started buying shows I liked a lot, but not ones that I absolutely loved.  Still, not too bad.  I collected Naruto and Bleach, fun shows I'd re-watched.  Also picked up classics (like Neon Genesis, RahXephon and Ergo Proxy), which I wasn't sure I would re-watch.  And that is where and when my collection began to really grow.

I started picking up shows that Netflix did not have complete sets of; I picked up shows that I thought I could lend to people (in my never ending quest to get friends, family and co-workers to open their minds to anime).  I really began in earnest when I started attending conventions in late-2009.  I would pick up shows that the voice actors attending the cons had been in so I could get them signed. 

And finally, I had to admit my addiction this last month.  For the first time, I started purchasing shows which I had never seen.  Not just shows I had only seen part of, but shows where I had yet to see a single episode; I bought based on reviews. 

Uh oh.  Methinks a problem might be developing.

So, per Wikipedia, I've looked up the next steps should I wish to overcome this addiction to anime:

Step Two: recognizing a greater power that can give strength.  Hmmm, not so sure about this one (especially due to my inherent skepticism in greater powers).  Maybe we skip this.

Step Three: examining past errors with the help of a sponsor.  I guess this would involve printing out my Amazon and DeepDiscount receipts and acknowledging which shows I bought without seriously considering the purchase.

Step Four: making amends for these errors.  Well, this involves admitting I made errors.  Not sure I'm ready to do that, as I covet my collections.
Step Five: learning to live a new life with a new code of behavior.  Let me just say, that if loving anime is wrong, I don't want to be right.  Seriously.

Step Six: helping others that suffer from the same addictions or compulsions.  I think we've determined that if this is an anime addiction, I'm not ready to come clean.  The only help I can offer other anime otaku would be tips on where to find good deals, opinions on which shows should be in any collections, and commiserating about the dearth of newly dubbed shows (due, in part, to the crappy economy).

I am unabashed in my anime addiction.  And I don't think I'd give it up for anything.  I will continue in my anime geekery and enjoy each new acquisition.  The real challenge is carving out enough time to watch the prodigious number of disks which I have accumulated - so many episodes .... so little time.

You Had Me At Hello (or Shows That Grab You From Episode One)

We've all started books, sat down to television shows, met a prospective suitor or listened to a new album and found ourselves unsure of whether the object of our attention was worth spending additional time on.  Sometimes we might know it is worthy of the time expenditure, but only think the item in question is passable, somewhat amusing, or just okay. 

Then there are other times when from the first word, scene, or song, we are entranced, or at least hooked and we couldn't possibly imagine not continuing the experience.

There are many fantastic anime series.  Many of my favorites I took a little while to warm up to.  Even some classics do not hit their stride until a few episodes in - though I love Cowboy Bebop and think every episode is at least very well done, it was not at least until episodes 4 and 5 (episode 4 when Faye Valentine becomes a regular character and Bebop inhabitant, and episode 5 when Vicious makes his first appearance and you begin to get an inkling of Spike's back story) that I started to understand what all the fuss was about.  By the end of the series I was (and still am) of the opinion that Bebop ranked among the very best shows (anime or otherwise) I'd ever watched.  Similarly, though early episodes of both Eureka Seven and Neon Genesis Evangelion sparked my interest, I did not fall in love with (in Eureka Seven's case) or become morbidly fascinated by (in Evangelion's case) those series until the full casts of characters had been introduced and their future worlds fleshed out. 

That said, others series really did "have me at hello."  That is not to say that those series remained as compelling throughout, or even that they currently rank in personal favorites.  They did, however, have that strange and mysterious chemistry to grab my attention from the get-go. 

When They Cry immediately gets any viewer's attention.  It opens with a remarkably violent scene, followed by a colorful title sequence, and then followed up by what appears to be an idyllic small town.  The juxtaposition of such a graphic introduction with the quiet normalcy of the post-title scene is jarring.  The paradoxical nature of the show is only heightened as it becomes clear that the big-eyed and innocent looking young female characters have incredibly dark secrets. 

Both Ghost in the Shell: Stand Alone Complex and Welcome to the NHK manage to be cerebral, fascinating, inventive and compelling from the first episode.  GitS:SAC is a brilliant and mature science fiction story, well-crafted and logical, and in many ways quite plausible (it served as some of the inspiration for the mega-hit Matrix).  You meet most of the Section 9 team, you get a rough introduction to some of their enhanced capabilities, and you have the Major showing just how much ass she kick (both cybernetic and human). 

In contrast, Welcome to the NHK is a clever psychological drama, comedy, dramedy, black comedy . . . let's just say it is hard to explain.  The show follows the exploits, embarrassments and anxieties of Sato, a hikikomori (Japanese term referring to the phenomenon of socially withdrawn individuals with extreme levels of isolation).  Observing Sato's daily life is usually painful, often funny, and always insightful.  His issues, though extreme, are sadly relate-able, and though the show has definite flights of fancy (not least of which is his burgeoning conspiracy theory behind why Japan has so many hikikomori, and the fact that he sometimes believes the appliances in his apartment come to life and discuss said conspiracy with him), even such unreasonableness is almost justifiable considering the protagonist's state of mind. 

From Welcome to the NHK - how could you not be caught up in this guy's drama?

A good fight can also serve as entree to a series and grab the viewer's attention and affection from the first kick, punch, sword strike, or bullet fired.  Black Lagoon commences with high speed chases, frenzied gun-play, and a head-on-head fight with a helicopter.  Samurai Champloo's first episode feature multiple fights, but the centerpiece is the impromptu clash of Mugen (with an undisciplined and frenetic fighting style, involving both sword and limbs) and Jin (the classic stoic and tightly controlled ronin, whose swordplay is elegant and calculated).  Black Lagoon managed to get even better as it developed; Samurai Champloo is a bit less even, though it was and remains exciting and interesting throughout.

Multiple shows capture their audiences from the first episode because you really have no clue what the hell is going on.  Ergo Proxy was confusing in the first episode, and was confusing in every episode that followed.  It still makes no damn sense to me (OK, it makes some sense, but not enough to be utterly comprehensible).  Ergo Proxy is science fiction/fantasy, and you can tell the authors didn't quite know what to do with all of their interesting ideas.  Which might hurt if looking for logic, but doesn't hurt if you want to be taken for a ride.  The art in Ergo Proxy is brooding, and the music and animation is excellent and apparent from the first episode on.  Baccano! is a fantasy, mafia, Prohibition, alchemy, caper story.  Confusing?  Well, add to that mixed premise the fact that the story is told in non-chronological order, jumping between more than 250 years over the course of its 13 episodes.  Oh, and did I mention some of the characters are immortal?  Yeah, well, the title of the show is (loosely) Italian for a din or a ruckus, and the show is nothing if not aptly titled.  That said, the ride is wild and fast from the start, and as soon as you see a character get pumped full of bullets, only to get up and walk away as if nothing happened - well, you're hooked (if perplexed). 

Then there's Gunslinger Girl, whose eponymous character(s) is (are) reconstituted girls, rebuilt (after being either abandoned by their parents or otherwise finagled from them by the state) with no memories, a reinforced body, and trained with all the skills necessary to an assassin.  You see Henrietta (one of multiple gunslinger girls in the show) with her "handler," Jose.  They encounter their quarry, and Henrietta's violin case is revealed to contain something far more deadly than a fine string instrument.  You immediately wonder why she is heavily armed, why she takes the lead in the killing, and why you are still watching (it is exceedingly disturbing).  But you don't look away.  The show remains disturbing throughout, but as bits and pieces of the girls' histories are revealed, and the ethical ramifications are tangentially dealt with, it remains gripping and hard not to watch.

Of course, there are those true classics that grab viewers as soon as the hit play.  Any such discussion would be remiss not to mention Fullmetal Alchemist and The Melancholy of Haruhi Suzumiya.  The shows couldn't be more different, but both are beloved, critically acclaimed, and boast amazing beginnings and steady quality throughout.  FMA opens with the shocking and heart rending scene of Ed and Al breaking the most important rule of alchemy and trying to resurrect their dead mother.  The results are horrifying and lay the groundwork for the following years of their lives, as they try to rectify what went so wrong. 

Haruhi, in extreme contrast, actually has multiple beginnings (depending on whether you watch it in broadcast order or in chronological order) - any way you begin it, the humor is sharp, the satire funny, the characters memorable, and the experience unparalleled.  You just can't go wrong with, or not be instantly absorbed by: a show whose main character meets an alien, a time traveler and an ESPer merely because of the force of her own will; and which is narrated in a dry and witty voice over by the long suffering and only "normal" individual in the show.  Truly brilliant.

Long suffering "normal" dude holding the sign - gotta love it.

Anime Du Jour - WWII and Foul-Mouthed Kindergartners

Life has been incredibly busy - between work and P90X, there seems to be precious little time for my anime enthusiasm.  That said, I have popped a few DVDs into the PS3 and enjoyed, in turns, a bit of alternative history/escapism fantasy and a heavy dose of scatological humor propounded by pint-sized potty mouths.


First up was the first six episodes of Strike Witches.  How to describe this perplexing show?  Well, how shall I put it . . . .  On the plus side, it is an alternative history of World War II.  Rather than fighting the Nazis, Mussolini's Italy and the Empire of Japan, the evil enemies are alien in origin and anything but human.  And instead of fighting only with the historically accurate array of B-17 Flying Fortresses, Class A Destroyers, and Sherman tanks, you can add magical girls to the arsenal.  Yes, magical girls.  Having only watched six episodes, I'm not sure if there is an origin story to explain magic in this alternate universe, or if it is simply a changed detail that we are to accept without explanation (which I can deal with, being a fan of fantasy novels).  These girls, who look (mostly) like normal girls, undergo a transformation when they don their fighting gear. 


"What fighting gear?" you might ask.  Well, the gear is affixed to the girls' legs and allow them to fly - looking like a cross between a missile and the nose of a plane, tipped with propellers, as they tote various weapons (machine guns, rocket launchers, and one with what looks like a samurai sword).  They can shield themselves and as they fly or take off, you can see what look like alchemical circles drawn in their general vicinity. Oh, and when they put on the fighting gear, each girl mysteriously sprouts cat ears and a tail (each girl has a different type of ear and tail).


You might be thinking, "Well, this show doesn't sound all that perplexing.  What gives?" 


Ah, I guess I should get to the point.  There is one major detail that has been left wanting.  In fact, it is something that leads to only one logical question:

Why no pants?  No, really - WHY NO PANTS??!!  I understand the Japanese fetish for lolicon, the fanservice staple of panty shots.  But seriously, people, give the poor girls some pants.  Or even shorts or a mini skirt.  SOMETHING.  If I were facing some rather formidable aliens while flying at high altitude, I'd want some bottoms (other than panties) to protect me from everything from scorchingly hot spent bullet casings to wind burn. 

Honestly, people - don't these girls deserve some trousers? 

Other than distracting the enemy, it certainly doesn't help in the fight

and would make any reasonable alien take their fighting prowess much less seriously.

That said, the show is well-animated, has some very good voice acting, and is an interesting retelling of certain aspects of WWII (quite interesting when one considers the show originates in a country that was among the aggressors in that terrible conflict).  Definitely worth watching if you can learn to ignore the fact that these girls, unlike almost every other person in the history of the earth, do not put on their pants one leg at a time (because they appear to never put on pants at all).

I also spent some time watching episodes 7-12 of Shin Chan (or Crayon Shin-Chan).  Unlike Strike Witches, I can unequivocally say that this is not well-animated.  Of course, that is part of the signature of the show.  The characters are rough-hewn and very out-of-proportion.  The style looks sloppy and amateurish.  Which I'm sure took quite a lot of work to achieve. 

See what I mean?

That said, like the first show I discussed, this show includes some very good voice acting.  In this instance, the Shin Chan cast does some incredibly funny comedic acting, made possible by an often disgusting, almost always hilarious script re-write in the vein of Ghost Stories. The rewrite incorporates many cultural shout outs to contemporary US pop culture.  Jokes about Paris Hilton, young Republicans, crack whores, unexpected pregnancies, dining and dashing, and boob jobs are only the tip of the iceberg.


The main characters are mostly Shin, a five-year old with a vocabulary that could make sailors blush and an obsession with toilet humor, and his classmates.  Add in: his precocious baby sister and his sarcastic and very put-upon parents, a potpourri of neighbors, school teachers, and annoying acquaintances friends; mix in a complete lack of political correctness; re-write in such a way that American audiences get all of the timely and inappropriate jokes.  Result: a show you might be embarrassed to admit you find amusing. 


Did I mention that Shin likes to bare his ass in inappropriate and disgusting ways?  Threatening people with farts? 

Yeah, like I said, totally embarrassed that the show makes me laugh out loud.

Thank You For Being a Friend

As odd as it sounds for a devout anime otaku, I truly loved the television show The Golden Girls.  Sadly, Rue McClanahan passed away recently.  This started me thinking about all the wonderful moments on that show, and then I soon segued into thoughts of various anime series that depicted friendships among women (or girls).  I thought that topic would make for a nice and timely blog entry - so here we go, in memoriam for Rue McClanahan (bka Blanche Deveraeux).  We'll miss you!


A surprising number of anime series have found their source material in manga written by (and often for) women and/or girls.  As a result, many such shows involve interesting and realistic (or, sometimes less than realistic) examinations of growing up and friendship among women.

Case in point, Fruits Basket - the main character in the manga and anime is Tohru Honda and the mangaka (author) is a woman.  Tohru has multiple friendships, but her oldest and most meaningful existing relationship is that with her two best friends, Arisa Uotani and Saki Hanajima.  This trio exhibits a pure and mostly unselfish friendship.  They accept each other for who they are and Arisa and Saki would literally do anything to protect Tohru from harm.  Misunderstandings among the three often lead to comic results, but there is always a core of poignancy at the heart of their interactions.  The show has involves fantasy elements and some minor paranormal details, but the show's foundation is truly built around the emotions of its characters. 

As the majority of men and many women have learned, some of the most lasting friendships (and most important life lessons) arise out of playing sports.  In both Bamboo Blade and Princess Nine sports teams are the impetus for the development of meaningful relationships and self-exploration.  In Bamboo Blade it is a kendo team and in Princess Nine it is a girls' baseball team.    Both include athletic prodigies, girls who are supremely confident, those that are shy and attempting to come out of their shells, others who are struggling to communicate with their parents, and some who need the help of friendship in order to conquer their own self-loathing. 

The friendships in Bamboo Blade (whose manga was illustrated by a woman) grow in the dojo as the team develops their skills and become familiar with each others' strengths and weaknesses. 

In Princess Nine, the friendships on the diamond solidify as the young women face one challenge after another - from the challenge of building a team with a sufficient number of players, battling stereotypes and outside pressures (who are mostly aligned against the idea of a baseball team populated by girls), and developing confidence in and trust of each other.  Both shows occasionally overdo the sentimentality, but not by much and usually within the bounds of realism.

In other shows, the characters involved have transcended mere friendship and evolved into family relationships, though often nontraditional families.  In R.O.D., three young women without families of their own bond and agree to care for and protect one another.  They share a unique link as they are all "papermasters," meaning they can manipulate paper in mysterious ways.  In Haibane Renmei, the story takes place in a semi-fantastical world where some of the inhabitants resemble angels, complete with halos and wings.  The young women, who periodically appear in the world and are hatched from structures called cocoons, are unsure of who they used to be in their prior life or why they are there.  Each of these young women, called the "haibane", eventually knows when it is time to depart and disappears as mysteriously as they appeared.  The haibane guide each other through the rules and customs of the new world in which they find themselves; there is self-examination and coming to terms with any vague past memories and perceived shortcomings.  The older haibane act as surrogate parents to the younger and all have to be prepared for the inevitable moment when the family's ties are broken and individual haibane leave.

Friendships are the cornerstone of so many people's lives, and so many series explore these relationships in entertaining and great detail.  Some shows offer tried and true story lines that would be familiar to people the world over, others inject interesting twists on the typical relationships between friends.  Watching these shows reminds me of friendships past and present, and makes me reminisce about the wonderful hours I've spent in the past watching Golden Girls and enjoying their antics and their wonderful friendships.

Embracing Dubs

I fell into anime fandom somewhat recently.  With only about two years of avid watching under my belt, I came to the medium after literally decades of development (with regards to both the Japanese creators and United States/English-language distributors).  This has meant that much of the anime I've watched are the beneficiaries of advanced animation techniques, musical scoring, script writing and - most importantly for this blog entry - English dubbing.  

Having spoken to many long-time fans and having read various articles and essays about anime, it is clear that many earlier imports from Japan suffered from rather deplorable English dubs.  This is obvious when one rents an older title, selects English for the language, and is variably assaulted by overacting, deadpan voices and/or choppy and unnatural dialog. 

The often deplorable state of dubbing certainly contributed to the (sometimes snobbish and haughty) typical preference of anime fans for subtitled versions.  Many will look at you in shock if you profess to prefer a dub to a sub.  For sub fans, they question the purity and faithfulness of watching a show that is dubbed; and it is not rare for sub fans to be somewhat dismissive of and condescending to the dub fan.

So why do I prefer dubs?

If you've seen BECK, you'd KNOW why I prefer dubs!!!

First, it is important to point out that I was lucky enough to come to the medium after the companies responsible for English-language distribution, and in turn the many individuals making such distribution possible, had honed their craft.  Those fans who, like me, only became familiar with anime in recent years, have benefited from: increasingly excellent and accurate translations; intelligent, sensitive and practical writing, and re-writing, of scripts (to convey the original meaning while also being relate-able for English-speaking audiences); and nuanced, enthusiastic and measured performances by voice actors.


As a result, when picking up an anime DVD and choosing to listen to it in English, the viewer is often treated to a dub that is a full 180 degrees in opposition to many of the earlier dubbing debacles. 

Second, I have no desire to read television shows.  Having to read the dialog takes time away from appreciating the art and special effects of the shows.  Part of me pops in a disk to be transported elsewhere, and the illusion of becoming lost in a fictional world is somewhat lessened when I am rushing to read the oftentimes extensive and fleeting dialog on the screen. 

And if I didn't watch shows in English, I would have missed any of the multiple shows whose dubs are highly regarded and memorable.  Shows like Hellsing Ultimate, Fullmetal Alchemist and Last Exile.  In fact, some shows seem to make more sense in English - shows like Baccano! (which mostly takes place in prohibition-era New York and having voice actors speak in New York-accented English simply fits) and BECK: Mongolian Chop Squad (where the songs sung were written in English).  Other shows need to be re-written with an English-speaking audience in mind for the gist of the humor to be fully realized, like Desert Punk.  Other shows work well in the subtitled format, but also worked extremely well as a dub - including classics like Full Metal Panic!, Cowboy Bebop, FLCL and Witch Hunter Robin.  

I am trying to watch a few more shows in subtitled format - in fact, my hand will be forced as fewer shows are being dubbed, due in large part to the ailing economy and its impact on the anime industry.  But that said, it would be a shame for fans in general to dismiss all English dubs without even a listen.  Many shows are even arguably better in English, and I would hate to think anyone would miss Steven Jay Blum's performance as Spike in Bebop, or Crispin Freeman as Alucard in both Hellsing series simply because they remember the horrific dubs of the past. 

So for those who are die hard sub fans, why not kick back and just give a dub a chance?  At the very least, you can avoid eyestrain and not have to scramble to read dialog . . . .

[INSERT BOOK TITLE] Would Make A Great Anime

The beauty of many anime series is that the format allows intricate, sometimes epic, stories to be told without cutting corners.  Over the course of a full season, or two full seasons, there is time enough for the un-rushed introduction of a large ensemble cast of characters, to allow them to have histories and story arcs, to develop as characters.  The plot can unfurl in its own time, not rushed by an abbreviated allotment of time, not drastically cutting out important and illuminating sub-plots.

As I think about some of my favorite series, I am especially thankful that they weren't shows made in the United States.  I am especially relieved that none were shoe-horned into a typical two-hour film format.  Series like Fullmetal Alchemist - the original series spanned over 50 episodes, included dozens of important characters, none of which were purely good or evil.  Each main and supporting character had at least some screen time, allowing them to be fleshed out in three dimensions, with unique motivations and backgrounds, all melding into a unified plot.  In fact, the series then spawned a follow-up movie, as well as a currently airing new series, re-telling the original story (this time adhering more closely to the manga source material).

Series like FMA, Eureka 7 and RahXephon make me wish other stories that I've fallen in love with would find their way to one of the better anime production studios in Japan.  Two different series of novels, both by geniuses of the science fiction genre, would be ideal for depiction in an extended anime series.

The winner of the first Nebula Award for science fiction, Dune by Frank Herbert, has never successfully made it onto film.  The two main attempts at doing so (1984 film version by David Lynch and the 2000 television mini-series aired by the Sci Fi Network) were nothing if  not disappointments to those familiar with the novel (and its sequels).  Though the film got some decent reviews, there is really no feasible way to take a book topping out at over 600 pages (whose plot is nothing if not a labyrinthine tapestry of political intrigue, sociological and ecological commentary, and a host of other issues) can be edited down and successfully distilled into two hours.  Such an epic deserves and demands a lengthier format.  Unfortunately, the television mini-series suffered from both decidedly sub-par acting and effects (though more of the book's content survived onto the screen).

I can so easily picture Dune, and even some of the following books in the extensive series, being rendered in gorgeous, elaborate and specific detail in a two- or three-season anime series.  Over the course of 50 or 75 episodes, the complex political background which the events of the novel play out against could be faithfully reproduced.  The desert world of Arrakis could come alive.  The impossibility of finding live actors who physically match the descriptions of the Fremen (a lean, tough and incredibly proud desert-based culture of people) would be made obsolete as artists could depict the Fremen as Herbert described them.  The sandworms and the navigators, the machine world of IX and the uncanny powers of the Bene Gesserit - all could be realized in the anime medium as it was nearly impossible for it to be realized via live action and CGI.  

What's more, so many anime series allow for mature plots and often controversial subjects to be heard.  These are stories that would almost certainly not be told on the major networks and would more likely find their homes on channels like HBO and Showtime.  Think Neon Genesis Evangelion - a science fiction, post-apocalyptic tale that takes a hard look at the psychological frailness of children asked to fight invaders (called Angels), and of the adults which force them to do so despite the catastrophic effects the battle is having on their psyche.  Or think of Monster, an anime that asks the questions of whether all lives should be saved, as explored via a surgeon who blames himself for saving the life of a child who proved to be a sociopath, thus facilitating that sociopath's later murder of countless others.  A show like Dune - which deals with sexuality, assassination, perversion, cultural misunderstandings, pending ecological disasters, empire building and empire falling, and genetic manipulation - could only be told properly where the makers not only had the freedom to tell the story in detail over many hours of airing time, but also had the freedom to not be pressured with censorship of its story or lack of access to a mature audience.

The second novel (or really, series of novels) which I would love to see carried out in the anime medium is Ender's Game, by Orson Scott Card (along with the Shadow series of books, which follow the character Bean more closely than the eponymous Ender of the original book).  Ender's Game takes place in the semi-near future (100 or so years beyond the present) in a world where an alien race has attacked the Earth, and the human race has put aside most of its differences (temporarily) to fight the threat.  Historically, the best minds (militarily and otherwise) are the minds of the young - as a result, the war is fought by genius children, who are taken from home around the age of 6 and sent into space to attend Battle School.  

Clearly, the biggest challenge of a live action version of Ender's Game is that it is a story where the vast majority of the main characters are children - many under the age of 8 or 9 years old.  This novel had been rumored to be in consideration for filming, but the challenge of finding a cast of children who can act, let alone play geniuses (who, when reading the book, the reader often forgets are children) is at best daunting, and at worst impossible.  

Making such a novel into an anime series obviates the need to find a cast of children, and also eliminates having them act out situations which could make any stage parent nervous (one child character inadvertently kills another child; there is bullying and ostracizing; there is a brother that threatens fratricide; there is the manipulation of children by adults).  If just doing Ender's Game, 13 episodes would probably suffice to tell the story in exacting detail.  If one wanted to integrate the Ender's Shadow story (basically covering the events from Ender's Game, but told from another character's perspective), and other Shadow books, the story could easily span one to two (or even three) seasons. 

I can imagine the superb writing, complex action and questions of political morality that could be brought to life in a manner similar to the extremely sophisticated tale told in the Ghost in the Shell series (from the original film, the the Stand Alone Complex and 2nd Gig series, as well as the two other films).  Similar animation and attention to detail brought to the Enderverse would be stunning.  And in shows like Evangelion, not to mention countless others, complex stories involving children have been told to great effect. 

One can only hope that some of the amazing novels that currently exist find their way to desks in Japan.

I'm Not Sure What I See in You . . . .

I can remember multiple times in the past when I developed a superficial crush on someone and, for the life of me, I could not understand what I saw in them.  In retrospect, the mystery of my attraction to these individuals often became more inscrutable, rather than less (both to myself and to friends).

I periodically get the same inexplicable interest in an anime series.  I couldn't explain to another anime fan or a friend what exactly drew me to a series, or even why I continue to watch it.  I liken this phenomenon to my abiding and equally inexplicable taste for and enjoyment of junk food.  I know that junk food (be it McDonald's fries, Ruffles potato chips, Hershey's candy bars, or any variety of gummy candies) is nutritionally deficient; that the sugar and/or calories and/or fat involved in consuming those "food" items is in no way compensated by the vitamins, minerals or other nutrition I manage to glean from them. 

Like junk food, I sometimes find myself watching anime series that have few redeeming qualities and are, in the truest sense of the word, purely entertainment.  Most, if not all, of these shows are formulaic, boasting minimal (if any) character development, the shallowest of romances, and the flimsiest of plot lines (with almost all "twists" clearly foreshadowed and telegraphed by the characters and the music).  No real surprises, no epiphanies, no moments of grandeur or deep thoughts inspired.  The ultimate in disposable media. 



Shows like Best Student Council - a truly odd high school comedy, where the main character starts at the most elite of high schools and has a tough time fitting in.  This isn't made any easier by the fact that she has a puppet which is almost always has on her hand.  Of course, this puppet has its own consciousness and personality .... no, really.  Despite her puppet and inescapable clumsiness, she perseveres and succeeds, due mostly to her sunny and positive disposition!

Or Angelic Layer - where a decidedly annoying middle school protagonist finds that she is wonderful at a virtual reality game and succeeds due to her sunny and positive disposition ... oh, and finds her long lost mother in the process.

Take Stellvia - another middle school protagonist and a vaguely explained recurring threat to Earth.  The  protagonist succeeds due to her - you guessed it - sunny and positive disposition.  Oh, and despite her innocence and apparent trouble in school, she turns out to be a genius!

Most perplexing, I've watched Daphne in the Brilliant Blue - populated by ridiculously busty protagonists wearing even more ridiculous outfits, if the word "outfit" is the correct term to refer to outfits that look like strategically placed strips of duct tape, the skimpiest of bathing suits, or devices for showing as much of the female body as is possible without turning a show into hentai.  The main protagonist, innocent despite her INSANE bust-line, succeeds due to her sunny and positive disposition --- sensing a theme here?

I told you.  RIDICULOUS.

Then you have the variety of shows which are less obnoxious, but I couldn't really tell you why I think it is fun to watch.  And unlike the shows above (which only span a single season, about 24-26 episodes), these shows go one or two or dozens of seasons.  Shows like Hunter x Hunter, which spans 62 episodes and is eminently good-natured.  It follows a young boy and his compatriots as they attempt to become "hunters" (which are individuals who are often similar to mercenaries, though they don't have to have a typical mercenary personality; and they are experts in any number of areas, always clever and capable, great fighters, etc.).  The show isn't particularly exciting, the story lines take a long time to unfurl.  But it is somewhat comforting to turn it on and know just what you're going to get.

Similarly, One Piece (a veritable never-ending show, with 458 episodes) has extended story lines and a good-natured feeling.  It is more exciting than Hunter, but there is still a certain predictability (hell, how can something with hundreds of episodes not devolve into predictability?); the characters are more colorful, but it has an old-school feel to it.  It helps that it is a crew of honorable pirates, traversing a dangerous ocean, meeting the most outrageous of villains.  You can pop in a DVD after a long hiatus and know exactly where you are (even if you've never been to that particular island and never seen that particular oddity).

So while I'm not sure what I see in these shows, I guess they are like comfort food.  Sometimes you want to plug in and tune out.  Such shows, though never destined to be on a "Best of" list or something you insist someone must watch, have their place.  And the next time I find myself unable to engage my brain or feel invested in a character, I can always watch one more disk of One Piece, get lost on the Going Merry (their pirate ship), kick back and relax.

Out of Print, But Not Out of Mind

One constant frustration with being an anime aficionado is falling in love (or in like) with a new series and seeking out the box set to add to your collection, only to find that it is out of print.  Those words, "out of print," can often make my heart fall.


And so begins the search - sometimes heady, sometimes frenzied, sometimes lackadaisical . . . depending upon how ardent my admiration is for the show in question, or sometimes whether I am scheduled to go to a convention and want the DVDs to be signed by a voice actor.


Where to start?  Usually Amazon - even though it is out of print, there are often sellers in Amazon Marketplace that have used (or sometimes even new) copies of my quarry.  The prices can vary in the extreme.  Sometimes you can locate a fantastic deal, sometimes it looks like you may need to mortgage your house to purchase the disks in question.


After Amazon, typically it is time to wander over to eBay.com or to half.com (an eBay-related site where the prices are fixed and there is no bidding).  Here you need to be careful, constantly on guard against bootleg copies.  This means vetting the seller (looking at ratings, asking plenty of questions if the deal seems too good to be true ... often an indicator that what they are selling is not a licensed Region 1 disk, but a pirated copy).


Other than these stalwart standbys, I can hunt around in other places.  Rentanime.com, a Netflix-esque rental site with only anime DVDs, offers the many of its rental disks for sale (some of which are out of print in the US).  I'll check Barnes & Noble, which sometimes has copies of out of print series.  And I can swing by Fast Food Anime's website, and Rightstuf.com (anime specialty stores).


If I'm lucky enough to find a complete box set - new, or perhaps in like new or very good condition if used - at a palatable price, I snap it up.  Often, though, such deals aren't available.  I'll price compare, bid at eBay with an eye toward how rare the prize is, and hope not get outbid at the last instant.  Sometimes the box sets are simply too expensive to justify.  $300 for a particular version of Evangelion.  $250 for R.O.D. the TV.  And, perhaps most extravagantly, $180+ for a used FLCL and nearly $320 for a new version, keeping in mind FLCL has only 6 30-minute episodes.  Now I love anime, but $30 an episode (or $1 a minute) for a used series, or more than $50 an episode for a new version verges on the ludicrous!


If a complete box set is not to be mine, I look for starter sets (which typically include the first volume of the series along with a collector's box large enough to fit all of the other volumes of the show).  Then the search begins for the best deal on every volume, a search which sometimes can be a prolonged affair - at times both fun and infuriating. 


As a result of my dedication, mild obsession, and persistence, I've been able to acquire multiple titles I love - sometimes for good prices, sometimes for small fortunes.  I tracked down a pricey and nearly new box set of Hellsing (not the Ultimate series which adheres more closely to the manga, but the earlier version of the show).  I searched for and found a well-preserved box set of Gasaraki.  I stumbled upon a brand new copy of Hare + Guu for sale at Barnes & Noble (for less than the amount I would have paid in my losing bidding war on eBay).  My most prized acquisition was a nearly pristine box set of R.O.D the TV (Read or Die, with avowed bibliophiles acting as the main protagonists).  It cost me more than I'd care to admit (well in excess of $100), but it is and has been out of print for a while, is a charming series, and my long love affair with reading made it all but impossible for me not to own a wonderful series where the protagonists and heroines love nothing more than getting lost in a good book.


There is a certain pleasure in the hunt - pursuing a new prize, questing after elusive prey, sniffing out and claiming it as my own.  And there is always something new to covet and capture - right now I am looking for copies of Excel Saga (a series that is hysterical and verges on the manic, spoofing various aspects of the anime culture), Haibane-Renmei (a mysterious series with a supernatural theme), and Princess Nine (a fantastic baseball series following a girl's team).


Happy hunting!

Diagnosis: Convention Burnout

How many conventions is too many conventions?  Hmm, I'd say three in one month.  I sit writing this out of a hotel room in Rochester, New York, and I am too tired to drag myself back to the convention at RIT (Tora-Con).  No really, I'm too tired - I've got circles to rival L from Death Note (see above).


It is really a pity I'm so run down.  The guests are a great group, especially considering it is only a two-day con.  The roster includes Johnny Yong Bosch (Ichigo from Bleach, Claus from Last Exile, Vash from Trigun, etc., etc., etc.) and the most fantastic Funimation voice actors Monica Rial (too many appearances to even begin to list), Chris Sabat (of DBZ fame, and the Strong Arm Alchemist in FMA), and Eric Vale (the most excellent Kanta of the Desert in Desert Punk, and Ryusuke from BECK). 


But great guests or not, this Rochester trip comes after having journeyed to Columbus the first weekend in April for Anime Punch!  (which ended up as a disappointement as one of the two voice actors scheduled to be there had to cancel due to illness).  Then a trip to Pittsburgh for Tekkoshocon (a really great convention, with a fantastic lineup of guests - happily, they also had a premium registration that allowed priority in some lines).  Then it was to here, Rochester.  And that doesn't include my March trip to A&G Ohio in Cincinnati. 


I've had enough of driving.  Enough of my books on CD.  Enough poring over anime credits on animenewsnetwork.com so I can then extract DVD covers and boxsets to bring for autographing.  And definitely enough schlepping workout gear from hotel to hotel.  Not to mention MORE than enough fast food and artery-clogging fare.


A big reason I have been going to conventions is to meet the voice actors who have brought various characters (who have thoroughly entertained me) to life.  And to get autographs on various DVDs in which their chameleon-like voices appear.  But I am SO tired of waiting in line.  And of being told "only two items for signing."  And though a part of me loves my fellow anime fans, another part of me wants to frankly give some of them fashion advice on their cosplay selections (please, PLEASE choose characters for which your body-type somewhat matches -- I do not wish to see someone with the figure of Sloth of FMA dressing up as Revy from Black Lagoon).  I also have had just about enough of hearing a long-time anime otaku sneering at a "newbie" who hasn't seen whatever anime the "expert" believes to be the best thing ever made. 


Rules going forward - I think no more than one convention every 4-6 weeks (if that).  Definitely only cons that offer a Friday with autographs (when the crowds are not yet fully formed) and preferably cons that offer premium/platinum/VIP or other exalted registrations (with preferential admission to events).  I am more than willing to shell out some extra cash to get in line first.  What can I say - I think money should buy privileges.  And I'll keep thinking so up until I can no longer afford such privileges. 


Thankfully, May is a convention-free month for me.  The next con I'm considering is Colossalcon - and that takes place at Cedar Point and does not involve the tiring 4-hour drive I undertook after work on Friday or a middling hotel room with an abbreviated channel selection.  Ah, a few weekends at home means I will actually have time to WATCH anime, which is something that I have not had much free time to engage in lately. 


Back to basics.  Me, a room that isn't in a hotel, and a great anime DVD.  Sounds like a plan for May.

Slowing Down in my "Old Age" - or - My Favorite Over 30 Anime Characters

Long time no post - guilty!  I'd blame it on getting older (turned 30 a couple weeks ago), or on a busy work schedule (I think the correct word is "overwhelmed"), or on my crazy anime-con-going schedule (3 conventions - A&G Ohio, Anime Punch! and Tekkoshocon - in the past month).  But in all honesty, I've just been a bit run down and a bit too lazy to motivate myself to write something even vaguely worth reading.

So in honor of my absence and new found maturity (ha!) in my third decade, I've decided to make a list of my favorite characters aged 30 or older in anime.  I've given myself one ironclad rule - that the character cannot be immortal (sorry to all vampires, androids, alchemists and genetically altered individuals).  My favorite immortals are for another time.    Without further ado:

10) ** Honorary Mention **  Sophie Hatter (from Howl's Moving Castle), age late teens: Sophie may be in her late teens, but [SPOILER ALERT] she is transformed into an elderly woman by a rather vindictive witch.  She has spunk and heart and the tale is truly a pleasure to behold.  She's #10 on my list with an honorary mention because she was always an old soul and it was refreshing to see a story where the heroine was not an over-endowed teenage girl, but an older woman who emerges victorious due to her own perseverance and intelligence, and not just a pretty face.

9)  Roy Revant (from Solty Rei), age 45: Roy Revant is a prototypical gruff yet caring older guy.  Touched by tragedy in his life, you see a pretty moving character arc as he learns to come to grips with his past and (cheesy as it sounds) love again.  But not in a romantic sense, it is his recapturing paternal feelings for what turns out to be (you guessed it) some sort of android/immortal.  Good show and nice to see an older guy performing heroics - and never a bad thing to spend 24 episodes with Chris Sabat voicing a main character.

8)  Legendary Sannin (Jiraiya, Tsunade and Orochimaru) (from Naruto and Naruto: Shippuden), age early-mid 50s: ah, Naruto.  A series that seems to never end (which wouldn't be such a problem if not for excessive filler).  Still, you have to love the Legendary Sannin - all have their quirks.  Jiraiya is, of course, the pervy old sage.  Tsunade is old enough to be a "grandma" and keeps herself young with some rather impressive jutsu, not to mention wields some pretty intimidating physical strength.  And Orochimaru was our first major and elusive villain!  Their characters don't evolve much - but then, they are all fully grown adults and mature.  Well, somewhat mature -- what I really mean is that they are old enough to be comfortable in their own skin.  Hmmm, I guess Orochimaru is equally comfortable in other people's skin ...... but you get the idea.  They are super-powered characters and age is definitely nothing but a number for them, as is evidenced by their stunning abilities.

7)  Madame Torogai (from Moribito: Guardian of the Spirit), age unsure (but definitely over 50, er, 60): you have to love a sarcastic, tart, assertive magic weaver who definitely would qualify for an AARP card.  This is the grandmother you never cross who remains spry and sharp.  Imagine the mind of Miss Marple crossed with the agility of a gymnast.  She is saucy and plays a major role, keeping other characters in line and always surprising those who don't know her.  Well done.

6)  Dutch (from Black Lagoon), age 30s or (more likely) 40s: what a treat.  Mercenaries, an R-rated script, cutthroat characters, and wonderful animation.  Dutch leads the somewhat improbably team of mercs and is level-headed with a great grasp of business and, believe it or not, human resource management.  The actor voicing him has the most hypnotically masculine voice (imagine taking the Old Spice "I'm the man your man could smell like", drop about an octave, and throw in a heaping helping of badassery, and you'll just about have it).  A pleasure to listen to and the character's prowess with weapons and strategy makes him a worthy role model for those who want to get better (and badder) with age.

5)  Shimada Kambei (from Samurai 7), age unknown (likely in 40s or 50s): if you haven't picked up this remake of 7 Samurai, you should.  Kambei is your lead samurai, and has all the self-discipline, military prowess, and an almost zen level of insight that you would expect from such a protagonist.  Is he perfect?  No.  But he is a man to follow and seeing his character revealed bit by bit over the course of the series is always fascinating.  Not least of all because you never completely figure him out.

4)  Walter C. Dornez (from Hellsing and Hellsing Ultimate), age 69 (b. 1929/1930): Alucard would be on this list if he weren't immortal.  But the fact that Walter is nearly 70 and still is a deadly fighter (don't give this man a garrot or you will NOT live to regret it), that he is not intimidated by dealing with a 500+ year old vampire (who frankly gives me the heebie jeebies at times), and that he has that oh-so-suave and imperturbable British accent combine to make Walter the kind of septuagenarian I wish I could be.  Without that pesky "freak" infestation problem, of course.

3)  Balsa (from Moribito: Guardian of the Spirit), age 30: I kind of wanted to make her #1, but as Moribito as a show does not yet have the cache of the two shows I rank higher, I figured it was too soon to name her my VERY favorite character aged 30 or over.  That said, she is by far the character on this list I'd most want to be like.  Disciplined, strong physically and emotionally, guided by her own ethical and moral codes, and fiercely loyal to those who have earned it - even her negative characteristics are admirable in a way (stubbornness, self-sufficiency to the point of failing to depend on those who love her, single-mindedness).  This anime is utterly gorgeous.  Her character is believable, admirable and beautiful. 

2)  Jet Black (from Cowboy Bebop), age 36: Jet Black seems to be the prototypical mercenary with a heart of gold.  Though just when you think  he is really the voice of conscience on the Bebop, he will do something you didn't think he had it in him to do (nothing truly reprehensible, but enough to realize that he used to be in law enforcement and will do what needs to get done to survive and protect his shipmates).  The wonderful Beau Billingslea voices Jet Black and imbues him with the utmost cool, a lot of heart, a heavy dose of soul, and not a small amount of fatherly concern and toughness.  Bebop is something every fan should have seen and Jet Black makes the viewing that much better.

1)  Motoko Kusanagi -or- The Major (Ghost in the Shell franchise), age 31: The Major is both all cyborg and all woman.  Except when she is all kicking your ass.  She is smart, cunning, and built to bring potential badass quotients to a new level.  Dare I say it?  She might even be able to hold her own with Chuck Norris in a fight - she certainly looks better in a thong than he would.  One of the best science fiction series every made (in any medium you care to name), and between her and the rest of the fabulous over-30 cast of characters (really, I'm not sure anyone other than Togusa is under the age of 30), this is a mature show, sharply written and sharply animated.  And the Major has more than earned her spot leading the Section 9 crew in the field (under Chief Aramaki's savvy direction) and topping this list of my favorite over 30 characters in anime.