Project A-Ko 4: Final

The end of an era.

Project A-ko 4: Final (プロジェクトA子 完結篇) is a 1989 Japanese anime OVA release directed by Yuji Moriyama. It is the fourth installment of the Project A-ko series. 

Back in the day, very few film projects were made with sequels in mind. Perhaps, Star Wars and the Superman movies are early examples of long term planning. As a result of this, the viewers would get the immersive experience of being part of a world of characters where time passes, and in doing so, characters grow and face new challenges until we reach the inevitable climax, and the story is completed.

Animé connoisseurs know Project A-KO is one of the essential OVA films every fan must watch and hopefully, add to their home library. They also know, the original was a parody on some of the popular Animé from the late 70s/early 80s. No one was expecting a developing story, or an expanding universe that would continue to tell the story of A-Ko, B-Ko & C-Ko. However, popular demand is a strong force that drives producers and artists alike to push their ideas to the limit. 

A-Ko & B-Ko continue the fight.

Their teacher is getting married!

Let's do some recap, before we continue reviewing the final installment of the A-Ko saga. The Alpha-Cygnans, a powerful alien race with advance technology and a great army that resembles SDF Macross' Zentradi (or Zentraedi if you think Robotech) come to Earth searching for their missing princess. Eventually it turns out, C-Ko is their long lost princess, and this leads to  War in which A-Ko & B-Ko are part of it as well. Of course, mankind triumphs, and this leads the surviving aliens to adapt to Earth's customs, and they end up transforming their mother ship into a giant shopping mall with B-Ko's help (Project A-Ko 2). Fast forward to Project A-Ko 3, where we find A-Ko & B-Ko fighting over the love of Kei Yuki, a handsome biker. The aliens now rebuilt their mothership into a luxurious hotel, and as you can probably guess, the setting for the final battle takes place right there.

Recap aside, part 4 goes back to part 1 for the most part: A brand new armada from the Alpha Cygnans return from space to reclaim their princess for once and for all. In the meantime, nothing has changed between our school friends. However, Miss Ayumi is getting married with Kei! Confusion will lead to chaos, as the main fleet of the aliens show up to stop the wedding because they think Miss Ayumi is their long lost princess. Meanwhile, an archeological team in Iraq, is deciphering some apocalyptic writings at an ancient site that may have something to do with the approach of the Alpha Cygnans. It reads that Alpha-Cygni's alien princess will be claimed and demons will be unleashed on the earth for ten days. Also it has a connection to the star of David. Suddenly the wall begins to part revealing a statue (which looks like C-ko) that causes the temple to collapse on the archeologists. 

A war is coming and B-Ko knows it.

The military force enters the action.

The aliens finally arrive and explain that their princess must come with them. C-ko's mother reveals herself and convinces her daughter it is time to go home. C-ko agrees since she feels she never really fit in with any of her classmates anyway. Miss Ayumi is outraged that nothing special happened to her because of her lucky charm pendant and smashes it while the Captain and D lament that they've been left behind because the Captain wasted time getting there by picking up a few more alcoholic drinks. A-ko and B-ko chase after the alien ship in B-ko's giant robot...

I don't want to spoil the ending to a 35 year old OVA, but we all know Project A-Ko  is about the neverending battle between A-Ko & B-Ko to conquer C-Ko's friendship and ultimately answer the Who's C-Ko's best friend forever? question. Moreover, the comedic drive the saga has, is somehow changed for a more adult, civilized solution to the permanent childish pointless bickering of the main characters.

War is coming lieutenant.

Suspiciously familiar crafts return.

As above mentioned, Project A-Ko 4 attempts to deliver fans of the saga, a much needed sense of closure. C-Ko finally asks herself what's her role in the relationship she has with A-Ko & B-Ko, and even though she's supposed to be the youngest of the trio, her realization is a very adult one: She has been a tool, a puppet, an object for too long. So, in learning this  truth, she discovers she better returns to her mother and to space with the Alpha-Cygnans where she belongs.

With C-Ko out of the scene, A-Ko & B-Ko discover their lives, and ultimately, their fight, has little to no meaning at all. Differences set aside, they team up to go after C-Ko for the final time. Also, let's not forget the prophecy the archeological team unraveled: If the aliens take their princess home, Earth will spend 10 days fighting demons. So the situation escalates to world proportions.

The A-Ko giant robot!

Princess C-Ko.

Project A-Ko was always a comedic effort, and while this final installment does include a few jokes here and there, the attempt at providing a dramatic ending, goes against the whole reason why people became fans of the saga. Ecchi content is toned down to a minimum, as well as panty shots and other cartoonish visual jokes. I get it, it's the end, producers have to  deliver a satisfying ending, and yet they don't. While part 4 teases us with a variety of fake endings, the actual ending leaves us, and the characters in a neverending loop where history repeats itself over and over. However, this is how most franchises are built. They take the best parts, and reuse them in sequels with subtle modifications, leading us into thinking "wow, that's new!" while it actually isn't.

One reason I, a 42 year old man still watch 1980s and 1990s Anime and OVAs, is because Japanese artists were always the daring kind. They would push boundaries every time. Even the most obscure and forgotten Animé/OVAs had something original to say, something original to show, not giving a damn at what animated content should or should not touch. Project A-Ko certainly pushed boundaries, but when they decided to get serious about the story, they became Project A-Ko 4: Final, a completely decaffeinated parody of themselves.

 

A-Ko says good-bye.

B-Ko always ready for action.

Final thoughts

As above mentioned, the Animé phenomenon was built on groundbreaking ideas that had never been seen before in American animation. Pushing boundaries with their stories, and graphic violence, nudity & sex, this granted a legion of fans tired of stupid cartoons with no exciting content. Project A-Ko was originally intended to be a  Hentai film. A sequel to the 1984 Cream Lemon series. A few rewrites later, it became the science fiction adventure comedy we know it is today. Sequels can be a pan in the ass for sure. Being able to maintain the integrity of the original OVA is a gigantic task that the even the best have failed at. Perhaps, one sequel would have been enough. Maybe keeping all the sleaze and crazy ideas until the very end of the saga, could have made Project A-Ko 4: Final a fitting ending to a saga that is cherished by many 80s Animé enthusiasts, myself included.

Happy new year!

Movie trailer:

Campus Special Investigator Hikaruon

30 minutes of fame.

学園特捜ヒカルオンAKA Campus Special Investigator Hikaruon is a 30 minute OVA from 1987. Quick action, fan service, a cool theme song, and a motorcycle dude who transforms into an armored superhero no one's heard of before. What's not to like?

A strange series of apparent suicides is occurring at a Japanese private school; Campus Investigators Hikaru Shihodo and Adzumi Hadzuki infiltrate the school to investigate the cause of these student deaths. Adzumi goes undercover as a business-suit wearing bodacious-babe teacher. Hikaru, back in school and posing as a newly enrolled student, is picked on by big, bad, bully Gomi and his gang, but quickly turns the tables on Gomi with his “too cool for school” attitude. After some “I-am-the-man” posturing between Gomi and Hikaru, pretty student council vice president Yayoi Shina becomes enamored of “Shihodo-kun”.

Through Shina, Hikaru meets suave, stuck-up, delicate featured, anemic looking student council president Amakusa (evil incarnate). Manipulative brainiac Amakusa is really a student’s soul-eating monster from another dimension. Amakusa takes Shina captive and puts Adzumi under mind control, and then he changes into a giant monster. It’s up to Hikaru to transform into the metal super-hero HikaruOn to rescue them. 

 

Hikaruon looks like a VR Trooper.

Average 1980s hero style.

 

Hikaruon was produced by AIC studios, veterans in the Animé industry producing a respectable amount of 133 OVAs ranging from hentai to sci-fi. Some of them, covered in past reviews here: Guy, Project Zeorymer, Dangaioh, Call Me Tonight, and the legendary Megazone 23 just to name a few! Moreover, it's directed by Kazuhiro Ochi, who's worked on Dragon Ball Super, Mobile Suit Gundam & Fist of the North Star. 

 

As above mentioned, Hikaruon is not trying to deliver an original story at all. In fact, it was conceived as a tribute to the "Metal Hero" (tokusatsu) genre from the 80s. This is a short one-episode. There's no backstory or character development at all (probably a good thing, actually) and very little characterization for our cardboard cutouts; the villain's motivations are also unclear. Granted, plotting and character nonsense is not usually the main factor drawing people to series like this, but it does help to have some kind of hook to keep the viewer interested—the appeal is the shortness and fast-pace, fun imagery, and a few bits of interesting animation. There is a mishmash of effective elements, but not one thing that is done enough or consistently well to make this anything more than a forgettable time waster.

 

Hikaruon main characters.

Vintage poster.

The storyboarding is often pretty good, with the chosen shots being quite dramatic (love the bit with the car trying to run over the protagonists). This was a period of animation where they weren't afraid to incorporate background animation somewhat regularly, and there is a bit of that. Hideki Tamura's running sequence is nice, though short. Both Shinya Ohira and Yoshinori Kanada animate parts of the final fight scene. Not really among the best work of either, though some of the effects animation predict stronger efforts of Ohira's, such as his scenes in Angel Cop or Akira. Kanada's scenes are probably the most stylish—especially those great silhouette light shows, and he was always a shining light in the darkness for so many of these old TV series.

The biggest standout, other than exposure to obscure work from a few industry veterans, is probably a much darker atmosphere than is usual for a show of this nature. It starts with a suicide, depicted in a creative fashion, and they even use unshaded and colorless bystanders to good effect. The multiple dimensions also lend this a bit of a surreal touch, with the chessboard setting being the most notable. Most of the scenes outside of the short school segments are nocturnal urban scenes that are well-rendered and moody.

 

Hazuki Adzumi, more than a teacher.

Brave Hikaru's friend.

 

Back then in the 80s, the few chosen ones who were lucky to witness some of this material, would frequently label it as an "adult form of animation". Nevertheless, this wasn't because of the occasional nudity & sex some of these OVAs included. This label, quoting a legendary 1980s franchise, referred to Animé as being "more than meets the eye". Think about it for a second, Adzumi Hadzuki (pictured above) infiltrates the school to investigate teenage suicide. How hardcore is that for an animation? He-Man and Optimus Prime only dealt with soft moral issues, never with depression and eventually death. I for one, can say this was groundbreaking to me, as a young impressionable and susceptible boy. Suicide is definitely one of the most difficult themes that society experiences, sadly, everyday. So, yes, I think we can agree the Animé industry was decades ahead of what the American cartoon industry considered suitable for children. No wonder, concerned families wanted to ban Animé because of its "satanic/perverted" content that would poison young kids minds. Moreover, Hikaruon also includes a couple of scenes where rape is involved. Although, our hero gets there just in time, the matter is teased twice. Considering, this is a 30 minute story, producers wasted no time in implying the demons hiding in the school are the very evil cause behind the issues that are destroying the students' lives. Once Hikaru arrives in school these demons have already infiltrated school with their minions posing as regular students. 

What's in it for the demons? Well, they feed on teenage flesh and blood, so it's only natural they target a high school full of them. Sadly, we don't get an explanation as to why they do it, and how Hikaru became the superhero he is. 

VR Troopers!

What could have happened to Hazuki.

All in all, Campus Special Investigator Hikaruon is a quick story that pays homage to the tokusatsu genre, and that's pretty much it. Remember that the 80s boom for animation had hundreds of companies producing as many OVAs as they could. The thirst was real, and honestly, producers didn't care if their stories would remain unfinished forever. They wanted the cash, and they got it.

 

Here's the opening in full HD glory:

 

 

The ending in full HD as well:

And a movie clip, also from the recent HD remaster:

Birth

Birth of the earliest OVAs.

Today's review is filled with personal nostalgia. Birth is a 1984 OVA based upon the Birth Planet Busters manga by Yoshinori Kanada, whose CV includes more than 50 television projects and OVAs. Some of his animation work include Cutie Honey and Genesis Climber MOSPEADA, Princess Mononoke, and Cyborg 009 just to name a few.

Birth was originally conceived to be an animator's delight. The action shots that move from one angle to the other, feature some of the most original, yet early attempts at taking the visual experience to the next level. Hence, the reason why some of the vehicle designs and especially Rasa Jupiter's ass is prominently featured from a variety of angles, speeds, and near/distant shots.

My experience with this gem was perhaps one of the earliest I had with Anime. Birth was imported by Harmony Gold, and released in home video (VHS tapes) as Planet Busters, and The Secret of the Talisman in 1987. At that time, whether you like or not, Animé was causing a big impression in the western world, so it became the next gold rush. I remembered very little from this little OVA back then. What I do remember is that one of the local TV stations would premiere Anime on the weekends during the Saturday morning cartoon block. Years went by and all I could tell my friends about it was "There was this group of rebel heroes, they had a magical sword, and a super powered weapon that ultimately destroyed their world". Fast forward to a few decades later, and thanks to the internet forums, I found the answer to my blurry memories: It was Birth! one of the first OVAs ever made, and a must watch for any serious connoisseurs.

 

Raza Jupiter.

Raza's vehicles demand this pose.

Birth story is quite simple. As a matter of fact, what I remembered was pretty much 70% of the plot. Our heroes, Raza Jupiter, Nam, Kim, and Luzen Bao take us into a road movie with one of the most unexpected endings ever seen in animated form. In a nutshell, planet Aqualoid isn't the paradise it once was. All thanks to the invasion of cybernetic creatures known as "Inorganics". Legend has it, SHADE, a magical sword that travels throughout the universe, is the key to defeating these invaders. However, the sword's actual power won't be revealed until the very end of the story. Character wise, we're introduced to a set of characters that have been doing whatever they've been doing for quite some time. Save for Luzen Bao who is a treasure hunter, we're never told about their motivations. While this put off many Anime fans who bashed Birth on their reviews, others enjoyed the mystery. On the other hand, the Inorganics have already invaded Aqualoid for reasons unknown. Perhaps, emulating Star Wars with the idea of an "already established world" was a bit underdeveloped here. However, we can't deny the animation quality this OVA has to offer. Detailed mechanical designs in every vehicle, beautifully drawn landscapes and city scenery, and characters whose body motion looks natural and harmonious even at their most frantic antics. 

Once the "Shed" sword finds its way to Nam, we are introduced to another key character in the story: Arlia, a superior being from an undisclosed distant planet in the universe. Although, only  a supporting character, Arlia reveals the true nature of the Shed sword, and which power it hides.

Early character designs.

More character designs.

Back then when I watched it on TV for the fist time, and on later rewatch through rental video, I had this feeling the main characters reminded of Robotech's New Generation Rook Bartley, Rand, & Lunk. Moreover, the inorganics looked very similar to the Invid. Little did I know back then that the original opening sequence for Genesis Climber MOSPEADA was animated by Yoshinori Kanada himself. Also, let's not forget how influential the Mad Max movie was for the Japanese animation industry with its dystopic future.

1987 was a prolific year for the animation industry, and while Birth premiered originally in 1984, American companies began to develop a serious interest in obtaining as many Anime/OVAs as possible due to the growing fandom. Bubblegum Crisis, City Hunter, Kimagure Orange Road, Zillion, Wicked City, Dangaioh, and Dirty Pair, all premiered in that glorious year. Of course, it would take a while to see them all outside Japan, yet they are all classics, and the ones I mention are only a few of the many released that year. Harmony Gold could smell money within thousand of miles of distance, so after Robotech was still a massive worldwide hit, they went Anime hunting, and Birth was one of the many OVAs they brought to the USA. Of course, we all know the treatment this company gave to their imported products: Replace the original soundtrack,change character names, delete scenes and even modify the original story. Nevertheless, this was a common practice in the industry. Other Anime received the same treatment way before Harmony Gold created Robotech, so it'd be unfair blaming it only on them.

The World of the Talisman.

Planet Busters.

Streamline Pictures also took an interest in importing Anime, or "Japanimation" as a few people would call it back then. Personally, it was just Japanese animation to me and most of my friends for a long time. Now, this company had some familiar names on board: Carl Macek, Robotech's creator and former HG's employee, was one of the founding members. The first Birth dub was released in 1987 by Harmony Gold as "The World of the Talisman" and that's the dub I was "lucky" to witness 36 years ago. Streamline's version would take longer, and it wouldn't be released until 1992. However, their legacy cannot be forgotten since they were responsible for an extensive list of Anime dubs. A few names I can think of are, Castle in the Sky, Lensman, Zillion, Fist of the North Star: The Movie, Golgo 13, Robotech (1992's home video collection),SDF Macross, SDC Southern Cross, Genesis Climber MOSPEADA, Megazone 23 part 1 & part 2, Dirty Pair, Space Adventure Cobra, and many, many more.

To this very day, Carl Macek is a controversial figure in the Anime fandom. The neverending "subbed versus dubbed" debate heavily criticized his "Americanized" dubs. Nobody asked I know, but I'm team subtitled all the way. In animation, just like in films in different languages, the only way to truly appreciate the actors' talent is through their own voices. Dubbing is for couch potatoes.

 

Wielding Shed with friends.

Fan service done right in the early ages of OVAs.

 

Anyway, Birth's story, as confusing it may be to some viewers, may hide a philosophical lesson: What does mankind do when it has the power to completely erase the planet and its inhabitants? Is this purge through massive destruction, the only way to start fresh, and make a better world for everyone? The animation wastes no time. The Shed sword is not the key to destruction, but the key to survival. The military created "Dongemahar", an even deadlier weapon, one that is believed to completely obliterate the Inorganics. However, there's a catch, and a big one I   might add. Fire, and everything will be turned into plasma until it disintegrates. 

For a kid, seeing the good guys being destroyed along with the bad guys and the whole planet they lived in, definitely caused an impression. I thought it was an unexpected ending that only would to that "dark & gritty" mood people used to label Anime with. "not kids stuff", ADV would say decades later on their DVD releases.

Arlia.

Nam.

Later I would find out that there was a novelization trying to answer all the questions the OVA created. On the other hand, the Manga was as confusing as the movie, although it did expand, and tried to cover the origin story of the characters, the very nature of it, made it nearly impossible to be cohesive. Moreover the production schedule of Birth was problematic since day one. However, it did allow artists involved to produce Leda: The Fantastic Adventure of Yohko., the second biggest selling OVA from the 80s, with the first one being Megazone 23, another Idol & Victor production where Kaname Pro was not involved.

All in all, one of the first OVAs ever made. Reason enough to give it a try and consider it part of Japanese animation history.Birth ended up being a commercial failure, but did make some waves in the small world that was budding otaku culture and the developing animation fandom. After all, OVAs would always be something of a niche market, and it was mostly Kanada fans who went to see this one. However off-model it was, Rasa’s design was pretty attractive and probably played a part in the lolicon boom that had started in the late 70s and that Kaname would contribute to with its round, plump and cute girl characters. In terms of animation proper, Kanada pushed further the limits of what you could do with background animation in one of the most amazing chase sequences ever made, and it was all hand drawn, which makes it even more amazing.

Raza inspired future heroines.

Sexy read head.

Birth theme:

Harmony Gold's The World of the Talisman opening sequence:

 

Another The World of the Talisman version scene. Raza's escape. Enjoy the animation!

An action scene from the Japanese Blu-Ray edition:

D・N・A²

Vasectomy: The anime.

Hello fellow few people who still read reviews. It's been a busy semester for this professor, hence the lack of reviews during the year. However, this isn't a post about my sorry real life struggles, it's a  post about another 1990s Animé that is worth revisiting today, almost 30 years after its  original release date.

D・N・A², is a 12 episode Japanese animation based upon the same manga written  & illustrated by Masakazu Katsura, who also created Video Girl AI which we reviewed previously.  Romance, comedy and Sci-Fi blend to tell the story of Momonari Junta, a high school student who has terrible luck with women, and also an axiety disorder that makes it nearly impossible to establish any kind of physical contact with them. Kurimoto Ami is his childhood friend and classmate. Nothing out of the ordinary for a standard animé, right? Fast forward to the future, and the world is awfully overpopulated. A mysterious man nicknamed the "Mega-Playboy" is to blame, and the only way to stop him from getting hundreds and hundreds of women, is to travel back in time, and find him before he becomes the sexual beast women can't resist. Enter,  Aoi Karen, a DNA Operator from the future. Her mission: shoot down the Mega-Playboy with a special DCM (DNA Control  Medicine)  bullet that will obviously, as you've probably guessed by the Anime title,  modify his genetic structure and keep him a normal man forever. While the concept of genetics is not developed to the point  of being a biology class, the word DNA is mentioned several times by a variety of characters implying it's impossible for them to change their nature. Discussions of nature versus nurture, have taken place for centuries in science, novels, philosophy and family discussions. Can you turn the tide, and decide for yourself? Well, that's one of the questions this little Anime will try to answer in 12 episodes.

 

Junta and his women.

Ass from the future.

 

Although D・N・A² tells a story that has been told hundreds of times in both Manga and Anime, the kid who never finds a girl because he's too troubled to dare, is presented here in a hopeful manner despite all the unexpected changes about to unravel when past and future meet for a common goal: The needs of the many, outweigh the needs of the few. Junta is a kid who means no harm. He's never been popular with girls, and his friends are part of the same stereotyped group. As above mentioned, he probably has an anxiety disorder by current standards in medicine: He throws up whenever he gets aroused. Although this happens rarely on his life, he's decided to maintain distance with women to avoid the humiliation. Kurimoto Ami, his best friend is the submissive stereotyped friend who secretly loves him but is too shy to reveal her true feelings to him. If you can pass the stereotypes that have been ruining the romantic lives of millions of people who grew up watching either Anime or soap operas, then this Animé could be for you.

Once the inevitable future meets the past happens, Junta falls in love with Karen, who will eventually feel the same way. Comedy is all over in the first 6 or 7 episodes. Junta's condition, along with the fact Karen will shoot the wrong bullet, turns Junta into a mega playboy. However, this condition will basically be temporary until he makes love with one of his many admirers. Enter Saeki Tomoko, and Takanashi Kotomi. The first one is of the most popular and beautiful girls in Junta's school, and the ex-girlfriend of Ryuji (the antagonist). She falls in love with Junta because of his Mega-Playboy powers. The second one, is a friend and classmate of Ami's who has an embarrassing problem similar to Junta's allergy: she farts whenever she gets nervous. Kotomi develops a crush on Junta due to his Mega-Playboy DNA. She and Junta spend some time together trying to help cure each other of their problems. 

So, now that the bullet has been shot, it will be up to Aoi Karen to stop Junta from making love with one of his female admirers. If she fails, his transformation will be complete, and the future will remain the same with its overpopulation problem.

Junta's condition.

The power of the mega playboy.

Fan service wise, D・N・A² the scenes are mild, neither nudity, nor sex. These scenes serve the purpose of displaying Junta's problem whenever he's about to move to the next level. This serves as a sub-plot when Kotomi and Junta decide to solve their problem by training at the high school gym. Kotomi is perhaps the girl that gets closer to fully transforming Junta in the mega playboy. On the other hand, Tomoko also attempts to take Junta to her bed, which introduces the antagonist: Ryuji, a spoiled rich kid who's irresistible to women, and the one we could say is the mega playboy Karen is trying to stop.However, he's just an annoying character meant to get into an eventual final fight with Junta just because "her girl" had a thing for him. A sexist son of a bitch from the 90s.

Speaking of themes that haven't aged well, we can't overlook the fact that each character has some degree of obsessive compulsive behavior when it comes to getting what they want regardless of consequences. Moreover, by today standards, these characters would probably spend some time on therapy. On the other hand, I  know this is fictional story telling, and each of these exaggerated character traits serve a comedic purpose, while others are simply not acceptable. Two examples I can think of:

Ami's submissive behavior towards Junta, and the all the crap he brings to her, looks like someone with no self-esteem. Love has never been about giving up your personality, and needs in favor of someone else, that simply isn't love, and it's annoying all these mangakas keep on perpetuating this wrong concept even today. No wonder why some kids have serious difficulties letting their feelings out. In addition, whenever Junta is late for school or skips classes, Ami's ready to bring her class notes to him whenever necessary. In the final episodes, this trait reaches critical mass when she tells him she'll love him regardless what happens when he becomes this mega playboy. Seriously?  Will she stay home with dinner ready until he gets sick of fucking random women until he comes home? That cliché crap was already worn to death in the 90s.

Aoi Karen.

a woman with a mission.

Second example: Ryuji. While his misconduct is somewhat justified by the random DCM bullet he gets shot with, this guy is a potential rapist, an egotistical maniac, and someone with no ethics and morals whatsoever. I get they want you to loathe him because he is supposed to be the bad guy, sure, I get it! This guy is every sexist stereotype feminist movements can't stand today.

Plotwise, the story is quite weak, unless you apply suspension of disbelief. The whole mega-playboy problem could have been solved with a more competent DNA operator, and a vasectomy. No need for special bullets. Once the story reaches its climax, viewers are no longer interested. The comedy is gone, and the Dragon Ball-like fight between Ryuji & Junta makes no sense at all. Two episodes before we had no idea these bullets would give them superhuman strength, and a black belt in martial arts. The rushed finale led to a 3 OVA grand finale, or dare I say the actual ending of the story?

Taking showers is essential.

Gymnastics has its advantages.

Overall, D・N・A² starts off great. The first 7 episodes are the best, comedy and entertainment wise. From episode 8 on, the story is rushed and all the sci-fi added elements don't add up in the end. If you want to see how the story ends, you have to watch the 3 OVAs because, that's where the actual ending is. The problem many viewers found while watching DNA, is the fact that it seems the producers didn't know where to go after episode 7. The rushed final episodes, and all the elements they tried to cover, worked for the worst. The premise wasn't bad, yet the development and ending are perhaps the weakest. Animation wise, the art is beautiful, you can't deny that, and last but not least, the best part of this little anime is its main theme song:

 

Video Girl AI

AI girl from the 90s.

"Video Girl AI" stands as a quintessential representation of the romantic drama genre within the vast landscape of anime. Originally penned by Masakazu Katsura, this classic series has not only withstood the test of time but has also etched itself into the hearts of viewers with its compelling narrative, intricate character development, and evocative themes. In this comprehensive review, we will delve into the layers of this emotionally charged anime, exploring its narrative depth, character dynamics, thematic underpinnings, and the artistic prowess that brings the story to life.

Disclaimer:

Before you continue reading, if you are too young to understand what a VCR is, here's a quick definition: 

A videocassette recorder (VCR) or video recorder is an electromechanical device that records analog audio and analog video from broadcast television or other AV sources and can play back the recording after rewinding. The use of a VCR to record a television program to play back at a more convenient time is commonly referred to as time shifting. VCRs can also play back prerecorded tapes, which were widely available for purchase and rental starting in the 80s and 90s. Blank tapes were sold to make recordings.

VCRs declined in popularity during the early 21st century and in July 2016, Funai Electric, the last manufacturer of them, ceased production. 

 

a VCR, ladies and gentlemen.

 

Plot and Narrative Complexity:

At its core, "Video Girl AI" presents a seemingly straightforward premise: a lonely young man, Yota Moteuchi, acquires a video cassette that, when played, brings the titular character, Ai Amano, to life. However, beneath this seemingly simple plot lies a narrative labyrinth that expertly weaves together elements of romance, science fiction, and existential contemplation.

The narrative arc unfolds with an engaging balance of suspense and emotion, as Yota grapples with the complexities of his feelings for his unattainable crush, Moemi Hayakawa. The introduction of Ai Amano as a manifestation of Yota's unrequited love adds a layer of surrealism to the storyline, challenging conventional perceptions of reality and fantasy.

As the plot progresses, the anime deftly navigates the emotional rollercoaster of love, rejection, and self-discovery. The characters are confronted with moral dilemmas and existential questions that resonate with the audience on a profound level. The narrative pacing is deliberate, allowing for the exploration of nuanced emotions and the gradual unraveling of the characters' internal conflicts.

 

Original Japanese DVD cover.

Volume 2 DVD.

Character Dynamics and Development:

One of the standout aspects of "Video Girl AI" is the nuanced portrayal of its characters. Yota Moteuchi, the protagonist, undergoes a compelling transformation from a lovelorn teenager to a more mature individual grappling with the complexities of relationships. His character arc is a poignant exploration of the nature of love and the sacrifices it often demands.

Ai Amano, as the eponymous video girl, transcends the stereotype of a mere romantic foil. Her evolution from a programmed companion to a self-aware entity imbues the narrative with a sense of existential curiosity. The dynamic between Yota and Ai is a delicate dance of emotions, traversing the realms of friendship, love, and the inevitable pain that accompanies the ephemeral nature of their connection.

Supporting characters, such as Moemi Hayakawa and Takashi Niimai, contribute to the narrative richness by serving as mirrors reflecting the intricacies of human relationships. Each character grapples with their own desires, fears, and insecurities, creating a tapestry of interconnected lives that adds depth to the overall storytelling.

AI at the service of mankind. Sci-Fi indeed.

From VCR to real life.

Themes and Philosophical Underpinnings:

"Video Girl AI" transcends its romantic drama label by delving into profound thematic explorations. The anime grapples with existential questions about the nature of consciousness, the boundaries between reality and fiction, and the consequences of tampering with the natural course of human emotions.

The concept of a video girl as an artificial construct designed to fulfill emotional needs raises ethical questions about the implications of creating beings solely for the purpose of companionship. The anime invites viewers to ponder the ethical ramifications of playing with the fabric of human emotions and the potential consequences of blurring the lines between the artificial and the authentic.

Love, in its myriad forms, is a central theme explored with depth and sensitivity. The series contemplates the sacrifices individuals make for the sake of love, the pain of unrequited affection, and the transformative power of genuine connections. Through the lens of fantastical elements, "Video Girl AI" serves as a mirror reflecting the complexities of human relationships and the emotional landscapes that accompany them.

 

Can AI be more human than humans?

Nature, always stunning.

Artistic Prowess and Aesthetic Choices:

The visual and auditory components of "Video Girl AI" contribute significantly to its immersive storytelling. The animation, while adhering to the aesthetic conventions of its time, remains visually captivating. The character designs by Masakazu Katsura, who also authored the original manga, are distinctive and emotive, effectively conveying the characters' inner struggles and emotions.

The soundtrack, composed by Yoichiro Yoshikawa, complements the emotional tone of the series. The use of melodic motifs and evocative instrumentals enhances the viewer's emotional engagement, underscoring key moments and accentuating the overall impact of the narrative.

The animation studio, I.G Tatsunoko, deserves commendation for translating the visual charm of the manga into an animated format. The careful attention to detail in facial expressions, body language, and environmental settings contributes to the overall immersive experience, allowing viewers to connect with the characters on a visceral level.

A man that has never had any luck with women.

AI shy?

 

Conclusion:

"Video Girl AI" stands as a timeless testament to the enduring power of anime to explore the depths of human emotion and existential inquiry. Through its intricate narrative, well-developed characters, and thematic richness, the series transcends the boundaries of its romantic drama genre, offering a profound and thought-provoking viewing experience.

As a classic within the anime canon, "Video Girl AI" continues to captivate audiences with its exploration of love, consciousness, and the fragile nature of human connections. Its enduring relevance lies in its ability to resonate with viewers on a personal level, inviting introspection into the complexities of the human heart and the profound impact of relationships on the journey of self-discovery. In the tapestry of anime storytelling, "Video Girl AI" remains a luminous thread, weaving together the timeless themes of love, loss, and the eternal quest for meaning.


Upscaled Opening:

 Ending: