Blood-C (2011 anime TV series)

Blood-C is a 2011 anime TV series with interesting origins. In 2000 Production I.G. made a short feature film called Blood: The Last Vampire about a girl named Saya who hunts supernatural monsters. It was an absolutely brilliant movie which has never received the acclaim it deserves. There does seem to have been some thought of turning it into a TV series. That finally finally happened in 2011 with Blood-C, but it’s not as simple as that. This series is more of a radical reboot than a follow-up to the movie.

There are plenty of superficial similarities. The TV series also features a girl named Saya who hunts supernatural monsters. She also uses a katana (a samurai sword). There are however major differences. Blood: The Last Vampire was set in the 1960s; Blood-C has a contemporary setting. The Saya of the movie worked for some kind of shadowy probably governmental agency. The Saya of the TV series is a kind of girl priestess belonging to a religious sect dedicated to battling supernatural evil.

And this Saya is a very different girl. The Saya of Blood: The Last Vampire is an attractive young woman but there’s something very dark, ruthless, dangerous and chilling about her. She’s one of the good guys but she’s a stone-cold killer. The Saya of Blood-C is a cute bubbly high school girl. The only real similarity between the two girls is that they are both named Saya.

One of the best things about Blood: The Last Vampire is its minimalism. It tells us only what we absolutely need to know, when we need to know it. We get no backstory at all on Saya, apart from one moment at the end which revels her true nature. But it leaves many many unanswered questions.

The TV series is clearly determined to give us a very detailed backstory on this new version of Saya. There’s nothing wrong with that. TV is a totally different medium. In TV you expect detailed backstories.

It may not be evident at first but you really do need to watch Blood: The Last Vampire before watching the series.

You have to be a bit patient with Blood-C early on. I can understand what the series is trying to do. Saya has a double life. She has been chosen to fulfil an exacting and dangerous duty battling supernatural monsters but she’s also a high school girl. She is trying to balance the two sides of her life. She accepts her duty without question and she is a brave and dedicated warrior maiden prepared to sacrifice her life if necessary.

But she also wants to be a normal teenage girl. She wants to have some fun. She wants the other girls at school to like her. She especially wants boys to like her. She has her eye on one particular boy. She has the perfectly normal feelings of any teenage girl.

I think this approach taken by the series is perfectly valid, but the high school stuff is very very cutesy. If you bought this series for the mayhem and monster-slaying you might find this cutesiness a bit over-the-top.

Even in the early episodes however her sacred mission is not forgotten and she does have some epic battles with monsters. These monsters are known as the Elder Bairns.

The series does quickly become a lot darker. The supernatural threats to the idyllic village in which Saya lives become more frequent and more extreme. Saya has promised to keep everyone safe but she starts to wonder if that’s possible.

She also has reason to think that there are many things she has always taken for granted that may not be as simple and straightforward as she’d thought. She had not realised that the Elder Bairns could communicate with humans. They tell her things that disturb her. 

There’s also a dog, a cute little dog she has befriended. He talks to her as well. Whatever he is, he’s not just a cute little dog.

The battle against the Elder Bairns intensifies but the series gradually becomes more interesting in other ways. Both Saya and the viewer are offered tantalising hints that there is something much more complex going on than the threat represented by the monsters. 

There is much that Saya does not yet understand and that she needs to understand but perhaps she is not yet ready for such knowledge.

Saya also has to deal with something else that is new and disturbing - the possibility that love might be blossoming for her for the first time. This is something that scares her a lot more than monsters.

The one minor weakness of this series is that although the monsters are very imaginative they are at times in danger of becoming just a little goofy. The monsters perhaps needed to be a bit creepier and a bit less over-the-top. The problem was that there was a obvious desire to make each new monster more spectacular than the preceding one. The gushing blood effects are also a bit iffy.

The action scenes are certainly lively.

There is some unexpected nudity in episode 8. It’s very tasteful and given the level of violence this is a series that is most definitely not intended for the kiddies.

Blood-C is an odd mix cuteness, mayhem and weirdness. It’s a mixture I like very much. Highly recommended.

Seeing Blood: The Last Vampire first will add enormously to your enjoyment and it is in any case a must-see anime movie.

Ghost in the Shell: Stand Alone Complex 2nd Gig

The Ghost in the Shell franchise began with Masamune Shirow’s original manga in 1989. There were two follow-up volumes. The Ghost in the Shell movie was released in 1995. Ghost in the Shell 2: Innocence followed in 2004. Both were directed by Mamoru Oshii.

The Ghost in the Shell: Stand Alone Complex TV series first aired in 2002. The second season (or 2nd Gig) began its run in 2004. The film Ghost in the Shell: Stand Alone Complex - Solid State Society served as a finale for the TV series in 2006. There have since been other entries in this spectacularly successful franchise.

What’s interesting is that Masamune Shirow’s manga series, the Mamoru Oshii feature films and the Ghost in the Shell: Stand Alone Complex TV series are all slightly different takes on the same basic premise. The TV series does not take place in exactly the same timeline as the manga or the two feature films. It takes place in the same fictional universe, almost. It’s like three variations on the same basic theme, and each variation has its own appeal. In their own ways they’re all equally worthwhile.

All the different variations deal with Public Security Section 9, a shadowy fictional counter-intelligence, counter-terrorist cybersecurity agency run by the eccentric but brilliant maverick Aramaki. The commander of the field operations task force is Major Motoki Kusanagi. She is a cyborg. Her body is wholly synthetic (although it’s very female and she is in practice a perfectly functional woman) but she still has a human brain and human emotions and she still has her human memories. She was once a fully human little girl.

In this second season Section 9 will be up against a mysterious group known as the Individual Eleven.

The main cast members are substantially unchanged in the 2nd Gig. Aramaki still pulls the strings. Major Motoki Kusanagi is still the field commander. Batou is still her second-in-command and the one person in the world she really trusts. 

And happily the tachikomas, the combat robots used by Section 9, return to the series after a brief absence. The tachikomas are controlled by AI but whether it’s a collective AI or whether each tachikoma has some degree of individuality is uncertain. As is the question of just how far they are capable of operating autonomously. The tachikomas provide comic relief in what is other a very serious very dark series but it works - the writers rather cleverly use the tachikomas to reflect in a humorous way one of the main themes of the second season, the conflict between individuality and collectivity.

Ghost in the Shell: Stand Alone Complex deals inevitably with political conflicts. The series is more interested in the nature of ideological conflicts than with pushing a particular ideology. It’s not really interested in taking sides politically. And it accurately reflects the confused and contradictory nature of 21st century ideological conflicts. The Individual Eleven see themselves as radical individualists but they behave like a kind of hive mind. They also appear to believe in revolution for its own sake. Their goals seem somewhat mystical.

The series also deals with political infighting in government and law enforcement and intelligence agencies. Political leaders are mere puppets. Powerful shadowy forces are pulling the strings. Every law enforcement and intelligence agency is obsessed with ensuring its own survival. They don’t trust each other, for good reason. Aramaki is a clever operator but even he finds himself being manipulated by forces he doesn’t entirely understand.

There’s an ongoing story arc here, as there was in the first season. What’s interesting is that what appears to be happening on the surface is not what’s going on at all. The story arc deals with unrest in a refugee community in Japan, with tensions between the locals and the refugees which could lead to civil war, and government efforts to resolve the crisis. What is really happening is that a series of complex interlocking power games are being played out and none of the players have any interest in the refugee crisis. And I don’t think series director and chief writer Kenji Kamiyama is all that interested in that particular political issue. He’s more interested in the way political power games are played.

There are also ideological drivers but my impression is that Kamiyama is not interested in particular ideologies but rather in the way that political ideologies work. And, more to the point, the way ideologies are likely to work in an information age of total interconnectedness. They may work like viruses.

There are multiple players in the power game - several different intelligence agencies (including Section 9), the military, the bureaucracy, the Prime Minister, the Cabinet, mega-corporations, the media and shadowy informal networks. They all have their own agendas. They are all concerned with protecting their own interests. They will all cheerfully sell each other out. They all manipulate each other. None of them care about Japan or about ordinary people. None of them has any genuine commitment to any principles. Winning is all that matters because that means power.

They all see themselves as puppet masters but often they are merely puppets. Mostly they have no idea who is really pulling the strings. The Prime Minister for example has no idea that she is a mere figurehead, a puppet who will be discarded when she is no longer useful.

Aramaki has more insight and he’s a wily old bird but even he finds himself manipulated. He does at least have the advantage of being a skilful player. Motoko is learning to be a skilful player. She’s learning to analyse problems on multiple levels.

The refugees are simply pawns who are being used by several different groups with contradictory agendas.

There are bad guys but some of the good guys might turn out to be bad guys and some of the bad guys might not be straightforward villains.

Other TV series have tried to engage with such issues but this is the first series to do so in a sophisticated and complex way in the context of the age of digital information sharing. And it’s hard to think of another TV series (or movie) that has taken such a brutally cynical approach.

The cynicism level rises as the series progresses. Most of Section 9’s assignments are not what they seem to be.

Mention has to be made of Yoko Kanno’s superb music. It’s very pop but very cyberpunk.

There’s both a DVD and a Blu-Ray boxed set containing both seasons of this series. Thankfully it includes the original Japanese language version with English subtitles as well as the English dub. I have a particular aversion to English dubbed versions of anime. Hearing the characters speaking with American accents just feels totally wrong. I like anime because it’s Japanese. I also really like Atsuko Tanaka’s voice acting as Motoko - her voice just sounds right. And Akio Ôtsuka sounds like Batou.

This is very much cyberpunk but with even more paranoia than usual. Science fiction TV doesn’t get much better than Ghost in the Shell: Stand Alone Complex. Very highly recommended.

I’ve reviewed the original manga, the TV series Ghost in the Shell Stand Alone Complex, 1st Gig and the first movie, Ghost in the Shell (1995).