Tohoshinki are back on TV!!

ASIAN TOP IDOL!!!

i’ll be there snow dream under the sky

waiting for rising sun

to break up the shell

Keroro Gunsou!!

The best anime series ever for you who is pure OTAKU, haha…
There are a lot of things in this anime… Japanese stuff, Gundam, Gunpla,parody from famous and old anime, everything that you need from an anime!!
This is the best series to spend your time with after a long hours of your routine…

The story is about an alien…. well, a frog alien trying to invade earth…. but instead got captured by Hinata Family and then….turned into a home maid doing all chores or in short ended up living with them peacefully, while trying to invade earth with various “GENIUS” plans when they have their chances…

The story itself is not too important to me, but how every episodes go… it’s a light anime and doesnt require a hard thinking… any scenes, climax, drama, action, comedy are very good!!
Usually I complain much when I watch series that have many minus but I do less with this…

Here are some action scenes :

The alien fires a huge beam from its mouth ( wont spoil the name for you )

Left : The alien attacking the superhero with lightsaber

Right : The alien with its mecha ( there are more cool ones later!! VERY COOL Mechas!! I can guarantee it!! )

Then pictures of our cute little green alien doing his chores :

Guess I dont need to explain all those pictures above “-__-

Keroro, our main character is actually very strong… the strongest out all of his platoon… but because of humidity level on earth, he feels lazy and ends up wasting his time lazying around instead of invading earth…

You might want to try 2 episodes to see whether it suits your taste or not… but this series has never fail to amuse me!!

I simply say I

HIGHLY

RECOMMENDED!!!

it!! You wont be dissapointed!!

For Your Information :

Even the lovely Wonder Girls love Keroro Gunsou!!!

so today, i watched 3 asian movies, all of them are quite famous.

the first one, i finished at about 2 am, which counts as TODAY, was Departures or おくりびと (okuribito). hao rec’d it to me the other day, but before school ended, we had exit interviews for japanese because sensei wanted to ask us about the year and the ap test. at the end of mine, she asked “what advice do you want to give next year’s students?” and i said to watch dramas and stuff for listening practice. and she showed me the trailer for this movie and it was for the seattle film fest. i totally wanted to watch it then, but it was still hella new and i couldn’t watch it anywhere else but the film fest. and it came back to mind when hao told me to watch it, so i did. yes. that’s the story. -.-;;

anyway, it was exactly what i expected it to be: touching, enlightening, and japanese (culturally, of course).

it was just beautifully projected on the screen, the actors, the story, especially. YEAH! it seemed like that story could actually happen; how this cellist became an encoffiner and actually enjoyed his job when everybody, even his wife, was ashamed to be in his presence. you see, in asian cultures especially, death is an extremely impure, filthy thing. it’s bad luck, essentially. but kobayashi, the main character, was taken by his boss’ precision and elegance when sending off the dead for the last time. he turned something impure into something beautiful, as it should be. a person should be the most beautiful when they leave for the last time. that’s what i learned from this movie. it was hard to find online with it’s japanese name, but if you search for ‘departures’, you’re sure to find it.

next, i watched part of a movie called ‘dororo’ on free movies on demand. lol
it was SUPER bloody and about this girl and demon guy getting revenge on this evil guy. there were all these plot twists and whatnot, so it was pretty un/predictable. but one thing caught my attention the whole time: the lead guy! :O
he was the guy who played suzuki in ‘waterboys’. oh ho, what a discovery. he’s pretty yummy (especially with the long ancient hairstyle LMAO).

oowee

yeah, so hella people were killed and it was a funny ending when dororo kicked the main guy (hyakkimaru) in the balls. they are in love. lol but i seriously thought it was the anime, you know the froggy one? and it turned out to be a bloody movie. wha~~~~~~~~~~~~~~t??!?!?!?!

and lastly, i saw the famous korean movie, OLD BOY. and i FINALLY get the joke in Super Junior H’s ‘Cooking? Cooking!’ song. FINALLY!!  (it’s the first 18 seconds or so of the video).

IT’S AN OLDBOY PARODY. anyway. this movie was super weird and unexpected. i didn’t know what to think because the main theme of the whole movie was revenge and trying to figure out why dae-su (the main character) was locked up in some room for 15 years. and then it turns out that the guy who did it wanted to get revenge on dae-su. -.-;;

what the hell. and the reasons for doing it are CRAZY!!! and there’s also hella incest, which is quite disturbing. anyway, i also saw the famous yoga pose the evil guy does!!

that’s something, huh! well, i can tell why the movie is famous and why it won so many awards. the story was intriguing and beautifully written, but it made me look away at times, especially at the end when dae-su finally gave up and was kneeling in front of the evil guy begging for forgiveness because of the rumors he spread. and to repay the evil guy, he cut off his own tongue so he could prove that he wouldn’t spread rumors anymore. so the story was really complex and would take me forever to explain (not to mention it’d be annoying), so go watch it yourself. just hope you don’t get any mysterious prettily wrapped purple boxes…

and then, my family and i went to eat buffet. my grandma’s favorite buffet that i would also recommend to anyone who loves sushi. they really have the prettiest, most varied sushi i’ve seen at a buffet. and it’s all you can eat. it’s called ‘main japanese buffet’ and it’s in federal way, washington. i’d recommend lunch because it’s a hell of a lot cheaper (like 7 dollars cheaper) for basically the same thing except for snow crab or stuff like that. it’s still a fabulous deal, so stop by because weekends there are crazy, unless you wanna pick up some korean boys/girls while you’re waiting for a table.

after buffet, we went to the market and the bag boy was totally my type. haha, just saying. -.-;;

783 words, betches. and as gary would say, ’smell ya later’

ps. my delusional cousin is…well, delusional. her and her ‘husband’ are fighting again, and making mount everests out of mini-mini-mini-mini-mini^-9999999999999999999999 mole hills. and then she still holds grudges from forever ago. i’m worried but she needs to learn to grow up and learn that she’s mainly the one at fault. gah.

The current wave of interest in remaking classic anime as live-action movies has a lot to answer for – not least the hopeful expressions on the faces of fans of a certain age whenever I mention South Korea’s 2009  live-action movie Marine Boy. The happy faces fall when they learn that Yoon Jong-seok’s film is a live-action thriller about a former swimming star and gambling addict turned drug mule, not a perky kid who can breathe underwater with the aid of oxygum.

Korean cinema poster © CJ Entertainment

Director Yoon was perfectly aware of the hopes his title would raise. He said “There’s something beguiling about its duality, how these criminals are called something that romantically brings to mind the popular cartoon Marine Boy or the star swimmer Park Tae-hwan.” The Korean press nicknamed Olympic gold medallist Park ‘Marine Boy’, after the Japanese animated character.

Yoon isn’t the first to trade on the name and its nostalgic associations. British new wave band Haircut 100 recorded a track entitled Marine Boy on their 1982 album Pelican West. An Australian underwater video and charter business trades as Marine Boy Productions, making films of undersea creatures in their natural habitat, though so far they haven’t featured any mermaids. There’s even a restaurant named Marine Boy Sushi in Cerritos, California.

Marine Boy the anime has a complex backstory. It originated in 1965 as Dolphin Prince, a groundbreaking show produced in colour at the Toei studios in Nerima for Fuji TV. Only 3 episodes were completed by director Suguru Sugiyama. They never aired. The honour of producing Japan’s first broadcast colour anime, Jungle Taitei (later known in the USA as Kimba the White Lion,) went to Osamu Tezuka’s team at Mushi Pro.

Colour was only just beginning to take over the Japanese TV market. Black and white shows would continue to be made for domestic consumption as late as 1969, when the animated version of Tezuka’s Dororo, directed by Gisaburo Street Fighter II Sugii, aired. For export, though, colour was essential. Despite making and selling top-quality animated films, Toei had shown no intention of entering the TV anime market until Tezuka and his team showed how successful limited animation could be. Mushi Pro had its eye on the export market from the beginning, and its debut TV show Astro Boy aired on NBC just months after its home debut in 1963. When Toei joined the TV anime boom triggered by Astro Boy, overseas sales were a natural extension of its foreign movie business.

So they refloated Dolphin Prince as Go For It, Marine Kid! The show was dogged by internal problems and ran for just 13 episodes, but the concept of a boy and his dolphin pal keeping the seas safe wouldn’t go away. A 36-episode sequel, Undersea Boy Marine, was directed and written by Haruo Osanai. It premiered in 1969 and a second series followed in 1971. This featured episodes recycled from the first, but introduced a new element in the form of Neptina, Marine Boy’s mermaid girlfriend.

Although the entire run wasn’t aired in Japan until 1971, the show did well in the USA from its first appearance in 1966, in Australia from 1968 and in Britain from 1969.  It was the first anime to achieve any success in the U.K., and was outperformed in U.S. ratings only by Speed Racer. Interestingly, it was castigated by America’s National Association for Better Broadcasting as “one of the very worst animated shows” for putting child characters in extreme peril and expressing delight in torture and destruction of ‘evil’ characters. One wonders what the NABB would have made of Yoon’s 2009 movie, or indeed of Guantanamo Bay.

The animated Marine Boy isn’t available legally on DVD, and it appears there are no plans for a re-release, though the first episode is on Google Video. (The English-language masters are now owned by Seven Arts purchasers Warner Brothers.) A live-action version doesn’t seem to be on the cards.

Fans of the original Marine Boy should check out  this 2007 post on Let’s Anime and wallow in the sheer nostalgia. For the moment, it’s all we have!

© Yuki Urushibara

“Mushi are … things that are somewhere between life and death. They’re like beings… and like things. Like they are living, but on the verge of death.”

So says a mushishi, or mushi master, in Yuki Urishibara’s eponymous manga. That’s a  fair summary of the human condition.

Urushibara presents the cycle of life and the search for its meaning in a manner reminiscent of Osamu Tezuka, but from the tiny end of the telescope. In Phoenix Tezuka shows the endless striving of life towards eternity, the struggle to understand its meaning, the grandeur and sweep of the cycle of life from the largest forms to the smallest. Urushibara focusses on a few particles caught up in that cycle, the smallest working out their destiny in complete harmony with what is, while the slightly larger ones known as humans spend their time either struggling against the flow of life, or trying to understand it. Living, but on the verge of death. Part of a mighty ocean, but mostly unable to see further than the ends of our own noses.

Mushi master Ginko wanders rural Japan, investigating and trying to resolve problems related to mushi, unique primeval life forms that predate all other life. They survive, independent of the rest of evolution, invisible to all but a few. When their ancient lives collide with our more recent ones, a mushi master is called in to deal with the consequences. Ginko’s story unfolds through a series of vignettes that gradually reveal the unity and interdependence of all life, however strange its forms.

The manga was Urushibara’s debut, and it’s an astonishingly assured one. It’s no surprise that both animated and live action versions followed. I took a look back at all three recently at London’s Barbican Cinema, where we screened episodes of the anime TV series alongside Katsuhiro Otomo’s live-action theatrical version.

Urushibara’s original vision was so seductive that the anime and movie follow her art and storytelling style very closely. Stylistically caught in a timewarp somewhere between Showa-era rural Japan and an imagined past, the art is striking and powerful, but the most compelling things about the manga are the stories and characterisations. Delicate, almost dreamlike, unfolding slowly and obliquely, they are true miniatures, multi-faceted and beautiful, imaginary jewels. First published in 1999, the manga ran until August 2008 and won several major prizes.

Mushishi is made up of a series of short episodic narratives. They build into a coherent and satisfying picture of a world not unlike our own, but with just enough dislocation to make it interesting. Since mushi, like Japan’s younger nature spirits and goblins, the yokai, don’t thrive in crowded places, her tales unfold in rural areas, villages and isolated houses, the traditional setting for ghost stories. They aren’t scary in the usual sense, but they’re disturbing, leaving one with a strong sense that the link between the spiritual and physical worlds is far more complex than we realise.

Family and community are vital to the stories. Urushibara obviously empathises with traditional social structures, writing of protective grandmothers, loving wives, close-knit communities. Even the mushi are shown as part of a benign natural system, despite the mistakes and failures of communication that require Ginko’s intervention. The mushishi themselves have a loose, fluid organisation that enables them to wander as free agents, but gives them a network of support and knowledge to fall back on – a community of their own, outside the ordinary human world but linked to it. It’s no surprise to find that the only barriers between humans and mushi are those of misunderstanding and fear.

Urushibara isn’t concerned with time. She’s vague about Mushishi’s period; most of the characters wear old-fashioned clothes, but such clothes were still common in rural Japan even after World War II. Ginko’s Western garb would fit anywhere in the last century. Her stories loop and twist, the narrative line overlaid with images, thoughts and memories. Her text boxes and layouts create an impression of multiple sensory inputs, things going on just out of sight or just below our range of hearing. Some panel arrangements are almost ritualistic, echoing Ginko’s ancient spells.

Her art is unusual. She isn’t afraid to mix scrappy, scribbled line and dense background details. The mushi are especially intriguing. They can be animated futurist doodles, huge shadow-creatures, rivers of light, sound-eating spirals or simple jelly. Their diversity typifies Mushishi – quietly original, strangely beautiful, completely unforgettable.

©Artland

Like the manga, the Mushishi anime won a clutch of awards in Japan. Directed by Hiroshi Nagahama, it was animated in 26 episodes by Artland, the studio founded in 1978 by Noboru Ishiguro. The first 20 episodes aired between October 2005 and March 2006 on Fuji TV, and last six on the network’s free digital satellite channel BS Fuji in May and June 2006. The music, from Glaswegian Ally Kerr’s opening theme The Sore Feet Song to the last note of Toshio Masuda’s score, is exquisite, and the beautifully balanced soundtrack supports and enhances the musical magic, rather than competing with it.

Nothing is overstated, nothing rushed, nothing compromised. The visuals ooze quality and style, their delicacy and beauty echoing Urushibara’s artwork, adding movement and colour without sacrificing subtleties of plot and character. Breathtaking moments abound – a summer sky clouded with delicate, feathery mushi, the deep, silent recesses of an ancient forest. There’s also plenty of quiet fun, like the flight of characters off a page as a boy makes mushi simply by drawing.

Characterisation is quiet and subtle, but it can crackle with controlled tension, like a glimpse of lightning behind distant mountains. The Japanese voice cast do their jobs to perfection. Travis Willingham ,whose understated reading of Roy Mustang was so impressive in Fullmetal Alchemist, brings the same level of quiet control to the leading role of Ginko, so those who prefer the American version won’t be short-changed on the acting front.

The depths of the story, packed as any Platonic symposium with philosophic enquiry, are never far out of sight. They shimmer alluringly just below the ravishing surface of the narrative, never allowed to intrude in the story’s quiet progress, as light and seemingly aimless as a butterfly’s flight. There’s plenty to think about here, if you want it, but you can simply relax and luxuriate in the artful flow of beauty and emotion, so convincingly natural, so perfectly controlled. There are very, very few anime as well done as this one in any decade, let alone any year.

Katsuhiro Otomo’s live-action movie Mushishi appeared in Japan in 2006. It covers episodes 3, 7, 12 and 20 of the anime. It’s interesting to compare them with the same episodes of Nagahama’s anime and the manga. Both moving versions capture the eerie atmosphere of the manga very well, and both pay tribute to the beauty of its delicate yet complex world. Otomo’s version is structurally the weaker and, for me, the less satisfying of the two.

Otomo created the epic manga and anime  Akira. (His less well-known, but equally effective, manga Domu is one of the greatest Japanese comics never to have been animated, a real loss to anime. I’d love to see what Satoshi Kon could do with it.) Mushishi is his second live-action movie, following 1991’s World Apartment Horror.

Otomo was the first Japanese animator since Tezuka to make a real splash in the English-speaking world, when the film version of Akira kick-started the UK anime market in 1991. He has two outstanding characteristics that make him hell for studios and heaven for audiences. He’s a self-driven perfectionist, and he has absolutely no regard for budgets or schedules. This means that his movies usually look gorgeous, and age very well in technical terms. Twenty years on from its debut, Akira’s beautifully crafted frames still dazzle. But such a focussed and powerful director doesn’t always listen to outside input. The results can be excellent but they can also fall prey to what we might call the Peter Jackson effect, where a director’s influence is so great that the usual checks and balances of film-making don’t operate and the product suffers as a result. Otomo’s Steam Boy is  technically stunning but could have used a more assertive editor.

Mushishi deserves most of the brickbats aimed at it for incoherence, and for playing with the details of the manga and its characters without compensating gains in pace or focus – two of Akira’s outstanding characteristics. It’s a beautiful movie, perfectly cast, with a charismatic Ginko in Joe Odagiri. The atmosphere can’t be faulted – the quality of Takahide Shibanushi’s  cinematography is truly transformative, carrying the audience into the quiet forests and deep silences of the manga. Its structural weaknesses and lack of narrative clarity leave most audiences baffled: I’ve never hosted an anime screening where so many people came up to me afterwards to ask what happened at the end; yet its magical visuals and brilliant use of silence and natural background sounds offer considerable compensations for its incoherence.

At the Japanese box-office, Otomo’s movie tied for 21^st place among 2007’s top-grossing movies, with just over $4 million US in ticket sales. It was far behind the top three - Pirates of the Caribbean: At World’s End ($102.46 million), Harry Potter and the Order of the Phoenix, Hero, and  Spiderman 3. It trailed top anime earners Pokemon, Doraemon and Detective Conan, as well as the year’s other major live-action adaptation, Akihiko Shiota’s Dororo. Otomo’s movie also lost out to Shiota’s at Sitges Film Festival in 2007, Dororo’s Best Motion Picture award trumping Mushishi’s best special effects and best soundtrack titles.

All three versions of Urushibara’s vision have something to offer. The big-budget big-picture version strays further from the simplicity and purity of her narrative line, but all three keep faith with the heart of her story – the idea that striving to understand life’s unity and richness, and co-existing in peace with the world, is a necessary step in human evolution.

Note: Some of the 2007 Japanese box office statistics were verified by reference to Jason Gray’s columns in Screen International, a valuable ongoing resource.

Poster for Dororo roadshow, © Toho/TBS

Seeing Anna Tsuchiya’s debut in Kamikaze Girls triggered a vague memory. It took a while to recall where I’d seen her before. It turned out to be after – three years after Kamikaze Girls, in 2007, she played a demon in the live-action theatrical version of Osamu Tezuka’s Dororo. I saw it on the big screen at the Barbican Cinema in January 2009, part of a season celebrating the legacy of the original creator, who died on 9 February 1989.

Akihiko Shiota’s movie is an interesting case study in how a director with no previous affiliations to Tezuka, manga or anime handles his material. Shiota is a veteran of intense relationship movies like Moonlight Whispers (Gekko no Sasayaki), Harmful Insect (Gaichu), and Canary (Kanaria). Like Tezuka, he’s concerned with the lives and minds of children and teenagers, and his visual and emotional vocabulary overlaps beautifully with that of the manga.

He drops many of its climactic scenes, but keeps the core of Tezuka’s story intact. His filmic influences are used to good effect. Hero Hyakkimaru’s mad scientist foster-father inhabits a modern fantasy of a feudal Japanese cottage, but Shiota lights and shoots it as if it were Frankenstein’s castle in James Whale’s 1931 movie. He delights in throwing in steampunk elements, while the monsters and demons, redesigned from Tezuka’s originals, pay homage to the yokai movies of Daimajin sfx ace turned director Yoshiyuki Kuroda. True, the CGI is uneven and the monsters are sometimes reminsicent of the much loved ‘men-in-rubber-suits’ school of SFX, but these occasional hiccups don’t detract from the beauty and visual inventiveness of the film.

The colour design and lighting is simply superb, creating an atmospheric backdrop for stunning central performances from Satoshi Tsumabuki as Hyakkimaru and Kou Shibasaki, of Battle Royale,  as irrepressible urchin Dororo. Her casting destroys the twist that Tezuka spent most of the manga setting up, but it’s a small price to pay for her performance. In any case, the script provides a more than acceptable, if sentimental, rationale to replace Tezuka’s twist. Tony Siu-Tung Ching, who worked on Curse of the Golden Flower, Shaolin Soccer and House of Flying Daggers, contributes some fine action setpieces.

Dororo was financed by Toho and shot on location in New Zealand, which stands in beautifully for early Japan, a liminal place between myth and  history.  It was a sound investment: Dororo was the eighth highest grosser at the Japanese box office in its release year of 2007, taking $32 million dollars/3.45 billion yen, or almost twice what it cost to produce. It won a clutch of awards, mostly for technical excellence, and was aired on TV in January 2009 with a respectable 12.1% audience share –ahead of every anime aired the same week except Sazae-san at 16.9, but behind the second live-action Death Note movie The Last Name which topped the anime/manga based ratings at 18.7. That in itself indicates that Tezuka still occupies an important place in Japan’s popular culture.

Tezuka looms over the postwar history of Japanese comics and animation like the monolith in 2001: A Space Odyssey (a film he was invited to work on by Stanley Kubrick.) His work has been in and out of fashion, rejected and even reviled, and he’s been dead for twenty years,  yet his most passionate opponents still can’t ignore him.  Hayao Miyazaki read Tezuka as a child, and later spoke of him as an older brother whose influence his younger self had to consciously throw off. The Dororo manga, available in English in three volumes from Vertical Inc., shows what Miyazaki saw in Tezuka. It presents many of the themes and ideas modern critics think of as ‘Miyazaki-esque’, especially its refusal to make villains simply guys in black hats and its insistence on three-dimensional characters with lives and agendas beyond the panel borders. Dororo is a book full of anger, rejection and rage at the injustice of life, but also full of the unexpected joy of survival.

The ups and downs of Tezuka’s professional life allowed plenty of room for all those emotions. He was a seminal influence on Japanese comics and animation, the pathfinder for the postwar manga revival. He made his debut  as a teenager in 1946, and created comics with long, involving stories that developed out of complex characters responding to challenging situations. Yet when he wrote Dororo in 1967-8, it was partly in response to the movement away from his classic ’story manga’ towards gekiga, or drama pictures – darker, more fractured comics that often abandoned conventional art and story principles in an effort to reflect the reality of Japan’s street life.

The gekiga/manga split is often presented as the Japanese version of the comics/graphic novels division, but it could also be likened to the rupture of punk from glam rock: young fans grew up, wanted something different, and started to make it in their own way. Tezuka turned forty in 1968. He had been a comics professional for more than twenty years. From being the teenage superstar his readers dreamed of emulating, he’d become a father figure – a really cool dad, but dad nonetheless. Someone like Shigeru Mizuki – a one-armed combat vet who drew darkly spooky satires on postwar corruption alongside true tales of combat terror –was infinitely more alluring to the new young wannabes rushing down the trail Tezuka had blazed.

Mizuki’s classic Hakaba no Kitaro – Graveyard Kitaro, or GeGeGe no Kitaro as its pre-watershed animated version was renamed – undoubtedly influenced Dororo. So did the chambara movies that filled post-Occupation screens with images of Japanese heroes doing what a man’s gotta do to survive. But Dororo also revisits many of the themes Tezuka had been exploring throughout his career: lost fathers, abandoned children, mad scientists, fighting females, conflicted genders, artificial bodies, the inevitability of death, a profound belief that what goes around comes around, and a passionate condemnation of war.

A 26-episode anime version of Dororo was made by Mushi Productions, Tezuka’s first anime company, for broadcast on Fuji TV in 1969. Storyboarded by Yoshiyuki Gundam Tomino and directed by Gisaburo Street Fighter II Sugii, the series was shot in black and white to save money. Although colour TV broadcasts started on five commercial stations in Japan in 1960, making it the third nation in the world to have colour TV, after the USA and Cuba, colour didn’t replace black-and-white as the dominant means of reception until 1972, so the series did reasonably well in Japan, but the rapid spread of colour TV kept it in the domestic market. With the manga untranslated into French until 2006 and English until 2008, Tezuka’s story was little known outside Japan at the time Shiota’s film hit the screens. It deserves a wider audience.

MEJOR HISTORIA CORTA

- Actual Size de Chris Ware en Kramers Ergot 7 (Buenaventura Press)
- Chechen War, Chechen Women de Joe Sacco en I Live Here (Pantheon)
- Freaks de Laura Park, en Superior Showcase #3 (AdHouse)
- Glenn Ganges in Pulverize de Kevin Huizenga, en Ganges #2 (Fantagraphics)
- Murder He Wrote de Ian Boothby, Nina Matsumoto, y Andrew Pepoy, en The Simpsons’ Treehouse of Horror #14 (Bongo)

MEJOR SERIE REGULAR

- All Star Superman, de Grant Morrison y Frank Quitely (DC)
- Fables, de Bill Willingham, Mark Buckingham, Steve Leialoha, Niko Henrichon, Andrew Pepoy, y Peter Gross (Vertigo/DC)
- Monster de Naoki Urasawa (Viz)
- Thor de J. Michael Straczynski, Olivier Coipel, Mark Morales, y otros (Marvel)
- Usagi Yojimbo de Stan Sakai (Dark Horse)

MEJOR SERIE LIMITADA

- Groo: Hell on Earth de Sergio Aragonés y Mark Evanier (Dark Horse)
- Hellboy: The Crooked Man de Mike Mignola y Richard Corben (Dark Horse)
- Locke & Key de Joe Hill y Gabriel Rodriguez (IDW)
- Omega the Unknown de Jonathan Lethem, Karl Rusnak, y Farel Dalrymple (Marvel)
- The Twelve de J. Michael Straczynski y Chris Weston (Marvel)

MEJOR NUEVA SERIE

- Air de G. Willow Wilson y M. K. Perker (Vertigo/DC)
- Echo de Terry Moore (Abstract Studio)
- Invincible Iron Man de Matt Fraction y Salvador Larocca (Marvel)
- Madame Xanadu de Matt Wagner, Amy Reeder Hadley, y Richard Friend (Vertigo/DC)
- Unknown Soldier de Joshua Dysart y Alberto Ponticelli (Vertigo/DC)

MEJOR PUBLICACIÓN INFANTIL

- Amulet, Book 1: The Stonekeeper de Kazu Kabuishi (Scholastic Graphix)
- Cowa! de Akira Toriyama (Viz)
- Princess at Midnight de Andi Watson (Image)
- Stinky de Eleanor Davis (RAW Junior)
- Tiny Titans de Art Baltazar y Franco (DC)

MEJOR PUBLICACIÓN JUVENIL

- Coraline de Neil Gaiman, adaptada por P. Craig Russell (HarperCollins Children’s Books)
- Crogan’s Vengeance de Chris Schweizer (Oni)
- The Good Neighbors, Book 1: Kin de Holly Black y Ted Naifeh (Scholastic Graphix)
- Rapunzel’s Revenge de Shannon, Dean Hale y Nathan Hale (Bloomsbury Children’s Books)
- Skim de Mariko Tamaki y Jillian Tamaki (Groundwood Books)

MEJOR PUBLICACIÓN DE HUMOR

- Arsenic Lullaby Pulp Edition No. Zero de Douglas Paszkiewicz (Arsenic Lullaby)
- Chumble Spuzz de Ethan Nicolle (SLG)
- Herbie Archives de “Sean O’Shea” (Richard E. Hughes) y Ogden Whitney (Dark Horse)
- Petey and Pussy de John Kerschbaum (Fantagraphics)
- Wondermark: Beards of Our Forefathers de David Malki (Dark Horse)

MEJOR ANTOLOGÍA

- An Anthology of Graphic Fiction, Cartoons, and True Stories, vol. 2, editada por Ivan Brunetti (Yale University Press)
- Best American Comics 2008 editada por Lynda Barry (Houghton Mifflin)
- Comic Book Tattoo: Narrative Art Inspired by the Lyrics and Music of Tori Amos editada por Rantz Hoseley (Image)
- Kramers Ergot 7 editada por Sammy Harkham (Buenaventura Press)
- MySpace Dark Horse Presents editada por Scott Allie y Sierra Hahn (Dark Horse)

MEJOR CÓMIC DIGITAL

- Bodyworld de Dash Shaw
- Finder de Carla Speed McNeil
- The Lady’s Murder de Eliza Frye
- Speak No Evil: Melancholy of a Space Mexican de Elan Trinidad
- Vs. de Alexis Sottile y Joe Infurnari

MEJOR TRABAJO BASADO EN HECHOS REALES

- Alan’s War de Emmanuel Guibert (First Second)
- Blue Pills: A Positive Love Story de Frederik Peeters (Houghton Mifflin)
- Fishtown de Kevin Colden (IDW)
- A Treasury of XXth Century Murder: The Lindbergh Child de Rick Geary (NBM)
- What It Is de Lynda Barry (Drawn & Quarterly)

MEJOR ÁLBUM (ORIGINAL)

- Alan’s War de Emmanuel Guibert (First Second)
- Paul Goes Fishing de Michel Rabagliati (Drawn & Quarterly)
- Skim de Mariko Tamaki y Jillian Tamaki (Groundwood Books)
- Swallow Me Whole de Nate Powell (Top Shelf)
- Three Shadows de Cyril Pedrosa (First Second)

MEJOR ÁLBUM (RECOPILACIÓN)

- Berlin Book 2: City of Smoke de Jason Lutes (Drawn & Quarterly)
- Hellboy Library Edition vols. 1 y 2 de Mike Mignola (Dark Horse)
- Sam & Max Surfin’ the Highway anniversary edition HC de Steve Purcell (Telltale Games)
- Skyscrapers of the Midwest de Joshua W. Cotter (AdHouse)
- The Umbrella Academy vol. 1: Apocalypse Suite deluxe edition de Gerard Way y Gabriel Bá (Dark Horse)

MEJOR COLECCIÓN O PROYECTO PATRIMONIAL-TIRAS

- The Complete Little Orphan Annie de Harold Gray (IDW)
- Explainers de Jules Feiffer (Fantagraphics)
- Little Nemo in Slumberland, Many More Splendid Sundays de Winsor McCay (Sunday Press Books)
- Scorchy Smith and the Art of Noel Sickles (IDW)
- Willie & Joe de Bill Mauldin (Fantagraphics)

MEJOR COLECCIÓN O PROYECTO PATRIMONIAL-COMIC BOOKS

- Breakdowns: Portrait of the Artist as a Young %@&*! de Art Spiegelman (Pantheon)
- Creepy Archives de VV.AA. (Dark Horse)
- Elektra Omnibus de Frank Miller y Bill Sienkiewicz (Marvel)
- Good-Bye de Yoshihiro Tatsumi (Drawn & Quarterly)
- Herbie Archives de “Sean O’Shea” (Richard E. Hughes) y Ogden Whitney (Dark Horse)

MEJOR EDICIÓN NORTEAMERICANA DE MATERIAL INTERNACIONAL

- Alan’s War de Emmanuel Guibert (First Second)
- Gus and His Gang de Chris Blain (First Second)
- The Last Musketeer de Jason (Fantagraphics)
- The Rabbi’s Cat 2 de Joann Sfar (Pantheon)
- Tamara Drewe de Posy Simmonds (Mariner/Houghton Mifflin)

MEJOR EDICIÓN NORTEAMERICANA DE MATERIAL INTERNACIONAL-JAPONÉS

- Cat Eyed Boy de Kazuo Umezu (Viz)
- Dororo de Osamu Tezuka (Vertical)
- Monster de Naoki Urasawa (Viz)
- The Quest for the Missing Girl de Jiro Taniguchi (Fanfare/Ponent Mon)
- Solanin de Inio Asano (Viz)

MEJOR GUIONISTA

- Joe Hill por Lock & Key (IDW)
- J. Michael Straczynski por Thor, The Twelve (Marvel)
- Mariko Tamaki por Skim (Groundwood Books)
- Matt Wagner por Zorro (Dynamite) y Madame Xanadu (Vertigo/DC)
- Bill Willingham por Fables y House of Mystery (Vertigo/DC)

MEJOR AUTOR (GUIONISTA Y DIBUJANTE)

- Ricky Geary por A Treasury of XXth Century Murder: The Lindbergh Child (NBM) y J. Edgar Hoover (Hill & Wang)
- Emmanuel Guibert por Alan’s War (First Second)
- Jason Lutes por Berlin (Drawn & Quarterly)
- Cyril Pedrosa por Three Shadows (First Second)
- Nate Powell por Swallow Me Whole (Top Shelf)
- Chris Ware por Acme Novelty Library (Acme)

MEJOR DIBUJANTE/ENTINTADOR O DIBUJANTE/EQUIPO DE ENTINTADORES

- Gabriel Bá por The Umbrella Academy (Dark Horse)
- Mark Buckingham/Steve Leialoha por Fables (Vertigo/DC)
- Olivier Coipel/Mark Morales por Thor (Marvel)
- Guy Davis por BPRD (Dark Horse)
- Amy Reeder Hadley/Richard Friend por Madame Xanadu (Vertigo/DC)
- Jillian Tamaki por Skim (Groundwood Books)

MEJOR PINTOR/ARTISTA MULTIMEDIA

- Lynda Barry por What It Is (Drawn & Quarterly)
- Eddie Campbell por The Amazing Remarkable Monsieur Leotard (First Second)
- Enrico Casarosa por The Venice Chronicles (Ateliér Fio/AdHouse)
- Scott Morse por Tiger! Tiger! Tiger! (Red Window)
- Jill Thompson por Magic Trixie, Magic Trixie Sleeps Over (HarperCollins Children’s Books)

MEJOR PORTADISTA

- Gabrial Bá por Casanova (Image) y The Umbrella Academy (Dark Horse)
- Jo Chen por Buffy the Vampire Slayer, Serenity (Dark Horse) y Runaways (Marvel)
- Amy Reeder Hadley por Madame Xanadu (Vertigo/DC)
- James Jean por Fables (Vertigo/DC) y The Umbrella Academy (Dark Horse)
- Matt Wagner por Zorro (Dynamite) y Grendel por Behold the Devil (Dark Horse)

MEJOR COLORISTA

- Steve Hamaker por Bone: Ghost Circles y Bone: Treasure Hunters (Scholastic Graphix)
- Trish Mulvihill por Joker (DC) y 100 Bullets (Vertigo/DC)
- Val Staples por Criminal, Incognito (Marvel Icon)
- Dave Stewart por Abe Sapien: The Drowning, BPRD, The Goon, Hellboy, Solomon Kane y The Unbrella Academy (Dark Horse); Body Bags (Image) y Captain America: White (Marvel)
- Chris Ware por Acme Novelty Library #19 (Acme)

MEJOR ROTULISTA

- Faryl Dalrymple por Omega: The Unknown (Marvel)
- Jimmy Gownley por Amelia Rules! (Renaissance)
- Scott Morse por Tiger! Tiger! Tiger! (Red Window)
- Nate Powell por Swallow Me Whole (Top Shelf)
- Chris Ware por Acme Novelty Library #19 (Acme)

MEJOR PUBLICACIÓN PERIÓDICA SOBRE CÓMICS

- Comic Book Resources producido por Jonah Weiland
- The Comics Journal editado por Gary Groth, Michael Dean, y Kristy Valenti (Fantagraphics)
- The Comics Reporter producido por Tom Spurgeon y Jordan Raphael
- Comics Comics editado por Timothy Hodler y Dan Nadel (PictureBox)

MEJOR LIBRO SOBRE CÓMICS

- Bill Mauldin: A Life Up Front de Todd DePastino (Norton)
- Brush with Passion: The Art and Life of Dave Stevens editado por Arnie y Cathy Fenner (Underwood)
- Drawing Words and Writing Pictures de Jessica Abel y Matt Madden (First Second)
- Kirby: King of Comics de Mark Evanier (Abrams)
- The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America de David Hajdu (Picador/Farrar, Straus & Giroux)

MEJOR DISEÑO EDITORIAL

- Breakdowns: Portrait of the Artist as a Young %@&*! diseñado por Art Spiegelman (Pantheon)
- Comic Book Tattoo diseñado por Tom Muller, dirección artística de Rantz Hoseley (Image)
- Hellboy Library Editions diseñado por Cary Grazzini y Mike Mignola (Dark Horse)
- What It Is diseñado por Lynda Barry (Drawn & Quarterly)
- Willie and Joe diseñado por Jacob Covey (Fantagraphics)

Vía: The Comics Reporter

Un de mes passe-temps préféré quand je me connecte sur WordPress, c’est d’aller directement voir les mots clés avec lesquels les gens sont tombés sur OwShitz.

Et desfois… ça étonne.

Pour commencer, le top10 des recherches :

Rien de vraiment étonnant ici.

OwShitz, Samji, Hordes, hordes et encore hordes… bref, normal.

Mais le plus interessant, c’est de regarder dans les fins fonds des statistiques.

C’est là où ça devient cocasse, avec des recherches comme :

ou encore :

Bon, là c’est plutôt flippant, faut avouer. ( non, sérieusement. )

Bref, un petit pot-pourri de tout ce qu’on peut trouver en fouillant bien les archives ( et encore, y’a pire mais j’ai pas réussi à retrouver certaines perles )

Allez, salut les pervers.

Last night I watched this:

A stylized dance number!

Surpise! It’s not a Bollywood flick!  This is actually one of the first scene’s to Dororo, a fantasy movie based on the work of classic Japanese manga-ka Osamu Tezuka.  I usually balk at his stuff, because it’s usually a little to different for me.  I admit that he was a genious and very prolific.  I think that some of his work are just too over my head.  I read Phoenix, but I ended up confused most of the time, and never read it again.  I watched Metropolis, and wanted enchanted by it, but I didn’t love it.  So, it was a delightful surprise that Dororo has shoved it’s way into my top…well, it’s one of my favorites of the year.  On to the what and why.  There may or may not be spoilers ahead, so read on if you have seen it already.  I promise not to give away the ending!

Hyakkimaru (Satoshi Tsumabuki) is a man with a mission.  He is out to reclaim the 48 parts of his body that he was born without.  Read:

Aww! It's such a CUTE blob.

In order to accomplish this task he must kill all of the demons that were given a piece when he was born.  Hyakkimaru does not know why he was born this way, or who is responsible, and along the way begins to unravel the mystery.  As a child he is taken care of an elderly oji-san who claims Hyakkimaru as his own child and through his awesome shaman-y powers manages to create body parts for him using the (ew!) remains of children who died in war (always recycle!) One day, while battling a demon in a bar:

Smile! You're on Yokai Camera!

Hyakkimaru runs into a theif that decides she is going to follow him, and tags along.  Relcutantly he tells his new friend that he has not one true name but that he has been called Hyakkimaru, Dororo, bakemono and a number of others.  She decides that Dororo (an actually mis-pronuciacion of dorobo=theif) suits her better and picks it for herself, leaving him to be Hyakkimaru.  She convinces him to treat her as a boy and routinely refers to him as Aniki (traditional term for a respected (slightly) older man, not generally used by women.)  So, Dororo (Kou Shibasaki) joins him in the fight against the majin (demon gods) that he must kill.

I'll get this tail for you...

While there is a LOT more that happens in this film, I hate reading reviews or synopses that ruin the entire film and leave you with nothing new to learn when you actually do see it for yourself; so I’m starting the review.

I LOVED this movie.  It was fun, depressing and thought-provoking too. The beginning of the film was the most fun.  There is good comic relief throughout the movie, mostly provided by Dororo (oy0i-iiyoi!)

Eeh?

I give this movie credit for having the best yokai/demon/bakemono/majin I’ve ever seen too.  In most of the movies that I have seen, they seem comical or ridiculous.  Some of them in this one were a bit silly like the giant sakura tree, but I think they at least looked menacing versus just laughable.

Impressive Wing Span.

This Godzilla-esque lizard was the most ridiculous one, and even then I still liked it because it was such a fun and entertaining fight.

Rawr!

The sakura monster was probably the one I was most surprised by and intrigued with.  I usually think that the sakura tree is a positive symbol of Japan and the fact that it was used as a monster came unexpected.  I’ve come across versions of the different demon’s in other movies and shows before so I wasn’t really super stunned by any of the others.

Too close for comfort.

Run! The blossoms smell too good!

No, not even the weird conglomerate-baby spirit surpised me.  No, really…

Me: What She Said!

I was surprised by it at first, but it grew on me like it did with Dororo.  In a battle with a different majin I was reminded of The Matrix and Shaolin Soccer. I think I liked this movie better than those two.  I’m thinking of actually researching yokai/majin in a more serious form after this movie.  I also love GeGeGe no Kitarou and other movies with traditional Japanese monsters, so it would be a fun and interesting research topic.

Flying GONGFU!!!!!!

I had a few kokoro♥ squishing moments too.  Like this one:

Squish!

Dororo and Hyakkimaru help to free the spirits of these children and release them into the after life.  Immediately after-wards however, their families stone our heroes out of town because Hyakkimaru is a bakemono.    Another example of people being ignorant and scared of what they don’t take the time to understand.

You can come to my village Hyakkimaru!

I really liked a few of his acquisitions too.  When he got back his voice the scene in the rain was very touching.  I bet they were tired of yelling and laying around in the rain though when filming ended that day.  In fact, I bet Satoshi-kun was REALLY tired of screaming in this movie, period.  I mean, he regained a lot of body parts and howled in agony after recieving each one.

I'm a real boy!

After another battle, wherein he battles two demon dogs that strangely resembled the zombie-dogs from Resident Evil he gets two body parts back for the price of one (battle that is.)

What does Hyakkimaru see for the first time?

Dororo, of course!

It’s at about this time that the fun ends and they start to really get into the serious side of their reality. Dororo tells Hyakkimaru of her past, and why she instists on being treated as a man instead of a woman.  Dororo’s fate is a direct result of an evil shogun and the tyranny he pours onto his people.  Most of the real drama begins with the (surprise!) entrance of THIS GUY:

It's Eita!

Eita Tahomaru is a bit of a key player to the rest of the movie, and I won’t spoil it any more than I may already have.  In short, I give this movie a high recommendation.  If, for no other reason than it was just plain fun. I can’t be the only one who thought it was good, considering that it has two sequels/continuations coming up.  The second one is due out this year.  Dororo might be a little over the heads of people not familiar with Japanese history or older fables.  Don’t let that stop you however, because you can catch on pretty quick and it explains itself really well.  The only thing that would have scared me off would be this:

Geh!

I knew something fishy was up the moment Anna Tsuchiya these girls showed up.  Creepy.

DORORO [ดาบล่าพญามาร]
1 2 3 4 5 6 7

DORORO [ดาบล่าพญามาร]
1 2 3 4 5 6 7

Trailer do Filme:

Começamos a ver o filme no sábado à noite, não aguentei e adormeci a meio… secalhar foi no principio!!! LOLOl

Enfim… acho que a única pessoa que o conseguiu ver foi a Poca, que provavelmente vi o filme às prestações e em pal plus!

Mas como estava determinada a ver o filme, pois não adormeci por causa da sua história mas sim porque estava físicamente cansada, no domingo mal acordamos decidimos ver o filme!

Esta história passa-se na Era Sengoku, uma época de guerras constantes. Dororo começa quando um guerreiro ambiciosos, o samurai Kagemitsu Daigo, decide dar a vida do seu primeiro filho a 48 demónios em troca de poder.

Quando a criança nasce é um ser esquesito sem “corpo” normal… depois é o filme! Recomendo até porque há partes que parece que estou a assistir a episódios dos Power Rangers.

Beijocas e deliciem-se

Ana Coelho

For our final meeting of the semester, we will be discussing Osamu Tezuka’s Dororo Volume 1 and Bryan Lee O’Malley’s Scott Pilgrim’s Precious Little Life (a.k.a. Volume 1).

Come join us for the tale of a formless blob who must fight 48 demons to regain his body parts and the story of a young Canadian who must fight his new girlfriend’s seven evil ex-boyfriends.

It’s on!

When I started reading this series, I was really shocked to find that there was a recent video game based on it, and it was brought out in the US.  This struck me as unlikely enough that I bought and played it, and even more unlikely, the game is actually pretty fantastic, unlike almost every other license-type game I’ve ever played.  The plot sticks really close to the manga, close enough that I put off reading the last volume until I had gotten far enough in the game that I hit these stories.

It’s called “Blood Will Tell” for the PS2.  The character designs are, oddly enough, by Hiroaki Samura, of Blade of the Immortal and Ohikkoshi fame (Ohikkoshi being the review posted below this one, for later reference when this drops off the front page).

I’m not sure how I felt about this volume.  I didn’t like the first story dealing with the bandits from Dororo’s past, and the map on Dororo’s back came into play a little sooner than I thought it would.  I was disappointed with the outcome of that story, though it got suitably epic towards the end when Dororo and the leader of the bandits take on an entire army from a mountaintop and a one-legged Hyakkimaru helps them out down below.  I also liked the demon-possessed shark duo.  That one of the demons was possessing sharks was a pretty awesome plot device.

It was also a little disappointing that Hyakkimaru kept trying to split with Dororo.  Two of the stories dealt with Hyakkimaru forcing a parting of ways, then coming to Dororo’s rescue, the latter one dealing with a storming of Daigo’s castle (this was also the final chapter).  The demon battles leading up to the final battle were pretty good… one was a gluttony demon and one was some sort of animal demon that had taken over the spirit of a priest.  The stories themselves were a little weak, though.  We also meet Saburota, a ronin who has some sort of macho battle with Hyakkimaru and then teams up with Daigo since he seems to be the dominant lord in the area.  It kind of felt like he was going to be a recurring character, except the series ends a few chapters after he was introduced.

The ultimate ending was pretty disappointing, mostly because it was cut short.  We see one more demon battle with a chimera-like monster (that gives out multiple body parts, which struck me as kind of lazy) before Hyakkimaru strikes out on his own, there’s a really random plot point involving Dororo that I would say was tagged on if not for the fact it was vaguely referenced earlier in the volume, and it just wasn’t satisfying.  It’s a shame it didn’t have a proper ending, because it was otherwise a great series.

I wound up loving this series.  A lot.  Even with no ending.  Enough so that after I finished this volume, I dove right into Black Jack because I wanted more.  Enough that I went out and bought the video game.  If you want more of the same from the manga and have a PS2, I highly recommend the video game.

Bonjour !

Me revoici pour une chronique cinéma japonais après une longue absence.

Le film qui vous sera présenté aujourd’hui est, comme le film précédent, tiré d’un manga. Réalisé en 2007 par 塩田明彦 Shiota Akihiko, le « shônen » manga d’origine a été dessiné par le célèbre et prolifique mangaka Tezuka Osamu 手塚治虫. Intitulé どろろ « Dororo », ce manga à donc donné lieu, comme un grand nombre de ses œuvres, à une adaptation en film live.

Il semble que, dans l’introduction du film, une grosse erreur de traduction. En effet, on peut voir écrit en japonais 三〇四八, traduit 3048. Cependant, le nombre 3048 s’écrit en japonais : 三千百四十八. De toute façon, il me semble que l’année 3048, n’a jamais existé au Japon. Une vérification sera faite d’ici peu, pour confirmer ou infirmer ce soupçon.

Ce film se passe au Japon, durant l’ère Muromachi (à vérifier), qui se situe entre les années 1392 et 1573.Rien à voir avec l’année 3048, donc.

Synopsis :

Pratique pour faire la cuisine !

Même s’il est long de plus de deux heures, ce film que l’on peut décomposer en trois parties, dont une serait plus une sorte d’interlude, ne souffre d’aucune longueur. La première partie permet la mise en place des personnages principaux, de l’histoire et nous permet de savoir ce qui s’est passé durant les vingt années de croissance de Hyakkimaru.
Ensuite se déroulent plusieurs scènes de bataille dont les effets spéciaux, peuvent vraiment prêter à rire, d’autant plus que c’est le genre de choses que l’on ne s’attend plus à voir en 2007 ! Ne vous inquiétez pas si vous avez parfois l’impression de regarder un épisode de Bioman… D’autant plus que la musique genre « Gipsy king », est assez agaçante au final.
Enfin, on assiste à la confrontation de Hyakkimaru avec son passé, mais aussi avec son avenir et surtout, avec son père…

Dans l’ensemble, il y a peu de points de reproches à accorder à ce film. Au delà des effets spéciaux de certains monstres, il y a quelque fois un filtre qui accentue l’atmosphère du film, et visuellement, c’est une belle réussite. En parlant de réussite, le jeu d’acteurs est convaincant ; même Kou Shibasaki se débrouille pas mal, même s’il lui arrive d’en faire parfois un peu trop.

Hyakkimaru

Pour finir, je soulignerais le fait que l’on puisse faire un certain nombre de rapprochements que l’on peut faire avec les éléments qui composent ce film :
- Frankenstein évidemment : Il serait étonnant que le monstre crée par ce personnage n’ait pas servi d’inspiration à cette histoire, et il y a pas mal de points communs : le fait que leur corps soit « en morceaux, Hyakkimaru et le monstre de Frankeinstein n’ont pas de nom, l’électricité joue un rôle dans leur retour à la vie, ils sont tous deux plus ou moins à la recherche d’une figure paternelle ;
- Cobra (l’animé), avec une arme puissante dans le bras gauche ;
- Le mythe égyptien d’Osiris, dont le corps fut découpé en morceaux, puis recomposé par son épouse/sœur ;
- Zatoïchi (le guerrier aveugle),
- Et même les Power Rangers ou autre tokusatsu quand on regarde la tête des démons par moment !
etc.

Casting :

Satoshi Tsumabuki   …     Hyakkimaru
Kou Shibasaki           …     Dororo
Eita                           …     Tahomaru
Mieko Harada           …     Yuri
Yoshio Harada          …     Jukai
Kiichi Nakai              …     Kagemitsu Daigo

À noter :

- Le manga « Dororo » a aussi été l’objet d’une adaptiation en animmé, ainsi qu’en jeu vidéo sur PlayStation 2 , jeu dont le titre est « Blood will tell ».
- Ce film est le premier d’une trilogie dont les suivants sortiront en 2009 et 2010.

Site officiel du film

Well I just watched the movie Dororo and I love that and it was a great movie that is a new taste of legend by the Father of Anime. I hope you like my Dororo blog site and well I hope you also enjoy reading and visiting my blog site and Dororo…