Tag Archives: film

Giant Robots and Why We Love Them

Originally posted by me on PodCastle in the Sky

A quick glance at the lineup of a typical anime season will reveal a large number of shows featuring giant robots. In the recent winter season alone we can count among giant robot anime the series Mobile Suit Gundam: Iron Blooded OrphansSchwarzesmarken, Macross Delta, and probably a bunch more I’ve overlooked. Point is, giant robot anime are like cockroaches and herpes – they keep coming back.

But what’s so great about giant robots? Yeah, I know, to ask the question is to answer it. Giant robots kick ass. I mean, have you seen Robot Jox?

Or Pacific Rim too, I guess.

Fine, but why giant robots? Why not, say, giant tanks, like in Heavy Object?

I think it ultimately comes down to power fantasies. A giant robot perfectly embodies the juvenile dream of invincible domination that a tank cannot. Realistically speaking, a tank is a better weapon. It’s smaller, so it’s harder to hit; it’s cheaper, since manufacturing tank treads is easier than a bipedal walking machine; and it’s safer, since it’s easier to knock over something on two legs than a machine that rides low to the ground. Tanks are pound for pound the deadlier weapon, yet they don’t feel that way.

Consider that riding in a tank is akin to being jammed into a broom closet. Who feels invincible when the walls are pressing in everywhere?

Michael Peña driving a tank in Fury

Even were they roomier, though, tanks are fundamentally more like a heavily-armoured house on wheels. It’s a place to hunker down and hide in. One feels safe by virtue of being enclosed.

Melinda of Heavy Object holed up in the perfect otaku bunker

Look at the image from Heavy Object above of a tank driver in her native environment. It looks like a shut-in’s dream room – no windows or doors and ample monitors to watch TV and surf the Internet. The outside world might as well be just another program on the computer screen. It’s a perfect metal womb to hide in.

Feeling safe, though,  is not the same as feeling powerful. By contrast, a mecha is more truly worn than ridden. It’s human shaped and therefore more of an extension of one’s self – like the perfect battle armour or a second skin, or a new metal body that replaces vulnerable flesh.

It’s also important to remember that the heroes in giant robot anime are all teenagers, even the ones who aren’t. The modern iteration of the giant robot subgenre tends toward the melodramatic and the angst-ridden (as opposed to the gleefully consumerist giant robot shows of the 70’s and 80’s). There’s usually a sense of persecution and oppression being unjustly visited on the protagonists, whether it’s the outcast mercenary troop of Mobile Suit Gundam: Iron-Blooded Orphans or the underdog defenders in Argevollen.

But who are the villains who bedevil our heroes so? The enemies are often generic imperialists who fight for poorly-articulated and nonsensical political objectives. They aren’t fighting for anything specific because ultimately their goals aren’t important to the narrative. They’re just there to be roadblocks, to harass and  obstruct the hero and provide them something to punch.

The enemies of giant robot anime are so generic as to be universal. Look at the nickname bestowed upon the protagonist of Valvrave: The Boy Who Fought the World. This says it all. The enemy of the giant robot anime is no one specific, but rather everyone. Parents, teachers, bullies, rivals, friends, classmates, adults – which is to say, the generic “they” that persecutes the suffering hero of the show – are all the bad guys. They’re who he’s fighting against.

The giant robot pilot is like the Incredible Hulk – he wields incredible power but is misunderstood by the world. In the end, Hulk, like a surly and emo teenager, just wants to be left alone.

And here we come to the ultimate answer. The giant robot anime is the perfect teenage fantasy, for it’s a metaphor for the teenage condition: an innocent hero is possessed of unwanted new abilities which cause him to be unfairly beset on all sides by powers desperate to control or crush him.

This is the secret of why giant robot anime is so eternally alluring. Even adults who have their shit together will still occasionally feel like the world is picking on them for no good reason, and wouldn’t it be great if you had a magic wand that could make everything disappear? That could stop the world from pissing on you for just one damn second?

Why do we love giant robots? Because we all wish we had one of our own.

Samurai Jack and Jill

Recently I saw A Boy and His Samurai, a Japanese movie about a samurai who inadvertently time travels to the present day. Don’t ask how, you didn’t really care how the thingy worked in Big or Freaky Friday, did you? In fact, structurally it’s a lot like Big, with the magic at the start, the funny stuff early on followed by the serious adult stuff, then the magic again to wrap things up.

So it’s a comedy-drama – the samurai gets taken in by a single mother and swears fealty to her as her feudal retainer, then as time goes on he becomes an up and coming pastry chef. There are the expected fish out of water jokes, but the movie’s also a thoughtful examination of class and gender in the 21st century, particularly how modern society is still structured around the nuclear family while steadily breaking down the systems that produce nuclear families. The film’s not a didactic women’s studies manifesto, but it does illustrate exactly how tough it is to be a single parent and how gender and class expectations tie into that difficulty, all wrapped up with a sweet story about a boy finding a surrogate father.

After the war

I saw that Force Awakens movie a while ago.  I don’t know if anyone has made this observation yet, but I thought Kylo Ren was basically the personification of the whole movie: he’s a reiteration of an original product that’s neurotically obsessed with whether he’s as good as the example he’s copied from.

He’s good enough, which is kind of my feeling on the movie as a whole. I thought it was decently entertaining, though it’s kind of interesting to see the Marvel blockbuster formula being used for something other than superheroes.

Red Mars

It seems that Takashi Miike is directing a live action film adaptation of the manga-cum-anime series Terraformars. This might be surprising for people familiar only with his art house work such as Audition or 13 Assassins, which feature extreme violence and sexual deviance, but the man has actually made quite a lot of commercial schlock: some kids’ movies, a few comedies, a video game adaptation. This news is of a piece with his earlier work. Plus Terraformars itself is pretty damn violent all on its own. I’d say this property is right in his wheelhouse.

But hey, Miike is apparently also making a Blade of the Immortal movie with a 2017 release date! I’m definitely looking forward to that one.

War in the Pacific

So it appears that they’re really serious about promoting the new Star Wars films on a global level. There’s a licensed Korean webcomic adapting the original trilogy and putting in extra stuff. It starts from when Luke was just a towheaded moppet on Tattoine learning to shoot a laser rifle from Uncle Owen.

Young Luke Skywalker lying on his back on a Tattoine night and fantasizing about the distant stars

This adaptation is pretty smart, because I hadn’t thought about it but there have been like two generations of moviegoers born since the theatrical release of Return of the Jedi. I do like how the artist doesn’t try to slavishly reproduce the actors in 2D. The linework reminds me of art from some French sci-fi bandes dessinees. But who the hell’s Windy, is he from the Expanded Universe?

Anyway, if you want to check the webcomic out (for free by the way) go to LINE Webtoon and sign in with Twitter. You’ll get to read the official English translation. I’m not sure myself if I’ll stick with this comic, though if you want to check out other webcomics in this library I would say Hive is a safe choice – basically Walking Dead with giant bugs, and prone to the comic and TV show’s trick of always pulling the rug out from under the protagonists to keep the status quo.

Or for actual good stuff, Chiller‘s a horror anthology that goes multimedia with sound effects and mild animation – for maximum effect I recommend reading it alone in a room with the lights off – and Witch Hunt, which is about demons hunting witches in modern South Korea.