This is rare: Hyper Future Vision Gunmm, or Battle Angel Alita (two titles of which I have no idea why they were given to this anime) is a two-episode OVA, based on a much larger work of nine volumes of manga. Most movies and OVAs in the same situation don’t seem to care about explanations and leave huge holes in the characters and storyline. But Battle Angel Alita is different: I only spotted one or two moments were more explanation was needed. Apart from that, this movie felt surprisingly complete, despite its relatively short length.

And that’s not all, because it’s not like the plot and setting are simple. There’s quite a large, varied cast of characters that all are developed a bit and especially the main characters are developed a lot, considering that this OVA only has two episodes to work with. The storyline also keeps getting pushed forward, and the combination between plot- and character-development is excellent. I must praise the scriptwriters for this OVA: they had to face a lot of difficulties, were extremely limited, and yet they pulled it off to put such a storyline in just two episodes.

The characters are also more sympathetic than you think, and especially the second episode is quite emotionally charged, but therein lays the problem. If the creators could already do so much with just two episodes, then just imagine what they’d be able to do if they were given an extra episode to work with. The few holes in the storyline that were left would have been easily filled, and there was more than enough potential for the characters to be more even more sympathetic than they already were. Simply enough: I want more, but there’s no way there’ll be more. Still, despite this, Hyper Future Vision is an excellent recommendation for if you’re looking for something short, yet good.

In 2003, four episodes of Black Jack were produced to celebrate the 30th birthday of Osamu Tezuka’s creation. After watching The Two Doctors of Darkness, I was looking forward to seeing more of this franchise, though unfortunately some bad decisions on the creators’ side turned this Black Jack Special disappointing. I definitely don’t hope that the rest of the series and OVAs are as annoying as this one. I’ll probably end up watching the TV-series in the very distant future, but for now I don’t feel like watching more of this concept.

Lest me start with the thing that by far annoys me the most: Pinoco, Black Jack’s daughter/assistant/wife. I can understand why Makoto Tezuka decided to cut her off in the Two Doctors of Darkness, because the more she appears on the screen, the more annoying her whining becomes. I really like the concept behind Black Jack, but Pinoco serves no purpose at all apart from lightening the mood a bit, though there are much better ways to do this.

Then there comes the storyline itself, and it just doesn’t live up to the Two Doctors of Darkness. Instead of a continuous storyline, there are just four random stories, probably taken from the manga. The first and fourth story work, and give some interesting background to Black Jack himself, though the second and third episode are pointless, far-fetched and way too disappointing for me to recommend this.

It’s a shame. I read somewhere that the Black Jack Special captured the essence of the original manga, though this only strengthens my point that Osamu Tezuka’s material may not be much in his own hands, but can be turned into gold when handled by the right hands. If you want to see examples of this then you should go for Hi no Tori or Metropolis. I can indeed see how much Osamu Tezuka has meant for the anime today: his works may have their flaws, but as a source of inspiration, they were more influential than even Ghost in the Shell. In a few years, I’ll probably watch the tv-series, but for now I’ve seen more than enough of Pinoco’s whining.

One thing that I’ve been noticing with Osamu Tezuka’s works is that whenever it’s adapted by someone else, the result turns out great, but when he directs a movie of his own work himself, the result turns out much less spectacular. Metropolis was awesome and Hi no Tori turned out brilliant, while Unico had a lot of potential, but its major villain made no sense at all. The Marine Express also had some great storytelling, but the plot-twist in the middle was just entirely ridiculous. The second Black Jack movie shows the same. While it’s level of quality is nowhere near that of Metropolis or Hi no Tori, it remains a very enjoyable movie.

Anyway, The Two Doctors of Darkness is basically the first thing I’ve seen from the Black Jack-franchise, which consists out of two movies, two tv-series (totalling a staggering amount of 78 episodes), an OVA and a tv-special. After watching it, I can understand why the premise caught on so much: it’s been a while since I saw an anime that toys so much with morals as this one. It’s really one of Osamu Tezuka’s many trademarks.

This movie looks at death at a totally different perspective compared to the usual. Black Jack is basically an incredibly talented surgeon, who can cure almost anything that’s curable with ease. And yet he doesn’t spend his days into a hospital like most other doctors and charges ridiculous fees for his clients. I like how, even though this isn’t the first Black Jack-movie, it does a fine job of introducing the viewer to the concept and main-characters, although I guess I need to watch the television-series for the development of the side-characters, which were just too bland and pointless, making me wonder why they were included in the movie in the first place.

It seems that the one who was given the task to direct this movie was Osamu Tezuka’s son, Makoto Tezuka. For the job, he did a very fine job, like expected of his father. The movie feels complete, it doesn’t drag on and it makes fair use of its ninety minutes. If there weren’t numerous surgical-scenes, I’d recommend this for the younger audiences to watch as well. The fact remains that Makoto does have a lot to learn. The major problem for this movie that it gets a bit too far-fetched at times, and there are a few convenient coincidences at times that spoil the mood that the movie has been building up for. Yet, while knowing nothing about the source-material, I can imagine how the guy could have done far worse than he’s shown now.

Okay, I’m just going to refuse to give this movie a rating. I went into this movie, expecting something similar to the original Ghost in the Shell, but instead I got something very different, though I can’t really describe this. All I know is that this movie went into my mind, did stuff and left again, looking very pretty while doing so.

This really is one movie that wants to play with your mind, and for me it accomplished its mission. The best way I can describe this would be if you unleashed the strangeness of Angel’s egg upon the original Ghost in the Shell-movie. The first half of the movie cleverly starts out as your regular cop-show, but as the second half kicks in, Oshii Mamoru unleashes a wave of complicated script-writing and mind-games, chockfull of biblical and philosophical references. At one point, I just stopped caring whether some plot-events were explained or not and just let myself get carried along with the things that went on on the screen.

I know that there are a few things that were unexplained in this movie, and I know that a lot of things didn’t make any sense when I watched it, but I really don’t know how much of it was indeed left out, or just turned out to be something I just missed. This really is a movie that you need to watch over and over if you want to understand it.

There’s one thing that I’m certain of with this movie, though: even for a movie, the graphics look awesome, and I honestly can’t think of any other anime that has better-looking visuals than Innocence. Kenji Kawai (Seirei no Moribito, Ghost in the Shell 1) also returns for the soundtrack, and it sounds better than ever. I’ve seen my share of confusing movies (Tamala 2001, Cat Soup, Mind Game), but this one seriously tops them all in this department.