Dropping Science: The Greatest Lego Machine

 

I received some of Lego’s robot building kit for Christmas last year and succeeded in building a little car that drove forwards, turned left and then got stuck under the coffee table. Japanese robot fan Akiyuki has gone one better than that (and then one better again and then about a million better on top of that) by constructing a lego machine that gives small toy balls the kind of epic journey usually reserved for Greek mythological heroes. It’s kind of a Rube Goldberg machine except it’s entirely self sustaining and so doesn’t require any components to be manually reset.

It’s an incredible feat of pointless yet wonderful engineering and I absolutely love it.

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(We’re down at Demoncon in Maidstone tomorrow so if you’re about, feel free to pop along and say hi!)

Practitioners 2: Katsuhiro Otomo

As a catch up for all new visitors to Beyond the Bunker, we’ll be representing the original Practitioners series 1-55 (Simon BisleyChris Bachalo and featuring the most influential comic creatives in history). Thoroughly incomplete but featuring legends like Stan Lee, Jack Kirby, Frank Miller and Alan Moore already more will be hitting the site next year. For now though, sit back every Tuesday for a run-down of the men and women who created the comic industry we know today. (Or check the full list in the menus above). This week: Akira creator Katsuhiro Otomo.

At the top of each book sold of Akira there rests a very impressive name in bold lettering. Katsuhiro Otomo. The 2000 page epic would not exist without his genius. Personifying his countries often distant ideals of constant devotion to practice, work and perfection towards a focussed life goal, Otomo marched onwards to completing his masterwork even as he was unaware that he was developing it.

Born in Miyagi prefecture, Japan in 1954, Otomo left school in 1971 to become a Manga artist and succeeded quickly – unsurprising given his unswerving diligence in perfectly measured linework coupled with highly detailed yet crystal clear characterisations. He worked for ‘Action’ magazine until 1979 diligently putting out work on behalf of others.

With the release of solo projects (most notably Fireball (1979) and Domu: A Child’s Dream (1980)) he revealed himself to be a true auteur, a position that can only be occupied when you have mastered all aspects of a medium and his body of work illustrates this perfectly. Katsuhiro is the epitomy of the short gap between an artist’s hand and mind when fully utilised. Fireball was uncompleted but is considered a milestone as it carries themes that were carried forward into his later work. Domu: A Child’s Dream saw a battle between a senile psychic bent on secretly murdering residents of his apartment building for pleasure with his powers and a young girl, Etsoku who stands defiantly against him with her own battery of powers.

Its difficult to imagine Katushiro Otomo as anything other than a genius. Writer, artist, draftsman, director, and unself-conciously and perhaps unexpectedly global cultural avatar. His work, one most specifically, speaks for him more than many other creative practitioner in the field as there is little that can be gleaned as to his character from it because his understanding of so many elements is so diffuse and wide reaching.

Domu: A Child’s Dream (1980)

His writing blends perfectly the spiritual, the cultural, the subtle and the brutal.

Any flaw visible in any work he has done before or since is overshadowed by Akira. Around bikers Kaneda and Tetsuo the world spins, never leaving the confines of the Neo Tokyo city limits in 2000 pages, as bikes blaze through neon streets, psychic children fight over broken buildings, people burst up walls and a general with a mohawk struggles to get an orbiting defence platform with a massive laser to explode a giant bug baby.

Tower blocks rise through panels with thousands of windows each as perfectly proportional as the last, even when they are upside down and falling into the sky. Broad themes of creationism rest perfectly next to action sequences involving tanks driven by amateurs through cluttered streets in Tokyo’s districts. Never has an artist been so adept at slapstick octane and subtle broad ideas, occasionally in the same panel.

Using his love of film as a benchmark for his artwork and his stripped down storytelling style, Anime was always a natural advance for Katsuhiro and he was working as a character designer for Anime Harmageddon one year before the beginning of his epic; Akira began. Helming Akira as an Anime in 1988, begun while the book was still incomplete, and creating one of the most (if not the most) far reaching Anime ever created and forever altering the standard to which western comic books are now held to.

A master who took a boyhood dream and worked diligently to see it happen, standing head and shoulders above an already advanced and crowded medium in the country that had long since mastered the form.

Moon’s Song of the Week: Copy of Copy by Himuro

I know next to nothing about Himuro, I stumbled upon this track in a stack of old songs that I picked up a few years back and it’s pretty much my only exposure to his(?) work. If my wikipedia skills are on form them he’s this guy, in which case he’s worked on Final Fantasy, raised a butt load of money for charity and is huge in Japan.

What I do know is that Copy of Copy is a fantastically scrappy bit of eastern electro with a beat that reminds me of some of Dan Le Sac’s best. If you like your music choppy, fun and upbeat then you should dig this track.

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The Fellowship of the Ring Sing Backstreet’s Back

 

If you’re looking for a hot tip in the “silliest thing you’ll see on the internet this week” stakes, look no further. Questionably animated versions of the Fellowship of the Ring, getting down with their bad selves to a Backstreet Boys classic? What better way to start the day. Aragorn’s expression and the dark lord’s mad dancing skills are enough to make even the glummest of men spit their coffee all over the keyboard…and before you ask, yes of course it’s from Japan.

This is what the internet was made for.

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Japanese Trailers for our favourite Movies – Avengers

Pretty much all of this footage has long since been seen as a TV Spot and various previews but this is what the Japanese got months ago as a standard trailer for the Avengers movie. Leaning a little more heavily on the tech – with some lingering shots of the Shield carrier doing it’s thing the whole thing starts with a revealing look at the invaders coming out of a wibbly wormhole. Not much more of a fanfare was really needed for Avengers in the west but Marvel and Disney can expect some smaller, yellower bums on seats in the Far East based on this promo. Interesting to see if there’s another before Japan’s release in a few month’s time. Sorry about the description of possible appearance of bums in Japan. I’ve never seen a Japanese ass. Sorry again.

Practitioners 52: Osamu Tezuka

Kyoto station is a monolithic, grand and impressive structure, latticed with metal and steel pillars in a gun grey cathedral to industrialism and travel. It is impressive to say the least. Outside, however is a small camera stall looking out over the main entrance. On top of it is an icon as famous, if not potentially more famous and certainly more recognisable across Japan than the enormous building behind him. His name is Astroboy, and in terms of fame and influence he matches up to any celluloid mouse. Built from the premise of cheerful, less gritty story telling – Astroboy’s creator is considered the instigator of the ‘Golden Age of Manga’. The name of the man who brought hope to Japan after the Second World War through a new age in Manga is Osamu Tezuka.

Born Tezuka Osamu on November 3, 1928 Tezuka was a Japanese cartoonist, manga artist, animator, producer, activist and – at one time – medical doctor, though he never practiced medicine. Born in Osaka prefecture, he is best known as the creator of Astroboy, Kimba the White Lion and Black Jack.

He is often known as the ‘Godfather of Anime’ and enjoys the reputation as the Japanese Walt Disney. Inspired very much by his namesake, Tezuka adapted much of the western idealism of Disney to the Japanese Manga, transferring ideas seamlessly that still now permeate modern Manga. Though his creations have moved far beyond the initial inspirations that spawned them.

Starting to draw comics in his second year of elementary school, he found a bug named ‘Osamushi’ in his fifth year. Fascinated by the similarity to his own name he adopted it as a pen name. He came to realise that he could use Manga as a way to convince people to care for the world. After World War II and the devastation that Japan itself had suffered during the conflict, Tezuka created his first piece of work – at the age of 17 – Diary of Machan and Shin Takarajima (New Treasure Island). These works launched the Golden Age of Manga. Their popularity and style offering people a new – and popular – way of reading Manga.

As a young boy Tezuka was very ill, his arms swelling up. The following treatment led him to want to become a doctor. He continued to draw as he studied medicine at Osaka University and obtained his medical degree. He arrived at a cross roads – familiar to almost all creatives when they try to decide which path to follow. Ahead of him a potentially lucrative career as a doctor, for which he was now almost fully qualified, or alternatively the life of a comic artist, not considered a particularly rewarding job. He turned to his mother for advice who replied “You should work doing the thing you like most of all.”

Tezuka graduated from Osaka University, having gained his Medical degree but would never practice medicine. He would however use his medical knowledge to enrich his sci-fi manga, such as Black Jack.

His creations include Astro Boy (Tetsuwan Atomu in Japan, literally translated to “Iron-armed Atom”), Black Jack, Princess Knight, Phoenix (Hi no Tori in Japan), Kimba the White Lion, Adolf and Buddha. His “life’s work” was Phoenix — a story of life and death that he began in the 1950s and continued until his death.
In January 1965, Tezuka received a letter from Stanley Kubrick, who had watched Astro Boy and wanted to invite Tezuka to be the art director of his next movie 2001: A Space Odyssey. Tezuka could not afford to leave his studio for an entire year to live in England, so he refused the invitation. Though he could not work on it, he loved the movie, and would play its soundtrack at maximum volume in his studio to keep him awake during the long nights of work.

Tezuka headed the animation production studio Mushi Production (“Bug Production”), which pioneered TV animation in Japan. The name of the studio derives from one of the kanji (虫 – Japanese reading: mushi, English meaning: bug,insect) used to write his name, bringing that quiet day discovering a bug bearing his name back firmly to his present day. Robust, tenacious and built for purpose ‘Bug’ productions continued to produce innovative and fascinating projects.

Many young manga artists once lived in the apartment where Tezuka lived, Tokiwa-sō. (As the suffix -sō indicates, this was probably a small, inexpensive apartment.) The residents included Shotaro Ishinomori (Cyborg 009, Kamen Rider) ; Fujio Akatsuka (known as the Gag Manga King; also influenced by western work, namely Buster Keaton and MAD magazine); and Abiko Motou and Hiroshi Fujimoto (who worked together under the pen name Fujiko Fujio and created the long-running series Doraemon, the main character of which is officially recognised as a cultural icon of modern Japan – much like Astroboy). All these men opted to live close to the starting point of the great master. Hard to think of an equivalent today for western artists though perhaps the difference is more cultural. Never-the-less the influence of Tezuka was undeniable and clear in order to inspire these men to wish to see the same views and follow so closely in his personal path.

Thanks to his prolific output, pioneering techniques and innovative redefinition of genres Tezuka earned himself incredible titles such as ‘the father of Manga’, ‘the god of comics’ and ‘kamisama (Japanese for spirit or natural force) of manga’.

Tezuka is known for his imaginative stories and stylized Japanese adaptations of western literature. He loved reading novels and watching films that came from the West. Tezuka’s early works included manga versions of Disney movies such as Bambi. His work, like that of other manga creators, was sometimes gritty and violent. However, he stayed away from graphic violence in some titles such as Astro Boy.

The distinctive “large eyes” style of Japanese animation was invented by Tezuka, drawing inspirations on cartoons of the time such as Betty Boop and Walt Disney’s Bambi and Mickey Mouse. His productivity is awesome in it’s scale – certainly dwarfing almost all modern artists, the Complete Manga Works of Tezuka Osamu (手塚治虫漫画全集, published in Japan) comprises some 400 volumes, over 80,000 pages; even considering this, it is not comprehensive. His complete portfolio includes over 700 manga with more than 150,000 pages. However, the vast majority of his work has never been translated from the original Japanese – which has led to a lack of fame in the west that other creators such as Kazuo Koike, Goseki Kojima and Katsuhiro Otomo have enjoyed.

Tezuka died of stomach cancer on February 9, 1989, at the age of 60. His death came about one month after the death of Hirohito, the Shōwa Emperor of Japan. In an afterword written by Takayuki Matsutani, president of Mushi Productions, that was published in Viz Media’s English language release of the Hi no Tori manga, it is said that his last words were, “I’m begging you, let me work!”

The city of Takarazuka, Hyōgo, where Tezuka grew up, opened a museum in his memory.
Stamps were issued in his honor in 1997. Also, beginning in 2003 the Japanese toy company Kaiyodo began manufacturing a series of figurines of Tezuka’s creations, including Princess Knight, Unico, the Phoenix, Dororo, Marvelous Melmo, Ambassador Magma and many others. To date three series of the figurines have been released. A separate Astro Boy series of figurines has also been issued, and continuing popularity for fans throughout Japan are annual Tezuka calendars with some of Tezuka’s most famous artwork.

His legacy has continued to be honored among Manga artists and animators and many artists including Hayao Miyazaki (Spirited Away), Akira Toriyama (Dragon Ball), and Kazuki Takahashi (Yu-Gi-Oh!) have cited Tezuka an inspiration for their works.

Far reaching influences: Vampires (1966 -67 and 1968 -69) by Osamu Tezuka reveals parallel styles seen in Warner Bros and Disney, and even the later chapters of Jeff Smith's Bone.

Anywhere that the mark of modern manga and anime are found globally started with the stroke of Tezuka’s pen in post-war Japan. His intention was to spread joy. He has also spread images of science fiction worlds unimaginable in the west, although many are violent and malevolent they have moved millions and all carry the ‘wide-eyed’ innocence of Osamu Tezuka. An unknown legend in the west – he is partially responsible for almost half the design and artistic influence visible in modern comics and animation. East and West. Though these things are hard to quantify his intention to ‘spread joy’ through manga is still being achieved. Shelves and shelves of manga on every subject imaginable find their way to millions of Japanese readers every day. And every page carries a little bit of the joy Tezuka hoped for. Just a little ‘bug’ in the corner of every panel.

Moon Goes Global

We know we’re a small independent comic book right now but we have plans for big things. Sales of Moon 1 are a little lacking in digital form which we think is a shame as we’d love to think our American, Canadian, Australian, Mexican, Chinese, Japanese cousins would get a chance to have a quick look at our work here at Beyond the Bunker.com. So, to our global brothers and sisters we have a ready to go digital version you can download onto your desktop, smartphone, tablet etc. Please enjoy!!

If you’re interested click on the link below. If there are any problems downloading based on where you are please let us know.

Crazy Japanese Minecraft trailer

To those not in the know – Minecraft is a game in which you can potentially build anything – as long as you don’t mind it being made of different coloured boxes. It is, reportedly, amazing and has to be kept out of the hands of myself and Dan because of it’s addictive nature. It’s been around for while however now the Japanese have discovered it – and Oh Boy! Have they done there thing with it!

As expectedly obscure, crazy and provocatively confusing as you’d expect. Hooray!!

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Karakuri: The first Japanese Clockwork Robots

Karakuri from Matthew Allard on Vimeo.

The Japanese have had more than a passing interest in robotics for generations. Well before the term robotics was coined the fine art of engineering Karakuri was developed. The patient and refined art of creating small clockwork models move in an almost unimaginably natural and refined way. Check this out to see a lady robot right a tiny Japanese symbol and then nod suggestively at you. Beautiful and a testament to fine artists and engineers and designers who slave everywhere to bring pieces of rare and unimaginable beauty.