Starz Film-Roman is producing this new animated direct-to-video feature, Dante’s Inferno: the Animated Epic, through animators in Japan and Korea. It’s based on a popular video game and - be warned, especially those who had a problem with Hairballs - the trailer below is graphically violent.

(Thanks, Sandra Khoo)

The film’s sound track is a bit annoying, but this short has an energy that’s undeniable. It’s called Fumiko no Kokuhaku (or Fumiko’s Confession) and apparently it’s an independent production produced by 21-year-old student and aspiring animator, Hiroyasu Ishida. Ishida has also posted a production blog (in Japanese) featuring storyboards, backgrounds and character designs.

Director/Animation/Background/3D CG/Editing/Sound: Hiroyasu Ishida (a.k.a. Tete)
Background/3D CG Textures: Yūko Iwase
3D CG Textures/Background: Kazuhiro Murakami
Animation: Tatsurō Kawano
3D CG Modeling: Yūsaku Nagata

(Thanks, Marc Gagnon and Anime News Network)

Vistors to Kobe Japan will now be greeted by the sight of a 60-foot statue of Gigantor (Testsujin 28-go, to those in the know). This follows the unveiling of a 59-foot Gundam in Tokyo.

Not to be left out, Korea is building a gigantic Taekwon V statue (aka Voltar the Invincible), that will reportedly be more than twice the height of the Statue of Liberty.

Is there any chance we can construct a 60-foot Frankenstein Jr. in Manhattan?

(via Gizmodo, by way of The Beat)

Joshua Smith, who has introduced me to lots of great anime over the years, wrote to let me know about some recent discoveries he made on YouTube: Kitty’s Studio (1959) and Kitty’s Graffiti (1957), two shorts animated by Yasuji Mori. I’ve embedded them below.

Joshua writes:

These were produced during a time in which Toei was just gearing up it’s attempt to become the “Disney” of Japan, a feat that probably would not have succeeded without the talent of Yasuji Mori. He was probably the greatest Japanese character animator of his generation, stressing the concepts of appeal, solid construction, and moveability in his character design and animation. As the most influential mentor at Toei, he passed his skills on to subsequent generations of Toei animators such as Yasuo Otsuka, Gisaburo Sugii, and Hayao Miyazaki.

Kitty’s Studio

He continues:

Most prewar and postwar Japanese animation up to this point was rather crude, so it’s striking to see Japanese animation at a level of quality that equals or surpasses much American short animation from the same time period. These shorts clearly contain a great deal of Western influence, but have a distinct approach that makes them feel exotic. Without further context, it seems like this style of animation appeared from a vacuum. On the weekend that sees the American release of Miyazaki’s latest film, it’s interesting to ponder what the state of Japanese animation might be like today without Mori’s influence.

Josh is spot-on when he writes about the distinct approach.The filmmaking choices in these cartoons are very odd and un-Western. In the cartoon below, the face of the main character is not shown from a three-quarter or front view until well over two minutes in the cartoon, even though he’s onscreen for much of that time. I can’t think of a single example of when that’s happened in a Hollywood theatrical short.

Kitty’s Graffiti

Hayao Miyazaki’s latest feature opens today in the United States. I reviewed it here last month. Now its your turn to tell us what you think. Only readers who’ve seen the film can post in our comments section below.

Move over, Speed Racer! Here comes the trailer for Tailenders:

The plotline here: A serious accident requires a driver to have his heart replaced with the engine of his own racing car. And I thought Turbo Teen was wild!

Despite my love and devotion to The Merry Marvel Marching Society, I have to admit these new Marvel Comic anime trailers are pretty kick-ass cool:

(Thanks, Red Pill Junkie)

I had an opportunity to join selected journalists at a Hayao Miyazaki-John Lasseter press conference held yesterday (7/28) before their appearence at the Academy of Motion Picture Arts and Sciences last night. I also shot some video (sorry for the shakey hand held camera work, and the low audio) and thought it was worth sharing with our readers. In this first part below Miyazaki talks about using (or not using) CG and his chances of making a film in 3-D. Lasseter discusses the process of dubbing a Miyazaki’s films. Interesting to note they’ve already dubbed Tales From Earthsea.

In the second part, Lasseter discusses 3-D animated films; Miyazaki talks about what’s happening with his son:

In the third part, John Lasseter discusses his admiration of Miyazaki’s films, his reaction to the first one he saw, Castle of Cagliostro, Miyazaki’s influence in Pixar films, and why he wants to bring Miyazaki’s films to the US: