#I'm surprised i got CG to agree to this to be honest

[marshmallowprotection]

What are your thoughts on the new Cg? Butler Saeran? I’m not use to the him nor Jumin and Zen with glasses. But they look good

Normally, I would do a lengthy analysis post about the image, but there isn’t much here for me to analyze! I do want to write something for the anniversary that I will try to get out before the end of the month, but it's not going to be tacked onto an image analysis since there isn't much for me to say here other than point out a few Easter eggs. 

I got what I wanted. Jaehee in a tuxedo. This is what I manifested at the start of the month and I am grateful that we not only got her in a maid outfit, we got her in a butler outfit, too. Jaehee stans, you have won and she is front and center! This is her moment and she is killing it. I feel the need to stare at her for a little while because it's cute and there's no way I'm going to let this moment pass me by without really appreciating Jaehee aesthetically.

I'll be honest, I don't know why the recent trend has been to make our boy Yoosung super clumsy. He's never really been a clumsy guy and I don't know where someone got the idea that Yoosung isn't on top of what he's doing. I will agree in saying he's probably the easiest person to bully in the entire universe because he's sweet and gullible, but he isn't clumsy, and yet, every image we've gotten of him this year other than his birthday image has had him busting his ass on the ground in one way or another.

Does ANYONE know why they're bullying Yoosung this bad? I mean, he's really cute here and I appreciate that he's trying his best to really impress the MC, but c'mon, give him a break.

I did not realize how badly I needed Jumin in glasses. Jumin's already a very handsome person but somehow adding glasses really elevates it here for some reason. I don't know how his vibe has enhanced for me but it has. I wear glasses myself and I always have, so it's nice to see the characters in glasses in official artwork because I'm always super curious to see how they would look. It's working for Jumin, that I can tell you.

I like that his hair isn't as neat and tidy as it usually is, too.

I fear they have slayed. Saeyoung and Zen are dazzling in their own right and I can't remember the last time they were drawn side by side but I think it's been a little while.

I've already noticed many people have pointed out that Saeyoung is wearing a ring. It's a little bit silly that he's wearing it over his glove, but I have to admit that is something he would do if this were his timeline. He is proud of the fact that he gets to live in this world, and he's even happier to know that he has somebody by his side who understands him more than anyone else. He's definitely that guy who doesn't stop talking about his partner because he's so in love. 

Zen with roses is something I've come to expect because he's also a traditional romantic. Red roses are the best way to captivate someone with your love and it’s no surprise that he follows that path. It might seem a little cliche but who is he if not somebody who loves romantic cliches? He is that guy who would watch romcoms with you all day long regardless of your relationship status with him, he just gets it.

I don't know how I feel about him wearing glasses since he doesn't seem like a glasses guy, but maybe if I saw him in sunglasses I might be able to rationalize this better. He's wearing a stylized pair here and I think it's the gold that's throwing me off. If it was silver, I don't think I would feel as perplexed by how I feel because silver fits him better as that's typically what he chooses for himself.  

Controversial thing to say every time I say it, but I have to tell you guys that Jihyun is still my third favorite character in the game, and I really don’t mind when Saeran and V are drawn together. I recognize that they do this because those two are tied together as the leads of Another Story, just as the core five, meaning Yoosung, Zen, Jaehee, Jumin, and Seven are drawn together.

But, to me, seeing Jihyun with everyone makes me feel like there is a timeline where V did the right thing for everyone and asked for help at the first sign of trouble instead of continually shooting himself in the foot. A lot of the art that's drawn with V included is self-indulgent and can only exist as true fanservice because it would never be true in most routes of the game. 

Normally, I would expect him to look exasperated in art like this but he seems to be fairly confident which is a good change for Jihyun. I’ll take it! 

I have no idea what they're doing here, did they choreograph a song and dance? They aren't the most coordinated members of the group so that makes me want to laugh. It's sweet, but I have a huge feeling they're going to trip over each other if not on their own feet. Saeran is as cute as always, I could talk about him for hours.

Seeing him as a butler always takes me back to when Ray said he would be happy to be your butler in a huge mansion. That was utterly indicative of the fact he was willing to become subservient to you if it meant you would stick around. That’s what the first bad ending is all about. Unfortunately, he thought so poorly of himself that he would be willing to make himself nothing more than something for you to push around if that's what you wanted. 

At least, in this context, he's doing it because he wants to make you happy, sure, but it's not something he's doing to make sure you stick around, he knows you'll still be there no matter what because he doesn't have to work himself to the bone to prove he's worthy of your companionship. 

I don't know if anybody picked this up but the painting is in homage to the anniversary image from two years ago. Rika was in the painting that time, and this time around, it's MC.

I do think it's worth noting that they are playing with light and dark imagery which is to be expected in a game that takes a lot of cues for religious imagery. Rika and MC are always bathed in white and black, light and dark, true contrast.

They're both wearing a dress that goes off of the shoulders, the only difference being the color and the style. MC has a more sleek pattern and Rika is bathed in ruffles. Rika’s seems to be more constrained and MC’s a little more loose around the edges. MC is free to make choices one way or the other by pushing outward, and Rika makes choices that go against her best interest as she pulls inward. I think another CG that plays on this is the BE from V Route.

Love her or hate her, there are important parallels at play here. 

In conclusion, Rika has always been like this in official art and I don't know what to tell you.

[britesparc]

Weekend Top Ten #682

Top Ten Challenge: Top Ten Animated Films Watched 2024 (Features)

So, to summarise: every year for the past three years or so, I've taken it upon myself to broaden my filmic knowledge by selecting a particular genre, style, medium, whatever of movie, and trying to watch as many of them as possible in a given twelvemonth. This began with Westerns; moved on to action movies; and then, in 2024, I decided to watch animated films. What follows, then, is a ranking of the best animated films I watched last year.

Now, it’s important to note, these aren’t the best animated films released in 2024; nor is it a list of my favourite animated films of all time; and even then, they aren’t all films that I'd watched for the first time ever. No, the idea is just to watch as many as possible of a given genre (or whatever, I'm not really sure “animated” is a genre as such, but you hopefully get the drift). Some of these films were brand new to me; some were beloved classics; some were ones I’d seen a long time ago in a living room far, far away.

When I started doing this little exercise, I think I dropped the ball right out the gate (is that mixing metaphors?). I only saw about 17 Westerns or something like that in 2022; however, I really stepped up with action films, watching something ridiculous like 60-odd (including, if I remember correctly, every John Wick, every Mission, every Die Hard, every Beverly Hills Cop, and every Equaliser). There was no way, I felt, that I could do that well again with animated movies. But y’know what? I’m pretty pleased with how it turned out. In total I watched 45 of them; or, to be more specific, 45 feature films (more on that later). Not bad, I hope you’ll agree; and among that list were some films that I’d been meaning to watch for a long, long time.

And so what follows is a list that I think, to be honest, is mostly predictable if you know anything about me. There are a couple of Disney/Pixar films here; some 1980s classics; modern curios; and a few anime offerings. And, of course, there’s a Batman. Perhaps you’ll be surprised to see that neither of the Transformers animated films made my top ten; well, I can confirm that I watched both The Transformers: The Movie and Transformers One last year, and however fond I am of them, I’m still objective enough to know that neither are as good as, like, half the Pixars. I mean, if you’re really curious, TTTM placed 17th, nestled in between Teenage Mutant Ninja Turtles: Mutant Mayhem and the first Shrek; TO wound up at number 22, between Onward and the surprisingly good Hellboy: Blood and Iron.

I’m very pleased at some of the classics and ones-that-got-away that I managed to watch this year, especially Princess Mononoke, which I’d wanted to watch for ages (it took so long partly because I thought my kids would want to watch it too). I was also able to watch a few films from my childhood that I’d not seen in decades, from NIMH to The Flight of Dragons (no. 19), as well as something like Akira, which I’d seen once previously in about 1995 or something. However, I’m also a bit upset at the ones that did get away, films that for whatever reason I just didn't find the time to watch; Ralph Bakshi’s The Lord of the Rings, any Cartoon Saloon films, more Ghibli (I’ve still not seen Grave of the Fireflies), Spielberg’s Tintin, or last month’s War of the Rohirrim, which I was really looking forward to but never made it to the cinema for. Still, just because this year isn’t about animation anymore doesn’t mean I can’t still watch them.

Oh, whilst I’m here, a note about what I consider “animated”. For the record, I was counting (obviously) fully-animated 2D/CG films from Snow White to Moana, or whatever; also performance capture films (I watched – hope you’re happy – both Polar Express and Christmas Carol); and films that were animated/live-action, such as Marcel the Shell but also including the likes of Roger Rabbit (which I didn’t watch, hence it not appearing in the top ten) or Space Jam (which I also didn’t watch, but which wouldn’t have been in the top ten).

So, onto length (steady). I’d already watched a couple of shorter films; but it occurred to me that “animated short” is such a huge category in and of itself, that I should do it justice with its own list. I kinda wish I’d decided this from the start, as I then might have made more of an effort to seek out short films (especially non-Disney ones, as a lot of those are easy to view on D+). Also, starting to hunt out and watch specifically short films earlier in the year might have allowed me to finish my re-watch of all the Wallace and Gromit and Garfield films. Anyway, if you’re wondering why Duck Amuck isn’t on this list, it’s because it’s going to be next week, along with other shorts. This is the first time I’ve done a two-part film challenge! How exciting.

Before we get onto the list (nearly there, I promise!), a quick word on 2025. Because, of course, I’m doing this again; this year, my focus is musicals. Which I think is going to end up with not quite as strong a showing as the last two years; although the only film I’ve seen at the cinema at the time of writing is Wicked, so who knows? Also, it’ll be funny to see how many animated films also wind up on a musical ranking. I didn’t watch Frozen last year, but I can’t (ahem) let it go two years in a row, surely?

Right, that’s enough of that. Onto the list. Best animated films I watched in 2024. Go!

Princess Mononoke (2001): combining the pastoral focus of many Ghibli films with the trappings of epic fantasy, Mononoke is simply phenomenal. In its use of wide landscape, tight choreography, and moments of visceral violence, it’s reminiscent of Akira Kurosawa; but the sumptuous animation and menagerie of wild and wonderful beasties is pure Ghibli. A masterpiece, and then some.

Akira (1988): oddly prophetic dystopia (Tokyo Olympics in 2020, anybody?!) that marries post-war Japanese anxieties with western genre influences and gives us both a beyond-iconic cyberpunk aesthetic, a high-watermark for grimy techno-animation, and a rollicking action-adventure. The psychic adventure stuff gets trippy in an almost 2001 fashion, but there are also moments of tenderness and humour.

Batman: Mask of the Phantasm (1993): I’m nothing if not predictable, but returning to this I was stunned by its emotion. Because whilst we can talk for ages about the glorious art deco design, how much the animation sings despite it being essentially a TV movie, and how excellent the vocal performances are, this is a study of a man torn apart. Bruce, in the rain, at his parents’ grave, crying “I didn’t count on being happy”? This film is a tragedy. It’s also easily – by a mile – the best Batman film ever, and arguably the best superhero film full stop.

Coco (2017): it sounds daft but I was surprised by some of the Pixar films I rewatched; I remember them being good, or even great; but this great? Anyway, Coco is a stunning achievement. The design is extraordinary, and the themes of loss and grief and regret that run through it are incredibly well explored. The music is a delight. And, of course, it’s a hell of a weepie.

Marcel the Shell with Shoes On (2021): well, this was a delight. A charming mockumentary about a tiny little adorable shell… thing. The filmmaking craft on display is exquisite; the conceit never breaks, and the skill taken to preserve the style is really something to behold. More than that, though, it’s just such a joyous, good-natured film; even though there’s an air of melancholy about the whole thing, the overriding sensation is one of absolute bliss at being alive. Paddingtonian. And yes I’ve decided that’s a word.

Ratatouille (2007): another amazing Pixar effort… I felt like an idiot watching this, because I felt like I just got it. It’s about art; I knew that, of course. It’s not about cooking, it’s about creativity. But more than that, it’s about the humanity of creativity; the joy of it, the angst of it. It’s not artist versus critic, it’s about creation versus negativity, and as such it places creativity itself – the very act of creation – as a net positive. It’s lovely. And the Disneyland ride is pretty cool.

Ghost in the Shell (1995): the other cyberpunk anime everyone wangs on about – and with good cause! There’s a touch of the Terminators in this tale of a cyborg defending humans whilst questioning humanity; what’s alive, what isn’t, etc. It also gives us a terrific, conflicted lead character, whose existential wrestling is given great, gritty realisation in the amount of cybernetic body horror inflicted upon her. And the animation rocks.

Nimona (2023): the most recent film on the list, and it’s just wonderful from beginning to end. Pleasingly progressive in an off-hand way, with a charming style that – whilst not mirroring ND Stevenson’s original artwork – looks distinct and different from most mainstream animations. It’s a great action film, with terrific cinematography, and some wonderful performances from the leads. But overall it’s a love letter to love itself; friendship, acceptance, trust, and faith. So metal.

The Nightmare Before Christmas (1993): ah, it feels like Christmas. This remains an astounding feat of stop motion (I do wish I’d managed to watch more stop motion last year, though). From Tim Burton’s twisted designs through the craft of Henry Selick and his team, this remains a treat; but it’s the heart and emotion of the story, songs, and – especially – the characters that makes it a festive staple. Like a dark gothic twin to The Muppet Christmas Carol.

The Secret of NIMH (1982): I adored this film when I was very young, and I’m delighted that it held up so well. Don Bluth was almost alone in trying to make Disney-scale animation in America in the eighties, and this was his first feature-length film; notably darker than Disney, with earthier notions of life and death. Anchored on a tremendously unprepossessing hero, we journey Tolkein-like into an increasingly thorny world of high science and magic; and it remains compelling as both story and spectacle.

So there we are. My favourite feature-length animated films that I watched in 2024. But before I go, I couldn't resist just talking a little bit more about my beloved Transformers. It’s hard for me to be objective about the 1986 movie; the first film I saw at the cinema (possibly), the film I’ve seen more than any other (almost certainly), something I can almost quote verbatim from beginning to end. But looking at it now, it’s a rollercoaster of a film, hurtling through from one expansive action sequence to the next, introducing a raft of new characters (who, admittedly, are little more than cyphers or hung around one piece of schtick). And as an animated film in the mid-eighties, it more than holds its own; there are some pleasingly chunky scenes of metallic business that evoke the best of tech-noir anime. But I will concede that it may be virtually impenetrable if you’re not already conversant in Transformers; and even if it’s not confusing, you might not really care. But for my money it’s a more than worthwhile animated sci-fi. As for the new one, Transformers One, I really enjoyed it; its depiction of pre-war Cybertron as a ravaged surface hiding a bustling underground metropolis (with skyscrapers hanging stalactite-like from the crust) is great, as are most of the main character designs. The gleaming robot bodywork does lead to some of the minor characters looking a little like videogame NPCs from fifteen years ago; and the nature of the plot means it rushes through extremes of lore and character development in short order (threatening spoilers here, but there’s precious little to foreshadow D-16's eventual shift). Maybe it fails to entirely thread the needle of “boisterous fun animation for kids” and “complex tale of heroism and tragedy”, but fair play for trying; it’s at least the third-best Transformers film ever made.

Anyway, that’s enough from me for now. Come back next week when I’ll be examining the animated shorts I watched last year!

[natasha-in-space]

Hey! I'd love to hear your opinion on two things of the Halloween Mystic Messenger screen

First of all what do you think of Rika in the Dirndl (germans traditional women clothing) I think she looks quite snazzy, the colors are unusual on her but she looks gorgeous either way

Second of all, do you think Rika is Hänsel, Gretel, or the witch cause I am not sure. Like for the role she plays in the game, the witch would make a lot of sense, but she only gets out of her house after the children started eating her house, so I doubt it. And I forgot who was the one wanting to eat the house first of the siblings so I don't know 😭 I tried gaining understanding by looking at MC's clothes. But I have no idea what she is wearing, so I am at a loss and would love to hear your take on it!

Sending lots of love, dear <33

Hi! Thank you so much for such a in-depth ask, it was a ton of fun to sit and muse with my thoughts and ideas on Rika's birthday CG we got.

So, first of all, I gotta agree with you there: that's definitely a form of dirndl she's wearing! The designs look awfully similar for it to be a mere coincidence to me. These dresses can come in so different designs so it's a very versatile type of clothing to work with. Here are some examples of what I mean:

And here's Rika's dress up close for comparison:

Personally, I adore dirndls and their rustic yet elegant look. Never knew the specific term for such a dress, but now I do! It's not a sophisticated dress per se, but the simple beauty it brings out makes me super happy. If you think about it, it does fit Rika quite well. While she certainly loves to dress up every once in a while, her day-to-day style is quite modest in its nature. She's not wearing any dark colors in this cg, but it's not the pure white dress we saw on her two years ago either. To be honest, this color palette of green and blue on her makes me smile. It's not black or white, there's no darkness or light. At least, not in a way that would get your attention right away. She's not trying to embody the darkness or the light here. Instead, it's such a peaceful and soothing combination of colors, and I think it fits her very well. I also really like the yellow apron she's wearing! Is it, possibly, a callback to the dress we see on her in the game and the past she's trying to forget, only for it to remain by her side in one shape or another? Who knows, but it's a fun theory. Though, it should be noted that her outfit is still done in a cold color palette. It's certainly a way more colourful look on her than we're used to seeing, but in spite of all that, there's a certain type of deep melancholy surrounding her, even with a gentle smile brightening up her features.

Okay, now that we're done with her dress, let's talk symbolism! I'm gonna put up the whole CG now:

I'll be completely honest and say that it's been a while since I've read Hänsel and Gretel, so I had to quickly reread it to get a good feel of the story. It's very easy to assume that Rika's the witch leading MC away with the alluring promise of endless sweetness, only to trap them the moment they let their guard down. After all, the castle of Magenta sure does fit the sweet and inviting exterior of the witch's candy house pretty well. At first, it seems like a dream come true to the hungry and tired children, up until the very moment they finally get inside and see the ugliness hidden within these candy walls. That's what I thought of at first too! But, after rereading this story for your ask, I actually got another idea all together.

See, in the story, Gretel was wearing an apron. Not sure if she was wearing it from the very beginning, or after they finally freed themselves from the witch's clutches, but it's definitely there! And what do we see Rika wearing? That's right! An apron. Furthermore, I decided to look into the way Gretel is portrayed visually. To my surprise, she's often seen dressed in a classic dirndl. Which is actually not that surprising, since this story was published in 19th century in Germany, but hey, I didn't know that before :D Gretel was also the one leading Hänsel to the candy house, if I'm remembering it correctly.

So yes! Everything actually points to Rika being Gretel instead of a witch. Which means that MC is definitely Hänsel. This opens up a whole other possibility from a narrative standpoint. I wonder who the witch is then, though... But, I must admit, I REALLY like the idea of Rika initially helping the witch, albeit reluctantly and through her own tears, only to eventually find enough courage inside herself to break free and trick her, saving MC with her own hands. It's a nice parallel, considering that Hänsel (MC) was initially the one leaving pebbles and breadcrumbs to make sure that they'll return back home safe and sound. MC was also the one caring for Rika and promising her that everything will turn out okay.

Though, Rika still very much could be the witch, and I'm just looking way too deeply into this '^^ But, I must admit, I like the idea of her being Gretel much better. I want her to be happy!

Perhaps, Mika is the witch here. She's the one that first planted the idea for Mint Eye in Rika's head and she's the one telling her what to do for a short while. Mika playing the role of a witch that lured Rika and MC into her candy house only to force Rika to do her bidding does kinda fit the story. Maybe she locked MC up, because they were trying to warn Rika not to listen to her. I always loved the idea of MC knowing Rika before the start of the game, and how that would change up the narrative all together. I'd say that the father they return to in the end of the story is V, since he was the one genuinely caring for the kids, however his kind heart still did not stop him from unknowingly leading them to their doom. It does fit him quite well, I think. He's a good man doing his best and failing in the process, like we all do sometimes. Though, I have no idea who should be the evil mother... She's the one that quite literally abandoned Hänsel and Gretel in the middle of a forest, so... I don't know. I could go for a literal route and choose Rika's mother, but it's still feels kinda iffy and on the nose for it to make sense.

[nomadicism]

To be honest, I'm not that surprised that Voltes V is being adapted into la before Voltron. Voltes V is extremely popular in the Philippines, even now. While I think Voltron was big in North America during it's time, it's not nearly as popular as was back in the 80s, even with the Netflixs series. It's like how Saint Seiya is still super beloved in Latin America to this day, despite it being made in the 80s.

Hi Anon, thank you for the Ask!

I’m surprised-and-not-surprised that Voltes V will be adapted into live-action before Voltron, both for the reasons you mentioned, but more importantly, it’s because when IP holders of cartoons (doesn’t matter what cartoon it is) attempt to get a live-action film made, they nearly always fail to get it made. Live-action TV series adaptations don’t do well either, for mostly the same reasons.

Note: I’m not counting live action adaptations of anime, b/c that’s a completely different beast.

My self-indulgent axiom is: The moment that there is an announcement about a cartoon being made into a live-action film or series, is the moment that such a thing ever happening dies on the vine. There are quite a few of them languishing in movie rights limbo, so I never take it seriously. 

There are a lot of factors involved as to why they fail to get made, but the biggest reason has to do with special effects budget/capabilities vs perceptions about how much money the potential audience will bring in. Since cartoons in the US are for children—obviously, they don’t have to be, but sadly that’s the widespread cultural belief—then that limits what can be done for a film that is based on a cartoon. This isn’t the same as an original animated film that is not adapted from an existing cartoon.

Basically, PG, PG-13, and R movies bring in more money. TV series face the same issue, even though live-action series traditionally bring in more ad revenue. The special effects budgets that would be required to adapt most cartoons (given the fantastical content) practically demand a movie adaptation rather than an on-going series, or mini-series.

Rated G movies can bring in mountains of money (especially if you’re Disney), and even then, Disney’s live-action films (notably based on IP that Disney purchased and are not even uniquely Disney) bring in more than their most beloved animated films, and no Disney G-rated film has broken $1B. Their top grossing animated film to date is the 2019 Lion King, which, being realistic CG, effectively makes it a live-action film. 

Frozen and the recent CG Lion King (2019) are in Disney’s top 10 as of 2019, and they are both rated PG. CG Lion King is #7 and Frozen is #15 of all top grossing films. FWIW, CG Lion King is ‘realistic’ to the point where I don’t think it really counts for what I’m on about here. Its realistic look makes it indistinguishable from the rest of the top 10 highest grossing films to date.

No company wants to spend tens of millions (or more) to make a cartoon into live-action if they have to keep it rated G, and they have to keep it rated G due to audience perceptions and expectations. The Scooby Doo movie got to dodge that a bit for some reasons that are unique to its franchise and audience (also, they still had to cut content/tone it down to avoid the R rating). The live-action He-Man movie is a good example of everything that could possibly go wrong, and I suspect that its infamous failure still looms large in the minds of those who write checks to produce movies.

The Michael Bay Transformers movies did well b/c the technology was there to make them look good, they were PG-13, and Bay’s “explode all the things” film-aesthetic was hit the right notes in the zeitgeist of the time. Even if I don’t really like the Bayformers, I can still respect them for bringing something fresh to the franchise, and looking damn good for CG robots.

Compare their success against, the animated Transformers: The Movie. That one did not do well in theaters and the more mature themes caught fans and viewers by surprise and—as much as I love the movie��many parents and kids were upset by it at the time and I agree with the reasons why. I also saw it in theaters as a kid and was upset at the time, but eventually grew to love it. That movie is another example of just how tricky it is to bridge the cartoon-to-film gap, even when animated. The Bayformers movies bridged the gap right (again, even though I’m not a fan of them, I respect them for what they are). I can’t think of any cartoon-to-live-action film that made the adaptation gap as well as the Transformers did. Obvs, there is no live-action TV series for Transformers. It can’t be done.

TMNT did well for the first two films, but again, they were films and not a TV series.

What follows is speculation on my part:

In the case of IP like Voltron or Robotech, I suspect that the reason why they have been in movie rights limbo for so long is to prevent someone else from buying the rights and making a movie of the original source material. Even a shitty Golion or Macross live-action movie could harm WEP or Harmony Gold’s control or water down their vision for the IP. Voltron and Robotech are unique b/c technically, a Japanese studio could have gone to production on a live action Golion or Macross movie, but if the license to make them is tied up with American studio/production houses (and royalties being paid where applicable) will prevent that. This doesn’t mean that WEP or Harmony Gold couldn’t challenge said hypothetical Japanese studio over an adaptation, but it would be a legal battle that no one wants. The rights get tied up indefinitely simply to keep another studio from buying them and possibly making the film and doing a great job of it.

It’s such a Cold War mentality, but I can’t see any other rationale for it other than WEP and Harmony Gold being really awful at brand and IP management to the point where they actually believe that a studio would risk millions on a live-action adaptation. At this point, Robotech would be more likely to get adapted since HG has the fire lit under their ass by looming copyright changes and that Sony was interested enough to get involved. They’ve got like 2 years to make that happen so we’ll see.

How this relates to Voltes V:

Since Voltes V is an anime, a live-action adaptation won’t be bound by the same expectations for content rating, especially if it is not being made for an American audience that expects rated G or family-friendly PG. The love for Voltes V among Filipinos puts the IP into a special place, and it’s probably a lot like Transformers, where there are a lot of older fans who are waiting to see their beloved show get some attention, whether big screen or small. There is that legacy audience plus the popularity of robot anime and video games in the region gives a Voltes V a good chance at a live-action TV adaptation.

To me this means that, since this adaptation won’t be a movie, but instead will be a “seasonal” series, that it’s going to do well enough for the Philippines, and probably have a quality similar to more recent Ultraman series, or Power Rangers. They don’t have to go all-in like a big budget Hollywood film, or an HBO drama. I’m curious if this live-action is actually live-action + CG, or if it’s going to be all CG animation that’s mostly realistic looking but also stylized.

Whatever happens, I’ll be happy to see Voltes V get made b/c it’s a fun-and-interesting story that deserves more attention, and it’s really a shame that there was never a reboot or remake. If it does well, then maybe Toei might bring it back in animated form.