#doomed megalopolis

[neokamui414]

CLAMP's legacy as originally starting from doujinshi circles is really fascinating and makes a lot of sense when you understand that a lot of their manga are just straight up loose adaptations or spiritual reinterpretations of some of the most iconic pieces of 20th century japanese fiction, especially literature.

In many ways a lot of their storytelling is best described as "derivative" but I don't really like using that word because it has such a negative connotation. I think CLAMP's genius is actually their ability to iterate on the themes and ideas and character types and other inspirations that they derive from, especially in their ability to translate those elements to a visual/aesthetic format and to add themes of queerness into those stories or highlight the already present elements of queerness.

Like Tokyo Babylon is inspired by Teito Monogatari (and also Peacock King but that in of itself is a subject for a whole other post). And it's not just limited to the quick one-off comedic reference to Yasunori Katō that we see in the beginning of the manga. The title itself is a reference to the first manga adaptation of the Teito Monogatari. And that title choice for the adaptation was itself probably a combination of a deliberate reference to the Book of Revelation which was culturally relevant in Japan at the time for reasons I'll explain in a little bit, as well as the fact that the author of Teito Monogatari based Katō in part on Aleister Crowley. But Teito Monogatari and Tokyo Babylon are fundamentally stories about the exact same subject matter, that is the City of Tokyo itself.

X aka X/1999 is pretty self evidently a loose adaptation of the Digital Devil Story novels, the ones that would go on to be adapted loosely into the Megami Tensei video games. An apocalyptic battle for the fate of the entire world fought in Tokyo between two ideologically opposed groups of super powered beings, one of which is literally called The 7 Angels. There is a magic sword associated with the death of a female loved one, there are references to a whole bunch of religious and occult concepts from both the east and west, and one of the key locations for the plot is an elite private high school. X and DDS/ Megaten are both quintessential examples of media born from the Japanese Occult Boom. Bad Japanese translations of the prophecies of Nostradamus in the '70s that inspired the Book would become mixed with the social and economic chaos that was the Japanese asset price bubble and other late stage capitalist nonsense and then the financial collapse in the '90s is why you have in both Tokyo Babylon (and by extension the manga adaptation of Teito Monogatari) and X this weird obsession for the Book of Revelation in a ostensibly non-Christian cultural zeitgeist. Tokyo was both "Babylon" as in Rome or any sort of other hypothetical city / civilization that represented decadence and degeneration, and it was Tel Megiddo in the sense that it was the place where the end of days and the battle heralding the Apocalypse would commence.

And then Gate 7 is literally just one of dozens upon dozens of fanfic/ rip-off / adaptations of / works inspired by Makai Tensho which came out in the '60s and sort of is kind of the cultural grandfather of novels like Digital Devil Story, Teito Monogatari and the Onmyoji series. It's the modern source of basically every piece of Japanese pop culture that treats the notable historic figures of the Warring States Era as more than just badass warriors but literal demigods, sorcerers and super powered beings. Mirage of Blaze(which also has some pretty clear inspirations from Tokyo Babylon and it sort of exists in a trifecta with TB and Yami no Matsuei in their relation to the Onmyoji novels by Baku Yumemakura but again, that is the subject for another post), Samurai Warriors and Sengoku Basara, pretty much all of the Fate series but especially the original Stay Night and especially especially Redline/ GudaGuda and Samurai Remnant, and a whole bunch of fighting games and Ninja OVA'S are all examples of Makai Tensho's influence.

[barbwalken]

[babylon-crashing]

Some times you see a photo with so many bizarre things in it that you overlook the weirdest parts. What are we even looking at? A flood in China? Is this a movie set? Who is this woman sitting on the half-submerged car?

But then, suddenly, I realized what I wasn't seeing, which was this curious person, calmly standing in the middle of the giant heap of cars, perhaps dressed in what looks like a 19th century Lieutenant in the Imperial Japanese Army? What does that remind me of?

For me, it is Yasunori Katō, the villain in Hiroshi Aramata's Teito Monogatari (帝都物語) from which we get the Doomed Megalopolis franchise.

Of course, it isn't. The photo is of the 1966 flood in North Point, Hong Kong, which dumped over 15 inches of rain in 24 hours. The storm resulted in widespread flooding, landslides and, "turning streets into raging torrents that killed at least 50 people ... causing cars to be swept down roads like toys."

In the series, set in Tokyo, Yasunori Katō does indeed attempt to use his supernatural powers to set off a natural disaster in order to destroy the city (in this case it is The Great Kantō earthquake of 1923) and since cosplay wasn't a thing back then I probably will never get a satisfying answer as to why this person is so weirdly out of place.

[stampedethegod903]

No cap fire ass anime 🌞🌝⭐

[balrog-slayer66]

Illustration by Suehiro Maruo

for Teito Monogatari

[ogradyfilm]

Random Thought Before Bed: My New Hobby/Addiction

My collection of souvenir buttons from Japan Society’s repertory film screenings is coming along nicely! I’m still sad that I missed out on the one from their huge Hiroshi Shimizu retrospective, but c’est la vie.

Anyway, new movie review brewing, look for the post tomorrow afternoon!

[highsummonermercar]

I still find it fascinating that a lot of people in the UK didn't grow up with 90s anime. You didn't even need Sky!! ITV's CITV and SMTV Live aired Digimon, Cardcaptor Sakura and Pokémon while Channel 5's Milkshake aired Beyblade.

And I've just done a search and Channel 4 apparently aired 3×3 Eyes, Doomed Megalopolis, The Legend of the Four Kings, Cyber City Oedo 808 and Devilman?? I'm really surprised people didn't grow up with anime as much as the cartoons they watched here but to each their own I guess.

[gaelic-diary-holder-returns]

Just finished Doomed Megalopolis the anime adaptation of Teito Monogatari and wow just wow. That is probably the best anime I've seen in years not counting my rewatches of NGE and Mirai Nikki. The animation was wonderful, the plot was fascinating and Keiko was a totally badass protagonist so her ending was just wow. Anyway might say some others things when I've thought a little more about it.

[s-------i-------g]

[chibiranmaruchan]

To be honest, I don't know how many of these actually do make people look at you weirdly. I know Demande definitely does, Seishirou is very much a love-hate relationship and the Kisshu hate was stronger before the reboot. I feel like the others might be hated lol.

Quick, post your faves that make everyone else in the fandom look at you like

[barbwalken]

I watched the Doomed Megalopolis OVAs and damn, I liked them so much. The animation is so good, I would love to watch them on a higher resolution, but alas, its what I could fund with subs.

It was so satisfying when kato got his extra awesome ass beaten in the most unexpected way. I liked keiko so much, she is so gentle and a badass at the same time.

[cacaitos]

THIS WAS THE MOTHERFUCKER I WAS LOOKING FOR

[fantasypeasantgirl]

honestly 2024 was weird for film because my best list is:

anarchy (kneecap)

beauty (the wild robot)

doomed yaoi (sonic the hedgehog 3)

fuck the far right (monkey man)

pov: racism (nickel boys)

journalists and realistic gunshots (civil war)

mean girls: church edition (conclave)

the beauty industry sucks: with blood (the substance)

time to cry (look back)

existential dread: killer soundtrack included (i saw the tv glow)

and then there's the worst ones i watched

brutal depressing watch for no reason (joker: folie a deux)

that really bad megamind film (megamind vs the doom syndicate)

cash-grab (the mouse trap)

nickelodeon wtf (saving bikini bottom: the sandy cheeks movie)

hate. HATE. let me tell you how much- (megalopolis)

[mylifeincinema]

My Best of 2024: Supporting Actor

My Best of 2024 is a series of annual lists in which I pick the best of the best from 2024, all leading up to my official picks for My Top 10 Films of 2024.

I love a good supporting performance, and while 2024 felt lacking in just about every way, there were still plenty of truly great supporting performances out there. Edward Norton's portrayal of Pete Seeger in A Complete Unknown was filled with such patience and attentiveness that shone a beautifully understanding light on the type of artist Seeger was, and how he and others incubated the folk talents of the time, especially Dylan. Kieran Culkin brought such a magnetism to his character's manic-depression in A Real Pain. The humor and pain in his performance is so incredibly raw, and flows so naturally. His breakdown after the concentration camp tour was an overwhelming moment, and his final moments on screen filled me such a shockingly understated sadness. Denzel Washington is having an absolute blast in Gladiator II, and steals not only every scene he was in, but the film in general. Bill Skarsgård's Count Orlok is a figure filled with such impending doom throughout Nosferatu. Stanley Tucci takes the politics of faith and breathes an urgency into his progressive character's plight. Alien: Romulus & Anora's David Jonsson & Yura Borisov are unknown entities that continuously hold their own/steal scenes from their powerhouse leads. And the final three all deliver fantastically lived-in performances, with Cage and O'Connor having the time of their lives while hamming it up in films not quite deserving of their dedication and talent, and Hardy playing it pensive, bringing the intensity of his character to life with an assured patience. Just missing the list are the following Honorable Mentions: Mike Faist in Challengers; John Lithgow in Conclave; Austin Butler in Dune: Part Two; Guy Pearce in The Brutalist; Shia LaBeouf in Megalopolis. A bunch of the cast of Jason Reitman's Saturday Night also belong here, but I gave that cast Best Ensemble, so I tried to keep them out of the running for this list.

Anyway, here they are…

My Top 10 Performances by a Supporting Actor in 2024!

1. Edward Norton in A Complete Unknown

2. Kieran Culkin in A Real Pain

3. Denzel Washington in Gladiator II

4. Bill Skarsgård in Nosferatu

5. Stanley Tucci in Conclave

6. David Jonsson in Alien: Romulus

7. Yura Borisov in Anora

8. Josh O'Connor in Challengers

9. Tom Hardy in The Bikeriders

10. Nicolas Cage in Longlegs

Enjoy!

-Timothy Patrick Boyer.

Next Up: Directing; Lead Actress

More of My Best of 2024…

[ogradyfilm]

Recently Viewed - Tokyo: The Last Megalopolis

Above all else, Tokyo: The Last Megalopolis is a triumph of production design. From the intricately detailed miniature models and matte paintings to the elaborate costumes and soundstages to the charming Harryhausen-inspired stop-motion creature effects, every cent of the enormous budget is clearly evident. Hell, even the lighting—the radiant shimmer of sunlight reflecting off the surface of turbulent water, the eerie pale glow of the full moon peering through a blanket of dry ice clouds, the ominous neon glare of supernatural power—is absolutely immaculate.

The film’s spectacular imagery perfectly matches its themes, which revolve around the conflict between tradition and modernization. At the dawn of the twentieth century, Japan’s cultural leaders have become increasingly obsessed with urban redevelopment as a means of competing on the world stage. Rich industrialists, for example, propose the erection of towering skyscrapers that rival the gods in stature—ostentatious symbols of material wealth (as well as hubris, considering the country’s frequent earthquakes). Nationalistic, xenophobic militarists, on the other hand, argue for “practicality” over hollow aesthetics—borders, walls, and fortifications have far more strategic value than gaudy architecture. Scientists, meanwhile, prefer technological advancement to politics and commerce, embracing the logistical challenges of constructing a vast subterranean railway system. Those attuned to spiritual matters—monks, mediums, practitioners of geomancy—urge these various parties to exercise caution and moderation in their pursuit of the “future,” warning that such unrestrained expansion risks irrevocably tarnishing the sanctity of the land, thus provoking the wrath of ancestral ghosts and guardian deities. “Progress,” after all, can be a destructive force; occasionally, building something new requires burning down the old. These concerns, however, are dismissed as invalid and irrelevant—as obsolete as magic and mysticism in the era of automobiles, engineering, and electricity.

Despite this compelling premise, the plot is rather jumbled, disjointed, and unfocused. Among the sprawling (and bloated) ensemble cast, no single character ever really emerges as a true “protagonist”; vaguely sketched archetypes are introduced rapidly and vanish just as abruptly, only to reappear at seemingly random intervals. In terms of personality and motivation, they’re nearly indistinguishable; consequently, the audience has little opportunity to form a proper relationship with them. Basically, they’re merely props, existing for the sole purpose of communicating exposition and propelling the story from one set piece to the next—they’re functional, but not terribly memorable.

Fortunately, the central villain alleviates this flaw to a significant degree. With his dark, sunken eyes and sharp, almost skeletal facial features, Yasunori Kato is instantly iconic—the epitome of “screen presence.” He exudes menace, personifies malice; every deliciously diabolical line of dialogue that he delivers in his deep, gravelly growl is pure poetry, sending chills of terror down the viewer’s spine. Any scene that excludes him suffers for the omission—though even when he’s absent, his implicit threat still lingers, haunting the frame like a lurking specter, a whispered promise of calamity and impending doom.

Ultimately, director Akio Jissoji’s competent craftsmanship compensates for the movie’s minor formal and structural shortcomings; some mild narrative incoherence notwithstanding, Tokyo: The Last Megalopolis rarely fails to entertain. At the very least, it deserves credit for sheer ambition; precious few blockbusters nowadays dare to be this defiantly audacious and unconventional. Indeed, its superficial blemishes simply make its stylistic virtues more obvious and admirable. Warts and all, it is an essential genre masterpiece, worthy of being ranked alongside such horror classics as The Exorcist, Phantasm, and A Nightmare on Elm Street.

[n0cturne12]

Tagged by @asamis-jodhpurs

And I'm going to tag @elendsessor and @hyliagirl42

Last song: NEET GAME by Hanabie. I just need someone to scream in my ears for a few minutes while I get the maladaptive daydreaming on

Last book: A Time To Kill by John Grisham. I've decided I love lawyer dramas now it's my Phoenix Wright obsession come back to bite me in real time

Last Movie: Got bit by a sci-fi bug and I finally got around to watching Terminator from 1984. Next on the list is Blade Runner.

Last game: Final Fantasy XIV has been my go-to for awhile, but I did play Lies of P again to prepare for the upcoming DLC.

Last show: Doomed Megalopolis from 1991 because I like anime from that Era and holy crap, that's a crazy one

Sweet/spicy/savory: Spicy all the way ^_^

Relationship: I'm unsure if this is asking what my favorite relationship is or what my status is so I'll just say I'm a sapphic enby with a lot of comfort ships

Fav color: I guess I like gray? It's comforting.

Last internet search: If my lizard can have tomatoes :)