August 16, 2008
Another odd little parallel shared by some of the award-winning animation shorts in the Japan Media Arts Festival: three of them had to do with birthdays—after a fashion.
My least favourite of the trio was also the longest: Hiromasa Horie's Love Rollercoaster unfortunately has nothing to do with the Ohio Players song, but is instead about a cutesy young bear cub named John trying to solve the mystery of a mysterious birthday present left behind my his late mother. Involved in the search are his friends, and they soon drag in the creepy Lovegun, an eyeless, sharp-toothed green-skinned critter who lives half in and half out of a rocketship. I like the idea behind some of the characters (especially the pair of mischievous panda siblings), and the overall story idea is a solid one—the ending is particularly sweet. But the whole thing is killed by the execution.
As a clay animation fan it shouldn't bother me that a CGI film tries to emulate a plasticine look for its characters. And I've never had a problem with Japan's cult of kawaii. But whenever the characters talk or scrunch their eyes, their skin wrinkles and folds in an a way that quickly renders them uncute. I'm sure John's initial concept drawings were very cute, but his textured skin, along with the bags under his eyes and all that wrinkliness just made me ill. Throw in excessive camera movement, the same kind of needless bobbing and weaving that bothered me in Skyland, and a half-hour–plus running time, and, well... let's just say that sometimes I watch these things so you don't have to.
(As an aside, I should mention that Love Rollercoaster is one of several projects generated from a Japanese talent incubator called Anime Innovation Tokyo. I'd rather have seen just about anything else their creators have put together.)
The much shorter, lo-fi Ushi-nichi (or, as the English titles say, Happy Birthday) is pretty much Love Rollercoaster's exact opposite. Created with pencil and paper (complete with smudges) by Hiroko Ichinose, the nine-minute short features a motley crew of characters each going through their own machinations. A man stands in the desert waiting to hitch a ride, but turns down almost everyone who stops for him; a man wakes up every morning transformed in some way (extra-long arms, a huge 'fro) and cheerily skips to the employment office to find new work based on his condition; a woman starts eating pieces of her pet giraffe, mindless of the transformations it causes to her own body. Everything comes together in a whimsical denouement. Deep meaning? Who cares? The jittery, rough and utterly charming style makes the whole film a pleasure.
Meanwhile, Toshiaki Hanzaki's Birthday puts another spin on the word, relating the evolution of life on Earth from one-celled organisms to man and, it seems, beyond. Working mostly with silhouetted forms, it's slicker than Ushi-nichi, but it is, if anything, more whimsical, with its portrayal of a giant fanged asteroid killing the dinosaurs and aliens accelerating our evolution. (It's also in the opposite direction of Hanzaki's earlier Birds, my favourite of the Digital Content Association of Japan's 2005 Digital Creators Competition's award-winning works.) Finally, at about a minute and a half, it's more compact. It gets where it needs to go, and then ends. Brevity really is the soul of wit.