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RahXephon

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RahXephon
GenreDrama, Mecha, Mystery, Psychological, Romance, Science fiction
Anime
Directed byYutaka Izubuchi
StudioBONES
Manga
Written byTakeaki Momose
Published byJapan Shogakukan
Manga
Written byHiroshi Ohnogi
Published byJapan Media Factory
United States DrMaster
Anime
RahXephon: Pluralitas Concentio
Directed byTomoki Kyoda
StudioBONES
Video game
PublisherJapan Bandai
GenreAdventure, Action
PlatformPlayStation 2
Anime
Her and Herself (彼女と彼女自身と) / Thatness and Thereness
Directed byTomoki Kyoda
StudioBONES

RahXephon (ラーゼフォン, Rāzefon) is a popular Japanese science fiction series about 17-year-old Ayato Kamina, his ability to control a godlike mecha known as the RahXephon, and his inner journey to find a place in the world around him. His peaceful life as a student and artist in Tokyo is suddenly interrupted by a mysterious woman who appears to be stalking him, strange machines invading the city, and even stranger machines fighting back.

The original 26-episode anime television series was the first directed by Yutaka Izubuchi. It was created by Izubuchi and Bones, and it aired on Fuji TV from January to September 2002. It was produced by Fuji TV, Bones, Media Factory and Victor Entertainment. The series received critical acclaim and was subsequently translated, released on DVD and aired in several other countries, including the United States. An adapted movie directed by Tomoki Kyoda, with plot changes and a few new scenes, was released in 2003. Novels, an extra OVA episode, an audio drama, computer games, illustration books, and a somewhat tweaked manga adaptation by Takeaki Momose were also created.

Music, time, mystery, intrigues and romance are central elements of RahXephon's plot. The series shows clear influences from philosophy and Japanese folklore, and from Western literature such as the work of James Churchward. Mesoamerican and other Pre-Columbian civilizations have a prominent place in the cultural background of the series.

Izubuchi said RahXephon was his attempt to set a new standard for mecha anime, as well as to bring back aspects of 1970s mecha shows like Brave Raideen. The result was generally well received by English-language reviewers. While some reviewers only judged the show on its own merits, others compared it with varying favour against shows such as Brain Powerd, Megazone 23 and Neon Genesis Evangelion.

Characters and plot

Background

The backdrop of RahXephon is the fight against pan-dimensional invaders known as the Mulians, or Mu (IPA pronunciation: [muː] Katakana: ムウ). In appearance, the Mu are indistinguishable from humans. However, they carry a genetic marker called the "Mu phase" which makes their blood turn blue at a point in their maturity; this process also appears to cause memory loss.

Although RahXephon is usually placed in the mecha genre of anime, its "mechas" are not fully mechanical. The mechas used by the Mu are called Dolems. Dolems are made of clay, like golems; each is bound to a Mulian, and some are also bound to a human host called a "sub-Mulian".

The overarching theme of RahXephon is one of music changing the world. The Dolems are animated by a quasi-mystical force that is connected to music; most of the controlling Mulians appear to be singing. A Dolem attacks while singing, and sometimes the attack is the song itself. The RahXephon can also attack by having its pilot — the "instrumentalist" — sing a note. This unleashes powerful forces (such as light-energy blasts or heat waves) that cause destruction on an apocalyptic scale. Each of the Mulian Dolems has an Italian name which references musical notation, such as Allegretto, Falsetto, or Vivace. The ultimate goal of the RahXephon is to "tune the world." Izubuchi says the name RahXephon lacked a real meaning, but that he now explains it as composed of Rah, which according to Churchward is the origin of Ra, X for the X factor (the unknown), and -ephon as a suffix for instrument (-phone).[3]

Characters

Main article: List of RahXephon characters
This section represents the story as told in the television series. Characters are changed, cut and merged in the movie and manga. Character names are in western order.
TERRA operations and research staff

At the beginning of RahXephon Ayato Kamina is a modest 17-year-old living in Tokyo. Not exactly a model student, he is shown to enjoy painting and being with his classmates Hiroko Asahina and Mamoru Torigai. Ayato's mother Maya spends much of her time at work, which strains an otherwise affectionate relationship.

During a seemingly unexplained attack on Tokyo, Ayato hears the singing of another classmate, Reika Mishima. She leads him to a giant egg containing the RahXephon. Haruka Shitow, an agent of the defense research agency TERRA, brings Ayato and the RahXephon to TERRA.

Ayato moves in with Professor Rikudoh, Haruka's uncle, and pilots the RahXephon. Quon Kisaragi, a girl living with chief researcher Itsuki, seems to share some of Ayato's artistic talent. Ernst von Bähbem of the Bähbem Foundation sponsors TERRA through the Federation, the successor of the United Nations.

While most characters are introduced by the end of episode 7, RahXephon continues to develop the characters and reveal their mysteries and relationships, making heavy use of foreshadowing.

Central plot

This section represents the story and ending as told in the television series. See List of RahXephon characters for changes in other story formats.

The unusual relationship between Ayato Kamina and Haruka Shitow is one of the most important plot lines of the series. Although Haruka appears to be a stranger to Ayato at first, the series reveals that Haruka and Ayato know each other from before the beginning of the story.

Ayato, a boy conceived with the help of the Bähbem Foundation, was living in Tokyo with his adoptive mother, Maya Kamina. Ayato met Haruka on a trip outside Tokyo, and they continued seeing each other when they returned to school in Tokyo. At this time, Haruka's family name was Mishima.

The story reveals that two floating cities appeared above Tokyo and Sendai around the beginning of 2013. The ensuing conflict escalated into nuclear warfare, and the Mu enveloped Tokyo and outlying suburbs within a spherical barrier resembling Jupiter, referred to as "Tokyo Jupiter" ("Tōkyō Jupita") by all those outside. The barrier has a dilatory effect on time, with time inside Tokyo Jupiter passing about one-sixth as fast as the outside time.

During the Tokyo Jupiter incident, Haruka Mishima and her pregnant mother were away on a holiday trip while Ayato was caught inside. Years after the incident, Haruka's mother re-married and their family name became Shitow. Maya modified Ayato's memories to make him forget Haruka. The series makes clear that the entire population of Tokyo Jupiter is subject to the same kind of mental control. Still, visions of Haruka continue to haunt Ayato, as manifested in his art. Ixtli, RahXephon's soul, also adopts Haruka's appearance and family name (Mishima) but takes a different given name, Reika.

The story begins as the seemingly peaceful city is attacked by invaders while a mysterious woman (soon revealed to be Haruka) stalks Ayato. By this point, time dilation has made Haruka considerably older than Ayato and his friends who remained inside. Because of this, Ayato does not recognize Haruka and initially mistrusts her, but he gradually re-discovers his love for her as the series progresses and he learns of what has happened. At the end of the series, Ayato's RahXephon merges with Quon's, and he "re-tunes the world" (that is, modifies the past) so that he and Haruka would not have been separated. In the final sequence of the series, the adult Ayato (who can now easily be mistaken for Dr. Kisaragi, his twin brother) is seen with his wife Haruka and their infant daughter Quon.

Production and media

Main staff (TV)
Original story  Bones
 Yutaka Izubuchi
Character design  Akihiro Yamada
Animation character design  Hiroki Kanno
Mechanical design  Michiaki Sato
 Yoshinori Sayama
Art concept  Kazutaka Miyatake
Animation director  Hirotoshi Sano
Mechanic animation director  Shiho Takeuchi
Design works  Shingo Takeba
Art director  Junichi Higashi
Assistant art director  Atsushi Morikawa
Color coordinator  Shihoko Nakayama
Director of photography  Naoyuki Ohba
Digital works  Mitsuo Iso
Music  Ichiko Hashimoto
Music producer  Yoshimoto Ishikawa (Victor Entertainment)
Sound direction  Yota Tsuruoka
Producers  Masahiko Minami (Bones)
 Shiro Sasaki (Victor Entertainment)
 Katsuji Nagata (Media Factory)
 Daisuke Kawakami, Go Haruna (Fuji TV)
Animation production  Bones
Animation production support  Asatsu DK
Director  Yutaka Izubuchi
Production  RahXephon Project
 Fuji TV

RahXephon began production as a TV series. A manga version, novels, soundtracks and an audio drama were published during the original broadcast. A movie, an OVA episode, art books and guide books were also created. Characters, mecha and story from RahXephon were featured in two video games.

Further information: [[:List of RahXephon media]]

TV series

Yutaka Izubuchi was a successful anime supervisor and designer focusing on costume, character and mechanical design, notably in the Gundam and Patlabor series. His drinking buddy and former Sunrise colleague Masahiko Minami, producer and president of Bones, had suggested that Izubuchi direct something.[4] Template:Sound sample box align left Template:Multi-listen start Template:Multi-listen item Template:Multi-listen item Template:Multi-listen item Template:Multi-listen end Template:Sample box end Izubuchi finally took Minami up on the offer and RahXephon became his first directing job. Izubuchi returned to the classic mecha shows of the 1970s and 1980s, and wanted to make a show of that type updated with advances in anime production as well as injecting his own personal ideas. He wanted to "set a new standard in the field" of mecha anime,[4] or rather to show his "own standard" and capabilities as a creator-showrunner.[5] Media Factory, Fuji TV and Victor Entertainment joined Bones as production partners. After planning the story and designing characters and locations, a core group was expanded to a full production staff that completed the show, primarily working on the same floor — a partial regression from the trend of outsourcing and geographical dispersal of anime production.[6]

The original music, except for the opening theme, is composed by Ichiko Hashimoto; she was initially approached to compose some of the score and replied that she wanted to compose all of it.[6] She also plays Maya and performs the closing theme together with her sister Mayumi. The opening theme "Hemisphere" is composed by Yoko Kanno and sung by Maaya Sakamoto, who plays Reika.[7] Hashimoto's compositions range from piano sonatas and acoustic chamber music to experimental jazz, hard rock and ambience that crosses the border into sound design. That range also includes more mainstream jazz and orchestral music played with both acoustic and electronic instruments.[7]

Further information: [[:See List of RahXephon media for episode list and music releases.]]

Movie

See also: § Movie reviews

A television movie version of RahXephon called Pluralitas Concentio was directed by Tomoki Kyoda, who had directed three episodes of the TV series and acted as assistant director with Soichi Masui. Izubuchi acted as Chief Director on this movie, but was not heavily involved in its production. Most of the staff members involved with the TV series worked on the movie, and it was distributed by Shochiku. The producers were Masahiko Minami, Shiro Sasaki, Maki Horiuchi, Kenji Shimizu and Tatsuji Yamazaki.

In the manga, characters differ from their anime counterparts in both visual design and characterization. The manga has more "ecchi" and whimsy, but certain aspects of the plot are darker.

The movie quickly reveals mysteries that were developed slowly in the TV series[8] and makes changes to the plot. It begins with a prologue showing previously un-shown events, followed by a couple of expository scenes. The final 30 minutes have the most plot changes and new scenes, and they end with a new epilogue. The rest of the movie consists mainly of abridged scenes from the original series, sometimes with characters replaced or with different motivations and dialogue. The plot establishes the link between the Kamina and Mishima families and other story-lines that were prominent in the original TV series were reduced or removed. One prominent distributor promoted the movie as an "encore" — an extra performance at the end of the series, rather than as a replacement.[9]

Manga

See also: § Book reviews

The manga was illustrated and written by Takeaki Momose.[5] Momose was one of the candidates for character designer on the series,[10] but Izubuchi wanted Akihiro Yamada to do the original designs,[11] and Hiroki Kanno got the job of adapting them for animation. With the manga Momose got the opportunity to re-design the characters into his own style and make changes in characterization and story,[10] as well as adding "fan service".[12]

The manga adaptation of RahXephon presents the same overall scenario as the anime, with some differences, ranging from significant to minor. In the anime series, Reika is a mysterious and distant figure; in the manga Reika is a more comical figure who grew up as Ayato's adoptive sister, but here she has a darker origin. The anime series shows Megumi competing with Haruka for Ayato's affections, while this role is taken by Reika in the manga. The rate of time dilation is also different in the manga version, as the year outside Tokyo is 2033 instead of 2027.

Further information: [[:List of RahXephon media#Manga volumes|List of RahXephon media § Manga volumes]]

Influences

In addition to its musical theme, RahXephon has many explicit references to ancient history and myth, literature, art and culture.

Art and literature

Gliding Dance of the Maidens is a recurring melody in RahXephon. This sound sampleⓘ represents the first four bars, while the image shows four following bars.
Music

In addition to the prevalence of terms from music, classical musical works are used in the show: The overture to Die Meistersinger von Nürnberg opens the first episode, hinting to the musical contests between "normal" Humans and the Mu where the RahXephon is one of the instruments. The motif Quon sings or hums repeatedly is from Polovetsian Dances in the opera Prince Igor, about a warrior prince. Additionally, the opera itself is played on more than one occasion, usually over a loudspeaker system. The melody is also used in the musical Kismet, about love between two people of different worlds, here with new lyrics and titled "Stranger in Paradise".

Post-classical literature

Izubuchi found the basis for the relationship between Ayato and Haruka in Robert F. Young's short story "The Dandelion Girl".[5] In Young's story the protagonist encounters a girl standing on a hill in a dress, the breeze blowing in her hair; this girl comes from the future, while the girl in RahXephon comes from the past. The Dandelion Girl is also the title of the "Coda" appearing after the credits of episode 26. Izubuchi later realized that another story, Portrait of Jennie, had been an additional influence for the relationship.[5] The idea of Tokyo Jupiter is explicitly compared to Sayonara Jupiter and Tokyo Blackout by the veteran science fiction writer Sakyo Komatsu.[13]

The summary movie shows Haruka and Ayato sharing the book Through the Looking-Glass by Lewis Carroll; the series itself does not mention this book, but they have commonalities: Both use mirrors and reflections, and both feature the stopping and reversal of time. In the manga version of RahXephon, the choice of literature is different: The Wonderful Wizard of Oz by L. Frank Baum. This book appears only briefly in the anime series,[14] but characters in the manga note how their situation is similar to Oz; the last manga chapter is named "Over the Rainbow". In a reversal of Dorothy's experience Ayato is whisked away from the constructed world of Tokyo Jupiter into the "real" world.

The series also references the works of writers who have won the Nobel Prize in Literature: "Macondo Four" a code-name used at the beginning of the show, comes from Gabriel García Márquez's fictional hometown Macondo, prominent in One Hundred Years of Solitude. Another, "Yoknapatawpha", comes from William Faulkner's fictional home Yoknapatawpha County. The teams using the code-names attempt to maintain a similarly unreal home town for Ayato.[15]

Colours

The RahXephon system consists of a white RahXephon and a black RahXephon, with eggs, wings and feathers coloured accordingly. The Mu are shown to have blue blood while normal humans have red blood; in the RahXephon universe, the idea that the nobility has blue blood is thus a holdover from the period of Mu dominance.

RahXephon uses blue flowers as symbols of the Mu.[16][17] This concept was used by the philosopher Novalis, who wrote about Heinrich — a young man yearning for a "blue flower" that he once saw in a dream. Novalis wrote that "the world becomes a dream, and the dream becomes reality". RahXephon has several references to dreaming, and features dreamlike sequences that are shown to foreshadow real events.

Michiru, the blue bird which the character Kunugi keeps, is named after his daughter.[17] As well as being a Japanese given name, "Michiru" is the Japanese name for "Mytyl", a character in Maeterlinck's The Blue Bird. In the last two episodes this bird parallels Haruka, blue birds symbolize the Mu, and The Blue Bird is used to describe Itsuki's relationship with Nanamori. The manga also uses this theme.

File:ReikaMishimaWings.jpg
The character Reika stands in front of a poster similar to La Grande Famille.
File:Clocks wide.jpg
A "dreamscape" from the opening sequence
Visual arts

A recurring significant image in the anime is a modified version of noted Surrealist artist René Magritte's La Grande Famille, showing a sky through the silhouette of a dove.

The anime makes other references to the French Surrealism movement, from the dreamlike sequences associated with some Dolems, to all the references to retuning and reworking the world and the desires of man. Surrealists said that artists should express the subconscious uninhibited by conscious thought and reason, and that the dream world of the subconscious was more real than the real world — surreal.[18] Ayato re-tunes the world based on his desires. Likewise, the Surrealists wanted to re-shape the world to fit the subconscious, for example through political revolution.[19]

The opening sequence features dream art with surrealist qualities. One image in particular shows a dreamscape with clocks, some broken and others moving at different speeds, recalling the "soft watches" paintings[20] by Salvador Dalí.

Civilization and culture

The Americas

RahXephon has many references to Pre-Columbian American culture. December 21 2012 is the end of the 5-vigesimal Mayan Long Count calendar and the transition from one Mayan age into the next. In RahXephon the Mu re-appear one week after this date. Characters listen to a song called "Fate of Katun"; a Katun is a measurement of time in the Mayan Calendar. The Dolem control system is worn as a helmet shaped like a face from a Mayan sculpture,[21] and the cities of the Mu contain artwork inspired by Mayan and other Mesoamerican art.[22] Even the leader of the Mu in Tokyo is named Maya.

A bas-relief in the Palenque museum. Similar bas-reliefs of the RahXephon system are shown in the series and in the movie.

This is not coincidental, since the series draws many of its references from James Churchward's books about the Mu — an advanced ancient race from a large island in the South Pacific which had sunk, like the legendary continent of Atlantis. Churchward claimed that the Maya, and other ancient civilizations, were remnants of Mu colonies. RahXephon's main character Ayato is shown to know about Churchward's theories.[16]

The language of the Mu is based on Nahuatl, a classical form of which was spoken not by the Mayas but by the Aztecs further north. The terms in ixtli in yollotl (face and heart) and ollin (movement) come from this language, and the latter refers to the sun god Ollin Tonatiuh. According to the Aztec sun stone, humanity is living in the fifth and final age of the world. Tonatiuh is the god of this fifth age; in RahXephon, the characters Ayato and Quon are both called Ollin by the Mu. At the end of the series, both characters reach a state called Yolteotl — a state similar to the Buddhist nirvana.[23]

The series shows a Dolem carving shapes into the earth; these shapes are referred to as "Nazca Lines"[24] after lines made by a pre-Incan culture. Step pyramids both in the style of Tikal[25] and other locations[16] are shown, and the TERRA headquarters' shape is a pyramid-cone amalgam with the angle and tip of Mount Fuji.[22][26]

The final episode contains a quotation from Octavio Paz's prose poem "The Obsidian Butterfly" from the collection Aguila O Sol/Eagle or Sun? that plays upon Aztec mythology and the coming of a new era. "The Obsidian Butterfly" is a reference to the Aztec goddess Itzpapalotl; the character of Quon becomes a representation of this goddess, particularly Paz's usage of the goddess in his poem.

Origin beliefs

The tuning of the world resembles the idea of creation by song, appearing in origin beliefs like that of the Hopi.[27] It also appears in fictional mythologies like J. R. R. Tolkien's Music of the Ainur and the creation story of C. S. Lewis's Narnia. Another symbolic element is that of the golems, creatures made from clay, recalling Biblical imagery from Genesis as well as more recent stories in Jewish kabbalism and folklore.

Japanese culture and religion

Two Japanese folk tales are explicitly mentioned in the series: Ayato compares himself to Urashima Tarō,[13] and professor Rikudoh compares Maya to Princess Kaguya.[28] "Spiriting away" (kamikakushi) happens both in reverse and in the way common to Japanese folklore.[29]

A Ryukyan tomb

TERRA is based on Nirai Island, a fictional addition to the Satsunan Islands, one of the island groups making up Japan's southwest islands. The base itself is located in Kanai city, built on reclaimed land adjacent to the natural island. Nirai and Kanai have been named as a pun on Nirai-kanai.[16] In traditional Ryukyu beliefs "Nirai kanai", also called "Nira-hara" or "Niraasuku", is the place out at sea where the gods live. These gods are believed to visit the islands of humans during certain religious festivals.[30] In RahXephon, Mu is suggested to be the real-world basis of the Nirai-kanai legend. The "Shrine of Time" looks like a Ryukyan family tomb.[29] RahXephon's Nirai, Kanai, and the bay between them are roughly shaped like commas, a shape shared with magatama[26] and common Taijitu symbols. Mount Fuji appears in the show, both directly depicted[31] and as a design inspiration;[26] this mountain has a special spiritual significance in Shinto.

The religious foundations of the TV series are Ryukyan and Mesoamerican. Beyond Ryukyuan beliefs and Confucianism the TV series has few prominent references to traditional Eastern religion. The character Yagumo is shown in a kimono performing a Shinto New Year ritual,[29] but other religious worship is not shown. The characters celebrate a secular Christmas, and distinguish between practice and belief.[32] The character Kunugi visits a Christian cemetery,[33] and important scenes in the last two episodes are set in and around a church. The show thus reflects the variations of Japanese religious practice.

Although Eastern religion only has a minor role in the TV series, the movie version references Buddhism. The epilogue shows a butsudan where a plaque bearing Ayato's posthumous name is standing. Beyond this, near the end of the movie there is a scene by a lake in which Ayato explains the situation of the "re-tuning" to Haruka. He explains how he cannot remain with her in the world as they know it and that now he, in fact, somehow has transcended his human state, that is, Enlightenment. In the manga version of the story, Reika is a Mu miko who was unprepared for a ritual involving the RahXephon, and who is trapped in a cycle of reincarnation. This form of reincarnation is very different from rebirth in Buddhism.

Reception

The anime series originally aired on Fuji Television in a 2 AM time slot.[34] Fuji TV affiliates in the rest of Japan also aired it, except for the Kansai region where independent UHF stations aired it instead.[35] According to its distributor it "captivated millions in Japan" and "[drew] in viewers by the tens of thousands."[36] The series won the award for best TV anime at the 7th Animation Kobe fair.[37] It was considered popular enough that a TV movie version was commissioned and aired.

Internationally, the series was translated and released on DVD video. It was purchased for airing by television stations and made available on video on demand services in several countries. In the United States, the DVDs were released around the U.S. theatrical release of another Bones production, Cowboy Bebop: The Movie. The distributor claimed that RahXephon was met with "strong sales and extraordinary critical response in the U.S."[38]

Further information: [[:See List of RahXephon media#Anime distribution for more information on international distribution.|See List of RahXephon media § Anime distribution for more information on international distribution.]]

TV series reviews

Protoculture Addicts editor Claude J. Pelletier chose RahXephon as one of the top 3 anime TV series of 2002,[39] and Mioko Matsuda agreed, noting mystery, technology and romance.[40] Christian Nutt of Anime Jump offered a contrary opinion: "RahXephon's characters fell flat and the grind of its scenario didn't inspire much curiosity, despite some initially awesome ideas".[41] En Hong, on the other hand, found the characters to be skilfully developed and believable as "self-conscious entities and not just parts to be filled for the story to progress",[42] and Charles Solomon called them "engaging".[43]

Mike Toole of Anime Jump was impressed by the music, animation and character design;[44] as was Protoculture's Martin Ouellette.[45] Solomon noted the "strikingly original mecha designs"[43] and Anime Boredom's John Huxley noted the "unusual yet elegant" mecha and the "fluid computer-enhanced" — but not CGI-looking — animation.[46]

RahXephon's "brief but not unwelcome" comic moments went over well with Huxley,[47] and he found the romance underplayed "a million miles away from the cheery antics of Love Hina or Ranma 1/2" and "for the most part thoroughly believable".[46]

Cris Beveridge of Anime on DVD found the final episodes beautiful both in visual style and story, "with the raw emotions coming out of it, in both languages".[48] Huxley also liked the conclusion: "Despite falling short of the mark in a few areas this is a satisfying conclusion to a good series."[46] On the issue of plot resolution he wrote that RahXephon "keeps the audience guessing right up until the final credits and beyond" but that "the clues are all there" for the viewer to piece together.[46] Anime News Network columnist Zac Bertschy called RahXephon a "paragon of responsible storytelling (...) No loose strings are left; we see the conclusion of every character’s storyline." He added that the English voice work "raised the bar across the board."[49]

Movie reviews

The TV movie had a more mixed reception than the TV series. Christian Nutt was not excited about the TV series but found the movie to be better: Despite "too much cutting and chopping" he wrote that "the creators have done the best they can with the material." He added: "the last scene is very touching. It's a big improvement over the TV show."[41] Efrain Diaz Jr. of IGN called the movie a "valiant effort", but preferred the TV series and asked "why even bother with the movie?"[50]

Carlo Santos, writing for Anime News Network, recommended the movie both as an "endcap to a remarkable series" and as a sample for those yet to watch it.[51] While Chris Beveridge also recommended the movie as an addition to the series, he did not recommend it as a sample for newcomers "since some of the best revelations are given away so quickly..."[8]

Indeed, reviewers who were not familiar with the series complained about the movie's lack of coherence. Mitchell Hattaway of DVD Verdict "got lost about ten minutes in", considered the movie a waste of money for anybody but RahXephon completists and wrote that "Bones Animation Studio is guilty of contempt for its audience."[52] Janet Crocker of Animefringe was confused by the plot as well, but was less confused on the second viewing and looked forward to watching the TV series. She called the movie "intellectually refreshing and visually beautiful" and recommended it "even to non-mecha people like me".[53]

Book reviews

Eduardo M. Chavez of Anime on DVD was not impressed by the first volume of the manga, especially when compared to the TV series; he rated it "C minus" but said it could have worked as a "parody dōjinshi".[12] After the disappointment of volume one, Chavez was positively surprised by the story in the following volumes,[54] and called it a "story that grew up with its characters", rating it "B plus".[55]

The five volume novelization was translated to English, but the other novels were not. This translation was marred by a lack of copy editing in the first volume, which was rated as a "D" by Santos.[56] The situation was somewhat improved in the second volume, but reviewers did not recommend the novelization as an alternative to the animated versions — only as a source to learn more about the characters and their internal motivations.[57]

Comparisons with other anime

Some reviewers, as well as the director, have compared RahXephon with other anime shows. Some of these shows also have staff in common with RahXephon.

Raideen the Brave

The director of RahXephon has said this series is meant to be a sort of modern-day Raideen.[5][11] As such there are similarities between Raideen and RahXephon, particularly in the titular "robots".

  • Akira Hibiki and Ayato Kamina both have mothers who are from a race called the "Mu". This in turn means that both Akira and Ayato have Mu blood.
  • Akira and Ayato both "meld" into a surface in order to enter the cockpit of their respective robot. Akira enters via Reideen's forehead; Ayato can enter the RahXephon both directly and through a portal that is separate from the body of the RahXephon.
  • The Raideen and the RahXephon both are portrayed as intelligent, sentient beings and possess similar general aesthetics, particularly the human-like face that is covered on the sides. Both can attack with their voices, and can form a bow with arrows as well as a sword that protrudes out of their right arms.

Neon Genesis Evangelion

While some English-language reviewers did not mention the popular mecha anime Neon Genesis Evangelion (NGE) in their reviews of RahXephon,[43][44][51][8][52][58] others focused on whether or not these shows were very similar to each other and whether one was better than the other. Some reviewers noted similarities in the respective protagonists and in the style and execution of events.[42][59] John Huxley noted an episode with "soul searching" sequences reminiscent of NGE with a "hint of Twin Peaks".[60]

After reviewing the first five episodes, Mike Pinsky of DVD Verdict wrote that much of RahXephon was "ripped off completely" from NGE and although finding it to be a good show he ruled that "This Evangelion Lite tastes good enough, but is much less filling."[59] Christian Nutt of Anime Jump had seen the entire show when he wrote that "One of my least favorite aspects of RahXephon is its aping of Evangelion".[41] In Protoculture Addicts Mioko Matsuda agreed on the shows being similar, but compared in RahXephon's favour: "it is very similar to Evangelion, but in many ways more original and exotic."[40] In the same magazine, Martin Ouellette went as far as calling RahXephon an NGE "imitation", but was so impressed that he exclaimed "the imitation has surpassed the original!"[45]

Some reviewers favoured RahXephon because of its more active protagonist[42] and clearer ending: "Like Evangelion, you have to bend and warp your brain around this thing, but unlike Evangelion, if you think about it, it all makes sense" wrote Zac Bertschy.[49] Huxley praised RahXephon for including action sequences in the ending, providing "a more balanced experience".[46] RahXephon's story and complex relationships were planned and written early in the production cycle. In contrast, NGE's director stated that he did not know how the show would end,[61] and production was influenced by the reactions that TV executives and viewers had to previous episodes.[62] Although John Oppliger suggested stronger candidates for similarities than NGE, he thought the similarities with NGE were intentional:[63]

RahXephon actually borrows far more heavily from Megazone 23 than it does Evangelion, and even Evangelion could be said to be heavily influenced by Megazone 23. I think that in its effort to be purely artistic entertainment, RahXephon knowingly pays homage to both Megazone 23 and Evangelion in the same way Evangelion re-uses the concept of a boy piloting his father's giant robot that was used 20 years before in Mobile Suit Gundam, which itself borrowed the idea from even older shows like Tetsujin 28 and Mazinger.

John Huxley found "several similarities" with NGE but wrote that there were "many, more significant differences",[64] and concluded that RahXephon "deserves to be recognised outside of its comparisons to a certain Hideaki Anno animation."[46]

Production connections

Anno and Izubuchi, the chief directors of each show, both designed mecha appearing in Mobile Suit Gundam: Char's Counterattack (1988) and they worked together on the Cutie Honey live action movie (2004). They sat down for an interview together in the RahXephon Complete[65] guide book. There were also some connections in the actual production: Mitsuo Iso, a writer and key animator on NGE, wrote and directed the RahXephon episode "The Children's Night"; Yoji Enokido wrote the screenplay for RahXephon's "Interested Parties" and NGE's "The Day Tokyo-3 Stood Still". Takeshi Honda was also an animator on both shows. Gainax was one of many companies contracted for in-between animation work on episodes 6 and 26.[66] Although no regular roles had common seiyū in Japan, both shows were re-dubbed into English by ADV Films. As a result, Allison Keith and Tiffany Grant voice regular roles in both shows.

Other anime

  • AnimeNation's John Oppliger noted influences from Escaflowne, Evangelion, Revolutionary Girl Utena and "especially Megazone 23"[67][68]
  • Charles Solomon compared the premise of RahXephon with that of Dual! Parallel Trouble Adventure, but found RahXephon to be "better plotted and executed".[43]
  • Huxley found the Dolems to be "the star of the show with their bizarre, slightly disturbing designs" reminiscent of Grey.[64]
  • Anime Jump reviewer Mike Toole compared RahXephon with Brain Powerd on account of the "excellent music", design and a "frustratingly large cast and Byzantine plot" but found RahXephon "more focused".[44] He thus disagreed with his colleague, Christian Nutt, who wrote that "[Brain Powerd] may not be as sexy, but it features a more heartfelt and original story".[41]

Legacy

After RahXephon Izubuchi went back to design work and it was his assistant director Tomoki Kyoda's turn to be chief director, on Eureka Seven. Mitsuo Iso went on from his experience on RahXephon to become the chief director of Dennō Coil. RahXephon has been referenced by at least one other anime series, which was also produced by Bones.[69]

When asked whether robot anime following RahXephon had "lived up to the new era" Izubuchi answered "Partially yes and partially no" and regretted the focus being on financially safer remakes instead of on new creations.[11] One of Evangelion's producers was similarly frustrated with anime as a whole, stating that much of what was released in the "post-Eva era" was "mass-produced junk".[70]

Notes and references

  1. ^ Calendar dates: 22 January 2002–11 September 2002. Schedule dates: 21 January 2002–10 September 2002. See List of RahXephon media for details.
  2. ^ Unofficial title translation
  3. ^ Momose Takeaki (2004). RahXephon Vol. 3. San Francisco, CA: VIZ Media. p. 1. ISBN 1-59116-428-1. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help); Unknown parameter |dateandmonth= ignored (help)
  4. ^ a b "RahXephon cover feature". Newtype USA. 2 (2): 6–13. 2003. ISSN 1541-4817. {{cite journal}}: Cite has empty unknown parameter: |coauthors= (help); Unknown parameter |month= ignored (help)
  5. ^ a b c d e Wong, Amos (2003). "Interview with Yutaka Izubuchi". Newtype USA. 2 (2): 14–15. ISSN 1541-4817. {{cite journal}}: Cite has empty unknown parameter: |coauthors= (help); Unknown parameter |month= ignored (help)
  6. ^ a b Making of RahXephon special feature. DVD Orchestration 7
  7. ^ a b Izubuchi Yutaka (2003). RahXephon Bible. Houston, Texas: ADV Manga. pp. 78–80. ISBN 1-4139-0026-7. {{cite book}}: Cite has empty unknown parameter: |coauthors= (help)
  8. ^ a b c Beveridge, Chris (2004-07-27). "RahXephon: The Movie (also w/box) (of 1)". Anime on DVD. Retrieved 2006-10-13. {{cite web}}: Check date values in: |date= (help)
  9. ^ A.D. Vision (2003) RahXephon:Pluralitas Concentio DVD cover: "Encore. Return to the world of RahXephon..."
  10. ^ a b Momose Takeaki (2004). Kit Fox (ed.). RahXephon Vol. 1. trans. Joe Yamazaki. San Francisco, CA: VIZ Media. ISBN 1-59116-407-9. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  11. ^ a b c Broestl, Sean (2006). "Anime Expo 2006 - Yutaka Izubuchi Focus Panel". Anime News Network. Retrieved 2006-07-11.
  12. ^ a b Chavez, Eduardo M. (2004-05-22). "RahXephon Vol. #01 of 3". Anime on DVD. Retrieved 2006-10-13. {{cite web}}: Check date values in: |date= (help)
  13. ^ a b "City of Two". RahXephon. Episode 3. {{cite episode}}: Unknown parameter |episodelink= ignored (|episode-link= suggested) (help) Ayato mentions Urashima Tarō. Movie posters for Sayonara Jupiter and Tokyo Blackout (lit. The Capital Vanishes) are shown together.
  14. ^ "The Black Egg". RahXephon. Episode 12. {{cite episode}}: Unknown parameter |episodelink= ignored (|episode-link= suggested) (help) Helena sees, or imagines, a younger version of herself reading the book.
  15. ^ "God and Man Awaken". RahXephon. Episode 2. {{cite episode}}: Unknown parameter |episodelink= ignored (|episode-link= suggested) (help)
  16. ^ a b c d "Nirai-Kanai". RahXephon. Episode 5. {{cite episode}}: Unknown parameter |episodelink= ignored (|episode-link= suggested) (help) Ayato is taken on a boat ride by Itsuki, where Itsuki explains the history of the island. Multiple pyramids are shown. He tells Quon of the myth that sakura blossoms are coloured by the blood of people buried nearby, and says that Kunugi's sakura have blue flowers. Cite error: The named reference "ep5" was defined multiple times with different content (see the help page).
  17. ^ a b "Sonata of Recollection". RahXephon. Episode 10. {{cite episode}}: Unknown parameter |episodelink= ignored (|episode-link= suggested) (help)
  18. ^ Breton, André (1924), Surrealist Manifesto (See Surrealism)
  19. ^ Breton, André and Trotsky, Leon (1938) Towards a Free Revolutionary Art
  20. ^ The Persistence of Memory (1931), Soft Watches (1933), The Disintegration of the Persistence of Memory (ca. 1952-1954), Soft Watch at the Moment of First Explosion (1954)
  21. ^ Photographs from a museum in Mérida, Yucatán: "Mexico - Merida". Retrieved 2004-06-14.
  22. ^ a b Yamada Akihiro (2003). RahXephon Art Works. SoftBank Creative. pp. 124–125. ISBN 4-7973-2316-7. {{cite book}}: Cite has empty unknown parameter: |coauthors= (help)
  23. ^ Maffie, James. "Aztec Philosophy". Internet Encyclopedia of Philosophy. Retrieved 2006-12-26.
  24. ^ "Obliterated Cities". RahXephon. Episode 6. {{cite episode}}: Unknown parameter |episodelink= ignored (|episode-link= suggested) (help)
  25. ^ "The Black Egg". RahXephon. Episode 12. {{cite episode}}: Unknown parameter |episodelink= ignored (|episode-link= suggested) (help)Tikal style pyramids are shown in a state of excavation in a crater.
  26. ^ a b c Bones staff (2004). RahXephon Complete (in Japanese). Media Factory. pp. 108–113. ISBN 4-8401-1019-0. and "Interview with Kazutaka Miyatake" in RahXephon Orchestration 5: Synaesthesia DVD liner notes. ADV films. 2003.
  27. ^ LaMay, Julie. "Creation Story of the Hopi". Retrieved 2006-12-08.
  28. ^ RahXephon Episode 16. In addition, the original English episode title is "The Moon Princess".
  29. ^ a b c "Small Shrine of Time". RahXephon. Episode 9. {{cite episode}}: Unknown parameter |episodelink= ignored (|episode-link= suggested) (help) Cite error: The named reference "ep9" was defined multiple times with different content (see the help page).
  30. ^ "The Origin of All — Nirai Kanai". Wonder Okinawa. Okinawa Prefectural Government. Retrieved 2006-06-13.
  31. ^ "Return to the Labyrinth". RahXephon. Episode 17. {{cite episode}}: Unknown parameter |episodelink= ignored (|episode-link= suggested) (help) A battle takes place in the area around Mount Fuji
  32. ^ "Bitterly Cold Holy Night". RahXephon. Episode 8. {{cite episode}}: Unknown parameter |episodelink= ignored (|episode-link= suggested) (help) The character Isshiki Makoto points out that Christians appropriated the winter solstice for Christmas. He says, however, that he is not a "non-believer" and makes the distinction between religion and religious practice.
  33. ^ "Sonata of Recollection". RahXephon. Episode 10. {{cite episode}}: Unknown parameter |episodelink= ignored (|episode-link= suggested) (help) Kunugi's daughter is buried with a large crucifix watching over her.
  34. ^ "RahXephon" (in Japanese). Fuji TV. 2001–2003.{{cite web}}: CS1 maint: date format (link) Retrieved 4 June 2002 and 20 July 2006
  35. ^ "Animation Data ラーゼフォン". Victor Animation Network (in Japanese). Victor Entertainment. Retrieved 2007-10-12.
  36. ^ "Anticipation continues to build for release of RahXephon 1: Threshold". ADV Films. 2003-03-20. Retrieved 2006-08-07.
  37. ^ "7th Animation Kobe". Animation Kobe Committee, Kobe City and Xebec Corporation. 2002. Retrieved 2006-10-17. {{cite web}}: Unknown parameter |month= ignored (help)
  38. ^ "ADV announces release date for RahXephon-Orchestration 7: Crescendo". ADV Films. 2003-10-13. Retrieved 2006-08-07.
  39. ^ "The Year 2002 in Review". Protoculture Addicts (76): 50–51. 2003. ISSN 08359563 Parameter error in {{issn}}: Invalid ISSN.. {{cite journal}}: Cite has empty unknown parameter: |quotes= (help); Unknown parameter |month= ignored (help)
  40. ^ a b Matsuda, Mioko (2003). "RahXephon: Overview". Protoculture Addicts (76): 17. ISSN 08359563 Parameter error in {{issn}}: Invalid ISSN.. {{cite journal}}: Cite has empty unknown parameter: |quotes= (help); Unknown parameter |coauthors= ignored (|author= suggested) (help); Unknown parameter |month= ignored (help)
  41. ^ a b c d Nutt, Christian (2005-04-26). "Reviews: Rahxephon: The Motion Picture". Anime Jump. Retrieved 2006-10-13. {{cite web}}: Check date values in: |date= (help)
  42. ^ a b c Hong, En (2002). "Feature: Animefringe Coverage: RahXephon". Animefringe. ISSN 17053692 Parameter error in {{issn}}: Invalid ISSN.. Retrieved 2006-10-13. {{cite journal}}: Unknown parameter |month= ignored (help)
  43. ^ a b c d Solomon, Charles. "RahXephon - Threshold (Vol. 1): Editorial Reviews". Amazon.com. Retrieved 2006-10-12. {{cite web}}: Cite has empty unknown parameter: |month= (help) Note: Izubuchi did not actually direct or write Gasaraki but did provide designs for it.
  44. ^ a b c Toole, Mike (2003-10-18). "Reviews: Rahxephon vol. 1". Anime Jump. Retrieved 2006-10-13. {{cite web}}: Check date values in: |date= (help)
  45. ^ a b Ouellette, Martin (2003). "Reviews: RahXephon, Vol. 1". Protoculture Addicts (76): 53. ISSN 08359563 Parameter error in {{issn}}: Invalid ISSN.. {{cite journal}}: Cite has empty unknown parameter: |quotes= (help); Unknown parameter |month= ignored (help)
  46. ^ a b c d e f Huxley, John (2004-10-11). "RahXephon Anime Reviews : RahXephon Orchestration 7: Crescendo". Anime Boredom. Retrieved 2006-10-13. {{cite web}}: Check date values in: |date= (help)
  47. ^ Huxley, John (2004-05-21). "RahXephon Anime Reviews : RahXephon Orchestration 1: Threshold". Anime Boredom. Retrieved 2006-10-13. {{cite web}}: Check date values in: |date= (help)
  48. ^ Beveridge, Chris (2004-01-16). "RahXephon Vol. #7 (of 7)". Anime on DVD. Retrieved 2006-10-13. {{cite web}}: Check date values in: |date= (help)
  49. ^ a b Bertschy, Zac (2004-01-12). "Review: RahXephon DVD 7: Crescendo". Anime News Network. Retrieved 2006-10-13. {{cite web}}: Check date values in: |date= (help)
  50. ^ Diaz, Efrain Jr. (2004-11-02). "RahXephon: The Motion Picture. 26 episodes become a two-hour movie". IGN. Retrieved 2006-10-16. {{cite web}}: Check date values in: |date= (help)
  51. ^ a b Santos, Carlo (2005-03-08). "Review: Rahxephon: Pluralitas Concentio DVD". Anime News Network. Retrieved 2006-10-13. {{cite web}}: Check date values in: |date= (help)
  52. ^ a b Hattaway, Mitchell (2004-09-02). "Reviews:RahXephon: The Motion Picture". DVD Verdict. Retrieved 2006-10-12. {{cite web}}: Check date values in: |date= (help); Cite has empty unknown parameter: |coauthors= (help)
  53. ^ Crocker, Janet (2004). "RahXephon: The Motion Picture". Animefringe. ISSN 17053692 Parameter error in {{issn}}: Invalid ISSN.. Retrieved 2006-10-13. {{cite journal}}: Unknown parameter |month= ignored (help)
  54. ^ Chavez, Eduardo M. (2004-07-28). "RahXephon Vol. #02 of 3". Anime on DVD. Retrieved 2006-10-13. {{cite web}}: Check date values in: |date= (help)
  55. ^ Chavez, Eduardo M. (2005-05-02). "RahXephon Vol. #03 of 3". Anime on DVD. Retrieved 2006-10-13. {{cite web}}: Check date values in: |date= (help)
  56. ^ Santos, Carlo (2006-01-04). "RahXephon Novel 1". Anime News Network. Retrieved 2007-01-09. {{cite web}}: Check date values in: |date= (help)
  57. ^ Eries, Sakura (2006-04-15). "RahXephon (novel) Vol. #02 of 5". Anime on DVD. Retrieved 2007-01-09. {{cite web}}: Check date values in: |date= (help)
  58. ^ Houston, Don (2004-01-21). "DVD Video Reviews - RahXephon - Crescendo (Vol. 7)". DVD Talk. Retrieved 2006-10-13. {{cite web}}: Check date values in: |date= (help)
  59. ^ a b Pinsky, Mike (2003-05-23). "DVD Verdict Review - RahXephon (Volume 1)". DVD Verdict. Retrieved 2006-10-13. {{cite web}}: Check date values in: |date= (help)
  60. ^ Huxley, John (2004-05-21). "RahXephon Anime Reviews : RahXephon Orchestration 3: Harmonic Convergence". Anime Boredom. Retrieved 2006-10-13. {{cite web}}: Check date values in: |date= (help)
  61. ^ Anno, Hideaki (1998) [1995]. "What were we trying to make here?". Neon Genesis Evangelion, Vol. 1. translated by Mari Morimoto, English adaptation by Fred Burke. San Francisco: VIZ Media LLC. pp. 170–171. ISBN 1-56931-294-X. {{cite book}}: Unknown parameter |month= ignored (help); Unknown parameter |origmonth= ignored (help)
  62. ^ NGE's assistant director Kazuya Tsurumaki said it was "like a live performance." Source: Gainax PROFILE Kazuya Tsurumaki, Red Cross Book (1997), Translated by Bochan_bird
  63. ^ Oppliger, John (2002-08-20). "Is RahXephon an Evangelion Rip Off?". Ask John. Retrieved 2006-10-13. {{cite web}}: Check date values in: |date= (help)
  64. ^ a b Huxley, John (2004-05-21). "RahXephon Anime Reviews : RahXephon Orchestration 2: Tonal Pattern". Anime Boredom. Retrieved 2006-10-13. {{cite web}}: Check date values in: |date= (help)
  65. ^ staff (2004). RahXephon Complete (in Japanese). Media Factory. pp. 81–86. ISBN 4-8401-1019-0.
  66. ^ Japanese end credits. In-between credits were removed from the ending in certain international releases to make room for voice and translation credits. Japanese credits available online:Bones. "Credits episode 1-13". Retrieved 2007-09-05. Bones. "Credits episode 14-26". Retrieved 2007-09-05.
  67. ^ Oppliger, John (2002-05-02). "What is RahXephon?". Ask John. Retrieved 2006-10-13. {{cite web}}: Check date values in: |date= (help)
  68. ^ Oppliger, John (2002-10-23). "Can You Explain the Ending of RahXephon?". Ask John. Retrieved 2006-10-13. {{cite web}}: Check date values in: |date= (help)
  69. ^ "Jungle Pool SOS". Ouran High School Host Club. Episode 7. {{cite episode}}: Unknown parameter |serieslink= ignored (|series-link= suggested) (help) The character of Renge cosplays as Quon. When asked who she is dressed as, she utters "La-la", Quon's standard expression; LaLa is also the name of the magazine where Ouran first appeared.
  70. ^ "Toshimichi Otsuki interview". Newtype USA. 5 (12). 2006. ISSN 1541-4817. {{cite journal}}: Cite has empty unknown parameter: |coauthors= (help); Unknown parameter |month= ignored (help)
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