Jungle Emperor Leo (1989) TV Series Review: Final Part

The Confusing Conclusion (Final Thoughts)

Is this show's idea of 'the circle of life' too hardcore?

There is a lot death and self-sacrifice in this version of Kimba. In a sense, it explores the concept of 'the circle of life' in more depth than most versions. But it eventually becomes bogged down by being overly serious and depressing. So who is to blame about the series's inconsistent quality? Osamu Tezuka possibly did contribute to a few of the problems (The original manga is somewhat sporadic and had a few bizarre plot twists), but he can't really be blamed considering that he died after the sixth episode aired. It is possible that he had some say on the direction of the later episodes, but chances are we will never know.

Rintaro was in charge of directing the remaining episodes. It's just strange that the quality of Jungle Emperor suddenly declines half way through, when Rintaro's earlier episodes seem consistent with Tezuka's vision. In fact, Rintaro had worked for years with Tezuka before directing the show and was personal friends with Tezuka. Perhaps Rintaro attempted to make the show distinctive or else 'update it' for modern audiences. (But, apparently he forgot that this the show is supposed to be Kimba the White Lion not Ginga Nagareboshi Gin!)

So is this a series that should be recommended to Kimba/Tezuka fans or even anime fans as a whole? Simply put, the show runs for too long and eventually loses steam. It tries to keep its audience emotionally engaged by raising the stakes of danger. But, over time, it just becomes taxing to watch so many animals get shot, poisoned or electrocuted. It's frustrating because Jungle Emperor 1989 has such a prestige behind it and the early episodes (especially the first six) are great. The series is not the most terrible remake ever created, but it does become terribly misguided over time. If you want to watch a modern recreation of Jungle Emperor Leo, I would recommend watching the theatrical 1997 film instead of watching this show all the way through.

"Remember Leo, a leader is neither a boss or a king."

Final Rating: 3/5

About the Dub:
Part of the reason why this show remains so obscure outside of Japan is due to its dubber's infamous hack job. Unlike the dub of the original show (which is a bit hokey but decent by '60s standards), the 1989 series's dub by Pioneer completely changes its narrative flow. Episodes two and three were completely omitted, and only episodes one through fifteen were released on tape. Pioneer apparently tired to edit 'The New Adventures of Kimba the White Lion' into something more upbeat, and just gave up after they realized the show would continue to get darker. In the process they rid the show of its charm, only to replace with it bad jokes or annoying dialogue. (In other words, the characters never shut up.) And the voice acting itself is just as awful, if not worse than the edits.

Thankfully, these terrible VHSs are long out print. Avoid them like the plague.

Jungle Emperor Leo (1989) TV Series Review: Part 3

 The Bad & the Confusing

The Pessimistic Second Half of the Series

Unfortunately for all of the praise I give this show, it is far from being perfect. From about episode 35 onwards, the series becomes obsessed with being as dark and edgy as possible which undermines much of its core meanings and values. Threats begin to show up more and more frequently and death becomes common place. This wouldn't be too big of an issue if Jungle Emperor 1989 balanced out some of its darker elements with more comic relief or signs of progression/hope, but the later episodes rarely do so. (This is something that almost all of Tezuka's manga always managed to do, despite that he had a fondness for semi-tragic and bittersweet endings.)

Jungle Emperor Leo is supposed to represent the complex relationship between humans and animals and how they must put aside their differences in order to understand each other. This is the 1989 version's main flaw. The early episodes do a decent job showing that 'not all humans are bad' and a certain number of them even featured the protagonists being saved by humans that they saw as potentially threatening. But then the humans start to become villainized a bit too much. For instance, in Episode 40, Leona's hunters return to the jungle to search for precious metals in Marody's mountain. This sets the series's final arc into motion, in which the animals proceed to battle the invaders, many of them fighting to the death...Episode 48 is not much better. Leo is tranquilized and is nearly captured by hunters, after wandering around for hours on end in a confused daze. (This could be used as a minor plot element, but stretching it out for a whole episode seems a bit excessive.)

Jungle Emperor Leo (1989) TV Series Review: Part 2

What's Good About It?

A poster depicting much of the series's cast.

The First Half of the Series

This series is very difficult to properly rate due to its varying degree of quality. Despite Jungle Emperor 1989's reputation, it is initially quite enjoyable. Indeed, the first six episodes are very accessible to Tezuka fans and classic anime fans (which makes sense as they were actually the last productions to be overseen by Osamu Tezuka before he passed away at age sixty on February 9, 1989). These early episodes are very concise, closely following the manga's narrative. The next 30 or so episodes are also quite good even if they are a bit less cheery. The series deals with many dense subtexts despite its deceptively cute looking exterior.

As Leo attempts to succeed his father, he is confronted with many challenges. Not all of the animals believe that he has the capacity to rule as his father did, and they often argue amongst themselves. Panja's (Leo's father's) jungle is a refuge for disenfranchised animals who have been been driven out of their homelands due to famine, feuds or human activities. The law of Panja's jungle decrees that no animal can kill or harm one another, so Leo must remain vigilant of law breakers. While humans are a concern, they only appear occasionally. The series's primary antagonist is Bubu (Claw), a scheming, dark-maned lion who holds a grudge against Panja after losing one of his eyes in battle.

Don't let his ridiculous sounding name fool you. In this version, Bubu means serious business. 

Jungle Emperor Leo (1989) TV Series Review: Part 1

Director(s): Rintaro, Osamu Tezuka (original concept, oversaw direction of first six episodes)

Company: Tezuka Productions

Year: 1989-1990

Country: Japan

Although it may look cute, this is one of the most polarizing remakes in cartoon history.

The Controversy about the Series*

In the past couple of years, Hollywood has gotten a lot of flack for its recent fixation with creating 'grittier' and 'more realistic' revisions of popular franchises ranging from the likes of the misguided Man of Steel to this year's summer blockbuster, Godzilla. Of course this is nothing new, back in the 1960s-70s the James Bond and Planet of the Apes film franchises were exceptionally popular and continue to be made today, and other countries spout out remakes frequently as well. The problem with many these reboots/remakes is that tend to focus too much on superficial aesthetics and end up ignoring the core values of the original property that they were supposed to represent.

Many have claimed this is the case with the 1989 version of Jungle Emperor Leo (aka The New Adventures of Kimba the White Lion). The series has been accused of lacking the charm of the original 1960s show, and being devoid of any value beyond its much improved animation. It is often written off as a footnote in animation history compared to the '80s remake of Osamu Tezuka's other famous series, Astro Boy; and information about the series in English is surprisingly scarce (more on part of the reason as to why later). Yet, the remake has also been defended by members of its small community of fans. They claim that the series is a misjudged re-imagining that explores many dense topics that were skimmed over in the '60s version. The 1989 version of Kimba must have also been met with some success in its home country because it did receive several tie-ins and merchandise during its run in Japan (including a canceled video game).  

This is the one thing fandoms can agree on apparently.

Like the original 1965 TV series, the basic plot follows the exploits of Leo (Kimba) a young, white lion cub raised by humans who eventually returns to his homeland in order to follow his father's footsteps as ruler of the jungle. (Leo is an orphan. His father was shot by a hunter before he was born and his mother perished in a shipwreck after being captured by humans.) Both series also choose to focus on Leo's youth (with the later focusing on a 'teenage' Leo) rather than portraying him growing into an adult lion, as he does in the manga. Unlike the first series, the 80's show draws more influence from some of the manga's darker themes which were absent in the '60s show in order to appease the network standards. (This is even more apparent in the English dub). For this reason, the mood of Jungle Emperor 1989 bears more resemblance to the series, Onward Leo! (Onward Leo! was produced by Tezuka without his American partner NBC. It is a sequel to Kimba the White Lion, focusing on the titular lion's adulthood.)

Shift in tone aside, the other most obvious difference between the two TV series has to due with budget. The 1965 version looks very dated by today's standards and its animation is very limited/static, which makes sense given that it was the first color anime to be ever produced for TV. Kimba the White Lion's art style is very 'cartoony' compared to its newer incarnation. The remake's animation, on the other hand while somewhat dated, holds up quite well as its art style is more 'realistic' and modern looking.

For comparison's sake, here is the first episode of the 1965 show (of the English dub; sorry purists!).

…and the 1989 version (in Japanese).

*= No, not this controversy :p

Cowboy Bebop (TV Series Review)

Director: Shinichiro Watanabe

Company: Sunrise

Year: 1998-1999

Country: Japan

The anime for people who think they hate anime.

How does one even begin to describe Cowboy Bebop? It's one of the most critically acclaimed television series ever created. It's the Firefly of anime. It's one of the few shows that actually lives up to all of its hype. Cowboy Bebop was conceived during the late 1990s, a time during which the space operas and sci-fi dramas where exceptionally popular thanks to manga/anime series such as Crest of the Stars, Trigun, Outlaw Star, and, of course, Neon Genesis Evangelion. The production company Sunrise thus employed a team of talented industry veterans to create a show in similar vein to the above. The team consisted of: director Shinichiro Watanabe (Marcos Plus, Samurai Champloo, Space Dandy), screenwriter Keiko Nobumoto (Wolf's Rain, Tokyo Godfathers), character designer Toshihiro Kawamoto, mechanical designer Kimitoshi Yamane, and talented jazz composer Yoko Kanno. The primary goal of this team was to create a show that would defy genres and appeal to adult audiences.

Cowboy Bebop is set in the future year of 2071. The entire solar system is now traversable through hyperspace gates. Several decades earlier, in 2022, an experimental hyperspace gate exploded, damaging Earth, causing most of the survivors to abandon Earth and colonize other planets and astroids in the Solar System. Mars has become the primary hub of civilization. Due to the Solar System's enormous size, law and order has become hard to enforce. Crime abounds. Thus, a bounty hunter system is set up, creating a similar situation to the American Old West. (Bounty hunters are commonly called 'cowboys.')

Big Shot, a ridiculous TV bulletin show that informs prices on bounty heads.

The show centers around the various exploits and misadventures of a group of bounty hunters on board the spacecraft Bebop. Each of which have their own unique and contrasting personalities and (often tragic) backstories. Spike Spiegel is a former member of the Red Dragon Crime Syndicate. A skilled gunman and pilot with a biting sense of humor (Think of Lupin III, but as less of a woman chaser and less of a goof.), Spike is constantly haunted by his past, particularly by a beautiful woman named Julia and his rivalry with his former partner, Vicious. Jet Black is the team's engineer and cook. Although he doesn't like being called old, he commonly acts as a supportive father figure to the rest of the crew. Jet is former cop with a strong sense of justice and is a jack of all trades. Faye Valentine is a femme fatale who uses her assets and skill with firearms to get what she wants. Faye is generally mistrusting towards others and frequently runs off to her own device. She is constantly on the run from the law due to the debts she inherited and is unable to pay off…which is certainly not helped by her gambling addiction. Edward Wong Hau Pepelu Tivruski (or Ed for short) is a thirteen year old hacking prodigy. She is a fairly strange, androgynous looking girl, who often speaks in rhyme, refers to herself in third person, and frequently drifts off from reality. Ed is the show's primary source of physical humor and comic relief. She is almost always seen with Ein, an intelligent Pembroke Welsh Corgi.

Who is the mysterious woman and what has she got to do with Spike's past?

The series is often billed as space adventure drama, but it is much more than that. While Cowboy Bebop is an anime program, its wide variety of influences and heavy references to Western culture make it very accessible to non-Japanese audiences. Cowboy Bebop certainly excelled at its goal of defying genres. It's a hodgepodge of Film Noir, Cyberpunk, intense drama and medium aware humor. Although set in space, many of the episodes take place in urban inner city areas. It avoids many of the cliches used in the sic-fi genre. There are no giant robots, space aliens, or laser guns. The environments in the film often look used or run down. The technology used in Cowboy Bebop is mixture of that advanced beyond our own and relics from the later half of the 20th century. The various colorful characters that appear throughout Cowboy Bebop's 26 episodes are ethically diverse. All of this gives the show a truly unique, somewhat strange, but truly inspired and relatable feel.

Welcome to the future, the used, gritty future.

Another  big draw of this anime is its diverse musical score composed by the eccentric and brilliant Yoko Kanno. Reflecting the diversity of its cast and Western influences on screen, Cowboy Bebop sports a soundtrack consisting primarily of jazz and blues (It's called Bebop after all!), along with rock, heavy metal, rap, and even gospel like music. (Much of the music on display also originates from the fringes of society, reflecting the series's realistic, gritty style.) 

Obligatory theme song post.

Shinichiro Watanabe certainly loves films and makes several parodies and homages throughout the series's run. Several of the less serious episodes focus on spoofing a specific genre or movie. For instance, the episode, "Toys in the Attic," involves Spike and his teammates being attacked by a unknown presence on their ship (which turns out to have originated from bad food kept in the fridge), which ends up incapacitating most of them before it is destroyed. The plot is quite similar to Ridley Scott's Alien and also references 2001: A Space Odyssey. Another episode, "Mushroom Samba," invokes the feel of 1970s Blaxploitation films. (It involves a starved Ed and Ein chasing down a hallucinogenic mushroom dealer. Yes, it's as crazy and hilarious as it sounds.)

Outside of all of these parodies and homages, much of the show's humor (and relatability) comes from its cast's conflicting interests and personalities and the situations they wind up in. Whereas Jet is ever calm and the most rational of the crew, his conservative views and dedication to truth and justice sometimes put him at odds with Spike and, especially, Faye. At first look, Spike and Faye seem to hate each other. (In one scene, an exasperated Spike asks Jet what the three things he particularly hates ['kids, dogs, and women with attitudes'] are doing on his ship.) Ironically though, both Spike and Faye have several similarities. They are both very stubborn and determined. They refuse to show each other's true feelings towards each other, unless in the most dire of situations. Little lifelike details appear in Cowboy Bebop that several other anime series either ignore or lack. Unlike many other 'animal mascots' / 'team pets' Ein is realistically drawn and behaves much like a real dog would. The crew constantly combats with hunger and starvation when they are out of work. Heck, we even get to see what the Bebop's bathroom stall looks like!

As a broke college student, I can relate.

While certainly funny in places, Cowboy Bebop is even more well known for its sophisticated storytelling and dark, intricate plots. Indeed, while Watanabe admits that about 20% of the show is dedicated to humor, he also states the other 80% is centered around serious drama. Several heavy handed or controversial subjects are dealt with throughout Cowboy Bebop's run including: drug dealing, homosexuality, organized crime, terrorism, and religious cults. While some episodes contain little to no violence, others are quite brutal and feuds are often realistically depicted on screen. At times the anime has an existentialist and philosophical tone. Between all of the action sequences, many of the characters have quiet moments of solitude, as they contemplate about their pasts and the current state of their lives.

Spike, in particular, takes everything with a grain of salt. As he pushes forward towards an uncertain future, he simply states, "Whatever happens, happens." Themes of betrayal and self redemption also come into play. The anime's ending is left open ended. We are left uncertain if Spike has survived or not or what happens to the rest of the Bebop's crew. However, Spike has managed to make amends with his past and settle his score with Vicious. His (debatable) death is his redemption. Vicious can be essentially seen as Spike's shadow. Whereas Spike is able to contain his anger and remain cool and level headed, Vicious is unable to control his tendencies. When threatened, he always acts out with violence. Vicious is unable to comprehend mercy.

Is it worth searching for meaning in the past, or should we simply move forward without looking back?

Faye, like most of the other characters in this show, faces crisis with her identity.

Really, I could go on talking even more about this show. However, several people already have and, like all good things, this review must eventually come to an end. For those who haven't seen Cowboy Bebop, GO WATCH IT NOW. Trust me, you have no idea what you're missing out on. Well, until then…

…See you Space Cowboy...

Rating: 5/5

About the Dub: Unlike many other anime of its day, Cowboy Bebop has a stellar dub (by company Animaze), rivaling that of the dubs Disney gives Studio Ghibli's films. Some even consider it to be superior to the original Japanese voiceover. (In the case of Wendee Lee as Faye Valentine, I would probably agree with them.) The script follows the original cut very loyally and each character feels very real and three dimensional. Steven Blume (who was rewarded a 2012 Genius World Record for his prolific voice acting career) does an excellent job as Spike, being both subtle and volatile when needed. All of the other voice actors do a fine job as well.

Seriously, this scene gives me chills every time I watch it.

Kino's Journey (TV Series Review)

Director: Ryotaro Nakamura

Company: ACGT, Genco Inc.

Year: 2003

Country: Japan

Despite it's simplistic appearance, there are a lot dense subjects covered in this unusual little series.

I have a confession to make: I don't like most post-2000 anime series. The shift in animation style, obsession with pre-adolesent girls, excessive fan service, abundance of gore, and high school dramedies make me wary (and weary) of many popular anime. Fortunately, a show comes out once in a while that reminds me why I continue to watch and love it. 

One of the reasons why I avoid many anime.

Kino's Journey (Kino no Tabi) subverts many of these cliches. At first glance, this isn't too apparent. Kino's animation is rather limited, its protagonist has a large doll eyed face, and its opening theme is an overly peppy J-pop song. Outside of these factors though, the show bears little resemblance to the likes of Naruto or Inuyasha. Based on the light novel by Keiichi Sigsawa, the series follows a young traveler who journeys to various countries astride a talking motorcycle named Hermes. Kino only spends three days and two nights in each country, before moving to the next.

Each of the different societies that Kino and Hermes visit have their own distinctive cultures and flaws. Many of these societies have tired to find ways to alleviate their troubles. However, they often fail to predict the long term consequences of their ideas (such a one country that created an invention that reads peoples' minds). Some of the countries are hospitable and kind; others are corrupt and are ruled with an iron fist. The various people Kino encounters all have differing motives. While their motives may not seem justified at first, they are all merely trying to survive.

Kino meets some friendly, but rather eccentric locals. 

It's also interesting to compare and contrast the two main characters. Hermes is very childlike and naive. He constantly worries about his immediate needs and tends to live in the present. Because of his impulsiveness, Hermes is often used as a source of comic relief in tenser moments of the show. However, Hermes is also very curious and can be rather insightful about things he observes (even if does tend to mispronounce words or botch up famous quotes). Most importantly, Hermes gives Kino someone to talk to on her seemingly endless journey. Their friendship is represented by the fact that they need each other in order to travel. Hermes provides the speed, while Kino provides balance as she rides him.

Fun Fact: Hermes is a Brough Superior motorcycle, the same bike T.E. Lawrence of Arabia rode.

On the other hand, Kino keeps as calm as possible and tries to asses the situation before making any move. While Kino can appear distant at times and seem hard to relate with, she is actually a very kind person. Kino choses not to get involved in situations, unless she absolutely has to. Many times she is faced with difficult choices. She constantly must decide if she should intervene or not if the rights of others are being violated. Kino tries not to get overly attached to any place, as she is constantly on the move. She enjoys meeting people but is afraid of settling down, likely due to her past and own traumatic childhood.

Kino's gender is often discussed among the show's fans, as it is not revealed until the fourth episode. Kino is female, but looks fairly androgynous. Her hair is cut short. She wears baggy, practical clothes, and she often uses the Japanese masculine pronoun, boku, to refer to herself. (The Japanese language does not have grammatical gender, but the speech women and men use tend to differ.) Kino is a nonconformist. She prefers not to attach any labels to herself or other people. (This was something she learned from the original Kino whom she named herself after.) Thus, Kino refuses to let gender or any other any other category define who she is. 

A younger Kino and Hermes.

Kino's Journey is ultimately about the contradicting aspects of human nature and how we must make the best we can out of seemingly bad situations. Kino is reluctant to use violence, but always carries firearms for protection because she knows that people are not angels. Each of us has the capacity to do incredible good or bad. But the bad has a purpose: true beauty can only really be appreciated if there is pain.

Kino the pacifist.

Although Kino's Journey moves at a slower rate than many anime series, it benefits the show rather than hampering it. Kino's tranquil pace allows time for the audience to digest what they have seen on screen, as they try to wrap their heads around its physiological undertones. (Much of what takes place on screen is left for the viewer to interpret on their own.) If you are looking for an action-oriented, explosive heavy anime, you better look elsewhere. Likewise, if you are craving a highly complex drama, with multiple characters, you won't find it here. However, Kino's Journey's minimalism works largely in its favor. The anime is straight to the point, it does not gloss over the ugliness of life, but it is not overly pessimistic either. 

This show is a testament that a high budget and special effects wizardry are not necessary to make a compelling storyline and create distinctive characters. Substance over style always trumps style over substance. If all we see on screen is escapist comedy and brainless action, it amuses for a while, like candy, but it has no value beyond that. Kino' Journey is a show to be thoroughly digested and analyzed.  

"The world is not beautiful, therefore it is."

Rating: 4/5

About the Dub: While ADV Film's dub is not the worst one out there, it is recommended that viewers stick to watching the original Japanese. (This shouldn't be too demanding, since the animation in this show can be rather static.) Kino's voice actress, Kelli Collins, sounds a bit old for the character and her voice is often monotonous. This isn't an issue in scenes where Kino is quietly contemplating things, but her performance can be a bit lacking at times. Cynthia Martinez as Hermes is another story. Her acting sounds overly raspy and 'cartoony'. Hermes is a comic relief bike, so one may think he lends to a funny sounding voice, but this one just comes of as irritating. All of the other background characters sound merely serviceable. 

Nu Pogodi! (Review)

Directors: Vyacheslav Kotyonochkin (episodes 1-16), Vladimir Tarasov (episodes 17 & 18), Aleksey Kotyonochkin (episodes 19 & 20)

Company: Soyuzmultfilm

Year: 1969 - 2005

Country: Russia (Soviet Union)

What happens when a Western style chase cartoon meets local culture?

For over forty years, Nu Pogodi! ('Well, Just You Wait!') has entertained families throughout Russia and Eastern Europe. It is indisputably the most popular cartoon series in that region. There are Nu Pogodi! plush toys, Nu Pogodi! bottle openers, Nu Pogodi! statues in public parks, and even Nu Pogodi! video games. The reason for its appeal is simple. Nu Pogodi! is a funny animal cartoon filled with many sites gags and humor, very much in vein of Tom and Jerry or Looney Tunes's Willy Coyote and Roadrunner shorts. Despite that Nu Pogodi! is quite similar to many slapstick Western cartoons (It's about an ever persistent wolf trying to catch a hare.), Vyacheslav Kotyonochkin claimed to have never seen in any American cartoons outside of Disney, until his son bought a VCR in 1987.

The series follows the various exploits of Volk (Wolf) and Zayats (Hare). Each episode takes place in an unique setting, where Volk chases Zayats while trying to avoid various obstacles while at the beach, skiing, or on passenger ship, etc. Some of these surroundings are distinctively Russian. For instance, episode 16 takes place in a land comprised of various folktales, and episode 20 is set in a dacha community. An another notable aspect of this show is that it contains very little dialogue, aside from the two characters saying each other's names and Volk uttering his trademark threat to Zayats, "Nu Pogodi!" Much more emphasis is thus able to placed on physical interactions between Volk and Zayats, their environment, and the occasional side character they encounter (such as a magician cat, an angry hippo, or a large female pig).

Interestingly enough, Volk, rather than Zayats, is the more developed character, despite being the antagonist. Zayats is very cute and young. He is naturally curious, but seemly ignorant about many dangerous situations. He often gets away from Volk just by mere luck and he rarely fights back. Volk, on the other hand, is actually more easy to relate to, as he gets far more screen time. Volk is a hooligan who constantly breaks laws, taunts police, smokes, and bears a large beer gut. His relationship with Zayats is rather obsessive. Volk is willing to seek work at a construction site, sneak into museums, and even enroll in the Olympics in order to capture Zayats. But despite that he is a constant trouble maker and often quite cocky (not to mention a bit of a coward), Volk is equally goofy and fun loving. He is also quite talented, being able to play the guitar, figure skate, and engages in the fine arts.

To keep things fresh, Volk and Zayats are occasionally shown to work together against a greater force or Zayats will save Volk from danger, only to be chased again. This is particular noticeable in episode seven where Volk and Zayats must plug a hole they made in the hull of a ship, and in episode 18 where Zayats lights a cigarette for Volk when the wolf is trapped in a large safe. Their relationship can even resemble that of a friendship, on occasion. This has led to a lot of confusion and fan speculation surrounding the show. Zayats is commonly mistaken as girl due to his long eyelashes and high voice. Volk often wears various shades of purple and pink. In episode 14, Volk visits Zayats in fancy clothes. He gives him flowers and brings a bottle of cider to share. Although this may seem like Volk is courting Zayats, giving flowers to another man in Russia is not unheard of. It is often done as sign of friendship and goodwill.

People are likely to take this frame out of context....It doesn't help that Volk is wearing a purple jacket.

While Nu Pogodi's creators were often scoffed at by fellow animators at Soymuzltfilm, it is still an enjoyable enough program. Sure, Nu Pogodi! isn't at the same level as Yuri Norstein's work or Roman Kachanov's films, but there is nothing wrong with that. Vyacheslav Kotyonochkin simply strove to create a series that entertained, to make people forget their troubles and laugh. Each installment of the series is self contained and can be watched in any order. Their is no effort to develop the characters any further than their ten minute run time will allow. Many of the episodes end rather abruptly, with Volk being carried away or separated from Zayats, vowing to capture the hare one day. The art direction and animation of the show is a bit privative by today's standards, but it manages to hold up will enough, thanks to the timeless character designs of the two leads. Nu Pogodi's use of music also helps add to its appeal. It features many popular Russian and Eastern European songs from the 1960s-80s throughout, often in synchronization with the animation. 

Volk and Zayats as they appear in the pilot and the first episode.

Unfortunately, the later episodes of the series are not as good as Vyacheslav Kotyonochkin's original sixteen installments. Vladimir Tarasov directed the next two episodes in 1994 and 1995, after the fall of the Soviet Union. Their budget woes are very apparent. The characters are frequently off model, the shorts' scores are less refined, and both of them are filled with excessive production placement from Nokia and AMT. Aleksey Kotyonochkin also took a crack at reviving his father's series in 2005, but his efforts manage to be even more offensive than Tarasov's attempt. His take on Nu Pogodi! is very juvenile. It is crammed with loud, obnoxious pop music and lacks narrative flow. It is also stiffly colored and rendered in Flash (which is a shame since the original pencil tests looked rather nice). Not to mention, Aleksey removed Volk's trademark cigaret and replaced with a more 'politically correct' lollipop!

All in all, Nu Pogodi! is light hearted fun fare. It is nothing ground breaking, but the series holds great appeal for many people who grew up in the Soviet Union. Nu Pogodi! is escapist entertainment, which is perfectly ok. So go ahead and watch the original series. If you are fan of American theatrical cartoons or animation about humanoid animals, chances are you will love it, just avoid the rather lackluster later episodes.

A typical Nu Pogodi! cartoon.

Rating: 3.5

The Best Red Jacket Lupin Episodes (Series II)

155 episodes of varying quality are hard to watch all at once. So here are the 10 greatest.

After reviewing the first (Green Jacket) Lupin the Third series, I figured that I should post about the second (Red Jacket) series sometime. Lupin III: Part II (or Shin Lupin as it is known in Japan), is the best known version of Lupin abroad, being successful enough to run for three years and is still fairly popular today. Its opening theme and score by Yuji Ohno have practically slipped into the public subconsciousness. In fact, Lupin Part II holds a couple of unique distinctions: It was the third anime ever made to run over 150 episodes (only after Astro Boy (1963-1966) and Dokaben (1976-1979). Most animes at the time ran for about 30-60 episodes on average.), and its 99th episode was the first anime to ever be broadcasted in stereo.

Of course, churning out a new episode weekly for several years means that not every episode is a winner. The overall quality of the show itself is decent, but the quality of the animation and storylines can be highly variable and some of the episodes are so out there or sloppily put together that they are best avoided all together. (The worst offenders being perhaps "Lupin's Grommet Heaven" and "Frankenstein Attacks Lupin".) However, Lupin Part II does tend to improve in quality over time and is best described as more lighthearted and carefree take on the franchise than the original Green Jacket series. This second series isn't really worth watching all the way through unless you happen to be a die hard fan. Really, Lupin Part II is perhaps best described as a causal anime, as the episodes can be literally watched in any order as the show has little to not interrelated plots (except for a few special two part episodes). But the thing is, the great episodes of this classic anime are absolute must sees for not just Lupin III fans, but any anime fan period.

Below, I have put together a list of the ten best Lupin III: Part II episodes based upon popular (and my own) opinion. You can watch each episode listed by clicking on the their titles highlighted green. (To watch the dubbed version instead, click on the name of the dub listed in the entry). Enjoy!*

10. Where is the Cinderella Stamp?

Lupin may be a great thief, but he's a terrible babysitter.

Director: Kyosuke Mikuriya
Season & Episode #: 2 - 27
Studio: TMS
Dub Name / Dubber: "The Little Princess of Darkness", Geneon

What It's About:

In a museum, the famous Cinderella Stamp is on display. The stamp is one of the only 12 ever made and all of its former owners have either been a princess or gone on to become one. However, when Lupin and his gang try to steal the rare stamp, they find themselves stuck with a little girl named Alice. Alice also wants the stamp, in hopes of becoming a princess herself. She proves to be nuisance, as she refuses to leave Lupin until he gives it to her. Alice is determined and Lupin is charged with kidnapping! This leads up to a climatic chase at a theme park with Inspector Zenigata hot on Lupin's tail. What will Lupin do?

Why It's Great:

This episode is rather unconventional compared to most Lupin III fare. Kysouke Mikuriya directed the most Lupin Part II episodes (83 in total), and while not all of them were great, he loved to throw off the audience's expectations once in a while. Having Lupin's rival be a non-threating but smart little girl, instead of a large cooperate boss or gang member, is pretty funny. It puts the thief in an awkward position, as he does certainly not want to harm a kid or upset one. Lupin's lack of experience with children is very apparent when he is easily tricked by Alice and reluctantly obliges to let her tag along. The last part of the episode is also memorable, as it is a very strange but entertaining tribute to many classic Disney films (keeping with the princess theme of course).

9. A Present for the President 

Lupin tries to get some Christmas 'spirit' by stealing wine.

Directors: Kyosuke Mikuriya & Kazunori Tanabashi
Season & Episode #: 1 - 12
Studio: TMS
Dub Name / Dubber: "The Sleight Before Christmas", Geneon

What It's About:

A bottle of wine that Napoleon made for Josephine is going to be given as a Christmas gift from the French government to the U.S. president. Lupin and co. head off to Bordeaux. They manage to enter the winery by hiding in some barrels, but are confronted by Zenigata. Later, they attempt to steal the bottle by sneaking on Zenigata's plane and switching it out with cheap wine. At the end of the showdown, who will get the present and the last laugh?

Why It's Great:

"A Present for the President" is very entertaining, as it manages to be a holiday episode that doesn't explicitly play out like most other Christmas themed titles. Having Lupin play the part of the 'Grinch' when he steals the wine (and later 'Santa' when he accidentally realizes that he stole dolls that were supposed to be donated to underprivileged children), is an entertaining way at poking fun at popular tropes. Even though this an early episode, the backgrounds and exaggerated character animation are well drawn. The characters themselves have a lot great interactions with one another, such as when Zenigata argues with a carefree French policeman who can never get his name right, and when Lupin's gang floods the wine cellar. But the best part of this outing is its surprise ending.

8. Lupin Laughs While the Alarm Bell Rings

One of the funnest things about this show is seeing how all of the crazy heists get pulled off. 

Director:  Kyosuke Mikuriya
Season & Episode #: 2 - 48
Studio: TMS
Dub Name / Dubber: "Vault Assault", Geneon

What It's About:

Lupin plans to take the till from the Kentucky Derby, but the truck he stole actually contains Zenigata. Lupin, Jigen, and Goemon jump into the river, only to be apparently shot by a policeman. However, it turns out this is all just a ploy to throw off Zenigata. Lupin's next target is the Metropolitan Bank's vault. Lupin and Jigen manage to sneak in when Fujiko delivers them in a safe-box. Then the real challenge begins. How can they possibly steal the money without setting off an alarm system that activates at the weight of a handkerchief?

Why It's Great:

Seeing Zenigata trick Lupin once in a while is really important, otherwise the show gets too predictable or Zenigata ends up looking too stupid. Likewise, showing Zenigata getting really upset when Lupin supposedly dies gives a nice insight on the friendly rivalry the two share. It's also pretty amusing to watch Lupin, Jigen, and Goemon fight over which genre of music is best while they are listening to the radio, which is probably something every family or spouse can relate with. This is one of the episodes that best demonstrates how Lupin and his friends can organize elaborately complicated schemes, while running circles around the security and the police. In fact, Lupin makes theft look a lot funner than it should!

7. Will it Be the Computer or Lupin?

Zenigata and Lupin, sworn enemies and occasional allies.

Director: Kyosuke Mikuriya
Season & Episode #: 3 - 57
Studio: TMS (with Yuzo Aoki)
Dub Name / Dubber: "Alter-Ego Maniac", Geneon

What It's About:

Located in a VTOL aircraft in Hawaii, there is a highly sophisticated safe that can be programmed to outsmart any of its potential opponents. Professor Hunt declares it to be his masterpiece and scoffs at the idea that Lupin could rob it. But when Zenigata notices that Hunt's collection contains a throwing coin owned by his Edo-period ancestor, he steals it on a sudden impulse. Overcome with guilt, Zenigata goes over to Lupin and begs for his assistance. Now the unlikely duo must team up to return the coin (and Lupin plans to also take the loot).

Why It's Great:

Yuzo Aoki's somewhat demented art style and free form character animation is in stark contrast to that of Telecom's polished style. This is not a bad thing, however, but actually a compliment. Aoki had long been involved with the Lupin franchise and went on to be the character designer for the (love it or hate it) third Lupin series. He was heavily involved with bringing his own unique brand of visual humor to some of the more bizarre or wacky episodes. This episode is a great showcase of his work. Not only that, but having Lupin and Zenigata work together for differing motives is a nice change of pace. Having Lupin outfox an over pompous criminal expert or a high ranking official is always guaranteed a laugh. And how surprising it was to have a very determined Zenigata take down all of Lupin's gang before convincing the thief to help him!

6. The Border is the Face of Farewell

It's the best ill-fated romance episode starring Jigen.

Directors: Yasumi Mikamoto & Yagi Ishikura
Season & Episode #: 3 - 58
Studio: TMS
Dub Name / Dubber: "Gettin' Jigen With It", Geneon

What It's About:

Lupin and Jigen are in the Soviet Union where they plan to steal the Aurora Drop, a valuable diamond. The diamond is adorned on a ballerina's forehead. Both Lupin and Jigen manage to successfully snatch it with a remote controlled net, but Jigen is wounded, the diamond turns out be a fake, and Lupin is forced to move ahead. In an unexpected twist, the ballerina, Monkia Ivanov, rescues Jigen and he ends up helping her cross the border so she can defect and escape to America. Can Jigen and Monkia get past the Communist Block? Will Jigen's heart be broken when he discovers Monkia was using him?  

Why It's Great:

Breaking up the cops vs robbers pattern, there have been a couple of side character centered episodes, usually about a rivalry of Goemon's or some tragic love story with Jigen. (The later which may explain why Jigen is untrusting of most women). "The Border is the Face of Farewell" is perhaps the best of these episodes due to its focused plot and intense emotions. The fact the it starts off like a regular Lupin episode also throws off the audience a bit. Despite that Monika leaves Jigen, she does seem to respect him and has valid ambitions of her own. "The Border is the Face of Farewell" is also notable for starring Ikeda Masako (best known for playing Maetel in Galaxy Express 999 as well as being the Japanese dub voice for Audrey Hepburn) and for including a homage to the British film noir The Third Man.

5. ICPO Secret Directive

How do they escape this time? It's ridiculous. Watch it.

Director: Shigetsugu Yoshida
Season & Episode #: 3 - 85
Studio: TMS (with Yuzo Aoki)
Dub Name / Dubber: none

What It's About:

 Two troubled lovers, the blind Maureen and the hooligan Stefan, come over to Lupin's gang for assistance after stealing a diamond from them. They want to use the diamond for their honeymoon before Maureen passes away from illness. Fujiko is so moved by their plight, that Lupin, Jigen, and Goemon all agree to assist the couple. But Lupin and his friends have all fallen into trap set by the ICPO! It turns out that Maureen and Stefan, are actually the bureau chief Jasmine and Inspector Zenigata. Ecstatic with their success, Maureen proposes to a bashful Zenigata, while Lupin and co. are placed in a sinister cel with spiked mobile grating. Can our anti-heros escape without becoming impaled? Will Lupin ruin Zenigata's marriage plans?

Why It's Great:

Shigetsugu Yoshida may have directed the most awful Lupin III film in existence, The Gold of Babylon (1985), and produced a few dud episodes (such as one involving Lupin moving penguins from the South to North Pole. Yes, you heard that right, penguins). But he also directed his fair share of funny, well written episodes and acted as the assistant director of the most famous Lupin film, The Castle of Cagliostro (1979). "ICPO Secret Directive" is one of his best ones. It is a riot from start to finish with all of its dramatic irony. There are just so many great sight gags in this episode. Jasmine is an interesting side character. She's less of blunderer than Zenigata, but somehow seems to be rather charmed by him never the less. It's always nice to see a competent female character, considering that Fujiko's personality and set of skills seem to vary widely depending on the writer. Speaking of Fujiko, her interactions with Lupin are particularly memorable in this episode, and somehow she holds the 'key' to escaping the cell.

4. The Wind is Hot in Morocco

Lupin and Zenegata are captured and must flee, while tied together!

Director: Kyosuke Mikuriya
Season & Episode #: 2 - 30
Studio: TMS (with Yuzo Aoki)
Dub Name / Dubber: "Morocco Horror Picture Show", Geneon

What It's About:

Lupin is separated from his friends while he is in Morocco, after being lured away by an attractive girl. Suddenly, he is stuffed away into a bag and brought to a desert encampment. Zenigata is also captured. Both are being forced into the Foreign Legion, an armed antiestablishment sect. Neither of them want to join the involuntary army, and things only get worse when Lupin causes trouble. Both Lupin and Zenigata are shackled together by the neck, but manage to escape into the desert. Now, they must run for their lives, with the legion in pursuit.

Why It's Great:

"The Wind is Hot in Morocco" is where Aoki's style perhaps shines the most. The situations which Zenigata and Lupin get into are very outrageous, like when they disguise themselves as an Arabic couple to avoid detection (only to have Zenigata get hit on by the legion's commander!) or when both hide in large vats of colorful paint. The pure lunacy of this episode shows off the Lupin franchise's goofy side, but still has enough of a plot to hold itself together. The beginning of the episode is a great bait and switch, because its narrative flow and animation looks fairly average at first, but then steadily become more loose and wacky. Lupin and Zenigata pretty much define the term 'friendly rivalry,' constantly fighting but willing to risk each other's safety to help one another. Both certainly are rash in their own ways and are very determined to achieve their own goals.

3. The Arrest Lupin Highway Operation

This is about as good as TV animation gets.

Director: Shigetsugu Yoshida
Season & Episode #: 4 - 151
Studio: Telecom
Dub Name / Dubber: none

What It's About:

Lupin and Fujiko are carrying out a plan to steal an entire shipment of South African diamonds. Unfortunately, they bump into Zenigata (who else?) and Fujiko is taken hostage. Zenigata is unusually calm about failing to catch Lupin. He has set up an elaborate trap utilizing a collapsing mechanism set to go off at a certain point on the highway. Fujiko tries to warn Lupin, and both Jigen and Goemon are leery. Zenigata has never been so sure of himself or so smug, but Lupin never backs down to a challenge. As they say, pride comes before the fall...

Why It's Great:

Telecom is a very talented animation studio. The quality of the work produced by Telecom is practically theatrical. Its staff gained much experience from working on the production of the first two Lupin III films (The Mystery of Mamo and The Castle of Cagliostro). Really, I could have just as easily listed all of the other episodes produced by this company in place several other entries, but that wouldn't represent this show very accurately. "The Arrest Lupin Highway Operation" is expertly paced and leaves its viewers on their toes. Much more emphasis is put on the drama and action than most Lupin episodes, but this one is consistently funny as well. (Otherwise it wouldn't really be Lupin III, would it?) Another interesting thing about these Telecom episodes is that Fujiko is frequently shown to be less of sex symbol and more as 'one of the gang.' Sure, Fujiko, being a femme fatale archetype, is supposed to be sexy, but a woman who can fight for herself and stand her own ground, is more appealing than one that shouts, "Save me!" all the time and only exists to provide fan service.

2. Farewell My Beloved Lupin 

The final Lupin episode went out with a dramatic bang.  

Director: Hayao Miyazaki
Season & Episode #: 4 - 155
Studio: Telecom
Dub Name / Dubber: "Aloha Lupin", Streamline

What's It's About:

A jewelry store in Tokyo is raided by an armored robot. Maki Oyamada, daughter of the robot's inventor, is piloting the machine, believing that she is working for Lupin III. Maki wants to show the world how dangerous the robot can be, so her father's inventions do not end up being used for military purposes and people will remain unharmed. Little does Maki know that she is actually being used by the enemy herself. Zenigata arrives to examine the robbery, but where is Lupin and his gang? Will Lupin's name be tarnished by the impersonating crooks and what will happen to Maki once she learns the truth?

Why It's Great:

This episode practically plays out like a feature film. Hayao Miyazaki directed "Farewell My Beloved Lupin" (along with "Albatross: Wings of Death") under the pseudonym Teruki Tsutomu. Both episodes marked his final involvement with the Lupin franchise, before he moved on to directing his own feature films and establishing Studio Ghibli. "Farewell" is somewhat like Cagliostro, but is perhaps a bit more serious in mood. Many of Miyazaki's trademark elements can be seen on display here: the strong anti-war and pacifist themes, the 'Superman' robot that would later reappear in Castle in the Sky (1986), and, of course, the iconic red headed heroine wearing blue (voiced by the great Sumi Shimamoto). The sense of tension and unease (balanced out by bits of humor) thrown in the earlier half of this episode, attention to detail, and bittersweet ending make "Farewell" an appropriate finale to the Red Jacket series. It also marks the beginning of a new chapter for many of the animators' careers.

1. Albatross: Wings of Death

How is it humanly possible to pack so much action and fun within 25 minutes?

Director: Hayao Miyazaki
Season & Episode #: 4 - 145
Studio: Telecom
Dub Name / Dubber: same as Japanese title, Streamline

What It's About:

Lupin, Jigen, and Goemon are preparing dinner in a trailer while waiting for Fujiko to arrive. Fujiko bursts through the door, gunning at her pursuers, and completely ruins Lupin's sukiyaki (and his car). Fujiko is captured but manages to leave Lupin something, a small detonator to an atomic bomb. Lupin goes off to inspect a suspicious looking aircraft museum. He discovers that it is housing a newly restored Albatross, a gigantic flying machine housing many bombs. The plane's pilot, Lonebach, is also trying to seduce Fujiko in hopes of making her his wife. Neither Fujiko or Lupin will let him get away with that!

Why It's Great:

Lupin fans, you probably saw this one coming. Everything about "Albatross" is perfect. The comedic timing, interpretation of the characters, the climatic airship battle, just everything. Anybody can go in watching this episode and not know a thing about Lupin (or Miyazaki) and enjoy it. Although, if you plan on watching Lupin III Part II, I recommend that you save this one for last, so you are not disappointed by the rest of the series. A great part of this outing's success owes to animator Yasuo Otsuka, who was a mentor to Miyazaki and later went on to establish his own animation school. If Otsuka hadn't retired in the late 1980s, who knows what the man would have gone on to create. Fujiko is very assertive in this episode. She manages to break out of confinement and bring down most of Lonebach's crew, wearing little more than the top half a dress and a tablecloth tied around her waist. The witty banter between her and Lupin is also entertaining. Fujiko and Lupin certainly share a strange, inconsistent, but somehow enduring relationship. The original manga's author, Monkey Punch, apparently based this on his own relationship with his wife, which is interesting to say the least.

Miyazaki's Fujiko kicks the most ass. Just saying.

* For those who got a kick out of this article and would like to know more about this series, I highly suggest that you check out Anipage's post on Lupin III Part II. It's very in depth and describes the different companies behind each episode.