The panel started very strongly, and I feel I have to give the panelists top marks for their ambitious introduction, which clearly showed that they had put a lot of thought into the content that they wanted to cover. Also praise-worthy was the miniature AMV that one of the panelists put together which set the tone of the panel as a whole — exploratory but still humorous.

The panel hit on a number of different points — the use of magical girls as a allegory for puberty, an examination of gender relations presented in the show, altruism, the existence of the Ubermensch and role of a deity (if there is one) in the shows universe. All of the individual points were well presented, in particular during the altruism and "Where is God?" sections where the panelists had some very good exploratory discussions amongst themselves. I would have greatly enjoyed more instances of this as opposed to the sections where the three panelists took turns handing off the same argument between each other. The panel certainly had enough meaty content to live up to it's name and presented it in an approachable, engaging manner.

Sadly, this is the part where I write up a small laundry-list of niggling issues I had with the panel, none of which "ruined" the presentation but taken together weakened it. Primary among my irritations was the over-use of PowerPoint slides — at some points the panelists exhibited my pet hate habit of reading directly off of the slides and not adding anything to the text on screen. This, combined with the aforementioned lack of debate between the panelists left some very interesting points relatively unexplored. The slides also contained numerous typographical errors — not a major issue in itself but combined with previous niggles was indicative that the content presented could have done with an additional critical look to shore up the arguments presented and provide a more "solid" talk overall. In particular the lack of a proper conclusion before the floor was opened up for Q&A at the end of the panel left me feeling somewhat unfulfilled.

An additional misstep was taken in the middle of the panel when the audience was asked to respond to a small question — sadly this did not go as planned as instead of answering the question participants instead rushed the mic to present their own theories and have miniature discussions with the panelists. This took a lot of the momentum out of the discussion and it never fully recovered.

To be frank, I did not expect great things from this panel — rather cynically I presumed the discourse would be at the level of message board chatter and I was very pleased to be proven wrong. The panelists here have some very good ideas and discussion points tobring to the table, and if they can take what they currently have and iron out the kinks then they will have a very robust and intriguing panel.

Kelts specifically noted Astro Boy, which emerged after World War II, and pointed out how the story uses radiation as an aspect of creation rather than destruction. This "boy born of radiation" shows a faith in the same technology (or along the lines thereof) that delivered such a crushing blow to life not even a decade earlier. Along the same lines, Kelts offered up a similar method of thinking regarding the resurrection of the Japanese battleship Yamato, which was the pride of the countrys naval fleet as one of its most technologically advanced WWII warships. After its defeat, the Yamato came back to life via fiction as a technologically superior spaceship ("Take THAT, America!"). In addition to Kelts also mentioned the birth of mecha as means to fight the disillusionment with current technology. In all instances, destructive new technology didnt bring about fear in art but rather promise as well as hope that what has been survived can be learned from and built upon to become stronger.

Next Kelts focused on two anime film directors, Hayao Miyazaki and Isao Takahata, and their specific works. Perhaps to take advantage of Ponyos immediacy, Kelts pointed to this Miyazaki film as a shining example of the portrayal of natural disasters and Japanese natives reactions to them. Kelts focused specifically on the scene where personified waves of a storm are reaching up and over the road with cars, which are trying to escape. Kelts said that this portrayal is not a malicious one but rather a dangerous fact of life. He said that the eyes in the waves had a sort of aimless, "staring into space" aspect that relayed the same sense of natural innocence as another one of Miyazakis creations, Totoro.

Kelts pointed out one scene in particular from My Neighbor Totoro built on a couple of images meant to evoke memories of the Japanese people who went through WWII. In this particular scene, characters in mismatched clothes watch as a man drives off into the countryside in a jalopy. According to Kelts, this scene was one that took place in many homes during WWII as those types of cars were simply what were available and clothing supplies were scarce. In all, Kelts concluded that since Miyazakis family was one of relative privilege and could afford to escape the paths of destruction, that personal history is what colors his work.

This contrasts Isao Takahatas Grave of the Fireflies, which is tied to the notion of not being able to escape and having to deal with the event as well as its aftereffects. Most of the movie, after all, centers around trying to define and etch out an existence after an American firebombing raid consumes life as the children had known it. Kelts said the differing vantages between directors makes sense given the fact that Takahatas family was of lesser means and could not afford to escape.

After a few more specific examples of the panel, an audience member asked if there was a difference in how man-made and natural disasters are depicted. Kelts postulated that manmade disasters serve as an analogy to the evil that resides within all of us. He noted that even historical apocalyptic depictions spare specific countries any finger pointing. Instead the focus of most anime that deals with man-made apocalyptic scenarios open with disasters instead of trying to prevent them (as with the majority of Western media). This further demonstrates the themes of coping with and overcoming ourselves. Natural disasters, said Kelts, are portrayed as indirect, non-intentional ... just a part of life thats meant to be dealt with and overcome. A rather pertinent question from the audience as to if there has ever been any backlash to the depiction of such tragedies reaped a rather funny, rather thoughtful response from Kelts, who said that there have been none to his knowledge but that the popularity of mo might just be that ... another means of escape from economic or climate-based disasters or both.

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12-year-old Asuna is living alone with her workaholic mother following her father's untimely death, but despite a healthy school life she spends most of her time up on the nearby mountain, listening to whatever radio signals she can pick out on her crude ham radio. However, a dangerous run-in with a giant monster in the woods results in a friendship with a mysterious boy named Shun. Thus begins Asuna's adventure into the ruined underground world of Agartha.

You might already be sensing a bit of an influence here, and no, you're not mistaken. Makoto Shinkai has openly expressed his admiration for the works of Studio Ghilbi, particularly Laputa (Castle in the Sky), which made a big impression on him when he saw it as a boy. And while imitation is the sincerest form of flattery, Shinkai — almost certainly accidentally — leaves the realm of homage and heads straight into the no-man's land of full-on copying. Oh look, there's the Forest King from Princess Mononoke, the cave shelter from Grave of the Fireflies, the fox-squirrel from Nausicaa, the architectural style of Castle in the Sky!

Shinkai's touch is definitely there, and one need only pay attention to the director's masterful use of watercolor-esque lighting and color to understand that this is not straight-up imitation, but I still feel like there's a little bit too much Miyazaki and not enough Shinkai in the film. His trademark brooding, silent moments are still there, but they are interspersed with action scenes and fast-paced plot developments.

And boy oh boy, those action scenes! I was sure surprised to find that a director whose last outing was characterized by long stretches of waiting silently on a train can create such lightning-fast, exciting action sequences. The film's moments of gunfire and hand-to-hand combat have a sort of whipping speed and kineticism that I've seen only in some of the best action anime directors (and of course, Mr. Miyazaki). Shinkai claims his team studied both Ghilbi movies and the Rurouni Kenshin anime in order to figure out how to animate the scenes.

Children hits all the emotional points that you might expect from the director of Voices of a Distant Star, The Place Promised in Our Early Days, and 5 Centimeters Per Second, but one too many deus ex machinas and a few too many different set pieces bog down the pacing to what feels like a crawl. Shinkai has got to learn to edit if he's going to attempt another movie in this vein.

But let's make this clear: I would love for Shinkai to try another movie like this. It's a distinct break from his previous work, and while it's more of a so-so Ghilbi film than a great Shinkai film, it is enough of a proof of concept to hook me for the rest of his work. As long as he learns from his mistakes and doesn't get stuck in the rut of re-making this exact movie over and over, this director could really go places. He's got emotional expression down better than basically anybody else in the business, and now has proven his mettle in the realm of action scenes. A little bit more editorial oversight will probably do wonders for honing his style.

Is he still the Green Day of anime? Yeah, probably. Is he "the next Miyazaki?" That still remains to be seen, but Children is certainly a fine down payment towards the title.

[Recommended]

This review is based on the Otakon 2011 premiere screening. The reviewer was given a complimentary press pass for the convention.

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• 25th Anniversary
  – www.viz.com/25years
  – Promotions on iTunes end August 23, 2011
• October premiere of Naruto Shippuden – Bonds movie
• VIZ Manga app is now available for iPad™, iPhone™, iPod™ touch.
• www.vizmanga.com
  – “Now you can finally read your favorite manga on your computer...legally!”
  – Buy once and transport across platforms/devices
  – First chapter is always free
  – Simultaneous print and digital releases
• Future Releases (Manga)
  – Oishinbo
  – Naruto to see quicker release schedule (volumes 36-45)
  – Ai Ore (volume 2) – August 2011
  – The Story of Saiunkoku (volume 4) – August 2011
• New Fiction
  – ICO: Castle in the Mist (paperback), by Miyuki Miyabe – August 2011
  – Book of Heroes (new edition, paperback), by Miyuki Miyabe – August 2011
  – Ten Billion Days and One Hundred Billion Nights (hardcover), by Ryu Miysuse – November 15, 2011
• 2-in-1:
  – Tenjho Tenge “Full Contact” edition (18+) – Available now
• 3-in-1 Editions (Omnibus) – Kekkashi
  – Fullmetal Alchemist
  – Bleach
  – Naruto
• Art Books
  – The Art of Vampire Night – September 6, 2011
  – D. Grey Man – Features interview with creator
  – One Piece: Color Walk 2 – November 1, 2011
• VIZ Kids Box Sets
  – Pokemon Diamond and Pearl Adventure! (volumes 1-8), October 28, 2011 – Comes with poster
  – Legend of Zelda (volumes 1-10), October 25, 2011 – comes with poster
• VIZ Media Box Set
  – Fullmetal Alchemist (volumes 1-27) – November 1, 2011 – Comes with light novel and poster
• Specialty Books
  – Naruto: The Official Character Data Book – January 2012
  – Studio Ghibli’s Arriety – January 2012: The Art of Arriety, Arriety Film Comics (volumes 1-2), Arriety Picture Book
  – Bleach MASKED: Official Character Book 2 – March 2012
• New for Shojo Beat
  – A Devil and Her Love Song – February 2012
  – Dawn of the Arcana – December 2011
  – The Earl and the Fairy – March 2012
  – Hana Kimi (3-in-1), March 2012
  – Skip Beat
• Available Now
  – Meet Mameshiba!
  – Mameshiba On the Loose!
• Special Format
  – Mameshiba (Heart) Winter – November 2011
  – Pokemon Magnetic Playbook – November 2011
• Newest Pokemon Movie
  – Zoroark: Master of Illusions – Video and manga – DVD: September 20, 2011
• Coming Soon
  – Fluffy, Fluffy Cinnamonroll – January 2012
  – Voltron Force – Old crew trains new crew – Spring 2012
• New for VIZ Kids (April 2012)
  – Mr. Men Little Miss
  – Little Miss Sunshine: It’s Always Sunny in Dillydale
• Key Summer Releases (DVD)
  – Vampire Night Guilty (volume 3)
  – Kekkashi Set 2 – August 23, 2011
  – Hero 108
  – Professor Layton and the Eternal Diva (November 8, 2011)
• Continued Simulcasts
  – Tiger & Bunny
  – Blue Exorcist
  – Nura: Rise of the Yokai Clan
  – Blue Dragon (uncut), If numbers are good enough, this may see a physical release.

Click here for more of our Otakon 2011 coverage

At the very least, Ink, Elliot, and I will be playing Otaku Bingo amongst ourselves during the con (with a punishment for the loser to be determined by the other two players), but we'd love to get our readers, listeners, and fellow bloggers involved. So feel free to print out a card or find us during the con to get one from us. Of course, if you have ideas for more squares for us to use next time, definitely let us know. Have fun, and see you at Otakon!

• Bingo Card (PDF)
• Bingo Card (JPG)