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2005 anime

Karas
Karas box cover.jpg

Box cover art of Karas — The Complete Collection

鴉 －KARAS－
( Karasu )
Genre
  • Cyberpunk[one]
  • Night fantasy[ii]
  • Superhero[three]
Created by Tatsunoko Planning Office
Original video blitheness
Directed past Keiichi Sato
Produced past
  • Toshio Iizuka
  • Tsuyoshi Yoshida (#one–3)
  • Shigehiro Tanaka (#1–iii)
  • Yasuhiro Mikami (#4–6)
Written by Shin Yoshida
Music past Yoshihiro Ike
Studio Tatsunoko VCR
Licensed by

AUS

Madman Amusement

NA

Manga Amusement

UK

Manga Amusement
Released March 25, 2005 – August three, 2007
Runtime thirty minutes
Episodes 6

Karas (Japanese: 鴉－KARAS－, Hepburn: Karasu , lit. The Crow) is a Japanese six-part original video animation series. Tatsunoko Productions produced it to commemorate its 40th anniversary of anime production. Each Karas episode was kickoff televised in Nippon as a pay-per-view programme from March 25, 2005, to Baronial 3, 2007, before existence released onto DVDs. Manga Amusement compiled and released these episodes equally two feature length, direct-to-DVD films for the English market.

Karas tells the story of Yousuke Otoha, a former yakuza, living in a fictional version of Shinjuku, Tokyo populated by humans and yōkai (Japanese spirits). He is 1 of the titular karas, humans appointed as superpowered agents of the land. Able to transform into a car, an aircraft, and an armored crusader; the skilled swordsman is to cease his decadent predecessor, Eko, from taking over Tokyo. Supporting characters such as Eko'southward sometime henchman, Nue; the yōkai; and Homura, the karas of some other metropolis, help Otoha in his quest. A concurrent side story focuses on humans affected past Eko's scheme.

Karas won the All-time Original Video at the 2006 Tokyo Anime Award competition, and most reviewers were impressed with the images produced by fusing 2nd and 3D fine art techniques. The story presents themes on the conflicts between cultural traditions and mod society, and the relationship betwixt people. Reviewers, however, establish its presentation was too confusing to follow; several of them felt it worsened the show by detracting from the strength of its fine art.

Plot [edit]

Ibira initially pictured Karas as a horror story with a vengeance theme. It had a simple plot similar to the manga, Dororo. The protagonist karas is on a quest, slaughtering mikuras to recover the body parts of his murdered lover. Until he recovers all the parts, he assembles them into a katana to kill the mikuras.[four] The final version of Karas was more of a superhero activity story,[5] [6] and originally intended for three leading heroes in the same vein every bit the Japanese period drama, Sanbiki ga Kiru!. The characters Otoha, Nue, and the homo detective Kure were the leads but the final version primarily focused on Otoha.[7] The presentation of Karas differs in several ways from typical anime. The show maintains a serious tone and never indulges in slapstick, exaggerated facial expressions, or super deformed characters.[eight] It avoids heavy expositions. Dialogue tends to be short and viewers have to infer what is going on based on very petty presented information.[ix] The team had left out substantial amounts of information from the show, press them in a booklet of the final DVD package.[10]

Setting [edit]

Karas is set in a fictional version of Shinjuku, Tokyo.[xi] The prove initially showcased larger areas of Tokyo, but the production team felt other animations have featured these areas too many times.[four] Art designer Hajime Satō created a modern version of the ward infused with a mixture of East Asian cultures. Fictional lettering, resembling Chinese and Hangul characters, fill the billboards and signs. Western gargoyles and Singapore's Merlion statues decorate the streets, and the buildings are modeled on Shinjuku structures of 2003 while blending influences from the Shōwa period.[12] [13] This Shinjuku is populated by humans and Japanese folklore spirits, yōkai. The humans have go indifferent to the yōkai 's presence, and neglect to see them every bit they go nearly their lives.[14]

The product team envisioned Japanese cities as entities, who crave concrete agents to execute their will and regulate the activities within them. The concept backside the health of a city is based on traditional Chinese medicine in which the polish flow of a body's fluids nourishes its internal organs. The squad equates yōkai with qi, humans with water, and agents of the city (karas) with claret. They integrated Celtic mythology into their concept for farther symbolisms, treating the city as the male person (yang); and Yurine ( ゆりね ), the manifestation of its volition every bit female (yin). In contrast, their theory treats the humans and agents as the children of the urban center and its will, and classifies them every bit the reproduction system'south five major organs. Following the team'south vision, the mikuras (evil yōkai) correspond the five elements in this system. This idea forms the basis of the relationship betwixt cities and their inhabitants in the evidence.[10]

Story [edit]

The master plot centers around the confrontation betwixt Otoha and Eko. Afterwards a common cold open up that announces Eko's plan to remake Tokyo, the story moves ahead iii years. Nue arrives in Shinjuku to free his brother from Eko'southward hold, while Otoha is in a hospital from heavy injuries.[15] The early parts of the testify go on in a "mikura of the week" fashion equally Otoha (as a karas) and Nue separately fight confronting Eko's minions.[5] [6] When the mikuras attack hospitals beyond the ward to locate Otoha'southward body, Otoha and Nue work together but when they split up Otoha'south Yurine is abducted and he is deprived from the ability to plough into a karas. Nue then goes to Eko's base, where Eko kills Yurine and reveals capturing Nue completes the final part of his plan. Meanwhile, Otoha gets into a yakuza fight only to be rescued by Homura, another city's karas. When Eko launches the last phase of his programme and ravages Tokyo with metal tentacles, Otoha ends up among human refugees in a shelter the chief of police had commissioned.

A side story takes place within the main plot, focusing on the humans affected by the ongoing events. Sagisaka Minoru and Narumi Kure are detectives in Shinjuku's Intervention Department who investigate serial murders for supernatural evidence.[16] [17] Mikuras impale and suck the blood of these victims to furnish their strength,[17] simply no one except Sagisaka seriously believes in supernatural interest. Sagisaka is aptitude on vindicating his girl, Yoshiko who has been committed to a psychiatric hospital for claiming a mikura committed the mass murder she had survived.[14] Sagisaka's and Kure's investigation brings them to the survivor of another attack, Hinaru ( ヒナル ). Managing director Sato had created her to correspond the all-time qualities of rural migrants looking for ameliorate opportunities in the large cities.[18] When Eko starts the last function of his program; Kure, Hinaru, and the Sagisaka arrive in the shelter Otoha is in.

The main of police reveals himself as Ushi-oni and starts eating the humans trapped in the shelter. Sagisaka sacrifices himself to push his daughter away from Ushi-oni's attack. Otoha confronts and, in a climatic sequence, his confidence resurrects his Yurine,[xix] which restores Otoha equally a karas and he slays Ushi-oni. While karas from other cities observe the showdown between Otoha and Eko, Homura steps in to help Otoha. Otoha carries out Nue's asking to kill him and his blood brother, depriving Eko of his new power source and stopping his entire scheme.[twenty] Confronting the depowered Eko on equal terms, Otoha finally defeats him. Eko claims Otoha will sympathise his reasons after 400 years as a karas. Despite defending his human being body and Yurine from soldiers ordered by the Deputy Governor to shoot them, Otoha proclaims himself as Tokyo's appointed agent, who will protect all its inhabitants. While Hinaru stays behind in Shinjuku as it is being rebuilt, Kure and Yoshiko have had plenty and leave for the countryside.

In a post-credits scene, Eko'south boot is establish by an unknown character.

Characters [edit]

The production team intended Karas to be more than a mere henshin (transforming) hero. Unlike the vengeful protagonist in Mazinger Z, the hero of Karas embodies the spirit of the city, and acts for the city'southward interest instead of his own. Screenwriter Shin Yoshida sets up a dualism of this idea in the class of 2 Karas characters; one who believes events are leading to a revolution, and the other viewing them as simply the passing of an era.[21] Manga Entertainment likewise promoted the hero in Karas equally "a cross between a cyberpunk version of the Crow and Batman".[22]

Karas is the title for the city's appointed agents. Capable of transforming into automobiles and shipping,[14] they are suits of armor blithe by human souls infused into them through Yurine's chanting of a Shinto prayer.[10] Director Sato told his animators to enhance the Karas' dark nature by drawing their faces in shadows. Fight scenes involving Karas take place more often than not in dark settings shrouded with steam or lit with spotlights. Animators touched upward movie frames by hand, creating an effect dissimilar from cel-shaded animation.[23] To brand the Karas more than menacing, they highlighted the eyes every bit if calorie-free bulbs were shining through them, a technique inspired by the suitmation practice of using lite bulbs for the optics of costumes.[24] Producer Takaya Ibira explained the presence of ravens in Tokyo and the Tower of London, inspired him and Sato to model the agents of the urban center later on them. He stated ravens are believed to be omens of practiced and bad in superstitions, and they e'er seem to be watching over the cities. This resonated with his view of the raven in the story Noah'southward Ark, which cursed Noah as it scouted for land. The presence of ravens all over Tokyo led Ibira to notice the aforementioned of cats and conceive the Yurines as catgirls.[4]

Otoha Yosuke ( 乙羽 陽介 , Otoha Yosuke ) is the protagonist of Karas. Yoshida wrote out Otoha Yosuke as a character dark in history and actions, breaking the traditional mold of a Japanese hero. He based his idea on his observation of Shinjuku, questioning what sort of a hero a ward exuding an aura of terror and happiness would produce.[21] He portrayed Otoha equally the production of incest between his mother and his brother who is the local yakuza dominate. Otoha's back-story states him as suffering from congenital insensitivity to pain which lends the character a merciless reputation equally his brother's enforcer.[xv] The initial concept of Otoha was much darker, casting him every bit a serial killer who hunts down mikuras to retrieve his lover's body parts.[iv] [25] This was the first project that Sohkoh Wada ( 和田 聰宏 , Wada Sōkō ) worked on.[11]

The main antagonist to Otoha is Eko Hoshunin ( 鳳春院 廻向 , Hōshun'in Ekō ). His back-story states he was the Karas of Tokyo since the Edo period.[13] In events earlier the start of the testify, Eko turned his dorsum on his duties and started a program to revitalize the city and its yōkai. He attracted several yōkai to be his cybernetic followers and intended to subjugate the humans. An Oedipus circuitous forms the basis for his motive. He views Tokyo as a father effigy, and his Yurine as a mother figure; and aims to supplant the metropolis's role in this relationship.[10] Eko was a nameless character in the initial draft and known as "Some other Karas" with a different advent, although his prosthetic left leg is retained for the final version.[25]

Mikura ( 御座 ) are yōkai who became Eko's minions and replaced their bodies with machinery. Ibira and Sato chose them to be villains, linking the act of the Karas as agents of the metropolis killing these sociology creatures to traditional Japanese exorcism.[iv] The chimera-like Nue, even so, is a tragic anti-hero who learned of Eko's plans and turned against him.[18] Sato thought upwards the cybernetic angle to surprise the Japanese who perceive immaterial yōkai to lack concrete threat.[4] Creature designer Kenji Andō adapted the yōkai designs from artist Toriyama Sekien's illustrated folklore books, Gazu Hyakki Yakō. The few yōkai with prominent roles in the prove underwent greater changes. Andō pictured mikuras as direct cybernetic versions of Toriyama's portrayals, and made Suiko the Kappa and Nue expect like robotic versions of their illustrated forms. Sato, all the same, was dissatisfied with two of Andō'southward designs, and redesigned them based on the concept behind the yōkai instead of on their advent. The ghostly head in a flaming cycle, Wanyūdō became a heavily armed skull-on-wheels; and the bull-headed spider, Ushi-oni became a big-oral cavity, issues-eye, hungry-for-humans predator.[26]

Themes [edit]

The evidence explores the relationship between technology and cultural traditions by personifying traditions as yōkai and mikuras.[10] Ibira idea this upwardly from observing a dramatic drop in the number of yōkai folk tales equally Nippon undergoes modernization. Electrical and gas lighting fabricated light of these tales born from fear of darkness. The product team explained yōkai represent the city's civilisation and functions, and their strengths are inversely proportional to the level of technology of society. As gild grows more avant-garde, the yōkai and the functions of the city they represent weaken. The mikuras symbolize the five elements of Taoism. They turned to technology and became cyborgs to regain the forcefulness to support the city. When a mikura dies, the city suffers a heavy loss of function associated with the element it represents; the h2o level of Tokyo fell later on the death of Suiko the kappa (water-based mikura). This theme implies a vibrant city requires a good for you mix of technology and culture.[ten]

Humans do not see yōkai just because they believe in them. Rather information technology is when yōkai trust humans and evidence themselves that their being is believed in. This relationship is not just between humans and yōkai, just should be between humans also.[27] [28]

Karas committee, Tatsunoko Production

Another main theme is regarding the "yōkai 'due south option".[12] Every bit agents of the city, the two karas represent different paths for the good of the city. The yōkai accept to make a choice to support 1 of them. By following Eko, the humans are enslaved, and the presence of the yōkai will be imposed on them. Past standing behind Otoha, the yōkai accept their lot and continue trying to live with the humans. Using the yōkai-human relationship as an analogy for homo-man interaction, the squad suggested people should be open up and make the move, instead of passively staying in the groundwork hoping for results.[27] Ibira practical this to decision making, saying when faced with difficult choices, one should brand a decision instead of hoping for others to arrive for them.[eighteen]

Product [edit]

Director Sato envisioned a nighttime hero when he presented these concept fine art to Tatsunoko Production.

Founded in 1962, Tatsunoko Production celebrated their 40th twelvemonth of animated motion picture product by releasing Karas in 2005, their first production being Space Ace in 1965.[29] Keiichi Sato joined the company as the projection manager after he pitched its concept of a life-sized dark hero to the management.[30] He researched production and management techniques from kabuki, a form of traditional Japanese theater; and Japanese staged sword fights as materials for the project. Choreographed sword fights rendered with 3D animation were rare at that fourth dimension, and Sato felt this would help distinguish the evidence.[12] The use of theatrical elements and movie shooting techniques in its presentation sets Karas autonomously from its contemporaries. Producer Kenji Nakamura felt the team's lack of experience in this area pushed them to ignore their previous animation work experience and interruption free of restrictions influenced past traditional animation production.[31]

The Japanese blitheness industry traditionally drew every movie cel by manus.[thirty] This is labor-intensive and inefficient; the cels are generally not-reusable, and errors are difficult to correct. This method is called the 2D approach due to the conception of the source images in but 2 dimensions. The use of computers and graphics software introduced calculator graphics (CG) into the industry. This reduced waste; animators tin reuse digital cels to correct errors and brand changes. Increasing computer power spread the use of three-dimensional graphics software to create 3D models and environments, and render them as second images. This 3D approach requires more resources to create the 3D models, merely product teams tin right errors or remake film sequences much faster than the traditional 2d approach. The 2D-3D hybrid approach in Karas was due to budget and aesthetic concerns. The 2d approach allowed greater artistic details and inventiveness, and the 3D approach could save resource.[xxx] Sato, nevertheless, disapproved the mutual notion of using the 3D approach for economic business concern. He pushed the team to enhance epitome quality with detailed CG. He was besides dissatisfied with reckoner lighting furnishings, and ordered the animators to depict them past paw.[32] Due to the bright colors of the original cels, they darkened the images and concentrated on areas where shadows should exist, leaving untouched the areas where light falls on.[33]

In the typical CG arroyo, the duties of 2D and 3D artists are distinct. The 2nd artists think up and sketch out the characters' appearances; the 3D artists create the models based on these concept sketches. For Karas, these artists worked together in these areas to create the imagery seen in the evidence.[34] To encourage this and institute consistency between images based on 2nd and 3D processes, the 2nd drawings comprise styles typically found in 3D models. Animators too touched up or enhanced past hand, sequences involving the models. Eko's karas form was mainly a 3D model but his skirt was mitt drawn.[35] During subsequently stages of editing, the squad spaced mitt fatigued frames amidst 3D-rendered frames to enhance the fusion of styles.[36] The production did not use motion capture techniques.[13] Animators drew out action scenes based on their feelings, inspirations, and observations.[36] 3D and second animation and special effects director, Takashi Hashimoto explained companies typically reduce their animators' workload by using CG for long shots and drawing but close-ups by hand. The team working on Karas, however, drew silhouettes for long shots and created complicated CG for shut-ups.[36] The 3D animators used 3D texture software, BodyPaint 3D, to refine textures for the mikura and karas models, creating seamless details on them.[37]

CG manager, Takayuki Chiba studied keren, a kabuki stagecraft technique using various props to surprise audiences and immerse them in the testify. Chiba attempted to use this technique with CG to reproduce a vividness associated with live histrion productions. He aimed to produce a shine 2d-3D product total of Japanese season, rather than something like a "Disney production".[38] The squad scanned existent objects and used them in the show. Rice seasoning powder and bird feed became the dust and rubble in scenes of collapsing structures. They as well scanned Korean dried seaweed, gim for other scenes.[24] The animation team drew frames interpolating the motion between primal frames by mitt, and digitally interpolated those frames to create wearisome motion sequences. Editing teams in the manufacture unremarkably time stretch the sequence with repeated nonetheless frames to produce these shots.[30] Ibira reflected that typical thirty-minute anime episodes consist of approximately 300 central frames. The first episode of Karas, yet, consisted of approximately 700 cardinal frames.[39]

Composer Yoshihiro Ike was influenced by the atmosphere of Prague in choosing its symphony orchestra.

Composer Yoshihiro Ike infused the music with the sorrow borne by the karas, and the atmosphere conveyed by the groundwork. Ike obliged the team's request for Japanese flavored music, and studied kabuki tunes accompanying actors as they strike their mie ( 見得 ), a picturesque pose to establish their character.[40] He planned to use taikos (Japanese drums) to further raise the music, just felt the show had taken on an international outlook and discarded the notion.[41] He wanted his music to match the quality of the show, and refrained from composing them until he had watched the pre-dubbed version of the first episode.[40] He composed most of his music equally he watched the pre-dubbed episodes to synchronize their tempo and dynamics with the action in the testify.[41] He chose Prague Symphony Orchestra to perform the primary theme considering he felt the background of their metropolis and its people suited the graphic symbol of Karas.[42] [43] Other departments too took extraordinary measures in producing the testify. The audio coiffure procured a Nissan Skyline GT-R and recorded its engine noise for several runs. These were used for the tunnel chase scenes which involved a hand-drawn 1972–77 Skyline.[44] The editing team took the additional pace of editing cels post-vocalisation recording to ensure lip movements were in synch with the voices.[31] These actress piece of work and the hybrid 2D-3D approach inflated the budget of the production to iii times the usual amount spent on an original video animation.[45]

Media information [edit]

No. Episode championship First ambulation
English Japanese
one Overture The Karas Awakens ( 鴉開眼 , Karasu Kaigan ) 2005-03-25
2 Inferno The Flaming Wheels ( 火炎輪 , Kaenwa ) 2005-08-12
3 Revive The Devastation Awakes ( 滅 覚醒 , Metsu Kakusei ) 2005-10-21
4 Sacrifice The Human Otoha ( 人 乙羽 , Hito Otoha ) 2007-06-22
5 Appoint The Illusion of a District ( 幻想区 , Gensōku ) 2007-08-03
vi Being The True Legend ( 真 伝説 , Shin Densetsu ) 2007-08-03

The Japanese episodes initially circulate one after the other over the dedicated anime pay-per-view channel, Perfect Choice 160, from March 25, 2005, to August 3, 2007.[46] Tatsunoko and the E Asian licensors (providing Chinese subtitles) released Karas equally vi single-DVD packages in their regions. The collectors' editions feature a hardcover book showing the storyboard for the episode.

Manga Entertainment released the English DVD edition of Karas as two eighty-5-minute feature length films, The Prophecy and The Revelation, on April 24, 2006, and October 22, 2007, respectively. Each characteristic consists of three original episodes joined together, and has an additional English voice rail.[47] They have likewise released Karas: The Prophecy on UMD.[48] Columbia Music Amusement published Ike's music for the show on October 24, 2007, every bit a 24-track audio CD. Nighttime Horse Comics produced a one-shot comic which went on sale, and is given free with collectors' editions and The Prophecy. The story written by Phil Amara, writer of the comic Heaven Ape, is an accommodation of the story in episode 1.[six] [8]

Reception [edit]

Many reviewers praised the presentation of the fights in Karas.

Karas impressed its reviewers with its animated imagery. Mania Entertainment affirmed its lush imagery was enough to hook viewers, and certain 2nd-3D scenes matched photorealistic standards. They felt Karas could rival or beat alive-action films in the visual department.[5] [14] [49] DVD Talk commented they saw evidence a lot of effort went into merging the 2D and 3D animations. They, nonetheless, felt setting the scenes in darkness and obscuring points of involvement with smoke or other effects marred the high quality imagery.[l] Anime News Network stated the richly detailed images; fast moving activeness scenes; and visual effects of collapsing buildings, explosions, and claret made Karas one of the all-time action animation.[47] Reviewers praised the fight scenes between the CG generated karas and mikuras, declaring them realistic, tasteful and stunning.[viii] [17] [51] DVD Talk, however, complained the camera jerked and moved all over the place never showing fights cleanly.[50] Mania stated the fights in the after half failed to friction match those in the outset half in terms of beauty, intensity, and diverseness; the overlaying of characters' confront onto their armored forms in the finale detracted from their viewing experience.[15]

Ike's music for Karas impressed reviewers. Anime News Network stated his long scores set the mood in the scenes with their tone, enhancing the reviewers' watching experience.[47] Prague Symphony Orchestra's operation of the principal theme impressed more reviewers who claimed information technology brought out the heroic essence of Karas with a sense of power and drama, and enhanced the impact of the quick and intense battles.[xiv] [17]

Karas, however, suffered the worst criticisms for its story. Many reviewers and even the voice actors could not follow its dialogue and presentation.[51] [52] [53] Other reviewers felt the abstract presentation forced viewers who wanted to understand the story, to pay extreme attention to the scant details presented in the evidence.[v] [9] [l] Reelfilm and DVD Verdict were more than critical, stating the viewer should not take to resort to reading summaries on the packaging to make sense of a story populated with incoherent battles and characters difficult to tell apart from.[eight] [54] [55]

The viewers' confused reaction to their story based on the first one-half, disappointed and frustrated Sato and Ibira. Sato explained the first two episodes were to capture the viewers' attention, and remaining episodes would reveal greater details of the story.[39] Mania complained this franchising tactic is a poor excuse for initial episodes lacking substance.[14] They said although the later half answered much of the questions raised in the outset, it created unanswered questions of its own.[14] IGN and DVD Talk felt the story was darker and flowed improve in the later one-half than the start,[56] but IGN felt the revelation of details came as well late in the show.[51] DVD Verdict felt the story was pointless. Despite the protagonist reaffirming himself as a protector of the city, his showdown with the adversary reduced most of Shinjuku to ruins.[55] Reviewers found if they stripped the plot to its basics, it is a shallow proficient-versus-evil story fabricated complex by its presentation in the first half.[49] [fifty] They, however, appreciated the surprising deaths of certain characters whose sacrifice in vain rendered a poignant emotion at that bespeak of story.[xv] [56]

Reviewers felt part of the failings laid with the underdeveloped characters despite them being slightly unlike from usual anime stock characters.[9] [xiv] [fifty] The story neither properly introduces them nor explains their backgrounds and motivations, making them hard to place with.[55] Eko's menace only came by force and not by his personality or schemes, making him a weak villain.[55] DVD Talk constitute information technology hard to piece together the relationship between the main characters,[50] but acknowledged the later half addressed some of these issues past revealing the background of some characters. They felt the revelations fleshed out Otoha's personality and motivation, helping viewers to sympathize and identify with the protagonist.[55] [56]

Overall, reviewers are mixed in their final assessment of Karas. Their common reaction is of a visually stunning show with a disruptive story. DVD Talk commented the blending of traditional 2D drawings and 3D CG was interesting; only with a defective story, the product is a "triumph of way over substance".[nine] In spite of the criticisms, Karas won All-time Original Video at the 2006 Tokyo Anime Award competition,[57] and was ane of Us' top 10 best selling anime titles in 2006.[58]

Notes [edit]

  1. ^ Original text: 志田伸：「紐約有蜘蛛人，高登市則有蝙蝠俠，像這樣在美國的特定市中都有本土的英雄存在，但是日本卻幾乎沒有，於是監督說：「既然這樣，差不多也該在日本出現一個本土英雄吧。」」

References [edit]

  • Tatsunoko Production (2005-10-21). Karas Vol. one (DVD, 説一) in (in Chinese). Taiwan: Proware Multimedia International.
  • Tatsunoko Production (2006-01-09). Karas Vol. 2 (DVD, 説二) in (in Chinese). Taiwan: Proware Multimedia International.
  • Tatsunoko Production (2006-03-01). Karas Vol. 3 (DVD, 説三) in (in Chinese). Taiwan: Proware Multimedia International.
  • Tatsunoko Production (2007-12-11). Karas Vol. 4 (DVD, 説四) in (in Chinese). Taiwan: Proware Multimedia International.
  • Tatsunoko Production (2007-12-11). Karas Vol. 5 (DVD, 説五) in (in Chinese). Taiwan: Proware Multimedia International.
  • Tatsunoko Production (2007-12-11). Karas Vol. vi (DVD, 説六) in (in Chinese). Taiwan: Proware Multimedia International.
  • Tatsunoko Production (2007-x-22). Karas: The Revelation (DVD). United States: Manga Entertainment. UPC 013138203991.
  1. ^ Luther, Katherine (April 4, 2006). "Manga Entertainment Announces Karas Cast". Almost.com. Archived from the original on November 11, 2007. Retrieved June 26, 2020. Manga Entertainment announced the vocalism actors for Karas, the newest cyber-punk thriller to come up to DVD.
  2. ^ Ellingwood, Holly (October 19, 2007). "Karas Vol. 2 The Revelation (Advance Review)". activeAnime. Archived from the original on December nineteen, 2016. Retrieved June 26, 2020. The fight of humanity for survival, the depths of its abuse, and the hope for its salvation lie inside this dark anime fantasy.
  3. ^ Ross, Carlos. "Karas". T.H.Due east.Grand. Anime Reviews . Retrieved June 26, 2020.
  4. ^ a b c d e f Karas Vol. 3 (DVD), Project K.
  5. ^ a b c d Bryan Morton (2008-02-11). "Karas Vol. #1". AnimeOnDVD.com. Archived from the original on 2012-05-27. Retrieved 2008-02-13 .
  6. ^ a b c R. Fifty. Shaffer (n.d.). "Karas: The Prophecy (2005)". DVDFuture.com. Archived from the original on 2007-10-xiii. Retrieved 2008-02-xiii .
  7. ^ Karas Vol. 2 (DVD), Projection Thousand.
  8. ^ a b c d Dan Mancini (2006-04-25). "Instance Number 09128 — Karas: The Prophecy". DVD Verdict. Retrieved 2008-02-13 .
  9. ^ a b c d Don Houston (2006-04-13). "Karas: The Prophecy". DVD Talk. Retrieved 2008-02-13 .
  10. ^ a b c d e f Karas Vol. 6 (説六), 鴉辭典, pp. 9–10.
  11. ^ a b AV Sentinel editorial staff (2005-02-08). "タツノコプロ、40周年記念OVA「鴉 -KARAS-」を発表－国民的美少女や和田聡宏、鈴木かすみが声優に初挑戦" (in Japanese). AV Picket. Archived from the original on 2008-02-22. Retrieved 2008-02-13 .
  12. ^ a b c Karas Vol. 2 (説二), Staff Interview — 01 Keiichi Sato, p. 6
  13. ^ a b c Newtype United states of america staff (August 2004). "Karas Seen". Newtype Us. Vol. iii, no. eight. Texas, United states: A.D. Vision. p. 20. ISSN 1541-4817.
  14. ^ a b c d e f g h Brett Barkley (2006-04-26). "Karas Vol. #one". AnimeOnDVD.com. Archived from the original on 2012-05-27. Retrieved 2008-02-xiii .
  15. ^ a b c d Brett Barkley (2007-eleven-09). "Karas Vol. #two". Mania.com. Archived from the original on 2009-02-14. Retrieved 2008-02-xiii .
  16. ^ Jeremy Mullin (2006-04-14). "Karas: The Prophecy". IGN. Retrieved 2008-02-thirteen .
  17. ^ a b c d Stephen Cowgill (2006-04-21). "Karas: Part 1 — The Prophecy". DVDActive. Retrieved 2008-02-thirteen .
  18. ^ a b c Karas Vol. 6 (DVD), Project K.
  19. ^ Karas: The Revelation. Event occurs at 0:52.50. "Homura'due south Yurine: A Yurine is about to exist born. [...] It is happening. Picket closely. The volition of the city is born through a human soul, one that is right for that city"
  20. ^ Karas: The Revelation. Event occurs at 1:10.thirty. "Nue: I need you to practice me a favor. Yous're gonna take to impale me with that sword of yours. [...] This is the only way we tin can terminate my younger brother. Delight you've got to do information technology now, or Eko volition get even more powerful."
  21. ^ a b c Karas Vol. 2 (説二), Staff Interview — 05 Shin Yoshida, p. 8.
  22. ^ "Karas: The Revelation". Mania.com. 2007-10-04. Archived from the original on 2009-02-fourteen. Retrieved 2013-11-14 .
  23. ^ Tatsunoko Production staff (2007-12-11). "Visual". 説四. Karas (in Chinese (Taiwan)). Taiwan: Proware Multimedia International. p. xiv.
  24. ^ a b Karas Vol. 6 (説六), Interview — Keiichi Sato, p. xiv.
  25. ^ a b Karas Vol. vi (説六), 祕初期企畫書, pp. 11–12.
  26. ^ Karas Vol. 5 (DVD), 美術設定資料Gallery.
  27. ^ a b Karas Vol. 6 (説六), Playback, pp. 3–6.
  28. ^ Original text (in Chinese): 並非是只有相信妖怪的人才能看到，而是因為妖怪相信人們以才現身=存在的確認。不只是妖怪和人們的關係是這樣，人與人的關係應該也是如此。
  29. ^ Karas Vol. 1 (説一), 主要的龍之子・變身英雄列傳, p. 6.
  30. ^ a b c d Karas Vol. 5 (説五), Interview — Keiichi Sato, pp. 13–14.
  31. ^ a b Karas Vol. ii (説二), Staff Interview — 02 Kenji Nakamura, p. seven
  32. ^ Karas Vol. ii (DVD), Making of Karas.
  33. ^ Karas Vol. vi (DVD), Making of Karas.
  34. ^ Tatsunoko Production staff (2005). "＃i CGチーフアニメーター／しらいしわたる" (in Japanese). Tatsunoko Product. Retrieved 2008-02-13 .
  35. ^ Karas Vol. four (DVD), Making of Karas.
  36. ^ a b c Karas Vol. 2 (説二), Staff Interview — 08 Takashi Hashimoto, p. 10
  37. ^ Maxon staff (2007). "second/3Dハイブリッドアニメーション「鴉 −KARAS-」のテクスチャ作成で、BodyPaint 3Dが使用される。" (in Japanese). Maxon. Archived from the original on 2007-x-xviii. Retrieved 2008-02-thirteen .
  38. ^ Karas Vol. 2 (説二), Staff Interview — 04 Takayuki Chiba, p. 8.
  39. ^ a b Karas Vol. iv (DVD), Project 1000.
  40. ^ a b Karas Vol. 2 (説二), Staff Interview — 12 Yoshihiro Ike, p. xi
  41. ^ a b Karas Vol. five (DVD), Project Yard.
  42. ^ Karas Vol. 1 (DVD), Karas in Prague.
  43. ^ Tatsunoko Production staff (2007-10-24). Karas Original Soundtrack. Karas (in Japanese). Japan: Columbia Music Entertainment. January 4988001923992.
  44. ^ Karas Vol. 3 (DVD), Making of Karas.
  45. ^ Cinema Topics Online staff (2006-06-02). "HMV タツノコプロ40周年記念フェアFEATURING 「KARAS」トークイベントを開催!" (in Japanese). Cinema Topics Online. Retrieved 2008-02-thirteen .
  46. ^ Pay Per View Nihon staff (2005-02-08). "Perfect Choice 【 アニメ | タツノコプロ４０周年記念作品 鴉－KARAS－ 】" (in Japanese). Pay Per View Nippon. Archived from the original on 2007-08-20. Retrieved 2008-04-02 .
  47. ^ a b c Theron Martin (2007-10-31). "Karas: The Revelation". Anime News Network. Retrieved 2008-02-thirteen .
  48. ^ Niko Silvester (2005). "Anime on UMD". About.com. Retrieved 2008-03-05 .
  49. ^ a b Bryan Morton (2008-02-12). "Karas Vol. #ii". AnimeOnDVD.com. Archived from the original on 2012-05-27. Retrieved 2008-02-13 .
  50. ^ a b c d e f John Sinnott (2006-04-12). "Karas: The Prophecy". DVD Talk. Retrieved 2008-02-13 .
  51. ^ a b c Jeffrey Harris (2007-11-xix). "Karas: The Revelation DVD Review". IGN. Retrieved 2008-02-13 .
  52. ^ Karas Vol. two (DVD), Cast Interview — Takahiro Sakurai.
  53. ^ Karas Vol. three (DVD), Bandage Interview — Keiji Fujiwara.
  54. ^ David Nusair (2006-04-29). "Karas: The Prophecy". Reel Motion-picture show Reviews. Retrieved 2008-02-xiii .
  55. ^ a b c d e Joel Pearce (2008-01-xi). "Case Number 12733 — Karas: The Revelation". DVD Verdict. Archived from the original on 2008-01-17. Retrieved 2008-02-thirteen .
  56. ^ a b c John Sinnott (2007-11-xi). "Karas — The Revelation". DVD Talk. Retrieved 2008-02-thirteen .
  57. ^ "Tokyo Anime Fair: Award Winners". Anime News Network. 2006-03-27. Retrieved 2015-eleven-05 .
  58. ^ Anime News Network staff (2006-06-xiv). "Superlative Selling Anime Releases of 2006". Anime News Network. Retrieved 2008-02-xiii .

External links [edit]

  • Official Japanese site
  • Tatsunoko page on Karas
  • Dark Equus caballus comics page
  • Karas (anime) at Anime News Network's encyclopedia
  • Yoshihiro Ike official site

arcandshouthat1978.blogspot.com

Source: https://en.wikipedia.org/wiki/Karas_(anime)

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