Cowboy Bebop is a Japanese animated science-fiction television series animated by Sunrise featuring a production team led by director Shinichirō Watanabe, screenwriter Keiko Nobumoto, character designer Toshihiro Kawamoto, mechanical designer Kimitoshi Yamane, composer Yoko Kanno. The twenty-six episodes of the series are set in the year 2071, follow the lives of a bounty hunter crew traveling in their spaceship called the Bebop. Although it covers a wide range of genres throughout its run, Cowboy Bebop draws most from science fiction and noir films, its most recurring thematic focal points include adult existential ennui and the difficulties of trying to escape one's past; the series premiered in Japan on TV Tokyo from April 3 until June 26, 1998, broadcasting only twelve episodes and a special due to its controversial adult-themed content. The entire twenty-six episodes of the series were broadcast on WOWOW from October 24 until April 24, 1999; the anime was adapted into two manga series which were serialized in Kadokawa Shoten's Asuka Fantasy DX.
A film was released to theaters worldwide. The anime series was dubbed in the English language by Animaze and ZRO Limit Productions, was licensed by Bandai Entertainment in North America and is now licensed by Funimation. In Britain, it was licensed by Beez Entertainment and is licensed by Anime Limited. Madman Entertainment has licensed it for releases in New Zealand. In 2001, Cowboy Bebop became the first anime title to be broadcast on Adult Swim in the United States. Cowboy Bebop became a critical and commercial success both in Japanese and international markets, garnered several major anime and science fiction awards upon its release, received wide acclaim for its style, story, voice acting and soundtrack. In the years since its release, critics have hailed Cowboy Bebop as a masterpiece and cite it as one of the greatest anime titles of all time. Credited with helping to introduce anime to a new wave of Western viewers in the early 2000s, Cowboy Bebop has been labelled a gateway series for the medium as a whole.
In 2071 fifty years after an accident with a hyperspace gateway made the Earth uninhabitable, humanity has colonized most of the rocky planets and moons of the Solar System. Amid a rising crime rate, the Inter Solar System Police set up a legalized contract system, in which registered bounty hunters chase criminals and bring them in alive in return for a reward; the series' protagonists are bounty hunters working from the spaceship Bebop. The original crew are Spike Spiegel, an exiled former hitman of the criminal Red Dragon Syndicate, his partner Jet Black, a former ISSP officer, they are joined by Faye Valentine, an amnesiac con artist. Over the course of the series, the team get involved in disastrous mishaps leaving them without money, while confronting faces and events from their past: these include Jet's reasons for leaving the ISSP, Faye's past as a young woman from Earth injured in an accident and cryogenically frozen to save her life; the main story arc focuses on Spike and his deadly rivalry with Vicious, an ambitious criminal affiliated with the Red Dragon Syndicate.
Spike and Vicious were once partners and friends, but when Spike began an affair with Vicious's girlfriend Julia and resolved to leave the Syndicate with her, Vicious sought to eliminate Spike by blackmailing Julia into killing him. Julia goes into hiding to protect herself and Spike fakes his death to escape the Syndicate. In the present, Julia comes out of hiding and reunites with Spike. Vicious, having staged a coup taken over the Syndicate, sends hitmen after the pair. Julia is killed, his heartbreak feeds his desire to kill Vicious once and for all. Spike leaves the Bebop after saying a final goodbye to Jet. Upon infiltrating the syndicate, he finds Vicious on the top floor of the building and confronts him after dispatching the remaining Red Dragon members; the final battle ends with Spike killing Vicious, only to be mortally wounded himself in the ensuing confrontation. The series concludes, he falls to the ground. Watanabe created a special tagline for the series to promote it during its original presentation, calling it "a new genre unto itself".
The line was inserted after commercial breaks during its Japanese and US broadcasts. Watanabe called the phrase an "exaggeration"; the show is a hybrid including the Western and pulp fiction. One reviewer described it as "space opera meets noir, meets comedy, meets cyberpunk", it has been called a "genre-bursting space western."The musical style was emphasized in many of the episode titles. Multiple philosophical themes are explored using the characters, including existentialism, existential ennui and the effect of the past on the protagonists; the series makes specific references to or pastiches multiple films, including the works of John Woo and Bruce Lee, Midnight Run, 2001: A Space Odyssey, Alien. The series includes extensive references and elements from science fiction, bearing strong similarities to the cyberpunk fiction of William Gibson. Several planets and space stations in the series are made in Earth's image; the streets of celestial objects such as Ganymede resemble a modern port city, while Mars features shopping malls, theme parks and cities.
Robot Carnival is a Japanese anthology original video animation released in 1987 by A. P. P. P.. In North America, it was released in theaters by Streamline Pictures with the order of the segments rearranged; this OVA has gained a small cult following. It consists of nine shorts by different well-known directors, many of whom started out as animators with little to no directing experience; each has a distinctive animation story ranging from comedic to dramatic storylines. The music was composed by Joe Hisaishi and Isaku Fujita and arranged by Joe Hisaishi, Isaku Fujita and Masahisa Takeichi; the "Opening" takes place in a desert. A boy finds a small "coming soon" poster advertising the Robot Carnival, becomes frightened and agitated, he warns the people in his village, most to escape, when a huge machine with many robots performing in niches on its exterior grinds its way right over the village. Once a magnificent traveling showcase, it is now a decayed, malfunctioning, engine of destruction. In the "Ending" segment, the Robot Carnival is stopped by a dune in the desert.
Unable to climb the sandy obstruction, the Carnival stalls at its base. As the sun sets over the traveling relic, flashback stills recall the grandeur of the Carnival at the peak of its existence—an unparalleled engine of mirth that brought timeless joy to the various cities it visited. At sunrise, we see the platform chug forward with a sudden burst of power and crest over the dune in its way; the final push proves to be too much for the aged contraption, it goes to pieces in the desert. The bulk of the OVA's credits are shown concluding with an epilogue. In the epilogue at the end of the credits, set years a man discovers an orb among the remains and brings it back to his family, it is a music box featuring a miniature robot ballerina. As it dances, the children applaud; the ballerina finishes its dance with a leap into the air and explodes, blowing up the shack where the family lived, leaving "END" in enormous letters lying in its place as the only survivor, the family's pet llama, struggles to regain his footing.
Staff Director / Scenario / Storyboards: Katsuhiro Otomo Character Designer / Key Animation: Atsuko Fukushima Backgrounds: Nizō Yamamoto Sound Effects: Kazutoshi Satō "Franken's Gears" was directed by Kōji Morimoto. A mad scientist tries to give life to his robot with lightning, just like Frankenstein; when it comes to life, the robot copies everything the scientist does. Overjoyed, the scientist dances with glee and falls. Seeing this, the robot dances and falls on the scientist, killing him. Staff Director / Scenario / Character Designer: Koji Morimoto. Backgrounds: Yūji Ikehata Sound Effects: Kazutoshi Satō In "Deprive", an alien invasion of robot foot soldiers attacks a city and kidnaps people, including a young girl, her companion, an android, retains her locket. A human with superhuman abilities is seen who goes through waves of robots before being stopped by two powerful robots. Captured by the alien leader he is tortured, but it is revealed to be the Android from earlier, now upgraded into a combat Android with a human disguise.
Defeating the two powerful robots and the alien leader, he rescues the girl. Running through the wasteland carrying her, the girl wakes up and recognizes his new form because of the locket he still has. Staff Director / Scenario / Character Designer: Hidetoshi Ōmori Backgrounds: Kenji Matsumoto Sound Effects: Jun'ichi Sasaki "Presence", one of only two segments featuring intelligible dialogue, tells the story of a man who has an obsession with a Gynoid he has been secretly constructing in an attempt to compensate for the lack of any close relationship with his wife and family; the setting seems to be British and of the early twentieth century, but suggests another planet or a future which has attempted to re-establish a former social structure. When the Gynoid takes on a personality of her own, far beyond what the man had programmed, he smashes her in a fit of panic, leaves his secret laboratory for what he believes is the last time. Twenty years the man has a vision of his Gynoid appearing before him, but blowing up before he can take her hand.
He returns to his shed to find the Gynoid still sitting smashed in a corner, just as she had been left years earlier. Another twenty years elapse, the Gynoid appears again before the man; this time, he takes her hand and walks into the distance with her, before vanishing in front of his shocked wife. Little of the dialogue is spoken on-screen - all but a few lines are given in voice-over, or with the speaker's mouth obscured. Staff Director / Scenario / Character Designer: Yasuomi Umetsu Animation Production Assistance: Shinsuke Terasawa, Hideki Nimura Backgrounds: Hikaru Yamakawa Sound Effects: Kenji MoriMain cast Protagonist: Kohji Moritsugu Girl: Junko Terada Granny: Keiko Hanagata Daughter / Small Mecha: Kumiko Takizawa "Star Light Angel" is a bishōjo story featuring two friends—teenage girls—at a robot-themed amusement park. One of the girls finds. Running away in tears, she finds her way to a virtual reality ride. Though pleasant at first, her memory causes the ride to summon a giant laser-breathing mecha.
One of the park's robots finds himself in the role of knight in shining armor, allowing her to let go of her darker emotions, to move forward in her life. The visual style of this segment was influenced by the music video for A-ha's "Take on Me." Staff Director / Scenario / Character Designer: Hiroyuki Kitazume Backgrounds: Yui Shimazaki Sound Effec
Juno Reactor is a musical and performing group known for their cinematic fusion of electronic, global influences, orchestral symphonic approach, collaborating with composer Don Davis and composing for the musical score of The Matrix. Central to the project is Ben Watkins and his collaborations with a changing ensemble of musicians from across the world; this ensemble has included Mabi Thobejane, Steve Stevens, Eduardo Niebla, Greg Ellis, Taz Alexander, Sugizo and Hamsika Iyer and Maggie Hikri. Juno Reactor was formed as an art project in 1990. Ben Watkins wanted to collaborate with other artists, producing exciting projects that were not commercially driven, he wanted to create experimental music and non-musical soundtracks that would work with installations, art pieces, film projects. Juno Reactor released their first single, "Laughing Gas", in 1993 on the NovaMute label; this was soon followed by Transmissions. This release was the first artist album in the genre; the band released Luciana on Alex Paterson's Inter-Modo label.
Juno Reactor left NovaMute and Inter-Modo in 1995 and signed with the UK label Blue Room Released to release the single "Guardian Angel". Their album Beyond the Infinite was released in 1995; the 1997 Blue Room Released Bible of Dreams was Juno Reactor's fourth album. It had a much different sound than the previous albums, moved away from the traditional dance beats by implementing tribal influences. Watkins collaborated with Amampondo, a traditional South African percussion act, on the single "Conga Fury". Watkins and Amampondo went on a five-week tour of the US. In 1998, Juno Reactor played a live set with Amampondo at Glastonbury Festival; the group collaborated with The Creatures on the track "I'm here... Another Planet" for the Lost in Space soundtrack, they teamed up with The Creatures again in 1999 on the track "Exterminating Angel", featured on that group's album Anima Animus. Watkins released the fifth Juno Reactor album, Shango, in 2000, it was the first of his albums on Metropolis Records.
The first track from the album, "Pistolero", was a collaboration with Billy Idol's guitarist, Steve Stevens. The track was featured during the trailer for the movie Once Upon a Time in Mexico, as well as in the film itself. In the fall of 2002, Juno Reactor released a new single titled "Hotaka", it was recorded in a Japanese studio overlooking Mt. Fuji. "Hotaka" featured Stevens on guitar, included traditional Taiko drummers Gocoo. In 2003, the album Odyssey 1992–2002 was released as a compilation of the best Juno Reactor tracks of the decade; the sixth Juno Reactor album, was released in October 2004, featured Watkins' work from the Matrix films. The album once again featured the tribal influences present in their music through tracks like "Conquistador II". In 2006, Watkins was hired to compose an orchestral score for Brave Story, a Japanese anime feature film. Sony Japan released the soundtrack, recorded at the Slovak Radio Concert Hall in Slovakia with the Slovak National Symphony Orchestra.
The album was written by "Ben Watkins aka Juno Reactor". In 2008 Ben Watkins collaborated with anime director Koji Morimoto for Genius Party Beyond, an anthology of short animated films from Studio 4°C. Juno Reactor's album Gods & Monsters was released in March 2008, featured the introduction of Ghetto Priest and Sugizo into the Juno Reactor fold, along with Eduardo Niebla, Xavier Morel, Yasmin Levy. In 2009, the band toured of the band Siouxsie and the Banshees. Juno Reactor's album The Golden Sun of the Great East was released on Metropolis Records in 2013. Juno Reactor & The Mutant Theatre premiered at the Ozora Festival 4 August 2016 “TIME” a unique performance featuring the Juno Reactor live band: Taja Devi Tal Tula Ben-Ari Nataly Hay Amir Haddad Ben Watkins Johann Bley. Joined by Agnivo and Stigma Show, visual performance groups from Russia, under the banner of The Mutant Theatre; the Mutant Theatre was released by Metropolis Records on 22 June 2018 and features tracks from the live show Juno Reactor & The Mutant Theatre.
The first single from the album, Our World, was released on 30 June 2017. Gran Turismo commissioned Juno Reactor to create exclusive GT mixes of Alien and Return of the Pistolero for their global release of Gran Turismo Sport, both tracks will appear on the 2018 release by Juno Reactor. In August 2018, Juno Reactor performed at the Hacker Conference, DEF_CON. Juno Reactor produced and wrote Traci Lords's American hit "Control"; as an instrumental it was featured on the soundtrack to the movie Mortal Kombat. It was used in the fight between Liu Reptile; the group appeared on the soundtrack to the sequel, Mortal Kombat: Annihilation, with the track "Conga Fury". Ben Watkins in collaboration with Don Davis, worked with The Wachowskis for the Matrix series of films and video games. Juno Reactor's music was featured in five sequences from the last two films in the franchise, including the highway chase and the Agent Smith fight from The Matrix Reloaded and the subway train chase, the shootout on the Merovingian's club and the end credits from The Matrix Revolutions.
The Animatrix featured pre-existing tracks "Masters Of The Universe" and "Conga Fury". Brave Story saw Ben Watkins Score his first full orchestra feature, released in Japan where it was the number 1 film for 6 weeks. Many other tracks have been used in films including those listed below, their single "Guardian Angel" was featured as the opening theme of the anim
Warsaw Village Band
Warsaw Village Band is a band from Warsaw, that plays traditional Polish folk music tunes combined with modern elements. According to the band's manifesto, it was formed as a response to mass culture and narrow-mindedness, "which in fact leads to destruction of human dignity." Indeed, after the fall of the Berlin Wall and the expansion of the European Union to most of the former Warsaw Pact countries, Poland's economy has grown while at the same time ushering in investment by a number of multinational corporations, leading to concerns of globalism and loss of Poland's cultural identity. Warsaw Village Band was intended to be a response to this trend by exploring Poland's musical traditions and making them relevant to its new capitalist economy. Member Wojciech Krzak has stated that "after the nightmare of Communism, we still have to fight for our identity, we know that beauty and identity are still in our roots." Krzak has further stated that the band are "trying to create a new cultural proposition for the youth in an alternative way to contemporary show-biz."
The band's name appears to evoke what troubles Krzak about Poland's new capitalism: many large Polish cities do not have suburbs in the traditional sense, leading to unsettling transitions directly from city to field. To this end, in Wykorzenienie, the band traveled throughout Poland to find and record older musicians who still played almost-forgotten styles of music, thereafter incorporating those melodies into new songs and expounding upon them; the band incorporate conscious folk lyrics in their songs. The song "Kto się żeni" on their second album, Wiosna Ludu, discusses a young country girl who refuses to be married off, opting instead to "sing, be free rather than being dependent on someone."Warsaw Village Band have appeared at several international music festivals, including the 2005 Roskilde Festival in Denmark, the 2004 Masala Festival in Hanover and the 2000 International Ethnic Music Fest in Germany. Notably, Warsaw Village Band have revived several musical traditions that were all but lost in Poland.
The band use instruments heard in modern music: frame drums, the hurdy-gurdy and the suka, a Polish folk fiddle from the 17th century stopped with the fingernails rather than the fingers, similar to the Bulgarian gadulka, the sarangi, or the rebec. The suka was unknown to the Polish people until member Sylwia Świątkowska began to play it in the band's concerts, on their albums. Additionally, many of the band's vocals are sung in a loud and powerful style remarkably like the "open-throated" singing styles in Bulgarian music, called biały głos; this style of singing was used by shepherds in the Polish mountains to be heard for long distances. Warsaw Village Band have used modern elements in their music. Wykorzenienie contains scratching by the Polish hip hop artist DJ Feel-X, most as a nod to the phenomenal popularity of hip hop in Poland; the same album includes electronic siren sound effects by the band's sound engineer, Mario "Activator" Dziurex, leading to a peculiar juxtaposition of new sounds upon old melodies.
Hop Sa Sa - 1998 Wiosna Ludu - 2002 Wykorzenienie - 2004 Wymiksowanie - 2008 Infinity - 2008 Nord - 2012 Święto Słońca - 2015 Re:akcja mazowiecka - 2017 Warsaw Village Band were nominated for the "Newcomer" award in the BBC Radio 3 World Music Awards in 2003, won it in 2004. The band won the Polish musical competition "New Traditions" in 1998. 2005 - "Fryderyk" - the best Polish Folk album of the year. 2009 - "Fryderyk" - four nominees. 2010 - "Fryderyk" - two nominees. 2016 - "Fryderyk" - the best Polish roots music. 2018 - "Fryderyk" - the best Polish roots music. Official band website
Samurai Champloo, stylized as SAMURAI CHAMPLOO, is a Japanese anime series developed by Manglobe. It featured a production team led by director Shinichirō Watanabe, character designer Kazuto Nakazawa and mechanical designer Mahiro Maeda. Samurai Champloo was Watanabe's first directorial effort for an anime television series after the critically acclaimed Cowboy Bebop, it was first broadcast in Japan on Fuji TV on May 20, 2004 and ran for twenty-six episodes until its conclusion on March 19, 2005. Samurai Champloo is set in an alternate version of Edo-era Japan with an anachronistic, predominantly hip hop, setting, it follows an impudent and freedom-loving vagrant swordsman. Samurai Champloo has many similarities to Shinichirō Watanabe's other work Cowboy Bebop. Both series are critically acclaimed, focus on mixing genres, follow an episodic narrative design, use contemporary music. Samurai Champloo was dubbed in the English language and licensed by Geneon Entertainment for releases in North America.
Funimation began licensing the series. It was licensed for English releases in the United Kingdom by MVM Films, in Australia and New Zealand by Madman Entertainment. A young woman named Fuu is working as a waitress in a tea shop when she is abused by a band of samurai, she is saved by a mysterious rogue named a young rōnin named Jin. Mugen attacks Jin; the pair begin fighting one another and inadvertently cause the death of Shibui Tomonoshina, the magistrate's son. For this crime, they are to be executed. With help from Fuu, they are able to escape execution. In return, Fuu asks them to travel with her to find "the samurai who smells of sunflowers". According to the director, the series is set during the Edo period sixty years after the end of the Sengoku period. Samurai Champloo employs a blend of historical Edo-period backdrops with modern styles and references; the show relies on factual events such as the Shimabara Rebellion. The content and accuracy of the historical content is distorted via artistic license.
Samurai Champloo contains many scenes and episodes relating to historical occurrences in Japan's Edo period. In episode 5, Fuu is kidnapped by the famous ukiyo-e painter Hishikawa Moronobu, a figure prominent in the Edo period's art scene. Episode 23 pits the main characters in a baseball game against Alexander Cartwright and a team of American baseball players trying to declare war on Japan; as for Western influences, the opening of the show as well as many of the soundtracks are influenced by hip hop. In episode 5, Vincent van Gogh is referenced at the end in relation to Hishikawa Moronobu's ukiyo-e paintings. A hip hop singer uses break dance throughout. In episode 18, graffiti tagging, a culturally Western art form, is performed by characters as an artistic expression and form of writing; the ending of the episode has Mugen writing his name on the roof of Hiroshima Castle, the palace of the daimyō in Edo Japan. Fuu: A spirited 15-year-old girl, Fuu asks Mugen and Jin to help her find a sparsely described man she calls "the samurai who smells of sunflowers".
Her father left her mother for an unknown reason. Without her father around to support them and her mother led a difficult life until her mother died of illness. After a not-so-successful stint as a teahouse waitress/dancer she saves Mugen and Jin from execution and recruits them as her bodyguards. A flying squirrel named "Momo" accompanies her, inhabiting her kimono and leaping out to her rescue, her name, Fuu, is the character for "wind". In the title cards, her totem is Sunflowers. Jin: Jin is a 20-year-old reserved rōnin who carries himself in the conventionally stoic manner of a samurai of the Tokugawa era. Using his waist-strung daishō, he fights in the traditional kenjutsu style of a samurai trained in a prominent, sanctioned dojo, he is pursued by several members of his dojo. He wears an available but uncommon accessory in Edo-era Japan. Spectacles, called "Dutch glass merchandise" at the time, were imported from the Netherlands early in the Tokugawa period and became more available as the 17th century progressed.
His pair of glasses is purely ornamental, as Mugen found out after getting a chance to peer through them. Although pictured in advertisements as smoking a kiseru, he was never depicted with one in the series. In the title cards his totem is a koi fish, he is named after one of the seven virtues of the samurai in Bushido, "Jin". Mugen: A brash vagabond from the penal colony of the Ryukyu Islands, Mugen is a 19-year-old wanderer with a wildly unconventional fighting style. Rude, vulgar, conceited and psychotic, he is something of an antihero, he has a tendency to pick fights for petty reasons. It is implied in a few episodes that he is a womanizer, with his libido sometimes getting the better of him, he wears metal-soled geta and carries an exotic sai-handle
Mind Game (film)
Mind Game is a 2004 Japanese animated feature film based on Robin Nishi's manga of the same name. It was planned and animated by Studio 4°C and adapted and directed by Masaaki Yuasa in his directorial debut, with chief animation direction and model sheets by Yūichirō Sueyoshi, art direction by Tōru Hishiyama and groundwork and further animation direction by Masahiko Kubo, it is unusual among features other than anthology films in using a series of disparate visual styles to tell one continuous story. As Yuasa commented in a Japan Times interview, "Instead of telling it serious and straight, I went for a look, a bit wild and patchy. I think that Japanese animation fans today don't demand something that's so polished. You can throw different styles at them and they can still enjoy it."The film received a cult audience and was well received, winning multiple awards worldwide, has been praised by directors Satoshi Kon and Bill Plympton. According to Tekkonkinkreet director Michael Arias, there was consideration for a release of the film on R1 DVD but it fell through.
The film is now available to stream on Netflix in Australia as of 2016. GKIDS announced that they licensed the film, which streamed on VRV Select on December 29, 2017 followed by a limited theatrical run in February 2018 and a home video release in spring 2018. Nishi is a 20-year-old loser with dreams of becoming a comic book artist. One late evening he runs into Myon, on the subway, she tells Nishi. Nishi has flashbacks of exchanging love letters and messages with Myon and fantasizes declaring his love for her, but in reality fails to say anything, they go to her father's yakitori restaurant, see Myon's father and her elder sister Yan. Nishi meets Myon's fiancée, Ryo. Two yakuza gangsters enter, a senior yakuza whom Atsu calls Aniki, they are looking for Myon's father, who seduced and stole Atsu's girlfriend, now hides cowering behind a corner. It is revealed through flashbacks that the senior yakuza is the first boyfriend of the girls' mother, seduced away by her husband during a disco in their youth.
As Atsu threatens Myon with a gun, Ryo steps in and tries to punch Atsu, but instead gets knocked out. Atsu prepares to rape Myon, who calls out Nishi's name. Atsu turns on Nishi, rolled in a ball, placing his pistol against Nishi's anus. Atsu fires when Nishi musters the courage to yell, "I will hurt you!", thus killing him instantly. The senior Yakuza, offended by Atsu's lack of control, shoots him dead, nonchalantly orders dinner. Meanwhile, Nishi is in some sort of limbo where he encounters a being whose physical image changes every fraction of a second, Kami-sama. Kami-sama directs Nishi to walk into a red portal where he will disappear, but at the last moment Nishi runs for the opposite blue portal in order to return to life. Kami-sama becomes impressed by Nishi's sheer will to live, so lets him escape. Nishi returns to the moment; this time, Nishi seizes Atsu's gun with his buttocks, shoots him dead. He, Myon all pile into the yakuza's car, leaving the father and Ryo behind, they speed off, followed by the massed yakuzas.
The Yakuza boss calls Nishi using the yakuza's car phone and reveals that Atsu was a player on the Japanese national soccer team, threatening to frame the three for armed robbery and murder. After further chase the boss has his men force the trio in to a dead end on a bridge. However, Nishi steers the car off the bridge and they are swallowed up by an enormous whale. Inside the whale, they meet an old man, yakuza and has been trapped in the whale for more than 30 years.. He shows them to the elaborate suspended house he has constructed over the'sea' inside the whale's belly. Nishi attempts to escape the whale but he fails and they resign themselves to life inside the whale. Yan practices dancing and art, Myon practices swimming, Nishi practices writing and drawing humorous manga and he and Myon become sexually intimate, they attempt to leave the whale. And the old man reveals that the water level inside the whale is rising, he believes the whale is dying, they concoct a plan to make a motor boat out using spare parts and fuel from the car they arrived in.
On the day before the final match of the soccer World Cup, the whale returns to Osaka and Yan, Myon, as well as the Old Man, manage to escape. As the four fly through the air, the film returns to its first scene, with Myon running from the Yakuza, only this time she does not get her leg caught in the door of the train, the Yakuza is left behind on the platform; this is followed by a lengthy montage, similar to that of the opening credits, showing the histories of the various characters. The movie ends ambiguously, with the phrase "This Story Has Never Ended" appearing before the credits roll. Voice cast Kōji Imada as Nishi Sayaka Maeda as Myon Takashi Fujii as Old man Seiko Takuma as Yan Tomomitsu Yamaguchi as Ryō Toshio Sakata as Father of Myon and Yan Jōji Shimaki as Yakuza boss Ken'ichi Chūjō as Atsu Rintarō Nishi as Senior yakuza member. Other crew Kōji Morimoto — animation director Shinichirō Watanabe — music producerProduction companies Studio 4°C Asmik Ace Entertainment Beyond C. Rentrack Japan Co.