Stabbing Westward - A Long Distant Cousin Rarely Seen (90's Era)

Stabbing Westward were a group I had a little bit of knowledge about, but they were often in the background. They had a couple of songs that were made popular by alternative radio, yet this band wasn't my scene nor was I as interested in their scope when they were a (then) functioning band.

The most challenging aspect of getting into Stabbing Westward are the vocals, and the odd placement of sparse moods which create uncomfortable experiences that feel betrayed, and socially unstable.

These behavioral foundations are brittle, at the same one is watching their doppelganger being accosted with all possibilities of enduring, and surviving a very shitty existence. I think a good comparison for this is being in a constant stasis of awkwardness and not really knowing how to pull through any of it.

Tonality wise it doesn't adhere to fluidity, and connection. This creates a fractured listening experience, and though there are sprinkles of pep with the music, that isn't always the strength.

Vocally the words are either spoken, or shouted through a distorted laden tunnel. Though there a few similarities to Nine Inch Nails in this regard, yet the overall vibe is a mixture of music competing against these disjointed sparse moods.

Their first release Wither Blister Burn & Peel use a very basic song structure overall, themes of alienation, isolation, and depression are used very blatantly.

Some of the material works, but I felt this grated my nerves. These disassociation properties of human emptiness through failed relationships, and self-worth didn't encourage much outside of the self loathing construction.

There are few palatable hits, but this record annoys me in how it perceives it's own perception. Relying on this motif of being constantly self aware, but also being decidedly argumentative over how depressed it is.

Thusly the second release Ungod  develops more of that internal despair, giving out a external thickness in the areas of self depreciation.

Songwise Ungod combed around with bits and fragments of depression as a way to find a solid or tangible mechanism for coping.

There are a few areas that build on upbeat tempo structures, but overall the main meat of this release pairs itself to the dichotomy of a mental breakdown, or hitting the lowest point a person can get to.

I would have liked to have seen this record go into places of light, rather than all these perceived negative connotations.  It's in this utter lack of contact and moping in self misery which turns a person off if they aren't really accustomed to this designation.

The other more constructive criticism I have here is that there are some pretty remarkable musicians if you can focus on their performances, because both bass and drum work is often drowned out by all the heavy emotional dissonance. I even had to stop for a second and look at the tracks to see what song had some pop to it.

Dave McKean Hourglass 

Their next record Darkest Days  is another release peaking into the depths of self despair i.e. more of the same, with a lot better production.

I didn't really feel any connection to this record because it was it's own variation, in same way that Ungod  and Wither share in this dramatic theme.

Though the craftsmanship of the musicians is still good, I didn't connect in any real way with this release. I felt more detached, having no real regard to whether this would stick with me or not. 


Their final record I completely missed, as I was already tired of the same spiel, and felt I needed to move away from this construction. A minor lineup change somewhat precipitates the ending for the band in the 2000's decade, giving a finality or a last hurrah's of the 90's industrial era.

Though other bands were very keen on taking on the alternative mantle to stay current, industrial and many of it's sub-variants took a different turn, and eventually fading into the underground.

The best way I could summarize Stabbing Westward's records is the further down the darkness tunnel one goes, there isn't much to gleam from in a way that is positive, or gives insight in how to pull through the human emotion. Very dark elements override what could be, than what was. 

I myself had a harder time really connecting with this band because that it ran counter to my palate, various listening choices, and I wasn't a going through the angst of teenage rebellion. Having handled and listened to Stabbing Westward in recent years I think I've got a reason as to why I had missed out, I wasn't the intended audience.

Concurrently I didn't and still don't like their message because it was emo whilst being extremely nihilistic, which carries it's own sort of baggage. All that negative energy released on those records didn't go anywhere.  Sure there are some catchy songs, but the main crux for me is that it's often seeking pity when there is none to be had.

I'm not quite sure or understand why using these a, b, or c type idioms really works in a scope for entertainment purposes. The problem more or less stems from having a kind of outlet to vent, but not give any real hope. The duration is often replete in these vacuums of selfish egotistical bullshit teenagers will grow up and move on from.


It is this power that runs against the status, more or less depending upon each of the themes which are riddled throughout their catalog. Stabbing Westward use to great effect deadweight misery, often it can be a albatross in itself but then again someone out there liked what they did. Lastly, this really didn't connect for me, so this is a group that gets few spins. Thanks for reading.

B.

Computers and Me: My Journey Into Unix and Apple

Computers and Me: My Journey Into Unix and Apple

I love Unix, its history, and the more I delve into using, and understanding its concepts, I'm intrigued at how efficient it is, while also knowing its place in the scheme of operating systems of the last 60 years. I don't know every nook and cranny of Unix, as there is lots and lots to uncover as it were, I've enjoyed the challenge to learn and adapt this operating system.

I started with Unix as a novice little user whom had very little grasp of the core functions, and construction.  I did not learn Unix in school insomuch that I took on the task on my own. While it took a few years using Linux variants, and understanding the lingo (command line) and file structure.

My strengths are administration, not in the programming compartment. I get the way it works, and the rules that govern it, but I am not a programmer, I am an artist first, which plays havoc with my learning and getting down core components. Damn you algebra!

Anyways, I spent three years proto-typing Fedora Core 6 through 10 release candidates. I also played with Xandros, Mandrake, Red Hat, Ubuntu, Debian, and CentOS. While these systems had their quirks, I got to really dig into X Windows, command line interface, and fixing broken code/drivers with the Linux OS's. From 2004 to 2009 I was a Linux user. Free was the only optimal choice because of flexibility, open aspect, and I had time to sit and learn the ins and outs.

I began to have reservations with later Fedora Core projects, more specifically release candidate 9.  There were major changes implemented, which created friction with core developers of that distribution. Though I knew and understood inherent risks using proto-typing software, many of the release candidates were stable enough for me to use. Yet with release number 9 was buggier, many applications didn't work correctly, and were released to the public still in the alpha stage. This drove me bonkers.

I dove right back into Debian forks like Ubuntu version 8.04LTS. Even that distribution had some quirks with open source codecs, and proprietary licenses. Something had definitely changed, as most of it brought about with a well timed media blitz brought on by Microsoft's complaint against open source of 260 plus patent violations with their Intellectual Property (IP).

This I can attest with numerous blogs and technology news sites. Linux during the late 2000's had problems gaining traction as a viable third operating system choice. It was clear to me that if I was going to use open source, I would have to pay for license codecs to enjoy media I owned, which frustrated the hell out of me.

While my foray into Linux never ended insomuch that I saved enough money and evolved into a more expensive platform named Apple. I dove into Apple after seeing how tight the platform was. I didn't have much trouble getting into the platform because of the familiarity of Unix core. Some functions weren't there with the command line, but the learning curve wasn't as steep and I felt confident with my acceptance with it.

I labored for awhile on getting a Mac because of the closed platform, and forced upgrades which I will explain later. I finally purchased my first Mac, a Mac Mini, kind of a starter to see if I liked the platform enough to stay with it. Upon first impressions it was a little engine pulling double duty with whatever I threw at it. For three years it was the machine that did most of my college homework.

In my research the Mac platform is stable, and reliable in a way that and that was why I dove in. I was tired of having to buy new hardware every year to combat motherboard failure, power supply issues, and purchasing new hard drives for my growing information needs with Linux. I felt then that the Apple platform gave me a bit of leniency with legal codecs for playback of music, movies, animation, and web content. I could even use applications that weren't Microsoft derivative.

Most of that changed after a year owning my first Mac. When Apple announced the iPad in 2010, basically supplanting a new shift in where productivity was going. I have felt somewhat that Apple has literally become the dreaded hype machine, catering toward a broader audience than what and where they were.

I was curious nonetheless, and bought and played with both iPad and iPad 2. For all the hype these devices get, I feel it is drastically underwhelming in a couple stunning ways. Obviously it's closed platform, yes you can still get apps that aren't Apple centric overall, yet not give a lot of wiggle room with this platforms ecosystem.

Something to note on: if your developing for Apple one will have to deal with Apple's very draconian software development agreement. Secondly, for a productivity device it isn't quite there, yet. Sure one can remote desktop to their Mac, Windows 7, or iTunes library but overall it is a entertainment device in the strictest sense. I've used the iPad 2 for doing artwork, yet I don't feel it really gels with my need for tactile touch for paper, pen, and coloring.

The downside with using Apple stuff is that they are notorious for killing off platforms, and operating systems. By doing this they force users into whatever the next paradigm shift is becoming. The problem I have with this idiom is that it undermines users like me who still like using a desktop option for productivity. By removing that aspect, I can still to a lessor extent get another desktop but I'll be using iOS as the operating system of choice.

It is not by chance or design that this is the standard that Apple gets away with. A lot of the fan boys and gals are all about flashier, short attention span tech. By shifting away from physical media (CD's, and DVD's) into a always connected digital streaming model is not surprising. This has been a concerted effort to weed users off of plastic since the mid 2000's, because of paying to play with the next iteration of brand ecosystems i.e. Apple, Microsoft, and Android.

The other shift is the operating system foundation. While true, learning reams and reams and employing gobs of time for both consumers, and enterprise software is a 20th century concept. Yet with each new iteration brings major changes to the look and behavior of said operating systems. I have learned in my travels that established businesses prefer using a dedicated foundation to keep internal operations going.

But having spent time in an enterprise foundation most businesses do not use Apple brand products because of the niche status it has/had. Most of the brand is tailored around businesses with disposable income,  and young adults who don't care about ownership of anything but a device that is throw-away. I feel the experience with this side is not for me.  I from a time were you can own in either physical form, or digitally. Yet I am crucially aware that I am not in the target Apple is focused on. I am too old, well knowledgeable about computer hardware, the types of operating systems, and possess keen troubleshooting ability.

Yet whereby aligning myself to Apple's paradigm the hardware and software I use eventually becomes shanked to obscurity after 3 years. I get and understand the need for upgrades as hardware takes an extreme beating with chip creep, and software becomes labored in age and repetition. On the flip side of this is a now growing e-waste problems and I feel not a lot is really being done to address this. I'm not theoretically convinced that Apple is doing a lot to help the environment, which is another discussion in itself.

Which brings me to my next concern, Apple hardware. The one thing that really irked the crap out of me was the original Mac Mini logicboard died, I had to endure a disconnected Genius bar attendant. Since I knew already the logicboard fried, the salesperson really didn't seem all that interested in really addressing or clarifying anything to my plight or concern.

While I explained that I built custom computers for private clients, used Microsoft, and cut my teeth on Unix, he laughed at me. This didn't sit very well with me, and it bothered me. I finally figured out why, because I think Apple employs a strategy by infuriating built-in users of the old paradigm. Most of their business model now is throw-away technology hence the tablet, and smartphone structure. This is a bold statement, but I can't help but be observant of the what-is-not-said.

There isn't any real connection to the machines people work on, there is a clear disconnection to that, and watching people stand in line and be so matter of fact about it, raised my eyebrows more than a few times. It took two weeks to get the Mac working, even then the in fact I have more of a connection with my Mac than the gents selling Apple stuff in store. So, this begged a precarious question out of me, if the vested aspect is only for the bottom line, I cannot help there is a herd think mentality with having the latest and greatest Apple branded stuff.

My other bitch is with iOS. This option undercuts the classic sense of what is designed for in productivity. iOS does a remarkable job of giving users the ability to touch what they doing at all times. It simplifies tasks, marginalizes the need to have the device in hand at all times. The purpose of course is get the customer to spend time, and money in a tightly controlled environment. In 2007 the iPhone opened that Pandora's box for a dedicated in the hands all the time device. But I am not the target audience I keep reminding myself about often, and repeatedly.

In closing, I wrote report in college back in 2008 about Apple. I understand why aligning oneself to a specific product or ideal often isn't the same with business interests. They don't give a crap about the personal experience. It is about money, and anyway to marginalize that experience for profit. This definitely doesn't give me a whole lot of confidence going forward using Apple.

I feel like I'm in this vacuum struggling to stay true to my convictions, while assailing what I think is terribly wrong with a corporate entity that dictates what I can and can't do with files, music, and information I elect to keep. The dearth more or less is becoming an non-ownership class society, and I am sadly not buying into that. I wasn't on the boat with that meeting apparently, so alas, I will stew awhile until I find a way to break free from the clasps of monthly monetary interests of our ongoing technological servitude. Thanks for reading.


B.

Roujin Z - Review

(r) 1991 Tokyo Theaters Co
(r) 1994 Manga Entertainment
(r) 1995 Centeral Park Media Corporation


An early 90's OAV that is dated in the sense of animation quality, the overall appeal for me is in the underlying theme presented.

I like that both Satoshi Kon, and Katsuhiro Otomo worked on this project. There are many other very prominent anime stalwarts I won't get into to much here as most other dedicated anime purists will have better information as to who did what, and where etc.

I enjoy each innate detail that is in the backgrounds, fleshed out characters (to some degree), the designs and aesthetics of the late 80's and early 90's i.e. clothing, attitudes etc..

I also enjoy the chaotic energy happening in the story, yet this isn't the sole presence of the overall narrative. Haruko is the main character and we the audience are taken in on an adventure in her life. Though the MacGuffin is very much the issue of elderly services, and the growing issue with how best to deal with it is as complex as it is in the elegiac repose of our innate refusal to deal with age.  This is affluent throughout this anime.

Though I am being woven in out of different characters, and their motivations, I am accosted with lateral militaristic reproach, a subversive subtext of a single nefarious individual out for only one thing, and the overall construction bringing home a point about greed and profiting off of the exploding elderly population.

While this title was something I came into much much later, I am glad to have had the opportunity to see this and marvel at the work. Though it isn't perfect by any stretch, I do enjoy quite a bit of the different angles, and contextual visuals used. I am definitely realizing that I am lucky to still know how old school animation was developed, which sadly has become jurassic due to today's digital means.

Roujin Z is what I like about animation, with the U.S. counterparts knee deep in theatrical Disney productions, and television programs, it has been nice to see something that had an element of human realism to it, which during that time was rare here in the states.

Sadly this is an era that I think has lost its allure insomuch in taking risks with animation style, getting fresh invigorated artists in a field that desperately needs some influx of ideas that isn't watered down by mere upper management meddling. More to the point of the underlying ability to show something that is unique in a field kind of lost in the mire of studio politics.

I think what brings me back to this title juvenile approach but in a a cadence that shows me how well connected and focused the work is. Roujin Z can't work in todays construction, and I think that initself should speak volumes on the eccentricies of a time that I think gets a lot of crap from newer viewers as being that 'old' stuff. Give it a watch, I think you'll enjoy it. Thanks for reading.

B.

Immolation - Kingdom Of Conspiracy - Review

Artwork by Pär Olofsson

Immolation Kingdom Of Conspiracy 2013

***/*****

My journey with Immolation lay in the online realm. Count me as one of many whom used this iteration in checking out many underground bands. I have followed Immolation since (2002) Unholy Cult. I have a passion to be as involved in what these guys do, and I make no apologies for it.

A great deal of their catalog is as foreboding with messages about humanity, and the overall faith system which is used as a control apparatus. I have felt that Immolation's early records hammer this point succinctly.

Whereas later material straddles more around global designations of control, the narration of peoples blind obedience, intrusive meddling of governmental bodies,  and a wistful energy of ignorance pervading throughout the world.
 
These are dark themes, and the concept more or less brings observation to the broken systems that are bewildering and concerning. Though those are obvious points in what the 'message' is, what brought me into this band is more in their sheer heaviness, as they are the last piece from a period I've grew bored from.

Getting this out of the way the sheer power of Steve Shalaty is impressive. Since Harnessing Ruin I am amazed he can still delineate each part without so much as a skip. I'm pleasantly happy with his performance.

Robert Vigna's soloing has evolved into wild exploration. I've been curious to see what he would do this time with less restrictions in regards to time in the studio, because being an artist myself, one tends to be they're own worst critic. I find his cadence lends itself more on the periphery of sorts with Kingdom Of Conspiracy.

The thing that I've found with Robert's soloing is that the notes won't hit you at first, they'll burrow and then poke out later when one least expects. Something that I've liked about the 'sound' Immolation uses.

Ross Dolan vocals are sharp, clear, and enunciated. I know what I am listening to and can understand the meat and breadth of the words spoken. His bass work somewhat straddles in the front, or will lay entirely in the background.

Rhythm guitars of Bill Taylor, I think of him as the unspoken player whom needs credit with the depth, and punch given with his tonality. Between Robert and Bill the twin attack of the rhythm offsets the muddled production, occasionally I could pick out whom and what, as always is sharp and tight.

The one gripe that I have with Kingdom Of Conspiracy is that it is missing something. This record has a shorter vibe going, and the focus is more on drum power and riffing. The groove is offset this time and is laden heavy with blastbeat execution.

The mix is okay if you like the sound to be tunneled. The intense soundscapes are still prominent, but the mix I feel deludes the performances by the members. With Majesty And Decay, that record I liked because of the subtle distinction between the musicians. This one just has little room for wiggle as it is narrow and feels claustrophobic.

It is not a great way to punctuate their performance,  but both Rob and Ross explained that with use of today's technology, mastering, and mixing in a digital mechanism is where a lot of bands have gone.

There will be diehard fans of the old school mechanics, and fans of the newer mix. I totally understand the need to adapt with the times, who wants to be that band whom still uses antiquated stuff, though not a bad thing, I am pointing out the inconsistencies to that effect. After all it is business decision, and bands will elect to do what they feel is the right. For me you kind of have to pick your poison when it comes to current studio production.

Finally, I think this album fits between Harnessing Ruin and Failure For Gods. Both of those records were from my perception processes i.e. trying out new areas, and experimentation. I will continue to listen to this record, and let it sink in a little more. I may change my mind as I often do, in the meantime check it out. Thanks for reading.

B.

Arsis - Unwelcome - Review

Arsis - Unwelcome 4/30/13

***/*****

Picking up where the Lepers Caress EP left off, Unwelcome throttles the senses without letting up. The precipice is deep and caverns are prickly narrow with this release. A few noticeable things is the mere onslaught of the drumming. It never lets up, some variation I think can be good but then again this is a very secluded style that doesn't vary much.

Vocals are what I have come to expect from Arsis. It is no frills, get to the point, and hammer out the details later. The fretwork is as always astounding. Again obvious nods and winks to the Swedish style is ever present, but also noticeable references to speed metal tremolo picking style really accents each song.

Their cover of Cory Hart's Sunglasses At Night has a very different slant, along with the Scion/AV Lepers Caress EP released last year is included along with a bonus track on this release. The other real prominent piece is the artwork. Gone is the light backgrounds and in that place is something far more darker and sinister.

I am not so old I can't enjoy ardor of fresh ideas, but, there is a point when the complete pummeling starts decaying sensibilities to a point of dullsville. What I have enjoyed the most about Arsis is their exceptional melody, and how at ease they play them.

My only quibble here is that the overall package could use a little variation, even with the Skeksis rasp vocals (borrowed from Jim Henson's The Dark Crystal) I like my metal to sound unique, with an element of grace and spontaneity.

If all your getting is the same drone on sound, the tracks themselves don't differentiate from one another. I think that is why I like the Lepers Caress EP better. As it was shorter, had a little variation, accentuating each of the players in a more concise and compact manner without all of the constant barrage. Thanks for reading.

B.

Machines Of Loving Grace - Another Great Gem (90's Era)

Machines of Loving Grace, hailed out of Arizona during its limited run from 1989 to 1997. A great deal of their work comprised of mixing, and creating industrial textures on with their first record, whereas their last two reworked that style within a palatable industrial alternative aspect in the 90s.

Released January 1st 1991

Machines Of Loving Grace I think lays in the allegorical lyrics of front man Scott Benzel. I have found many of the words play upon classic news stories, books, a smattering of common phrase cliche, and torrid darkness lurking in the recesses of the human mind.

When a person is first introduced there is the very pronounce bass, and guitar work of Stuart Kupers. I think the his effect is simple, catchy, and memorable. Yet at the other spectrum is the mastery of keyboard of Mike Fisher's technique, which can place familiarity outside of context.

Drummer Brad Kemp kept the beat together, I likened his work as a patchwork no frills approach. Get in and get it done. Though it may work on a industrial part, I feel it loses some luster after a few listens i.e. it is a foundation nothing more.

The music is constructed around a funky beat, and polished off with keyboard touches. Many of the songs have an overdubbed vibe. To really experience the full gamut one has to use headphones. It is a very tight vacuum of controlled chaos, while lauding itself in a pond of ethereal.

A minor lineup change for the last album Gilt introduces me to ex-Stabbing Westward drummer David Suycott, and soon to be 2wo/Halford bassist Ray Riendeau. These guys showcase a live execution with Gilt rather than all the studio wizardry of Concentration. The overall sound on this record is a complete 180 switch of what Concentration was, and I had a harder time adjusting to that when it was released. Some of my thinking often wondered why the dramatic shift.

Released Sept 21st 1993

Of the three records my favorite lay between Concentration and Gilt. I felt the 1st record Machines Of Loving Grace was rushed out before it was completed. Part of it stems from trying to cash in quickly on the industrial craze of the late 80's early 90's from groups like Nine Inch Nails, Nitzer Ebb, Skinny Puppy, Front Line Assembly, Pigface, Ministry, and KMFDM.

Don't get me wrong, these records have something going whereas their contemporaries were molding and shaping their own narratives without giving much thought to variance or cared enough about notoriety. 

I kind of felt those bands just did what they wanted, free of the constraints of exploitation, or expectation. Machines Of Loving Grace where their own thing entirely to a lessor degree. Another part is the philosophic tone of Frederick Nietzsche, and Gorgias. During the late 80's and early 90's industrial groups used these as themes and created Nihilistic expression.

Released Sept 19th 1995

Part of the allure for me was I was keenly aware of this construction. Many groups captured that intensity and channeled it into a creative outlet as a way to vent.

Some had great success, others did not fair so well. Machines Of Loving Grace is very distinguishable if one has a trained ear in seeking out the themes, tonality, lyrical concepts, and music created. Which brings me to clarify my thinking.

I personally believe Machines Of Loving Grace were a group lost in a decade of changing style, and a complete indifference to promotion from their label. I still feel Machines Of Loving Grace lay between obscurity, though they had a brief foray into motion picture exposure,  unfortunately they never could venturing out into wider recognition.

Finally, their entire body of work though short provides musicians the ability to evolve, and try their best to create something their fans can appreciate. Even with the dark themes still present on their final album, their 'supposed' next record would have been interesting. Alas I and other fans will not see this realized. I was one of those distant listeners whom really took to liking what they did. Thanks for reading.

B.

Mad Bull 34 - Review

http://www.discotekmedia.com/mad_bull_34.htm

Mad Bull 34 Release date: 02/26/2013

**/*****

Contains four episodes

Hit and Rape

Manhattan Connection

Charging Jackie
Good-By Sleepy

Enclosed in the DVD case is a single DVD, with no liner notes. A basic no frills set. On the DVD there are four episodes 45 minutes each totaling 180 minutes. There are no extras, just two spoken language tracks Japanese, English, with English subtitles.

Firstly I am not new to the anime experience, watching this set there are minor comparisons of the period title like: Ninja Scroll, Violence Jack, Wicked City, Fist Of The North Star, BAOH, Midnight Goku, and a few other titles I'm spacing on currently.

Specifically speaking about the theme of stereotypes and the uses as a narrative. I believe stereotypes are in every facet of film, show, and music. Stereotypes are typically used in accentuate a plot construction, to give an audience a way to understand each of the characters motivations, and be used to create friction with audiences perception. If one masters this well you can have a convincing character in a situation that is remarkably great or be completely nonredeemable that you really want to assail it.

With Mad Bull 34 a couple things stand out, the use of the 'MacGuffin' is over the top violence. The justification of the ends to must always justify the means. Secondary, the subplot is the male super ego, and the over the top sexual tropes used to a point of horrific results upon the women being battered. Third, the implied rape infuriates and makes the audience uncomfortable with that intended construction.

There isn't a lot of motivation beyond the violent aspect. I can tell with the main characters except 'Sleepy' John Estes and his barbaric sense of being philanthropic with street prostitutes. Essentially he steals their money to pay for a hospital for battered and abused woman. But somehow I am to take this as a redeemable quality, yet underneath I'm already fed up with it.

For the time this was created, interesting elements taking place in the states with action films like Robocop, Total Recall, Terminator, Predator, Aliens, and many other b-grade action/sci-fi flicks I feel definitely influenced this production.

The director I think tried to create this aspect jarring the senses, but it fails so badly at the execution. You are given four distinct episodes, and you can pretty much predict where aspects are going to unfold into. With director Satoshi Dezaki's interpretation of Kazo Koike's manga character Sleepy does whatever the hell he wants without any regard to any regulation or rule. Recent new hire Daizaburo is the most unparalleled pairing, as he is a much smaller weaker character being dominated by larger powerful stereotypical men. I should say here that the way the bad guy character plays on the rapers, pimps, pushers, and con men play to a fear that isn't exactly true in the context we are seeing.

I want to point to a specific film that has all these elements. Director Yoshiaki Kawajiri  and the anime Ninja Scroll, We are introduced to Jubie, his unremarkable smartass expose immediately connects me to his motivations. Jubie has a very clear distinction of right and wrong. You know what he stands for, and why he is the traveling ninja for hire. With Sleepy I am to take at face value his presence, and motivations as a driving force in a way that I should care, I didn't feel this in any way.

The women in Mad Bull 34 are represented as objects, and I felt this was deliberate. To make it as shocking as possible, taking merits with justification and clear seated distinction of sexualized power, and interwoven psychological damage. It's as if the point is so what, people are bad, and everything will work out if you do the most twisted and sick things to justify the end result.

The dub though is hilarious, and that alone saves this title. Though the anime is pretty bad in story and plot, the dub takes the viewer into what I call "what the hell?" moments. A great deal of the episodes are like this in that the dialog is stiff, and the accents don't match the performances. Episode 2 Manhattan Connection is a great example of how to stay in character voice, as there is noticeable British accents cropping in and out in that episode.

Finally the animation is not very good. Many of the cells looked unfinished, that the production was not entirely focused. I could distinctly tell with the cells the background movements didn't gel. Colors and body parts don't match, skin tone will change, and fluid movement will often be choppy as to create a disorientating effect. 

Mad Bull 34 is bad, really, its that bad, but I come back to this title mainly in study, and background noise. Thanks for reading.

B.