Utsunomiko: Heaven Chapter

Among the prolific lineage of light novel adaptations, there is a clear distinction between the period before and after "Shakugan no Shana". This title has had a dramatic impact on the modern landscape of the genre since 2005... But what about its lesser-known inception? The most cultured members of the community might say there was 'Slayers' in the '90s, but they would only be half right. While it's true that this light-hearted 'Sword & Sorcery' series was the first of its kind to gain popularity in the West, the long-running light novel UTSUNOMIKO was already well established in Japan. Spanning 52 volumes, this brainchild from the honourable Keisuke Fujikawa started in 1984 and was concluded in 1998. A prequel film (which remains untranslated) premiered in March 1989. Although it was nowhere near as successful as the competing "Delivery Girl Kiki", it was successful enough at the box office to warrant the creation of the OAV series we are discussing about. At its core, the franchise is a fantasy jidaigeki epic. As themes relating to piety and chivalry are important to Fujikawa, his creation is somewhat reminiscent of an oriental version of the Arthurian cycle. Replace the Camelot era with the Jinshin-no-Ran civil war of 762, the Knights of the Round Table with Shugenja monks, Christianity with Shugendo and the dazzling charger with a celestial boat, and you will start to notice striking similarities. Furthermore, they both blend a historical base with supernatural elements. The main difference is that the protagonist, Utsunomiko, champions the people rather than ruling over them. Despite being a demigod ranking far above mere mortals, he takes this duty to heart. As its name suggests, UTSUNOMIKO: HEAVEN CHAPTER merely adapts the second arc of the light novel. As such, spectators are left with the impression to jump into it in medias res, as if the intrigue was established before the opening even played. Indeed, upon completion, you are left with many questions: How did the little goddess Kijimuna join the Shugenja? What events drove the prince, Kawashima, to betray his entourage? Why was Ootsu no Miko executed? What led the valiant thief Uokai to meet the same fate? Fortunately, this OAV series's focused storytelling alleviates the confusion. This is largely thanks to its protagonist, Utsunomiko, who is a proactive leader. He is straightforward about what he aims for, so there is no beating around the bush. Even the idealistic romance between Utsunomiko and Kagami, which is particularly intense, does not disrupt the plot. It fits neatly into the plot rather than diverting it into unnecessary tangents. In essence, UTSUNOMIKO: HEAVEN CHAPTER is as anti-Isekai as it gets. It begins with the small material Earth crew departing for Heaven as physical visitors. This is the main catch: the main protagonist and his companions are not seen as chosen ones by the locals. On the contrary, they are seen as intruders who might be up to no good.Despite this, they genuinely came seeking enlightenment, not to meddle in otherworldly affairs. The monks' ascetic attire is indicative of their humility, in contrast to the opulence of the Touriden gods. The tense conflict between the two parties is emotionally involving as it stems from a dramatic truth duality. Indeed, the godly ruler Taishakuten, who was convinced that he had captured a heavenly swan on his hunting grounds, was fooled by the signs he received from Heaven. However, this creature is actually Kagami, prompting Utsunomiko to abandon her pretence of neutrality. The art direction of Kenji Matsumoto plays a pivotal role in convincing the viewer that the film is true to its namesake. Anyone who owned the series' Laserdiscs at the time was certainly blown away by the elegant ballet of Yukata-clad angels flying in the sky, frolicking winged horses, and floating lagoons unfolding on screen. The castle of the Supreme God is an imposing structure in its own right, combining a rough Chinese style with the exuberance of Art Nouveau. Noriyoshi Yamazaki's chara design itself prioritises practicality. However, the distinctive Toei Douga touch strays somewhat from the chara-design of Mutsumi Inohata, who illustrated the original work. This fact is further evidenced by the appearance of certain characters: Master Ozunu looks like Toki, and Taishakuten bears a vague resemblance to Rei. It would not be surprising if Toei enlisted the help of key animators who worked on Hokuto no Ken. Thankfully, Katsumi Itabashi's mecha design style adds enough to avoid OAV series looking derivative. Saki Makihiro's score is captivating. The background music is solemn, yet not ponderous or stuffy. Synthesizers accompany more traditional instrumentation, pulsing with epic breadth at every turn of phrase. A less vibrant soundtrack would have undermined the show's atmosphere, but this is not a point of contention here. All of the seiyuu deliver inspired performances. Toei even cast Tōru Furuya, the voice of Seiya, as Utsunomiko, as if to link the mythological backdrops of the two series in the spectator's mind. My personal favourite is Banjou Ginga as Taishakuten, whose deep, blaring voice exudes godly self-confidence and echoes like a war horn. A metaphysical odyssey into mystery, enchantment and danger, UTSUNOMIKO: HEAVEN CHAPTER is half extrospective and introspective, and half spiritual and grounded. Although it is not innovative as a battle shounen, it successfully translates its Heian-era motif in an ethereal way. Understandably, this is not an easy title to access. Indeed, some knowledge of Shingon Buddhism's philosophy and its esotericism are required to fully appreciate the series in all its nuances. If you can overlook the barely explored metaphysical dimension of death, Master Ozunu's role as an obvious exposition mouthpiece and deus ex machina, the slightly disorientating beginning, and the fact that the cliffhanger ending leaves you wanting more, you are sure to enjoy this captivating tale. If it weren't for these blemishes, I would have given this unfairly overlooked entry a perfect 10! And that concludes the review by your host, Ziusudra, who has run out of things to discuss. Stay tuned for more comprehensive takes at obscure subculture pieces! ..| Colophon |.. The purpose of the Colophon is to provide practical information to the audience about objectionable content. .. Violence: There is nothing too objectionable, no gore or bloodshed. Most of the violence stems from Utsunomiko's intense suffering as he learns to know himself and master his dual nature. .. Graphic Nature: What do you think this is? Ore no Imouto ga Konnani Kawaii Wake ga Nai? Even the sexual assault scene is implied rather than shown, avoiding a voyeuristic perspective.