Contra 4: Return of the Run ‘n' Gun King

[Review: Gaming!]

Title: CONTRA 4
Platform: Nintendo DS
Publisher: Konami
Developer: WayForward Technologies
ESRB Rating: T
Year: 2007

A military helicopter zooms toward the archipelago of Galuga, off the coast of New Zealand. Aboard this craft are the four strongest soldiers on Earth, known collectively as "Contra." Their mission: to eliminate Black Viper, an alien mastermind staging a global invasion, and anyone--or anything--that gets in their way!

Contra 4 marks the 20th anniversary of the storied Contra franchise. Instead of being handled in-house by Konami of Japan, the assignment of development was handed over to WayForward Technologies, a small American company. Given the unfavorable track record of 1996's Legacy of War and 1998's C: The Contra Adventure by American developer Appaloosa Interactive, this might seem like a scenario for disaster. However, it just so happens that WayForward is filled with and connected to Contra fans who have a real passion for the series and a deep understanding of its two-decade history.

Set between the events of Contra III: The Alien Wars and Contra: Shattered Soldier, the game is a blend of every Contra entry, with an emphasis on the design of Contra and Contra III: The Alien Wars. By and large, Contra 4 is about returning to the roots of the series with a bang. Therefore, unlike later entries built around frequent mini-boss encounters, this installment focuses on high-adrenaline run ‘n gun action-platforming.

From rushing a jungle fort to infiltrating a laboratory to storming a harbor to surviving a fierce city siege, this game has the wide variety of locales and scenarios Contra vets have come to expect. The levels are a mixture of 2D side-scrolling and vertical-scrolling, with a few inward-scrolling "tunnel-style" stages ala Contra on the NES (which are now rendered in 3D). You never quite know what's going to come at you next in this game, but it never ceases to amaze. The series is synonymous with steep, white-knuckle challenges, and Contra 4 is no different. Taking on these challenges requires skill, memorization, and the ability to strategically react. There are three difficulty settings with various differences, but even on "Normal mode" the most seasoned gamers will quickly run out of continues on just the first few stages. Thankfully, it won't be because of the controls.

The game's controls are simple and tight. Using the face buttons allows the player to run, jump, duck, climb, and blast their way through hordes of alien baddies that come from every direction. And I do mean every direction.

Contra 4 takes advantage of the DS hardware to provide two screens of simultaneous action. While it can take a little adjustment to get used to following what's going on in both screens, like everything else in this game, the effort is well worth it. The dual screens provide all sorts of wild new scenarios and daring strategies. The one quirk is that the plastic gap between the two screens means a stray bullet or two might catch you off guard for a while, but the more you play, the more you can anticipate these occasional blind potshots.

The 3D "tunnel-style" stages swap the bottom screen for a map and play more akin to a shooting gallery. The character moves side to side, clearing the enemies and obstructions in front of them. Unfortunately, the hit detection in these stages can take some trial and error, as the exact trajectory of the fire coming from the background to the foreground is not always apparent the first time through; likewise, it is not always clear if you are hitting the bosses in these stages.

To navigate the two screens during the side-scrolling stages, a new gameplay element has been included: the grappling hook. Don't expect to turn into Bionic Commando or Spider-Man with this, though, as it fires in just one direction and is used like a zip line/super-jump, taking you straight up. This is good, because this element could have easily been embellished and broken the fervent Contra flavor this game contains. As it is, it's unobtrusive and allows for added depth, letting you to avoid attacks, pull yourself from death pits, and grab the high ground during various points in each stage. The game is clearly designed around using this new element, because you can't jump as high as you could in previous installments. The only hangup with this feature is that you cannot fire your gun until the grappling hook reels you in, resulting in some free shots for the enemies. But this is a small issue that is swiftly resolved once you realize that everything in Contra is about rhythm and timing, and the grappling hook is no exception. Rounding out the solid and versatile controls are features from later Contra games, such as holding one's ground to swing and angle the gun in eight stationary directions (though holding a firing angle while running is absent), and the ability to keep in reserve and/or switch between two weapons.

The weapons in this series are legendary, and Contra 4 delivers. Just about every weapon you would expect--Machine Gun, Spread Gun, Homing Gun, Flame Gun, Laser Gun, Crush Gun--is present, and for the first time, each can be upgraded to a new, more powerful incarnation by grabbing and stacking the same weapon twice on one slot. Acquiring and maintaining these upgrades through the obstacle-rich levels is often the key to mastering the bosses. Further, in a new strategic twist, if you know you're going to your doom--and if you react quickly enough--you can throw off your weapon and then grab it after your character has respawned (assuming you have lives to spare, that is).

One significant change to recent Contra installments is that you don't start off with a rapid-firing machine gun. In what is essentially a return to Contra and Super C, you have a button-mashing "peashooter" rifle to start with, and most of the weapons also require button-mashing now to fire in fast succession. It does create an atmosphere of extra frenetic intensity, but it can be hard on the fingers at times to get the most out of your weapons.

The graphics are primarily hand-drawn 2D sprites, and everything from the character animations to the too-crazy-to-believe dual-screen boss fights to the lush backgrounds are executed with vibrant detail and special effects. When 3D is employed, it blends pretty seamlessly with the 2D sprites. Due to the twin screens, the sprites are significantly larger than previous entries, which makes the action even more in-your-face. The color palette and tone are much brighter than recent Contra games, opting for a more cartoonish/comic book look in the vein of Contra and Super C. Incredibly, despite all the action and all the eye-popping battle scenarios you will face, Contra 4 has zero slowdown.

As strong as the graphics are, the music is what really brings this game to life. Contra has a famous soundtrack, and Contra 4 maintains this tradition with a number of new and remixed tunes that make the action explode on screen. This memorable music drives you forward to surpass each consecutive stage's mounting challenges even after countless failures. The new Jungle, Waterfall, and Harbor tracks are right there with the best songs in Contra's twenty-year legacy. Definitely play this game through headphones to get the full aural experience, as the tracks are even more layered than the DS' speakers initially let on. The sound effects are also classically Contra, and the limited inclusion of voices this time around lends the game a more complete audio package.

Contra 4 has four selectable characters at the start, but they all play the same. The multicard-required multiplayer mode was originally going to be four players, but was unfortunately pared back to two. Regardless, Contra 4 is still a blast and a half to play with a friend.


One final strength of the game is its abundant offering of unlockable extras, including a Challenge Mode where the player is given daunting tasks like beating sections of levels with limited ammunition or no gun at all. From this Challenge Mode you will unlock the best extras: Contra and Super C. Yes, the first two NES games in the series are included (albeit without multiplayer support) alongside other unlockables such as additional playable characters, comic books, an art gallery, a series log, a sound test, and an interview with Konami's Nobuya Nakazato on Contra's history.

Now, if this portable action game has one Achilles heel, it's that--at times--it almost feels too familiar to fans of the series. As noted earlier, the game is a blend of Contra's entire history, and if you take away the dual screens of action, much of it feels like a remix of past Contra levels. Back in 2002, Contra: Shattered Soldier suffered from this same issue to some degree as well. While having all these old level motifs present ensures the classic Contra experience, it doesn't add nearly as much to the franchise as past entries, such as Contra III: The Alien Wars. Also worth mentioning: One thing that sticks out upon repeated playthroughs is that the Ocean stage is far too short and straightforward, and that one of the "tunnel-style" stages--which aren't exactly the best stages from past Contras--could have been swapped for a newly-themed side-scrolling or overhead stage. Still, the fact that this DS title remains a great experience means that Contra 4 is above the norm in the realm of gaming, and has just enough new for it hold a respectable position in the larger legacy of Contra. Here's hoping this premier action series will be continued and expanded upon. Contra 4 shows that the name "Contra" is still the king when it comes to run 'n' gun.

Sage says: With all the extra gameplay modes and a solid core game, Contra 4 has tons of replay value. If you like Contra or action games, get this game immediately. Easily one of the best games on the DS, you'll return to Contra 4 again and again for its over-the-top action and slick presentation. What other game will you ride an ICBM in midair while being attacked by a giant killer robot?

FINAL SCORE: [!] [!] [!] [!] [!] -

Sage's Subscript: Contra 4 changes the established Contra timeline in several ways. The characters Scorpion and Mad Dog, which were code names for Bill and Lance in the early North American releases, are now distinct soldiers. This is also true for Black Viper, who was originally a character conceived in the booklet of the North American localization of Operation C for the Gameboy. Contra 4 establishes Black Viper as a legitimate, though enigmatic, alien villain in the timeline. This latter point is more problematic than the former, as it at the very least distorts the Red Falcon/Federation Government conspiracy story laid out in Contra: Shattered Soldier for the PS2. On an unrelated but often overlooked note, the boss of level 7 seems to be eerily similar to Ghouls ‘N Ghosts' level 4 boss.

NOTE: The images and trademarks contained within this review article are the copyrighted property of their respective owners.

AGO! Scoring System

[Announcement!]

Below is the 6-point scale used by AGO! in the final evaluation of anime and games:

[!] - - - - - Subpar
[!] [!] - - - - Rental
[!] [!] [!] - - - Average
[!] [!] [!] [!] - - Solid
[!] [!] [!] [!] [!] - Stellar
[!] [!] [!] [!] [!] [!] Classic

*****************************[DETAILS]*****************************
^Subpar: A production that has little going in its favor.
^Rental: A production that has positive points, but is ultimately not worth owning.
^Average: A production that does many things well, but little stands out as spectacular.
^Solid: A production that has a strong core, but could use further embellishment.
^Stellar: An exceptional production that pulls you in, but is just short of perfect.
^Classic: An exceptional production that sets itself apart, consistently evoking a strong emotional response, and keeping one's attention long after the experience is over.

*In addition to the above, there are two other features for AGO! Reviews:

^"Sage says": This is the final word on the title reviewed, cutting through the pros and cons to the straight dirt.

^"Sage's Subscript": A fun, interesting, and/or obscure fact on the title reviewed.

Mega Man 9: Robotic Recycling or Revival?

[Editorial: Games!]

Is Mega Man 9 being overhyped? There's no doubt it's a must-play game, especially for Mega Man fans, but the buzz about it being among "the best" in the series seems to be crossing the line. As a fan of Mega Man since Mega Man 2 on the NES who has played through all of the main entries in the Classic, X, and Zero series, the prospect of Mega Man 9 offered a wealth of creative speculation. My imagination only became more active upon hearing it would be done in an 8-bit retro visual style and feature such unconventional additions as Splash Woman and Hornet Man alongside long-absent, obvious choices such as Magma Man and Tornado Man. Seeing new Robot Masters for the first time is always a treasured moment for the Mega Man fan, as imagination, expectations, and reality intersect when the stage select screen appears...

However, as the finalized designs trickled out into the media, I was left with mixed feelings. While it is fantastic to see new Classic-style Robot Masters, their presentation has come off as largely uninspired. Yes, one could easily say they are all in the correct motif of the Classic series, but one is left wondering if Capcom was overly cautious in its design choices. Going down the list of the eight "new" Robot Masters:

Concrete Man, rather than having something to set himself apart like a concrete mixer integrated into his body, comes across as a recolored Guts Man or retooled Stone Man. Tornado Man, from the green paint job to the winglike helmet extensions, could be Harpuia's little brother. Likewise, the mermaid-esque Splash Woman could be Leviathan's estranged sister. And since Inti Creates (the makers of the Mega Man Zero series) is behind Mega Man 9, it makes those influences even more obvious. Moving on, Galaxy Man's motif and face design immediately come across as a reimagining of Astro Man; the fact that Mega Man V (for Gameboy) featured a full cast of space-based bosses--including one with an orbiting ring and black hole powers (Saturn)--makes this design seem all the less fresh.

Now, stare Jewel Man in the eyes; you start to get images of Top Man sporting a giant pink jewel set on his head and equipped with the bling of Gemini Man. Meanwhile, Plug Man is an unabashed reworking of Dynamo Man, removing the glass helmet and replacing the electrical conductors with plug prongs. Magma Man is the worst offender, as he nearly looks like a red Needle Man (ironically, in Nintendo Power Vol.234, the artist behind this design said he thought this also, but that it was an unintended outcome). Finally, there's Hornet Man, which I must confess is probably the most unique of them all. While it is a reusing of the hornet theme from Mega Man X3's Blast Hornet, this is a very new interpretation, where the best Classic series parallel would be seen in the head of Ring Man or maybe the mouthpiece of Crystal Man--but that is admittedly a stretch.

Still, what this means is that there is only a single Robot Master among eight where one does not immediately have a Robot Master or Mega Man villain from the past pop into one's head. That's not to say that these designs do not have their charm (far from it!), but they just may not be all that innovative or memorable in the larger historical pantheon. Even Mega Man & Bass' additions, for example--with the exceptions of the Mega Man 8 repeats--were more striking.

I wish the lack of inspiration was just in the Robot Master designs, but the levels, too, possibly reuse more resources than I would have expected. There appears to be sprites reappearing from as far back as Mega Man 1, and Splash Woman's stage features a bubble-riding section with the exact same opening layout as the bubble-riding sequence introduced in Mega Man 5's Wave Man stage.

Even Tornado Man's seemingly unique, vertically rotating platforms in the sky are reminiscent of Gyro Man's horizontally rotating platforms, and the level's feature of changing weather conditions proves to be in the same tradition as Cloud Man's stage. Further, the stages' backgrounds seem less detailed than even the NES Mega Mans, particularly the latter entries. I understand this was a "back to basics" game, but I believe the literalness of that phrase was taken at the game's expense in some cases.

In fact, I question the whole decision to have it be 8-bit. Graphics in of themselves are not the reason the Mega Man series has been inconsistent in recent years. 16-bit can have classic gameplay, and would have been a better canvas to create more dynamic new levels and characters, as seen in the creative potential presented in Mega Man 7 and Mega Man & Bass (which felt more true to the Mega Man series than the 32-bit Mega Man 8). Such visuals might have made the game more inviting for newer gamers as well, and it still would have been relatively cost-effective to develop.

Along these same lines, this business of removing the Mega Buster and slide from the core game is debatable. Both of those elements allowed for additional stage obstacles and tactics in the past. True, as certain fans moan, perhaps they did make some challenges easier; but I would contend that they had became part of the fundamental definition and tradition of Classic Mega Man. If these two moves would have been included, they could have been retooled in various ways to maintain the "old-school challenge." As an example: Rush's usefulness has varied game to game, and thus most so-called "game-breaking" devices within a game's design can be limited to be more balanced with regard to fun factor and challenge. Keep in mind, I'm saying all this, and Mega Man 2 is perhaps my favorite Mega Man game.

Regardless of these potential shortcomings, there are some elements that were squarely nailed, such as the decision to make eight bosses selectable from the start again. While the 4 x 4 design of Mega Man 7 and Mega Man 8 was interesting, and allowed for some neat gameplay tricks, it limited a player's choices. (That said, as a consequence, the usefulness of the Robot Master weapons in Mega Man 9 seems to be limited to offensive and defensive usage once again, as opposed to altering the terrain as seen beginning with Mega Man 7). The music is another element that deserves mention, as it is part of Mega Man's identity and fame. This is a solid soundtrack. While some songs are only average, none are particularly hard on the ears, and tracks such as those used for Tornado Man's stage and the opening theme are instantly among the best of the best.

My final verdict on Mega Man 9 is still out, as I have not had the opportunity to play through it. It looks to be a lot of fun and definitely worth playing; however, as a longtime fan, and from what I have read and observed from interviews, images, and videos, it also feels like a missed opportunity. I hope to follow up this editorial with a full review in the future so that a more comprehensive look can be undertaken. In the meantime, while I respect what the creators were trying to do with this game, I believe this project could have been far more ambitious and rewarding to the long-awaited numeric addition of "9."

With any luck, there will be a "10" that can build from this entry more markedly. And, given the impressive sales numbers thus far, a tenth entry down the line appears to be a likely occurrence.

NOTE: The images and trademarks contained within this editorial article are the copyrighted property of their respective owners.

The Revolution was Televised (PART 2 of 2): Toonami's Broader TV Legacy

[Editorial: Anime!]

As noted in PART 1, from March 1997 to September 2008, Toonami inspired a generation through its positive philosophy and a fresh dose of creativity. However, with the end of this revolutionary action-cartoon block, I've noticed that most major animation news outlets have downplayed or even ignored Toonami's contributions to the rise of anime in the United States. It is as if it was thought of as just another kids television block that had no historical significance to the anime industry's gradual advances toward the mainstream. Even as I said the individual emotional and creative impact is what I believe will become Toonami's greatest legacy, I did mention that it was one achievement among many. At the time, I believed the latter point was well known. Though as this is seemingly not the case, I am now compelled to highlight here the other hallmarks of Toonami via the lens of its effect on anime in the US.

Toonami was not the first promoter of anime in the United States, nor was it the last. But it was the best. Harmony Gold's Robotech, Carl Macek's Streamline Pictures, and the Sci-Fi Channel's broadcasting of anime all helped to bring Japanese animation into the American consciousness. By the time Toonami came around in 1997, however, these outlets were either on hiatus, essentially defunct, or marginalized, and the visibility of anime was therefore limited. While new distribution companies like ADV Films and Funimation had started up, and Manga Video had made some waves with titles like the original Ghost in the Shell film, anime was niche at best. It certainly wasn't a common topic for classroom or playground banter. But something was about to change. Granted, Toonami was never meant to be an anime-only block (and it rarely was), but as it grew and evolved, it became the next anime revolution in America.

With the advent of Toonami, there was an afternoon reintroduction of popular anime-based programming that had made its way over US airwaves in the '80s, such as Voltron and Robotech. But that was just the beginning. In its second year, 1998, Toonami brought Sailor Moon and Dragon Ball Z (DBZ) to the block, and shot them to popularity. This accomplishment is significant, because both of these anime had aired on other networks a few years earlier and had been met with limited success. What was different? Toonami's marketing, packaging, and established afternoon slot. Toonami created custom promos, intros, and bumpers for shows that demonstrated the best of what a given title had to offer, while at the same time giving the viewer a basic insight into the overall story and atmosphere of a show. And while not necessarily as pronounced, Ronin Warriors--which had aired on Sci-Fi Channel in past years--continued this almost alchemic trend of turning a mediocre broadcast performance into gold when it gained more notoriety after reairing under the Toonami branding in 1999. With the Sci-Fi Channel and other pre-Toonami endeavors, anime was more well known for short "Original Video Animation" (OVA) series or one-shot movies. But Toonami was quickly creating a specialized five-day block format whereby the interconnected momentum of serialized TV anime series could be broadcast and followed with a greater sense of retention and comprehension, opening the doors to longer and more complex offerings than had generally been seen up to this point on US television.

When it came time to say goodbye to the '90s, Toonami was starting to hit its stride, and after its next acquisition, the block would take off not like a rocket, but like a hyperdrive engine.

"Gundam W. Spring 2000. Suit Up." These cryptic words flew across the screen with frenetic and detailed animation unlike anything ever before seen on afternoon TV for fifteen breathtaking seconds. After dropping its 1998 Anime Village label, Bandai Entertainment had started distributing more anime in America in 1999, but had yet to have significant success. When it brought Gundam Wing over, Toonami acquired it under a joint partnership, and the rest is history. Gundam Wing, unlike Voltron, Robotech, Sailor Moon, DBZ, and Ronin Warriors, was a mid-90s anime never before seen in the US, and had a modern aesthetic permeating it that immediately set it apart. Toonami would put together an epic two-minute promotional video for Gundam Wing after the initial fifteen-second teaser. This new trailer featuring the distinctive voice of Peter Cullen would become so popular, Bandai would later swap their own promotional materials out in favor of those developed by and for Toonami. Gundam Wing became a powerhouse, delivering sales for Bandai's newly released Gundam Wing model kits, toys, manga, and more.

After Gundam Wing, and with the continued success of shows like DBZ, it seemed that the sky was the limit for anime on US TV. Could this success of marketing anime have been matched on another network at the time? The simple answer: No. Fox Kids of Power Rangers fame tried it when they snatched Escaflowne away from Toonami, who was eyeing it for broadcast, in the Fall of 2000. Fox Kids' presentation of Escaflowne was heavily cut--the first episode was not even shown--and it was aired during an awkward Saturday timeslot, where it didn't even last a full run. Meanwhile, Toonami was pioneering new anime on TV with minimal cuts, and with its late-night extension, "The Midnight Run," it brought Gundam Wing completely uncut. Over the next eight years there would be a plethora of new anime premiering on the block: Blue Submarine #6, The Big-O, Mobile Suit Gundam 0079, Tenchi Muyo, Tenchi Universe, Tenchi in Tokyo, Cardcaptor Sakura, Dragon Ball, Zoids: New Century Zero, Gundam: The 08th MS Team, Gundam 0080: War in the Pocket, Mobile Fighter: G-Gundam, Zoids: Chaotic Century, .Hack//SIGN, Yu Yu Hakusho, Rurouni Kenshin, Cyborg 009, Dragon Ball GT, Gundam SEED, Naruto, and more.

Pushing the boundaries, Toonami respected the anime it brought to the block and tried to present them as intact as they could--and to as many audiences as they could--with the materials and standards given to them. This involved ingenuity at times to present shows that would have otherwise been too controversial. The "digital bikini" was invented to present female characters in key roles in anime that otherwise would have had scenes with partial nudity. Employed in anime like Tenchi, Outlaw Star, and Gundam: The 08th MS Team, this creative invention of unobtrusive censorship generally meant that a given scene and dialogue could play out without the awkward cuts and transitions seen in earlier anime-on-TV broadcasts. This was an expensive procedure, but proved Toonami's ambitious nature and regard for anime as it meant few, if any, episodes would have to be axed. As time went on, Toonami's Midnight Run block and marketing skills paved the way for Adult Swim's "Action" programming, which continues to this day and has broadcast uncut anime series and movie premieres such as Cowboy Bebop, Inu Yasha, Witch Hunter Robin, Wolf's Rain, Gundam: Char's Counterattack, Trigun, Full Metal Alchemist, Ghost in the Shell: Stand Alone Complex, Blood+, The BIG-O Season II, Moribito: Guardian of the Spirit, and Code Geass: Lelouch of the Rebellion.

Even beyond broadcasting anime, the ever-agile Toonami featured innovative special events, partnerships, and options that would forward anime's popularity in the US. Dragon Ball Z, Gundam Wing, and Naruto would each have special movie and OVA events aired in the afternoon. In 2000, Cartoon Network ran an entire day of Toonami dubbed "Full Cycle," featuring twenty-four hours of Toonami programming and therefore a lot of DBZ, Sailor Moon, and Gundam Wing. This would then lead to anime on Saturday mornings under the title of "The Rising Sun," meaning Toonami and anime were airing intermittently morning, noon, and night on Cartoon Network six days a week. In August 2001, portions of the Leiji Matsumoto anime made for French techno duo Daft Punk would air during a special music video edition of Toonami's Midnight Run. Later, in a tribute to the mecha genre, Toonami teamed with ADV Films in February of 2003 to run a week of giant robot anime, which included TV network premieres of Martian Successor Nadesico, Dai-Guard, and Neon Genesis Evangelion. At the same time, Toonami spearheaded the effort to produce the previously noted The BIG-O Season II, which eventually aired on Adult Swim. Further, in September of that year, Toonami was working on another joint venture as it teamed with Japanese animation studios Production I.G. and Bee Train for one of its famous TV/online interactive "Total Immersion Events." The result was the micro-series IGPX (Immortal Grand Prix), which later spawned the joint American/Japanese 26-episode production of IGPX: The Series in 2005. Finally, in 2005, as it had for DBZ and Gundam Wing before it, Toonami helped jump-start the Naruto craze in the US with its network broadcast premiere of the series and subsequent Naruto marathon events.

Toonami's "stunts," promotions, and existence traveled beyond the television, though, and into the brave new realm of cyberspace. On March 26, 2001, "Toonami Reactor" was one of the first and most dynamic ventures to legally broadcast anime on the internet with programs like Star Blazers, Patlabor, The Harlock Saga, and Record of Lodoss War. This was long before Youtube, Cruncyroll, and their ilk. In doing so, Toonami had a different philosophy whether it was broadcast on TV or online. It promoted a gradual release of titles and episodes, not a flood. This created anticipation and allowed one to fully enjoy what was being offered. On July 17, 2006, a partnership with VIZ signaled the relaunch of this online venture with the ongoing "Toonami Jetstream," which has shown anime such as Naruto, Prince of Tennis, MAR, Mega Man Star Force, and Pokemon.

Through the TV, through magazines, at movie theaters, at theme parks, at schools, and even on the internet with games, polls, video streaming, and informational databases, Toonami has called itself "the first and the best" action-cartoon block of its kind. But that could also be said about the anime featured on Toonami and its spin-off ventures, as many of them had a lasting impact. Even as networks like G4TV attempted anime blocks this decade with solid programming like RahXephon and Gungrave, they have been unable to capture Toonami's title of longevity, and have gone the way of the dinosaurs. Sci-Fi Channel has recently reentered the anime block business with "Ani-Mondays" and has excellent, promising modern anime to its name (Gurren Lagann and Gundam 00), but it still has a long way to go to beat Toonami's record, and even longer to match their packaging, marketing prowess, and legacy when it comes to anime programming.

Through each of the examples above, the bottom line is Toonami was a trailblazer for anime in the US. It put Japanese animation in a cohesive, accessible framework of hip science-fiction packaging alongside familiar Western toons and video game reviews, and wrapped it up tight and right with deep thoughts and digital beats (innovations in of themselves). This amazing combination gave anime the proper exposure it needed to get to where it is today--where anime is still on TV, on video and in print via manga on store shelves, and being mined by Hollywood for movie ideas.

While the anime industry in the US has seen its ups and downs, and is still not particularly mainstream, the fact that anime has entered the cultural consciousness and marketplace to the degree that it has this decade is in large part due to the groundwork Toonami laid down. Yes, Nintendo's work with Pokemon and other similar ventures had an effect, but Toonami planted a more diverse garden of influence. A clear, parting example of this: Funimation holds the largest share of the anime pie in the US today, but it might have gone nowhere if not for Toonami's revival of their stumbling DBZ franchise. If Funimation had not had that hit, it is unlikely it would have the capital and presence it has today, and the industry would have suffered as a whole. (And Funimation was not the only company to have a boon after a Toonami run).

All this and more is why Toonami was no ordinary cartoon block. Through its broadcasting achievements, it was a historic, cross-cultural TV phenomenon that helped forge an industry.

...The revolution was televised. (Kids Love it!) *Flash!*

NOTE: The images and trademarks contained within this editorial article are the copyrighted property of their respective owners.

The Revolution was Televised (PART 1 of 2): The Toonami Generation

[Editorial: Anime!]

March 17, 1997. Deep space. On the Ghost Planet, the decision was made to fire an experimental cannon. That afternoon, an unidentified object burst through Earth's atmosphere and blazed a luminous trail across the sky. Trying to control the frenzy sweeping the globe, authorities tracked down the UFO to its impact site at an undisclosed tropical location. Upon discovery, newspapers everywhere reported the object in question was a small sentient alien satellite developed by the off-world Ghost Planet Industries. Its name was Clyde 49, and it brought with it an intergalactic broadcast signal known only as TOONAMI.

In the Spring of '97, this was the opening to the Cartoon Network's newest action-cartoon block. Backed by bumping beats and related via CG visuals, this sixty-second opening was the beginning of a fantastic journey for many a young mind. While simply meant to be the latest stand-in for a line of action-cartoon program packaging, Toonami would transcend these humble origins and take on a life of its own no less astounding than the fictional sci-fi tale that introduced and surrounded the block. Sean Akins, Jason DeMarco, and a team of creative-driven individuals infused their interests and passions into the framework of the block, and under their guidance the block became something unlike anything else to this day. Toonami became a living, breathing community, where its CG broadcast station could come under attack, and the audience could help; where decisions on presentation and programming needed to be made, and the viewers could cast their vote; where its CG hosts could live, die, and be reborn; where artwork and interests could be shared on-air; and where positive idealism and creativity were encouraged and promoted for all.

Toonami was all these things and more.

After nearly twelve years of inspired international content, the final transmission of Cartoon Network's Toonami was broadcast on September 20, 2008. Yes, the experiment of Toonami may be remembered for its successful marketing of anime in America and its advancement of TV/online interactivity, but the highest achievement of Toonami was neither of these. Toonami wove a tapestry throughout the imaginative Eastern and Western animated worlds it presented on a daily basis, creating a cohesive visual narrative that was greater than the sum of its parts. The Eastern shows it presented alongside the Western programming, such as Gundam Wing, Outlaw Star, Blue Submarine #6, and Dragon Ball Z, challenged viewers with mature issues and content such as the politics of peace, the struggle for identity, humankind's integral relationship with nature, and the resiliency required to overcome life's many hurdles. The themes within these shows and others were echoed on the block during the CG host's interviews, music videos, and speeches on topics like Courage, Teamwork, Individuality, Teaching, Anger, Brains vs. Brawn, Heroes, Experience, and Dreams. While the block suffered from downsizing in its later years, Toonami's parting message, related through the final iteration of its host, TOM-4, was to "Stay gold." In other words, to keep your innocence, individuality, dreams, and a positive outlook close to your heart. As TOM-4 flew away into the galactic sunset of the last Toonami broadcast, the torch of carrying this message was passed on to those who grew up with Toonami, both new and old. In this, potentially, is the definition of the block's greatest achievement and future legacy: the birth of the Toonami Generation.

The core of the Toonami Generation is comprised primarily of individuals from Generation Y (born roughly between 1982-1994). A segment of this generation was at a young, impressionable age when Toonami arrived, and the block became a centerpiece of entertainment and broadening horizons for them, particularly between 1997 and 2001. Toonami, which playfully called itself "a revolution," sowed the seeds of strength and change in many young minds. Go to any Toonami online fan community today, and you will see stories of how the block got individuals through tough times--such as a death in the family; or how it gave them courage to be themselves when support was lacking; and, of course, how it inspired them creatively to pursue various artistic and academic endeavors. Even with its ups and downs, Toonami was a hip, positive constant throughout all of the rapid changes occurring on the world stage. It was a place where creativity and dreams lived, and lived to the fullest vibrancy; a daily (later weekly) event to look forward to and a place to hang out after school; and also a common conversation starter and an agent of beginning dialogues about larger issues.

From Clyde 49 and Moltar on the Ghost Planet to TOM and SARA on the intergalactic broadcasting vessel the Absolution to Flash and D on a new planetary base station, Toonami was a phenomenon. What other TV cartoon block was advertised in schools, movie theaters, and theme parks, had its own soundtrack, and had so much of an effect on the anime and cartoon broadcasting industry in the United States? Yet despite all of these amazing credits to its creative vision, I contend that the fruit of its greatest contribution is still to come. If Toonami's viewers can "stay gold," a creative revival may eventually flourish, where reality and dreams coexist, spreading hope and confidence to all. Toonami promoted creativity and dreams to pre-teens, teens, and young adults even as creativity and dreams were overshadowed and increasingly frowned upon. Now, the torch has been passed. And now the Toonami Generation must rise and carry creativity to the next generation in their own way. Will the call ultimately be answered? Stay tuned.

...The revolution was televised. (Kids Love it!) *Flash!*
NOTE: The images and trademarks contained within this editorial article are the copyrighted property of their respective owners.

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