Or: Probably the Only Time You’ll See Hayao Miyazaki Compared to Frank Miller
Spring season is finally bringing us a new installment of Lupin III, dear readers. As much as I adore The Woman Called Fujiko Mine (and I do, emphatically), it was quite the departure for the series’ established MO – a contained, stylish thought experiment and deliberate period piece rather than a fast-and-loose adventure story with a consistent core cast. Meanwhile, the new “Blue Jacket” (premiere date undetermined at time of writing outside of the general spring 2015 timeline) seems set not only on returning to the adventure of the week formula but in finally updating the thief to the modern day – and I’ll be particularly interested in seeing how deep that goes. Annual Lupin specials might have had modern tech interludes (who can forget the oddity of Goemon using an iPhone), but the character writing has never really felt like it left the 70s.
In fact, while I’ll fight for the highest caliber entries of the franchise’s status as timeless classics, it can be really tough to sell a modern anime fan on getting into Lupin. Part of that’s the age (particularly in the art style), but beyond that I hear over and over again that the amount of content is just overwhelming. We’re talking over 40 years of animation, after all. And it’s not always evident from the outside how loose the continuity between series is – not to mention the many, many different tones and takes over the years, meaning there can be different “best starting places” for everyone. But I think I’ve finally got a way to explain it to people: Lupin III is like Batman.
Not the go-to comparison (that’s usually, off the cuff, “James Bond meets Bugs Bunny”), but it works. Trust me, I can prove it.