The two Patlabor movies directed by Mamoru Oshii are landmarks in anime history. Even without considering their intrinsic artistic qualities, their importance for the development of the aesthetics and techniques of Japanese animation cannot be overstated. Major works in the post-Akira landscape, they played a key role in the maturation of realist animation and contributed to introduce capital players such as studio Production IG, director Satoshi Kon, or animators Kazuchika Kise and Hiroyuki Okiura. And that is not all, as they were also central for the development of 3DCG animation and the spread of the modern layout system, which thoroughly changed animation craft. In other words, they are essential works in order to understand Japanese animation of the last 30 years.
While the initial reception has been relatively subdued, many will no doubt look back on Heike Monogatari both for what it is and for what it represents; a significant work of animated cinema which marks a new beginning in director Naoko Yamada’s career. While the complex realities of the show’s production certainly merit critical attention, what most interests me about Heike Monogatari is not its place in the history of Japanese animation but the way it uses the medium of animated cinema to present us with a living image of history itself.