Karas (anime)

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Karas
Box cover art of Karas — The Complete Collection
鴉 －KARAS－
(Karasu)
Genre
Created byTatsunoko Planning Office
Tatsunoko VCR
Licensed by
Released March 25, 2005 – August 3, 2007
Runtime30 minutes
Episodes6

Karas (

feature length
, direct-to-DVD films for the English market.

Karas tells the story of Yousuke Otoha, a former yakuza, living in a fictional version of Shinjuku, Tokyo populated by humans and yōkai (Japanese spirits). He is one of the titular karas, humans appointed as superpowered agents of the land. Able to transform into a car, an aircraft, and an armored crusader; the skilled swordsman is to stop his corrupt predecessor, Eko, from taking over Tokyo. Supporting characters such as Eko's former henchman, Nue; the yōkai; and Homura, the karas of another city, help Otoha in his quest. A concurrent side story focuses on humans affected by Eko's scheme.

Karas won the Best Original Video at the 2006 Tokyo Anime Award competition, and most reviewers were impressed with the images produced by fusing 2D and 3D art techniques. The story presents themes on the conflicts between cultural traditions and modern society, and the relationship between people. Reviewers, however, found its presentation was too confusing to follow; several of them felt it worsened the show by detracting from the strength of its art.

Plot

Ibira initially pictured Karas as a

expositions. Dialogue tends to be short and viewers have to infer what is going on based on very little presented information.[9] The team had left out substantial amounts of information from the show, printing them in a booklet of the final DVD package.[10]

Setting

Karas is set in a fictional version of

Shōwa period.[12][13] This Shinjuku is populated by humans and Japanese folklore spirits, yōkai. The humans have become indifferent to the yōkai's presence, and fail to see them as they go about their lives.[14]

The production team envisioned Japanese cities as entities, who require physical agents to execute their will and regulate the activities within them. The concept behind the health of a city is based on

five major organs. Following the team's vision, the mikuras (evil yōkai) represent the five elements in this system. This idea forms the basis of the relationship between cities and their inhabitants in the show.[10]

Story

The main plot centers around the confrontation between Otoha and Eko. After a cold open that announces Eko's plan to remake Tokyo, the story moves ahead three years. Nue arrives in Shinjuku to free his brother from Eko's hold, while Otoha is in a hospital from heavy injuries.[15] The early parts of the show proceed in a "mikura of the week" fashion as Otoha (as a karas) and Nue separately fight against Eko's minions.[5][6] When the mikuras attack hospitals across the ward to locate Otoha's body, Otoha and Nue work together but when they separate Otoha's Yurine is abducted and he is deprived from the power to turn into a karas. Nue then goes to Eko's base, where Eko kills Yurine and reveals capturing Nue completes the final part of his plan. Meanwhile, Otoha gets into a yakuza fight only to be rescued by Homura, another city's karas. When Eko launches the last stage of his plan and ravages Tokyo with metal tentacles, Otoha ends up among human refugees in a shelter the chief of police had commissioned.

A side story takes place within the main plot, focusing on the humans affected by the ongoing events. Sagisaka Minoru and Narumi Kure are detectives in Shinjuku's Intervention Department who investigate serial murders for supernatural evidence.[16][17] Mikuras kill and suck the blood of these victims to replenish their strength,[17] but no one except Sagisaka seriously believes in supernatural involvement. Sagisaka is bent on vindicating his daughter, Yoshiko who has been committed to a psychiatric hospital for claiming a mikura committed the mass murder she had survived.[14] Sagisaka's and Kure's investigation brings them to the survivor of another attack, Hinaru (ヒナル). Director Sato had created her to represent the best qualities of rural migrants looking for better opportunities in the big cities.[18] When Eko starts the last part of his plan; Kure, Hinaru, and the Sagisaka arrive in the shelter Otoha is in.

The chief of police reveals himself as Ushi-oni and starts eating the humans trapped in the shelter. Sagisaka sacrifices himself to push his daughter away from Ushi-oni's attack. Otoha confronts and, in a climatic sequence, his conviction resurrects his Yurine,[19] which restores Otoha as a karas and he slays Ushi-oni. While karas from other cities observe the showdown between Otoha and Eko, Homura steps in to help Otoha. Otoha carries out Nue's request to kill him and his brother, depriving Eko of his new power source and stopping his entire scheme.[20] Confronting the depowered Eko on equal terms, Otoha finally defeats him. Eko claims Otoha will understand his reasons after 400 years as a karas. Despite defending his human body and Yurine from soldiers ordered by the Deputy Governor to shoot them, Otoha proclaims himself as Tokyo's appointed agent, who will protect all its inhabitants. While Hinaru stays behind in Shinjuku as it is being rebuilt, Kure and Yoshiko have had enough and leave for the countryside.

In a post-credits scene, Eko's boot is found by an unknown character.

Characters

[Just as New York City has Spider-Man, and Gotham City has Batman], it's about time for Japan to have its own local hero.[21][a]

Keiichi Sato, director

The production team intended Karas to be more than a mere henshin (transforming) hero. Unlike the vengeful

the Crow and Batman".[22]

Karas is the

catgirls.[4]

Otoha Yosuke (乙羽 陽介, Otoha Yosuke) is the protagonist of Karas. Yoshida wrote out Otoha Yosuke as a character dark in history and actions, breaking the traditional mold of a Japanese hero. He based his idea on his observation of Shinjuku, questioning what sort of a hero a ward exuding an aura of terror and happiness would produce.

back-story states him as suffering from congenital insensitivity to pain which lends the character a merciless reputation as his brother's enforcer.[15] The initial concept of Otoha was much darker, casting him as a serial killer who hunts down mikuras to retrieve his lover's body parts.[4][25] This was the first project that Sohkoh Wada (和田 聰宏, Wada Sōkō) worked on.[11]

The main

antagonist to Otoha is Eko Hoshunin (鳳春院 廻向, Hōshun'in Ekō). His back-story states he was the Karas of Tokyo since the Edo period.[13] In events before the start of the show, Eko turned his back on his duties and started a plan to revitalize the city and its yōkai. He attracted several yōkai to be his cybernetic followers and intended to subjugate the humans. An Oedipus complex forms the basis for his motive. He views Tokyo as a father figure, and his Yurine as a mother figure; and aims to supplant the city's role in this relationship.[10] Eko was a nameless character in the initial draft and known as "Another Karas" with a different appearance, although his prosthetic left leg is retained for the final version.[25]

Mikura (御座) are yōkai who became Eko's

Suiko the Kappa and Nue look like robotic versions of their illustrated forms. Sato, however, was dissatisfied with two of Andō's designs, and redesigned them based on the concept behind the yōkai instead of on their appearance. The ghostly head in a flaming wheel, Wanyūdō became a heavily armed skull-on-wheels; and the bull-headed spider, Ushi-oni became a big-mouth, bug-eye, hungry-for-humans predator.[26]

Themes

The show explores the relationship between technology and cultural traditions by

modernization. Electrical and gas lighting made light of these tales born from fear of darkness. The production team explained yōkai represent the city's culture and functions, and their strengths are inversely proportional to the level of technology of society. As society grows more advanced, the yōkai and the functions of the city they represent weaken. The mikuras symbolize the five elements of Taoism. They turned to technology and became cyborgs to regain the strength to support the city. When a mikura dies, the city suffers a heavy loss of function associated with the element it represents; the water level of Tokyo fell after the death of Suiko the kappa (water-based mikura). This theme implies a vibrant city requires a healthy mix of technology and culture.[10]

Humans do not see yōkai just because they believe in them. Rather it is when yōkai trust humans and show themselves that their existence is believed in. This relationship is not just between humans and yōkai, but should be between humans as well.[27][28]

Karas committee, Tatsunoko Production

Another main theme is regarding the "yōkai's choice".[12] As agents of the city, the two karas represent different paths for the good of the city. The yōkai have to make a choice to support one of them. By following Eko, the humans are enslaved, and the presence of the yōkai will be imposed on them. By standing behind Otoha, the yōkai accept their lot and continue trying to live with the humans. Using the yōkai-human relationship as an analogy for human-human interaction, the team suggested people should be open and make the move, instead of passively staying in the background hoping for results.[27] Ibira applied this to decision making, saying when faced with difficult choices, one should make a decision instead of hoping for others to make it for them.[18]

Production

Director Sato envisioned a dark hero when he presented these concept art to Tatsunoko Production.

Founded in 1962,

Space Ace in 1965.[29] Keiichi Sato joined the company as the project director after he pitched its concept of a life-sized dark hero to the management.[30] He researched production and direction techniques from kabuki, a form of traditional Japanese theater; and Japanese staged sword fights as materials for the project. Choreographed sword fights rendered with 3D animation were rare at that time, and Sato felt this would help distinguish the show.[12] The use of theatrical elements and movie shooting techniques in its presentation sets Karas apart from its contemporaries. Producer Kenji Nakamura felt the team's lack of experience in this area pushed them to ignore their previous animation work experience and break free of restrictions influenced by traditional animation production.[31]

The Japanese animation industry traditionally drew every film cel by hand.[30] This is labor-intensive and inefficient; the cels are generally non-reusable, and errors are difficult to correct. This method is called the 2D approach due to the conception of the source images in only two dimensions. The use of computers and graphics software introduced computer graphics (CG) into the industry. This reduced waste; animators can reuse digital cels to correct errors and make changes. Increasing computer power spread the use of three-dimensional graphics software to create 3D models and environments, and render them as 2D images. This 3D approach requires more resources to create the 3D models, but production teams can correct errors or remake film sequences much faster than the traditional 2D approach. The 2D-3D hybrid approach in Karas was due to budget and aesthetic concerns. The 2D approach allowed greater artistic details and creativity, and the 3D approach could save resources.[30] Sato, however, disapproved the common notion of using the 3D approach for economic concern. He pushed the team to enhance image quality with detailed CG. He was also dissatisfied with computer lighting effects, and ordered the animators to draw them by hand.[32] Due to the bright colors of the original cels, they darkened the images and concentrated on areas where shadows should be, leaving untouched the areas where light falls on.[33]

In the typical CG approach, the duties of 2D and 3D artists are distinct. The 2D artists think up and sketch out the characters' appearances; the 3D artists create the models based on these concept sketches. For Karas, these artists worked together in these areas to create the imagery seen in the show.

long shots and drawing only close-ups by hand. The team working on Karas, however, drew silhouettes for long shots and created complicated CG for close-ups.[36] The 3D animators used 3D texture software, BodyPaint 3D, to refine textures for the mikura and karas models, creating seamless details on them.[37]

CG

gim for other scenes.[24] The animation team drew frames interpolating the motion between key frames by hand, and digitally interpolated those frames to create slow motion sequences. Editing teams in the industry normally time stretch the sequence with repeated still frames to produce these shots.[30] Ibira reflected that typical 30-minute anime episodes consist of approximately 300 key frames. The first episode of Karas, however, consisted of approximately 700 key frames.[39]

Composer Yoshihiro Ike was influenced by the atmosphere of Prague in choosing its symphony orchestra.

dubbed version of the first episode.[40] He composed most of his music as he watched the pre-dubbed episodes to synchronize their tempo and dynamics with the action in the show.[41] He chose Prague Symphony Orchestra to perform the main theme because he felt the background of their city and its people suited the character of Karas.[42][43] Other departments also took extraordinary measures in producing the show. The sound crew procured a Nissan Skyline GT-R and recorded its engine noise for several runs. These were used for the tunnel chase scenes which involved a hand-drawn 1972–77 Skyline.[44] The editing team took the additional step of editing cels post-voice recording to ensure lip movements were in synch with the voices.[31] These extra work and the hybrid 2D-3D approach inflated the budget of the production to three times the usual amount spent on an original video animation.[45]

Media information

No. Episode title First airing
English Japanese
1 Overture The Karas Awakens (鴉開眼, Karasu Kaigan) 2005-03-25
2 Inferno The Flaming Wheels (火炎輪, Kaenwa) 2005-08-12
3 Revive The Destruction Awakes (滅 覚醒, Metsu Kakusei) 2005-10-21
4 Sacrifice The Human Otoha (人 乙羽, Hito Otoha) 2007-06-22
5 Engage The Illusion of a District (幻想区, Gensōku) 2007-08-03
6 Existence The True Legend (真 伝説, Shin Densetsu) 2007-08-03

The Japanese episodes initially broadcast one after the other over the dedicated

subtitles) released Karas as six single-DVD packages in their regions. The collectors' editions feature a hardcover book showing the storyboard
for the episode.

Manga Entertainment released the English DVD edition of Karas as two eighty-five-minute

audio CD. Dark Horse Comics produced a one-shot comic which went on sale, and is given free with collectors' editions and The Prophecy. The story written by Phil Amara, author of the comic Sky Ape, is an adaptation of the story in episode one.[6][8]

Reception

Many reviewers praised the presentation of the fights in Karas.

Karas impressed its reviewers with its animated imagery. Mania Entertainment affirmed its lush imagery was enough to hook viewers, and certain 2D-3D scenes matched photorealistic standards. They felt Karas could rival or beat live-action films in the visual department.[5][14][49] DVD Talk commented they saw evidence a lot of effort went into merging the 2D and 3D animations. They, however, felt setting the scenes in darkness and obscuring points of interest with smoke or other effects marred the high quality imagery.[50] Anime News Network stated the richly detailed images; fast moving action scenes; and visual effects of collapsing buildings, explosions, and blood made Karas one of the best action animation.[47] Reviewers praised the fight scenes between the CG generated karas and mikuras, declaring them realistic, tasteful and stunning.[8][17][51] DVD Talk, however, complained the camera jerked and moved all over the place never showing fights cleanly.[50] Mania stated the fights in the later half failed to match those in the first half in terms of beauty, intensity, and variety; the overlaying of characters' face onto their armored forms in the finale detracted from their viewing experience.[15]

Ike's music for Karas impressed reviewers. Anime News Network stated his long scores set the mood in the scenes with their tone, enhancing the reviewers' watching experience.[47] Prague Symphony Orchestra's performance of the main theme impressed more reviewers who claimed it brought out the heroic essence of Karas with a sense of power and drama, and enhanced the impact of the quick and intense battles.[14][17]

Karas, however, suffered the worst criticisms for its story. Many reviewers and even the voice actors could not follow its dialogue and presentation.[51][52][53] Other reviewers felt the abstract presentation forced viewers who wanted to understand the story, to pay extreme attention to the scant details presented in the show.[5][9][50] Reelfilm and DVD Verdict were more critical, stating the viewer should not have to resort to reading summaries on the packaging to make sense of a story populated with incoherent battles and characters hard to tell apart from.[8][54][55]

The viewers' confused reaction to their story based on the first half, disappointed and frustrated Sato and Ibira. Sato explained the first two episodes were to capture the viewers' attention, and remaining episodes would reveal greater details of the story.[39] Mania complained this franchising tactic is a poor excuse for initial episodes lacking substance.[14] They said although the later half answered much of the questions raised in the first, it created unanswered questions of its own.[14] IGN and DVD Talk felt the story was darker and flowed better in the later half than the first,[56] but IGN felt the revelation of details came too late in the show.[51] DVD Verdict felt the story was pointless. Despite the protagonist reaffirming himself as a protector of the city, his showdown with the antagonist reduced most of Shinjuku to ruins.[55] Reviewers found if they stripped the plot to its basics, it is a shallow good-versus-evil story made complex by its presentation in the first half.[49][50] They, however, appreciated the surprising deaths of certain characters whose sacrifice in vain rendered a poignant emotion at that point of story.[15][56]

Reviewers felt part of the failings laid with the underdeveloped characters despite them being slightly different from usual anime

background of some characters. They felt the revelations fleshed out Otoha's personality and motivation, helping viewers to sympathize and identify with the protagonist.[55][56]

Overall, reviewers are mixed in their final assessment of Karas. Their common reaction is of a visually stunning show with a confusing story. DVD Talk commented the blending of traditional 2D drawings and 3D CG was interesting; but with a lacking story, the product is a "triumph of style over substance".[9] In spite of the criticisms, Karas won Best Original Video at the 2006 Tokyo Anime Award competition,[57] and was one of United States' top 10 best selling anime titles in 2006.[58]

Notes

  1. ^ Original text: 志田伸：「紐約有蜘蛛人，高登市則有蝙蝠俠，像這樣在美國的特定市中都有本土的英雄存在，但是日本卻幾乎沒有，於是監督說：「既然這樣，差不多也該在日本出現一個本土英雄吧。」」

References

  • Tatsunoko Production (2005-10-21). Karas Vol. 1 (DVD, 説一) in (in Chinese). Taiwan: Proware Multimedia International.
  • Tatsunoko Production (2006-01-09). Karas Vol. 2 (DVD, 説二) in (in Chinese). Taiwan: Proware Multimedia International.
  • Tatsunoko Production (2006-03-01). Karas Vol. 3 (DVD, 説三) in (in Chinese). Taiwan: Proware Multimedia International.
  • Tatsunoko Production (2007-12-11). Karas Vol. 4 (DVD, 説四) in (in Chinese). Taiwan: Proware Multimedia International.
  • Tatsunoko Production (2007-12-11). Karas Vol. 5 (DVD, 説五) in (in Chinese). Taiwan: Proware Multimedia International.
  • Tatsunoko Production (2007-12-11). Karas Vol. 6 (DVD, 説六) in (in Chinese). Taiwan: Proware Multimedia International.
  • Tatsunoko Production (2007-10-22). Karas: The Revelation (DVD). United States: Manga Entertainment. UPC 013138203991.
  1. About.com. Archived from the original
    on November 11, 2007. Retrieved June 26, 2020. Manga Entertainment announced the voice actors for Karas, the newest cyber-punk thriller to come to DVD.
  2. ^ Ellingwood, Holly (October 19, 2007). "Karas Vol. 2 The Revelation (Advance Review)". activeAnime. Archived from the original on December 19, 2016. Retrieved June 26, 2020. The fight of humanity for survival, the depths of its corruption, and the hope for its salvation lie within this dark anime fantasy.
  3. ^ Ross, Carlos. "Karas". T.H.E.M. Anime Reviews. Retrieved June 26, 2020.
  4. ^ a b c d e f Karas Vol. 3 (DVD), Project K.
  5. ^ a b c d Bryan Morton (2008-02-11). "Karas Vol. #1". AnimeOnDVD.com. Archived from the original on 2012-05-27. Retrieved 2008-02-13.
  6. ^ a b c R. L. Shaffer (n.d.). "Karas: The Prophecy (2005)". DVDFuture.com. Archived from the original on 2007-10-13. Retrieved 2008-02-13.
  7. ^ Karas Vol. 2 (DVD), Project K.
  8. ^ a b c d Dan Mancini (2006-04-25). "Case Number 09128 — Karas: The Prophecy". DVD Verdict. Retrieved 2008-02-13.
  9. ^ a b c d Don Houston (2006-04-13). "Karas: The Prophecy". DVD Talk. Retrieved 2008-02-13.
  10. ^ a b c d e f Karas Vol. 6 (説六), 鴉辭典, pp. 9–10.
  11. ^ a b AV Watch editorial staff (2005-02-08). "タツノコプロ、40周年記念OVA「鴉 -KARAS-」を発表－国民的美少女や和田聡宏、鈴木かすみが声優に初挑戦" (in Japanese). AV Watch. Archived from the original on 2008-02-22. Retrieved 2008-02-13.
  12. ^ a b c Karas Vol. 2 (説二), Staff Interview — 01 Keiichi Sato, p. 6
  13. ^
    ISSN 1541-4817
    .
  14. ^ a b c d e f g h Brett Barkley (2006-04-26). "Karas Vol. #1". AnimeOnDVD.com. Archived from the original on 2012-05-27. Retrieved 2008-02-13.
  15. ^ a b c d Brett Barkley (2007-11-09). "Karas Vol. #2". Mania.com. Archived from the original on 2009-02-14. Retrieved 2008-02-13.
  16. ^ Mullin, Jeremy (2006-04-14). "Karas: The Prophecy". IGN. Retrieved 2008-02-13.
  17. ^ a b c d Cowgill, Stephen (2006-04-21). "Karas: Part 1 — The Prophecy". DVDActive. Retrieved 2008-02-13.
  18. ^ a b c Karas Vol. 6 (DVD), Project K.
  19. ^ Karas: The Revelation. Event occurs at 0:52.50. "Homura's Yurine: A Yurine is about to be born. [...] It is happening. Watch closely. The will of the city is born through a human soul, one that is right for that city"
  20. ^ Karas: The Revelation. Event occurs at 1:10.30. "Nue: I need you to do me a favor. You're gonna have to kill me with that sword of yours. [...] This is the only way we can stop my younger brother. Please you've got to do it now, or Eko will become even more powerful."
  21. ^ a b c Karas Vol. 2 (説二), Staff Interview — 05 Shin Yoshida, p. 8.
  22. ^ "Karas: The Revelation". Mania.com. 2007-10-04. Archived from the original on 2009-02-14. Retrieved 2013-11-14.
  23. ^ Tatsunoko Production staff (2007-12-11). "Visual". 説四. Karas (in Chinese (Taiwan)). Taiwan: Proware Multimedia International. p. 14.
  24. ^ a b Karas Vol. 6 (説六), Interview — Keiichi Sato, p. 14.
  25. ^ a b Karas Vol. 6 (説六), 祕初期企畫書, pp. 11–12.
  26. ^ Karas Vol. 5 (DVD), 美術設定資料Gallery.
  27. ^ a b Karas Vol. 6 (説六), Playback, pp. 3–6.
  28. ^ Original text (in Chinese): 並非是只有相信妖怪的人才能看到，而是因為妖怪相信人們以才現身=存在的確認。不只是妖怪和人們的關係是這樣，人與人的關係應該也是如此。
  29. ^ Karas Vol. 1 (説一), 主要的龍之子・變身英雄列傳, p. 6.
  30. ^ a b c d Karas Vol. 5 (説五), Interview — Keiichi Sato, pp. 13–14.
  31. ^ a b Karas Vol. 2 (説二), Staff Interview — 02 Kenji Nakamura, p. 7
  32. ^ Karas Vol. 2 (DVD), Making of Karas.
  33. ^ Karas Vol. 6 (DVD), Making of Karas.
  34. ^ Tatsunoko Production staff (2005). "＃1 CGチーフアニメーター／しらいしわたる" (in Japanese). Tatsunoko Production. Retrieved 2008-02-13.
  35. ^ Karas Vol. 4 (DVD), Making of Karas.
  36. ^ a b c Karas Vol. 2 (説二), Staff Interview — 08 Takashi Hashimoto, p. 10
  37. ^ Maxon staff (2007). "2D/3Dハイブリッドアニメーション「鴉 −KARAS-」のテクスチャ作成で、BodyPaint 3Dが使用される。" (in Japanese). Maxon. Archived from the original on 2007-10-18. Retrieved 2008-02-13.
  38. ^ Karas Vol. 2 (説二), Staff Interview — 04 Takayuki Chiba, p. 8.
  39. ^ a b Karas Vol. 4 (DVD), Project K.
  40. ^ a b Karas Vol. 2 (説二), Staff Interview — 12 Yoshihiro Ike, p. 11
  41. ^ a b Karas Vol. 5 (DVD), Project K.
  42. ^ Karas Vol. 1 (DVD), Karas in Prague.
  43. JAN
    4988001923992.
  44. ^ Karas Vol. 3 (DVD), Making of Karas.
  45. ^ Cinema Topics Online staff (2006-06-02). "HMV タツノコプロ40周年記念フェアFEATURING 「KARAS」トークイベントを開催!" (in Japanese). Cinema Topics Online. Retrieved 2008-02-13.
  46. ^ Pay Per View Japan staff (2005-02-08). "Perfect Choice 【 アニメ | タツノコプロ４０周年記念作品 鴉－KARAS－ 】" (in Japanese). Pay Per View Japan. Archived from the original on 2007-08-20. Retrieved 2008-04-02.
  47. ^ a b c Theron Martin (2007-10-31). "Karas: The Revelation". Anime News Network. Retrieved 2008-02-13.
  48. About.com. Archived from the original
    on 2007-12-23. Retrieved 2008-03-05.
  49. ^ a b Bryan Morton (2008-02-12). "Karas Vol. #2". AnimeOnDVD.com. Archived from the original on 2012-05-27. Retrieved 2008-02-13.
  50. ^ a b c d e f John Sinnott (2006-04-12). "Karas: The Prophecy". DVD Talk. Retrieved 2008-02-13.
  51. ^ a b c Jeffrey Harris (2007-11-19). "Karas: The Revelation DVD Review". IGN. Retrieved 2008-02-13.
  52. ^ Karas Vol. 2 (DVD), Cast Interview — Takahiro Sakurai.
  53. ^ Karas Vol. 3 (DVD), Cast Interview — Keiji Fujiwara.
  54. ^ David Nusair (2006-04-29). "Karas: The Prophecy". Reel Film Reviews. Retrieved 2008-02-13.
  55. ^ a b c d e Joel Pearce (2008-01-11). "Case Number 12733 — Karas: The Revelation". DVD Verdict. Archived from the original on 2008-01-17. Retrieved 2008-02-13.
  56. ^ a b c John Sinnott (2007-11-11). "Karas — The Revelation". DVD Talk. Retrieved 2008-02-13.
  57. ^ "Tokyo Anime Fair: Award Winners". Anime News Network. 2006-03-27. Retrieved 2015-11-05.
  58. ^ Anime News Network staff (2006-06-14). "Top Selling Anime Releases of 2006". Anime News Network. Retrieved 2008-02-13.

External links

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