Kenya Boy – A Cinematic Masterpiece of WTF
And so begins the odyssey of WTF that is Kenya Boy . . .
I wish I had the time to give this movie the exhaustive treatment it deserves, but unfortunately, it is not to be. However, I will take the time to outline some of my favorite aspects of this amazingly bizarre movie, while leaving a few secrets for you fine viewers to discover should you take the time to watch it. And you should! This is one fucking crazy ass movie.
First, though, the basic story of Kenya Boy is that this kid, Wataru, and his family are in Africa just before the Japanese officially enter World War II. Wataru and his father go into hiding because the British will be like, “WE MUST KILL ALL ORIENTALS” and somewhere along the way, Wataru and his father become separated. The movie is about Wataru’s search for his father over the course of several years . . . along with all sorts of other craziness.
(P.S. There’s a second page for all you lazy fucks who don’t actually go to blogs themselves to read posts.)
1. Randomly shifting art styles: It’s like this was directed and animated by Natural Born Killers-era Oliver Stone, except without any semblance of a plan or reason. I can’t even really explain the art shifts, so it’s better to show off screenshots. Here they are!
You’ve got pencil sketching . . .
Normal anime style . . .
Black and white scenes with single characters colored in . . .
Soft watercolor type scenes . . .
Characters switching, um, skin color . . . (I’ll get back to this later, and by the way, this is NOT a mistake, as I will explain later.)
Bizarre squished camera angles . . .
Psychedelic craziness . . .
And there’s more than that, but you get the idea by now. Kenya Boy is a kaleidoscope of art styles, and you don’t go more than a few minutes without the animators trying something strange. I guess they got bored somewhere along the way, said “Meh, fuck it” and did whatever the hell they wanted. It’s not boring to look at, at least!
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