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Satoshi Kon: The Illusionist Paperback – December 1, 2009

4.5 out of 5 stars 4 customer reviews

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Editorial Reviews

About the Author

Andrew Osmond is a British freelance film reviewer and journalist who was one of the "Akira generation" of anime fans. He has been writing about cartoons and anime for ten years, and has interviewed numerous anime professionals, including Satoshi Kon. His articles and reviews have appeared in Animerica, Total Anime, Neo, Manga Max, SFX, Sight and Sound, Empire and more.
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Product Details

  • Paperback: 128 pages
  • Publisher: Stone Bridge Press (December 1, 2009)
  • Language: English
  • ISBN-10: 1933330740
  • ISBN-13: 978-1933330747
  • Product Dimensions: 7.1 x 0.4 x 9.1 inches
  • Shipping Weight: 11.2 ounces (View shipping rates and policies)
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Best Sellers Rank: #806,908 in Books (See Top 100 in Books)

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By Amazon Customer VINE VOICE on March 14, 2010
Format: Paperback Verified Purchase
Satoshi Kon is easily one of my favorite filmmakers. He's one of the rare types that can tell any style of story and make it uniquely his.

Andrew Osmond's book The Illusionist details this one of a kind filmmaker and his works.

If you're not familiar with Kon's work you may want to rent some before reading, since much of this book is simply an in-depth dissection of his stories.

The book is broken into 6 parts- one for Kon's early life and career and one for each of his films and TV series. Each work has a brief summary, a plot breakdown, a more detailed analysis and a sidebar of interesting facts.

Personally, I would have liked more insight into Kon himself and less plot breakdowns of his films, all of which I've seen multiple times. There's not much of a point in this book catering to anyone but established fans, so you might as well not talk much about things people already know

I at least would like to have seen pictures of Kon's actual drawings rather than just screen-caps and promo stills.

I will say the book prompted me to rewatch Millennium Actress for the first time in quite a while as well as try to purchase the now hard to come by DVDs of Paranoia Agent. So even though I would have liked to see this book done differently, it has made me better appreciate one of my favorite filmmakers. So if you're already a big fan of Satoshi Kon, this book may be right up your alley.
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Format: Paperback
Satoshi Kon is somewhat of a rarity these days: a touted maker of anime who is also a respected filmmaker. Although his first major release in the US was 2007's "Paprika", he made three prior films: "Perfect Blue", "Millennium Actress", and "Tokyo Godfathers", as well as the 13-episode TV series "Paranoia Agent." All of them are different, and all of them are complex, but they are all undeniably Kon's.

In this book, Andrew Osmond has done a fine job getting under the surface of these works. He devotes a chapter to each, examining its origins, followed by a plot synopsis and critical analysis. Each chapter also features sidebars full of additional interesting information; kind of like an extra commentary track. The book is full of quotes from Kon himself, taken from many sources, including interviews conducted by Osmond. Osmond also includes a brief biography of Kon, and chronicles his rise through the anime industry (this bit is also an interesting look at the industry itself). This book isn't a superficial highlight reel, but a serious and critical study of the psychology and history of Kon and his work.

Osmond has obviously done his homework, making comparisons to characters and trends spanning all five of Kon's releases, as well as other anime. He has a clear understanding of what Kon is trying to say, and communicates his observations and theories in easy-to-follow, entertaining prose. While Osmond is clearly a fan of Kon and his work, he has no problem pointing out what he considers to be inconsistencies or shortcomings. He keeps his analysis objective, which makes it all the more valuable. The book is also quite up-to-date, mentioning Kon's next project, "The Dream Machine", currently scheduled for a 2010 release.
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the loss of Satoshi Kon from the anime ranks is felt deeply- though Makato Shinkai is looked upon as a spiritual successor he is not quite the same. This book helps bring some elements in perspective. I would like to see Paranoia Agent finally get a re-release- but hey - that's the problem with copyright- the owner dies and the last copyright holding company is out of business and we are left losing out on a masterpiece work.

his last work - dreaming machine will probably never be published- though one of his coworkers promised to - not enough was done prior to Satoshi Kon's death-i am afraid if we see anything it will be an unfinished work- and we will be left wondering where he would have taken us if he was still alive
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Format: Paperback
This book includes an introduction, as well as a chapter about Satoshi Kon as a person that includes quotes by Satoshi Kon from interviews that Andrew Osmond had conducted with him. There are also chapters for each work that Satoshi Kon directed, a postscript, a filmography that lists the personnel for each work, endnotes, and a bibliography.

The introduction gives brief background information on Satoshi Kon and his works, and also includes acknowledgments from the author. The chapter "Kon on Kon" gives a biography of Satoshi Kon, which covers his childhood through his work and professional career prior to Perfect Blue.

This is followed by chapters devoted to specific works that Satoshi Kon directed: Perfect Blue, Millennium Actress, Tokyo Godfathers, Paranoia Agent, and Paprika. Each of these chapters includes a brief overview, the origins of the work, a description of the opening scene, and a synopsis. There are also sidebars labeled as "Points to Note," which include additional information on the work that couldn't be included in the main body of the chapter; this would normally include trivia about the work. A "Key Scene" is included, which is Andrew Osmond's description of the respective scene; it is written a way that tries to resemble a script. These chapters also include still images from each work with accompanying captions. It should be noted that in the chapter for Perfect Blue, one of stills includes quite a bit of blood in it.

The postscript opens with a quote Satoshi Kon made at a retrospective of his work in New York in 2008, and reading this book after Kon's passing, it becomes a rather chilling quote.
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