Ninja Star-Struck!

Sonny Chiba made his American convention debut the last weekend in March at a show called Monsterpalooza in Burbank, CA. This once intimate, now massive, gathering of visual effects artists and Monster Kids is known for making history with guests from Japan — original Godzilla stuntman Haruo Nakajima’s US debut being a standout.

I was pretty jazzed to meet Chiba, as publisher of this site, and outright fanboy. He has generational fan bases — to many he’ll always be Terry Tsurugi from the 70’s Streetfighter films, newer fans only know him from those Kill Bill! flicks, but for me… well, I can’t even remember how many times I watched Iga Ninpocho (aka Ninja Wars) during the mid-80s when it ran on cable (and subsequently worn out on VHS).

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Chiba sold 8x10s and signed autographs like all celebs do, and gave a talk to dozens of fans, discussing movies old and new. He spoke some sardonic smack about Quentin Tarantino — chiding him a bit for being a weird stalker when first given a tour of his home video collection, even commenting on him being a copycat director weaving together remakes of his favorite scenes from other directors’ films rather than creating his own vision. It was all done through an interpreter so who knows what exactly was said and with what tone, but still, absolutely priceless!

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Enthused as the crowds were, it seemed Chiba himself had the real ‘fan’ moment when long-time VN supporter Dustin de Leon showed up in full Hattori Hanzo costume from the latter seasons of Kage no Gundan — aka Shadow Warriors. Dustin was known for his Sub Zero outfits at cons around SoCal, but a few years ago he fell in love with older Japanese ninja movies and TV and he an a small group of like-minded shadow-souls now stand out in convention crowds of robots, zombies, superheroes, gaudy anime girls and 8-bit icons by sporting down-to-earth retro-shinobi gear!

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(Keepin’ it real in a world of Narutos… members of SoCal’s Shadow Warriors cosplay group including
Dustin, Matt Todd, Xanthe Huynh, Christine Bae and Mark Todd.)

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Chiba was absolutely blown away that anyone in the US (outside of Tarantino the Stalker) even knew of his 80s show. (And I’ve asked this forever on this site but WHY WHY WHY wasn’t such fare released over here during the height of our craze?!?!?!?) He called Dustin up on stage with him for photos, and even invited him to dinner where the kid got to meet Chiba’s sword-slinger daughter Juri Manase.

It was great to see this ninja-fandom dream-come-true for Dustin, well done man!

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I, meanwhile, was turned down for an interview by his U.S. handlers, but that bitterness doesn’t belong in these celebratory pages, so ignore my sad self right now and check out these props Chiba-san had on display at the show!

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Don’t know how vintage any of this was, or if it even came in from Japan (kinda hard to get throwing spikes past TSA nowadays), but it was a cool spread nonetheless.

AND… in the end, I did an end-around, circumventing Chiba’s US peeps and getting my info right to his Japanese management, so that interview may just happen in the future…

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Or I’m just a big nerd.

But so what, I met Sonny Chiba!!!

 

34 ninja can’t be wrong

posted in: 1 - Film and TV | 0

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SEVENTEEN NINJA (JUSHICHININ NO NINJA, 1963) is the typical 60’s Japanese boom film in that:

1.) It’s GREAT.

2.) It’s noir-as-hell — painted in gorgeous chiaroscuro cinematography.

3.) It’s also noir-as-hell because (from the gospel of James Ellroy) pretty much everybody in it is fucked. And…

4.) It does what the best shinobi cinema does, pits ninja-vs.-ninja in a world of samurai who would just assume see them all dead.

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Again… and we never get sick of this… the intricacies of the ninja way of life and its weight on the soul of the individual are central to the motivations. Characters are either looking to escape the shadow life, or embrace the dark too readily. Duty is tantamount, but who that duty is to is a major source of disillusionment, and in the end, was it all worth it?

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There are guys…

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There are girls…

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They’re not supposed to fall in love with each other but do. And actually being a human being for once, giving way to normal human emotions, is a cancer to the spartan shadow life the ninja clans needed their agents to live. The heart puts the team, the clan, and the mission in jeopardy.

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In fine ‘born to lose’ form, that mission is essentially impossible, but at the same time impossible to turn down. A vital political document must be rescued from the corrupt clan that stole it. The document has no value to Iga, they’re fighting someone else’s battle here, doing the dirty work with the twisted pride these gloomy movies so often leaned on as a plot device — duty and obligation as a combination of doing what’s ‘right’ and being hired to do something no one thinks is possible but somehow you’ll figure out. It’s like a shadow-hubris in a way, so common to films of this era.

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17N doubles that dynamic though. The conniving clan is fully aware the last of the Iga ninja have been assigned to retrieve the scroll, and have hidden the scroll in a ludicrously over-secure fortress occupied by a full garrison. Whereas the usual ninja commando tactics should work, Iga operatives keep getting caught and killed, one after another, due to the castle’s recently hired in-house anti-ninja specialist from rival Koga!

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In the 1980s, the American ninja films may have taken the hoods out of the feudal era and put them in modern urban environs, but the ninja-vs.-ninja device remained at the genre’s core. Shadow skills taking down hapless guards and run-of-the-mill thugs was always fun second-act fare, but the third act needs your hero and villain to be equally matched for the conflict to actually matter.

Sho Kosugi’s famous “only a ninja can stop a ninja” notion is just as present in the 60s films that inspired him, although more in a larger-scale tactical way. One clan’s ninja are hired as an anti-ninja solution in the way an area overrun by cobras might let lose an imported population of mongoose. The opposing ninja are not only a military threat, they are selling out their own brethren’s way of life, and their’s too by default.

And in the end, everyone is expendable. The snakes may be gone, but who wants a plague of mongoose? The best of all solutions for the samurai clans involved is all of these vermin kill each other off.

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17N is an all-star shinobi affair; Satomi Kotaro is the heroic young ninja stuck between a rock, a hard place and a harder place, while his clan leader played by Ryutaro Otomo suffers under the burden of command, especially when that role requires him to send his men to die. The shadow on the other side of the chess board is superbly rendered by Jushiro Konoe, no stranger to shinobi cinema as hunter (Ninja Gari) or prey (the Yagyu Secret Scrolls series).

Konoe’s ninja exterminator is as intelligent as he is ruthless, sniffing out planted agents and picking off spies with a yari spear like a mantis.

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Great moment here as he senses an intruder, who is armed with a nifty telescoping yari of his own.

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There are two emotional gears grinding against each other in this film. Otomo’s ninja leader positions his men like pawns, sacrificing 16 of them in an effort to put one in just the right spot for a surprise hit. It torments him to the point of self-sacrifice, he’s almost relieved at being captured and tortured, and clings to life only with the hope of seeing the gambit pay off.

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Then there’s the Romeo & Juliet angle, which by the end of the 60s boom actually became a bit tired, but this early entry did it well. Having a romantic couple come out of this bloodbath intact, able to leave “the life” behind and live as loving real humans is the ultimate reward above and beyond the dispatching of duties.

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The Romeo & Juliet angle begins the sequel film as well. SEVENTEEN NINJA 2: THE GREAT BATTLE (JUSHICHININ NO NINJA: DAIKESSEN, 1965 — aka Seventeen Ninja: Amunition and Ambition according to Paghat) sees Hiroki Matsukata take of the mantle of the reluctant man-of-Iga in love with a Koga kunoichi and burdened with an impossible mission.

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Ryutaro Otomo returns in the heart-heavy Iga leader role (this time as Hattori Hanzo) once again facing a heavily guarded fortress and an anti-ninja specialist. Rival ninja Ginza is particularly vicious and driven, perhaps having bought too into the notion that winning here might elevate him out of the shadows. Hanzo, meanwhile, knows they’re both in the typical no-win situation.

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The second film is a great watch, although lacking some of the subtleties of the first. It’s a more straightforward conflict — destroying a hidden arsenal of muskets that will tip the scales in a political revolt — much less of a soul-wringing chess game is played, although the black-hooded body count racks up the same.

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By ’65 the Japanese ninja boom was approaching apex, shadow skills on display from every studio and on screens big and small. This film doesn’t provide as much exotic gadgetry and arcane skills as its predecessor (or other genre entries of the same time) but the action is still fine.

I love Matsukata in anything. He was the first ninja actor I was exposed to, via Magic Serpent being a staple of Boston UHF TV’s Creature Double Feature in the mid 70s. In that film, he lost his head to a gigantic ninja boomerang. Here, it’s over a gal. What’s a ninja gonna do?

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The trick with these two very similar films is to not watch them back to back. Although the characters are different in name (and cast to a degree), the plot structure and dramatic devices are all the same, as are the bittersweet end results.

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17N 2 was a rarity for the longest time, even in Japan. A video release last year finally put it in the hands of long-curious shinobi-cinemafiles who were FINALLY able to devour it. Beyond that initial excitement, the sequel is a solid ‘B’ to the first and more innovative film’s ‘A’ in my opinion. If you didn’t know of the existence of the 63 original though, the 65 film would be amongst your favorites, and it should be noted you absolutely do not need to be familiar with the first to enjoy the second.

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Two movies, 34 ninja… what’s not to love?

READ MORE:

Weird Wild Realm‘s reviews.

Another review of the first film at Shades of Grey.

 

Crude weapons from ENTER

Scored this odd publicity still, which is not in the usual press kits I’ve found from Enter the Ninja. It’s kind of a dingy, soft pic that may have been left on the cutting room floor somewhere.

But while the quality is nothing to write home about, there’s all sorts of prop weapon porn here!

(click the image to expand huge)

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While Enter was the movie that introduced the one-weapon-one-kill notion that ruled ninja movies in America for the next decade, it was produced before most of the standard ninja arsenal was being mass produced and sold outside Japan. The “Kosugi sword” would become widely available in a few variants via mail order and martial arts supply stores shortly after, and by Revenge of the Ninja the Canon crews could outfit an entire film from mass market merchandise.

But the Enter arsenals were all custom jobs and modifications, or re-purposed kung-fu weapons, like those wide-horned sais. You get a great look at how crude the swords were here, too…

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Enter sparked the ninja boom in the US, but it also cemented some of the BS notions that drive a lot of martial arts purists and ninjutsu historians crazy, too. Black suits were worn in daylight situations and red and white suits were essentially superhero outfits, missing only a big “N” shield on the chests. Fetishized archaic weapons were adopted in modern situations where a silenced pistol would have solved all problems, hardly the utilitarian practice that kept historical ninja alive during the feudal era. And non-ninja weapons like tonfa and nunchaku were used prominently, while nary a weighted chain nor black egg was to be seen.

But… nunchaku sold, and ninja-nunchaku sold even better. The very promise of the weapon made famous by Bruce Lee sold movie tickets as well, so there you go.

And while we’re on the subject, if you’re on Facebook I highly recommend following Vintage Nunchaku — great old ads and photos of an amazing collection abound. I’d kill for a pair of those hallowed Dolan’s Sports swivel-chucks!

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My day at the Marxist ninja cartoon marathon…

posted in: 1 - Film and TV | 0

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Dateline: Hollywood, CA — 9-14-2014

It’s not often I talk ninja cartoons with college educators, but today was the exception.

Jonathan M. Hall, a Japanese film scholar from Pomona College screened three episodes of Shirato Sanpei shinobi TV treasures at the storied Egyptian Theatre in Hollywood as part of the LA Eigafest film festival. Interesting crowd primarily of academics, and me as probably the biggest ninja nerd in the room. Come to think of it, I’m usually the biggest ninja nerd in the room regardless of circumstance.

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Anyway, there I am seeing two episodes of Sasuke (1968) and one of Kamui the Lone Ninja (Ninpo Kamui Gaiden, 1969) on the big screen. One of the primary motivations behind this site’s creation was frustration of being a product of the 80s American ninja craze and never having the superior Japanese source media of decades previous available. Now, I was seeing these anime classics in a bigger and better format than any TV-glued kid in Japan ever did.

In a pre-show lecture, and post-show Q&A, Hall discussed the unique background of Sanpei — trying to live up to his father, a fine arts painter raising a son in tumultuous waters of left-wing politics and Marxist movements. (take a minute to Google some of this socio-political stuff if you want, I had to…) Somehow Sanpei comes out of it doing kamishibai performance art then manga and anime, replacing the marching proletariat with masked ninja.

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SASUKE in manga form and the DVD box set we’ll never see over here because life sucks…

Sanpei never looked to samurai or large scale feudal-era military action as a source for content of his epics, but rather redefined ninja as warriors of uncanny skill that despite living a brutal, lonely and disenfranchised existence became what millions of Japanese youth idolized. His shinobi were decidedly of the lower-class, victims of the system around them and oppression from a privileged minority above, but they had the tremendous strength and resolve to live-on as outcasts and loners — rebels even to their own kind and hunted for it. They were fantasy refuge for young kids struggling through school and office workers stuck in cubicle farms.

It also didn’t hurt that they had cool-ass exotic weapons and espionage gadgets right at the same time the James Bond movies went super-nova in popularity.

But it seems to me Sanpei was somewhat above the 60’s Japanese ninja boom. Sure, it can be argued that his Ninja Bugeicho manga, starting in the late 50s, was the compass of both editorial theme and a standard of excellence for a lot of the comics, cartoons and movies that would follow en masse, and yes, the offspring of that series — Sasuke and Kamui — were hugely popular and influential. But I think he would have created those properties regardless of whether ninja were popular mass media or not. Hall pointed out that the legendary GARO magazine that originally carried the Kamui manga, had a circulation of merely 80,000 per month, tiny compared to the more popular juggernauts that sold 4-5 million per week. GARO was a publication by artists and intellectuals for artists and intellectuals, and if the ninja explosion had never occurred he probably would have found an outlet in those niche-market pages anyway.

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But ninja did explode in pop culture, and four-plus decades later are a household word on every continent, have been redefined by American exploitation cinema, again by animated turtles and then again by video games and so on and so on. Hall’s presentation had a slant of exposing the political roots of fictional ninja to audiences more familiar with Mortal Kombat and Naruto, and indeed most of those on hand were seeing the 60s craze media for the first time. There was some surprise in the audience at how layered and emotionally complex even a kids cartoon could be, and universal shock at how violent and brutal they routinely were. One of the Sasuke episodes ends with a pack of copy-cat children trying to duplicate the ninja kid’s explosive tricks, and blowing themselves to death in the process, leaving a weeping father to bury the charred corpses.

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You don’t have to go far to find R-rating-level violence and gore in KAMUI… this sequence is from the opening credits.

That very quality is likely what kept these series off American shelves in the 1980s, when otherwise, anything ninja was squeezed for every dollar it could yield. Both series were rife with children wielding bladed weapons, innocents being killed, bursts of hyper-violence and despondent anti-heroes walking off into the gloom of night knowing tomorrow would only bring more of the same. While Japan’s parents were evidently fine with their kids watching such after school, there’s no way that stuff was going to play in the States.

However, chunks of Sasuke and Kamui were actually licensed for release outside of Japan in the 80s. English dubs found limited priced-to-sell VHS releases under names like Kiko-Boy Ninja and Search for the Ninja, and episodes were included with Remco’s Secret of the Ninja action figure play sets. The pictures were rather wretched quality then, haven’t aged well, and will likely never see the light of day in any sort of remastered official release.

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Back-of-box art from a low-resnt VHS release of KIKO-BOY NINJA, recorded on EP on on elf those featherweight bargain bin tapes, so yeah, NOT the best quality. And if you’re under 30 you have no clue what I’m talking about here…

The entire run of Kamui was syndicated to TV in Mexico and South America under the title Kamui: El Ninja Desertór, and I believe both series saw the light of day in Italy as well. Then of course VIZ released The Legend of Kamui, albeit at the end of the craze. Most of us back then didn’t even realize it was a ninja comic based on the lack of black hooded assassins on the covers, plus tastes were changing. It was a good thing too late to be the ‘super-ego’ the craze had needed all along.

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SO… some four decades later there we are in a packed theater, marveling at the brilliance that was Shirato Sanpei. The themes of the lone warrior fighting the good fight despite the societal machinery around him resound just as strongly. I mean, who hasn’t idly fantasized about just saying F-this to the gigantic soul-grinding world we know we can’t change, packing a sack of shuriken and living out in the woods with your pet falcon? We all have, right? Right?

Keith J. Rainville

This 1:6 figure of the manga KAMUI is likely the closest I'm getting to the Lone Ninja lifestyle.
I’d live the minimalist lone-ninja-in-the-woods lifestyle, but then I couldn’t buy stuff like this vintage 1:6 manga KAMUI figure, so nope…

The Art of Deception

In the face of the death of physical media, DVD and Bluray packaging continues to be, let’s say… inventive… in its methods of persuasion.

Hey, deception was a legit ninja skill, right?

As ninja movie fans we’ve all been duped by shinobi-fied covers to VHS or DVDs of vanilla kung-fu fare shamelessly retitled “Ninja-something-or-other.” These, however, step the game up a notch — one ninja movie camouflaged as another!

Note this new label for the Scott Adkins vehicle NINJA, deliberately biting on the much wider known NINJA ASSASSIN.

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Who can keep either of these 2009 films straight anyway, just buy them both!

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It’s one thing for an indie movie to “align itself for marketing shorthand” to another bigger film coming out at the same time, but THIS is another story altogether:

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This recent overseas label for the Hiroyuki Sanada / Conan Lee slugfest NINJA IN THE DRAGON’S DEN strives for recognition and relevance from the video gamers of the world by shamelessly crowbarring-in a stolen rendering of Sega’s Kage-Maru from Virtua Fighter.

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But they re-color him black so he looks more like Ryu Hayabusa from Ninja Gaiden.

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Us non-gamers will also recognize Ryu Hayabusa from his hit indie film Alien vs. Ninja!

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Oh, wait… no, that’s right… NONE OF THESE CHARACTERS ARE IN ANY OF THESE MOVIES!

Laughable as this chicanery, these hijinks, might be, I do love the idea of Virtua Fighter (and even Matrix) fanatics possibly getting duped, then being subjected to some old-school ninja fare that was… ewww, shot on FILM… that those of us longer in the tooth would consider superior.

If only a small percentage of those victims stick with it, maybe some new fans of old-school ninja media are born?

HA HA HAHAHAHAH HA! Made myself laugh… Like anyone under 40 is going to buy physical media!!!

In fact, ignore this whole post.

I’m going to go fool around with my abacus and listen to player piano reels.

An obscure old gem back in print!

posted in: 1 - Film and TV | 0

If you’re a dinosaur like me, then you still dig physical media and package art when it comes to your video library. To that end, I’m a regular customer of the Warner Archive DVD-On Demand service. Tons of great titles, especially if you’re into 60s and 70s made-for-TV sci-fi and horror fare. Not so much by way of martial arts films or classic Japanese cinemathough, save for this nugget which was just made available:

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The 1959 animated feature Shonen Sarutobi Sasuke was given an English treatment by MGM and released a year later as Magic Boy. There may have been some low-rent video tape releases of this, but I believe this is the first time a clean, crisp digitally mastered version has seen the light of day, and in its original 16×9 aspect ratio, too.

From the Warner press release:

MAGIC BOY (1960) Magically-gifted boy Sasuke lives in peace, deep in the forest with his animal pals and his elder sister, Oyu. After their forest sanctuary is violated by a demon witch who devours one of Sasuke’s animal companions, he vows vengeance. Leaving the forest, the boy sets out to master his magical gifts by making a pilgrimage to the home of the wizard, Hakuunsai. While Sasuke learns the ways of magic, Yakusha, the demon witch, terrorizes the countryside, and Sasuke works to complete his training in time. Magic Boy aka Shunen Sarutobi Sasuke is a classic piece of anime history — the first full-length animated feature produced in Japan to reach the shores of the United States. With much of the original storyline left untouched and centering on pop culture staple hero Sarutobi Sasuke (think Bomba the Jungle Boy crossed with a ninja), Magic Boy is an enchanting precursor to decades of imported Japanese ani-magic. 16×9 Widescreen 

I’m sold!

Order MAGIC BOY online here.

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VN’s own 4th of July Tradition…

posted in: 1 - Film and TV | 0

…we take a look back at AMERICAN NINJA!

There’s no better way to celebrate the birth of the USA than by looking back at a low-budget exploitation flick based on a Japanese martial art, produced by Israelis, shot in the Philippines.

READ ON, FELLOW PATRIOTS:

The seminal film reviewed by us here.

Who was the real “American Ninja” – Dudikoff, Kosugi or Norris???

Read Matt Wallace‘s take on American Ninja 5 here.

See the amazing African version of the movie poster here.

And check out some licensed merchandise for kids here.

Happy 4th!

A few more that got away…

posted in: 1 - Film and TV | 0

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Couple years ago now, one of my sources for the hand-colored press stills from Thailand that have so contributed to the identity of this site contacted me with some new offerings. A lot of it was stuff I already had or didn’t want, but there were some gems, so I agreed to take them (regardless of the increasingly inflated prices asked). A few days later, however, I hadn’t heard back, so I nudged and got a weird response.

To paraphrase, ‘That was you who bought them, right?’

Turns out the rocket scientist seller threw them up on eBay, and assumed I knew and was the one who nabbed them with a Buy-It-Now.

I wasn’t…

The really frustrating thing, they went for less than I agreed to give them directly. Honestly!!!

Well, years later, I guess the bitterness has subsided enough that I can make eye contact once again with the images they had emailed me in a cruel lure. Grrrrrrrrr…. getting angry again just writing this post…

Well, before I turn green and start smashing, here’s a pile of posed publicity stills from flicks like Ninjutsu Gozen-Jiai (aka Toruwakamaru, the Koga Ninja), one of the Rytaro Otomo Kurozukin flicks, Akai Kageboshi (aka The Red Shadow), and some others I forget…

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Yep… any and all of these would look pretty damned nifty on my wall.

Congrats to the lucky buyer though, you’ve got some treasures. Oh, and if hard times ever hit, I’m always in the market!

VN REVISITED – The Illustrated Sho Kosugi

Originally published January, 2010.

In the 80’s, Sho Kosugi posed for over 73 billion photos in full night gear, laden with weapons, in magazines like Black Belt, Ninja, even Karate Illustrated and Inside Kung Fu. Yet when it comes to movie and video game ad campaigns, you often see painted and illustrated images of him instead – many leaving a lot to be desired. Sometimes it was agencies not wanting to pay royalties to photographers. Other times it was unscrupulous art departments not having any legal right to use a Kosugi image whatsoever, but wanting the box office rub. Either way, some very interesting artistic mutations occurred…

It started in 1981 of course, with Enter the Ninja. Golan-Globus scooped the big studio development of Eric Van Lustbader’s mega hit novel The Ninja with this exploitation gem (the American genre never recovered), for which Kosugi did some publicity photo posing. An air brushed version of what we’ll call THE KOSUGI KICK appeared on some of the posters (and VHS packaging), and soon after a retail poster we all had on our wall. The Kosugi Kick was henceforth knocked-off 15.3 trillion times, and you still see it today once in a while. The pose is one of THE lingering icons of the 80’s craze, perhaps the definitive image of the era.

The follow-up to Enter, and the movie that cemented “the ninja craze” as the big thing in martial arts (and martial arts cinema) for the decade, Revenge of the Ninja, had a pretty dynamite painted poster itself. What’s easy to forget about the superb Revenge is that in it, Kosugi made history – an Asian actor being the single male lead, and in only his second film in the U.S. In reality, Bruce Lee never did that, being co-top-billed with John Saxon in Enter the Dragon (although after his death, amidst the kung-fu boom, the campaigns changed to feature him much more).

Ironically the painted art has little-to-no resemblance to Kosugi, but damn what composition! Back in the day, though, we were tortured by the the ‘inauthentic’ details like the Western military knife tucked into his tunic, and the Chinese ‘kung-fu shoes’ in place of tabi. The fact that this supposed invisible assassin in concealing night gear has a red belt, chrome-finish weapons strapped all over him, and a huge family crest akin to a superhero’s chest emblem telling the world who he is didn’t bother us at all though… Such was the logic of 80’s ninja fans.

The fact that the American key art wasn’t Kosugi outright may have led to some of the mysterious variants overseas, like the below Franch-language market poster. Perhaps they really wanted to feature the star?

The above painting is based on the companion retail poster to the famous Kosugi Kick piece, seen below left. Why they didn’t use the original photo is anyone’s guess – couldn’t find the source, couldn’t meet on a price, didn;t even try…  Next to that is detail from the illustrated sleeve for the priced-to-sell VHS re-issue of Revenge, late 80’s-early 90’s. Even though there was a photo-based poster in the 80’s, used often in Europe, that same art didn’t make it to Spanish markets, evidenced by the painted version far right. All in all, there are remarkably few images used to promote this movie, but the versions of those few images are myriad.

Pray For Death was, for many, the last ‘good’ Kosugi entry in the craze era – a genuine piece of ninja-sploitation, surrounded by legends of ‘uncut’ gorier versions screened in dark corners of Europe and everything. While many thought Kosugi’s weapons and armor were downright silly, but it seems many (especially foreign ad men) thought it was pretty righteous:

No, Kosugi was NOT in Shaolin Fighters vs. Ninja (or Ninja Against Shaolin, or Ninja vs. Shaolin Guards, or Shaolin Fights Ninja, or any of the dozens of other versions and re-titles of the concept that were out there), but you sure wouldn’t know it from the poster above. More painted art was done for the taxing 9 Deaths of the Ninja, and again the foreign markets were on their own page with the key art. I guess when your movie looks like this…

…you’re tempted to hide it behind more craze-palatable images of hooded ninja, even if it means evoking the competition – Michael Dudikoff!

Strange to think of foreign ad artists toiling over these painted Sho Kosugi images, when in some neglected drawer at the offices of Inside Kung Fu, hundreds of amazing photos were sitting there, untapped. Exploitation films, however, have promotional resources akin to their low budgets. Campaigns turn around fast. There are language barriers between markets. Logistical and financial hurdles everywhere. So it ends up easier just to wing it and barf out some weird illo.

Chances are, the same box office take would have been made either way.

Read more:

Sho Kosugi: The Ninja fansite, with tons of galleries, including mag covers and movie posters.

S.K. Productions – Kosugi’s official website.

Really fun write up and video of 9 Deaths of the Ninja.

If you think these paintings are a bit off, check out the stuff from Ghana!

In LION MARU news…

Medicom has released two new sofubi of Kaiketsu Lion Maru and Tiger Joe, designed by Bear Model.

Lionmaru-sofubi1

Not in love with these myself, as they are a bit too detailed and modern in their sculpts. Sofubi are supposed to look like kids toys from the 60s, with soft details and primitive paint jobs. These are actually a bit too skillfully executed for the genre…

Lionmaru-sofubi2

Also found some nifty publicity images from KLM and Fuun Lion Maru on tumblr:

Lionmaru_pub_1

Lionmaru_pub_2

A reminder that Vintage Ninja is indeed on tumblr, too — Lucha vs. Ninja: Who Will Win? This is a shared stream from this site and From Parts Unknown, as loaded with cool vintage masked wrestler stuff as it is shinobi. I reblog/repost a lot of related material from others, and revisit some older stuff from the VN archives there too, so it’s worth added us to your feed.

 

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