How far can skills learned in simulation be transferred to the “real” world? Ten Shimoyama’s Alivehoon (アライブフーン) sees a top gamer take to the track for real to compete for drift racing glory while battling both his own lack of confidence and that of those around him. What he discovers is that there may not be so much difference as might be assumed, but offline racing is not a solo sport and succeeding means learning to trust in others as well as oneself.
Koichi’s (Shuhei Nomura) immediate problem is that he doesn’t fit in at his job as a mechanic and is resented by the other employees for failing to pull his weight. All he wants to do is play games and after a lifetime of practice he’s become a champion in the world of e-sports drift racing but secretly harbours the desire to become a “real” race driver. He finally gets the chance to prove himself when his exasperated boss gets him an opportunity to try out for a real team in need of a rookie driver to ensure its survival. Diffident as he is, Koichi agrees and after brief moment of confusion on the track, proves he has what it takes to take his virtual skills to the real world as an aspiring drift racer.
The main opposition Koichi faces is from those who dismiss him on the grounds that in-game experience is useless in the real world, which in some cases it may be but luckily Koichi does at least know how to drive and after a moment to play things through knows how to translate his skills from the online world to a real life track which of course has much more proximity to mortal danger than he has ever experienced before. That might be one reason that veteran driver Muto (Takanori Jinnai) who retired after a catastrophic crash in the opening sequence does not take him very seriously on witnessing him being physically sick after being driven round the course by a champion racer while his daughter Natsumi (Ai Yoshikawa) is very invested in the idea that it might be possible to turn an e-sports champ into a top rank driver and save the team in the process.
Team Alive is positioned as the nice guy underdog, trying to win through hard work and fairness in contrast to arrogant hotshot Shibasaki (Shodai Fukuyama) who turns down the chance to join Alive to go with a more lucrative offer from a haughty middle-aged woman (Anna Tsuchiya) who plays only to win. Shibasaki drives dirty with the racing equivalent of kicking dust in Koichi’s eyes but eventually pays a heavy price for his lack of sportsmanship only to be humbled and come to see the merit in the honest and down to earth approach of team Alive. Koichi meanwhile fights an internal battle trying to rediscover a sense of confidence while beginning to find it in the mutual support of his teammates acknowledging that he may be in the driving seat but he’s not alone and the victory does not belong entirely to him.
The film’s race scenes are supervised by “drift king” Keiichi Tsuchiya and feature real life drivers such as Naoki Nakamura, Daigo Saito and Masato Kawabata driving real courses for added authenticity all shot in camera without the use of CGI or special effects. The neon blue/red lighting and synth score contribute to the retro aesthetic but it has to be said that Koichi seems to take to real life drift racing a little too easily and experiences surprisingly few setbacks before making a fairly perplexing decision in the film’s final moments despite having discovered the value of teamwork along with a new family in team Alive who each value him for who he is as he brings the best in virtual racing to the real world game. Natsumi too earns the respect of her father as he comes to trust and believe in Koichi but is never quite given the chance to prove herself in her own right. In any case there is something heartwarming in the film’s conviction that there are no pointless skills and that working hard to become good at something is its own reward whether you become a champion or not.
To begin on a cynical note, Last Quarter (下弦の月 ラスト・クォーター, Kagen no tsuki Last Quarter) is a film with a wide variety of marketing hooks. The first being that it’s an adaptation of a much loved short manga series by the well respected mangaka Ai Yazawa (Paradise Kiss) so it has its shoujo pedigree firmly in place. Secondly, pop star HYDE of L’Arc-en-Ciel is central to the production as he both stars in the movie as the ghostly love interest/deathly spirit and repeatedly sings his own songs throughout the film including over the end credits. Thirdly, it also stars actress Chiaki Kuriyama well known to overseas audiences thanks to Kill Bill and Battle Royale. You’d think with all these high quality ingredients first time director Ken Nikai would be able to cook up quite a feast though he does somewhat over egg the pudding.
After a brief dream sequence, the action kicks off at the 19th birthday party of British rock obsessed Mizuki (Chiaki Kuriyama) which takes place in a Mod inspired bar. Unfortunately, her best friend gets very drunk indeed and takes this opportunity to show Mizuki a photo of herself and Mizuki’s boyfriend in a compromising position. Mizuki throws a shoe at the no good philanderer and walks out on her own party ending up at a mysterious Western style mansion occupied by a sad man playing a guitar. She hits it off with “Adam” and decides to jack in her unhappy family life with her father and step-mother to leave for England with him. Sadly, she gets hit by a car on her way home only to wake up trapped inside the house and having lost all memory of who she formerly was. Soon enough, another girl, Hotaru (Tomoka Kurokawa), turns up and, assuming she’s a ghost, decides to help her “cross over” , but it’s all a little more complicated than Hotaru and her team had bargained for.
Last Quarter takes on an oddly imbalanced feel as it veers into star vehicle territory putting HYDE and his title song centerstage at the expense of Mizuki who ought to be the protagonist of the story. Understandably, as she’s fallen under the curse of the house, Mizuki is a mostly passive force throughout the film, entirely reliant on the efforts of the gang of three who are trying to help her by figuring out what’s really going on. The mystery element itself is quite an intriguing one but is often frustrated by the importance placed on the supernatural romance. Stretching plausibility to the limit, the events in question span 30 years and two continents to spin a yarn of pure love enduring beyond the grave. Pure love and grudge movies aren’t usually allowed to mix and they don’t quite here although Last Quarter certainly has elements of both.
Last Quarter’s biggest failing is in its production values which are generally on the low side. Nikai aims for an urban gothic aesthetic and achieves something close to sense of European decadence but opts to avoid the darkness inherent in the genre for a fairytale atmosphere. The effects are very highly stylised and old fashioned but Last Quarter doesn’t even attempt to make that work in its favour so much as offering it at face value.
In essence, Last Quarter often feels like an overblown music video for its rock star actor even if he actually has a relatively small role. Director Nikai has often worked with the band before and (apparently) there is a degree of recurring symbolism here that long time fans will instantly pick up on but will leave the casual viewer a little confused. Very firmly aimed at a younger teen female audience, Last Quarter will play best to fans of non-threatening supernatural romance but even then they’d be best advised to avoid thinking any of this through and simply enjoy the ghostly shenanigans for the ridiculous rag tag narrative they are. An interesting mix of ‘60s mod rocker cool with its parkas and vespas, and full on gothic with byronic heroes sitting in decaying mansions in the middle of creepy forests singing about their broken hearts, Last Quarter is incoherent to say the least but fans of its rockstar leading man will likely find their perseverance rewarded.
Last Quarter is available with English subtitles on R1 DVD in the US courtesy of Geneon.