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Asimov’s daughter, Robyn, reviews the movie adaptation of I, Robot.

Just saw the Animatrix on DVD. All I can say is “whoa!” Keanu-style. It’s some of the most amazing animation I’ve seen since, well, hmmm…Spirited Away. It contains 9 anime shorts by various directors done in varied styles, all centering around the Matrix mythos.

Animatrix opens with Final Flight of the Osiris by the folks who did Final Fantasy: the Spirits Within. Because it’s done in realistic 3D style, it could have easily been incorporated into the Matrix movies (but come to think of it, the 3D generated people incorporated into Matrix Reloaded lent it an unbelievable, wooden feel. Bah.).

The Wachowskis have a penchant of taking not entirely new themes and using them in their films. The Second Renaissance (parts I & II), the second set of shorts, is no different. It tells of the pre-history of the Matrix movies. Seeing how the Matrix came to be gives you the familiar feeling you’ve seen all this before. The way the machines take over the world is so derivative that movies like Terminator and A.I could fit nicely into the Matrix universe. In all fairness, all these movies are, to a certain degree, probably based on Asimov’s Laws of Robotics (or what goes wrong when these laws are broken).

Kid’s Story and Detective Story are wildly experimental shorts done by Cowboy Bebop director Shinichiro Watanabe. The high school building in Kid’s Story is modeled after local Alameda High School. The kinetic, hand-drawn style is the most un-anime technique I’ve seen from a Japanese animator. Detective Story is a nice black and white noir piece that only further extends parallelisms between the magnificent Dark City and the Matrix. This time, we’ve also got investigators going crazy after finding out “the truth.”

Program is the most traditional anime short of the bunch. It’s beautifully drawn by the animator behind cutting-edge Neo Tokyo and Wicked City. It’s like watching Samurai Jack meets the Matrix.

The young animator behind World Record is clearly influenced by Peter Chung, director of Matriculation and the now-classic Aeon Flux. But he definitely brings something new and raw to the world of anime. Expect him to do the next Nike commercial or a future KRS-One video.

Beyond is perhaps the first anime where “rotoscoping” is used, a traditional Disney or Bakshi technique where live actors are used as reference or directly drawn over to give characters life-like movements.

Finally, Matriculation by American-born Peter Chung, who gave us Aeon Flux, weaves an “anti-Matrix” tale - inviting robots into the human mind. I’m glad to see Chung further honing his skills and improving his craft. This story is like a Heavy Metal strip come to life. It reminds me of parts of “The Incal” by Moebius and Jodorowski on which “The Fifth Element” is loosely based.

Chung probably needed a break from animating the Rugrats.

“The Matrix” has come full circle. When it first came out it was said to be an homage to the craft of fine Japanese animation. Now the Wachowski brothers have given the masters of anime an opportunity to tell the Matrix story with their own paintbrush.