Year 2130 -- after the third world war, large contaminated areas known as "Blackspots" formed all over Japan. Large Walls were used to quarantine off these "Blackspots". In time, signs of inhabitance appeared within these wastelands. Among the survivors who had been abandoned inside the Blackspots, labeled as "those who were unneeded", came forth possessors of uncanny abilities -- Fire, wind, brute strength...they were defined by their supernatural abilities. Others, fearful of their powers, expelled them and named them - - - Needless!

Needless - Netflix

Type: Animation

Languages: Japanese

Status: Ended

Runtime: 25 minutes

Premier: 2009-07-03

Needless - An Athlete Wrestling with a Python - Netflix

An Athlete Wrestling with a Python was the first of three bronze sculptures produced by the British artist Frederic Leighton. Completed in 1877, the sculpture was a departure for Leighton, and heralded the advent of a new movement, New Sculpture, taking realistic approach to classical models. It has been described as a “sculptural masterpiece” and as “possibly Leighton's greatest contribution to British art”. Despite its indebtedness to the Classical tradition, it can be understood as one of the first stirrings of modern sculpture in Britain as well as in Europe. The Athlete was arguably the most influential piece of English sculpture of the 19th century. The sculpture was exhibited at the Royal Academy in 1877 under the title An Athlete Wrestling with a Python but it is sometimes also known as An Athlete Strangling a Python or An Athlete Struggling with a Python. The original full-size bronze was acquired for the nation using funds from the Chantrey Bequest, and is displayed at Tate Britain in London.

Needless - Description - Netflix

The sculpture depicts a dramatic scene of life and death, with a classically proportioned male nude wrestling with a large snake. Leighton conceived the composition while working on sculptural modellos for the figures in his 1873-76 processional painting of the Daphnephoria. It may have been inspired by the story of Apollo slaying the Python of Delphi. There are obvious parallels with the classical sculpture of Laocoön and His Sons, and the work also owes a debt to works of Michelangelo. The male, an muscular athlete crowned with a wreath, is standing with his legs apart, holding the python's head away with his right hand, while grasping its body with his left hand behind his back. The python has thrown two coils around the athlete's left thigh and its body curves around the athlete's back, but its mouth gapes wide in the throes of death as it is being throttled. The work depicts the musculature of the figures and the scales of the serpent realistically, with contrasting textures. The work was designed in a spiral, so it must be viewed in the round from a variety of angles. The exaggerated spiral composition confounds any singular view of the statue, and its form exceeds that of its predecessors' use of the figura serpentinata. With it, Leighton developed the Athlete as a statement about the properties of sculpture as distinct from those of painting, and the composition encourages a temporal and circumambulatory experience of the work as a means of highlighting sculpture's physicality and three-dimensionality. The model for the athlete was an Italian professional, Angelo Colorossi (father of the Angelo Colarossi who was the model for Alfred Gilbert's 1891 sculpture of Anteros). The work was originally modelled a small-scale clay figure, a plaster cast of which was later given to George Frederic Watts. Jules Dalou, a French sculptor who was in exile in London after the Paris Commune, encouraged Leighton to scale it up and to have it cast as a life-size bronze. Leighton was assisted by Thomas Brock, and comparisons can be made to Brock's 1869 work of Hercules Strangling Antaeus, and a similar sculpture of 1814 by François Joseph Bosio, Hercule combattant Achéloüs métamorphosé en serpent (not cast in bronze until 1824; in the Louvre). There is a similar wrestling figure in Leighton's painting of Hercules wrestling with Death for the Body of Alcestis (at the Wadsworth Atheneum in Hartford, Connecticut). The work was scaled up and modelled in plaster at Brock's studio in Boscobel Place, Westminster, and then cast in bronze by Cox & Son, whose foundry in Thames Ditton was later taken over by A.B. Burton. The original life-size bronze measures 1.746 by 0.984 by 1.099 metres (68.7 in × 38.7 in × 43.3 in) and weighs 290 kilograms (640 lb). It was the first full-size nude adult male sculpture with no fig leaf to conceal its genitals to be made in Britain in decades. It is also one of the first modern life-size statues in Europe to eschew a clearly identifiable mythological, religious or classical source. In this, it is comparable to the contemporary sculpture by Auguste Rodin, The Age of Bronze (1876), and the slightly later 'Standing Man' (1884) by Adolf von Hildebrand. Leighton's Athlete, along with these contemporary statues, pushed the Classical tradition to its limits and helped to open the discourse of modernity in sculpture in Europe.

Needless - References - Netflix