Suteki Tantei Labyrinth – 25


Whaa! I could have sworn that this series had 26 episodes! To think that this was the final episodes, this series sure features a lot of series that end sooner than I expect.

And the cheese! The overwhelming cheese. This episode may not have been my idea of top-notch writing, but it sure as hell was entertaining! I remember predicting that this episode would be over-the-top, and I was right in a way. This episode was over-the-top, but not with action and manliness, but with melodrama. Seijuu ends up dead, along with Byakko, because he tried to see the future but couldn’t due to Mayuki’s mother’s influences. Mayuki tries to stop him by the request of his mother, but in the end fails.

And teh TEA IS BACK!!! After Seijuu is dead and all, Mayuki falls asleep due to exhaustion, and doesn’t wake up for days. Guess what saves him? His favourite blend of tealeaves. Things get even better when every female ends up in tears when they find out that Mayuki has woken up, and when they see him again it’s like a fest of smiles and “glad to see you back again”.

But the creators really saved the best for last. Don’t ask me how or why, but a reincarnation of Mayuki’s mother shows up at the last moment. That scene will get an “OMG” or “WTF”-reaction off almost everyone. The plot-twist is ridiculous, but I absolutely loved it. It’s good to have such a cheesy series once in a while.

Now, to get a bit more serious, it’s a shame that Seijuu didn’t really develop in the end. Sure, he was fleshed out, his motivations were shown, but he never really changed. One thing that the creators could have done better is make one of his plans fail badly; it would have been much more interesting to actually see him challenged, rather than simply defeated in the end. I like how Byakko ended up, though. She has been a character that was developed, she has questioned her master many times, and yet at the end she decided to stay with him, and I’m still not sure whether this was because she was brainwashed, or just really changed. I doubt that Seiju really in his final moments was in the mood to take everyone with him, and something really tells me that she committed suicide out of her own will.

Gunslinger Girl – Il Teatrino – 12


Even though it hasn’t officially ended yet, I’m pretty sure about my top-3 series for the winter-season: Wellber no Monogatari, Porfy no Nagai Tabi and Gunslinger Girl, though I’m not sure about the order yet. Everything is very close in terms of quality for this season, and Shigofumi, True Tears and Hakaba Kitarou have also been quite amazing as well. Who said that the winter-season sucked anyway?

In any case, this episode rocked in so many ways. There are two major fights, one of which gets continued in the final episode (oh, and there will be 2 DVD-only episodes after that). The camera still got shaken a bit, but the speed-lines were completely gone. In any case, the great thing about that fight was that I ACTUALLY SAW HENRIETTA AS A VILLAIN. I know that Pinocchio is with the bad side and all, and yet I couldn’t care less about Henrietta, and just hoped for Pinocchio, Franco and Franca to survive.
And this is exactly why there are so few good antagonists in anime. Very few series give these guys equal time in terms of not only development, but also fleshing out and screen-time. Pinocchio has received just as much, if not more development than all of the girls, which is a very rare occurrence. After that fight, the development only continues when Christiano is about to get captured and Pinocchio refuses to let him be. The talk that Christiano has afterwards, in which he tells his assistant how Pinocchio has told him that he loved him was such a simple but extremely effective scene.

Also, Pinocchio also failed to kill Henrietta, and that suddenly brought up the same feelings in him that Triela is currently experiencing. I never thought that the two would be so similar. Also note that Triela is still carrying Pinocchio’s necklace. I don’t think that “hate” really is the word to describe the feelings that she has for the guy, at the end of the episode when they finally stand against each other again. She more sees him as a strange kind of rival.

In any case, I’ve long since stopped caring about the bad animation. The choreography of the fights in this episode was more than enough to make up for it.

Kimikiss – Pure Rouge Review – 81/100


The past Autumn- and Winter-season came with an interesting trend: actually good visual novel adaptations. Not just one, but four series (Clanad, ef, this one and True Tears) came from nowhere and shattered the stereotypes I had about the genre. These four series showed that good writing can even turn such a boring–sounding premise as a high-school romance interesting. Kimikiss may not have been as refreshing as Clannad, it may not have had the well-written dialogue of ef, and it neither has characters with the depth of True Tears, but still it’s a worthy series to watch.

Kimikiss is one of these series that plays it safe. The first half is very slow, and basically just serves to flesh out the characters, and set up their personalities and hobbies. Then it starts developing its romances. There are basically three main couples to start with, all with their own problems. While they’re a bit clichéd at times, the character-development is definitely the highlight for this series.

This series doesn’t really have any obvious flaws. There are no errors in the storytelling, the main-characters and side-characters may not be ground-breaking, but they’re all well-fleshed out and developed. The graphics look okay, and so does the music. I do have one complaint with this series, though: it tends to lose itself in its love-triangles at times. Love-triangles are a nasty double-edged sword, and more often than not only distract from what’s really important in a series, where two characters could be advancing the plot but instead are too busy whining about who loves who. Only series as True Tears, that have basically been built around these love-triangles have made them work for me.

Kimikiss at times can’t seem to decide whether it wants to go for straight romance, or love-triangles. The result is that every time two characters are having a bit of time together, a third one pops up to try and take one of them away. In this series, it’s much more fun to just simply watch the couples develop.

I admire the guts of the director to basically split the main character of the game that this series was originally based upon, up in three different ones. The transition has really been seamless, and it shows that the director can do more than just copy and paste well. Kimikiss won’t rock your soul, but it’ll at least keep it a bit entertained.

Porfy no Nagai Tabi – 12


Oh my god! Oh my freaking god… it’s going to happen! In the next episode, it’s really going to happen!!! This episode was absolutely amazing, but first: a summary!

The episode starts with Mina, as she discovers that her tree has sprouted flowers. She rushes to Porfy to tell it to him, though Porfy is having troubles feeding Apollo (foreshadowing-sign #1). Instead of taking the food like he usually does, Apollo just flies away and squeaks angrily. This matter is quickly forgotten when the family comes together and happily watches the tree and how it has grown.

Then, a truck arrives, carrying the brand new gasoline pump for the station. Christopher and the driver lift it off the truck, and Porfy and Mina really admire it from every possible direction. Porfy obviously asks the delivery guy about how fast he can make it working, but the guy just delivers. Later, another guy will come and connect everything. Later that afternoon, Porfy is still gleeing over the new gasoline pump, making himself look like quite the idiot as he tries to mimic serving a customer.

Porfy then reminds Christopher about not forgetting his promise to buy a big car once and take them across Europe (foreshadowing-sign #2). Christopher reassures him that that day will come. Mina then notes how it would be lovely to visit Alecia, and Porfy immediately blushes and tries to change the subject. After this fails, he starts chasing Mina. The guy is clearly in love. ^^;

Next up, Aneke finds out that the water-pump is broken (foreshadowing-sign #3). She mentions it during lunch, and how she can’t make any coffee or do the laundry. Porfy then offers to go to Zaimis, to see whether his father knows anything about it. Mina joins him. On the way to Zaimis’, they run into Apollo again, and he’s still unfriendly. He even attacks Porfy (foreshadowing-sign #4). When they arrive at Zaimis’s, they realize that his own water-pump is broken too (foreshadowing-sign #5). Zaimis mentions how he’ll get his father to fix it later, but first he wants to show Porfy the angel he carved.

Zaimis’ parents then arrive, and the usual comments follow where Porfy wishes that it’d be a boy, and Mina hopes for the new baby to become a girl. Zaimis then returns with his “angel”, and it looks just very badly carved. But then again, it was his first time and he had Porfy as his teacher. 😛 Even his parens laugh about how bad it looks, and Zaimis’ mother jokes at how even her unborn baby is laughing, after which Zaimis again tries to scold his mother’s belly.

Porfy and Mina then return home, and say to Aneke that even at Zaimis’s place the water has stopped, so Porfy suggests to go to a little stream later, to get the water that Aneke needs. We then switch to Mina, reading her book, and Porfy, fixing Zaimis’ attempt at the angel. I must say, that the result looks pretty good. Porfy’s quite talented at wood-carving.

Porfy then goes back to his father, admires the gasoline pump once more, only to find his father, worried about a large crack that appeared in the concrete pit that was meant for the gasoline tank (foreshadowing-sign #6). He finds it strange, as there weren’t any signs of this on the day before. He does note that at this rate, the tank can’t come, and he’ll need to get one of the villagers to fix it with cement. Porfy goes to call him.

Before he can leave, Christopher first shows him the four handprints that have dried in the meantime. Porfy notes how his hands are nearly as big as his mother’s, though he’s no match for his father yet. Porfy then says how he wants to grow up soon, and become like his father who’s able to do anything, though Christopher notes how he should take his time, and slowly learn to be a car mechanic. Porfy asks him whether he’ll teach him about things as the engine and carburettor, and Christopher replies that he’ll do so, next time. At least, as long as Porfy continues to study well at school. That’s Porfy’s job at the moment. Christopher then says that it’s the job of him to protect his family (foreshadowing-sign #7). (On a side-note: I didn’t realize this the first time I watched this episode, but this MAY HAVE BEEN the last time that Porfy saw his father!)

Cue to Mina, as the goats are all freaking out (foreshadowing-sign #8). Aneke says that something bad might happen soon. Porfy notes how Aneke has been worried all morning, so Aneke apologizes, and says that she worries too much. Porfy says her how he’s about to head to Basil, the one who will fix the cement. He asks Mina whether she wants to join him, but she says that she’ll stay at home, since Aneke will be making cheese pie (Mina you idiot! You should have gone with him!). (On a side-note: here too, this was the last time that Porfy saw both his mother and his sister!)

As Porfy walks into the village, some of the locals see him and greet him. He tells how he’s going to Basil, to get the gasoline stand fixed, though the locals say that Basil is a bit busy at the moment (either that, or he’s a bit sick). The bartender then gives him four pieces of candy, to share with his family.

Porfy then passes by Corrina’s house, as she’s just returned from watching a movie. This of course is the newest movie out there, and not the one Porfy and Mina saw. He asks Corrinas father whether the car is running fine, and he answers that he’s happy with what his father has done, for now at least. Her mother thanks Porfy for the help that he and his father have given her husband. Porfy then says that he has to go again, and Corrina says to bring Zaimis to play next time. Notice how Corrina is really different to Porfy when Mina isn’t with him?

Then, it’s time for the final piece in the puzzle that gets Porfy travelling. He meets someone that can be best described as a very old version of himself. He’s an old guy who has been travelling Europe for ten years now. Porfy passes him on his way, and offers to carry the guy’s bag. He tells Porfy how he came from a very far country. Porfy guesses Atene, though it’s much further than that. The old man doesn’t want to say which country he came from, and merely says that he’s been in many different places, and he’s been travelling since the war ended.

He’s been all alone ever since. Porfy says how he doesn’t know much about the war (Christopher also rarely talks about it). The old man says how this area was relatively safe from all that went on back in Germany, France and the rest of the world. The old man also talks about one of his old friends, how he used to visit this area, though Porfy doesn’t know him, as it happened too long ago.

The old man then says how much fun travelling has been, and then Porfy says how his father promised to take him on a journey across Europe one day. He asks where they could go to. Again, the man doesn’t answer, and instead wants to sit down a bit to rest his legs. He sits down next to a strange shrine. Porfy says that it’s to carry the soul of someone who’s passed away. The man says that the spirits can now travel across the entire world, beyond Greece (if I understood things correctly).

Porfy says how nice it would be to see other countries. The man then says how happy his family must be… and then suddenly entirely changes the mood by suggesting that something like that may on one day suddenly disappear (foreshadowing-sign #9). He quickly changes the subject, and says how Porfy will probably see lots of things. They then arrive at the church, Porfy hands the man his bag, and the man hands Porfy a picture of Jesus on the cross. Porfy asks for the guy’s name, and it’s Damon. Porfy introduces himself as well, and he leaves, to do his own chores.

At Basil’s, Porfy has made sure to him to explain what happened, and asked the guy to fix the tank as soon as possible. Basil says how the gas pump will be convenient for him as well, so he’ll come the next morning. As Porfy heads back, he comes across the church again. He wonders whether Damon is still there, but he left already. Porfy enters the church, and prays. He leaves the church, and looks at the rope, used to ring the bell. And he thinks about the words Alecia said when she pulled it, about her mother. He then continues pulling the bell, as he doesn’t notice the earthquake happening.

This episode was so good. The building-up was just amazing. First off, there are the small signs that things are different from usual, like Apollo getting angry, or the water-pumps being broken, but that can also be attributed to the bird, having found a mate, protecting his nest, and some drought that might be about to happen. But when the goats started freaking out, you knew that it was about to happen. The question was just when this would be, and because of this the creators deliberately made Porfy’s journey to Basil extra long and detailed.

This just shows the world of difference between a series like Gundam 00 and Porfy’s Long Journey. Gundam 00 [SPOILER] kills of a quarter of its cast, and I’m a bit shaken, but here I am, already freaking out even though Christopher and Aneke haven’t died yet, and I have to wait one entire week to find out what’s happened.

Oh, and on a side-note, but the graphics team was on fire for this episode! Some of the backgrounds looked better than they ever had in this series, and that has to say something.

Gundam 00 – 24


I’m not sure whether I should be happy or not to have been spoiled about the contents of this episode. In any case, I was right, and this episode basically built up for the major turning-point for this series that’ll happen in episode 25, but I never thought that it’d do this in such an extreme way.

There were several things wrong with this episode, though. And I’m not referring to the bloodbath. If the circumstances are right, then why not kill off a bunch of characters? It’s a great contrast with series that are just too afraid to kill off their characters because it’ll upset the fans or something. Just to give a small list of who died in this episode (obvious SPOILER warning)

– Tieria Erde
– Patrick Colasour
– Christina Sierra
– Lichtendahl Tsery

Which, if I’m not mistaken, brings the total body-count to ten important characters dead, eleven if Ali al Sarshes kicked the bucket as well.

In any case, my problem isn’t with these deaths. It’s with the sudden uber-technologies that suddenly got introduced out of nowhere. Okay, I can understand why Aeolia Scheinberg never put the Trans-am in his plans. It makes sense that he and his scientists discovered this technology at one point, but decided not to implement it due to the potential dangers of its limited usage. I can live with that.

But where did he pull such a huge space-ship from, and why the heck didn’t he use it?! With such a big cannon, it would have been perfect as an added safety-measure. Really, if the creators wanted, they could have used much better reasons to kill off the members of the cast. The enemies are really no idiots, and I could imagine a few sneaky battle-tactics that would have destroyed the Ptolemy anyway.

And this is just a minor detail, but Lichtendahl was badly developed. I only now realize this once he’s dead, but we should have gotten an introduction that androids or cyborg actually exist. The lieutenant… I still have no idea whether she was a cyborg as well, or just genetically modified. Before this episode, we hardly saw anything about him, which makes his death lack the impact it could have had.

But on the positive side: there was no Saji!

It really seems that Marina Ismael and Saji were meant to be characters for the second season. The next episode will probably kill off much more people, making the Celestial Beings disband without a doubt, and the survivors will probably be the main characters for the second season. Setsuna is the only one where I can say with certainty that he’ll live, as Allelujah also looked pretty bad in this episode.

This is just a guess, but it seems quite likely that the main characters for the second season will be Nena, Setsuna, Marina and Saji, with the major villains being Alehandro and Ali. Of course, there’ll probably be much more characters introduced, but I’m worried: these four are the most immature members of the entire cast. My biggest worry right now is that every sensible member of the cast will get killed off in the next episode. Please make at least one of Sumeragi, Feldt, Lasse or that mechanic-guy survive!

Gambling Apocalypse Kaiji – 24


When most other series build up for one big event, they usually have plenty of time with one episode that’s entirely meant to build up for that particular scene.

But Kaiji is different. Kaiji doesn’t need one episode, no. It needs three of them.

And so we’ve passed the second episode. All that’s left now is the final episode of building up, after which the episode where stuff actually happens will finally close off this series. The narrator was right: it has been a real night of lunacy, and I can expect someone to go crazy if you marathoned it entirely.

And although I admit that the pacing could have been a bit faster, I like the themes a lot. Here, people really try to outsmart each other, with carefully laid-out plans. This is much more interesting than a bunch of guys being scared to death on top of a beam that hangs 80 meters above the ground.

Shion no Ou Review – 94/100


I doubt that I can write a review to do this series justice, but here it goes. Shion no Ou is an anime about shougi, the Japanese form of chess. The rules are quite complicated, but you don’t need to be able understand them if you want to enjoy this series. What’s much more important for Shion no Ou is the general strategies, and the mind-games that get played between the two players.

And don’t ask me how they did it, but the writers are true masters in terms of storytelling. While this series does take place mostly in a tournament-arc, they take everything that gets handed to them to spice things up. Every single character has his or her own style of playing that gradually evolves throughout the series. The police and the press often play a big role, as they support the main storyline and the main cast of characters.

And let me say that the story and characters are nothing short of incredible. The heroine, Shion, is one of the strongest female characters I’ve ever seen. Every single character is well-defined and developed. Every single episode pushes the plot forwards, without any exceptions. The original manga was also written by a woman who used to be a female shougi-player as well, and she made sure to show all the ins and outs of a shougi-tournaments.

The animation definitely is different from usual. You’ll either love it or hate it, and it does fluctuate from incredibly bad to incredibly good, due to a limited budget. But in exchange, everything looks unique, and you can see that the animators are trying everything they can to make the art stand out. The animation itself is messy, but the poses and camera-angles are creative and yet incredibly life-like, that turned this series into a visual feast for me.

Great anime usually have one or two aspects that turn out very polished, like a cast of terrific characters, or an engaging storyline, but the outstanding anime really deliver in every single department. Shion no Ou has it all: terrific storytelling, a great storyline, a cast of deep and amazing characters (both the villains, main and side-characters) that really comes to life in the second half, a terrific art-style and animation, excellent music and a good sense of realism, although you should note that Shougi is serious business in this series, and at times the characters do tend to take Shougi a bit too seriously. ^^;

Shion no Ou – 22


God… this series is over at last. Endings like this one always have a certain air of predictability. Shion was bound to win, Hani-meijin would definitely end up arrested, and there’d also be a pretty good chance that Shion would get her voice back in the end.

And THAT’s exactly where the creators of this series come into play, and their mysterious talent to make this series awesome, no matter what happens. I can’t believe that these guys really know what it takes to create an excellent series. I’ve heard that the manga continues on beyond this point, but there are absolutely not threads left hanging, and everything is somehow carefully wrapped up in this episode.

This is exactly why I love Studio Deen. Their series either reek of mediocrity, like Hatenkou Yuugi, Touka Gettan, Ginga Densetsu Weed or some of Hiroshi Watanabe’s works, and yet they’ve managed to churn out a number of true classics. These guys are not afraid to experiment and go with their own style, which becomes apparent in masterpieces as Jigoku Shoujo, The Law of Ueki, Higurashi no Naku Koro ni, Simoun and of course this one. They’re looking to be busy yet again for the upcoming spring-season, with Vampire Knight, Amatsuki, Kyou Kara Maou and Junjo Romantica (incidentally, all four are shoujo), so perhaps another potential classic is amongst these four.

So in the end, Hani-meijin indeed was and still is obsessed with Shougi. He basically killed off everyone dear to Shion, in order to make her more focused at getting better at Shougi, after the recommendations he heard about her. Even Kasumi had to die because of this. Oh, and I absolutely loved it when Satoru punched his brother in the face. That scene was simple, but so effective.

The animation was yet again excellent in this episode. And here’s an interesting bit I found out: the chief animation director (Seiya Numata) also did the key animation of the fourth episode of Tengen Toppa Gurren Lagann, which was the one that spawned the outrage. The episode itself was pretty bad, it was directed and written by a supposedly good friend of the director (called Osamu Kobayashi if I’m not mistaken). But this does explain why that episode looked so strange when compared to the other episodes. Osamu Kobayashi must have been heavily influenced by the unique style of Seiya Numata.

The problem with that episode was however that it didn’t fit in with the consistency of that series at all. Like with The Third, such a different animation-style breaks flow. Arusu the Adventure has thus far been the only series where a change of animation-style has really worked, simply because it consistently changes its animation-style with every single episode. If there are one or two episodes where the characters look totally different from usual, it just feels like bad planning.

That’s why it’s great to see that in this series, Seiya Numata was in charge for the animation of all the episodes, so he could really go all out. And I really like how he made use of the clearly limited budget that this series ended up with. This series is the perfect example of how you can look great, even without the big budgets you see in series as Seirei no Moribito and Macross Frontier. Especially that punch from Satoru looked terrific.

In any case, it’s sad to see that this series is finally over. This has without a doubt been the best series of the past half year. I’m hoping that the upcoming spring-season features at least one more series with the same calibre as this one. A series that comes from nowhere, grabs you and never lets go until after it’s finished.

Shigofumi ~ Stories of the Last Letter Review – 86/100


Shigofumi is another episodic series that takes an in-depth look at death. At first, it may seem like some strange cross between Shinigami no Ballad and Jigoku Shoujo, but it quickly finds its own style and identity to work with. The earlier episodes mostly focus on random cases, where Fumika, our lead girl for this series, delivers the final memories of a person who just died to his loved ones, while the latter episodes focus on Fumika herself, and why she ended up delivering these letters in the first place.

Shigofumi’s strength is how it’s able to deliver a quiet and engaging atmosphere, with the subtlety of a herd of stampeding elephants. One moment, you’re enthralled by the versatile characters, the next you’re freaked out by some disturbing plot twist that came out of nowhere. The interesting thing is that this series knows fully well how to combine its quiet moments with its eventful ones.

Another strength about this series is the cast of characters. The writers make sure that all the characters are likable before they start playing with them. Especially Fumika turns into a well-rounded character for such a small series. Her development is started early, and not at the semi-final episodes, which seems to be a mistake that many series seem to make.

But yeah, I mentioned that this series has the subtlety of a herd of stampeding elephants. This is in both the good and the bad way. If things seem a bit too quiet, you can bet your hat that a candle will fall over and set a house on fire, just too spice things up a bit, and the entire series is filled with these kinds of plot-twists.

The individual stories basically range from one particularly far-fetched tale of bullying, to very subtle and insightful views on death, and especially the people who have been left by them. Shigofumi definitely has its flaws, but because of this it also has its own identify. You may try, and Jigoku Shoujo and Shinigami no Ballad indeed at first sight seem similar, but you won’t find any series that’s really captured the same essence as this one. If you want a series that’s short, sweet, and yet still packs a punch, then this one could be worth to check out.

Shigofumi ~ Stories of the Last Letter – 12


And so Shigofumi has ended. Surprisingly, it didn’t go as I planned. Fumi didn’t turn into a psychotic killer at all, and she instead became surprisingly likable throughout the episode. It’s really sad that this series is so short, as it would have been able to do great things if it was allowed twelve more episodes. Shigofumi really has its own style, and I believe that it wouldn’t run out of inspiration with two seasons. Ah well, in exchange for its short length, it turned into a short but sweet series.

Basically, Mika went back into Fumi for a while and temporarily disappeared, so that Fumi would be able to lead her own life. Fumi, however, had a lot of trouble in her own life, and just wasn’t suited to be transferred to school so quickly. Everyone took pictures of her, she became paranoid, her own mother didn’t want to have her anymore. In the end, when she runs to Mikawa Kirameki’s house, Mika finally appears again, and smacks her for running away every time. While it wasn’t the best ending, it was great to see the “internal” struggle between Fumi and Mika. In the climax, it finally turned out that both of them had their own needs, but were holding back because of the other. Nice. I like it.

But why? For GOD’S SAKE WHY!? Who the heck found it a good idea to suddenly make Natsuko fall in love with Kaname? It comes from nowhere, serves absolutely no purpose, is very badly developed, and turned her entirely character into a joke. I suppose that the writers wanted to add a bit more extra tension, but that rather backfired on them, just like every umpth series that attempts such a freaking twist!

Ah, now that that’s out, I do hope that more series like Shigofumi appear. Series that create their own style, and don’t try to be like others. This really has been a series with its own identity, and even though the plot was a bit boggled up at times, I had a blast watching it.