Category: Anime Reviews

Through the life time of this blog, I don’t think that there has been a series that you guys have requested more than Honey and Clover, especially in the early years. And really, when this was the series that opened up the door for the slice of life series featuring adult characters in the 21st century, it was the series that started the Noitamina timeslot, which has been running successfully for more than five years now, and the series that popularized the josei genre, I could only imagine how incredibly good this series must be.

I am usually someone who likes to save the best for last, but since I’m going to be graduating university in less than a week from now (upcoming Wednesday to be exact), I figured that this couldn’t be a better time to sit down and watch this series. In the end, I didn’t get the best thing since sliced bread, but that doesn’t mean that Honey and Clover isn’t an all around top-notch and well written college series.

This series may not be the holy grail of character-development: characters in this series do change subtly, but this is nowhere near the main focus of the series. Honey and Clover instead has a completely different area at which it really shines: in the way it describes its characters. At heart this is a slice of life series with a healthy dose of drama, but the creators also love to analyze their own characters, pick them apart and take each of those bits under the loop, so that we as an audience could understand them as much as possible.

The way it describes its characters is just fantastically done, and it’s that part what I loved the most about this series, and it really has a rock-solid cast because of this. On top of that, this series is also excellent at fleshing its characters out: it puts them in many different situations that are wacky, yet typical of college students. This show also likes to have characters go on month-long journeys, just to show how different the characters act when said person is not around. It’s well balanced between its drama, slice of life and comedy, and the plot itself is skillfully written in a non-episodic pace.

Unfortunately, this doesn’t go for the entire cast. I’m not sure whether this is due to the second season that will elaborate further on them, but there are a few characters who aren’t as interesting as the others, and hold this series down a bit. With this I mean characters like the people from Fujiwara Design like Miwako, her dog and its presidents. I also kept hoping for the creators to delve into Hagu’s mind and show us what she’s thinking, just like what they were doing with the rest of the cast, but unfortunately she remains a bit of an enigma until the end of the series, despite being really interesting.

Either way though, Honey and Clover is a very worthy series about young adults, and can stand with its head held high amongst Nodame Cantabile, Maison Ikkoku and Nana. They’re all unique, have their own points in which they make their cast shine beyond belief. It’s not the best among them, but as a slice of life series it really shines with a top notch script that really captures the years of college life.

Storytelling:	9/10 – Wonderful script, well balanced, constantly evolving as a series.
Characters:	10/10 – An absolutely lovable cast that is wacky and down to earth at the same time, and gets analyzed through and through throughout the series.
Production-Values:	8/10 – Pretty character-designs with pretty good animation.
Setting:	9/10 – Captures college life, and the things that surround it.

Suggestions:
– Nodame Cantabile
– Ristorante Paradiso
– GA Geijutsuka Art Design Class

I was really starting to fear that Symphony in August would meet the same fate as Furusato, Japan (as in, arriving to the west three years late and flying completely by people’s attention even though it’s really good), but thank god this didn’t turn out to be true. I really urge someone who likes the realistic kind of movie to somehow sub this thing, because it really doesn’t deserve to fade into obscurity.

Symphony in August turned out to be an incredibly uplifting movie, but the interesting thing is that it’s completely non-fiction: it’s based on the autobiography of the singer and songwriter Ai Kawashima, and takes place seven and eight years ago as she tried to find the recognition for her singing skills. She she even voiced the songs throughout the movie.

After watching,I can really understand why people wanted to make a movie about her life, since it is a very inspiring and slightly unusual road through which Ai worked herself up, and eventually ended up singing the theme song of the Place Promised in Our Early Days (that part isn’t shown in this movie though, it’s solely about her rise to fame), starting out as a street performer. The creators did a wonderful job of portraying her as a character. She grows like a real character, acts very genuinely on the hardest moments of her life, and the people around her who support her are also portrayed as wonderfully restrained.

The director, Akio Nishizawa really has a knack for these kinds of movies: realistic, down to earth and honouring the Japanese cultural heritage of music. In this movie though, I did notice one of the very few points at which he missed the mark: the ending. For who knows what kind of reason, the producers just couldn’t get the right funding to fully animate it, so parts are shown in CG. To make matters worse, at this point the movie abuses its sentimentalism a bit too much and shows a few too many people with tears in their eyes, and this goes on for too long. Apart from that I consider Symphony in August to be just as good as Furusato Japan, but the ending is where the latter is just much better.

Storytelling:	8/10 – Realistic, down to earth and well paced. Only the ending could have used more subtlety.
Characters:	9/10 – Non-fiction, and it shows. A very realistic portrayal of the characters, and they’re charming as hell.
Production-Values:	8/10 – Detailed and well drawn movements, with some unfortunate CG abuse at the end.
Setting:	8/10 – Good portrayal of the modern singing business.

Suggestions:
– Furusato, Japan
– Fancy Lala
– Piano no Mori

Bungaku Shoujo is a project consisting out of four OVAs and a movie. I remember not really being impressed by the first OVAs, which didn’t really give me the motivation to check out the other parts of the OVA, so I just decided to go with the movie instead. Which, as it turns out, is completely different.

Before I continue however, I do want to say the following: with most of my series and movie reviews, I try to not include any spoilers. With this movie however, it’s impossible to really talk about my impression of this movie without discussing some of them, so if you haven’t seen the movie yet, you might want to skip the rest of the paragraphs of this review.

I say this of course because Bungaku Shoujo marketed itself as some cheesy romance in which the lead character gets to date a cute girl who eats books. The prologue of the movie reinforces this completely when it throws cliche after cliche when introducing its characters. And in the end, this turned out to be a huge red herring for the real subject matter of this series: dealing with a mentally insane childhood friend.

At this point I’m still not sure whether the creators tried too hard with that character, but nevertheless my highlight of this movie was the interplay between her and the lead character as it really took its time to explore how both of them feel about each other. With excellent animation, I felt myself to really care about these two, and to be honest, the entire cast quickly loses the stereotypes associated with them at the introduction. There is a bit of overacting at times, but even there it feels subtle and restrained, to really give off the impressions of a natural cast. I’m definitely surprised by that.

My main problem with this movie was the conclusion. Basically, most of the major conflicts are solved with a cheesy speech that I feel was totally unnecessary. I would have really preferred it if the characters just talked to each other to sort out their differences. Or heck, went to a proper psychiatrist.

The animation for a movie’s standards is pretty good, but average. There are a few still frames and off models here, but characters are well animated. For movie’s standards it’s nothing extraordinary, though. The soundtrack itself is also nothing to write home about.

Nevertheless it’s a compelling teenaged drama with a lot of symbolism to novels (most notable Kenji Miyazawa’s Night on the Galactic Railroad). It’s not the best and the whole “demon eating books” turned out to be just a gimmick that could have easily been omitted without changing anything, but it definitely kept my attention throughout the movie.

Storytelling:	8/10 – Takes its time to tell the story, great sense of mystery.
Characters:	8/10 – The acting tries a little too hard at times, but nevertheless the cast is believable and charming.
Production-Values:	8/10 – Solid and detailed, but doesn’t stand out compared to other movies.
Setting:	8/10 – Aside from one gimmick that’s not used to its potential, it does its job of supporting the story, especially the book symbolism.

Suggestions:
– Night on the Galactic Railroad (one of those movies that I got to appreciate more and more over time, so just ignore that rating).
– Gedo Senki
– Kappa to Coo to Natsuyasumi

With this, I get it. Kimagure Orange Road is annoying. It got on my nerves beyond belief. But in the end: it really is worth it. I mean, there is so much that modern teenaged love interests can learn from Madoka that it’s almost scary. This OVA at first sight seems much of the same as the TV-series, but there are a number of notable advantages that it has.

The formula is the same: get a bunch of episodes together in which the lead character (often with the use of his psychic powers) accidentally ends up in a really awkward romantic situation. The fact that this is eight episodes however, means that the cast has a lot less time to get on your nerves compared to the incredibly long TV-series. To me, this really worked in focusing on the good stuff of the OVAs: the serious and romantic scenes. And they really get their chance to shine in this OVA.

The graphics also got a major update here. You can really see that the artists especially put in effort to bring the cast to life now that they’re not bothered by a TV-series budget any more. It’s got this great classic look from the late eighties, and it doesn’t look as immature as the series did.

I can’t say that this OVA wasn’t annoying, because it definitely did have its moment. But really: if you finished the daunting task of watching the entire TV series of Kimagure Orange Road, then you might just as well continue with this OVA. At this point they’ve got 50 episodes worth of development behind them, so they sure as heck aren’t going to be shallow here. And besides: it’s great to see a show that isn’t incredibly scared to show teenagers drinking alcohol. Seriously: why does every modern anime try to pretend that teenagers never drink or smoke?

Storytelling:	9/10 – Annoying, but really knows exactly what it does in getting the best out of the characters.
Characters:	9/10 – I’ve said this before, but Madoka is one of the best characters of her kind. The others… they’re nice, but pale in comparison.
Production-Values:	8/10 – Smooth and detailed animation when it matters, with a few bugs here and there though.
Setting:	8/10 – Save for a horrible portrayal of a bunch of Americans, it’s solid and does its job.

Suggestions:
– Tenchi Muyo! Ryo-ouki
– Maison Ikkoku
– Mahou Tsukai Tai OVA

Watching Aria the Natural was… a challenge. Seriously, watching it (especially its first half) was a unique experience in trying to not doze off while still paying attention to the dialogue. I was nearly put to sleep by how calming the storytelling is here; that’s usually a really big insult!

Aria is all about making memories: those small events that leave a lasting impression on you, and the Natural is also full of episodes that focus on moments like these, in the middle of a ton of slice of life. Calm and soothing beyond belief, it’s very much an “Iyashi-kei” (healing-type) series that even more than the first season of Aria, is perfect if you just want to relax, or get rid of some stress.

The dialogue is also very important for this series, as it loves to flesh out its cast and setting with it. I especially liked how detailed and imaginative the script was. The thing that also sets Aria apart from most other slice of life series is that it really pays attention to the unique setting it’s in: the culture, history, traditions and people of Neo Venezia all get their turn to show a bit about themselves, and to be honest: I actually enjoyed this part more than the characters themselves.

Whether it’s the best slice of life series out there, though… I can’t say that. Aria is very good at what it does, but personally I enjoyed series as Windy Tales and Akage no Anne more. Even though the main characters have gotten 39 episodes worth of screentime, in which we do get to know them quite a bit, I still think they’re missing something. It’s like… they were trying too hard at times to be adorable, especially with the overuse of those comical chibi-faces. I’d also have liked a bit more variety in the different episodes. There were a few times at which I felt that this series might have gone on for a tad too long. This is just nitpicking, though. I enjoyed this show a lot regardless.

Storytelling:	9/10 – Calm, soothing, yet detailed, and a great script.
Characters:	8/10 – A charming cast.
Production-Values:	8/10 – An excellent soundtrack. The animation itself is nothing special but nice to look at.
Setting:	8/10 – Neat idea, well fleshed out, well used.

Suggestions:
– Windy Tales
– Ristorante Paradiso
– Mushishi

Usually when I compare a series to melodrama, I mean this in a negative way. Onii-Sama e, however… is just one of those exceptions that struck me by utter surprise. It comes with such a style, grace and elegance that the huge amounts of teenaged angst and bitchfights fit completely into place.

It’s another one of the television series directed by Osamu Dezaki, and seriously, the more I watch of this guy the more respect I get of him. The direction in this series is just fantastic, especially considering how old it already is (1992!). It’s a series that may not have the highest budget, but it makes optimal use of the animation techniques that were available at the time.

Characters are drawn swiftly and elegantly. Even the still frames are packed with movement, while the animated scenes have surprisingly good frame-rates. Everything is dedicated to making the characters look as elegantly as possible, without going over the top and just making the characters look silly, like what’s happening to most modern shoujo series.

The melodrama is obviously there: the characters in this series really have issues, and vicious catfights, screaming, yelling and suicidal thoughts are no stranger in this series. But the thing is that while it’s over the top, it never gets cheesy. The drama doesn’t get silly in how hard it tries, and instead it continues to colour the different characters throughout the series.

Characters, who are another part of the series’ highlights. Ranging from the main characters to the side ones, they are varied, engaging and deep. It’s great to watch them grow throughout the series, and deal with their own issues that while over the top, are things that I can very easily see teenaged girls to relate with. The chemistry and bonds between the characters is also great to watch, not to mention the excellent script that hits the mark time and time again.

At the same time though, I do see how Osamu Dezaki’s involvement can be a bit of a double edged sword. Judging from the reception of the Air and Clannad movies and Ultraviolet, his style is something that you can hate just as easily. His series also often have character-designs that look like no other anime out there. In Onii-Sama e’s case, it pretty much depends on how you’ll be able to stomach the dramatic scenes. The scenes beyond that are very accessible though: I’m still amazed at how much life the creators managed to put into them.

Storytelling:	9/10 – Fantastic direction, excellent dialogue, really dramatic.
Characters:	9/10 – An excellent cast, well fleshed out and developed throughout the entire run of the series.
Production-Values:	9/10 – Love it or hate it style. I loved it. The soundtrack is beautiful as well.
Setting:	8/10 – A bit of a soap opera setting, but solid and does its job to make the rest of the series shine.

Suggestions:
– Ultraviolet: Code 044
– Revolutionary Girl Utena
– Nadia and the Secret of Blue Water
– Ashita no Nadja

With this review I feel like I really need to explain its rating. Daddy Long Legs seems to be one of the most appreciated series of the World Masterpiece Theatre out there. At AniDB it is rated as the best of the franchise with more than 100 votes, so quite a lot of people seem to agree on the classic status of this series. I don’t, though.

If I sound harsh in this review, remember that I’m comparing this to the other World Masterpiece Theatre series I’ve seen. And really, you can see the influences. This remains a series that’s based on a novel, and so the characters are constantly growing up, are forced to come to terms with their flaws and really change throughout the series. It’s perhaps not the most original story, but as a story of growing up it does its job quite well. I just have some fundamental problems with how it was executed.

I think my problems are best summarized by that it follows too much from classic shoujo tropes. And of course, there have been quite a few other WMT-series in the shoujo genre, but they had a very solid execution to back it up with, while this one doesn’t. The drama in this series at times tends to resemble a bit of a soap opera, where the writers try to make the different characters clash a little too easily. Especially the latter half of this series is filled to the brim with romantic cliches that have been done better by many different series that appeared both before and after this series.

Because this is yet another one of those high school series that puts a poor person (an orphan in this case) in a rich environment, leading to culture clashes, it really needed something to make up for it and partially, this series did. Even though it sometimes likes to force its drama, the slice of life moments were well portrayed, and the creators did a good job at exploring the differences between the culture of the upper classes without devolving it into just a string of endless parties or snobbish, stuck up and spoiled children. Julia, one of the main side characters, is especially good at that, where you can see that she has been spoiled her entire life, and yet she behaves like an actual teen-aged girl with more sides to her than just that.

And really, for the biggest part of this series I really didn’t mind it that much. Sure, it wasn’t the best of the World Masterpiece Theatre by far, but it still was pretty good, and did what it was supposed to do, and I didn’t really mind the flaws I mentioned above. Then, however, the ending came.

Now, I have watched a number of series where the ending completely changed my opinion, causing me to rate it much higher or lower than I originally had in mind, and this again happened here. That ending was one of the most contrived, cheesy, Deus ex Machina-laden endings I have seen in a long while now. A huge part of this series is devoted to building up to this particular ending, which then completely trashes any kind of subtlety or charm that was originally introduced. The plot is made way too complicated for its own good and in the end this series collapses under all of the plot twists it made to make the ending as spicy as possible.

The reason why I’m such a big fan of the World Masterpiece Theatre is because how well it handles its drama. It’s all very genuine, its characterization is truly excellent. The final quarter of this series however reduces most of its drama to stereotypical teen-aged angst, and it’s not even good angst. Relatively smart characters also tend to behave like idiots when the plot demands it. I have a lot more plot-related qualms to the ending of the series, but that would be too spoilerific to discuss in this review. The characterization of this series is good, but not good enough to make up for the many issues I have with this series.

Storytelling:	7/10 – Solid at times, but tries way too hard at others.
Characters:	8/10 – Ignore the bad teen-aged angst and you’ve got a bunch of likable characters that are actually quite well developed.
Production-Values:	8/10 – there is no eye candy, but the animation is detailed and does what it needs to do.
Setting:	7/10 – Held back by just too many things that don’t make any sense, a high school that lacks any kind of life, and too much of a focus on shoujo cliches to really show much of America in… whatever time period this is set in.

Suggestions:
– The Trapp Family Story
– Kaze no Shoujo Emily
– Perrine Monogatari