Category: Other:

Delayed by a day, because I wanted to include Classicaloid’s ending in this. Word currently says that this turned into an article of more than 4500 words, Jesus Christ what am I doing. At the very least I’ve got the passion to write back, but at the same time this format works best: write a huge amount once a month (or twice in the start of a season) and take a bit of a break the rest of the time. This works when balancing this blog with the rest of my life. There will be some weird months here and there, but eh, we’ll see when they come.

As usual: yarr there be spoilers. Really major ones this time because this month delivered some really good plot twists and endings, but I also really want to talk about them and all of their contexts. Again these are just my impressions of whatever aired the past month, the episode numbers are indicated next to the title, and these are ranked based upon the shows I liked least to best this month.

#10: Piace – Watashi no Italian (08-12)

This month, something happened to Piace: it stopped being funny. This is a pretty big deal for a comedy.

It’s classic what happened: as the show goes on the best jokes run out, and the creators hope that they can continue on, on the merits of the characters. The problem is that you need to have good characters for that, and it became painfully obvious that Piace only had its comedy to write home about. Without it, these characters are empty shells. Stereotypes and cardboard boxes who just depend on their own two quirks, rather than being actual characters.

Yeah, it’s pretty serious for a show of 12 episodes of only 20 minutes to run out of material. Like dude, it’s not that hard! It’s Italian food! I mean I finished this up because of how short it was, but this last month unfortunately was another strike against series like this: their creators are a bunch of lazy bastards. This was one of the few that actually had some effort going into it, which makes it all the more sad that they couldn’t even remain fired up for a measly 36 minutes.

I am a completionist, but next season I will stop giving every tiny show the same kind of attention. Only if they’re notable in some way, because this trend is getting too much out of control.

#9: Onihei (08-12)

So of course Onihei has to be the oddball here to have its final episode air on april 4th, while the new season is already well under its way. Ah screw it, unless the final episode does something really unusual this is going to be my final say on the series, I don’t want to wait that long.

Onihei always stood apart from the other series this season. It attempted to show samurai tales from a different perspective, and it didn’t shy away from the ugliness, while not going completely overboard like what Shigurui did. Every episode showed a different story, which tried to be thought-provoking in some way or another. Last month I complained about there way too many pure evil minor-characters who only existed for the story’s sake and had no depth to them whatsoever, and this month improved that. They were still there, but not as abundantly as before. The stories all were interesting, I saw no real big slips or overly stupid episodes.

However my problem with this series is that thinking back… I kindof have to say that I liked the first episode best here. And that’s not a good sign. The fist episode to me was the sharpest. Had the best ideas. And while the other ones aren’t bad by any means, you just keep hoping for something as good as the first impression, and that tends to sting more and more as the show goes on. Thankfully episode 12 came close to it, at the very least I consider it the best of the rest, but even then I can’t get rid of this slightly bad aftertaste for Onihei.

Also, I’d like to say a few things about the acting in this series: the show has this look that’s different from the other series this season, and the creators tried to put in a lot of details in the characters’ faces. But the problem is that it’s also really had to emote that, and what irked me through the entire series was that all facial expressions just look weird. The budget was very obviously limited, but the creators here need to learn the art of cutting corners. They did the basics of course, but strangely not in the area of facial expressions. I mean I can forgive bad animation of course, but the whole reason why I watch anime is watching characters being brought to life. And watching these weird expressions in this uncanny valley… it didn’t work as well as the creators hoped to.

#8: Hand Shakers (09-12)

Okay, that ending. First of all it was obvious sequel-bait, but even then this episode definitely also attempted to close things off in case the investors aren’t gonna bite, and with that in mind you’d expect some sort of closure. That happened, but as the final two episodes went on I found myself really scratching my head because the main villain really wasn’t making any sense.

We’re talking about a former partner, who broke off without saying anything, who went on to kidnap a young girl and drug her into fighting for him and keeping her from disappearing. I know the alternative was putting her to sleep, but even then this seems wrong on so many levels, especially seeing it develop into this weird Stockholm syndrome relationship. And when they revealed his reasoning behind everything things made even less sense. Holy crap what an anti-social dork!

Only when I really started to read inbetween the lines did I see the values of this ending. Handshakers isn’t just about a bunch of people fighting, it’s about deeply flawed people, connecting with each other through something as innocent as holding a hand. Even the two leads: one born doomed to be different, the other haunted by the death of his sister. And a big theme throughout this series is characters trying to pretend that nothing is wrong and things are perfectly normal. People being afraid to show their true colours, and being beaten allows them to fully open up and accept themselves. Within that context, this all makes sense, and it fits within the central theme of hand holding. But yeah, this really is one of those series where reading inbetween the lines is absolutely necessary, otherwise this was a horrible ending.

So yeah, I was preparing to write this whole rant about wasted potential, but in the end I just can’t. I appreciate this series, I really do. And I do not regret watching it. If anything, it tried a whole different way of storytelling, and just for that it deserves credit. Hand Shakers is nice. If has warmth. It’s cliched on the surface, but beyond it’s worth it. However the cliches on the surface remain. If there ever comes a second season, I’d love to see less typical stories. Don’t start with idols, thugs and incest, start with actual characters. Dare to stay away from the stereotypes.

#7: Kuzu no Honkai (08-12)

Again that final minute! What Kuzu no Honkai did in its final month was different: instead of focusing on unrequited love, it had two other focuses: moving on, and actual love. Moving on was the logical progression: everybody got their time to show their feelings come to a breaking point, and being able to move on from their desires, accepting that it never was gonna be something. The actual romance though… sorry but I just didn’t buy it. It was just way too cheesy for me to take seriously. This show was always good at the dark side of romance. The bright side: nope. Especially not so quickly after Fune wo Amu.

So yeah, the entire final episode was hinting at that the two leads were gonna end up as a couple after not seeing each other fr a while. The hints were so obvious and cliched, you see them everywhere. And then… they don’t! They actually realized that they could return, yet they chose because they wanted real romance and went their own way! The only correct way for this show to have ended. Move on! There are more fish in the ocean! Any relationship between these two would have been doomed from the start.

I do think that this is the month I enjoyed the least of this series. It mostly had to do with how good it was at its unrequited love. This ending wrapped everything up perfectly fine and it left the cast as very well rounded, so it was definitely necessary, but it didn’t have that “wow”-factor that the first parts had. Although I still want to praise it a lot for that ending. And also one other thing: it’s Noitamina. Ideally, I would like to never again see a series to take place in a high school in this timeslot again. The timeslot was meant for adult series, and we have plenty of room for high school series in the other timeslots that don’t have this context.

#6: ChaoS;Child (09-12)

Okay, yeah. ChaoS;Child had a really juicy ending. It pervailed through the sheer force of its original material, and I’m not going to spoil anything more. It just has to be experienced. Instead of that, I’m going to talk about the context of it all.

Because aside from Steins;Gate, make no mistake that this was the best semi-colon series to come out. It took Chaos;Head’s potential and actually made it better, which is very rare for an unplanned sequel. It was less solid than Robotics;Notes, but instead of falling apart at the end it came together. And while the characters weren’t the best, they were miles above the annoying shells that I had to witness in that one episode of Occult;Nine. Steins;Gate remains miles above it though. I mean Chaos;Child’s problems are really big. But damn, this was some wasted potential overall. In the right hands this would have been one hell of a series.

I can really imagine the original visual novel being a really good one, and a great ride. That doesn’t have the horrible pacing and acting problems that this series had, and it’s something I’m going to recommend, especially for those who are familiar with Chaos;Head (because let;’s face it, you need to have seen that one before watching this). Will I end up playing the games at one point? Hell no.

Leaving aside that I already know what’s going to happen, the bigger issue is that I’m simply not going to touch games, or light novels, or even mangas for that matter. Even though their stories may be better than in anime, I’m not gonna. So there. Even in the case of Chaos Child, where it’s obvious that the story of the game is better than in the TV-series, I would still have picked the anime if I knew this beforehand.

“The original story is better” is something I have heard, almost since the start of this blog, and it always irked me, even though I couldn’t always explain exactly why. It confused me for a long while, and I did dabble into manga for a bit. And what I read there were indeed some awesome stories. But in the end, while I was in my two-year slump of not watching anything, I realized that I wanted to return to watching anime, while I couldn’t be bothered at all with the mangas I checked out. The reason in the end is simple: the reason why I’m so drawn to anime is the sum of its parts. The way everything comes together to make something bigger and better than what they individually could have done. This means that stories may be done better in novels, mangas and games with more time, there is better music in the medium that specializes to music. Pure art and movies will have better visuals. But it’s everything coming together that really is my passion. That’s also why ratings splitting ratings up into various sub-categories, like story, characters, animation, et cetera always felt weird and unnatural: they miss synergy!

And of course, your mileage may vary. Everyone enjoys entertainment in a different way. It’s useful to listen to others and give things a chance, but in the end the person you need to listen to the most is yourself. Your time on this planet is limited, so you’d better spend it on the things that pique your interests. Because of that, I’ll gladly take this collection of badly acted blobs here, because somehow, despite everything against it, this show came together and delivered something that should have been impossible.

#5: Youjo Senki (08-12)

The finale set up for a sequel, but to be honest, I’d be glad if it didn’t get one, as weird as it sounds. The open ending fits actually quite well with the themes that the final number of episodes were going for: fighting to stop fighting is a bloody stupid idea that’s only ever going to make more people mad at you.

What disappointed me though was that they did very little with Being X. There was lots of silence from it, and it’s much more that its presence loomed over the entire series. And yes, I never thought I’d ever say this, but God won, and was glorious. I quite liked how it pretty much passed over the baton to the new superpower to emerge.

It’s a simplistic depiction of war sure, but to me they quite got away with it. I had quite an enjoyable time while watching this series, and “Tanya” actually turned out to be an excellent example of an anti-hero. Clearly the protagonist, but obviously not on the moral side of rightness. The war here was presented as something that sucks for every side, even the winning one. The tactics used were simple, but not the reason to watch it. Surprisingly, it’s the human element. It did so in a really different way from Shuumatsu no Izetta, which while it had a better start, lost my interest after a while, while Youjo Senki remained strong. I think the reason was because it was about something: through the series it really drove home that everyone wanted the war to end, especially as the show went on. Izetta meanwhile got lost in its boob jokes and its main characters ended up being a bit too… perfect. And too morally one-sided now that I think back to it: the evil empire is evil and must be stopped, while the small country with lots of pretty girls in the center has to fight it off.

Seriously Youjo Senki I really commend you for not using any boob-, loli- or any other kind of fanservice pandering joke here! Well done!

#4: The Dragon Dentist (01-02)

Kazuya Tsurumaki comes along with his team of former Gainax employees at Studio Khara, and basically shows how it’s done. Dragon Dentist consists out of two 50-minute tv-specials, and they’re apparently continuing a project Khara did a year ago with a compilation of 35 different pilots and short films. Now there’s one movie that I’m really interested in checking out – I thought that the genre was dead!

But I digress, The Dragon Dentist: basically had this been a 26-episode series, then it would have been the epic of the year. The mainstream show that got people talking, draw in people who aren’t usually interested in the medium, and that would still stand ten years after airing. Perhaps no Full Metal Alchemist Brotherhood, but bigger than Attack on Titan, it was that solid. And only something that could have been done in anime. I really liked the idea behind this series, of giant near-invincible dragons floating around, and the whole world built around it. Its own religions, customs and traditions. From what we saw of the world here, the creators were excellent at bringing life to it. Plus the action was amazing. The two episodes did it in completely different ways, but it had me glued to the screen, and this show getting really gorgeous in the second episode only helped this.

But yeah, we only got two episodes. This basically was a pilot, in the same way that Kyousogiga, and Little Witch Academy did their thing. Now all that’s left is waiting for an investing party to bite, to try and make a full fledged one. I mean it just felt weird that in episode one, everything just happened too fast. There was no way to really build up urgency or context before things started happening. This show really did what it could, but it really feels we just skimmed the surface of all that’s possible in this setting. Like the creators ran home with a clump of gold while being inches away from this gold mine.

Full Metal Alchemist, Attack On Titan… I don’t think that those shows are the best to compare this with. You know what this reminds me most of? Bounen no Xamdou! It’s got the same inspiration behind its setting, it too looked incredibly solid, while still daring to break barriers. Both toyed with their own religions and had very relatable characters. Now Bounen no Xamdou made the mistake of lingering on a bit too much near its ending. I really think that if this gets green-lit for real, then The Dragon Dentist will be able to avoid the same fate, because the way episode 2 ended was actually really, really good. It’s the type of thing why I watch anime: watching everything come together. The action was great, while in the meantime the setting got fleshed out, characters kicked ass, the plot thickened, the graphics got gorgeous, the music. It gets it! Everything just fit.

I remember how I disliked the Evangelion movies. Made by the same guys. I think what irked me the most there was watching a recap, and things didn’t really mesh well. And while I still need to watch the third Evangelion movie, I do think that they were on to something, and this really feels like they took what they learned there, and are experimenting further. At the very least, these are the guys that need to be influential. These are the guys that need to inspire the next generation that there is plenty of kick-ass material just waiting to be brought to life, and the best way to do it is to be bold and show some balls! Instead of being too safe.

#3: Classicaloid (21-25)

Wha? There’s gonna be a sequel? If you said that at the beginning of this season, this was going to be one of my last guesses for a continuation. It is all the more weird because this definitely is not the most popular series, and with an announcement this early this definitely was planned in advance… yet the final episode was pretty conclusive. I was about to praise this series for avoiding the dreaded comedy ending, but here’s another hurdle it’s going to have to face: the dreaded comedy sequel. Will it have enough material to keep fresh for 25 more episodes? I am writing this like immediately after that twist and it puts like everything in a different perspective. And don’t get me wrong: if the creators know what they’re doing then the result will be beautiful. This cast has that potential. However if this was a decision from the producers against the writers’ will: oh dear god the pain!

But anyway, to the ending. Classicaloid was completely different from all other shows on this list. Most of them, at least the best ones, were tasked in wrapping up their stories. Making everything come together in a clever way, with layered plot twists, themes and characters coming together (which they all did really well by the way). Classicaloid however never was based on logic. For Classicaloid, the point was to deliver a bang of an ending. Bring it to an emotional climax. And they went to heaven and beyond for that!

Five episodes. The first two were the standard episodic ones, but they rank among the funniest of the season, including the single greatest rap track ever to have appeared in an anime. The final three episodes delivered the finale, and you know these parabolic graphs? Well, it was like that. It started off quite standard, with a lot of exposition that made me fear that they were going for a completely serious ending. Then things got better with anti-climax. And then the aliens arrived!…!?!?

Like Deus ex Machina much?!? And yet in the context of the series it totally fit, and it allowed the creators to just keep surpassing themselves in atmosphere. They saved some of the best tracks for the finale, and especially the ending was just a visual orgasm of colours and shapes and musik, it was glorious and incredibly fun! Really if it wasn’t for the sequel announcement I might have placed this at the top of this list!

So yeah, for now I’ll spend the next half year without Classicaloid, and when they return, let’s hope it will be glorious. Please be even better! You can do this! You have half a year! Use this time to plan out the best possible course for this show! It deserves it!

#2: ACCA – 13-Ku Kansatsu-ka (-)

Thinking back, the season that set my writer’s block in motion was the Autumn of 2013. This is where I became disillusioned by the series that came out, and even though I tried to hold on, my interest became less and less, and the reason for that was the sheer amount of series that had very interesting premises, yet utterly failed at even the most basic elements of storytelling. The worst offenders were Galilei Donna, and Copellion, but also Nagi no Asukara, Yozakura Quartet and even Samurai Flamenco and Kill la Kill: they all were disappointing because of their lack of respect to the rules of basic storytelling, to the point where only Kyousogiga ended up as a success.

I feel that this season, we have the antithesis of that: lots of different series who actually KNOW what writing is. One of the best examples for that is ACCA, simply because of how much it had against it. I mean, now that the final episode has passed, I can confirm that they actually did it: they managed to squeeze this huge story and setting into one season, and they made everything fit. The pacing feels natural, there were no forced episodes. And despite all of these constraints, it was constantly building up to the final episodes, and never forgot what it was trying to do.

It’s a show that has many layers. The foundation is the 13 countries. All of them get visited throughout the series. Above that is Jean Otis and his colleagues and his sister. On top of that is the central government. In between them are the storylines around the coup that was to be attempted, interwoven with the background stories of all of the different characters, who due to the nature of this series all came from a different part of the world. The focus on food was fluff to flesh out the setting and characters. And even then the final episode delivered a twist that was lurking behind all of that in the shadows and tied everything together. This is the example of what happens when you put a lot of time into planning out your series’ structure, instead of rushing it or outsourcing it, to make sure that everything is just right.

Of course, this method is not perfect. The benefit of spontaneous writing is that it’s better at bringing out emotions, it’s more spontaneous. But that was solved by the very consistent mood this show had. It always was mellow. There was no drama whatsoever in this show, and instead it hinged on intrigue, and that made it work. I also loved how diplomatic everyone was. Sure people have their own agendas and stuff, but instead of the yelling and irrational fights, putting groups of people against each other, people just drop grudges, accept things and go on with their days. Obviously this show does present a very simplified form of politics: it assumes that everyone in a country has the same opinion. which of course in real life is a bit more complicated.

Of course, Natsume Ono, who previously wrote the original material of Sarai-ya Goyou and Ristorante Paradiso delivered some amazing story again, but that is no guarantee that it translates well to the anime format. But they did it, and let this be a lesson for future writers: this is how you write a series and make it interesting. It takes both itself and its audience seriously and simply wants to write a good story with the means that it has. Kudos to Madhouse&co!

#1: Shouwa Genroku Rakugo Shinjuu Season 2 (09-12)

And finally it’s Shouwa’s turn to end. The final four episodes of this series had a lot to live up to, after such a series. And all in all I have to say that this ending was totally rock-solid. The past four episodes all wrapped things up perfectly, really taking their time to make sure that everything got closed off in a satisfying way. All that this show had been building up to: the main characters, the side characters, but also all of the themes when you start reading between the lines.

This whole series was the story of death and rebirth. You see it everywhere, with the main one being Yakumo’s life, but the death of Sukeroku, and him surviving through the next generation if another really big one. How Rakugo almost died under the 8th Generation, but was revived by the 9th generation. How all the rakugo titles keep getting inherited whenever someone passes away. And not to mention the following: I cannot recall any other series that featured more generations than this one. Four generations, all changing as time goes on, growing and weakening.

The big challenge with endings like this is that they tend to just wrap everything up like a good schoolkid, while forgetting to actually tell a story, make it interesting, make sure everything is satisfying. What Shouwa did really well was that the final episodes all managed to keep the balls in the air, and they kept delivering new stuff. We worked towards Yakumo’s death, but even there it wasn’t a simple case of him dying, but he was really clinging to his last moments in live like a living paradox. Then the afterlife episode came, and we finally got to wrap up a lot of questions that the big death left us. I think that this would have worked even better for those who watched the first series as it came out, instead of me, catching up to it in January. Everyone got to accept death, and it felt good. Then the final episode showed yet another time-skip, but there was much more meat to it than usual, because it showed the rebirth of Rakugo, with new rules that could finally be implemented now that the eighth generation has moved on. It was essential to show this. Plus, it even came with an extra twist to boot, hinting that Yakumo may have had a descendant. They could have easily done without, but it made things even more interesting in hindsight, and while awkward, it fits strangely well.

This series is not perfect though. I was not convinced by the romance, and I don’t think that this show really understands it. It was definitely the most annoying part of the series. Also this is not the easiest show to watch. You need to pay attention, and this definitely isn’t a series that you can watch while relaxing. There are parts that while vital to the story, are a tad difficult to sit through. No, in terms of pacing, I don’t think that the creators could have done a better job here.

And yeah, this is the type of series to set a new standard for future shows to live up to. Last season this was Fune wo Amu, and together they create a very solid baseline to hold shows up with. These series show how you should tell a story, where Fune wo Amu shows how to bring characters to life, and Shouwa Genroku Rakugo Shinjuu shows how you should pace your series. And what’s also important about these two series: usually series as solid as them are the product of a big name director who has already proved him or herself. This is especially true of the past ten years, remember Sayo Yamamoto’s Yuri on Ice last season. But Fune wo Amu’s director? He had done Sukitte Ii Na Yo and a number of episodes here and there, but nothing as vibrant. Shouwa Genroku Rakugo Shinjuu was directed by Shinichi Omata, the director of Sankarea, Rozen Maiden Zuruckspielen. While good, they always lacked something, and here he really managed to make everything come together, and you can see a very tight control from beginning to end. This is the new generation waking up and coming up with their own styles, rather than just doing the same popular thing over and over again. This is a trend that needs to continue. They have demonstrated that they know how to tell a story. From here, it’s time to add more and more guts and balls. Dare to be exciting! Dare to challenge the status quo! You have the power!

Demi-chan and Masamune-kun have been dropped. With series like these in a generic school setting, I zone out very fast when they revert back to the stuff you see everywhere, and the same old fanservice. I do not have time for that. Beyond that though, this definitely was an interesting month, full of twists and surprises. There’s some definite good stuff here, and I can see the ambition to get better from a lot of them.

Usual disclaimers: there be spoilers, arr. And these are just my impressions, influenced only by myself.

#10: Hand Shakers (05-08)

This list is based on my rankings for all episodes that aired in the past month, with my least favourite first and my most favourite last. Hand Shakers takes the spot of worst this month as a punishment for what it did for the past four episodes. Those who know me know why, and this series should also be well aware and it should feel bad about it!

I’m sorry Hand Shakers, but if you introduce a brother and sister and your first instinct is “incest!”, you obviously haven’t learned your lesson enough. This goes for the entire industry. Let’s first let a good number of years pass with series of siblings with actually normal relationships before we’re going to even think about this subject, mmmkay? This in particular was the perfect opportunity for that: a great way for this series to explore the strong bonds that siblings could have. It would have fit perfectly. Or just make them a regular couple. Heck, they acted more like one than 90% of all other couples in anime.

And this is a bloody shame because aside from that really big detail I’m really digging this series. I like how it explores hand holding, and this series has this warmth flowing across every episode that is really cute to watch. This is how you do chemistry! And look at how ambitious the animation is! Yeah it looks weird and all, but look at all the things they’re actually trying to animate! How crazy the camera sometimes gets, and how much it moves on an actual three-dimensional plane! This is incredibly difficult to do, and yet they keep trying, even beyond the first episode.

So yeah Hand Shakers: lay it off with the incest, and you have next month to redeem yourself!

#9: ChaoS;Child (04-07)

Oh boy. Episode seven. That was… quite something else. Really, I can see why they wanted to animate this show now. In the hands of competent creators, this really would have been the smash episode of the year, and I’m not kidding! The most disturbing single episode in years! Or at least, that was probably the plan. Oh god, in the hands of Tetsurou Araki this would have given me nightmares for months!

But yeah, let’s face it: the acting in ChaoS;Child is abysmal. It may not be the single worst acting of the season, but it is for what it’s trying to do. In episode one it already was quite clear how silly and over the top the gore was, but the real problems started to become apparent over this month: these characters can’t emote to save their lives. They’re all a bunch of cardboard boxes wiggling around and when things get dramatical instead of feeling with the characters, things just get incredibly awkward. Okay, so you want characters who pee themselves out of fear? You want characters who cry blood? Emote them! There was no way the creators would have been able to make that work with this execution, and that was apparent right from the start. What a good director would do in this position was just tone down the gore: make use of what you have, pull a few directing tricks here and there and pull off a more subtle performance that requires less time and budget.

Because it’s obvious that this series should have been 24 episodes long and it’s battling against time, but that’s no excuse. There’s another series this season in the same boat here: ACCA, having to bring thirteen different countries to life in just one cour. But there you can see that the creators are desperately trying to pull all kinds of tricks to make it tick and work. Chaos;Child simply animates the original story line by line without thinking about how to make it work best.

And that brings us to episode seven. Oh boy, I already tuned out a bit with the peeing and blood crying, but here? It was hard to watch what went on there, seeing these incredibly wooden characters trying to cope with the single most traumatic event in their lives, and it just got more and more awkward as it went along. And it just kept going! It felt like an eternity, and I was just hoping for things to stop, just to spare them for any more embarrassment. In more than 10 years blogging, I very rarely had to sit through an episode that was this difficult and awkward to watch.

And really: I dig the original storyline. The original game really was on to something. Before episode seven I could tolerate the bad acting because I was finding myself quite intrigued by what was going on: I wanted to learn more! I really don’t know how to rank this one. Good? Bad? Well, it’s certainly something.

#8: Little Witch Academia (03-08)

So, episode 08 was the best of the series so far, however I’m not sure whether that’s a good sign or not. I mean don’t get me wrong, episode 08 was good and all, and it gave some neat insights into Sucy’s character in a really creative way and all, but I’m more worried about the rest of the episodes. Basically: I expected a lot more from this series.

This may be complaining that apple pie tastes like apple pie, but I expected a bit more than high school hi-jinks for this series. For something from Studio Trigger, you expect something crazy, and yet most of the episodes have been surprisingly tame. It may have big ideas, but they all feel… so inconsequential. Episode 8’s mushroom forest? Gone as fast as it appeared. Dragons! Cool! But not when they’re old farts that don’t really do anything. There’s a whole world beyond the school, which is fastly leaving magic behind! Cool if this show would actually focus on it!

It would also help if Atsuko wasn’t so epically bad at everything. I mean I can understand having good and bad subjects and all, but where’s the fun in watching her fail again and again and again. This show is called Little Witch Academia, part of it should be showing how fun magic is. And yet they don’t show any of the basics. They just expect you to point your wand at stuff and things happen, but there’s no depth to it. Wouldn’t it be wonderful to discover this world of magic alongside Atsuko? Instead, we get a series of an incompetent hack who manages to summon incredible powers through sheer luck.

It seems to me that this show doesn’t seem to know what it wants to do. Every episode tries to do something different and they don’t seem to mesh at all. For a while it seemed like this show was about the wonders of magic. Then episode seven and eight came along and portrayed in a much more negative light without any lead-up whatsoever. One episode Atsuko is determined to win, the next she gets distracted by everything and completely loses any sene of urgency.

In a series with a setting this expansive, you’re bound to want to cover a lot, but instead it feels like the balance is completely gone. There is just so much time devoted to Atsuko sucking that whenever this show wants to include something new about its setting, there is hardly any time to look at it, resulting in that it just feels like it’s continuously pulling things out of its ass. Jobs for witches are a neat idea, but not when episode 7 brought it up from out of nowhere, only to never talk about it again. Astrology? People can predict the future now? Diana also conveniently is good at everything for Atsuko to have a rival. It just doesn’t feel organic.

I’ll just say it: Studio Gainax was better than Studio Trigger. Not now, obviously, but I can see that Studio Trigger has Gainax’ wit and balls, but not in the right places; only when it doesn’t seem to have much consequence. I think even when you ignore Hideaki Anno’s works. I mean, one reason why they’re famous is the Gainax ending. Back in the day it was used as a bit of an insult, but I really wonder: is a Gainax ending really a bad thing?

#7: Piace – Watashi no Italian (04-07)

Now, two months in, it’s safe to remove the benefit of the doubt for this series: Piace – Watashi no Italian is a genuinely funny series. Its episodes may only be four minutes long, but it hasn’t shown any signs of slowing down yet, in fact it’s only getting more enjoyable. There are many keys in this, the snappy directing that wastes no line of dialogue, knows how to deliver a punchline, and a cast of characters that is just lovable to watch. They are a bunch of stereotypes, but the creators keep squeezing new things out of them, within these stereotypes: they give them different stuff to do, put them in a different context, slowly make them change and acclimatize to each other. Continuity also deserves praises: a wall that is smashed in one episode still bears cracks two episodes later. It also helps that the lead voice actress really carries this series: everything revolves around her, and she is wonderful at keeping all balls into the air.

One thing that is surprising me as well is that this show definitely did its homework. You see that more and more: people actually just googling the things they’re writing about. I feel this happens more and more, so props to this positive trend!

#6: Onihei (01-07)

Onihei is a strange series. It tries to be ugly: it doesn’t shy away from gore, it shows humans at their worst, and its stories are filled with death, sex and abuse. Amongst that it tells stories from around the samurai era, usually centered around a really big moral. First of all I applaud this series for daring to be different. In this day and age of feel-good series which try to play things safe, it’s very refreshing to see a series that just throws a lot of taboos overboard. But how about the execution?

Every episode, Onihei tries to tell a story around a certain character, and this part is something it does really well. It loves the use of irony, and every episode plays around with it in a different way. Most episodes have big plot twists that aim to make you think. It’s also very good at creating its tension through its art style, music and pacing. This combination makes this show tick: well written major characters that make you think.

It’s really bad at animation though. This show takes a good dose of suspense of disbelieve, because a lot of the characters just look silly when they’re trying to be funny. However the biggest detractor for this series is its cast of minor characters. You don’t see this being an issue often, but minor characters are there to fill a story. They are not the main focus, but they populate the world, and especially for this series they give the major characters their reasons for acting the way they do. And sorry, but the cast of minor characters here is just so full of Hitler-wannabes that it gets hilarious. Every single corner of this show is just filled with the exact same corrupt raping murderer that dies at the end that it’s really hard to see a threat in them. There is no look into what made them that way, and while this series is incredibly sympathetic towards its major characters, the minor ones are just ugly sword fodders who are evil just because the story needs it to be. Only episode 1 played with this, aside from that it could very well have been the same guy over and over again. No reason behind it. It’s like one of those stories that forgives a major hot character for committing a few atrocities due to being misunderstood, while at the same time having no qualms of the main cast killing off hordes of nameless goons who are probably only just doing their jobs.

#5: Youjo Senki (05-07)

I’ve compared Youjo Senki to Shuumatsu no Izetta, and that comparison still goes. Both series are set in a fictional Europe in the middle of a war, focused on a magical girl with huge powers of incredible strategic importance. Izetta is about a small country defending itself, Youjo Senki is about the biggest country expanding its territory. Both deal with politics, but Izetta uses a lot of espionage, while Youjo Senki meanwhile is big on the tactics. Objectively, Izetta portrayed its war in the most solid way. Its portrayal of characters was the most realistic and down to earth. And yet, why am I enjoying Youjo Senki far more?

I mean Izetta’s acting was rock solid, while the characters in Youjo Senki really are hamming it up. But on the other hand though, the actual war of youjo Senki simply is more interesting. Izetta was about the underdog and got its tension for watching to see how long they could hold on against all odds. But here’s the thing with underdog stories, in my opinion: there are so many shows about the underdog! It’s not special anymore, and after a while you have exhausted all possible ways to make it interesting. Youjo Senki meanwhile is different: her team already was on the winning side, but with her powers they might actually be able to do something even more crazy. Its tension comes from the weight of the decisions the characters take. Izetta showed on a personal level how terrible the tragedies of war are, and how it must be stopped. Youjo Senki meanwhile uses the tragedies of war to underline that yes: the characters are killing people. Both have their merits. And really, the war alone wouldn’t have done it for me for this series. At this point I was starting to get tired on Izetta, even though the stakes kept growing there. And the setting of Youjo Senki alone is not enough to excuse its lack of depth in the cast of side characters.

No, what I like best about Youjo Senki is its atheism vs theism themes. When after episode 1 I hated the whole setting, it just took a minute of being X to just sell me on it, and its subsequent appearances have toyed with some really interesting ideas, with this tug-of-war between the lead character, and trying to get her to accept that God exists. It’s really different from the Jesus you usually see in these types of stories, and being X is the one who throws in the irony to keep this story interesting, the extra kick and layer of depth that this series needed.

#4: ACCA 13-ku Kansatsu-ka (05-08)

From the start, it was obvious that ACCA would be a slow burner. With a setting this huge, it first had to do its share of building up. It’s still a bit weird, considering at the same time that it’s trying to rush its storyline into just one season. The result is that we just flew past 13 different countries and we’ve already gotten to the part where everything is starting to come together.

And that’s my opinion of ACCA: taking these constraint into consideration, it is doing a really good job here! A complaint you usually get with these series is that they don’t put in any thought in how to make their story work best for the anime format. The writers of ACCA clearly put in their hours. They did their homework in order to make sure that ACCA works as an anime.

This show is here to present its story, and episode eight made all of the scenes that felt a bit weird in the earlier episodes make sense. When the big twist was first announced, it felt far-fetched, but at the end of the eighth episode, they got away with it for me. Meticulous is the word here, I think. The more I think about it, the more I see that this show didn’t get any scene go to waste. Every scene was there for a reason, even all of the cakes, sweets and deserts were very deliberately put there to flesh out the identity of the different countries here. It’s actually very clever of the creators. And beyond that, every scene is just meant to either flesh out a character or country more, or to advance the main plot. It’s an excellent example that aspiring writers can look at for writing compact stories.

The big danger with being so compact is of course that the characters will feel more like plot devices than anything else. But even there this show pulls a number of tricks to try and avoid that. First of all the cast is just huge. There are so many characters, to the point where this series feels alive, and all characters are just part of it. I also want to praise this series for how it really tries to avoid overacting, and still makes the characters feel sympathetic. I still felt along with the characters, due to how good the writing was. The voice acting in the meantime was still able to offer colour to the cast, but without the overacting there is always something subtle behind them.

#3: Kuzu no Honkai (04-07)

Kuzu no Honaki has firmly established itself as “Unrequited love: the anime”. The whole set-up is carefully crafted to show many different perspectives, many different flavours in different contexts, intertwined together. Some parts are a bit exaggerated; played up in order to be able to tell a coherent story that fits within 11 episodes. Others through…

Like seriously at times this show completely nails it! Since the original Honey and Clover we haven’t gotten unrequited love this well depicted, and this show goes deep within the cast of characters. To show exactly how they feel, and why it sucks so much. The characters are all gradients of self aware: they know full well of what they’re doing, but all of them are desperately trying to find solutions in how to cope with their feelings, gradually finding them over the course of this month. And all characters do this, so this show just can keep juggling its characters around to prevent one story thread from getting too stale.

And all that lead to a number of great emotional punches, and every episode so far had at least one. Just one of those moments where a character learns to accept the situation they’re in, they cave in to their desires and move away from the ideal world they created in their own minds. It has now reached the point where every time I start an episode, I just know I’ll be getting the feels. This consistency deserves applause.

Oh, and one final thing: Youjo Senki, thank you for not including any awkward fan service like what Izetta did. Good lord being X this felt refreshing once I realized this.

#2: Classicaloid (17-20)

Remember how last month, I said that nothing happened in this series? Well, for February, things DID happen, and it hasn’t screwed up!

This usually is the point for comedies where the storyline kicks in and the jokes are much less of a priority. However Classicaloid’s advantage is that it has an amazing cast of characters with some amazing chemistry. So when these episodes tried to be serious, even if the comedy WOULD have been abandoned this still would have worked. And the thing is that these past four episodes were just as hilarious as ever, my favourite being the love-episode. That episode was all kinds of amazing and had me in stitches from start to finish, more than any other Classicaloid episode so far. I think that’s the way it’s supposed to be done: continue with the priority of being as entertaining as possible, while in the meantime pushing the story and the characters further.

Because of this I have high hopes for the finale. This series seems to know what it’s doing. Even though the final month is usually disastrous for comedies, if this series actually has the balls to screw conventions and do what’s best for the characters then it will be able to stand as my top pick for the past three months. It IS the show I’m most anxious about ending though, because if it doesn’t do that the potential for a mellow ending is the largest here, and a show of this caliber really deserves to go out with a bang!

#1: Shouwa Genroku Rakugo Shinjuu (05-08)

As funny as Classicaloid may have been, and as touching as Kuzu no Honkai was, I cannot give my favourite show of February to any other than Shouwa Genroku Rakugo Shinjuu; something really special happened here.

The thing with fiction is that over time, stories just keep getting written and written. They pile up about all kinds of topics. The first stories have it easy because there is a wide variety of different topics and techniques that haven’t been done before: originality is easy. However, at this point pretty much everything is a derivative of something. To get something truly original, you’d have to venture into territory like “a 13-legged octopus travels to Vermont to watch paint dry”, but that’s just faux originality: the story itself also has to be good.

What we got here, in the past month. Closer to something truly original is probably never going to happen again, especially in the realm of anime. And not only that, it did not sacrifice emotional impact, in fact this was higher than ever. This is the month where everything starts coming together for this series, and the past starts linking to the present. With Yakumo’s failing health the past comes above again, just like what happened with his master. I love how in-depth this show got at how hard it is for him to accept his own old age, how his passion for rakugo has evolved. They’ve built this guy up to such a beautiful walking contradiction. And the rest of the cast was brilliant too! Everybody had their own motivations that while all the same, they all came together from different directions to the same conclusion in not wanting to give up Yakumo’s rakugo.

Also, from out of nowhere, this show suddenly got incredibly good at doing plot twists. Like every time I’m just struck with surprise, but the big reveal really was something else. At the end of season one, when IT happened I remember how I found it a bit underwhelming. the scene was a bit weird and it just didn’t feel right. At that time I saw that as a fault. Well consider my ass kicked and I take all that back. I have been beaten. Praise the glorious rakugo overlords!

I know I missed Onihei, but it’s just impossible to find much about it. Perhaps in February I’ll give it some more coverage. Aside from that, this was a good month. I’d say that overall the winter season is more varied than the past autumn season, but at the same time the good series are not AS good. All of course according to my own impressions. Like always spoilers beware, and this list is on order of my own preferences, worst first best last, only about the episodes that aired in January, minus the first episodes that I already talked about. The number after each title signifies the relevant episodes.

#15: Granblue Fantasy The Animation (01)

This one aired a bit later than the other shows this season. It’s also a fantasy series, probably another kind of game adaptation like Chain Chronicle, but I liked that one a lot better though. That I’m not watching Chain Chronicle anymore should say enough for Granblue, but the gist of it that while Chain Chronicle was simply generic, with Granblue I got the feeling of gradually losing brain cells while watching. Granted, a bit reason for that is that incredibly annoying dragon that keeps floating everywhere, but what also ticks me off is that we’re given very little reason to care about any of the characters. The main character doesn’t really have a reason to go along on this life-threatening quest, he just happens to be at the place where a cute girl falls from the sky… and starts following his boner, I guess… Why am I supposed to root for these people? Do the bad guys have any other reason to attack besides being evil? I don’t expect answers to those questions in episode 01, but at least hints or some other kind of nuance. You just can’t think you can get away with this simplistic mess just because you’re a game adaptation, right?

#14: Spiritpact (02)

In the end… I just can’t. Snappy dialogue is one thing, but if everything else is just amateurish i’m not really sure what I’m gaining by watching this and I’ve got many better things to see and do. I can see where they’re coming from, but episode 2 didn’t really convince me to just keep watching. For one it wasn’t as fun as the first episode, but the first episode also just felt worse in hindsight. They introduced this new character who is the fiance of the white haired guy, and obviously she has her issues, but they all seemed to be trying so hard, and nothing really came out of it.

The animation is partly to blame for that. I watch anime because I also care for the “animation”-part of the whole deal. I want to see people bringing characters to life. If you have to use short-cuts then so be it: be clever with the jump-cuts, pull some visual tricks, use your music. It’s not an exact science at all and it’s an art form, however this series doesn’t seem to try any of this, with awkward jerky motions and no attempts to hide it. Japanese anime has the experience in these cheap tricks, but Korean animators still need to find their own way. Mind you, I am not suggesting them to follow anime’s example. Let them go their own way, as long as that way works of course.

#13: BanG Dream! (01-02)

This is another series that came out a bit late this season, about a bunch of middle school girls starting a band. I gave it two episodes because there is one thing it seems to understand: build-up: it’s not like “Wheee band!”, but instead it is carefully building up the different girls, why they’re going for it and how they end up meeting each other. Really, one of the most difficult things about being in a band is actually starting the band and finding the right people. By taking its time, the series makes also sure that the characters are well fleshed out in the process.

Still, I’m not going to continue with it. The teenaged girls are just too annoying, and I think a lot can be contributed to bad acting and voice acting: characters hamming it up a little too much. There is one shy girl and nearly all she does is breathe very loudly. That’s not how shyness works! The main character also feels a bit weird: they really tried to make her this enthusiastic girl whose energy pulls the entire band together, but in the end it just feels fake, like they try too hard. She too has this habit of just breathing very loudly, which after a while just gets distracting. These random squeaks and moans instead of just actual dialogue. This obviously isn’t the only show that does this but that doesn’t make it okay!

#12: elDLIVE (02-03)

elDLIVE could have had potential if they kept the momentum of the first episode going. A fun light-hearted show about alien hunting with quirky characters, but in the end it lost this quite quickly. Episode 02 and 03 pretty much repeated what episode 01 did, only less interesting, and quite witless to be honest. These episodes had a bit of high school hi-jinks, dull aliens, and nothing really interesting. It wasn’t fun, and at times they also got way too dramatic for their own good. You don’t want to be dramatic for a series that involves a bunch of kids busting aliens, that just serves to highlight how stupid the show is, unless you invest really heavily in suspense of disbelief. But ultimately this show lacks any sort of ambition or desire to be special. This one is dropped.

#11: Demi-chan wa Kataritai (02-04)

This one turned out to be not as good as what I hoped. On one hand, it managed to portray this world in which a small percentage of people is “demi”, or half human, half mythical creature like a vampire, dullahan, etc. It’s an interesting look at minorities, being slightly different and a bit of bullying here and there. Its characters are very vocal about their issues and that makes this a very honest series.

On the other hand I really don’t like how this show pulled a Sword Art Online and made every single one of these “demi-girls” fall for the main character. Granted, the verdict is still out on the snow girl, but it’s getting there, trust me! I find that cheap, and it’s also just pointless. This is supposed to be a series about teenaged issues, and the romance just feels shoehorned in. There is no reason why these girls can’t have boyfriends, or at the very least guys interested in them if they also want to handle things like sexualities. This is also in the main character’s favour because now we just end up with him getting demi-boners half of the time, which just turns him into this slime-ball rather than a scientist. It’s a real shame because I feel that there are two groups among the creators: one that really wants this to be a character study, and one that want this to be a romantic comedy. The result gets very awkward in a bad way.

#10: Piace – Watashi no Italian (02-03)

Piace is clever: it knew that if you want to be interesting, you need some kind of material to work with. Slice of life has been done to death and there is no way to make something out of it, and you have to be really funny for a pure plain comedy to succeed. However by basing its setting on an Italian restaurant it can interchange the jokes with Italian cooking. And it’s not like you really learn something about this, but the creators make a point of showing that the characters are making good food. When you combine this with the banter between the different characters, this becomes pretty decent for 4 minutes per episode, because let’s face it: the only jokes in this show are based on the characters’ banter; do not expect any food puns. The characters are also grounded and fun to watch: the voice acting here is good. The slightly-faster-than-usual pacing along with portraying the characters variedly, yet fairly wasn’t something I expected from a series like this.

#9: ChaoS;Child (02-03)

ChaoS;Child is chugging along nicely, along with its own issues. The thing with this series is that it’s all about its mystery. You can see that the story behind this series, the string of weird murders and the strange connection between them is the strongest point of this series. While no Higurashi by any means, I admit that after three episodes I’m curious to learn what is behind everything. Apart from that though… the gore is laughable, the animation is jerky, but my most important issue with it lies with the characters.

When telling a story with a clear main character, the audience needs a way to relate with him or her. A key part of that is the reason for his/her involvement in the story. And this doesn’t need to be complicated, as long as it’s something strong that can take the audience along for the ride. The lead character here is this sulky high school kid who keeps poking his nose in ridiculously dangerous murder cases. He knows this and still goes after them. Even after his loved ones get hurt he still tries to get more and more involved, even though there is no guarantee for the safety of his other friends, he gets told this plenty of times, and he realizes that he’s being incredibly reckless. How the heck are we supposed to relate to that?! I mean the lead of Chaos Head was a loser, but the creators used his panic very well to engage the audience. With him, it’s all so weak that I kept thinking “stop getting involved! Let the cops take care of it! You’re a high school kid, you can’t do anything!”

#8: Masamune-kun no Revenge (02-04)

Four episodes in, and Masamune has still retained its wit that we saw in its first episode. I didn’t think I’d be praising a romance between two high school kids, but it’s enjoyable enough to see just what an incredible dork the male lead can be. For once he’s actually balanced well: he’s flawed, but not a complete idiot, diligent but not perfect, his attempts of hitting on the lead girl are a refreshing combination between desperate and surprisingly effective. The tropes that have been done in other romances, it really tries to subvert them. It’s like a cat and mouse game between the two of them.

However, I’m very afraid that we just saw the best of this series. Episode 04 ended with something really questionable that has ruined many series that came before it. Up to that point, every twist, even though unexpected, sort-of made sense. You could see things happening that way if you put yourself in the characters’ shoes. Then completely randomly there’s this girl that offers herself to the lead’s feet as they’re about to have this serious moment. The episode ended right afterwards, but the creators are going to have to come up with something amazing to try and explain that one, because it also just does not fit the storyline at all, and I really doubt what this show can benefit from her. This was the “will they won’t they”-love-triangle I was afraid of when I first saw the OP and ED of this one, and there’s gonna be another girl! For now I enjoyed this show plenty, but unless episode 05 makes a very good case for itself I’m going to drop it then and there.

#7: Youjo Senki (02-04)

Okay. I did not expect that kind of back-story for the main character. It’s far-fetched, but.. fair enough it works. In fact, episodes 02 to 04 have all pain-stakingly spent time dealing with the issues I had with the first episode, setting everything up and actually doing a very good job at it. At this point I don’t see this as a dumb war-series anymore, but definitely something with its own qualities. Something totally different from what Shuumatsu no Izetta tried to be.

It’s ironic: Shuumatsu no Izetta made sure to portray soldiers as actual people, but in the end it was about the survival of the actual kingdom. Youjo Senki throws heaps of unnamed soldiers under the bus, but in the end its central theme is survival of the individual. Everyone in this series is thinking either about themselves, or their close families. The people next to them. The patriotism feels more like a formality here. In face, what I like is how it takes many serious issues of other war-series, and turns them into formalities. The whole goal of the main character isn’t to win, it’s to live a comfortable life and winning just happens to be very convenient for that goal. It’s a different look at war politics than usual. And the fact that she’s a child… fair enough. It works and they use it well.

#6: Hand Shakers (02-04)

There\s something really interesting going on with the music here. During the fights, notice how the soundtrack is completely different from what you’d usually suspect? It’s all dreamy, instead of the hard, dramatic and edgy sound that series usually go for. It’s very much on the foreground, rather than mostly lingering in the background. That is awesome! Back in the days lots of series had these incredibly complicated soundtracks with creative tunes, to scenes that totally didn’t match your expectations, even blasting over the dialogue and it was glorious! At a certain point this trend stopped though, only resurfacing very rarely. This needs to be brought back! Obviously not in every series, but let’s revive the spirit of Bee-Train! Hand Shakers is obviously no El Cazador, but obviously a step in the right direction.

Aside from that, this show has me pretty baffled. On all accounts, on paper I should hate this show. A boy meets a girl and they use powers to fight others. And yet this show is just so incredibly genuine. I find the lead couple so adorable for some really weird reason. The rest of the cast: I just like them. Everything here is just enjoyable to watch. Like I said, there’s something inherently cute about a show that’s about hand holding, something most romance shows don’t even seem to realize exists.

I am not a fan though of how passive the female lead has been so far: the male lead pretty much did all of the work here. You could replace her with a pet dog and pretty much the only thing that will change is the sexual tension. Don’t think too much behind that comparison…

#5: Little Witch Academia (02-04)

What makes this series special is that the creators really seem to have made this with an international audience in mind. This show is a weird amalgamation between east and west, but some parts really feel like Trigger putting a global audience first, rather than what most shows do: just produce your series for Japan and afterwards just release it internationally because hey, why not? Or make your show so generic that it doesn’t matter what country it’s from. I mean, otherwise no sane writer would include a reference to Hanna Barbara so randomly there. Episode four was also was about fandom, and it felt uch more like we were watching western fandom than Eastern.

Also in this world, everything is exaggerated. Everything. That makes the plot pretty random and stupid, but the energy. Good lord, the energy of this show! This show always manages to conjure up something creative for the magical hi-jinks that the characters find themselves into and especially the main trio just bubbles with personality, and yet they’re grounded and varied. This is what makes characters who usually would have been really annoying, it makes them actually fun to watch. I mean we all know about the blond girl who is good at everything and incredibly posh, but in this show she works. Her henchmen are annoying at first, but we see them do different stuff besides fangirl about how amazing their sempai is.

And beyond that this does just about all of the basic stuff right. These four episodes were random hi-jinks, but they were perfect in fleshing out the characters and making the audience familiar with them. This light-hearted note is something I missed from Kill la Kill for example. Trigger still hasn’t forgotten to do action either, so bring on the rest of this series!

#4: ACCA – 13-ku Karusatsu-ka (02-04)

Okay ACCA, let’s talk for a minute about immersion. Consider the Twelve Kingdoms, a series that also focuses on a world with about a dozen different countries inside it. One thing it did a lot, especially in the beginning, is show a map of the world, including a pointer where the story was about to focus at. This happened a lot, and while tedious at the time, because of this you always knew where the story was in relation to the rest of the setting. It made you feel part of the world. ACCA has a map, but we only see it very occasionally, and only brief, so we as a viewer are constantly having to guess where the heck we are, especially since every episode deals with a different country. What if the beginning of each episode could show for a small bit where on the map we are? You could incorporate it in the OP if time is the issue. It’s a very simple detail, but I feel like it would add a lot to this series.

Now, ACCA is an incredibly ambitious series, and it’s obvious that it can’t fit everything it wants into episodes of 20 minutes, so it has to compromise. The option it went for is to try and get as much information as possible into just one episode. The big difficulty with this approach is keeping thins personal, and I have to say that when taking this into consideration, it’s a very good attempt. Obviously the huge focus on consumables helps. Characters have this “tell, rather than show”-approach to their characters, but this is fixed by the creators using subtle non-verbal clues to flesh out their characters.

The big sacrifice though is continuity. This series both doesn’t have the time to deal with the aftermaths of everything that it does (lots of minor issues are just explicitly assumed to just get resolved), plus the way it leads one thing into the other… just happens. Coincidences pile up and there is no quiet time. It’s impossible to add those and still get everything within 20 minutes. Because what it is doing is powerful stuff. Makes you think, it’s interesting. Not to mention here that the potential for this show is virtually unlimited.

#3: Kuzu no Honkai (02-03)

Okay, so they’re not brother and sister. They just grew up together, with different parents so he always was the person she looked up to. Fair enough, that takes away my big complaint of episode one, but this series is not entirely in the clear. After all the “they’re not really siblings”-schtick was very often used back in the day to give the illusion of incest, while allowing for a back door for the creators to say “what do you mean? It’s not incest! They’re not related!” – we all knew what they were alluding to and it was disgusting. If this show ends up bringing back that trend I will punch it.

So, now that that’s out of the way: this show has been pretty incredible here; it does so many things right here. Episode 02 and 03 showed that it’s really trying to balance like six characters together, all intertwined in a web of crushes and all having their own issues, and we keep hopping back and forth between different perspectives, although the lead girl does seem to be the main character here. The lesbian girl was particularly surprising: for once they took a honest look at what it means to be attracted to the same gender. It doesn’t have the squee-material of the likes of Yuri on Ice, and while there is nudity, it doesn’t feel like fanservice like most other series of the past five years. This is how it should be done: treating them as actual people.

This series really isn’t glorifying anything, and that’s what makes it so great because it’s a side we very rarely get to see because of how wishy-washy romance is in anime. Fune wo Amu showed how you should do romance from the light side, this one flips things around and shows how to do romance correctly from the dark side. This show is ugly, even though it looks so pretty, but the amount of detail they managed to put in here. Mugi’s wet dream: they actually had the guts to do that. Or how the teacher wore the same outfit twice. They don’t explicitly say it, but it’s obvious, and when it hits it’s glorious!

Also can I get a thumbs up for the soundtrack here? It doesn’t just sound dreamy and sad, but it’s also used really well here. Every single note here fits, and there are a lot of tracks here! Someone really put some thoughts into how to place the music, otherwise it wouldn’t fit this well!

#2: Showa Genroku Rakugo Shinju Season 2 (01-04)

I managed to marathon the first season during the past month (though for the sake of this ranking I only consider the first four episode, otherwise it’s impossible to compare). And oh yeah, this is the real deal! I can’t believe they actually made an anime about Rakugo, a performance art where so much is dependent on acting, tonal changes and gestures, and they pretty much got away with it. I still consider Fune wo Amu my favourite series of 2016, but that was because that series managed to breathe life into its characters in a way that I had very rarely seen before. Shouwa Genroku Rakugo Shunjuu has its own list of things it does incredibly well.

The best being the character-development. Like seriously, there are very few series that can boast the level of detail that this series can put in it. Usually series have one flashback, or a number here and there for each character if they’re lucky, but most of the story takes place in one time frame. This series is the examination of the life of one guy, and every single episode it jumps forth a few years. And we don’t just see him change, a huge emphasis is also put on the side characters: they too change realistically and believably. The voice acting here is also wonderful in changing along with the cast. Top notch! Characters rise and fall, we get to see both their heights and lows right through each other. Every episode manages to change something.

What also makes this series really rare is that it managed to teach me something. And I don’t just praise this because I had no knowledge of Rakugo prior to starting this series, it not only gave an overview of how it evolved, it was an in-depth look at it, through the characters it analyzes, praises and criticizes the format. And it also encouraged me to look up the parts that they assumed the audience already knew. I like that: assume that your audience knows the meaning of Google. You don’t need to hold people by their hand. Inspire; and dare to go deep!

One thing I did not like, or rather one thing I found annoying is a better way to put it, is the romance. I know why things happened the way they did, the creators definitely make a good case for themselves and all, and they really try to make it complex and interesting, and yet I found that the most boring parts of the series. Perhaps it’s because episode 1 already told what was going to happen in the end, you could see them building up to it and the actual moment of the “big death” felt rather… forced. It probably worked well in manga-form but in the anime it just looked silly. And building up the romance… it took some patience to sit through even before it happened.

However the new season the romance is thankfully refreshingly down to earth, if you can call it romance anyway. It’s almost politics, and it knows its place much better. The characters in return are a bit less interesting, but they’re really starting to grow now, which was probably the intentions of the creators: how the heck are these newbies going to fill the shadows of the old masters? Yes, a lot of thought was put into this. More series like this please!

#1: Classicaloid (13-16)

Yeah, yeah. I know that the above series have more substance than this one. I know the characters are complete idiots. I know that the past four episodes of Classicaloid have been completely stupid and have established absolutely nothing. And yet… and yet… I can’t. I can’t label my favourite show of the month as anything other than Classicaloid. It just had me completely in stitches, all four episodes even though they all were completely different. This show just makes me happy whenever I watch it that no other show this season manages to do.

So let’s get things clear: in these four episodes we have people turn into fishes, become idols, make horrible music, and hunt for a merleopon. All of them focused on a different character and were mostly used to flesh them out. All of them were hilarious, but my favourite was the fish episode. There was something magical of following a mute fish around for 20 minutes and looking into the despair that ensued. It also becomes more and more apparent that this show has the second director of Gintama. This is a compliment by the way.

This series takes me back to the good old days. Back when series still understood how to properly fill in a 26-episode series. The first half being a build-up, and the second then using it as a board to jump off of. In this case the first half has made sure that these characters are so much fun, that I just smile whenever they’re on stage. This is what I consider terrific characters. The ones that just make you happy, no matter what they’re doing. When manga and light novel adaptations got more and more the norm, and more and more series only turned to 13 episodes max, this was a format that I unfortunately missed deeply. I don’t want to be that guy who goes “gahw things were so much better in my days, you kids with your stupid trends and stuff” – I used to get very annoyed by these people – but in some areas I really have to give in: we are not living in the glory days of anime anymore. I do have hope though, I want to see anime evolve again. Try to see what it will turn into next. For that we need a constant flow of new talent, because at this point the old guys have mostly all left, while the ones who remain are the only ones still bringing in interesting and fresh stuff. The new talents need to get the confidence and the connections in order to be able to do their own things. They need to step up and realize that the future of anime lies in pushing the medium forward. They have the misfortune that the focus today lies much more on consistency: having clean frames, and a higher resolution makes anime more expensive, and it makes it harder to have experimental series, and therefore it makes it harder for the real geniuses to get noticed. The likes of Satoshi Kon, Mamoru Oshii, Masaaki Yuasa, they would have had much more difficulties breaking through in today’s atmosphere. Classicaloid is our hope: the director is relatively new, and I remember when he first took over Gintama I disliked the changes he brought forth. Over the past ten years though, Classicaloid showed that he did learn a lot. He’s using his influence clearly, while at the same time keeping the viewer’s attention. Entire episodes are devoted to one really weird idea, yet he knows how to make it tick now. I’m in no way saying that he is among the greats, but what I am saying is that he’s on the right path there, though unfortunately it’s not entirely there yet. Classicaloid is amazing, yet the great series of 9-15 years ago and the volume with which they came really was special.

I really believe that anime is due to improve. We just need to wait for the people who grew up in the golden age of anime go work themselves up to the top. I do not know how many years this will take. 10 years? 20 years? No clue. However I am interested in sticking along as long as fun series like Classicaloid keep getting made, and I also honestly believe that the worst is already behind us.

I know the above two paragraphs are really weird ramblings, poorly formulated and not that connected, but these are thoughts that I’ve been having a long time. I hope that I’ll be able to put more structure to them in the near future…