I love yokai shows. Almost every season, sandwiched between your generic isekai and the high school drama, you’ll find some spooky yokai and poor humans who have to navigate the two worlds. This season, In/Spectre filled that niche, as something of a cross between Bakemonogatari and Natsume’s Book of Friends.
(I’m also part of the movement to make 50 the new average score, not 70.)
In late December of last year, I labeled Dorohedoro one of my most anticipated series of winter 2020. Honestly, that was a poser move. I’m not a manga reader, so my high expectations were based largely on secondhand praise, plus the potential for bloody irreverence promised by the PV and synopsis. There was one element of the show’s production, though, that I was confident would give it a unique appeal: the involvement of Shinji Kimura, background artist for such films as My Neighbor Totoro and Akira. He’s done plenty of great work as an art director, too, which was his role on this project. Sure enough, Dorohedoro’s grimy cityscapes and ramshackle interiors were uncommonly polished for a TV production – but the show had much more going for it than detailed backgrounds. A potpourri of violence, mystery, and a strangely loveable cast, Dorohedoro proved itself as one of this season’s strongest offerings, despite its task of adapting an unadaptable story.
It’s hard to deny, this was a pretty good season for anime. From my personal favorites of Keep Your Hands Off Eizouken! and Dorohedoro to returning series like Haikyuu and My Hero Academia. Standing out amidst this crowd of new and returning anime was going to be difficult. With an acclaimed Manga at your back and a decent amount of fanfair though, you would think a series might have a chance. Sadly, that is not the case for Runway de Waratte. Even going so far as to say the odds were stacked against it from the start doesn’t really explain the trainwreck that is series. So what happened? Was it that this was only Studio Ezo’la’s third production? It probably isn’t Director Nobuyoshi Nagayama’s inexperience, this isn’t his first rodeo. Or does it go deeper, all the way to the source material? Let’s dive in and find out, shall we?
And fair warning, this will contain minor spoilers for Runway de Waratte!
It’s not often an adaptation suits a Director as perfectly as Keep Your Hands Off Eizouken suits Masaki Yuasa. Of course you have works like Gen Urobuchi’s Puella Magi Madoka Magica or Satoshi Kon’s Paranoia Agent. Yet those works were originals, dreamed and created from the ground up by the directors for the anime. Yet here we have someone else’s manga, their work, fitting together perfectly with a renowned industry veteran. Everything from the narrative to the visual aesthetic of the series seem tailor made for him. The highly detailed backgrounds and setting to the rough character designs. The subject material and focus on animation itself to Yuasa’s own life experience in the industry. It’s an aligning of the stars that oh so rarely happens, yet when it does we get something amazing. And that’s what we got this season with Eizouken. Let’s dive in.
Back in October of last year, I wondered whether Chihayafuru’s foundation of unceasing karuta matchups and unrequited love would have lost its luster by the third season’s end. Now that we’ve reached that point, I have to say that the series approached that limit several times over these last 24 episodes. When it first reappeared on screen after a six year hiatus, I was taken aback by its consistency, but small issues cropped up as the story ran its course (more on those in a bit). These problems were cause for reflection – was the 2019 incarnation of this show really that different, or had my expectations changed? After some thought, I arrived at an answer: the show was, in fact, different, but it still met my primary expectation. Despite some stumbles in its third season, Chihayafuru’s continued success aligns with my core belief about narrative fiction: character is king.
During my previous review of Neon Genesis Evangelion, I criticised it for a lot of things. The tanked production value as the series ran on and Studio Gainax ran out of funding/time. Anno’s often insane direction or story, which sometimes made sense and sometimes didn’t. Most of all though, I criticised it for it’s ending, which effectively left Evangelion as a slightly disappointing unfinished product. But what would happen if Gainax… didn’t run out of time? If Anno had another chance after the original divisive ending? What if they just made two, completely new 40 minute episodes to replace it? Well ladies and gentleman, that’s how you get End of Evangelion. Is this finale to the fabled series a roar, to replace its previous whimper? Does it make any more sense than the TV finale? Will Shinji get in the damn robot? Let’s dive in and find out.
And one last thing! There will be spoilers so we can talk about the work in its entirety, both the TV series and End of Evangelion, no vagueness here. You have been warned.
It’s not often that I get to review seminal works in a medium. I read and watch them often. Vagabond, Monster and Berserk are some of my favorite manga. Meanwhile Fullmetal Alchemist is perhaps the epitome of Shounen. But not once have I thought I could, and should, transcribe my thoughts about them into a single review. To boil down my feelings on them to a scant 4,000 or so words and a final, numerical score. Yet here I am having to do the same for a work arguably more important than any of the ones I mentioned previously. A work so universally known in the community that its like Japan’s Star Wars. I am of course talking about Neon Genesis Evangelion (Director’s Cut), directed by Hideaki Anno and made by the now fallen from grace Studio Gainax. With that, there is no point to dawdling anymore. Let’s dive in.
And one last thing! An End of Evangelion review will soon follow this. I am aware it completes the story, but this review is for the TV anime and that alone. I have not watched it yet. The movie will cover everything and how it completes the series as a whole. Also there will be spoilers so we can talk about the work in its entirety, minimal vagueness here. You have been warned.
The excuses for my tardiness from my other post are that I’ve been away travelling and a bit sick – but no matter, because Fire Force is getting a SUPER post! What’s a super post?! It’s both episodes 23 and 24 (which Fire Force unsportingly released at once over Christmas) AND the overall series review. Can one single post handle such heat? We’ll find out!
Continue reading “Fire Force – SUPER Post (23/24 and Season Review)”
There are only a handful of manga out there that I believe to be masterpieces. Works such as Berserk, Vagabond and Monster. That come to define a time in manga history, such as Berserk. That are perfect in their execution like Monster, or are a work of art in every panel like Vagabond. Fewer still are the manga that get anime adaptations worthy of their legacy. We need look no further than the recent Berserk anime adaptations for evidence of that. However, I believe that Vinland Saga, written by Makoto Yukimura of Planetes fame and adapted by Wit Studio has gotten, just that. An adaptation that captures the beauty and story of the original peace. That not only adapts it faithfully, but also designed specifically for an anime’s format. Changing what needs to be changed for the new medium, without losing much of the original work.
So onward friends, for honor and glory! The review awaits!
It’s often said that sports anime aren’t really about sports, but about the characters who play them. Not every show in the genre is so dedicated to its cast as to deserve such an assessment, but series like Cross Game, Ping Pong, and this year’s Run With the Wind prove that sometimes it holds true. At the beginning of the fall 2019 season, Hoshiai no Sora looked as though it would join their ranks as a sports anime that put people first and athletics second. Unfortunately, it ended up prioritizing not its characters themselves, but the creation of uniformly damaging family lives for nearly a dozen middle school kids. What’s worse, these difficult situations were often introduced in a given episode, only to disappear for weeks at a time, and in some cases never to be revisited. And when the show finally began to focus on tennis near the end of its run, it paced itself far too quickly, resulting in a wholly unsatisfying finish. Were I to describe Hoshiai no Sora in three words, I’d go with overstuffed, unfocused, and inconclusive.