Well, as if the plot of this thing couldn’t get any more ridiculous: this episode proves that it can. I have no bloody clue what the creators were actually smoking when they came up with these things. But yeah, I guess it works. I haven’t enjoyed Basquash this much ever since the first eight episodes.
The magic in this show… the gods want Basquash in order to prevent the moon from colliding into the earth, this can be done by creating an effect ball with a godly power into a certain place. The Basquash power is then guided by a huge cable to the earth and this is used to stop the gods. You know, some of these things were already present at the beginning, but I had no idea that they were so integral to the main plot. I just thought that they were some cinematic exaggerations to make Dan look cool…
But yeah, as much as this series disappointed me, it still remains bloody original. Today, it’s very hard to come by ideas that absolutely nobody has thought of, and I guess that you really need someone with the screwed up mind of Shoji Kawamori to think of a bunch of mechas that play basketball as a means to worship a bunch of gods who created the world by playing the same game. the new director… there’s no denial that this guy does not care at all whether or not he makes sense, but he nicely handled the conclusion for this series.
For some reason, Basquash wants to have 26 episodes no matter what, so that means that there are two episodes left. Who knows? Perhaps the creators might actually be able to pull a surprising conclusion.
Rating: * (Good)]]>
Tokyo Magnitude 8.0 Review – 92,5/100
One thing I love about watching anime is that sometimes, there are these series that come from absolutely nowhere and blow you away. Tokyo Magnitude is one of those series. It’s based on a “what-if” scenario: what if modern-day Tokyo were to be hit by a massive earthquake? This actually is a very likely scenario: it turns out that there is a 70% chance that Tokyo will be hit by an earthquake of magnitude 7.0 in the next 30 years.
Tokyo Magnitude shows that even in the city that is probably the most well-prepared city for an earthquake, it would still be plunged into chaos if an major earthquake actually were to take place. Tons of people would end up either dead or injured, even more people would lose their homes. The creators end up portraying this sense of chaos and despair incredibly well.
The series follows three people in particular: two siblings Mirai and Yuki and an adult called Mari, however that doesn’t stop the creators from showing how everyone else is doing. They make really well use of their budget to create an identity for every single passer-by: they take care in emphasizing that every single person in the background was also just a regular person who also was hit by the earthquake, who also may or may not have lost someone, or might be separated from his or her loved ones. This series really managed to create a setting that feels real, in which just about everything is filled with details that make the setting come alive. Figuratively, of course.
The first half of the series is mainly this, while the second half, in which the chaos tones down a bit, changes the direction of the setting in a character-study of the lead characters. I’m not going to spoil exactly what happens, but both halves are equally bittersweet. You do need to know that the second half does this at the sacrifice of a bit of realism, though. The second half is much quieter in comparison to the chaotic first half, but that really allows the plot to be very subtly developed, and the emotions to sink in.
The biggest flaw of this series is a little disclaimer at the start of each episode, which claims that this series is as realistic as possible. While this series is indeed very realistic (more realistic than like, 98% of all other anime out there), there are points that could not have happened in real life. Besides, it’s a rather pretentious disclaimer anyway: instead of telling us it’s realistic, we’d rather like to be able to judge ourselves.
Nevertheless, at this point Tokyo Magnitude has the potential to remain a classic in anime. It’s believable, depressing, but also uplifting, fresh and inspired. There’s been a lot of discussion going on whether or not this series took the right turns along the way, but personally for me, it has been an amazing series. Most people who know this blog will know that I’m already a big fan of the Noitamina timeslot. Aside from Honey and Clover, I’ve seen every single show that came out of it, and Tokyo Magnitude has become my favourite series out of all of them.
| Storytelling: | 9/10 |
| Characters: | 9/10 |
| Production-Values: | 9/10 |
| Setting: | 10/10 |
Tokyo Magnitude 8.0 – 11
Haha! Another show with a very satisfying ending. This episode was bittersweet, and I think that everyone who managed to keep his/her suspense of disbelief is going to find it an excellent conclusion. In this episode, Mirai comes to terms with what happened to Yuki, she meets her parents, and attempts to continue her life. While most conclusions in anime are a bit lackluster, this episode was in no way inferior to the rest of this amazing series.
But damn, I don’t think that I’ve ever had such a heated discussion going on as for the past few episodes. Personally though, I wasn’t bothered by Mirai’s hallucinations. Instead, I just see this series as fiction, with a very high degree of believability. For me, there were only three points that seemed forced: Mari who just happened to run into her co-worker as she collapsed, the point where Mirai was trying to save the trapped robot and nearly died herself, and the point at which Tokyo Tower nearly collapsed on Mirai but Yuki managed to save her. Nevertheless, in any other show this would just be anal nitpicking.
Thinking back though, the whole Yuki vs. Mirai relationship seems to be much deeper than I originally thought. I mean, we all thought that this would be a series in which the initially bratty Mirai would grow up and take care of her brother. However, this happened already in the second episode. After that, these whole themes reversed, and it was actually Yuki who took care of Mirai; it could be seen as his way to repay Mirai for saving him, he kept her out of danger, he saved her from the Tokyo Tower and the accident with the falling robot. He was the one who tried to cheer her up when she was feeling down.
And even when he died, his hallucination continued this trend: he safely guided her back home, and slowly tried to make her understand that he died. The question remains of course, what the real intention from the creators was. Was the Yuki meant to be taken as symbolism, something like a guardian angel, or did Mirai subconsciously create something that would guide her back home safely until she would be out of danger? Are those options realistic? Nah, not really. Are they believable? For me, they are.
It’s always a bit of a gamble for a series to go into a different direction. The first half of this series was clearly different from the second, as this series changed from a detailed look at how a major city reacts after being hit by a major earthquake, to a character-study of Mirai. In my opinion, these changes can work as long as the new direction has enough to offer, which was definitely the case with this series for me. It was a nice gamble in any case: if the creators would just have continued with the same direction as the first half, we definitely would have gotten a more realistic end, but at the same time, I don’t think that it would have been as memorable of an ending as right now.
Also, on a side-note: I love how the creators actually spent time in creating distinct character-designs for Mirai and her family throughout the years, rather than simply being lazy and just creating a bunch of mini-versions of their characters, like a lot of anime seem to do. Very nice.
Overall, Tokyo Magnitude, as amazing as it was, didn’t end up being my favourite series of 2009. Birdy the Mighty Decode in the end was better for me. It however has a good chance of showing up in my top 5 for this year, unless a lot of really good shows shows happen to air in the upcoming Autumn Season. But for now, let’s just assume that that won’t happen.
Rating: *** (Awesome)]]>
Umineko no Naku Koro ni – 12
Holy crap… this series really seems to just get better and better over time. This episode not only was a major step up when compared to the first episodes of the first and second arc, but it was also much more solid, composed and the voice acting was also better than ever. I’m not sure exactly what happened, but I really hope that the creators can keep this up.
This episode featured a slightly new op with a bunch of new scenes here and there (nicely shaded, by the way), and it starts out again with a bit of background for the characters Beatrice and Eva. It tells something about the supposed nature of magic (very creative, I must say), and it shows how Eva seems to have created an imaginary friend in her attempts to stand out as a woman in the Ushinomiya family, especially discriminated upon by Krauss and Kinzou.
Speaking of Kinzou, this guy’s an asshole. He isn’t the least bit subtle about his wishes to marry off Eva for his own happiness, is he? Still, in this arc we should probably see a different version of Eva: in the first arc she didn’t have to struggle a lot, because everyone else entitled to her father’s inheritance was presumed dead, and in the second arc she was dead herself. My suspicion is that she, along with some other heir, is going to survive the first slaughter, which should give her character a different dimension.
This episode also destroys the theory that Beatrice herself was the culprit: she’s dead. Rosa killed her. I guess that that’s why she was so paranoid in the previous arc: someone she believed to be dead suddenly appeared. Of course she’d start doubting everyone and his dog. Still, we have no proof yet that there wasn’t a twentieth person on the island, because Beatrice also refused to red text that the minimum of people on the island is twenty. This final mystery person could prove the key to how the killer was able to move around and arrive at the right time to kill everyone. I’m beginning to suspect that the murders weren’t all committed by the same person; it’s either a bunch of accomplices, or two people are killing people on their own with different motives.
And the nature of that meta world indeed is starting to look like a world in which dead people gather. With this, Beatrice’s motive may actually be that she wishes to return to the realm of the living, and there’s this link between her and Rosa that seems hold a key clue to solving this mystery.
Oh and as usual, please try to refrain from mentioning what happens in the visual novel after this point, for the sake of those who haven’t read it.
Rating: ** (Excellent)]]>
Umi Monogatari Review – 82,5/100
After watching Kaleido Star and Strange Dawn, you can pretty much consider me a fan of Sato Junichi, the guy who directed them. Umi Monogatari is his latest work; it’s nowhere near his best, however it still is a very solid series: focused, emotional and powerful. This series demonstrates that even with a simple story and clichéd setting you can do a lot of nice things.
What impressed me the most about this series is that it has so many ingredients that anime has become infamous for, and it makes them work. It has a big-boobed hot chick in a swimsuit as a main character, alongside her is her younger sister, also in swimsuit. We have this evil power that brainwashes everyone, there’s an angsty love triangle subplot, people getting into fights over the smallest misunderstanding and let’s not forget the animal sidekick.
There is really a LOT of angst and drama in this series. Usually in anime, this means a lot of cheese, but here the creators manage to make a very emotional series while avoiding getting ludicrous or melodramatic by keeping the characters genuine. Especially Marin and Kanon are a couple of very likable character. They’re well fleshed out and avoid being stereotypes. Especially Marin cries a lot, but for once you feel that it’s part of her character, rather than having her cry for the sake of melodrama.
While a cheesy mahou shoujo at first sight, Umi Monogatari at heart is a story about adolescence: a tale of growing up, expanding your horizons, getting into fights and trying to make up again, which never is easy. It’s also about discrimination and misunderstandings, and it has a lot of meaning put into the emotions of the different characters.
Granted though, the plot is very simple; if you’re not into the characters, or like a fast-paced plot in which a lot of stuff happens at the same time, you’re not going to like this series. Umi Monogatari is more like one of those series that takes its time in subtly developing its characters. Still, that final episode really has been the best ending I’ve seen so far in this season, and has a good chance of being among the best endings of the shows that ended during the Spring and Summer Season, even though I usually dislike those sorts of endings.
| Storytelling: | 8/10 |
| Characters: | 9/10 |
| Production-Values: | 8/10 |
| Setting: | 8/10 |
GA Geijutsuka Art Design Class – 11
It’s interesting that while in High School, I had no interest in art whatsoever. And yet I really find all the references of GA to different artworks, techniques and equipment very interesting to watch. But yeah, in high school I also hated reading, writing and subjects as French and German. I really wonder how my high-school self would react if it learned that its grown-up version would create a blog with thousands of posts, dedicated to an art-form and blogging series in a foreign language learnt as a hobby. ^^;
Anyway, this episode starts out with Kisaragi daydreaming about entertaining an kindergarten class with pieces of art, nearly running into a statue. Next up, due to a shortage of clean sheets, Kisaragi picks up one with a bunch of scribblings on it (including “NICE TRAP” (lol) and a black cat, which Kisaragi obviously can’t resist to add a few more of them.
We then turn to the other Art Club, in which Awara created a cheesy but charming fairytale about a country where all of the colours were solen, and a fairy that somehow resembles Kisaragi being born and having to take care of it. They spend a while thinking of how to continue this (including some really bad suggestions by Oomichi), and Mizubichi ends up inviting Kisaragi for ideas.
The second half of this episode shows Kisaragi as she goes after a bargain day on a local art supplies store, and antics ensue as usual. Yeah, I’ve gotten bored with writing summaries at this point. It still was a really fun episode as usual, though. A real trend of the series for the past half year was consistency: delivering, and doing so consistently for every single episode, and GA is also really good at it. I can hardly remember any weak moment, other than getting used to the other Art Club, which happened soon enough.
it’s a shame that there’s just one episode left, and by the looks of it the creators aren’t going to pull a forced dramatic climax in the end. I know the director, he did Cromartie High School and that one too had an ending that in no way tried to cheap out on the ending. Because of that, I’m looking forward to that final episode. it’s really been a fun series to watch and I was right to blog this one. And the amazing thing is that we’re 11 episodes in now, and it still doesn’t feel like this series has run out of ideas.
Rating: ** (Excellent)]]>
Shangri-La Review – 87,5/100
Well, this is going to be my hardest review to write this season: explaining why the heck I considered Shangri-La among my favourites for the past half year. Even though there is a lot to dislike this series for, it’s really a series that proves to be very solid entertainment for those willing to suspend their disbelief.
I think it’s best explained as follows: imagine a series with a straightforward story, a simple and small cast and a slow pacing. Now imagine a series with a huge setting, a large and diverse cast of characters who all have their own motives and stance, a multi-layered story with a fast pacing that delivers buckets of plot twists each episode. Now, which of these two is likely to have more plotholes? And which one is probably going to be more exciting?
That’s basically the thing with Shangri-La. Granted, throughout the series Kuniko does a number of things that are rather hard to suspend your disbelief at (including breaking the laws of physics), and plotholes are also pretty common for those who pay attention. But at the same time, it had just about everything I look for in an anime.
The concept of Carbon Trading might seem weird at first, but it’s a pretty neat idea for this series to work with, and the setting that this series built around this concept is rich and imaginative. There are lots of different parties with all different priorities, morals and values, and the same goes for the cast: there are a lot of characters, and yet there are hardly two characters with the same outlook on life: everyone feels like an individual, and is interesting to watch and develop. My personal favourite was Karin, who gets the most development in this series.
My favourite part of this series was the plot, though. Throughout the majority of the series, you’re never going to know what to expect. Especially a good portion of the middle part of this series is features an truly excellent mystery plot, in which every revelation only makes the setting even more intriguing than it already was. Every character has so his or her own secrets, that together form a multi-layered storyline that just keeps delivering.
Unfortunately, this series plays the “lazy”-card right at its ending, which is without a doubt rushed. I’m not sure why there are only 24 episodes for this series because it definitely could have used two more episodes to wrap up the story better. The story right now just wants a happy ending a little too badly, even though it has to use lots of deus ex machina to get there. A shame.
The visuals for this series are an interesting beast. They range from rushed to absolutely gorgeous. Especially the first couple of episodes suffer from a collection of rushed shots and drawings, but at the same time some episodes feature the single most visually pleasing shots that I have seen for the past half year. The animation also picks itself up very nicely in the second half, and delivers some really good use of CG and shading to make this a very aesthetically pleasing series. The soundtrack of this series is also among my three favourite soundtracks of the past half year (with the other two belonging to Phantom and the Guin Saga).
So yes, you’re going to have to bring a cup of suspense of disbelief when you want to watch this series, and if you’re not trying to turn over every stone in search of a flaw you’ll be rewarded by a great story with a great setting that always manages to bring something new to the table, instead of dragging at the same point over and over. It’s a fun and diverse series, but I can understand why many hate the plotholes with passion.
| Storytelling: | 9/10 |
| Characters: | 8/10 |
| Production-Values: | 9/10 |
| Setting: | 9/10 |
Shangri-La – 24
And so this series has come to an end. Unfortunately it wasn’t the epic ending I hoped for though. In this episode, Kuniko simply kills everyone evil, and this episode unfortunately was rushed in order to get to a happy end. I expected better from this series. There were also a bunch of deus ex machinas, like Miiko suddenly popping up from nowhere and blocking bullets that were aimed for Mikuni. It was explained later, but it still feels cheap.
There also was that matter of Kuniko, somehow not becoming Himiko’s reincarnation. Why did Ryouko not know that that was going to happen? Also, Takehito was just pathetic in this episode. What, he just appears and blows himself up? Come on, that deserves more build-up. Everything just went too easy in this episode. It didn’t really build up to Kuniko’s development of becoming a leader, she simply smacked her way through everything because she happened to be a digma (thankfully she wasn’t Ryouko’s daughter, but instead a clone).
But there’s one thing I really liked about this episode: Karin’s end. She really feels like she developed her character and I liked how despite being in despair, she still managed to stop Medusa in time, and it was very nice to see Claris and Jean appear in the end. Her ending was really cute.
But yeah, overall I’m really afraid that this downer ending is going to leave me with a rather negative impression on this series, which is a shame because the middle part of this series really was everything I look for in an anime. Thinking back, I think the turning point was the burning of Tokyo: after that, the stories started to converge with each other, and it lost that bit of chaos that it was so good at in the middle part. In a way the hardest part of a mystery series is its ending: making the revelations count.
In any case, I do hope that this isn’t going to form the ending of Gonzo. Like ’em or not, they do have the guts to take risks, even when they’re about to go bankrupt. Risks like these are much better than playing it safe. Shangri-La… if it were well executed it would have belonged to my absolute favourites. Unfortunately, the shoddy execution made it less impressive than it could have been. Still, it’s still likely to end up somewhere at the end of my top 10 for 2009, unless the fall season turns out to be really, really good. Which I really doubt until proven wrong.
Rating: (Enjoyable)]]>
Guin Saga – 24
Oh my, the creators actually found a solution to the badly animated wars: skip them, and just show the aftermath. Oh boy, I never saw that one coming. While at first sight cheap, I believe that this was the best choice that they could have made. Imagine what would have happened if they did animate those fights: it would have overrun the screen with fake CG, unbelievable animation and stock footage that probably would have been used over and over again. It would have ruined the suspension just like what it did in the Nosferas Arc.
They also give an interesting anticlimactic air to the battles, which in turn works SO well with Amnelis’ development: here she is, ready to kick Naris’ butt for betraying her, and then her father collapses, she’s forced to retreat, gets cornered and charges anyway, only to be mercilessly slaughtered. It spells pathetic all over her, and yet that only solidifies her growth as a character, and develops her even more. We probably have to wait for the second season (SECOND SEASON WHERE!?) to see what it exactly paid off for, but I really loved Amnelis throughout this episode, even though just about everything went wrong for her.
If anything, the deletion of the battles show that the creators more than anything know what they’re good at, and focus on those things while leaving the large-scale battles for what they are, because they simply don’t have the budget to make them work. I must congratulate Satelight for making this decision, because despite these battles, this episode rocked beyond belief.
Also, it’s interesting that Guin’s side-story has been anime-original, but I can somewhat understand why the creators chose to do it. After all, this series is called “Guin Saga”, but his role has been that of a mere side-character for the past arc. Instead, the series could just as sell have been called the “Naris Saga”, “Amnelis Saga”, or perhaps even the “Remus Saga”. So yeah, after all that he does deserve his own place in the spotlights in the end, saving Remus and Linda from that blond guy. it forms a nice conclusion and yet at the same time isn’t going to get in the way of that second season (SECOND SEASON WHERE?!).
Rating: *** (Awesome)]]>
Tetsujin 28-Go Review – 85/100
After watching the new Mazinger, and realizing how well it was written I started to wonder whether the director,
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