Spice and Wolf Review – 85/100


For the past few days, I’ve been in the strange mood to compare animation-companies. Don’t ask me why, I’m not sure myself. In any case, Spice and Wolf (or Ookami to Koshinryou) has been produced by Imagin, whose only previous work basically consisted out of a bunch of notoriously bad fanservice-series (Hit wo Nerae, Cosprayers, Love Love?), so no, I can’t really say that I was anticipating this release. Turns out that you can teach an old dog new tricks. Or in this case: an old wolf.

Even though it may not look like it, Spice and Wolf is what you’d call a smart and down-to-earth series. The two main characters are surprisingly deep for only thirteen episodes. Their motivations are well-motivated, much more than what you’d see in usual anime, and they have a lot of different and complex sides. They both start to travel together, in a setting reminiscent of medieval Europe, though this isn’t a story about knights at all, it’s about merchants.

And this series really makes use of this, by showing us the ins and outs of the life of a merchant, while both Lawrence and Horo (the two main characters) provide critical commentary and analysis to the things that they run into. The dialogue is of a really high-quality, and it’s no wonder that the light novel that this series was based on won an award. This becomes especially apparent when the major female side-character gets introduced: I was really convinced that the show would turn into a cheesy love-triangle at one point, but it’s the opposite! Her appearance and use in the story is carefully explained, as well the relation that she has between Lawrence and Horo.

As for the bad points for this series – if you plan to watch this, you really have to be interested in merchants. Otherwise it’ll just bore the heck out of you. Aside from the side-character mentioned above, the other characters in this series also pale in comparison to the main cast. Sure, their motivations are explained well enough, but it feels like they could have been used and fleshed out much better than this series did.

The highlight of this series is definitely the final three episodes, where everything comes together like a charm. In one word, these episodes are fascinating, and close off the series without leaving a bad taste whatsoever, and still leaving space open for a possible continuation. The first arc may feel a bit lacking, but this is still another great series from the past winter-season.

Kekkaishi Review – 84/100


Ah, shounen-fighting series. How many of them have fallen into the pit of mediocrity? Probably too many to count. Still, once in a while a series appears in the genre that actually delivers. The cream of the crop is for me the Law of Ueki, and even though Kekkaishi couldn’t come to that same level, it’s still a good example of a well-developed series in a genre that overall consists out of lazy manga-adaptations and toy-commercials.

For once our lead heroes (Yoshimori and Tokine) don’t have offensive powers. In fact, the entire concept of Kekkaishi is based around defence; all they can do is block, nothing more. The first twenty episodes are basically just reserved for random stories that let the viewer get familiarized with both the characters, and how they make use of their own powers in their own way. The creators manage to keep these episodes more than interesting through lots and lots of quirky characters, who’ll put a smile on your face.

Then when the story comes, this series has the advantage that it can work with characters that are already pretty well fleshed out, and the creators make perfect use for that. Keep a lookout for when Gen appears, because he’s without a doubt the best character of the series. Throughout its run of 52 episodes, Kekkaishi isn’t afraid to do things that usual series of the genre try to avoid.

There are a few problems with this series, though. Fighting-series should NEVER play with hidden powers, and yet every single one seems to have them. Although Kekkaishi uses them in enough moderation, they do pop up at the worst possible moments. This is the cause that the final three episodes will feel rather meh, which is a shame because the episodes that lead up to them are excellent.

It also feels that a part of this series does feel needlessly drawn out, though. I believe that this would have been the perfect series for 39 episodes (my personal favourite series-length). Apparently, this series was dropped by its sponsor and had to be drawn out to a 52-episode format so that it could be sold overseas, though this is why I’m of the opinion that series should just use the amount of episodes that fits for their story, and not make the story fit its amount of episodes.

On a semi-unrelated side-note, I think that this is a good place to voice some complaints about Sunrise that I’ve been having. I personally consider four animation-studios as “the big four” for television-series: Nippon Animation, Production IG, Madhouse and Studio Deen with as runners up Gonzo and Bones. I don’t think of Sunrise at all when I think of my favourite series, and yet they have been behind some interesting series as Freedom, Mai Hime, Bakumatsu Kikansetsu Irohanihoheto and Gintama.

I think that I finally know the reason: it’s a bit harder to see, but they’re just like Kyoani and Makoto Shinkai. They may be great in their own way, but they’re too afraid to try out new things. Makoto Shinkai has his male main characters, Kyoani has its high-school settings, and for Sunrise, everything has to be epic and everything has to be a commercial success. Concepts that work get needlessly drawn out, which is probably why Kekkaishi went on for too long.

At the moment, I’m still hoping that Gintama won’t run out of jokes, now that it’s already passed its ninety-episode mark. Sunrise has produced a lot of noteworthy anime, but they’re just not like Gonzo, who can churn out a Master of Epic once in a while from out of nowhere. Come on, why not try a slice-of-life series next time?

Dragonaut – The Resonance Review – 62/100


There are basically two kinds of Gonzo. The first is Good Gonzo, which searches the borders of anime with new and engaging concepts, and which delivered us series as Bokura no, Master of Epic, Red Garden, Gankutsuou, NHK ni Youkoso and Last Exile. Then there is Bad Gonzo, which consists out of a bunch of lazy writers that are stuck in mediocrity and brought us series as Rosario to Vampire, Gravion, Romeo x Juliet, Glass no Kantai and Giniro no Kami no Agito. Dragonaut, unfortunately, without a doubt is a product of Bad Gonzo.

It’s a shame, because on a second look, the story has a definite epic potential, about Pluto undergoing some kind of metamorphosis and sending dragon-like creatures to earth for some strange unknown purposes. It has the making of a great mystery-series. Unfortunately, any attempt to develop this story is held back by an abysmal cast of characters.

There are just one or two characters that aren’t badly written. Everyone else spends the entire series angsting about nothing, and this series has really weird character-development. One moment characters hate each other from the depths of hell, and the next they’re passionately hugging each other like they’ve been friends for ages. Motivations for each character are badly explained, and they’re lucky if they can have a background. Especially the main couple will get on everyone’s nerves with their endless whining of “Jin?” “Toa?” “Jin!” “TOAAAAAAAA!!!!” Oh, and let’s not forget to mention one particularly bad character: Kazuki. This guy is a true joke and entirely ruins every scene that he appears in.

And of course this series has been dubbed “Boobonaut” for a reason. The character-designs try to be different, and they’re done by the same guy who did them for Witchblade, but something tells me that his hormones were really bugging him when he sat down to draw the different characters. Nearly half the female cast has a ridiculously over-endowed bosom that defies all senses of logic.

The past half year really hasn’t been good for Gonzo, with this… thing and Rosario to Vampire. Thankfully, their next line-up of Druaga no Tou, S.A and Blassreiter look more promising, and let’s hope that the people from Bad Gonzo are taking a very long holiday for the upcoming season. For Dragonaut, I really see no reason to recommend it. Even if you want cheese, Suteki Tantei Labyrinth is a much better choice, because at least that one is well-written.

Wellber no Monogatari ~ Sisters of Wellber Review – 82/100


Ah, Wellber no Monogatari. The show that scared away almost all its viewers in the first episode due to the talking tank. Still, this is another gem from Production IG, although it’s way rougher than series as Seirei no Moribito and Chevalier.

The biggest problem with this series is definitely that the first couple of episodes reek of useless filler, and at first sight, they give away nothing of the incredible increase in quality that would happen afterwards. In the end, though, this is one series that knows what its doing, and the first four episodes were just meant to flesh out the story and most especially: the characters.

And what amazing characters they are. Nearly every main and important side-character gets background and development early on as they push the storyline forwards. They’re really the driving force behind this series, and especially once it hits its second half they really start to shine. This is one series that isn’t afraid to kill off a major character, and the creators know exactly what it takes to give the characters depth

The writers may be very talented, but they’re unfortunately also a bit sloppy. Most of the climaxes border on heart-wrenching, but there are a few that border a bit on cheesy. A few plot twists also are just included to keep the story going. Take for example a princess who is on the run and has to travel undercover, and yet she travels along with a huge unique tank. The aftermath of this series is also way too rushed and just wants to do a few things too many.

Still, Wellber no Monogatari is a very enjoyable series that seriously doesn’t deserve the negligence that it’s currently getting. It’ll keep you entertained with its dynamic characters and storyline, and not to mention that it’s got some pretty impressive production-values. Both the music, but especially the visuals are very pleasing to the senses, so if you can excuse a storytelling error once in a while, then you could give this one a chance.

Wellber no Monogatari ~ Sisters of Wellber – 26


Ah, that’s what I like to see: an excellent climax. The fight against Greedam is well wrapped up, with all the deaths that happened in the previous episode. Obviously, spoilers will follow after this paragraph. Let me just say before I start that the climax was awesome, though I’m afraid that the ending itself left things to be desired.

But first, Loden’s final moments were awesome. He basically sacrificed his own life to save Tina. After all, he was prepared to die anyway, to make up for the things he did all those years ago. What better way to go than to sacrifice yourself for the one whose life you ruined? The king of Wellber and the king of Greedam also settled their fight in a pretty interesting way, with Rita coming as a surprise saviour who actually makes sense. I was also shocked to find out that Tina nearly drowned on her way out of the ship, though thankfully she turned out to be just unconscious.

Well then, at this point, I was really happy with how things worked out. If the series ended like this, I would have been perfectly fine with it. Unfortunately, the aftermath left a lot to be desired. It’s jumbled mess of ideas that just came way too late in way too little time. Okay, I can understand that Tina would leave Rita. But apparently, the creators wanted to get the two of them back together a little too badly. It’s a shame that such a great series had to end un such a low note.

Suteki Tantei Labyrinth Review – 82/100


Suteki Tantei Labyrinth is one of these series where there’s one thing you absolutely mustn’t do: take it seriously. Once in a while, a series appears that doesn’t really care about making sense. Still, even though Suteki Tantei Labyrinth may not have the most exciting plot, it does deliver quality entertainment.

I think the best way to understand this is to look at the two most prominent staff-members for this series: Hiroshi Watanabe for the direction, and Natsuko Takahashi for the series composition. Natsuko Takahashi is basically a very experienced and talented scriptwriter, who worked on many different series like Jigoku Shoujo, Moyashimon, Full Metal Alchemist, Gankutsuou, Popolocrois, and those are just the best among her repertoire. She made sure that each character in this series has a motivation, and is well-fleshed out. There are no loose ends left behind, and the screenplay itself is quite impressive.

Then there’s Hiroshi Watanabe, who is in my opinion the strangest director out there. He directed epics as the Law of Ueki, Orphen and was the one who proposed the concept for Jigoku Shoujo, and yet he is also the mastermind behind flops as the final parts of Star Ocean Ex, and the abominable Shining Tears X Wind. This guy really has a strange idea of what is good, and that strangeness is exactly what makes this series so enjoyable.

Enjoyable, but far-fetched. The first half of the series basically consists out of random mysteries that our main character has to solve. They range from enjoyable to absolutely ridiculous. One particular villain goes through the trouble of spiking the body of his victim on the tip of a huge radio-mast, and the extreme focuses on tea become rather jarring after a while. Thankfully, the second half removes any traces of murder-mysteries, and instead it starts developing the characters and turns into a really entertaining family-drama, full of cheesy plot-twists that just have to entertain.

This series is basically what you’d get if a series is at some parts incredibly good, while at others incredibly bad. The storytelling is quite impressive, and it definitely succeeds in keeping the rather… flawed story interesting throughout the run of 25 episodes. The characters are also enjoyable to watch, especially in the second half, and some of the drama can be surprisingly good. Still, you’ll get the most enjoyment out of this series if you like a good dose of cheese once in a while.

Suteki Tantei Labyrinth – 25


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

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

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

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

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

Gunslinger Girl – Il Teatrino – 12


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

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

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

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

Kimikiss – Pure Rouge Review – 81/100


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

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

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

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

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

Porfy no Nagai Tabi – 12


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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