Misha is a little girl who lost her mother at an early age, and now lives with her father. Her father employs a maid named Tsubame, who was a former Self-Defense Force official, and is also a lolicon. – ANN
Episode Summary: Tsubame is a retired member of the JSDF who’s on the lookout for the perfect civilian job. Unfortunately her idea of “perfect” is somewhat unorthodox. She likes cute clothes and little girls who wear them, and wants a job that can combine these two passions. She has a stroke of luck when she notices a job flyer for a local address looking for a maid to cook, clean, and babysit. It’s the same house where Tsubame saw a cute little Russian girl during wintertime. Might she be lucky enough to work for that girl’s family?
Misha is the girl in question. Suffering from the death of her mother and her father’s cluelessness, she’s driven away each and every maid her father has tried to hire. But Tsubame has the guts and the motivation to stick around and do the job right, even as Misha protests her every action. Tsubame does whatever she can to get Misha to spend even a small amount of time together with her, though Misha is so put off by her creepy vibe and actions that she refuses. Will Tsubame have what it takes to survive this job assignment… and will Misha?
Takato Saijō has reigned as the idol industry’s “Most Huggable” for five years, that is, until freshman actor Azumaya. Takato was always considered brusque while Azumaya’s smile is winning over admirers by comparison. The whole fiasco drives Takuto to over indulge in alcohol and his actions catch the attention of the last person he wants to see. To his surprise, Azumaya uses this new info to blackmail Takuto for physical affection. – ANN
Episode Summary: Takato Saijyo is at the top of his game. He’s coming up on 20 years in the entertainment industry and shows no signs of stopping. For the past five years he’s been voted as the “most huggable” man in a popular magazine poll and expects that his ruthless hard work will land him at the top of this year’s standings as well. However, he gets a rude awakening when Junta Azumaya, a young but popular upcoming actor, upstages him big time, stealing his top spot (and to him, all the glory). Even worse, the two are working together on a new film in which Azumaya has the lead role.
If that weren’t bad enough, Saijyo ends up in Azumaya’s house after a night of heavy drinking (which Azumaya has on video), and Azumaya confesses that ever since Saijyo gave him acting advice a year ago, he’s harbored strong feelings for him. So strong, in fact, that Azumaya tries to make a move right then and there before Saijyo escapes and locks him in the bedroom. Needless to say, the atmosphere gets a little awkward on the movie set the next day, but Azumaya’s try-hard method of acting requires some hardcore correction, so Saijyo finds it in himself to provide some guidance. After a successful day of filming, Azumaya drags Saijyo back to his apartment for round 2, and Saijyo can’t find it within him to resist this time around. But he vows that he won’t have sex with Azumaya again unless Azumaya wins the “best actor” award.
Naples, 2001. Giorno Giovanna is a small-time crook with one big dream—to become a “Gang-Star.” No ordinary thief, Giorno has a connection to the remarkable Joestar bloodline, and possesses a Stand named Gold Experience. His dream starts to become reality when he meets Bruno Buccellati, a mobster from the gang Passione and a fellow Stand user himself. Realizing that they share similar ideals, and both disagree with the gang’s harmful affairs, Giorno reveals his goal to Bruno: with Bruno’s help, he will reform Passione by overthrowing the boss. – MAL
Episode Summary: Naples, Italy is a beautiful city drawing tourists from far and wide, but it has a darker underbelly filled with drug use and crime. Teenager Giorno Giovanni exists somewhere in between, committing petty crime for profit and paying the police to look the other way, but also occasionally also thwarting the efforts of local gangsters. When he crosses Leaky-eyed Luca, a violent gang member after protection money, Giorno uses a mysterious power, called “Golden Wind,” to turn the tables on Luca. The gangster’s defeat draws the attention of his associates and puts a target on Giorno’s head.
In the mean time, Koichi Hirose arrives in Naples on the orders of Jotaro Joestar; he’s been sent on a mission to gain information (and perhaps a DNA sample) of a young man named Haruno Shiobana, who Jotaro believes may be the human son of DIO. After encountering Giorno multiple times (and being duped by him), Koichi is positive that Giorno and Haruno are on-and-the-same; Jotaro agrees, and believes Giorno’s un-Japanese blond hair is likely a symptom of the awakening of his stand powers. As Koichi mulls over how best to fulfill his mission, Giorno is cornered on the trolley by a gangster named Bruno, an associate of Luca and someone with frightening powers of his own.
There’s a rumor about a mysterious phenomenon call “puberty syndrome.” For example, Sakuta Azusagawa is a high school student who suddenly sees a bunny girl appear in front of him. The girl is Mai Sakurajima, Sakuta’s upperclassman and also a famous actress who has gone on hiatus from the entertainment industry. For some reason, the people around Mai cannot see her bunny-girl figure. Sakuta sets out to solve this mystery, and as he spends time with Mai, he learns her secret feelings. Other heroines who have “puberty syndrome” start to appear in front of Sakuta. – ANN
Episode Summary: Sakuta Azusagawa is a bit of a loner. A misunderstanding that morphed into a rumor turned him into something of a pariah among his classmates, so he has very few friends and spends most of his days on his own. One day when he’s in the library, he sees something entirely out of the ordinary – former child star Mai Sakurajima, now one of Sakuta’s upperclassmen, dressed in a bunny suit. None of the other patrons seem to see what he’s seeing. Once Mai realizes that Sakuta is aware of her presence, she orders him to forget everything and leave her alone.
Life doesn’t work out that way, however; the two keep encountering one-another around town. Mai eventually reveals that, since going on hiatus from her acting work, she’s noticed that more and more people are unable to see her. Sakuta even witnesses firsthand when a bakery employee acts as though Mai isn’t there at all. He believes that this might be a case of an urban legend called “Adolescence Syndrome,” if only because he and his sister are also victims – she was bullied and the painful words hurled at her manifested as physical wounds, and Sakuta woke up one day with huge gashes on his chest. Whatever the cause, Sakuta and Mai start to recognize one-another as kindred spirits.
In the future in Onomichi, Hiroshima fish disappear from the sea around the world and only whales live in the ocean. The Ministry of Fishery decides to set up giant experimental Universe Fish Tanks in space. The Onomichi Universe Fishery Union is established and begins to train space fishermen. Female fishermen are in demand due to the strengthening of an equal employment law for men and women. Six new female space fishermen are selected, and the story centers on supporting their growth. – ANN
Episode Summary: One day, all the fish in Earth’s vast oceans disappeared. Because human kind still had a taste for sushi, drastic measures were taken and special tanks were built in space to grow and harvest fish. Special space fishermen were needed to obtain the fish, and thus a new industry was born. Haru Soramachi dreams of becoming a space fisherman, if only so that her grandma can eat her favorite sushi again. She travels to the coast to join a space fishing program where she can eventually join the ranks of the high-flying astronautical fishermen.
Unfortunately Haru’s sense of direction is lacking and she winds up completely off course, stumbling into a heated argument between a couple of girls her age and some men who are already established fishermen. Makiko and Namino claim Haru for their team (her sweatsuit bears the insignia for the space fishing organization, so she must have some idea of what she’s doing), thus forming a proper group of three to fish in space. Haru unfortunately has no experience operating the fishing equipment and needs instruction from the ground up. When she’s told to choose a guardian deity to accompany her, she picks the one known to be most useless. It’s no surprise that the men claim victory over the three girls, and their unauthorized expedition ensures there’ll be hell to pay once they get back to solid ground.
Kakeru, a former elite runner at high school, is chased for stealing food. He is saved by a Kansei University student Haiji, who is also a runner. Haiji persuades Kakeru to live in the old apartment “Chikuseisou” where he plans to team up with fellow residents to enter Hakone Ekiden Marathon, one of the most prominent university races in Japan. Kakeru soon finds out that all of the residents except for Haiji and himself are complete novices. – MAL
Episode Summary: Kakeru Kurehara has fallen on hard times since losing his apartment down-payment to the whims of the mahjong table. He’s been reduced to stealing bread from the local convenience store. Luckily he’s a practiced runner with speed enough to get away with this misdeed. He can’t outrun all of his problems, though; he’s eventually chased down by an energetic man on a bike. Haiji Kiyose is on the prowl for one last person to fill the vacant room in the boarding house he shares with several other young men, and he invites Kakeru to take the final slot.
Haiji has ulterior motives, as Kakeru soon learns. Boarding House Chikuseiso is filled with all kinds of young men, from geeky, to studious, to those with certain vices. Haiji invites them to celebrate the addition of their tenth resident with a trip out of town – namely, to Hakone. It’s his dream to participate in the Hakone Ekiden, a famous annual relay race. With their landlord (a former runner) as their coach he feels that this is their best (and his only) shot. But Kakeru isn’t even sure he wants to stay, let alone tackle this monumental task, especially when the other residents seem hesitant at best.
Ken En Ken: Aoki Kagayaki is based on the 2004 Taiwanese role-playing game Xuan Yuan Jian Waizhuan: Cang zhi Tao, whose story is set in the Spring and Autumn period of Chinese history (approximately 770–476 BC). – MAL
Episode Summary: Yin, Ning, and Zhao are three friends who are inseparable until the Taibai Empire’s army arrives and tears their lives apart. Zhao is enslaved by the empire and he believes Yin and Ning were killed as their village burned to the ground. The Empire’s mechanical constructs are now built partly on Zhao’s back. As a quick learner and an insatiable tinkerer, he uses the Empire’s discarded parts to create his own mechanical toys in secret.
Yin and Ning actually survived their village’s destruction. Though Ning lost her arms, she and Yin make a hardscrabble living putting on acrobatic shows as they travel from village to village. One evening as Yin searches for some water, she hears a strange ringing noise from an abandoned house. Inside she’s confronted by a horrifying snake demon and falls through the rotten wood floor to a hidden room. She obtains a mysterious scroll which grants her the companionship of a summoned familiar in the form of a girl named Yun. Yun has considerable power; she’s able to destroy the snake spirit easily. After doing so she disappears. Later, when the village is attacked by Taibai constructs, Yin is able to summon forth Yun and also produce a deadly sword using the scroll’s power; together, they defend the village and destroy the constructs.
In the meantime, Zhao’s illicit tinkering is discovered by the authorities and he and a young girl he’s befriended are taken into custody. Because Zhao was favored by the chief engineer who has since defected to the rebellion, Zhao has now become a suspect. As he faces the empress to receive his punishment, he realizes that she is in fact the girl who became his friend. She grants him a noble title and the all-important task of studying to become the new chief engineer, putting his considerable talents to use for the Taibai Empire.
Living alone and never having had a girlfriend, 37-year-old Satoru Mikami is dissatisfied with how his life has turned out. But after dying at the hands of a robber, he awakens to a fresh start in a new world…as a slime monster. – ANN
Episode Summary: Satoru Mikami has had a pretty decent life so far – he’s got a good job at a good company and generally enjoys how things have unfolded. He is disappointed in his lack of a love-life, however; as a 37-year-old man who’s never had a significant other, he feels as though he’s missed out on one of life’s very important pleasures. He doesn’t have much time to lament this however, since a runaway man with a knife stabs and kills him in the street (and on the way to his favorite meal, too). With his last breath he implores his subordinate to remember him fondly (and to trash his hard drive). As the world fades into nothingness, Satoru feels his body dissolve away.
Unexpectedly, he wakes up in a strange place inside of a very strange body. He realizes after some experimentation that he’s now a slime a-la Dragon Quest, with some fairly cool skills – he can absorb magical materials and store them in his body, he doesn’t feel pain, heat, or cold, and he can regenerate after suffering damage. He realizes, though, that he’s not alone. A stentorian voice beckons to him, and after some back-and-forth Satoru realizes that he’s sharing his space with a particularly powerful and threatening dragon. They make a mutually-beneficial deal: Satoru will be friends with Verudora the Dragon, and Verudora will grant Satoru the power of magical sight. Satoru is a little embarrassed to realize that, even at age 37, he’s still worked up over making a new friend.
In 2050 engineer Derrida Yvain is famous for his contribution to “Autonomous Machine DZ,” at his father’s company, Rebuild. But when he and his colleague Nathan discover a dangerous flaw in their creation, their warnings go ignored. The next day after Nathan’s daughter Mage’s birthday party, the group barely escapes an attack by unknown forces, leading to Derrida’s unwitting captivity in cryogenic stasis. Ten years later, he emerges in a world at war with the mechanical lifeforms he helped create. Now, he fights to survive his nightmare future to make good his promise to “Take care of Mage.” – Crunchyroll
Episode Summary: Derrida Yvain is a scientist working on a team developing “automata,” service robots that have insinuated themselves into many aspects of people’s lives. They’ve recently shipped the DZ model which are considered to be top quality new tech, but Derrida and Nathan, his friend and co-developer, have discovered a bug in the DZ programming that, if activated, could cause the model to go out of control. They beg Hans Andrei, project leader, to recall the units that have already been shipped so that they can patch them, but for whatever reason that plan is a no-go. Derrida will have to meet with his father, Jacques, the original developer, to hopefully work something out. That issue takes a back seat, however, to Nathan’s daughter’s birthday.
Mage, Nathan’s daughter, is a bright girl with an interest in her father’s work. She looks up to Derrida and seems downtrodden when he declines an invitation to join in Nathan’s upcoming research. As Derrida is leaving their home, she asks him one last time to reconsider, and though he’s noncommittal he hands Mage an electronic key to pass along to Nathan. Derrida meets with his father, Jacques, the next day and the meeting goes poorly; Derrida accuses Jacques of caring more about the DZ than the well-being of his own son. He learns soon enough that Hans has a hit out on Nathan and himself for “knowing too much” about the flawed DZ programming, and having “taken care” of Jacques Yvain earlier, intends to kill Derrida and Nathan and frame it as a murder-suicide to the media. Nathan comes out on the bad end of the situation, but Derrida manages to escape into the woods where in his pained delirium he begins to see strange visions of Mage appearing and disappearing as if phasing in and out of reality. The vision leads him to an underground cryogenic facility, where Derrida’s final act is to seal himself away in one of the pods. But what will he find when he awakens?
Impressions:This review contains some minor spoilers for the first 4 episodes of the show.
Though I would have liked to have gone into this viewing session clean, I happened to read the ANN preview of the first few episodes that was posted following the recent Crunchyroll Expo convention. The article certainly gave the impression that the story was a muddled mess and the technical aspects of the show were disappointing, so my expectations were definitely tempered somewhat. To be honest, when I discovered that Crunchyroll posted the first four episodes yesterday, I looked at it as an opportunity to get this first impression “over with” so that it would be out of the way by the time the Autumn anime started in earnest. I’m not sure if it was the effect of lowering my expectations or whether I’m just not as harsh a critic, but having seen the first episode I’m kind of questioning the rude audience reactions I read about in ANN’s article. The episode certainly has its share of aesthetic problems and some of the dialog absolutely has issues with emotional realism, but while it’s mediocre it’s certainly not an unmitigated disaster.
Mage and her friend Yui enjoy the birthday party.
My suspicion is that many anime fans saw the name “Yoshitoshi Abe” attached to the series and became saddled with a set of expectations that the series could never hope to achieve. For those who are unfamiliar, Abe is an artist and writer who loaned his particular style to several well-known and influential series during the late 1990’s and early 2000’s. The most famous and well-regarded of these are Haibane Renmei, which is based on one of his own self-published manga, and Serial Experiments Lain, to which he provided very iconic character designs. He also created the NieA_7 manga, another doujinshi effort that was later adapted into an anime, though despite being fairly charming doesn’t seem to be quite as famous. In any case, to many of us who came into our own as fans around that time period, Abe’s name brings with it a certain feeling of nostalgia and admiration; it’s not surprising that the fact of his involvement would drum up some expectations about the type of story and its quality level, no matter how small his actual contribution was.
The fact is, Abe’s rich, textured art style isn’t represented well in the series; if I hadn’t been told multiple times that he was involved, I wouldn’t have guessed it on my own. The character designs as they appear in the show itself are very generic, which isn’t necessarily a problem in-and-of-itself, but it does beg the question – why employ the services of a fairly famous character artist and not go to some effort to preserve the charm of their designs? Obviously anime production is more complicated than that, as anyone who’s seen Shirobakowill attest. It’s not a system that allows the time or resources necessary for people to do their best work; we just happen to be lucky enough to get some great results some of the time anyway. Geek Toys, the animation production company for this series, is brand new, and with that newness comes many challenges. I can’t entirely fault a studio for simplifying some designs more in favor of ones that could be more easily animated. That said, the fact that there are a lot of off-model shots in the first episode doesn’t exactly bode well for how the rest of the series is going to look.
Derrida sees visions of Mage in the woods.
Some of the writing and dialog leaves a bit to be desired. I actually mistook this for a direct time-travel story; thus far the only confirmed “time travel” is Derrida’s missing ten-year gap. I make it a personal policy to look past all but the most glaring plot holes when timey-wimey stuff is involved, but judging by the first episode, time travel and its resultant paradoxes aren’t a major factor (though based on what I’ve heard that stands to change at some point). Some of the character dialog, however, feels very melodramatic, and in the “bad” (meaning: not entertaining) way. I think the best example of this occurs when Derrida confronts his father with the information about the DZ’s flawed operating system; when Jacques doesn’t give Derrida the answer that he’s seeking, the situation goes from “zero” to “you never loved me, dad!” in a matter of seconds. While I can accept the fact that Derrida and his father might have some issues to work out, introducing those issues when we know very little about either character to begin with feels more like a ploy to wring some quick, cheap drama out of an under-developed situation. I could have managed with less time spent at Mage’s birthday party if instead there would have been a few more moments spent establishing the main character’s personalty and the clearly important and probably complicated relationship he had with his genius father.
Still, I’m not ready to entirely discount the series yet, and this episode was actually fairly entertaining in spite of its flaws. At the very least, it manages to do what so few stories can; it warns us of the consequences of inaction and then, thanks to time manipulation (of a sort), proves those consequences to have been genuine.
***
Because they were available (and I decided it would be a better use of my time to watch the episodes now rather than pick them back up later), I decided to go ahead and watch episodes 2-4 of the show. It’s not my regular practice, but it’s difficult to pass on an opportunity to kill two birds with one stone. In the subsequent few episodes, Derrida awakens from cryo-sleep to find that his fears have come true and that the DZ robots have gone rogue, causing mass destruction (which of course seems to benefit the wealthy Rebuild shareholders and other upper-class types, including Hans. Derrida joins up with an older man and his young daughter – two people who have the tools and survival instincts to navigate the unfriendly robot-riddled terrain. They travel to find Mage’s whereabouts, learns that she’s dead (from her friend Yuri), then learns that that was a lie. Mage is, in fact, missing. Derrida’s new goal is to obtain a copy of the software patch so that he can nullify the DZ troops and save humankind, but they learn that the robots’ malfunction was not so much a bug as it was completely intentional and entirely by design. This unsettling corruption appears to run deep and Derrida must trudge through it to find the answers that he seeks.
These episodes continue much in the same vein as the first; the show is basically competent in most respects and manages to maintain a modest amount of tension as Derrida and friends find themselves pursued by various factions (including a frighteningly-persistent female assassin who’s identity I assume is less of a secret than it first appears). Hans Andrei makes for an ineffectual villain; rather than proving to be a real danger to the protagonist, he’s mostly a bumbling rich guy who seems terrified of anything that might threaten his position. Derrida turns out to be kind of an unlikable protagonist, not because his goals aren’t sound but more because he lacks emotional range and maturity; it becomes exhausting to listen to him fly off the handle while simultaneously trying to convince (coerce?) those around him to give up their safety to help him achieve his goals.
Part of me would like to give this one a shiny “You Tried” award; I feel like this is a story someone really wanted to tell and there are definitely echoes of something bigger and better to be found within the show’s modest package. There are just a lot of aspects (visual and story-wise) that are holding it back, and as it stands it’s too much of a hard sell.
Pros: Seen from afar, the show is fairly competent, (if unimpressive).
Cons: The protagonist and antagonist are insufferable. There are many distracting aesthetic and quality-control issues.
Tanisu’s parents are mad scientists who live outside of normal society. They locked up their own children up on an isolated island and did experiments on them in secret, turning Tanisu’s older brother and three older sisters into strange creatures. One day, their parents were arrested, and the siblings were moved to another island by the welfare office. The trouble is that none of the siblings except Tanisu know how to interact in modern day society… – Crunchyroll
Episode Summary: Tanisu’s older siblings are all the result of their mad scientist parents’ experimentation. They have special forms and abilities that distinguish them from normal humans, but they know very little about how to interact with society. Tanisu’s distinguishing factor is that he’s smart and kind, and he wants for his family to be able to live among others. As the only sibling without mutant abilities, he takes it upon himself to reintegrate them all while their parents are serving time for turning them all into scientific guinea pigs.
When the ingredients for their dinner are ruined, Tanisu suggests that they all go out to eat; a big deal when most of the family is unfamiliar with common social etiquette and can’t always agree on what to have for dinner in the first place. As they sit down to dim-sum, their various alterations are on full display. Transformation, photosynthesis, predatory tendencies… these things don’t mesh well with the polite restaurant atmosphere. The other patrons begin to chatter and make remarks and Tanisu becomes more and more upset with his family. It’s only after he has an outburst that his siblings realize how important being out in public is to Tanisu, and they work to use chopsticks, clean up their table manners, and keep their abilities in check. Integrating into society might be an uphill battle, but they are beginning to take the first steps.
Impressions: This series technically debuted in the Spring (outside the US) and it’s getting pretty close to the Autumn anime debut season, so I split the difference and decided to lump it in with the Summer anime. While I think many anime fans have some complaints about anime not being simulcast in a timely manner, personally I appreciate the fact that Crunchyroll (and other services) will continue to add to their catalog as they can. And really, do you actually have time to watch 30-60 series week-by-week as they’re broadcast? Speaking for myself, that answer is “no.”
I’ve written before about the rising popularity of international anime co-productions; I can say with complete authority that I know very little about the ins-and-outs, reasons, and mechanisms of these productions, but the fact that they’re becoming more prevalent likely speaks to several different factors in animation production. While I highly doubt there’s any shortage of Japanese manga or light novels to adapt into animated form, there are definitely some overused storytelling trends among them and I suppose production committees start to see diminished returns by the time they hit isekai series number 127. I’ve actually noticed this phenomenon in another of my hobbies – lolita fashion.
Aisley has a predatory side.
As the fashion became popular in the West over the span of many years, Japanese brand dress releases were always the most coveted. They were expensive, often difficult-to-get, and featured quality materials and construction. I always felt that there was an element of copycat-ism to Japanese releases, though. If one brand released a certain print motif (chocolate, for example), variations on that became a trend for a while. Cutlery prints were popular, there have always been a lot of floral prints, and “old school” styles (solid colors with contrasting details and lace) continue to feature in brand releases to this day. There are always sailor-themed lolita dresses released in the summer time. It’s not that these prints were or are bad, but they do start to blend together after a while. The last several years, though, have shown a rise in the variety and availability of lolita fashion from worldwide indie brands, and brands from places like China, Hong-Kong, and Korea. They’ve taken the shape and general aesthetic of lolita fashion from Japan and incorporated many new and fresh ideas, from prints that feature unusual items or themes (jellyfish, bread, and I even own a Chinese dress that incorporated Egyptian iconography) to sub-styles that mimic traditional Chinese clothing. This isn’t to disparage the Japanese brands – they continue to do good work and their output was and is foundational to the fashion. But sometimes a fresh perspective is required to inject some vitality into an art form that has gotten a bit stuck in its ways.
In the case of Frankenstein Family, the typical Japanese anime format and style has been coupled with a setting that has a distinct Taiwanese flavor, thanks to its primarily Taiwanese (I think?) production staff. The character designs and animation style are all what one would expect from a Japanese anime; it’s in the small details, like the architecture, foods, and customs (such as when Tanisu taps his first two fingers on the table when his waiter is pouring the tea), that the series reveals its origins.
Content-wise, I think this first episode is an intriguing and somewhat uncomfortable (not in the bad way) blend of tones. Because the siblings are all socially-untested and display a wide array of different abilities and traits that distinguish them from typical humans, there are lots of opportunities to demonstrate just how atypical their situation is. I think my favorite character is Snow, the older brother who can transform himself into a dog. The results are as you would expect – he’s comically food-motivated, and he’s very much a lovable, clumsy ding-dong with a good heart. Spider-sis Aisley is constantly on the prowl for prey. Ashise is half-plant and would rather bask in the sun than eat human food. And nothing is a surprise to Suishi, who has psychic powers. This odd blend of characters provides many comedic moments throughout the episode, but there’s always an undercurrent of sadness and it crops up fairly often and unexpectedly.
The siblings have a long road ahead.
Honestly, the siblings’ situation is pretty horrific. Their mad scientist parents used them as experimental subjects, fiddling with their genetics to provide them with traits that make it incredibly difficult for them to get along in any sort of social context. They were kept isolated from others and then abandoned when the parents were (rightfully) sent to jail. Tanisu occupies an odd position in this mess, being the only child who wasn’t the target of his parent’s special brand of bad parenting, though it’s clear that he’s absolutely experiencing emotional after-effects of the experience. I think that’s one of the most effective parts of this episode; the sadness and horror creeps in unexpectedly, casting a pall over the characters’ everyday lives. I liken it to my experience of depression, which lurks in the background of my life until something seemingly innocuous (or, honestly, sometimes nothing at all) triggers it and it becomes a shadow that saps color from the world.
This is perhaps what’s special about the final scene, where the siblings walk together as the sun sets in a rainbow of colors. Life has been needlessly dark for them, and they had little to no choice in the matter (to some extent they don’t even seem to realize that what happened to them was wrong). But there’s some hope that, now that their situation has changed, perhaps there’s some new light to be found in the world. Many parts of the episode have a watercolor washed-out feel to them; most of these moments are asides or references to memories or past events. But this final scene in particular has a definite Makoto Shinkai influence, its magical-realism providing emphasis to what might be to come.
While the anime portion itself is actually pretty good, it comprises only one part of the episode’s run time. The rest is taken up by a couple of in-real-life voice actor segments that don’t really add much (I know there are some fans who enjoy that sort of thing, but they don’t really interest me). There’s also a really awkward part of the conversation during which one of the actresses insists multiple times that, if she could be anything she wanted, she would want to be a boy. I’m not sure if she’s genuinely indicating that she would want to change genders, or if it’s a sentiment that’s just kind of lost-in-translation, bu there’s a lot of time spent on it and I didn’t really know how I should react. I think the series would be better served by sticking to the in-anime segments and leaving the voice-actor stuff out, but I might be in the minority. I also didn’t watch another episode to see whether it carries through or not, so it might be a one-shot issue.
While this has all the hallmarks of a typical slice-of-life series with some fantasy elements sprinkled in for fun, it also has a certain freshness that I believe is due to its multi-cultural origins. These types of productions haven’t always been that successful, but I have noticed that they’re on the path to getting better and I think this series looks and feels fairly competent and distinct.
Pros: The show has a good visual style and uses color well. The blend of slice-of-life comedy and darker moments replicates the feeling of depression well.
Cons: The voice actor segments don’t add much to the episode.
Streaming: Crunchyroll
