Tag: Fantasy

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Anime Reviews Reviews

Anime Review – Violet Evergarden

A certain point in time, in the continent of Telesis. The great war which divided the continent into North and South has ended after four years, and the people are welcoming a new generation. Violet Evergarden, a young girl formerly known as “the weapon”, has left the battlefield to start a new life at CH Postal Service. There, she is deeply moved by the work of “Auto Memories Dolls”, who carry people’s thoughts and convert them into words. Violet begins her journey as an Auto Memories Doll, and comes face to face with various people’s emotions and differing shapes of love. There are words Violet heard on the battlefield, which she cannot forget. These words were given to her by someone she holds dear, more than anyone else. She does not yet know their meaning but she searches to find it. – ANN
Copyright 2018 – Netflix/Kyoto Animation

Streaming: Netflix

Source: Light Novel

Episodes: 13

Review: This review contains minor plot spoilers for the TV Series.

I don’t like to get too hyped-up about upcoming anime because it’s so exhausting to be disappointed when the final production doesn’t live up to what was promised. I like to let anime happen on its own terms rather than measured against my often incorrect expectations. But I ask you, as one anime fan to another, what am I to do when Kyoto Animation releases a teaser trailer that’s such an incredible fever dream of flawless animation and the interplay of light and color? There was no possible way for me to ignore what I had seen and start with a completely blank slate once the series was finally posted to Netflix. Rather than try to fool myself into believing that it was possible for me to be impartial, I decided to embrace impartiality and read other reviews of the show, both episodic ones and those focused on the series as a whole. I prepared myself for possible disappointment by arming myself with information.

Was this the right tactic? I’m not entirely certain, but what I can say is that going into the experience expecting to be frustrated by certain aspects of the story left me feeling pleasantly surprised by how the series was not nearly as flawed as I had been led to believe. This sounds like faint praise, but I really did enjoy the show more than I had expected to and I’m left wondering why others were more disappointed.

The series is comprised of two concurrent story arcs – one about a country at war which has at this point reached an unsteady truce, and one about Violet Evergarden, the titular character, who comes from a place of darkness and must reacquaint herself with the subtlety and full range of human emotion. The former story is the weaker one of the two; it works well as a backdrop and helps to establish who Violet is and where she’s come from, but when it comes further into focus as part of the primary conflict it feels forced and uninteresting (one might even describe it as kind of “tryhard” if one wanted to be a little snarky). The latter is where the more meaningful and satisfying developments happen, and while Violet’s story occasionally gets a bit melodramatic, viewers like me who have a tendency to get emotionally-invested will likely eat this right up.

Violet’s scars from the war are both internal and, to the surprise of others, also external.

It does take a few episodes for Violet’s story to get moving, and as I commented to some friends after I’d watched the first three or so episodes I was concerned that the series felt overly-manipulative in its storytelling. Several of the early episodes feel like one-offs that serve to build the setting and put Violet where she needs to be, but don’t quite achieve the emotional highs they try to wring from the viewer using beautiful music and imagery. As a veteran of war remembered both for her youth and her emotionless brutality, Violet is clearly out of her element as an Auto Memory Doll. The Dolls are women who compose eloquent letters for paying clients by interpreting those clients’ feelings into written language. Violet, as an orphan who has seen (and committed) countless horrors as a child soldier, is more adept at reporting facts and taking people’s words at pure, functional face value. She may have emotions, but they’ve been so blunted by her tragic experiences that it creates a wall between her and others. Likewise, the first few episodes of the show where Violet stumbles through an ill-fitting civilian existence, feel like attempts at forced emotionality that are unsubtle and unnerving. I can’t say whether this was intentional or not, but looking back it’s interesting to me how much the structure and feel of the show mirrors Violet’s evolution.

As Violet becomes more accustomed to her work and begins to allow herself to feel and empathize with others, the show capitalizes on this to tell some of its most memorable stories. My two favorites were one in which Violet helped facilitate more genuine communication between a couple of soon-to-be-wed nobles (ignoring the squicky age difference between the two), and one in which she composed a large volume of letters from a mother to her daughter. Though both stories are still what I would qualify as one-offs, they also provided great snap-shots into Violet’s progression towards not only understanding others, but also understanding herself and the relationships that she values.

Violet returns to remember a painful moment.

I’m what I would call an empathetic viewer and I generally pay less attention to plot and continuity than many others, since I find little value in picking that stuff apart. I find more value in thinking about broad themes and considering how I was made to feel. This is the perfect example of a series that I think was made for that mode of viewing, since I recognize that there are some issues with the structure of the show and feel like it could have benefited from some reshuffling of priorities. As I mentioned earlier, possibly the weakest aspect of the show is its sub-plot revolving around the tenuous peace between its setting’s warring factions. Violet herself obtains a kind of personal emotional climax a few episodes from the end of the series, and much of the remainder of the show is devoted to a sort of shoehorned-in plot about a rebellion hell-bent on mucking up the signing of the peace treaty. The last two or three episodes of the series feature some great action pieces – an attempted bridge bombing, Violet parachuting into a war zone, a fist fight atop a moving train… all things that are cool to look at, but which feel as though they come from a completely different series (though they also provide a poignant resolution to the loss of Violet’s father figure that plagues her throughout the series, so it’s not all fluff). They’re ostensibly there to prove that Violet is no longer a cold-hearted killing machine (as she eschews using her strength and speed to actually murder anyone despite the fact that it would more easily resolve the situation), but we’ve already been shown so much evidence of her evolution that the reminder is unnecessary. The series as a whole easily made it into my good graces on its other merits and I could look at these last couple of episodes as mostly-extraneous, but I can see how many people would find this much more irritating.

The way in which Violet reaches a resolution in her troubled relationship with the Bougainvillea family is one of the high points of last few, weaker episodes.

As emotionally moving as many episodes are, they’re matched or exceeded by Kyoto Animation’s cinematic visuals and animation. If I’m being truthful, being able to watch characters move in front of gorgeous backgrounds is one of the bonuses of watching almost any Kyoto Animation series (and the main reason why I’ve pushed on through more episodes than I’d like of shows like Miss Kobayashi’s Dragon Maid and Amagi Brilliant Park) and this series is perhaps their most striking, detailed effort to date. It was the original commercial for the show that captured my attention, and while the series doesn’t quite sustain that exact look throughout, it still maintains a visual lushness that’s so far above and beyond what I’m used to as a TV anime viewer that I can’t rightly complain. I can only really fangirl in a basic way over how the show looks, but if you’re interested in some more educated commentary, check out Sakuga Blog’s series of production notes on the series.

I’m not a huge fan of Netflix’s delays when it comes to streaming anime series that I’m really anticipating, but I do appreciate the fact that I can watch an entire show (or cour, at least) in one or two sittings, so I suppose it’s kind of a wash in that sense. In this case, I got a chance to listen to lucky folks in other regions post their reactions, and despite the fact that my expectations were high they were also tempered and honed by what I was hearing. As someone with an (apparently) offbeat point of view on how stories are told it seems like I didn’t have much to worry about, as a lot of the complaints aren’t necessarily my complaints, and I truly enjoyed the show as a whole for its primary focus on feelings and human interactions and not as much on its weaker political plot. It’s gorgeous testament to KyoAni’s draftsmanship skills, as well as Netflix’s apparently pretty decent skills at picking anime series to partner with. It also gets a “5” on the Jessi Silver Cry Scale (TM) (I cried/held back tears at least 5 times while watching). If you’re someone who’s more into emotional through-lines in your entertainment, you might have a very good time with this series.

Pros: Visually beautiful. The feel of the story seems to mirror its protagonist’s development in many ways.

Cons: Political plot feels unnecessary. The real character climax arrives around episode 9 and parts of the last couple of episodes don’t fit in with those themes very well.

Grade: B+

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Anime Reviews Reviews

Anime Review – How to Keep a Mummy

When high school student Sora Kashiwagi finds himself staring down a mysterious over-sized package sent to him by his self-proclaimed “adventurer” father, the last thing he expects is for it to be opened from the inside by a little mummy so small it can fit in the palm of his hand. – ANN
Copyright (c) 2018 – 8-bit

Streaming: Crunchyroll

Source: Manga

Episodes: 12

Review: This review contains minor plot spoilers for the TV series.

One of my favorite anime series is Natsume’s Book of Friends, which I think is an uncommonly good blend of supernatural fantasy and very sensitive human storytelling. As a fan of Japanese folklore, it’s also an excellent overview of traditional ghosts, spirits, and creatures that are inherently Japanese. But as much as I like Natsume, even I can admit that I’m not always in the mood to process its sometimes heavy story beats dealing with bullying, abusive family situations, and various forms of loss. That’s one of the primary reasons why I found How to Keep a Mummy to be such a pleasant romp. The series takes some of the components that make Natsume compelling and lightens it up to be a more comedic, fluffy distraction. It might not have as much emotional staying power, but it certainly is cute.

One aspect that makes this series a winner is its likeable lead character. From the instant that Mii-kun the mummy’s coffin shows up on his doorstep to the moments when Mii-kun and friends encounter some sort of peril, Sora proves himself to be not only a competent protector, but also a kind and caring friend and parental figure (or pet owner, I suppose?). In an age when many of us – women, men, and non-binary folks alike – are wrestling with the concept and consequences of toxic masculinity in our culture and media, it’s heartening to encounter a character like Sora who’s a teenage boy, caretaker, and friend with a special sensitivity to the world around himself.

Sora and Tazuki are close friends.

Likewise, this isn’t an anime series which banks on stories about characters working out their social hierarchy through brawling, nor is it one where characters spend each episode cutting each-other down with insults. It’s a series that revolves around its main character and his friends opening up to one-another and developing relationships, while confronting personal elements of their lives that have caused them trouble or pain. All three of the side characters have hurdles to overcome, whether it’s Motegi’s relatively benign fear of lizards that’s confronted when a tiny dragon arrives at her home, Daichi’s damaged relationships with his classmates that are the result of nightmares (cured by a friendly Baku), or Tazuki’s traumatic past encounter a mythical creature and the men trying to poach it. Part of me believes that the addition of cute supernatural creatures is somewhat redundant; while all of the character’s troubles are at least partly due to some supernatural element, they’re also real human emotions and interactions that could have mundane causes in a series without a fantasy element. I’m the type of viewer that’s satisfied watching a slice-of-life story in which the main hook is that nice people are nice to one-another and work through their interpersonal conflicts constructively, so don’t necessarily need the cuteness on top.  But as a closet(?) connoisseur of cute, it’s a welcome addition that adds a little extra appeal for those viewers who are less willing to put up with low-conflict fluff entertainment.

Though I enjoyed the series, there were some bits and pieces that left me a bit cold. Sora, being that his father is out of the country, lives with his aunt Kaede. Kaede is clothing model and seems to have some amount of local fame, as other characters find her vaguely recognizable throughout the series. She’s beautiful, but also kind and supportive to Sora and friends… until she takes off her glasses, at which point she turns into a lusty sexpot with designs on her nephew. This “gag” only occurs once with a few additional references to it throughout the series, but it takes a show that I’d otherwise love to recommend to younger viewers or people who are less interested in anime’s overall penchant for goofy sexuality and complicates that recommendation. The trope of women becoming more sexual after they take off their glasses (think “sexy librarian” or “sexy teacher”) is tired and sexist, and in an anime series with really no other adult inclinations it stands out as a particularly poor choice.

Mii-kun just wants to be loved!

There’s also a push in the final two episodes of the series to make it more plot-forward, which felt unnecessary to me. There’s a recurring threat from poachers throughout the series who are on the prowl to collect monster specimens, which comes to a head when Sora and crew are attending a festival. While the provides a climax to the series, it’s also ill-fitting as the poachers never received any development and their actual threat level was questionable. I get that not everyone is satisfied when “nothing really happens,” but emotional climaxes can be just as cathartic as major plot movements, and I think that would have been a more suitable direction to take such a low-stakes show.

I watch anime from a very wide swath of different genres, some of which tend to be intense and/or depressing, so it’s nice to be able to unwind with a pleasant “healing anime” every once-in-a-while. How to Keep a Mummy was one of Winter Season’s great surprises on the front for me; cute, funny, and seemingly arriving out of nowhere to let us revel in an oddball relationship between a boy and his Mummy. I really enjoyed this anime, and if you too appreciate entertainment that, in spite of its flaws, is fundamentally kind, I think you will as well.

Pros: The main character is a good example of a male allowed to have feelings and just be nice to others. The character relationships are very satisfying. Everything is so cute!

Cons: There’s some plot conflict shoehorned into the final few episodes. There’s some sexist humor surrounding Kaede’s character that feels out-of-place.

Grade: B-

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Anime Reviews Reviews

Anime Review – Mary and the Witch’s Flower

It is Tib the black cat who leads Mary to the strange flower in the woods. When she discovers a little broomstick shortly afterwards, she is astonished to feel it jump in to action. Before she can gather her wits, it is whisking her over the treetops, above the clouds, and in to the grounds of Endor College, where: ‘All Examinations Coached for by A Competent Staff of Fully-Qualified Witches.’ – ANN
Copyright 2017 – Studio Ponoc/GKIDS

Streaming: N/A.  Disc release forthcoming (May 1st, 2018)

Source: Novel

Episodes: 1 (film)

Summary: Young Mary Smith moves to the countryside to live with her great aunt Charlotte while her parents are away. Mary wants more than anything to be useful, but she’s a clumsy person and often causes more problems than she solves. While lamenting her situation one day, she encounters two cats – Tib and Gib – who lead her to a forest glade where a cluster of spectacular blue flowers are growing. Mary takes the blossoms back to her room to admire them, but soon discovers that they’re more than just attractive blooms – the flowers, called “fly-by-night” by magic users, bloom but once in seven years and have the power to grant magical abilities to even the most mundane of user.

Mary stumbles into these mystic powers and finds herself a magic broom, which takes her to Endor College, a witch school above the clouds. She’s mistaken for a magical prodigy and the headmistress goes so far as to approach her about joining the honors classes, but it isn’t long until her secret is discovered and the faculty of the school chases Mary down in search of the fly-by-night blossoms. Mary must them protect herself, rescue her friend Peter and his cats, and make sure that the flowers don’t fall into the hands of those who would try to use them for horrifying experiments.

Review: This review contains mild plot spoilers for the film.

It’s cliche at this point for one to speculate on what Japanese animation studio will turn out to be the “next Ghibli.” It’s difficult to define exactly what that’s supposed to mean – Ghibli’s output has encompassed films aimed squarely at very young children (Ponyo or My Neighbor Totoro, for example), to more intense adventures that families can enjoy (Nausicaa, Princess Mononoke, Spirited Away), to films that I’d argue take more maturity to appreciate (Porco Rosso, Only Yesterday, Grave of the Fireflies). Does Ghibli mean “animation quality?” “Story craft?” “Character and background design?” I’ve seen all of these traits thrown around as potential components of the Ghibli magic that’s captivated animation fans all over the world, and even somehow managed to gain credo with the incredibly insular, inscrutable, and in my opinion, sometimes downright infuriating Academy Award voters (seriously, Boss Baby over Your Name? You’ve got to be kidding me). Whether or not there’s a definitive way to identify the Ghibli style is a question that I’ll leave to others who are more invested in it. As for myself, I’m just enjoying the fact that, as animators and directors graduate from Ghibli, we’re able to enjoy the new perspectives they bring to this classic film making form.

Much like Hosoda Mamoru, Hiromasa Yonebayashi worked for Studio Ghibli as an animator and director before venturing off on his own to join the newly-established Studio Ponoc. Mary and the Witch’s Flower, the studio’s first feature-length animation, captures a lot of the classic family-friendly charm that typifies the bulk of Ghibli’s output, while providing a enough freshness to distinguish itself and its creative staff from their predecessors.

I commented on social media that one thing that charmed me about the film was that it seemed to speak to me as a little girl who always wanted to grow up to become a witch. Similar to the Harry Potter series, Mary and the Witch’s Flower suggests that there might be an entire secret world out there, where magic is real and those with a talent for it might be able to distinguish themselves and make impossible things happen. It helps that film eschews the tendency to make its heroine a strong but unattainable fantasy version of feminine purity, seen in such characters as Nausicaa or Kiki. It’s not that those characters are inherently terrible for women (and to be honest they’re much better role-models than a lot of “strong female characters (TM)”), but they also feel like an outsider’s perspective on what girlhood should be, when in reality it can be messier, more painful, and more awkward than it is often portrayed. I’m definitely not saying that Yonebayashi and friends have insider knowledge in pre-adolescent girlhood, but Mary feels closer to the type of person someone could meet in real life. She’s fundamentally kind and not overly-rebellious (which tends to be another direction writers take these kinds of characters), but she’s not particularly talented, gets bored easily, and goes against orders sometimes. She also lies by omission in order to feel better about herself, which ultimately gets her into trouble but is so understandable from the perspective of someone who often feels unworthy of praise. The idea that there could be a world out there somewhere in which the differences that one dislikes about oneself are seen as beneficial can become intoxicating.

The film also makes some attempt at real-world commentary, its most discernible issue-of-choice being animal (and human!) experimentation, as an offshoot of the typical environmentalism that crops up in similar films. Whether this is entirely successful is up in the air; my attitude was something akin to “I see what you did there” but more from the perspective of being repulsed by the mild body-horror aspect than buying into what I thought the creators were trying to say.

Visually the film doesn’t disappoint, and manages to combine traditional character animation, lush, vivid background art, and even some CG effects into a very appealing package. It straddles the line between traditional and modern very well, making an argument for utilizing new animation techniques even while trying to maintain a mostly hand-drawn look. After watching Shirobako multiple times, it’s interesting the kind of things I tend to notice when watching animation. In this case it was the animal movement- one of the film’s climactic moments involves a herd of animals escaping from captivity, and the horde of different creatures moving across the landscape feels very natural, chaotic, and whimsical as well. The depiction of the English countryside that serves as the setting for the more mundane parts of the story recalls some of the background art from The Secret World of Arietty; the lushness of the plant life and the misty hillsides are almost a character all their own.

One aspect of the film that I really liked was the revelation that Mary’s aunt Charlotte played an important part in the story when she was a youngster, and that Mary as a descendant of that family line is in prime position to draw things to a close. Even when young women have central roles in a narrative, it’s often the case that they’re the only female in a sea of men. In this case there are important connections between Mary and Charlotte, as well as the Endor headmistress. Additionally, Mary comes to the rescue of Peter, her male companion, multiple times throughout the film, which was a refreshing surprise.

The one thing that detracts from this story, and I suspect that others may agree with me, is that the whole package feels a bit rote. Stripping away the visual trappings and the spunky main character reveals a story that’s competently formulaic but not otherwise special in any way. It’s a fairly typical “heroine’s journey” in which a young girl is forced to look inside herself and make personal improvements, all in the guise of going on a grand adventure that, once completed, brings her back again to her mundane normal life. That said, it’s the type of movie that I wouldn’t feel uncomfortable watching with a child and which demonstrates an example of how to be heroic and fight for something ethical. It’s certainly more tolerable than your typical CG talking animal movie, and it doesn’t talk down to its intended audience.

The more creators there are making great movies, the better, and having graduated from Studio Ghibli I think Yonebayashi has a bright future ahead of him bringing to screen the type of anime films that have wide appeal. Mary and the Witch’s Flower is an above-average interpretation of a Western-style fairy tale that centralizes a somewhat-atypical female heroine and brings to life a magical world that might make some viewers long for the opportunity to attend a witch school. Check it out at a local film festival, or grab the disc when it’s released in May.

Pros: Mary is a spunky heroine with some realistic pre-teen flaws. The female relationships provide a good through-line to the film. The artistry is excellent.

Cons: The story is pretty average and can feel like a re-hash of old concepts.

Grade: B

Categories
First Impressions Reviews

Summer 2017 First Impressions – Vatican Miracle Examiner

To detect lies, refuse fakes, and reach the miracle of God – that is their mission as Vatican Miracle Examiners. Hiraga, a scientific genius and Roberto, an expert on the decryption of cryptography and ancient documents are not only good partners but also “Miracle Examiners” working for the Vatican. They are secret examiners, who are requested to examine and identify the authenticity of miracles from all over the world. – ANN
Copyright 2017 (c) J.C. Staff

Streaming: Amazon Anime Strike

Episodes: 12

Source: Light Novel

Episode 1 Summary: Hiraga and Roberto are Vatican priests with a very important job – when claims of miraculous events are reported, they travel around the world to investigate their veracity. Having just received word of a virgin impregnation, the two hop a plane to Mexico in order to examine all the evidence. Before they leave, though, they’re warned that they may meet with the Devil himself once they’ve arrived. The two enter the grounds of Saint Rosario church, which has an attached boys’ boarding school and a hospital that seems strangely well-equipped. They speak with the pregnant nun in question, who doesn’t seem to be lying and who greets them sporting stigmata, but Hiraga (the more scientific of the two) seems unconvinced. There’s also kind of an odd, unsettling atmosphere hanging over the estate, and as night falls the two suspect that word of the Devil’s presence might have been more than just a faint warning. Late at night a security guard comes upon the body of one of the priests, bloodied and sprawled across a pentagram on the ground. Murmurs of students playing at devil worship begin to rumble a little bit harder, just as a statue of the Virgin Mary in the chapel begins to shed tears.

Impressions: Oh anime, forever attempting to combine religious iconography with animated entertainment. I’m kind of kidding on that point, as this series seems to at least make a play at portraying some aspects of Catholicism in a way more accurate than many others (see Hellsing or Crono Crusade for some great examples of ham-fisted pasted-on Western religion). As the setup for a horror-mystery series, well, there are worse out there. But there’s something about this episode and the overall feeling it establishes that seems a little bit “off” to me.

The examiners pray in the chapel at Saint Rosario Church. Copyright 2017 (c) J.C. Staff

Though you’d be hard-pressed to find a whole lot of concrete evidence in this first episode, it has a very odd, pervasive sense of violent sexuality to it that rubs me the wrong way. This is possibly my mistake, but I’d sort of assumed before watching the show that the two male leads were supposed to be some kind of low-key yaoi bait; there’s obvious potential to frame up something that’s taboo and exciting between two attractive male priests. The first episode makes kind of a weak play at this sort of thing, with a shower scene in which Hiraga goes over his personal internal struggle while nude under the running water, and Roberto does domestic duties in the sitting room, ironing his companions clothing before they both go to meet their head priest for their assignment. There’s a lot of relationship coding, but absolutely zero chemistry between the two characters. I was left feeling kind of puzzled. It’s certainly not a requirement to feed shippers, and in fact I felt a little bit guilty going in with that kind of assumption. But on the other hand, why the weird fanservice? It left me feeling disoriented, like I couldn’t quite nail down the tone.

There are some other offhand comments and some actions that occur briefly that speak to kind of an unsettling view of sexuality. I was really getting uncomfortable when the protagonists and the related side characters started to get into the nitty-gritty regarding the nun’s pregnancy. The reference to her hymen (which isn’t examined on screen, but was apparently looked-at by someone at some point to verify her physical virginity) and the kind of faint suggestion of how she may have become impregnated (there’s literally no direct evidence, but I interpreted a few cues to mean that there may have been student involvement) made me really uncomfortable, and I would venture a guess that some people might even find themselves triggered by the entire situation. It should be news to no one that the religious view of women’s sexuality isn’t that great, but to dive right into it with episode 1 was something I wasn’t really prepared for.

Oh, and there’s also a bizarre and completely incongruous split-second scene of a nun suggestively and violently biting into a juicy sausage at the dinner table. I rewound the video a couple of times to try to see if there was some context for it, and other than just the overall creepy atmosphere, it doesn’t seem to be related to much of anything. She’s briefly introduced earlier in the episode and immediately reads as “sexy” and “probably not actually a nun,” but beyond that prepare yourself for a laugh and a great opportunity for a screen capture.

Dial “1-800-SATAN-66” to speak to the dark lord. Copyright 2017 (c) J.C. Staff

There are also some situations that came across as being (probably unintentionally) funny. For example, the episode begins with a group of cloaked figures performing a ritual around something that looks similar to any off-brand Ouija board you might find at a game shop. For a show that honestly seems a little bit in love with itself with its richly-depicted scenes of Vatican City and such, to represent occultism and Satan worship in such a cartoonish way just made me laugh. Next time they’ll be trying to find the name of Carlos’ crush or how many kids Steven will have, right after they bloody up another priest as sacrifice to Satan’s will.

One thing I did really like about this episode is the music that was chosen. The use of choral songs for many of the scenes that take place in religious houses of worship or similar environments is overbearing but very pretty in its own way, and gives a good feel for the looming presence of God wherever seems appropriate. As the priests arrive in Mexico, there’s also some pleasant Central/South American flute music to accompany them to their destination. Like the rest of the show itself, it’s sort of corny, sort of cheesy, and sort of try-hard, but I thought it worked well against how over-the-top some of the other content was.

Ah yes, I can see so much more with my monocle. Copyright 2017 (c) J.C. Staff

If I had to choose a word to describe how the first episode presents itself, I’d have to choose something like “goofy.” The characters are so serious that I can’t take them seriously, if that makes sense. Hiraga’s sad situation, as a scientist and a man of God who just knows there’s a way to save his younger brother from whatever kind of horrible bone cancer is plaguing him, is just over-the-top; it doesn’t really build sympathy so much as it paints him as kind of a madman with a penchant for playing made-up games with himself. Roberto seems like kind of a nothing person, serious and more fatherly but without even a strong backstory to distinguish him from others. Other than that, the flying rose petals that accompany the characters’ stigmata, as well as the over-the-top acting and really obvious use of color, shadow, light, and darkness, paints this as campy rather than serious. Not necessarily a bad thing so much as something I wasn’t really looking for.

With so few series starring adult characters, I had some hopes that this show might provide a more mature supernatural series to compliment all those that are focused on teens. I should probably know better that, just because an anime stars grown-ups, doesn’t mean that it’s made for grown-ups. This one might just be a little too weird for me to enjoy.

Pros: The soundtrack does a lot to create the proper atmosphere, at least in some situations.

Cons: The overall atmosphere seems in conflict with itself. There’s some weird-but-not-surprising treatment of women’s sexuality.

Grade: C-

Categories
First Impressions Reviews

Summer 2017 First Impressions – A Centaur’s Life/Centaur no Nayami

Himeno is a sweet, shy little centaur girl. In her world, everyone seems to be a supernatural creature, and all her classmates have some kind of horns, wings, tails, halos, or other visible supernatural body part. Despite their supernatural elements, Himeno and her best friends, Nozomi and Kyouko, have a fun and mostly normal daily school life! – MAL
Copyright 2017 (c) Emon Animation Company

Streaming: Crunchyroll

Episodes: 12

Source: Manga

Episode 1 Summary: Himeno, Nozomi, and Kyouko are your normal, everyday high school students. In their world, however, “normal” means sporting some kind of super-human marker, whether that be animal ears and tails, extra limbs, wings, or other fantastic traits. Evolution took a vastly different course in this universe, and six-legged mammals eventually evolved into the variable humanoid sub-species that we might consider mythological. That said, Hime and her friends lead an especially average life, concerned with the things that might take up any student’s time and energy, like gym class or being in the class play during recital week. Of course, this present day scenario is downright idyllic compared to the atrocities and discrimination of the past, where centaurs were used as slave labor or were thrust into caste-like roles in society. But everything nowadays is fair and equal… or is it?

Impressions: I had every expectation that this show would be a silly, frothy, potentially (too?) fanservicey slice-of-life with some monster girls thrown in for flavor. What I didn’t expect was for there to be even the slightest suggestion of an unsettling backdrop to the story. While this isn’t an unwelcome variation on the theme, I’m concerned that the theme of the series might turn out to be a little bit too unsavory for my tastes.

Himeno and Nozomi kiss during practice for the class play. Copyright 2017 (c) Emon Animation Company

The first half of this episode is devoted to a story event already in progress. The students are putting on a romantic short play, and Himeno is tapped to play the princess. The gag is that this has been the role she’s played since she was in kindergarten, possibly due to a pun on her name (the “Hime” in “Himeno” meaning “princess”), but more than likely due to her good looks and delicate personality. There’s a vaguely comedic mix up when a male student tries to position himself in the role of the prince but is found out and one of Hime’s female friends gets the role instead (allowing for a girl-girl smooch that seems perfectly aimed at a presumed straight male audience hankering for some yuri action), as well as a moment of tension when the set piece upon which Hime stands collapses under her weight (she is half horse, after all). It’s mostly kind of goofy and dumb, and serves mostly to introduce the main characters and make a few jokes at the expense of the titular centaur.

The second half of the episode, though, has a much more sinister undercurrent. In science class, the characters learn about human evolution from their teacher. All the humanoid variants in their world are the result of fish that evolved to have six fins, which began mammals with six legs, and eventually humans with several different varieties of additional limbs, horns, tails, and other accouterments. Much like our own society, these various differences had the effect of causing discord and discrimination among the different tribes. This is all mildly interesting, and even sort of funny in that the assertion is made that four-limbed humans would only have been different in their skin color rather than their overall body composition, from which no sort of discrimination could possibly have resulted. Perhaps the creepiest part of this whole line of exposition occurs while two very shady individuals monitor the classroom from outside the door. Their faces are mostly hidden but they appear to be listening intently to what the teacher is saying. The line she speaks seems perfectly rehearsed; she proclaims that equality is ultimately more important than anything else, including civil rights. Barring the fact that those two things are pretty darned related, in my opinion, the entire scene feels like some sort of bizarre authoritarian propaganda report. And the creepy men outside the door seem pretty pleased by it.

Big Brother is watching. Copyright 2017 (c) Emon Animation Company

It’s difficult to know exactly how these statements are meant to come across. I interpret them as indicative of some kind of extremely subtle dystopian society, where personal freedoms have been traded for peace and control, and that unsettles me. I’m not sure if the creator is making these statements to criticize moves to legislate equality, as have been done via various civil rights acts in real life (to varying degrees of actual success); while I might interpret these laws as meant to protect marginalized groups via the (imperfect) legal system, others (wrongfully) might think that they’re being instituted to give some people “special treatment” (ugh). It could also be a statement about the harm that’s done when we’re made to think of everyone’s experiences as being the same, when in fact they’re very different based on a number of factors. There’s a large chance that I’m overthinking a small aspect of an otherwise goofy show, but I think there’s also the potential that the show is making an attempt to be political, and I have the feeling if it goes that route it’s going to be really ham-handed about it.

A third potential interpretation, though, might not end up too bad. The creator could have set the story anywhere, but chose to use a high school as the backdrop for the story. We always hear about how the Japanese school system trains students in conformity and emphasizes sameness and group-think in order to maintain harmony. Knowing even what little we already know about what’s going on in the background of this society, that setup sounds kind of familiar, no? There are already tons of anime, manga, and films that criticize this type of school environment, so it’s definitely not the first (and probably not the best, either). But it does result in kind of an interesting variation on “cute girls with animal ears doing stuff,” so that’s a plus.

The show wastes no time getting to the yuri bait. Copyright 2017 (c) Emon Animation Company

Of course, there’s still a hefty dose of “cute girls with animal ears doing stuff,” for good or ill. There are some errant panty shots, a few suggestive yuri situations (basically the first shot of the show is two girls kissing each-other on the lips… but it’s okay because they’re in a play together), and lots of “girl talk” that feels pretty manufactured and occasionally needlessly voyeuristic about body functions. I’m sure we all have questions about how centaurs wipe their butts after going to the bathroom, but I don’t need a fantasy anime series to go into detail about those things when I just want to watch something dumb and silly. The up side, though, is that the characters are actually pretty cute. Somehow Himeno seems delicate despite being three times the size of her friends, and that in itself is amusing.

The character designs are cute, but the animation quality is mostly just serviceable. This is another Chinese partnership anime, and while this one in particular doesn’t feel like it was transported straight from the late 1990’s, I feel sad that seeing a Chinese hand in the production still seems to mean that the show is lacking in quality control somewhere or that the show isn’t given the resources and the time it might deserve. Then again, there are plenty of Japanese (and American) shows with similar issues, so perhaps picking on China in particular is wrongheaded of me.

This show isn’t life-changing and I don’t think it’s that “holy grail” monster girl anime that I’ve been wishing for ever since Monster Musume turned out to be a horny sex-fest of uncomfortable proportions. But if A Centaur’s Life devotes some time to the issues of its broader society (I’m not sure how much the manga goes into it, either), I think it could be kind of interesting in spite of its various issues.

Pros: The story might have more depth than originally indicated. The characters are pretty cute.

Cons: There’s some fanservice that doesn’t sit well with me and seems like yuri bait. The overall visual quality isn’t great. It’s hard to say if the setting and authoritarian rules might be suggesting something worse than “the Japanese school system sucks.”

Grade: B-

Categories
First Impressions Reviews

Summer 2017 First Impressions – Made in Abyss

An enormous pit and cave system called the “Abyss” is the only unexplored place in the world. Strange and wonderful creatures reside in its depths, and it is full of precious relics that current humans are unable to make. The mysteries of the Abyss fascinate humans, and they head down to explore. The adventurers who venture into pit are known as “Cave Raiders.” A little orphan girl named Rico lives in the town of Ōsu on the edge of the Abyss. Her dream is to become a Cave Raider like her mother and solve the mysteries of the cave system. One day, Rico starts exploring the caves and discovers a robot who resembles a human boy. – ANN
Copyright 2017 (c) Kinema Citrus

Streaming: Amazon Anime Strike

Episodes: 13

Source: Manga

Episode 1 Summary: 1900 years ago, a remote island surrounding a seemingly bottomless pit was discovered. As the world’s last truly unexplored phenomenon, the “Abyss” as it came to be known beckoned explorers and relic hunters alike into its depths. Some unlucky travelers entered, never to be heard from again. Riko is the daughter of one such adventurer, and she and her friends Nat and Shiggy live at an orphanage where they and their ilk are trained in the dangerous art of cave raiding for various relics in the Abyss. Their lives are harsh and occasionally frightening, as their lot is exploited as cheap labor. One day on their first excursion without adult guidance, Riko and Nat are attacked by one of the Abyss’s many terrifying creatures. Riko is saved by a mysterious and powerful shot from the hand of an unconscious robot boy. Riko is ecstatic to have found such a treasure, and drags the boy back to the orphanage. The robot can’t remember his name or where he came from, so Riko assumes that he must be from deep within the Abyss, a place where incomprehensible relics are said to be ubiquitous. Though this excites her imagination, for right now all she wants to do is keep Reg (her name for her robot friend) a secret from the authorities.

Impressions: I’ve actually been delaying watching this episode – not because I suspected that it might be bad, but that I’ve been looking forward to it so much and I wanted to give myself a chance to cool down and take it in properly. As with almost anything I’ve ever watched, I do have a few misgivings, but besides that this has absolutely one of the most impressive first episodes I’ve watched so far this season.

Riko goes looking for valuable artifacts. Copyright 2017 (c) Kinema Citrus

Looks certainly aren’t everything, but in this case they’re one of the first things one notices once the episode starts to play. The anime wastes no time in establishing a strong sense of place. The idea of a bottomless pit is intriguing and horrifying and everything in between; As Riko and her companions descend a mere(!) 100 meters down at the outset, we’re given an appropriate taste of both aspects via the background environment and the strange creatures flying through the air. The cliffsides are lush with strange flora, the sun penetrating enough to give us a look at the various plants and rock formations. As Riko uncovers an old cave system there’s a palpable sense of age and mustiness as she breaks through rock walls and discovers strange objects and even old human remains dressed in unfamiliar clothing. The visuals tell a story on their own, about ancient peoples who may have lived in this strange environment and the tools that they used to survive. It also begins to raise question thus far unspoken – why did they die out, and is this an ongoing threat?

As Riko and Nat haul Reg’s unconscious body up from the area that they were exploring, the visual montage of the various parts of town, precariously balanced around the empty blackness of the Abyss, is fascinating. It feels like something out of a film with a much higher budget, and there was clearly a lot of purposeful design and framing in creating the first impressions of this environment. I’m reminded a bit of Xam’d: Lost Memories, an anime with a similar kind of cinematic style and extremely distinct visual presentation and feel to it. Xam’d had a lot of very strong fantasy elements, as well as a profound undercurrent of body-horror that made for a very intriguing watch; I’m already getting the impression that this series might tend towards the same direction.

Riko is suddenly under attack. Copyright 2017 (c) Kinema Citrus

While it would be easy to be fooled (and maybe even put-off) by the cutesy character designs, there are enough clues in this first episode to indicate that this show has the potential to skew really dark. There are several offhand references to forms of punishment in which offenders are “strung-up naked” for their offenses. It’s actually sort of easy to miss this since they’re offhand comments spoken by Riko in a comedically frantic way when it appears as if she’s about to get into trouble. I’ve heard online from readers of the manga that the source material has the tendency to be dark and horrifying; while my search for specifics around the web came up mostly fruitless, I don’t doubt that these comments in the anime are without basis. This might be enough to give a lot of people misgivings, especially since most of the characters introduced so far are really young, and bad things happening to young people makes them seem doubly-terrible in most cases. To be blunt, I have zero desire to see any character, especially a kid get strung up naked in the town square, and if that’s where this is all going it would probably be enough for me to drop it no matter how great the rest of the show might be.

What I’m hoping, though, is that the darkness of the narrative is more reliant on the terrifying unknown of what lives down the rabbit hole. It’s easy to see why the Abyss would be such a tempting mystery; I think there’s something romantic about an unexplored piece of the world, and it’s just so easy to identify with the characters because as a viewer I’m just so curious to know what’s waiting down there. It goes far beyond wanting to conquer nature or claim more land for this or that nation; knowing that there were people there once, and that they made and built and created things that still survive in some form, is almost magical in a way. The fact that one episode of the anime has the ability to create and cultivate that sense of wonder is truly an accomplishment.

Reg hides out so Riko can get in less trouble. Copyright 2017 (c) Kinema Citrus

Animation-wise, there are some great moments in this episode. I’ll leave the specific technical commentary to the pros at Sakuga Blog, but to my untrained eye this episode is propped up both by its expressive character movement and the otherworldly-horrifying creature designs, of which the most interesting is probably the giant flying worm that nearly eats Nat and Riko during their excursion. There’s something especially terrifying about it, which is effectively conveyed through the very different animation style used to bring it to life; the splotchy ill-defined nature of the beast gives the impression that it’s almost too terrifying to look at and see clearly, which is fitting given the circumstances. I’m interested to see what other horrors of nature show up to give our characters trouble later on.

I haven’t spoken about it yet, but I thought I might mention a little bit about the Amazon Prime/Anime Strike viewing experience, since I’ve read some other comments online about it. I’ve heard tell of some issues people have been having with ill-timed subtitles, and that hasn’t been the case in my experience (it might have something to do with individual computer set ups, but that’s not my area of specialty). What is kind of quirky, though, is that I had to actually turn the English subtitles on manually. I think in the case of other video services I’ve used, living in a primarily English-speaking region while watching material in a language other than English has meant that the subtitles would appear automatically but could be turned off. I did have a bit of an issue with video quality, which has been my experience with Amazon Video even outside their Anime Strike channel. When the video starts, the stream is initially in kind of a low quality standard-def size, which is pretty pixelated. It then takes a while (probably less than a minute, truthfully) for it to adjust to HD quality. I have pretty fast cable internet service and live close to a major city, so the reason why some services are still struggling with this (I’ve had this happen with Netflix as well) is somewhat irritating. Otherwise the experience isn’t nearly as bad as some would make it out to be, but it’s still irritating to have to pay extra to add the Anime Strike channel when I already pay for Amazon Prime in the first place.

Video service issues aside, I’m digging this series a lot based on the first episode. I love the air of mystery it’s cultivated so far, and I’m anxious to find out what sort of path the story might take going forward. While I have some misgivings about just how far the violence or other horrific material might go based on the related internet chatter, for now I think I’ll just hope that the anime can maintain the tone while maybe leaving some things to the imagination. I think this is going to be a really striking, unique, and satisfying ride.

Pros: The episode quickly establishes a great sense of place. There are some great visuals, from the background artwork to the character and creature animation. The setting is mysterious and intriguing.

Cons: Signs indicate dark skies ahead – including content that might be objectionable to some, especially since the characters are young.

Grade: A-

Categories
First Impressions Reviews

Summer 2017 First Impressions – Restaurant to Another World/Isekai Shokudou

A restaurant called “Yōshoku no Nekoya” (Western Cuisine Cat Restaurant), which is located on the first basement floor of a building at a corner of a shopping district near an office area. While it normally feeds salarymen, there is a secret in Nekoya. Every Saturday when the shop takes a day off, Nekoya is teeming full of “special customers.” For the office workers, it is a familiar place with familiar dishes, but for these Saturday customers — “people from that world” — it is nothing but cuisine never seen or heard before. – ANN
Copyright 2017 (c) Silver Link

Streaming: Crunchyroll, with Simuldub on Funimation

Episodes: TBA

Source: Novel Series

Episode 1 Summary: Nestled somewhere in the city is a mysterious restaurant serving “Western” cuisine. What Western really means in this context is anyone’s guess; generally anything not “Japanese” in origin, coming from somewhere across the ocean, might be considered Western. What’s special about this restaurant, a little hole-in-the-wall with a cat on the door, is that one day a week its door opens into the “other world,” and fantastic creatures including elves, demons, werewolves, and even dragons enter to taste Earth’s delicacies. On one of these special days, a young demon named Aletta wanders into the restaurant and, hungry from not having any money or a place to stay, eats an entire pot of corn potage before falling asleep. Rather than punish her, the restaurant’s chef lets Aletta shower and then gives her a job as a waitress for the customers from another world.

Impressions: As a fan of both relatively-plotless low stakes anime series and anime revolving around food and drink, Restaurant to Another World is a rare instance of something that seems perfectly constructed to scratch multiple itches. The show also puts a bit of a twist on the popular Isekai fantasy anime subgenre by bringing the “other world” into ours, rather than allowing yet another character-less teenage guy have all the fun in a fantasy world of his imagination and invention. There’s a lot stacked in this show’s favor, and so far I’m having mostly positive feelings.

Delicious, glistening teriyaki chicken. Copyright 2017 (c) Silver Link

The dishes featured in this episode aren’t necessarily anything out of the ordinary; within the first few minutes we get to see restaurant customers ingest teriyaki chicken, curry rice, katsudon, and beef stew (while also arguing about which goes best with white rice). This might seem like a fairly typical conversation to be had among friends, but the twist is that, to the individuals sampling these dishes, these relatively commonplace foods are strange, delicious delicacies from our world that aren’t easily obtained in their own. There are times where I’ve daydreamed about what it might be like for someone from our distant past on Earth to be brought suddenly into the present day; what might they think about our technological progress or the strangeness of our popular culture as compared to our own? What’s fun about this episode (and by extension, likely the series as a whole) is that it speculates on the reactions of people to whom our world, customs, and favorite foods are completely foreign. It’s difficult to say exactly what a lizard man might think about the ways in which we prepare chicken, but I appreciate that someone has tried to speculate.

The first episode also devotes a little time to the subject of prejudice, and how even a world about which we might fantasize could still have some of the same types of discrimination that we’re still working hard to identify and mitigate. The way that this is approached is pretty obvious and somewhat ham-handed; Aletta is a demon, and so the humans of her world don’t want to be around her or let her have a job despite her harmlessness. It’s the type of situation that pretty much anyone, aside from the most fervent racists, would identify as being wrong, so there’s a definite lack of nuance that doesn’t result in the type of meaty commentary that the creators might think that they’re providing, but I’d be curious to know if it’s a subject that comes up again and if so, whether it’s examined in more depth.

Aletta starts her new job at the restaurant. Copyright 2017 (c) Silver Link

I’m a bit amused by where the show’s staff seems to have devoted the most visual resources. Most of the character animation is functional but unremarkable. Even the depiction of what seems to be a relatively important (and incredibly sexy) character, the female dragon who seems to own the magic restaurant door as one of her many treasures, is mostly serviceable rather than eye-popping. But when it comes to the food, I can’t say I have any complaints. The glistening, darkened skin of the chicken, the crunchy fried katsu coating, the fluffiness of the fried eggs… almost all the food we get to see throughout the episode is incredibly appetizing and makes me want to pull out the pots and pans and cook up a feast for myself. I may not have been hungry before I started watching, but I’d be lying if I said I didn’t develop a bit of an appetite after getting an eyeful of juicy deliciousness.

Unfortunately (and along those same lines, to some extent), this anime suffers from something that I’ve refrained from commenting on too much as of late (because of reasons). Though the show’s focus isn’t exactly on the humanoid characters for the most part, it seems like there’s an exception when it comes to the women of the show. Both Aletta, one of the few named characters, and the powerful dragon who seems to have ownership over the restaurant, are both subject at various points in the episode to the camera leering over their questionably-necessary nudity. I’ve gone from a near zero-tolerance policy on this kind of material to something of a more grudging acceptance of it in certain small amounts (believe me, when you’ve seen some of the vile anime I’ve seen throughout my time as an amateur reviewer of anime, there are a lot of things that suddenly become tame in comparison), but there’s never a point at which it doesn’t rankle me a little bit, and in this case it feels really out of place. The narrative doesn’t seem constructed to appeal to a primarily straight male audience otherwise; on the contrary, it’s these types of iyashi-kei series that I often think of as being almost universal in their potential appeal. So why waste multiple camera shots lingering over nude bodies when there isn’t otherwise a focus on titillation? It’s frustrating and jarring in a way that it wouldn’t be if this were just another in the endless string of fanservice vehicles.

All of our faves are problematic, though, and while I can’t quite place this premiere among my favorites yet, I do think the basic setup allows for something mostly pleasant and kind of unique to come. If the show can play to its strengths and stick to the food rather than the fanservice, I think this could be a nice low-key addition to my Summer queue.

Pros: The food looks delicious – it’ll whet your appetite! The show might have something to say about prejudice (albeit in a simplistic way).

Cons: There are several lingering shots over female nudity that are distracting and don’t serve a purpose.

Grade: B-

Categories
First Impressions Reviews

Summer 2017 First Impressions – Magical Circle Guru Guru/Mahoujin Guru Guru

The seal that confined the evil monster Guruguru for hundreds of years has worn off. A young boy named Nike is chosen (against his will) as the hero. He sets off with Kukuri, a girl who is the lone survivor of a tribe that uses black magic for good, to save the world, RPG style. – ANN
Copyright 2017 (c) Production I.G.

Streaming: Crunchyroll

Episodes: 24

Source: Manga

Episode 1 Summary: After 300 years, the seal on Demon King Giri has worn off, and it’s time for a new hero to go on a journey to defeat him. As a kid, Nike might seem like the least likely choice to deal Giri a smack down, but his parents have been raising him to take up the mantle of hero for his entire life. Despite Nike’s protests, he’s sent off to Magic Granny’s house to obtain a traveling companion. There he meets Kukuri, the last of her line of magic users, and a start-struck 12-year-old to boot. She considers her meeting with Nike her destiny as a magic user, and the two journey to the Anshient Castle to meet with the king. Though there are hundreds of other hero-wannabes already there, Nike demonstrates some elusive inner potential and is sent on his way (along with a modest monetary payment to purchase supplies). They meet their first monster on the road, but due to its bad case of monologuing and Kukuri’s innate talent (luck?) with magic, they’re able to defeat it.

Impressions: Magical Circle Guru Guru is a surprise in both tone and style; in an age when anime (even humorous anime) takes itself very seriously, this show seems to hearken back to a simpler time of rapid-fire gags and outright parody, and is ultimately stronger for it.

Nike doesn’t want to be the hero. Copyright 2017 (c) Production I.G.

The anime reveals itself as a parody of 8-bit style RPG’s right from the get-go with its use of pixel art and dialog boxes straight out of classics like Dragon Quest or the original Final Fantasy. As Nike is thrust into the role of protagonist, the show wastes no time in pointing out the inherent ridiculousness of so many video games in establishing the hero’s role and purpose. Who in their right mind would assume that a tween kid still living with his parents would make a suitable hero. Of course he holds some mysterious unnamed power – all the tropes say that he has to! The way in which the show employs each and every one of those time-worn cliches belies the fact that the creators of the story truly have a lot of love for these kinds of scenarios; many of us geeks of a certain age have a shared experience in playing these types of games, so while we might not exactly what’s “supposed” to happen, seeing it unfold gives us a chuckle and a warm case of the nostalgia fuzzies.

Another nostalgic aspect of the episode is evident right from the get-go; the show channels other classics like Kodomo no Omocha in its way of presenting the story through non-stop visual gags and hyperactive dialog. This barely gives the viewer a chance to take a breath and regroup before tackling the next item on the story agenda, but this is definitely where familiarity with the structure and pacing serves another purpose; when you already know what’s supposed to happen and have already accepted that it will do so without question, it leaves enough time for your brain to latch onto the fact that one of Kukuri’s magic circles is the “laughing man” symbol, or that the home-cooked meal made by Nike’s mother is the perfect visual representation of an RPG world map. It’s a bit like the way in which moé characterization can, in some cases, serve to provide a good character baseline so that additional character development can occur within the relatively protracted time period allowed for in most TV anime these days. It definitely doesn’t occur that way successfully in all cases, but when done right it can help make the most of limited resources.

Don’t draw your magic circle incorrectly! Copyright 2017 (c) Production I.G.

Speaking of characterization, though, I feel like that might be one area where this episode happens to fall short. It can be easy to underestimate the importance of character development in a comedic setting, especially with a gag-comedy focus. In the end, the most important thing is that most if not all of the jokes were successful in entertaining the audience. I’ve found that a lot of viewers (and some creators) tend to underestimate the potential value added when competent comedy is coupled with sympathetic characters with whom the viewer can form a connection. Jokes that harp on one person’s primary defining trait often grow tiresome, but jokes that escalate as we learn more and more about a character’s inner self make for some of the most transcendent, memorable laughs in anime (one series that does this surprisingly well is Nichijou, which is a must-watch as far as I’m concerned).

My main complaint with this episode in this regard isn’t as much with Nike, who’s kind of your crabby “everykid” hero and seems fairly self-aware, but with Kukuri who stands out to me as being more ill-defined. She’s introduced as a character who’s cute but ineffectual but for her streak of dumb luck. She’s worshipful of Nike, her “hero” who serves some sort of important role in her life as an ideal rather than a friend or equal; it’s this piece of it that grates on me a little bit. Kukuri toes the line between someone who could eventually become aware of her own potential and someone who’s purpose in the narrative is to provide Nike more obstacles to overcome due to her clumsiness and lack of awareness. For now their dynamic is kind of funny, but it’s something to keep my eye on.

The characters travel in 8-bit mode. Copyright 2017 (c) Production I.G.

I briefly mentioned above how the show utilizes visual parody in addition to other forms of humor, and this is probably one of the more entertaining aspects of the episode. There are several 8-bit overhead view interludes (in 4:3 aspect ratio, no less) that occur when characters travel, or something is occurring that seems particularly ripped-off from any of several classic RPG video games. This breaks up the episode nicely and the technique isn’t overused which lets it keep being funny rather than repetitive and tiresome. There’s also a similarly funny effect that occurs in some instances during character closeups, where they’ll be portrayed as they are in the anime, but highly pixelated in close-up. It’s difficult to describe why it’s so amusing to me; I tend to think that extreme close-up shots of people’s faces are inherently pretty funny for whatever reason, especially if the zoom slowly increases in intensity. The added effect of the pixels only enhances that. Overall these cute additions really serve to emphasize the tie that the show has to a particular era of video-gaming; while I believe that the show is made for younger viewers, this aspect makes it entertaining for those of us who played the first Dragon Quest on cartridge, too.

I have to say, this show really came out of nowhere for me. As a re-make of an older series, it definitely looks pretty unassuming. There wasn’t a lot of energy put into making it flashier for a new generation of viewers, and I think that was the correct decision. Considering that anime comedies tend to be mostly-miss for me, I really didn’t have a lot of reason to pay attention as this was coming down the pipeline. After finding myself highly amused by episode 1, I feel like I might have to add it to my queue. At the very least, it seems like it might be a fun distraction.

Pros: The visual and parody humor work well together. There is judicious use of visual gags like 8-bit style and pixelation.

Cons: The characterization is a bit lacking so far.

Grade: B

Categories
First Impressions Reviews

Summer 2017 First Impressions – 18if

One day, Haruto wakes up on a round bed in a strange room, with the only familiar things around being his smartphone and headphones. After encountering a strange girl in white named Lily who claims to be his sister and a man who looks like a cat, Haruto learns that he is in a dream belonging to Yuko, a girl stricken with Sleeping Beauty Syndrome. Yuko is the Witch of Thunder, an all-powerful woman who makes the dream world bow before her to ensure she’s known the strongest, the best, and the most fun person around. Haruto’s sister tells him that he must wake Yuko up by killing her in the dream in order to break the “spell” she’s under, but Haruto’s got some other ideas about what might be keeping Yuko asleep. – ANN
Copyright 2017 (c) Gonzo

Streaming: Crunchyroll with simuldub on Funimation

Episodes: TBA

Source: Multimedia Franchise

Episode 1 Summary: The Witch of Thunder rules her dream world with an iron fist, turning its denizens into avatars of cuteness and destroying anything that she doesn’t like. Enter Haruto, a sullen teenage guy who seems unaffected by the inherent strangeness of the dreamscape around him. He’s the only person who can see the elusive “Lily,” a legend of the dream world and a white whale of sorts to Professor Kanzaki, a researcher who appears in dreams as an anthropomorphic cat. As the two chase after this mysterious girl in white, the Witch of Thunder clues into their location and begins the process of bending the two interlopers to her will. Kanzaki is quickly dispatched, but Haruto refuses to see what is happening as anything other than a strange dream. It’s through this skepticism that he’s able to distinguish the Witch for who she is – the dream persona of a girl named Yuko, whose feelings were hurt by a group of bullies. Haruto releases Yuko, who then awakes again in the real world. But Haruto’s job seems far from over as he awakens and finds himself still within a surreal setting.

Impressions: Having been an anime fan for so many years, it’s difficult to avoid comparing a current anime to ones with similar ideas, especially if the earlier examples were executed more successfully. At first glance, 18if seems to be about a mysterious young man who encounters women with problems, and due to some inherent talent on his end is able to heal these women and release them from their suffering. Another anime that immediately came to mind was one of my favorites, the horror drama Mononoke. For those who are unfamiliar, Mononoke follows a character known as the Medicine Seller, who identifies and exorcises malevolent spirits. The show is fairly episodic, but one common thread between all the stories is that they shine a light on the injustices done to women throughout history (mostly Japanese history, but with some minor variations I think many of the experiences could be interpreted as fairly universal); the titular mononoke are based around various Japanese yokai and spirits, but are colored by how they originate from things like forced abortion, abusive relationships, and workplace sexism. I’ve seen some reviews that interpret the show as being terrible for women, in that the stories are built entirely around women’s suffering. For me, however, I found a lot of personal meaning in how the stories were presented – each story arc revolves around uncovering the truth, specifically the truth of the life lived by women and how their poor treatment represents an illness within society.

The Witch of Thunder surveys her dream kingdom. Copyright 2017 (c) Gonzo

Having seen one of the very best representations of this kind of storytelling, it’s difficult to overlook a situation in which the structure of the show seems similar but the execution feels lacking in depth and nuance. Whereas the Medicine Seller’s otherworldly presence in Mononoke and his ability to uncover subtleties and details allows the truth of each situation to be exposed on its own (usually out of the mouths of the people who caused the problem in the first place), Haruto’s sarcastic disinterest and unaffected nature runs contrary to the fact that he seems to be naturally able to navigate and control aspects of the dream environment. He seems more alarmed by the fact that Lily, a girl only he seems able to see, calls him her brother than the fact that he’s about to be squashed by giant teddy bears or hacked-up by a vengeful witch. None of his actions seem purposeful, and while this might be typical for an anime hero getting oriented to a new and strange environment, the lack of any consequences for the character and his lack of focus, direction, or even personality leads directly to a lack of tension throughout the episode.

The episode itself attempts to bank on its presentation of the dream environment as disorienting and weird. Much of the first half of the episode is short on dialog and seems more focused around the various environments that Haruto encounters as he wakes up multiple times from within some sort of dream-ception. One thing that I love about animation is that it can be utilized fairly readily to create settings that cannot exist as easily when portrayed in live-action film. In this case, though, a problem arises from the fact that dreams, while often strange, still often have some element of reality to them. One of the most affecting things about the animated movie Paprika was that Satoshi Kon was able to capture both the reality and the strangeness of dreaming so completely. The dream settings were often mundane, or drawn from film imagery that wasn’t especially extraordinary; when pieced together with representations of the dream-specific feeling of being unable to run quickly or seeing faceless background “characters” however, the experience felt very genuine. 18if represents dreams as wacky abstract environments and characters that seem visually complete but purposely out-of-place, which definitely provides for something zany, but doesn’t give the same unsettling impression of a genuine human dream.

It’s okay because it’s just a dream. Copyright 2017 (c) Gonzo

This, I think, is where the concept falls apart. Ultimately we learn that the dream world is something of a witch’s labyrinth a-la Madoka Magica; Yuko falls asleep in the real world as the result of some cruel bullying from her classmates, and a malignant dream in which she has sovereignty and has the luxury of being pampered and given total attention is the result. That set up seems fine except for the fact that there are literally zero visual connections between that reality and Yuko’s dream prison, and the attempt to connect the two conceptually through her need for control is pretty pasted-on. Add to that the fact that there’s the potential for some garbage gender dynamics between the “hero” – a typical teenage anime guy – and a bunch of girls(?)* with problems, and I’m very hesitant about where this show is going.

As much as the first episode attempts to present a visually engaging setting, there’s a major setback in the fact that the animation is merely functional rather than striking. Not every anime series enjoys the benefits a lot of lead time and great planning; I have no idea what the turnaround time on this show was and so it’s difficult for me to be too judgmental, especially when anime, despite being a visual medium, is almost always more about the story and characters for me. Sadly, though, it’s difficult to ignore the fact that the character animation in this first episode is kind of shoddy and underwhelming for a first episode and I’m concerned that, if it looks like this now, it will probably look even worse later on.

Because nudity = vulnerability. Really! Copyright 2017 (c) Gonzo

Having been an anime fan through Gonzo’s heyday with properties like Gankutsuou, I always kind of hope that they might somehow end up involved with another artful classic close to that level. While this show seems to want to make an attempt at visual uniqueness and the cultivation of intrigue via the route of confusing and disorienting the viewer, it falls short in establishing a story (or protagonist) that feels genuine, and that’s really a shame. Yes, things might get better later on and yes, all the sexist undertones may at some point be subverted in favor of something better, but I don’t have a lot of faith.

*I’m just speculating due to the use of the term “witch” which normally suggests some kind of malignant, aggressive, or otherwise contrary femininity, unfortunately.

Pros: Gonzo, you tried?

Cons: Visually disjointed. I interpret the set up as having some sexist undertones.

Grade: C-

Categories
First Impressions Reviews

Summer 2017 First Impressions – Chronos Ruler/Jikan no Shihaisha

The story centers on “Chronos Rulers,” those who fight the time-eating demons that appear when people wish they could turn back time. The Chronos Rulers fight a time-manipulation battle against these demons. – Wikipedia
Copyright 2017 (c) project No. 9

Streaming: Crunchyroll with upcoming simuldub by Funimation

Episodes: TBA

Source: Manga

Episode 1 Summary: Koyuki and her friends are about to graduate from high school. Koyuki wants to put on a musical performance at their graduation ceremony, but regrets that her brother won’t be able to attend. He passed away rescuing her from being hit by a car, and she still carries that regret with her. When other students begin muttering about a clock tower in town  where one can make a wish a turn back time, Koyuki is greatly tempted by it. Unfortunately, conducting the ritual only attracts the attention of a “Horologue,” a demon who feeds on human beings’ time-related regrets. Luckily, she’s protected from harm by Kiri and Victo, individuals with some control over the speed that time progresses. They’re able to dispatch the horologue, but at the cost of some of Victo’s memories. Victo himself is the victim of a horologue; though he appears to be a young man, he’s slowly becoming younger and younger, losing time and memories of his past life in the process.

Impressions: Note: Contains a spoiler for the major revelation at the end of the first episode.

Kiri looks out over the city after his battle with a Horologue. Copyright 2017 (c) project No. 9

Chronos Ruler is kind of an oddity in my eyes. What starts as sort of a typical early-2000’s-style buddy cop urban fantasy series a-la Descendants of Darkness turns weird (weirder?) when we learn that the two main characters, who’d normally probably be assumed yaoi couple and primary draw of an otherwise straightforward TV anime, are actually father and son. Due to some weirdness related to the flow of time (basically the entire mechanic that makes up the plot), the youthful, twerpy protagonist is suddenly made to be a tragic figure and his “brother,” actually his son, is the one who gets to watch him slowly fade into nothingness. Fun times! It’s kind of a unique situation, a surprise for me as a viewer; for a medium that relies a lot on copying what came before, I think that’s something to be lauded. I just wish that the concept had been a part of a show less workmanlike and a bit more interesting in other ways.

As an action vehicle, this episode does some good things using what it has to work with. I thought that the opening scene was especially exciting and well-executed; Kiri chases a horologue through the streets of the city and there are lots of dynamic shots with some slow-motion pauses that ramp up the “cool” factor a bit. They also emphasize, without outright saying anything, the nature of the character’s time manipulation ability, which I thought was a nice touch. There’s also some surprisingly good CG integration in these scenes; the moving backgrounds and the horologue enemy are both accomplished using primarily CG animation, and the character animation goes between 2D and 3D in this and later scenes, depending on the complexity of the camera movement and distance from the camera. Obviously it’s noticeable since I noticed it, but I think it works well and isn’t so jarring as to become distracting. As compared to something like Hand Shakers, my low-bar for diarrhea dumping CG elements into an anime, Chronos Ruler is relatively judicious with its CG and the resulting product is very watchable.

A horologue is produced from Koyuki’s regrets. Copyright 2017 (c) project No. 9

The episode does have a glaring problem, however. Like many anime before, there is an overriding tonal conflict that takes away from the meat of the show. Overall I’d peg this as a relatively serious action/fantasy series with kind of a classic feel to it; there’s an opportunity for contextual humor with a sarcastic, cynical edge, but for the most part the story seems to lend itself to being straightforward and a little dark or melancholy. But several times throughout the episode, the character interactions devolve into something out of a manzai routine, with Kiri as the exhausted straight man and Victo as the goofball. These moments serve to heighten the tragedy of the characters’ situation when it’s revealed later, but in the midst of the exposition these moments are distracting and irritating. This episode deals with a regretful death, albeit in kind of a melodramatic way. There’s an overall sadness to it that isn’t well-served by this type of intrusive goofiness, and to be honest I’d rather be ham-handedly manipulated into feeling sad for the characters than jerked-around between feeling bad and feeling irritated over the immaturity of the production.

Time travel and time manipulation are two subjects that are rarely examined in a way that’s comprehensible, because due to the nature of time itself, messing around with it creates every manner of logical conundrum and paradox one could imagine. I doubt that this anime series, which seems to operate entirely under the guise of the “rule of cool” has the chops to really follow through on that front. And as a bishounen vehicle, well, I’m sure there are many fans who won’t worry about the father-son dynamic in the protagonists’ relationship (nor should they: people can like what they want), but for me that kind of removes all that would have attracted me from the “hot guys doing action stuff and being hot together” angle. Ultimately I’d expect this show to unfold in way that’s mildly entertaining but probably pretty forgettable.

Pros: The action elements in the first episode are pretty well done. There’s good integration of CG elements.

Cons: The comedy stuff sticks out like a sore thumb. The relationship between the protagonists could be weird/squicky for some.

Grade: C