Punch Line

After escaping a bus hijacking with the help of masked superhero Strange Juice, Yuuta Iridatsu finds his soul separated from his body and in the care of a perverse cat spirit, Chiranosuke. As a spirit, Yuuta wanders around his residence, the Korai House, aiming to regain his body and observe the other residents: Meika Daihatsu, a genius inventor; Mikatan Narugino, a cheerful idol; Ito Hikiotani, a shut-in NEET; and Rabura Chichibu, a spiritual medium. After catching a glimpse of Narugino's undergarments, Chiranosuke reveals to Yuuta that he becomes exponentially stronger upon seeing panties. However, if he sees another pair while he is still a spirit, his power will cause an asteroid to crash into the earth, ending the world and killing his friends.

Punch Line follows Yuuta as he unravels the mysteries surrounding Korai House, its residents, and a villainous organization attempting to end the world. Will Yuuta be able to save everyone, or will the ever-present threat of panties result in their doom?

[Written by MAL Rewrite]

Iridatsu, Yuuta Main

Inoue, Marina Japanese

Narugino, Mikatan Main

Amamiya, Sora Japanese

Hikiotani, Ito Main

Kotobuki, Minako Japanese

Daihatsu, Meika Main

Kugimiya, Rie Japanese

Chichibu, Rabura Main

Tomatsu, Haruka Japanese

Chiranosuke Supporting

Yoshida, Yuuri Japanese

Hikiotani, Muhi Supporting

Yamada, Mari Japanese

Pine Supporting

Shouji, Yui Japanese

Teraoka, Ryuuto Supporting

Akabane, Kenji Japanese

Rumi Supporting

Date, Arisa Japanese

Kimura, Makoto Producer

Ootsuka, Manabu Producer

Odagiri, Narumi Producer

Noda, Fuko Producer

Reviews

Jun 25, 2015

Reinhath

Recommended

I had to write a review for Punch Line because the current score (7.11 as of 6/25/15) is far underrating this surprise favorite.

Punch Line is a show that many people dropped within the first few episodes and honestly, I don't blame them. It harbors an absolutely ridiculous premise and while the first episode is action-packed, the next four episodes focused more on (admittedly) lackluster comedy. However, those that stuck around to episode five got on a train ride with no stops.

The art and sound production were one of the main draws to the show for me and for many others that initially picked ... up the show. It has unique character designs, bursting with personality. The soundtrack isn't extremely memorable, but it always did a good job at setting the mood and drawing me into the story. The voice actors all portrayed their characters amazingly well.

But more importantly, let's get to the story. Punch Line's premise, again, is ridiculous. What's amazing about Punch Line is that it manages to make its premise MAKE SENSE. From episode 5 onwards, almost every weird and ridiculous thing in the show is explained in a way that makes logical sense within the confines of this universe. There are a few plot threads left open at the end of the series, some of which I really wanted a conclusion to, but for the most part, everything that we see in episode one comes together by the final episode.

That is the single biggest reason to watch Punch Line, in my opinion. Watch the first episode and observe the wacky premise and wonder to yourself, "How the hell does this make any sense?" Then watch the rest of the show and be impressed at how it comes together. Punch Line, although its first half is rather weak, comes together in the second half to become an absolute must-watch for any anime fan.

Reviewer’s Rating: 9

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Aug 8, 2015

BanjoTheBear

Mixed Feelings

(This has been adapted from my blog/reddit thread. Spoilers ahead!)

Carl Sagan, a famous physicist, once said, “Extinction is the rule. Survival is the exception.” Whether we are conscious of it or not, our lives are filled with numerous instances of us simply trying to survive. Having a healthy diet keeps our body working well whereas wearing a seatbelt in a car provides immeasurable safety. Even something as simple as looking both ways when crossing the street could potentially save our life. We do these things – increasing our chances to live – because we do not want to die. Sounds rudimentary, but there is not ... a whole lot more to it than that; we all want to experience a “supremely happy future.” Punch Line is apocalyptic aversion incarnate, that’s random in nature but not quite memorable.

STORY

Punch Line starts with a bang, not a punch. After the super hero “Strange Juice” prevents a bus hijacking, young Yuuta Iridatsu has his body taken over by another soul, forcing him to find a special book capable of getting him his body back. But as the tale unfolds, strange events and mysteries come to the forefront.

When a dice is tossed or a coin is flipped, the outcome of either scenario is random. Sure, there are specific outcomes attainable – a number one through six, heads or tails – but if the experiment is carried out with no bias, then the dice or the coin will provide a completely random “answer” on each use. This is Punch Line’s approach during the first half of the anime. Everything involved is absolutely random with no sense, direction, reason, or otherwise rationality placed behind it. There are talking, perverted, ghost cats, invisibility cloaks in the shape of squids, and power-ups provided through panty peeking; cinnamon makes poltergeists stronger, bears that have been genetically modified to further an organization’s plans, and a giant robot that shoots fireworks; and there is even a weird, therapeutic dance that involves putting on a pigeon-head mask.

The randomness is silly and initially seems to have zero purpose, and to an extent that is correct. Punch Line intentionally leans on the wacky and ridiculous to keep the narrative shrouded in the mystery it boasts. It doesn’t want the audience to understand what in the world is going on because part of the fun is trying to put the pieces together while dealing with the zaniness, and the randomness aids in that endeavor. Think of it like the dice or the coin – the randomness encountered is impossible to predict but there is a set amount of “answers” regardless of the probability involved. Besides keeping everything hidden plot-wise, the randomness is at least used for one thing: comedy. Looking at the first half compared to the second half it is clear that the random bits are meant to bring laughter to those watching. This type of comedy is often received well due to the uniqueness it brings and its quick-paced nature, both of which appear here.

In the second half of the anime, randomness gives way to coherency and the comedy is replaced by dramatic elements. What once was unknown becomes common knowledge through the show’s gradual connection of the dots. That robot that shoots fireworks is used by Ito because of her amazing video game skills; the invisibility cloak shaped like a squid is worn to stealthily defeat some bad guys; and the pigeon-head dance finds use when summoning spirits. All the while the show’s smaller plot mysteries are revealed due to the shift in perspective; instead of Yuuta missing specific days or not being able to see certain scenarios, he takes on a more active role in the festivities. Now, not all of the randomness is used to the anime’s advantage – Muhi, the regenerating bear, is apparently incredibly important but is hardly utilized and Chiranosuke, the talking ghost cat, is little more than a guide post – but it manages to cover the majority of its bases.

Also of importance is the time-travel aspect which rests comfortably among the rest of Punch Line’s randomness. Something paramount in any time-travel tale is making absolutely sure that there are no plot holes to speak of. It’s a lot easier having them in narratives that use time-travel because of the paradoxical and cyclical nature of them. For Punch Line, it’s not a vital part to the anime, but it is there nonetheless. To that end, it successfully avoids any massive errors in its timeline near the end through Yuuta’s final actions, making everything as logical as possible.

Beyond the randomness, mystery, and time-travel, there are a few problems that the narrative as a whole maintains. Thematically speaking, there isn’t much; the idea of fighting for the future and the need for friendship is barely explored and essentially lost among the random moments. The actual plot with “W” and the “Qmay Group” is handled poorly since the audience never really sees or learns much about them besides what is said in passing. But worst of all is the timing of the plot twist and the execution of it. Having to wait so long, and thereby needing to sit through so much incoherency, makes the narrative less of an adventure and more of an obstacle before it really gets going.

ANIMATION

Punch Line takes place primarily in one area: the boarding house where the cast members reside. As such, there isn’t too much diversity when it comes to the locations visited, but it is present within the house itself. Each character has their room and subsequently their own themes attached to them. Rabura’s is purple and filled with weird objects to match her divination powers. Meika’s is green, mechanical, and futuristic. And Ito’s is dark and blue due to her recluse status, with cluttering rampant. The anime also employs stylistic eye-catches at the break between parts A and B. They often feature the women in nothing but their underwear (panties and bra) but the old-school look to them makes the pictures quite refined.

The character designs are not amazing but at least provide a good sense of individuality. Like their rooms, the characters often have a specific color attributed to them – Ito wears blue-striped socks, Mikatan is all pink, etc. – but they each have their own nice amount of detail on top this. Meika has her glasses and large headphones whereas Rabura has her earrings, sexy dress, and teal-bun hair. Their colorings coincide with their personality: Meika is yellow for happiness, Mikatan is pink for girly, Rabura is purple for beauty, and Ito is blue for sadness, all of which demonstrate the attention their designs received.

Actual animation for the show is roughly around average. There’s surprisingly quite a bit of action involved for the majority of the show, but it isn’t too extravagant. Hand-to-hand combat is the norm, with jumping, floating, and clothes ruffling being located here and there. The characters often have overzealous reactions as well that adds variety. But the greatest sequences come near the end, where the finale involves missiles, tanks, robots, brawls, and swords that increase anything the show did previously.

CHARACTERS

Punch Line’s weakest link is by far the characters that traverse it.

Of particular note is the antagonist; Ryuuto – who is really Guri in Pine’s original body – acts as the main adversary, but this is not explicitly known until much later. For whatever reason, though, even when he is introduced, the show continues to keep his motivations a secret. She wants her friends to join her on the ark that will escape the meteor’s blast, but why she is so bent on murdering nearly all of humanity is not explained. That is, until right near end in an attempt to make her plight a bit more relatable or at the minimum understandable. It makes sense, that she wishes to enact the “same” pain on the people who did this to her or anyone else in the future, but her development comes too little, too late to be meaningful.

Interestingly, Narugino – who is really Chiyoko in Guri’s original body – doesn’t fare much better. Growing up, she was slated as being a “hero of justice,” due to her overwhelming powers through Uberfication and training at the hands of Meika. When the anime gets underway, she does not do much outside of attempting to conceal her identity, and even then, when she is revealed to be “Strange Juice,” nothing really comes of it. In essence, her character is there to expound on parts of the past; her, Pine’s, and Chiyoko’s younger days, what she went through following their separation, and what led her to the point she is at now.

She is not an incredibly deep or complex character which would not be a bad thing, and is even handled nicely, except at the finale. There, she rather selfishly goes against orders and indirectly kills her best friend. The idea was to create a scenario in which Guri “atones for her sins,” Pine, who has lived literally 6 billion and more lives, completes his duty, and Chiyoko follows her “hero of justice” mantra by sacrificing her person to protect Pine. But her actions were quite unnecessary considering what happened and even contradictory because of the results.

To make matters worse, Yuuta – whose soul is actually in Chiyoko’s original body (confused yet?) – is quite the lame main character. As was briefly talked about earlier, the first half has him taking on a passive role; the second half an active one. But throughout the whole season, it is difficult to determine what he wants or what he wishes to accomplish. Through him, it becomes quite evident how story-driven the anime is; his character is all comedy and information gathering without granting him much in the way of development. The anime attempts to make his drive more personable through a few situations involving all of the residents, but he never comes off as “one of the gang” and subsequently his reason for fighting to save the world – protecting his friends – is rather weak. This in turn makes the ending a moot point, since his decision does not have much of a basis nor was there enough focus on his actual character to make him worth caring about.

The rest of the main cast – Meika, Rabura, and Ito – likewise find themselves sitting low on the totem pole. At least with Ito, the anime gives her a transitional phase, where she moves away from shy and lonesome to determined and friendly through the experiences she has at the house. As for the other two, Meika is a robot and Rabura works with ghosts, but that is the extent of who they are. If anything, they all have one commonality: an everlasting bond.

SOUND

The opening theme is pretty good, with various tempos filling the piece to make it a very fun listen. The various vocalists, combined with the strange instruments and catchy beats, create quite the random arrangement, which is undoubtedly fitting given the anime’s content. The ending theme also manages to be well-composed, with the first half having some nice guitar playing while the second half has an easy-to-follow beat.

As for the rest of the soundtrack, it’s mostly filled with electronic instruments (such as in “Pressure” and “Agility”), tracks consisting of otherworldly sounds (such as in “State of Tension” and “Invisible Fear”) that, like the OP, find themselves fitting snuggly within the confines of the show’s randomness and dooms day setting. Others, like “Victim,” are signature to the anime – it’s the song that plays when Yuuta is viewing some panties. Others still, like “Deep in the Past,” are very melancholic, rounding out the depressing moments poignantly. While some of the tracks blend together, it is still an interesting OST that does its job.

Voice acting for Punch Line is somewhere above average. Special shout-outs are deserved for Sora Amamiya as Mikatan for her girly voice and Marina Inoue as Yuuta for giving a more androgynous voice to match the character’s predicament.

ENJOYMENT

I can’t say that I liked this one. Part of me wished that the show focused solely on the “ecchi” elements, since the panty viewing was not as critical to the plot as it was originally made out to be. This became quite evident when the second half had nothing to do with the first half’s problem of Yuuta seeing said panties; no longer was it about avoiding them entirely but instead only seeing them now and again when the plot demanded.

At the same time, super random comedy like this one had is not up my alley. I do not mind a bit of randomness, but events like the pigeon-head dance and especially Chiranosuke the talking ghost cat were not funny to me in the slightest. Along these same lines, I was not too fond of the characters themselves. Mikatan could be cute, but Yuuta was not comical, Ito and Meika were somewhat annoying, and Rabura did not have nearly enough screen-time to make her relevant.

Punch Line is completely random and, oddly enough, simultaneously not. The art and animation is good, as are certain musical pieces. But the story’s minor flaws, the poorly executed characters, and the stale comedy prevent the anime from being something more. While the cast members might have achieved a “supremely happy future,” the whole package certainly did not.

SUMMARY

Story: Fine, the randomness is used effectively, the time-travel aspect makes sense, but issues such as little thematic presence, a lackluster plot, and poor timing on the twist weaken the experience

Animation: Good, nice art style, nice character designs, about average actual animation

Characters: Bad, Ryuuto (Guri), Mikatan (Chiyoko), and Yuuta (Pine) are all rather weak, with Rabura, Meika, and Ito barely being passable

Sound: Good, good OP, okay ED, interesting soundtrack, above average VA work

Enjoyment: Bad, the “ecchi” moments are boring, the random comedy is a huge miss, and the characters are largely forgettable

Final Score: 5/10

Reviewer’s Rating: 5

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Jun 28, 2015

ZephSilver

Not Recommended

Have you ever been at a modern art exhibit and felt like the artist just threw paint at the canvas? Many around you proclaim that it's "original," " bold," or "expressive," while they point at the rectangle of incomprehensible shapes and sloppy paint. While they might see something praiseworthy, from where you're standing, it looks like a kindergarten arts and crafts project, where the kids ate a little too much Elmer's paste.
Punch Line gives me that feeling, but instead of paint being thrown randomly at a canvas, we have themes and concepts instead. It felt like the creators just threw a bunch of ideas into ... a hat after one too many drinks and began selecting random slips of paper from it to form the finished product. A string of loose thoughts, unsupported themes and underutilized concepts that somehow made it past the rough draft stage of some drunken editor's desk, where it was prematurely approved to become a final script. It's a tumultuous mess that tried to contain as many elements as possible and ended up imploding as a result.

Organized chaos isn't impossible to obtain, there has been countless of shows that have proven itself in accomplishing that. As long as the 'chaos' is guided by some kind of subtext or uniformity in each aspect's inclusion, it should turn out fine. However, if there's little in the way of connective tissue to hold the madness together, it doesn't take long before onlookers notice the shortcomings. With elements that do little to nothing to mesh together, it's hard to feel like there's any semblance of being behind Punch Line's existence. It's a project that confuses quirkiness with creative merit. There's no coherency between any of the show's plethora of flavoring, just a bunch of "whys" that are never properly explained. Why cinnamon? Why a bear for a pet? Why super saiyan? Why ghost cats? Why super sentai? Why panties? Why do panty-shots cause the world to explode outside of an obvious innuendo? Why body swaps? Why paradoxical time-travel? Why witchcraft? Why moe robot girl? Why anything? All these needless aspects that the show continuously tosses in felt like it was only there to distract from what little plot it was working with. A dribble of ideas thrown together, hoping a few would stick. And for the occasional instances where the show attempted to answer some of it, thematically it was as conclusive as the writers saying "just because." Punch Line brings up more questions than it answers, a trend that finds itself bleeding over into the main story-line.

For the most part, the show tries to tell a straightforward story about our protagonist, Yuuta Iridatsu, who has to travel through time to stop the impending destruction of Earth by ways of a meteorite strike. While it seems simple enough, it's the inclusion of the aforementioned elements that makes a fairly ordinary tale into a muddled mess. With plot twists and reveals that do absolutely nothing for the show's overall story or the characters involved, these tacked on tidbits ended up being questionable content instead of tasteful flavoring. Flavoring isn't bad by itself, but it needs to be used in moderation, or at least add something to the overall dish. A little dressing on a salad will enhance the taste, but adding too much would just make it into a repulsive swampy soup. Punch Line became that swampy soup, by effectively drowning out its content with too many unwarranted aspects.

Many of the plot points introduced during the show's run-time ended up not mattering in the long run since it was all negated by the "save the world" storyline that was introduced later on. The pointless elements discussed did nothing but further the issue, by taking time away from the narrative to travel down several detours that had no conclusion. It felt like a bait-and-switch from an over-the-top comedy/parody of super sentai, to an angst filled character drama along the lines of The Butterfly Effect. This was made even more jarring from the show's constant tonal shifts. Serious moments were often followed up by comedic gags, that not only downplayed the situation but also negated any tension that was supposed to arise from it. It destroyed any substantial weight behind incidents before it had time to sink in. There are times where serious moments that endangered the characters' lives were built up, only to be resolved by a flash of a girl's panties. It's not funny and it certainly isn't dramatic. The show's constant tonal shifts just kept on butting heads with each other. It made any conflict the show was trying to sell to feel pointless since it was easily washed away by the next scenario. When there's no consequence for life-threatening events, it's hard to get invested in a show's outcome.

But perhaps the biggest misstep of Punch Line was its use of time-travel. Time-travel is something that needs proper measure taken in order to stay relevantly coherent but the time-travel in Punch Line was beyond contrived and paradoxical. Every half-assed attempt to make sense of it only backfired. Since the theory of time-travel is riddled with paradoxes, to begin with, it's hard to put all the blame on the show. There are always loopholes whenever it is used in stories but there are some things that any iteration of time-travel tends to follow. Cardinal rules if you will. May that be the "butterfly effect" commonly found with linear travel or the "grandfather" paradox that's commonly shared with most iterations. Punch Line doesn't follow any of them, which causes it to make little sense when viewed as a whole. The closest thing to the type of time-travel Punch Line used would be parallel world jumping similar to what's used in TV shows like Sliders. But here's the problem, the protagonist already exist in this universe and even interacts with the other version of 'himself'. This should cause a rift in time or an anomaly to form but that never happens... and why you may ask? Well "just because", since it's something the writers seem to have no explanation for as usual. This lack of common sense was perfectly summed up with what I can only describe as the writer's not so subtle explanation via expository dialogue during the show's final moments. Our protagonist tries to explain and tie up the Gundam size plot holes by addressing the audience through the conversation 'he' had with the rest of the side characters. This laughable attempt to bring everything full-circle only shined a light on how improperly put together it was. All the explanation did was bring up more questions that would never get resolved.

If the show had anything going for it, it'll be the art and animation. It was vibrant and energetic. Similar to 2015 Winter season's Rolling Girls, it looked like a child's imagination brought to life. If you weren't watching this with any set standards it would be passable as visual entertainment. Being brought together by the relatively new studio MAPPA, Punch Line is yet another example of their visual prowess. The character designs were all very pleasant and felt well incorporated with the show's art choices. While they weren't all unique, it did have a trademark look about it that help to differentiate itself from other titles.
While it was well presented, for the most part, there were still times where the animation was stilted and stiff. This was more evident towards the middle portion of the show and the earlier slice-of-life episodes. The inconsistency from episode to episode can't be overlooked and hindered it from being better. But thankfully it made up for it by the 3/4 mark where the episodes maintained proper form and MAPPA strutted their stuff.

The soundtrack for Punch Line is your typical J-pop/rock musical selection, with the added bonus of a few keyboard synthesizers and electronic instruments tossed in for good measure. This gave the music a vibe similar to the Euro House music scene, which worked in unison with the visual flare presented throughout the show. While nice for what it was, most of it wasn't used to its fullest potential and could have been incorporated better. Some standout tracks included "Concentration", "Crisis" and "MUHI." It's nothing new and undoubtedly the kind of OST you would have heard many times over, but still did the job nonetheless. The opening theme "PUNCH LINE!" by Shokotan ♥ Denpa Gumi was a very catchy idol-heavy musical number. Like the OST, it worked well with the show's visual presentation. Again, nothing new but still a nice toe-tapping ear-worm.

Overall, the presentation of Punch Line was good and helped to make the nonsensical script more bearable than it would have been without it.

Now, what little appraisal I could offer Punch Line presentation-wise, the same can't be done when addressing the character lineup. With no memorable characteristics or features to speak of, each character was given a basic archetypal role and simple personality quirk to substitute for actual personality. They're no better than the cast of children shows like The Care Bears or Teletubbies, where it seems like their color palette and character design directly corresponded to their simplistic portrayal. They're more like caricatures than actual people.
Yuuta Iridatsu being our protagonist was the only one that was somewhat easy to relate to. Notice I said "somewhat," as there was not much done to flesh out 'his' character. 'He' would most likely be remembered for a plot twist that I dear not spoil here than for 'him' as a person.
Also, the ghost cat was probably the show's way of flipping the bird to the audience. For the entire run-time, he was presented as a guide for our protagonist that seemed to have an ulterior motive. There was no direct focus on the cat's actions but it always felt like it was meddling in the shadows. But it just turned out that the cat was just an expository mouthpiece for giving the audience painfully obvious info dumps, as well as serving as a plot-device for whenever the show(writers) needed to move the story along.
The antagonists for the series was also a let down since, like the rest of the cast, they had no proper characterization or personality to speak of. They were simply bad because the show demanded it and again was another pointless plot twist that didn't matter in the end.

Also, expect A LOT of troll character "death flag" scenes.

As a whole, the cast was a disappointment and forgettable almost immediately after completion. And while the show had some memorable moments, as a whole, it was a title that left me with more of a headache than anything satisfying.

Enjoyment: 5/10

With an inviting 1st episode, I thought I was getting ready to watch a fun super sentai journey with batshit insane presentation and over-the-top altercations but what I got instead was a show that quickly lost steam, a comedic gag that lost its novelty and a plot that went up its own ass. Visually, it was fine but the tonal shifts and misuse of concepts brought my enjoyment down.

Overall: 4/10

The presentation ultimately saved this anime from being completely unwatchable. Where it could have worked as a satirical outlook on fanservice and super sentai flicks, it ended up going a more serious route, while not having the appropriate tone or pedigree of writing needed to back it up. It was an ambitious undertaking that fell short of the mark and squandered its chances of being better by trying to do too much at once. An idea was there but unfortunately, it was poorly realized.

Reviewer’s Rating: 4

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