AndoCommando's Profile - Reviews

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BirthdayMar 31
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Fantasy Anime League

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Fantasy Anime League

Dec 29, 2019

Vinland Saga (Anime) add

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“From the distant north, beyond the frozen sea… They came, bringing with them the black clouds of war.”

As the struggles between English and Danes grew worse each passing year, calls for peace had diminished, and death became commonplace. In the wake of these restless times were Vikings; violent raiders who reaped the spoils of war and marched to the beat of their drum. Brutal, merciless and unfeeling, they pillaged whoever they pleased and left only wreckage behind them. And raised by the band who murdered his father is Thorfinn, a young boy driven by hatred, longing to cut down the one responsible and avenge his ...

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Oct 2, 2019

Carole & Tuesday (Anime) add

Mixed Feelings

Imagine, if you will, a moment of bliss. The dazzling array of lights illuminating the hall, radiating along the stage. Glimmering golden flakes floating down from above like snow upon two girls pouring their hearts out in the performance of their lives. Their eyes are transfixed on the spectacle of it all as the narrator bellows that “it would go down in the history of Mars as the miraculous seven minutes”. This is the moment that Carole & Tuesday wished to define itself by. A celebration of music and the power it holds consummated in seven special minutes.

But behind these seven minutes is the journey ... that set it all in motion.

Carole & Tuesday is a tale steeped in the past, now set in the gleaming terraformed future of Mars. The story of rags-to-riches between a pair of talented women: Tuesday, who sneaks away from her wealthy sheltered lifestyle and takes a train to the big city, and Carol, an ex-refugee and orphan constantly looking for work with no clear direction in her life. In their world, music has been studied, dissected and repackaged to perfection through the use of artificial intelligence; the popular human artists now acting as merely fronts for the artistry. They both feel isolated and melancholy, needing some way to express it. In this, the two have a fateful encounter as Carol plays piano atop a bridge. She hums along to the music, but Tuesday insists she can hear the meaning of her song despite the lack of words. Carole and Tuesday, two musicians from radically different socioeconomic backgrounds, are able to understand each from through their music.

Considering the nature of this series being centred around music, the anime puts a lot of attention towards the music incorporated within the show. Carole & Tuesday holds some clear similarities with other works by director Shinichiro Watanabe; not only does he use a variety of diverse character designs and art styles, but here he employs different genres of music and artists to coincide with the Western accessibility of the show in general. Flying Lotus, Alison Wonderland and Denzel Curry and just some of the names associated with this project. Most importantly, the music acts as a natural means for development between the two leads. When the two begin playing together, the flaws in their sessions are apparent: they aren’t in tune with each other, Tuesday is a step behind Carole and both continually have to restart the song. The session is a work in progress, but once they start finding their rhythm, it’s as if their souls have slowly begun to intertwine. Their unity, passion and emotional release creates a world of their own, free from the gloomy feeling around them.

The worldbuilding details constantly echo the technology-driven culture of today, giving it a sense of believability amidst the more fantastical elements. Instagram, Google and YouTube are all featured in some way during the duo’s attempt to break into the music industry, before eventually entering a talent competition that parodies the likes of The Voice and American Idol. This is where the most diverse musical genres of the series are showcased, from a profane barbershop quartet number to an operatic hip hop hybrid piece that really shows the range of musical styles present in the show. While the pacing is slowed down significantly for this purpose, it also introduces an antagonist to the pair in Angela, a model turned singer on her own journey that acts as a clear juxtaposition with Carole and Tuesday. Unlike the lead duo, Angela embraces the influence of artificial intelligence and is pushed as the industry’s next big star, however her struggles are as real as the two protagonists. Angela as a former child star carries her own share of baggage whilst being used as a puppet of the industry and given no creative control over her art. But she is passionate about her career and has to work tirelessly in order to stay relevant. She provides an insight into what can happen when business takes priority over pleasure.

All of the contrasting styles and motivations serve as foils to the stripped-down singer-songwriter ability of the titular duo, representing the traditional side of music with warmth and authenticity that cannot be replicated. At least, that is what the intention was with each of their performances. But the series only achieves this in theory. Their opponents in the talent show seek to treat music as a commodity first and foremost in contrast to Carole and Tuesday, who want to deliver a more intimate experience with their songs as down-to-earth musicians. Except that the music they play seems counter-intuitive, coming across as the kind of melodramatic pop that would not be difficult to find nowadays. It might not be surprising to see how the judges love the pair whose music you would expect to find in every talent show in the last decade, but consider how the series is trying to, in a sense, rehabilitate music, with some of the most generic pop tunes of our time. Lyrically the song also come across poorly, with the melodies and rhythm having to compensate for instances of laundry being used as a metaphor for example. The song writing here speaks volumes about Tuesday’s lack of life experience to draw from, yet they are still showered with overwhelming praise after each and every one of their performances.

As the series continues, there’s a concerning lack of character development going forward for a character-driven show such as Carole & Tuesday. The characterization starts off strong with establishing the differences in both leads, before the script changes to emphasize the commonalities between them and more nuance is added to their actions. However, their bond as a whole feels unnatural, as they become such close friends after a short amount of time and their bond is never challenged going forward. Chemistry between main characters, especially in dramas, tends to grow little by little through each of their interactions with each other. Because of this, viewers are able to see their relationship develop gradually for themselves, thus coming across more naturally. This does not happen with Carole and Tuesday. Instead the two are shown to be great off the get-go, putting on good to excellent performances together that garner high praise from well-known artists. There is hardly a struggle they face that is shown in their journey. Add to that how predictable and light-hearted the tone of the series is, Carole and Tuesday feel more like avatars than their own characters for the remainder of the show.

From the offset Carole & Tuesday, despite its shortcomings as a music drama, was based around the two leads coming together and making a name for themselves in the music industry. But after the talent show, the narrative begins to shed more of a light on their backgrounds: Carole’s friends who are refugees and, more importantly, Tuesday’s family ties to politics. This is where the story transitions from the tale of two women chasing their passions in an age of AI-produced music to an allegory of current-day American politics that takes itself seriously. Politics in an anime is not an inherent issue and make no mistake, Carole & Tuesday wanted to be a socially conscious series from the beginning. But the sudden change in plot and focus causes most of the key events that occur to feel forced and inorganic, not to mention even more predictable than before. The execution is clumsy at best and incompetent at worst; it imitates the United States’ immigration policy yet holds a childlike perception of the debate that would only lead to more dissention. The show portrays it as simply a societal bad mood without any further nuance to the discussion, to where the audience is never told why Earth has refugees coming to Mars in the first place. The story becomes so concerned with being a social commentary on the world today that it does not bother to justify the political actions that happen within the story.

And regardless of how much the story has shifted, the anime continues to revolve around Carole and Tuesday. The two musicians who at first strived to be a success in the music scene have had their journey side-tracked by the overt political agenda that, coincidentally, renders their previous journey obsolete. The AI-produced music that initially acted as a commentary on how pop music panders to the trends of today instead of creating something “meaningful” is tossed aside. The sub-plots unresolved from the talent show remains unresolved. Instead the series takes the overly-idealistic route that coming together and singing an inspirational song has the power to change the world, with music’s power lying in the ability to make one's own voice heard. Only a vague solution to the real-world crisis the show intended to reflect. There’s an air of cynicism to the series that feels crafted out of naivete, which is certainly odd when Shinichiro Watanabe’s name is at the helm of the project. For an esteemed director as himself, it feels as if he was phoning it in here, not overly concerned with how the show ended up looking. Obviously, external factors like scheduling and budget play a larger part than ever trying to gauge effort from a director, but comparing Carole & Tuesday to his previous work (Cowboy Bebop, Samurai Champloo, Space Dandy, etc.) should highlight how underwhelming this most recent project is.

Carole & Tuesday was ultimately a tale in two parts: the first enamoured in the original journey of its two protagonists, their pursuit of passion acting as a love letter to the art of music. While meandering in parts and feeling a tad bloated, it’s hard to deny the show had a genuine love of the craft on display. But its second half was burdened with misguided ambition, aiming to encompass every angle of drama the series holds without regard for their impact on the writing as a whole. Unwilling to commit on its initial story and core values, we can only imagine what could have been a true moment of bliss.

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Sep 26, 2019

Prison School (Anime) add

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Ecchi has garnered somewhat of a bad reputation over the years. For those unaware, the term ‘ecchi’ is used among anime fans as a way to describe shows with sexual overtones. Unlike hentai, which is explicit pornographic material, ecchi is meant to be simply erotic and is part of why the anime community views such in a negative light. Because of the nature of the anime industry, erotic content and sexual themes are more likely to be prioritized in production over the possible literary merits of a show. This line of thinking permeates across other genres, leading to an abundance of fanservice – usually unnecessary ... sexual content with the purpose of pleasing the audience – being inserted and used for enticing viewers to watch further. This has led many to criticize the concepts of ecchi and fanservice in general, believing its presence indicates a lack of maturity for the anime using them, as well as their intended audiences. But in response to these kinds of claims I would like to pose a question for everyone reading this:

Is ecchi/fanservice inherently bad?

Making cynical comments about a lewd act in a series may not be unfounded, but are they fair critiques on the show in question? For example, if a series implements sexuality of some sort as one of its core themes, is it then a flaw for the show to sexualise in any way? Can it even be called fanservice if it is, in fact, a necessary part of the story? If fanservice is merely a way of “giving fans what they want to see”, can it include content that isn’t erotic? To answer the original question, one would also have to account for the multiple queries I’ve brought up and more. Personally speaking, while deliberate audience arousal can easily be abused by a creative staff, if ecchi and fanservice in this context just means having characters exploited for their sex appeal, then my answer is no. Ecchi is not simply bad and to call every ecchi anime bad inherently is to dismiss specific plots and themes from the chance of ever being recognized as great pieces of art. Execution and intention are what separates pandering works from the more purposeful ecchi anime, and when it comes to purpose in ecchi, there might be none bolder than the anime known as Prison School.

Based on the popular manga written and illustrated by Akira Hiramoto, the premise follows five young boys who are the only men enrolled at Hachimitsu Academy, one of the strictest all-girls schools in Tokyo. With over 1,000 female students to only five males, the academy looks to be a paradise harem for the group. But those unhappy with the admission of boys to their prestigious school quickly make their intentions clear as the five are sentenced to a prison on the campus grounds when caught peeking in the girl’s baths. If the plot sounded preposterous just then, the magic of Prison School is already in effect.

Much of the acclaim for the manga of Prison School lied in its ability to tell an extremely entertaining story over a long period of time. As a raunchy slapstick-comedy series with enough ecchi to make one’s dick explode, the manga delivered on an enjoyable comic coupled with erotic content and comedy to match. As a manga adaptation, the anime nails on this appeal while also making excellent use of the different medium; trimming whatever fat that could be found in the source material and, as a result, leaving the show with incredibly fast pacing that manages to build on the humour throughout. It rarely lingers on any one specific joke, instead offering various quips and gags in an almost rapid-fire form, building on each scene and making the situations that much more hilarious. In doing so, the comedy hardly gets exhausting as it continuously morphs into something bigger, better, and often with a purpose that directly relates back to the plot.

Typically when referring to ecchi anime, the plot is frowned upon as in a genre laden with tropes designed to put fanservice at the forefront, storylines are more likely to be used as mere backdrops for the “real plot” to take place. This in turn can lead to all kinds of issues: stilted dialogue, contrived comedy, characters lacking verisimilitude, etc. The way Prison School avoids this is masterful – for a show with sleazy shots at every corner, it never falls victim to the numerous problems that plague other ecchi anime. The entire concept of ecchi is clearly absurd and the narrative is very aware of that fact. Rather than lazily pointing out the absurdities on screen like some of its contemporaries have, Prison School opts to revel in it, crafting an outlandish setting and hysterical characters that effectively sweeps viewers into that wacky world; where what would be mundane events are blown out of proportion to make for some genuinely intriguing and laugh-out-loud moments. The humour works because of how it merges the bizarre, visceral and unexpected nature of these situations to a degree that people can’t help but burst out laughing. There can be a sense of repetition felt in these instances, as every joke involves some element of sex humour. The series makes no apologies for its several close-up crotch shots and overall crudeness. However, the ecchi scenes never simply pander to the viewers. Instead they are worked into the series with attention to detail and constantly progress the story, with subsequent character actions and motives driving the narrative to its conclusion.

The cast of Prison School are surprisingly strong given the genres the anime belongs to. Even though the series does have a lead protagonist in the form of Kiyoshi, the show gives adequate focus on all five of the male students as they all share a similar level of importance to the plot. They all have their role to play in the grand scheme of things and overtime build distinct personalities from one another. Because the anime centres around five characters instead of one, all ecchi scenes are divided amongst them, helping to ensure none of the main characters are left out across the duration of the anime. Their female prison captors are also fleshed out as more than their exploitative camera angles and fetishized characteristics would ever imply and do receive noteworthy development, providing a separate dynamic to the five male prisoners and their numerous attempts to escape. Every character is highly exaggerated in their behaviour, yet they all ironically fit with the internal consistency and overall atmosphere of the show. It also demonstrates a unique and amusing way of pitting the men and women against one another that remains one of the most memorable instances of such happening in an anime.

While the series is primarily an ecchi comedy, underlying the veneer of crass humour and lewd anime scenes is an almost inspiring story of friendship and male bonding. As Prison School progresses, we find all five boys subjected to mental and physical abuse on multiple occasions, all in the hopes that they would break and get themselves expelled. This fear of expulsion constantly looms over the main characters, so much so that these moments genuinely carry a sense of tension to them. The way these scenes are approached gives way to just how big are the sacrifices these characters are making. Despite being titillating on the surface, Prison School quickly becomes a battle of wits between inmates and captives within the prison-break subgenre. It’s high-stakes and high-intensity. Thrilling as it is funny, possessing all the standard conventions of a prison tale whilst keeping unpredictable for the majority of its 12 episodes. By embracing the madness of a story where people deliberately shit their pants and have sticks shoved up asses, the anime manages to captivate and draw viewers in with their ridiculous premise and very real stakes. But most importantly, it makes for the audience to rally behind these main characters through all their struggles: their mistreatment, their treachery, the trickery, the forgiveness and eventually, them emerging victorious.

As a manga notorious for Hiramoto’s hyper-stylized designs and artwork, the anime captures the charm in those images without ever getting lost in motion. J.C Staff was the studio in charge of adapting the source material and they largely succeed in moving the manga’s material to the world of animation. Granted, the animation used is never the highlight of the series, only maintaining a sense of fluidity with little compromise to the general attention of detail on the visuals. But visually speaking the anime is impressive, with expressions, backgrounds and colour palette that are distinct from any other series the studio has worked on. There’s also a surprisingly good amount of cinematography and directing present that deserves recognition. The way Tsutomu Mizushima is able to ramp up the tension and hilarity with simple cuts and blocks may not be subtle but is wholly effective in making the experience that much more enjoyable. However, there is a considerably poor use of lens flare hilariously coined by fans as the “blinding white light of censorship” that covers nearly half the screen whenever a heavy dose of ecchi appears. Thankfully there is an uncensored version available for those unfazed by the show’s sexual scenes.

Not only does the art direction do the manga justice, the sound direction and voice acting truly brings the manga’s story to life. The sound effects act as a core component for most of the comedy and are utilized extremely well consistently throughout the show. They can get repetitive as they are essentially a part of every joke and jest in the anime, but if anything, they are more likely to elevate the humour as a whole. The voice acting however, I would argue never grows old as for the 12-episode series, viewers are left craving for more of these characters and their performances. All the voice acting here was tremendous and on-point, with the actors for Kiyoshi, Gakuto and Hana being the standouts. They clearly made the most of their roles and manage to fit each crazy persona like a glove. The soundtrack was composed by Kotaro Nakagawa, who has also been responsible for the music behind Planetes and Code Geass. Although the tunes here are nowhere near as memorable as the latter anime, they do capitalize on the sheer intensity of scenes whenever played. For a comedy series like this one, that is crucial in making the show such a fun time.

Rarely do we come across a show like Prison School that blends the likes of comedy and ecchi together so seamlessly. Ecchi comedy have been prevalent in anime for a long time and that is not likely to change anytime soon, but hardly any of them feel worth the time investment. More often than not, an ecchi will feature a bland, unrelatable protagonist who is either indifferent or completely avoids the harem created for him, alongside ecchi scenes that tend to come off shallow, adding nothing to the quality of the series. But Prison School is different. In a world when boys actions are often driven by sex, all five of the main characters are more than their one-dimensional counterparts and hold legitimate reason behind their actions: they have penises. Prison School is truly a man’s show, as where it succeeds outweighs all of its flaws, making for one of the best ecchi and comedy anime in recent memory. It’s hilarious, it’s absurd, and it’s brilliant.

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Jul 17, 2019

Hotaru no Haka (Anime) add

Mixed Feelings

"21st September, 1945… That was the night I died."

Grave of the Fireflies begins as a young man stands in uniform unfazed, looking back on the moment he died. Slouched against a pole in tattered clothes, starving in silence while dozens of people pass by. One person in an act of pity places food beside him, but it’s too late. Lacking the will to even eat, his frail body collapses among other starved corpses nearby. An empty tin can found on his person is tossed by a field outside as if it were trash. Yet from the second it lands, fireflies materialize from the ground and ...

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Jun 26, 2019

Tate no Yuusha no Nariagari (Anime) add

Not Recommended

Spoiler

The phrase, “That which does not kill us makes us stronger”, is one that has been made popular over the last century through various means. Originally coined by ‘entry-level’ philosopher Friedrich Nietzsche, paraphrased later by the likes of award-winning artist Kanye West and only last year, happened to be used by me: one random person on the internet, in reference to the anime community and its initial reaction to the 2018 anime, Goblin Slayer. With it I pleaded to the community, fans and haters alike, to learn from the controversy it garnered off a single implied rape scene lasting no more than 15 seconds. To ...

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Jun 20, 2019

Sarazanmai (Anime) add

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“I want to connect, but I want to lie.”

Sarazanmai presents two sides of the same coin. On one side, we have desires; the sense of longing and hoping for a certain outcome. Often considered an innate part of our humanity, they can also be attributed with the darker aspects of one’s personality. They’re the deep secrets we hold to ourselves, not wanting the world around us to know about, and dreading the thought of if they were found out. But as much as the show focuses on desires, it’s just as focused on connection. The world is comprised of all kinds of connections, whether by ...

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Mar 27, 2019

Kakegurui×× (Anime) add

Not Recommended

Spoiler

“When it comes to gambling, there’s always a risk involved.” – No one in particular, FACTS and LOGIC speak for themselves here.

Gambling is a concept we should all be able to relate to. Maybe not as the premise of a series or with having ever put one's own money on the line, but wagers are constantly made in our own minds regarding quality when a new show comes around. A mere glance at the seasonal lineup will inevitably lead to first impressions being made despite how little is known about an anime. But make no mistake, this is to our advantage no matter where in ... the life cycle of anime fandom you lie. Slowly but surely these thoughts act as effective tools to determine whether an anime will be to our liking. However, for this to happen, gambles must be made. From newer fans learning of disappointment for the first time by not ‘dropping shit like it’s hot’, to hardened viewers having learned what garbage lies amongst every season’s dark trenches – we all made bets one time or another, and we all suffered for our ignorance. As Kurt Cobain said: Nobody dies a virgin, life fucks us all.

Kakegurui was one anime that served this purpose for me. I had hopes for the show to be the standout of its time, only for that hope to be taken and buried six feet under its own morally bankrupt excrement, all while the protagonist stared back at me with a smug, crazy-eyed look on her face. Jesus may not have wept when he felt betrayed, but I could not follow his example. I felt the need to release these pent-up emotions; I wanted catharsis and the top review of last season is where you can find it. I detested Kakegurui for the suffering it put me through and have now seen hundreds of anime to have awakened my third eye. So naturally, one may find themselves asking me “hurr durr poohead, if you don’t like, why still watch?” And to that, my answer is simple: I am Jesus, or at least I like to believe such. One value Jesus promoted during his time on Earth was forgiveness, and like Jesus providing us the ability to atone for past sins, I approach Kakegurui in the same fashion. This is Kakegurui’s chance at redemption and despite already disappointing with the title clearly missing one more “X”, it deserves at least that much from me.

**THIS REVIEW CONTAINS SPOILERS**

Following last season’s anticlimactic finale, Kakegurui x(x)x was put in the awkward position to follow a plot and characters left with practically no conclusions nor a clear sense of direction. Instead of establishing clear intentions of how this season would approach the narrative, no time is wasted introducing viewers back to the main appeal of the series: gambles featuring raunchy females and their sadistic facial expressions. The academy still appears to be lacking in faculty members to ever properly function as an academy, although we are welcomed with new faces. After Yumeko single-handedly decimated the Student Council’s stranglehold over most gambling-related affairs, an election looms over the school for main antagonist Kirari Momobami’s position as president. This causes the emergence of a new threat in the form of the “Momobami clan”, all family member related to Kirari with their objective being to banish Kirari from their family. It’s also revealed that Yumeko is related to the family in some way and also becomes a target of the clan, challenged to a series of gambles throughout this season. It’s an admirable attempt to drastically shake things up and deliver on more creative, unpredictable moments to keep fans invested. Unfortunately, the intentions still fall short as Kakegurui x(x)x comes across more like a rehash of the first season than otherwise, unable to move away from issues that plagued the previous season.

Kakegurui x(x)x as a series thrives on its gambles as they are the easiest way for the series to create any sense of thrill and excitement. This season puts a greater emphasis on them specifically by decreasing the number of gambles taking place and in turn increase the amount of time and focus given to each gamble. Most games take two episodes to complete instead of one and do better in allowing more character development and motivations to take centre stage. In theory this should be a more successful way to structure this season compared to last, however these changes manage to come across in practice as a detriment to the show overall from my perspective. Aside from removing the idea of stakes from their gambles almost altogether, using several episodes to explore the inner workings of games is usually effective when the games themselves have a certain level of complexity to them. Here's the problem: barely any games shown in the series thus far have that level of depth purely in their construction, with games like the “Finger Cutting Guillotine” only being effective as a game of chicken. It also does no help for this show that every gamble is extremely predictable in their outcome, with Yumeko only allowing for games to end in her favour, as proven from S1 and is the way of the Mary Sue. For a piece of entertainment, these drawn-out gambles are unable to adequately capitalize on the initial suspense and excitement viewers wish to feel each episode.

Because Kakegurui x(x)x is always following the almighty Yumeko and her deus ex machina abilities, it’s the other characters who are required to do the show’s heavy lifting. She may be the main character, but their perspectives are the ones always shown when standing opposed to Yumeko and end up changing as a result. In the first season they were barely more than obstacles for Yumeko to swiftly overcome but they still contained something about them that defined them as a character besides their design. Yumemi is an idol singer, Itsuki had a fingernail obsession, even edge-queen Midari had her revolver fetish of all things. In Kakegurui x(x)x, we have a clan full of new characters that we know little to nothing about regarding personality or motives aside from the their clan’s objective. Sorry, but simply having a cool-looking design does not make them any more interesting as characters. They just look cool. Sure, these new characters do break away from the stereotypes birthed from last season; no longer are all the females psychotic or grotesque, and the introduction of new male characters breaks the idea of males in the show being no more than pathetic beta males. But that’s far from a high positive for the season. So far these new antagonists have been relegated to just fulfilling mandatory roles as Yumeko's opponents. There still lies development present here for secondary characters that is noteworthy, but the way Kakegurui x(x)x treats these characters so sparingly in the narrative does it no benefits. I’m not fond of seeing a side character to return for two episodes looking like Ken Kaneki from Tokyo Ghoul before being pushed to the side again for however long the narrative demands.

With how the series handles both its plot and characters with such recklessness, Kakegurui x(x)x is the kind of anime one can find easily detestable. Not to say one cannot find enjoyment anywhere here, but when trying to depict characters created clearly immoral as admirable in a story centred around malevolent aspects of gambling, I’m left asking myself serious questions. Who is this being made for? What is this show trying to say? Clearly the show's focus is on addiction – why else would the anime title be translated to “Compulsive Gambler”? It’s not shocking that the characters with the most plot armour are the ones with the worst cases of addiction. But what has the series done so far in 24 episodes to really delve into this theme? Yumeko has yet to show any signs of distress or psychological torment while the punishment for losing is constantly raised to astronomical proportions. Is she a sociopath? If so, how is anyone supposed to know when it’s not even remotely close to a realistic depiction? Kakegurui x(x)x seems to be the kind of show that likes to have its cake and eat it too. It wishes to be a commentary on the dangers of gambling whilst holding the act up proudly on a pedestal, unabashed in sympathising with those clearly contemptible of such deeds. A show that sets up stakes and never follows through with them. Trying to impress with intellect and logic while simultaneously having the Tower of Doors arc end with the loser jumping out the “correct door” because she’s apparently so smart that she SUBCONSCIOUSLY CALCULATED what door was the one that wouldn’t kill her. The show has so many glaring holes, I could probably order it on the menu at Subway.

Kakegurui x(x)x from a visual standpoint is likely to either make or break the experience for viewers, and it’s almost solely because of the facial expressions. Once again Studio MAPPA tries to bring out as much insanity from these designs as humanly possible. While it does convey the kind of lunacy viewers are in for when watching characters lose themselves in their games, it’s still far from aesthetically pleasing and will no doubt have its fair share of detractors. Although if you’re already this far into the show I’d assume you can tolerate it. The character designs for the main cast are certainly eye-catching especially compared to new characters. Background art is usually typical and unimaginative but fits perfectly fine during games. The visual effects are still a strong part of the series and CGI usage is improved upon from last season. As for the soundtrack used, it never particularly stood out throughout the season but I was pleasantly surprised with the new opening and ending themes used here. Honestly I found myself preferring both themes over those from S1, despite the first from my perspective working as a better introduction to the comical madness this series indulges in. The voice acting also felt like an improvement, not coming across as off-putting when it came to the crazier parts of the script. They all do a great job in their respective roles, with Yumeko Jabami’s performance by Saori Hayami capturing a wide array of emotions in her voice to match the character’s absurd behaviour.

At first, I called Kakegurui pretty awful and feeling like it wasted my time. Now having given the series a second chance my thoughts haven’t changed that much. Making a second season that blatantly imitates key events of its predecessor only to fall victim to its shortcomings is not what I had expected or hoped for, but I still found a silver lining to this season. While Kakegurui initially felt more of an insult in what it set out to be, Kakegurui x(x)x has a clearer identity about it that I can respect. Instead of trying to encapsulate far too much in so little time for its own good and as a result failing in every way, this season is more inclined to take a step back from the intensity in order to bring more detail and focus on something grander. Whether this is a significant improvement remains to be seen, but the potential is there, building to something hopefully greater than anything the series has shown us yet. I still dislike the series, but I cannot say that I haven’t developed more respect for what it sets out to be. And for that, I do not consider Kakegurui x(x)x a complete waste of time.

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Mar 1, 2019

Koi wa Ameagari no You ni (Anime) add

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Spoiler

Love is like After the Rain. In the midst of stormy conditions you can either comfortably wait inside until the weather dies down or choose to face it head-on, pressing forward through the torrent and seeing where it takes you. Similarly, passion is like after the rain; once drowned out it can leave you confounded and lost with grey clouds hanging overhead. What once before had consumed one’s lifestyle is suddenly stripped away, no longer part of who they are and now they must come to terms with this. In After the Rain we are shown two characters, each on the surface seem completely different ... to one another but upon closer inspection share a comparable suffering – they are both burdened with the feelings of a lost passion.

*THIS REVIEW CONTAINS SPOILERS*

High-school sophomore Akira Tachibana is obliged to give up track-and-field after suffering a torn Achilles tendon. Up until this point, running had been part of her life since her earliest memories, almost becoming an instinctual part of her. Now having been ripped away from her passion she finds herself detached from her past world. Stumbling along mere sidewalks by her lonesome self, enveloped in a constant downpour that doesn’t appear to let up anytime soon. Akira as shown on numerous occasions is very emotionally-driven, her feelings never bottled up and always fuelling her actions. Now facing the reality of her situation alone, she is at the lowest she has ever been. But one day, whilst sitting inside a family restaurant staring out at the rain, the manager approaches her with a cup of coffee on the house, performs a cute magic trick before saying to her:

“It’s boring when you’re just waiting for the rain to stop. I’m sure it’ll stop raining soon.”

This alongside his act of kindness captures her heart and results in Akira developing a childlike crush on the man, subconsciously filling the void her injury left with an almost unhealthy love for Masami Kondo, the manager over twice her own age. Going so far as working under him at that very restaurant, becoming more and more committed in confessing her feelings to the man. Considering the subject matter, this series walks on very thin ice with focusing on an implied romance between a young girl and a middle-aged man, even testing the waters at times with her confession leading to a date between the two. But where many other series would have faltered, After the Rain handles this relationship with a level of grace and tactfulness rarely found in anime. It evolves from a simple age-gap romance generally considered taboo to deliver on a tale that focuses on the couple as individuals, each having lost something integral to themselves in the past and are both still learning to cope with.

Masami Kondo may seem a typical kind man on first impression but his life up to this point has been far from what he once hoped for. He is constantly burdened by what could have been – an avid writer in his youth whose material unfortunately never gained popularity and coupled with a failed marriage, leaves him with an attitude of complacency. His adoration for writing heavily implied as the driving force behind his divorce and losing custody of their child, a tragic turn of events that left his family broken and eventually caused him to abandon his writing. Now whenever his past career work is challenged, he simply blames it on age and sees any serious attempt to change such is inconsequential. He is content in reminiscing about the love he once had bitter-sweetly, afraid of potentially tainting the memories he still cherishes.

Both our main characters have felt the pain their passions led them to, Akira physically with a severe injury and Kondo emotionally with his family fractured in the process. Both are pushed away from what they lost and have grown fearful of the hole left in their place, afraid of ever returning to them. Kondo is fine reading the words of others and scribbling down notes when working, but at his desk with pen in hand he can only stare at the sheet in front of him, his thoughts never put to paper. Alongside being reminded of his past failings in the form of his highly-successful college friend, he is unable to take that step towards rekindling his passion. Akira is still willing to talk with her friends on the track team, but now doing so is coupled with a feeling of disconnect and angst, stranded alone and forced to watch their practice from the sidelines. Every time she tries to run she’s left injured in the process by her lost love, an ever-present obstacle that she just cannot seem to overcome.

On that day when Kondo offered her coffee they were only strangers, unaware of what has happened in the other person’s life. What Kondo did know however was the look in her eyes; the longing gaze of someone who’s lost and mourning something important to them. He knows it because it’s the kind of look he shows whenever alone. Staring into the rain at night with cigarette in hand, reflecting on what he once had, his position in life and how he ended up there. Despite the difference in age Kondo is able to empathize with Akira, birthing a stronger connection between the pair from the parallels of their situations. A crush from the teenage girl does initially result from this and while there are moments throughout the show that hint towards romantic feelings being returned by Kondo, the overall approach is cautious and thoughtful. Her fondness for Kondo is illustrated as simply infatuation born out of immaturity and never becomes a path to shape her future. Not only are her feelings never taken advantage of by the older man, but what began as a school-girl affection morphs into a deep mutual respect and understanding between two damaged people.

Love is like After the Rain, but not strictly in a romantic sense. Instead it aspires to depict the rekindling of a lost love that has plagued both Akira and Kondo’s lives. Here lies a story of two people with their own problems that are able to help each other work through them. Allusions are a core aspect of the series used to convey the issues each main character faces, both visually and metaphorically. When referring to the short story “Rashomon”, Kondo suggests he is too far gone to try writing once again, claiming he is not the protagonist and does not possess the energy or determination required for it. In response Akira tells him that his regrets aren’t something to wallow in, instead use them as motivation to return to that love that constantly spurred him on. For Akira, her fears of running again are finally addressed when having a conversation around a swallow that had trouble leaving the nest. Asked if the bird could have been happy staying behind in the nest, Kondo asserts that while there might be happiness found, it would forever look up and long for the skies. These moments end up being the push both needed to take the next step forward in their lives. Both have realised they each have a lot to work on as individuals and neither are ready to give up on the dreams they hold dearly in their hearts yet. And so, they each go their separate ways.

As the end credits roll, a melancholic theme plays set to a race track flooded with rain, only to transform into a bright one as the sun breaks through the clouds whilst the tune meets its climax. It’s a gorgeous representation for how the series closes with both Akira and Kondo coming out of the storm stronger than before, ready to face their passions once more. No matter how long darkness and feelings of uncertainty loom over, there will surely be a light that follows. Amidst the rain seeds of romance were planted, but now that the rain is over do they have the chance to flourish. Whether their relationship still holds romantic love or not remains to be seen. But from a year praised as one of the best for anime, I know there’s at least one show from that year I still hold great fondness for.

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Jan 6, 2019

Gankutsuou (Anime) add

Recommended

Ambition. An earnest desire for achievement or distinction and the willingness to strive for such is often fundamental in success. It produces action, bringing forth moods of passion, emotion and a yearning love for the endeavor in itself. This is especially the case with art, where the skill and craftmanship of creators are bared on display, readily available for consumers to take in and experience for themselves. However, in recent times one could argue that such craftmanship seems to have dwindled overtime, instead reverting to complacency in one’s ability to prosper. No longer when writing a story is a high level of skill or diction ...

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Dec 29, 2018

Goblin Slayer (Anime) add

Not Recommended

“Anyone who likes/dislikes this show is a Nazi/Libtard.” – The state of the anime community after episode 1.

I think it is fair to say that no other anime has caused such controversy and overwhelming divide amongst anime fans after a single episode like Goblin Slayer has. The pilot almost effortlessly setting a spark across the community that would act as ignition to countless flame wars lasting for weeks on end. A scene lasting around fifteen seconds receiving more vitriol and condemnation than arguably every other anime airing this year. On the surface, the divide seems clear: on one side lies those vocal to their displeasure ... of even the sheer existence of this series, labelling it as edgy, repugnant and pornographic. Some going even so far as comparing the anime to Nazi propaganda decades ago. And on the opposing side lies the fandom, constantly upset by criticism their beloved show receives and reverting to insults and name-calling them with popular phrases such as the dreaded “SJW” for example. But these are simply gross generalisations of both the series and its viewers, centring upon a small group of outspoken individuals that unfortunately leads any attempt of discourse astray. Instead my aim here is to hopefully bring a more critical view on Goblin Slayer to the discussion; of the series’ perceived intent, as well as numerous faults and issues prevalent throughout its first season.

“The gods of light, order and fate, and the gods of darkness, chaos and coincidence decided to throw dice in order to determine which side would rule the world. The gods threw the dice over and over and over again, until they began to feel faint.”

Goblin Slayer is a dark fantasy anime adapted from both the manga and light novels of the same name, highly inspired by tabletop role-playing games. Initially the story follows a young woman known as “Priestess” that has recently become an adventurer and joins an upstart party on her first quest. Their naivety and inexperience ultimately lead to their grim demise, ravaged by goblins who commit heinous acts such as rape and dismemberment depicted in much more graphic fashion compared to other fantasy anime of recent years. Before the Priestess can be dispatched however, the actual protagonist appears from the shadows, intent of massacring every goblin in sight. From this point, the series is predominantly focused on this mysterious adventurer commonly referred to as “Goblin Slayer” and his efforts to exterminate the entire goblin species.

The beginning to this story gives what I believe to be a clear sense of what Goblin Slayer strives to be. Simplistic, cheerful dialogue to elucidate fundamentals of the adventurer system, a light-hearted tone able to create a strong optimistic mood, even the visuals and audio utilizing light colours for character designs coupled with an upbeat tune all try and convey a presentation akin to the typical fantasy anime of recent memory. The group of upstart adventurers each can be seen representing archetypes one would expect to be present in such a series: tsundere, loli character, main character for a harem, etc. Numerous times before a goblin appears on screen, subtle signs are revealed about the party’s lack of preparation and expectation to indicate this quest will not be as successful as they hope, and then what follows is a shocking realization of what the world of Goblin Slayer truly entails. Essentially these characters were tools for the series to subvert people’s initial expectations of the story, with the tragic events that entail further emphasizing this point. The sickening portrayal and detail of these actions going to further lengths than most anime fans have probably ever experienced previously in the medium. Disgusting to watch even for the short time shown, and from the reception this anime received, it looks to have garnered the initial reaction staff had intended. From this perspective, while many can find these scenes crass and tactless in their depiction, I find it difficult to call this part of Goblin Slayer lazy writing.

Shortly followed by the introduction of the titular protagonist reveals a change that strongly contrast to events that just transpired earlier. Compared to the almost wilfully ignorant upstart adventurers that end up decimated to the lowest mob type in the world, Goblin Slayer’s approach to killing goblins is much more tactical. Shown to analyse nearly every time he murders a single goblin, often determining the most effective method for slaughtering the mob step-by-step before executing his strategy in cold, calculated fashion. Through this he not only personifies the kind of badass main character one would expect for a darker fantasy story, but also provides a solid understanding of how a high-level adventurer would be expected to act in battle. Armed with various weapons and antidotes whilst always on the lookout for signs, Goblin Slayer has enough tools at his disposal to face any goblin he would come across. A clear juxtaposition to how many inexperienced adventurers would conduct themselves. Him slaughtering the horde also raises an intriguing question of Goblin Slayer’s morality when intending to murder the child goblins. While the protagonist remains steadfast of his opinion on the species, the Priestess brings forth the possibility of a “good goblin”. Despite going through with eliminating them, he does admit there could be one out there. From this, viewers have a grasp on how this tale could further develop this idea with having both character’s ethics challenged as Goblin Slayer’s quest continues. There is potential in this tale to be more than just the fun schlock of the season. Unfortunately, that potential slowly gets squandered every episode following, and personally even loses the series’ initial appeal.

One of the more detrimental choices I find a story can make is following an attempt to create a purposeful, serious tone, and then reverting to what it tried to distance itself from initially. After Goblin Slayer’s shocking start that firmly established the story as a dark fantasy that supposedly takes itself seriously, the anime takes an odd change in tone that is rather baffling to understand. Numerous quests later in the series showcase characters in a way you would never have expected in Goblin Slayer, with an array of playful, trifling scenes one would more commonly associate with a slice-of-life anime than this show. Somehow the series decided to skip on possibly showing some of the effects trauma experienced from death, sexual assault or even just being an adventure can have on a person, instead these scenes barely contribute to the characters on a notable level. The change in tone can lead to breaks in one’s immersion of the story and the protagonist it follows, with transitions feeling awkward and out of place more often than not. A notorious example can be found in episode 2 where the episode cuts to a well-endowed redhead girl waking out of bed and stretching, followed by some of the most prominent jiggle physics to be found this season. I thought this was meant to be a serious tale. For a dark fantasy to work, usually it requires the atmosphere of a series to remain constant enough to a degree where the earnestness and consequences of actions can still be felt through the more cheerful scenes. Berserk, Attack on Titan and Fullmetal Alchemist 2003 are just some examples of dark fantasy anime that constantly have a sombre air about them, constantly felt when witnessing the actions of their characters. Goblin Slayer lacks this air that breezes alongside the narrative and whilst continuing to lack a strong sense of identity in a genre already spoiled by an abundance of generic fantasy, it is more inclined to leave a stale taste in the mouths of those hoping for Goblin Slayer to distance itself further from its contemporaries.

This lack of an identity also permeates the narrative and overarching worldbuilding to a degree that I have to address. When a series attempts to be subversive or even hold deconstructive elements to its genre, normally this involves acknowledging the well-established tropes typically associated to its genre, before supplanting their intentions. Goblin Slayer, at least in its first season, does not do this. Alongside the series constantly switching its tone between dark and nonchalant, the anime seems to never want to take its world too seriously despite the premise. Goblin Slayer is a man who has an unrelenting obsession to kill goblins as they are a species that lingers on as a problem for innocent people. They are weak creature with childlike intelligence individually, but as a mob are a destructive force which can lead to the devastation of entire towns. An interesting yet believable problem in this world. So then, how is it believable to think that there is only one person that acts in response to this problem? Because the anime has mainly taken place around a small town there is a possibility for other adventurers similar to Goblin Slayer to be primarily hunting goblins in their own areas of the world. But thinking on a large scale, if goblin mobs can and already have been a significant cause of wiping out various towns, would someone not think that their effect to agriculture and the overall economy poses a severe threat on a national scale, to where even adventurers seeking glory and fame would end up losing money? I would have at least expected some form of intervention – here is an idea: have some adventurers hired as a form of security for farmers against a potential goblin attack. Or at least have the guild girl not allow novices to take these jobs when it is made apparent how many novices and kidnapped and killed off by goblin mobs! If so many are dying because of this fact, maybe it would be best to intervene, even if with just a simple warning about how dangerous they are, and how prevalent this is. If only Goblin Slayer had more consistency in its world that more people could admire, instead of trying to subvert common fantasy anime tropes and then as if almost contradictory to itself maintaining a level of unbelievability behind how these aspects work in its story.

It is upsetting how a show essentially fails at fleshing out the more complex issues the world of Goblin Slayer encompasses, especially when most of the defence for this anime in regards to certain actions and events is derived from insular logic. A common complaint for the series initially was based around why goblins rape, and while it certainly is specified that rape is their only option for reproduction, that does not cover details about their creation. Goblins here are force-of-nature villains that embody evil and chaos, thus not requiring distinct personalities and from this the rape shown can be considered a further way of emphasizing that point thus bringing them to where they can be considered irredeemable, but this only works on a narrative level. All works of fiction are made with intentions from their creator/s and by peeling down the layers of in-universe context is one able to search for the purpose and intentions behind specific scenes, actions, etc. Often termed the Thermian Argument, it claims that pointing to a show’s logic in response to criticism of the subject matter is inherently fallacious. It supports a difference between what is being depicted and why such is being depicted at all; a metanarrative point of view. I stated what I believed to be the main intention behind such shocking acts in the first episode as a way for the show to subvert the audience for what kind of anime they were in store for, but after witnessing the series make that idea almost completely irrelevant through poor direction, tonal dissonance and having such actions repeated onscreen later with similarly crude framing for reasons even I am unsure of, it is hard to defend the series for all these creative choices happening numerous times throughout the anime’s duration from a metanarrative point of view.

Characterization is one of Goblin Slayer’s focal points if even only applying to one individual so far. Goblin Slayer is the embodiment of a man who refuses to die before his purpose in life is seen through to the end. Driven by revenge after goblins took away the person most precious to him, he epitomizes the idea of how a badass protagonist should act. His character design is also impressive in certain scenes with a red eye theme glowing in the darkness that oozes a killer instinct rarely found in anime nowadays. Reminder that the in-universe creation of the series was founded on gods rolling dice and playing the game of chance, with all various races and species being birthed purely for their amusement. But with the way Goblin Slayer acts, he can be considered the one character in this world to defy the will and wishes of those who created him. And while there are numerous examples of him conveniently surviving so far due to plot armour, the intent remains – underneath his monotonous voice and implied social awkwardness lies the potential for a metaphorical figure of inspiration. Unfortunately, that is where most of the praise for characters ends at this point in the anime. Every character besides Goblin Slayer receives little attention in the anime, with minimal development bar the Priestess who acts as a rookie slowly growing and learning how to survive as an adventurer in this harsh world, however even this has made little progress this first season. Other characters sprinkled across the story range from other rookies slowly improving and gaining experience to dependable fighters often able to hold their own in battle, which is a striking difference compared to how most typically act away from any battlefield; childish and immature. Honestly, besides Priestess and Goblin Slayer the rest of the cast are easily expendable, but I guess that is to be expected when the supporting cast includes names such as “Cow Girl” and “Lizardman”. Hopefully if there is a sequel, they have a better opportunity to leave a lasting impression on the anime.

Much like these forgettable characters the production quality for Goblin Slayer also failed to leave a strong impact. The art is not very detailed, with most character designs and backgrounds often appearing plain and generic for most of the season. A mixture of 2D and 3D animation is used to jarring effect, with most action scenes and the occasional panning shot relying on CGI that look more like an eyesore that anything visually pleasing. In fact, most of the better-looking shots involve scenes lacking any sort of movement. Disappointing as the artwork is commonly seen as a key strength to the manga’s popularity. For a series where the most basic appeal comes from a guy mowing down goblins, the action was underwhelming and that kills a show like this. Wish I could say otherwise for the soundtrack, but that also failed to leave a strong impression on me. Voice acting was solid but effectively crippled with a lacklustre script treating half the characters as dense. The opening theme was melancholic but failed to ever have me personally want to listen to it more than once. The ending theme while I certainly enjoyed it more was accompanied by CGI Goblin Slayer with clunky animation. At least the ending track was fun.

Goblin Slayer is at its core, an anime about one man slaying goblins. Though it can tempt viewers with ideas of something greater at work, it still boils down to a mere schlocky action show with lacklustre presentation that by the end of its first season has its biggest strengths stemming from potential and a hope that a sequel can further flesh out characters and worldbuilding which at this point cannot hold up to scrutiny. But it does have its appealing qualities no matter how superficial they might be. If you are willing to take a chance on a simple action anime trying to break the trend of generic fantasy released this year, this might be worth your investment. My main hope is that now with the most controversial anime of the year finished, the community at large can learn from this experience. As the old saying goes: “That which does not kill us makes us stronger.”

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