Haruta to Chika wa Seishun Suru, or HaruChika for those who don’t want to run out of breath before finishing their sentence, is a victim of misidentification that bears partial responsibility for the hole it sunk itself in when Winter season began. Misguided direction muddles the small moments of brilliance and potential the series teases, which is a shame because even with its messy composition, HaruChika remains as an endearing anime that is sure to entertain more than its rating entails.
As the title suggests, our story closely follows the lives of childhood friends Kamijou Haruta and Homura Chika. Reunited upon entering high school, Haruta and
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Chika quickly invest the bulk of their free time reconstructing the crumbling remnants of their school’s brass band club. While the incentive for both is driven by their romantic feelings for the club’s conductor and advisor, Kusakabe Shinjirou, both Haruta and Chika (Chika more so) find themselves slowly taken in by the concerns the members of the brass band introduce even though their ulterior motives persist.
This is really where HaruChika excels: as an episodic character piece that examines varying dynamics of clashing personalities. Author Hatsuno Sei chooses to draw out the majority of interactions through a collection of entertaining mysteries – some on the lighter side and others surprisingly thorough and novel considering the limited scope of controversial topics anime tend to tread over. Given the 20 or so minute cap each mystery has to be solved, Haruta employs his Sherlock Holmes-esque deduction skills to piece together various pieces of the mystery to reach its resolution.
At its core, when HaruChika understands its strengths to use the aforementioned elements to build its cast, it absolutely excels. Unfortunately, this focus never persists throughout the series. The sudden shifts of focus from understanding the backstory of a supporting character to its obsession of placing the band’s goal of winning the grand prize at their regional competition at the forefront of importance hinders HaruChika’s general direction. It’s reminiscent of an impatient child: trying out a bunch of things and refusing to settle with its strengths. Whether this is the onus of the original author or series composition director/screenwriter Yoshida Reiko is up in air as I have not read the original source material.
However, given these issues in story direction, the fact that the characterization of its core cast and even its supporting cast can push through the series’ messy composition is a testament to the thought and care put in HaruChika’s dialogue and character development. The character that best exemplifies this crowning achievement is Chika. Thrust to the audience as a brash, klutzy, yet cheerful girl, one’s first impression of Chika’s personality isn’t too promising. Blabbering about changing her middle school image to become the prototypical high school “cute girl” belies the tremendous development Chika sees as an individual; however, there really isn’t a defining moment that catapults her to a more well-developed character.
And that’s what’s so impressive about it.
There is no overdramatized moment that pushes Chika to become more than a stereotype yet it happens so organically. Just as her cheerfulness encompasses the slowly growing brass band club, it finds its way to endear the audience as we explore the complexities that define her behavior and persistence. Although the same level of development cannot be seen with Haruta or the rest of the core cast, Chika’s progression and charisma alone is enough to warrant giving the show a try.
As for HaruChika’s supporting cast, development of other important characters like Narushima or Maren is inherently stunted by the series’ episodic nature, which is a shame given that each individual episode covering them provides rich backstories and cathartic moments. The conversations exchanged between the cast also holds an impressive degree of maturity and cognizance of each particular situation, although that might come off as a bit unrealistic since we are talking about high schoolers. However, given that we have a Sherlock Holmes boy genius in Haruta, one could argue that their maturity is a minor detail. Unfortunately, it’s not something that can be easily overlooked with an anime keen on developing characters through continued conversation.
In terms of other general issues, HaruChika harbors a distinct lack of a band dynamic present in other similar shows like Hibike Euphonium. I would say this circumstance is inescapable though because HaruChika’s strength of individual characterization contradicts the construct and complexities of a school band, so this results in a core setting issue leading to an unfortunate paradox of tradeoffs. Namely, if HaruChika wasn’t set in a team-related club (e.g; band, sports, etc.), it would justify its failure to consider drama within a larger group but forfeit opportunities to capitalize with its episodic mysteries, especially since many were focused on convincing members of the supporting cast to play for the band.
Shifting focus to HaruChika’s technical merits, they are unfortunately far and few in between. PA works is typically known for its consistency and quality in animation; however, HaruChika sees almost none of the artistic brilliance and care previous PA Works entries such as Uchouten Kazoku or Shirobako have received. Character models are generally choppy but grow on the viewer as the series progresses. Visual cues and framing techniques are seldom employed to augment a scene, and backgrounds were generally unimpressive. However, voice acting performances and the few band entries played throughout the series help offset some of the lackluster animation efforts. Sarah Emi Bridcutt’s jubilant Chika heads a handful of notable performances that includes Chisuga Haruka’s Narushima and the endearing Omigawa Chiaki’s Asahina twins, Sae and Kae.
Overall, when viewing HaruChika as a complete package, it falls short. Muddled in its ambitions to be more than what it excels with, the natural progression of the story feels haphazardly constructed. The animation quality does not hold up with what we’ve come to expect from PA Works and its limited runtime left the viewer with more questions than answers. However, even with that in mind, when viewed in the perspective of an episodic character piece with a loose string attaching the pieces together, HaruChika remains an intriguing and entertaining entry highlighted by an excellent main character. If you have a few hours to spare, I would definitely give HaruChika a shot despite its abysmal ratings.
Mar 26, 2016 Recommended
Haruta to Chika wa Seishun Suru, or HaruChika for those who don’t want to run out of breath before finishing their sentence, is a victim of misidentification that bears partial responsibility for the hole it sunk itself in when Winter season began. Misguided direction muddles the small moments of brilliance and potential the series teases, which is a shame because even with its messy composition, HaruChika remains as an endearing anime that is sure to entertain more than its rating entails.
As the title suggests, our story closely follows the lives of childhood friends Kamijou Haruta and Homura Chika. Reunited upon entering high school, Haruta and ...
Reviewer’s Rating: 7
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Mar 24, 2016
Boku dake ga Inai Machi
(Anime)
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A technical masterpiece, a functional mystery, and a handful of missed opportunities: Boku Dake ga Inai Machi, or Erased, has triumphed to win over the general public yet held with it its fair share of issues as the poster child of Winter 2016 anime. However, with everything considered, Erased still stands as a well-rounded entry into the mystery genre, although relying on its generally deft characterization and fantastic visual direction to provide the audience with a cathartic and entertaining experience.
The year is 2006, and Fujinuma Satoru is a 29-year-old manga artist with an interesting ability. He calls it Revival: a phenomenon that occurs in instances ... such that when he stumbles upon a “dangerous” situation, he is thrust back to the past repeatedly to face the issue until its resolution. The premise of his ability is interesting, but the story does not bog the audience down with too many unnecessary details, as its key functionality is to bootstrap the bulk of the story. As the events of the first episode blaze through with unrelenting speed, Satoru finds himself forced back 18 years. It’s now 1988, and with little direction other than a hunch that loosely connects present with the past, Satoru must simultaneously prevent the death of his classmate, Hinazuki Kayo while piecing together the loose connections that led his Revival to rewind him back to 1988. While the concept itself isn’t novel, Erased’s adamancy to focus on the underlying mystery rather than abuse Revival as a plot device is one of several decisions director Itou Tomohiko and author Sanbe Kei made that help strengthen its story. Additionally, as far as a conventional mystery goes, Erased never falters from conventional mystery formulas such as Knox’s 10 commandments. However, its this very obedience to the formula that dooms its resolution as predictable, dry and frankly disappointing. On the other hand, much of story writing is about emphasizing the journey rather than the destination and luckily, Itou Tomohiko shows a respectable level of skill in keeping the audience at the edge of their seats. Relying on its characters more so than the direction of the story, Erased features a strong core cast led by Satoru. A pleasant byproduct of Satoru’s revival is to watch a 29-year-old mind in an 11-year-old body. An inherent issue with most anime tends to be its obsession with school settings, which as a byproduct, really only allow for a narrow perspective into human behavior. The juxtaposition between the developed and undeveloped thought process of adults and children, and how those feelings drive the direction of Erased’s story is a smooth marriage of diversified characterization with a thrilling pace that augments its cathartic effects. Although archetypal by nature, the supporting cast provide a rich surrounding environment that support the dynamic persona of Satoru. This relationship between Satoru and his supporting cast only begins to stagnate as the series nears its end, and with a short 12-episode runtime, Erased narrowly escapes falling into the trap of repetition. Unfortunately, this duration is both a blessing and a curse. When considering a mystery that has a culprit, Erased forfeits its opportunity to characterize its second most important member. As other shows have had the privilege of time to characterize the dynamic of a sociopath, Erased simply assumes the viewer will understand, and relies instead on visual cueing and direction to paint a more detailed backstory. However, its this very misstep that highlights the crowning achievement of Erased: its artistic direction. It really takes the timeless idiom of “A picture is worth 1000 words” to an extreme. Whatever misstep is introduced in a gaffe of pacing or dullness in the story it makes up for with masterfully directed scenes. From the disappointing reveal of the culprit to an early-morning breakfast, Itou Tomohiko and his animation staff draw out every last drop of emotion visuals can possibly provide. Major framing decisions such as viewing his past at a different aspect ratio to reflect that of watching a feature film to minor details such as timing and positioning of certain frames to emphasize importance and augment suspense catapult the series’ enjoyment. Sound mixing and effects further push Erased’s animation direction, from the sudden and discomforting screeches before cliffhangers to intentionally placed moments of silence that provide the same levels of uneasiness and suspense utilizing an entirely different bag of sound tricks. The OST itself doesn’t go out of its way to stand out in the series; however, its usage is seldom misplaced. The opening song, Re:Re, is an old Asian Kung Fu Generation tune that pumps up the viewer for another week of high-stakes suspense, complemented by a skillfully arranged opening sequence that not only foreshadows, but establishes lasting visual motifs that persist throughout the series. The ending, Sore wa Chiisana Hikari no Youna, is a more ominous and somber song that features a visually abstract yet appealing sequence reminiscent of Shinsekai Yori’s first ending, Wareta Ringo (I do believe both were directed by the same animation director). It’s hard to determine what Erased really deserves. A rather silent and hype-free month before its airing led to explosion of popularity following its dynamic and fast-paced introduction before ultimately falling from grace. However, when viewed as a complete package, Erased suffered more from hype than a haphazard story pacing. It boasts tremendous visual direction and a complacent, yet entertaining mystery complemented with a strong cast. There is no doubt Erased will receive unwarranted criticism and praise, but the nature of film and media (as is with life), is to favor extremes over a comprehensive discussion over its merits and flaws. For such a short and entertaining series, Erased does warrant a deserved recommendation and I would not hesitate to say that it still sits as one of the better anime to come out this Winter.
Reviewer’s Rating: 8
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Apr 11, 2015 Recommended
There’s a question I get posed with every once in a while when someone asks me about my anime preferences: “Why slice of life?” This question stumps me for a bit; I get lost in my thoughts, try to form an explanation that sounds quasi-intelligent, and after a minute of awkward silence and blank stares, I come to a conclusion that gratifies my conscience, but leads to anger or confusion:
“Why not?” Barakamon is an excellent example of why I adore the slice of life genre not only because it embodies the characteristics that make the genre so enjoyable and accessible to a wide audience, but it ... simultaneously dissuades common, negative stereotypes with its simplicity in execution. Handa Seishuu is a bit of a unique personality. As a famous calligrapher whose progress in life has been closely monitored by those around him, it’s pretty safe to say that all of the stress that surrounds him would be enough to bring any normal individual to his knees. Needless to say, Seishuu’s no superhuman, so what is ultimately expected happens: he caves – big time. After KO punching a well-known calligraphy critic for scrutinizing his work as lifeless, Seishuu’s friend, Kawafuji, and his father, Seimei, send him to a small island to collect his thoughts and chill the heck out. At this point, it sounds like the “story” will carry out predictably and his path to redemption is all but guaranteed, as dictated by the storytelling gods. The beauty of Barakamon, though, is that is (almost) exactly what happens. However, if such a conclusion seems that inevitable, why does Barakamon still stand out not only when compared to other slice of life anime, but to other anime in general? We begin the complicated path towards that answer with an innocent little creature, Kotoishi Naru, whose personality is indicative of both the atmosphere and direction of Barakamon’s “story.” In most slice-of-life narratives, little thought is given to a cohesive storyline; in fact, the nature of these series is character-driven. Thus, in order to create a strong slice of life anime, strong characters are necessary. Let’s stop here for a second and discuss the following question: what does it mean to be a “strong” character in slice of life? Must a character encounter and conquer conflict? Does she need to express her inner thoughts through philosophical introspection? Will these questions ever lead us to an answer? Chances are they won’t, but believe it or not, the answer is much simpler than the questions suggest. Taking a page out of Naru’s book, it just has to be “gobs of fun,” and that is exactly what all of the characters in Barakamon, led by Naru, provide for the audience. Barakamon’s cast embodies the very definition of character: expressive, diverse, human. Simple traits – Naru’s bubbliness or Hiroshi’s indifference – complement each other while building unique personas that help make the cast such a memorable one. However, for those who blindly characterize character depth solely through loose definitions of “development”, “maturity”, or some cryptic hodgepodge of esoteric script-writing, Barakamon humbly fulfills this plate with an expected, yet coherent tale of Seishuu’s path to what most people in their mid-twenties search for: a role in life. With the unbounded potential of anime as a story-telling medium, typically what one would expect is a flashy and dramatic journey of self-realization that culminates with our glorious protagonist coming to peace with his past demons and becoming an entirely new person. Barakamon says to hell with that. Instead, the show leisurely builds Seishuu’s character through a series of insignificant, comedic moments dashed with tidbits of wisdom. Nothing glorious here, but how Seishuu comes in terms with his past and his quarter-life crisis is beautiful in its grounding in reality. There is no defining moment, no moment of Nirvana, and no deliberate pacing. In fact, there are times where Seishuu “develops” as a person quickly, only to take two steps back. However, it is in this awkward, unpredictable growth where we see Barakamon’s undeniable ability to tell a story so familiar and relatable, yet also send a message while entertaining with ease. And boy does it send a message. From catching beetles under the scorching summer sun to enjoying an archetypal seasonal festival, Barakamon effortlessly conveys to the audience its genuine philosophy of life as a thin veneer over the bulk of its content, which consists of everyday goings, short gags, and the occasional serious moment. It proceeds throughout its twelve entertaining episodes without changing its formula and holding true its aforementioned identity. Barakamon’s character design and animation are both pretty standard for 2014. Unlike contemporary anime, there isn’t too much overt sexualization, which is always a breath of fresh air. Backgrounds have a soft color palette making the visual experience more soothing. Music is a definite plus in Barakamon. From a strong opening and ending combination to a soundtrack that always seems to play the right track at the right time, the show satisfied all basic visual and audial desires. “What does it mean to be yourself?” This is the simple question Barakamon explores without needing to spell it out. Instead, with its vibrant cast and simple story structure, Barakamon is able to stand out from the crowd, and I believe it is perhaps one of the best, and definitely the most sincere anime I have had the pleasure to enjoy in 2014.
Reviewer’s Rating: 9
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Dec 20, 2013
Cross Game
(Anime)
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“Simple is best.”
-Coach Maeno One of the most common misconceptions viewers have regarding any form of media is something I call the “been there, done that” phenomenon. That is, if something similar has been done before, chances are the viewer will form a set of judgmental comparisons and criteria to be matched. This leads to the unrealistic expectation that equates to the viewer expecting some sort of literary revolution, only looking forward without truly embracing what the present has to offer. Adachi Mitsuru’s Cross Game accepts its genre boundaries, and relies on the deftness of its storytelling and the depth of its characterization to keep you ... wanting more. Kitamura Ko is the only son of Kitamura Sports Shop, whose apathetic nature belies his immense potential as a baseball player. Living down the street from Tsukishima Batting Center, home to its four sisters, Ko’s family has formed a long-lasting relationship with the Tsukishima’s. This bond is strengthened by the fated pair, Ko and the Tsukishima’s second oldest, Wakaba, both being born on the same day in the same hospital. Almost immediately, Adachi throws a tragic curveball to the viewer, to which he first displays his skillful handling of his story. With such heavy dramatic potential in just the first episode alone, Adachi carefully utilizes this opportunity to not throw away his setup in favor of melodrama, but instead capitalize on creating a human connection between the characters and the viewers. This connection cements the foundation for a strong cast of personalities, led by Ko and the Tsukishima’s third sister, Aoba. The two protagonists are startlingly similar, and Adachi builds the pair up like two halves of a perfect whole. Despite Aoba’s generally spiteful attitude towards Ko and his reluctant acceptance of her continual ridicule, the exchanges between the two do not detract from their development, but instead define its progression. Additionally, a further romantic element is introduced, which adds a dramatic tone that quickens the story’s pacing towards their lives in Seishu High School and their dreams of aiming for Koshien, while introducing human complexities and relationships that are surprisingly, never overdramatized. However, to assume the depth of characterization stops with the protagonists would be a major mistake. Perhaps the most interesting character besides the leading pair is Akaishi Osamu, a childhood friend to Ko. Eventually named team captain to Seishu’s baseball team, Akaishi’s personality and decisions throughout the series draw a heavy emotional connection not expected of side characters, especially in sports anime that typically focus only on the protagonists. A whole slew of other characters are also given some time to shine, from Seishu’s cleanup hitter, Azuma Yuhei, to the team’s former manager, Shidou Risa. Each character opts to stay true to who they are, while developing as a result of the progression of the story. Adachi embraces the notion that people never completely change who they are, but they do make adjustments to make better of their lives. Outside of the drama and relationships is a generally lighthearted dialogue that surrounds a rather typical formula to get to Koshien, Japan’s High School baseball championship. The progression of Seishu’s baseball team and Aoba’s struggle to continue baseball despite not being able to participate in official games become key plot points that seamlessly intertwine with consistent character interaction defined by Adachi’s keen sense of humor. Speaking of humor, jokes are masterfully timed and clever, despite seeming cliché from time to time. The juxtaposition of the serious and the blithe is a tone not seen pulled off correctly too often in anime, but Cross Game is able to nail it almost every time, making sure each joke is cracked just the right number of times and at the right time too. However, the frivolity of their banter is not wasted either. Even the lightest of jokes serves a purpose to further an emotional connection between the character and the audience, and as the series progresses, the viewer will find him or herself laughing or crying along with the characters. Regarding the actual baseball in the series, there is definitely plenty of it, and the games are done very well. One does not have to be a fan of baseball to simply enjoy the timely suspense of a close game, and unlike most other sports anime, the series doesn’t sell out on creating unrealistic situations or miracle comebacks to keep the viewer at the edge of her seat. The pacing of Cross Game is slow for a sports anime, but well-executed. The three major twists in the series are timed perfectly, which adds a sense of believability, for coincidences in life do occur, but not constantly. While relationships between characters may seem to grow complex, the foundation of the series remains rather simple and true to itself. For this series to be labeled as a “drama” is definitely justified, but a bit of an overstatement. It carries many slice of life elements and ultimately is a feel-good experience, but the sheer variety of what it has to offer extends beyond a simple genre label. However, that’s not to say that the series is flaw-free either. With a decent amount of characters spanning 50 episodes, one can’t help but to ask for just a bit more from a few more characters. There were many lovable personalities throughout the series, and while some continued to develop, others like Nakanishi or Senda could have had some more time dedicated to them, seeing how they were both constants throughout the series. The animation is relatively consistent throughout the show. Released in 2009 by SynergySP, Cross Game definitely isn’t one of the top shows in the animation department; however, the series definitely wins some points with its charm in character design. Even though the art style might not seem too refined, it is easy to grow onto, and within a dozen episodes, one will hardly notice any huge complaints in that department. One step above the animation is the quality of Cross Game’s soundtrack and voice acting. While there isn’t anything in particular that stands out about the voice acting, Irino Miyu’s Kitamura Kou and Tomatsu Haruka’s Tsukishima Aoba were a fine lead pair. The true standout of Cross Game’s sound set was its OST, which includes several tracks that were awe-inspiring when played alongside certain scenes. However, the OST probably was not used to its full potential mostly because the most captivating tracks were saved for the grandest moments, and most of the series consisted of lighthearted moments with lighthearted tunes to match it. The only opening of the series, Summer Rain, was an excellent choice to carry the series through 50 whole episodes. The first ending, Koi Kogarete Mita Yume, was my personal favorite and a highly emotional ballad. The other endings were all solid with their own respects. They say to never judge a book by its cover, and Cross Game is an excellent example that supports this time-worn metaphor. Underneath a genre filled with complexities and controversy, Cross Game flourishes with a simple tale to tell, and it’s given a lengthy amount of time to do so. Unhurried, yet engaging – simple, but beautiful – Cross Game was an emotional and memorable experience that has undoubtedly been the best Sports-related anime I’ve watched thus far. TL;DR Version Art: 8/10 + Charming design + Consistent animation - Nothing too special - A few gaffes in animation Characters: 9.5/10 + Extensive cast that is believably human + Heavy emotional connection + Excellent Development + Does not fall victim to repetitive tropes - Some characters could’ve used more attention Sound: 9/10 + Excellent OST and op/ed sequences + Solid voice acting - Some wasted potential in soundtrack usage Story: 10/10 + Engaging story that is simple at heart + Nearly perfect pacing that always keeps the viewer at the edge of her seat + Highly entertaining baseball games + Mixes well with characters Enjoyment: 10/10 Overall: 9.3/10, Highly recommended for anyone to give a try. Potential classic of the genre.
Reviewer’s Rating: 9
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Sep 29, 2013
Uchouten Kazoku
(Anime)
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Coming into the summer season, Uchouten Kazoku was undoubtedly my most hyped up anime. With source material coming from a novel written by the author of the Tatami Galaxy and being directed by PA Works, who have recently been on a slump in terms of producing any semi-enjoyable show as of late, I had much reason to eagerly await its airing debut while nervously hoping that PA Works would throw its budget at something more than just its production values. What resulted after a satisfactory 13 weeks was undoubtedly the best summer season had to offer.
Story (9/10): Shimogamo Yasaburou is the third of four sons in ... the Shimogamo family, a tanuki (raccoon dog) family that lives in a modern, fantastical depiction of Kyoto where tanuki, tengu (crows), and humans live “peacefully” amongst each other. His late father, Soun, was once the Nise-emon (which is basically the leader) of tanuki society, and after his passing, the four sons of the Shimogamo family became notorious for being “idiots that failed to inherit their magnificent father’s blood.” The story starts off with a leisurely pacing that sees us follow Yasaburou’s life as somewhat of a carefree delinquent. A seemingly episodic format with entertaining happenings that ranges from competing in mid-festival airship battles to starting bathhouse quarrels characterize the series as unpredictable and messily composed, but fun nonetheless. This is where the magic begins. The entirety of the series, despite its episodic happenings, has an overarching storyline in the form of a quasi-mystery concerning the enigmatic disappearance and unfortunate fate of Soun. Immediately, red flags for a melodramatic mess should be raised by now; however, Uchouten Kazoku chooses the path less traveled. Although the pacing of each individual episode changes from time to time, seeming to speed up as we reach the climax, the actual structure of the narrative is both well-planned and controlled. By building a strong exposition that seems disorganized at first, the rest of the story plays out like putting the rest of the pieces into a jigsaw puzzle that explains the nonsensical events that seemed to have no reason to occur before all was said and done. Thematically speaking, Uchouten Kazoku holds true to the ideals frequently repeated to the audience throughout the anime. Living life to its fullest with no unnecessary desires along with coming in terms with the past are just a handful of messages that are conveyed not only through the dialogue, but also through the actions of the characters too. Speaking of dialogue, when it comes to entertaining conversations, Uchouten Kazoku is filled with quality exchanges and witty retorts. Although action scenes are sprinkled throughout the story, much of the series is heavy on dialogue. Despite this, Uchouten Kazoku still finds a way to be entertaining and gripping. Overall, the brilliance of Uchouten Kazoku’s story lies behind its execution and fantastic dialogue. Although there are no deep, philosophical questions posed or any interesting social/political debate to be argued, it’s this very simplicity that makes the experience all the more endearing. Art (9.5/10): The animation quality and details behind Uchouten Kazoku is something that took me by surprise as the show progressed. PA Works have often been known for their visually stunning backgrounds and fluid animation; however, with the exception of Hanasaku Iroha, the settings they have created felt very generic or empty, despite high production values. With Uchouten Kazoku, PA Works nailed nearly every fathomable criterion regarding an anime’s artistic set. The crowning achievement of Uchouten Kazoku was its rich and detailed backgrounds that depicted a fantastical, yet grounded image of the city of Kyoto. From iconic landmarks like the stunning Kamo River to the moonlit roofs of the city’s diverse buildings, the detail behind the show’s setting was both technically sound and richly enchanting. Not only does one have desktop background-quality images scattered plentifully throughout the series, but the scenes are fluid and alive. Background characters will walk about and have distinctively different designs and the flora and fauna are just as vivid and full of personality as the characters. Character designs done by Kumeta Kouji (of Zetsubou Sensei fame) accurately reflect the personalities of the wide variety of characters the series have to offer, each carrying a distinct charm. Overall, the visual set of Uchouten Kazoku was consistently stunning. From the lively and inviting atmosphere to the quirky yet lovable character designs, the series may perhaps be the best-looking show of this year. Sound (9.5/10): When it comes to Uchouten Kazoku’s OST, there seems to always be a track that compliments the scene. Being a show that blends together a generally upbeat and lighthearted mood with scattered moments of melancholy, one can imagine just how many different types of tracks the OST has to offer. In between the laid back piano/flute arrangements and the heavier string pieces are addicting electronic tunes influenced from various genres ranging from traditional shamisen to jazz. The modern flair to an otherwise traditionally influenced soundtrack brings a playful air, making the experience all the more entertaining. Similar to Morimi Tomihiko’s other work, The Tatami Galaxy, both the opening and ending sequences somehow find a way to have a hidden “significance” of sorts. Although director Yoshihara Masayuki opted to do so in an audial manner rather than a visual one (like Yuasa Masaaki did with Tatami Galaxy), the impact was equally made. The opening song, Uchouten Jinsei, plays out as a lively piece that may sound a tad too gritty at first, but grows onto oneself after a while. The lyrics complain about a boring world, yet champion one to find the fun in it and to be happy with what one has in life. The ending, Que Sera, Sera, is a calming ballad that has its meaning behind its name. “Whatever will be, will be” conveys not only the meaning of the song itself, but of the series as a whole. While I wouldn’t go as far as saying there were many standout performances, voice acting was solid all around, with a diverse cast of well-fit roles. The narration given by Sakurai Takahiro’s Yasaburou was a great lead voice, articulating clearly and keeping an interesting tone. Character (9/10): The characters in Uchouten Kazoku do what they do best – compliment the story perfectly. Of course this always comes at a cost, but when it comes to Morimi’s previous work that also utilized its characters to augment the story’s depth and entertainment value, the product was excellent. With Uchouten Kazoku, much of the same can be said with its result. Yasaburou is a fine lead whose carefree yet lively personality demonstrates the quirky nature of the series. The rest of this eccentric family each carries unique and lovable characteristics that make up an incredibly diverse and entertaining cast. From the stoic Yaichirou to their doting mother, characterization is thorough and pronounced throughout most of the show. Outside of the immediate family, Uchouten Kazoku provides the viewer with a further extended array of memorable personalities. Standouts such as the ever-so mysterious Benten and the annoying, yet oddly funny Ebisugawa twins, Ginkaku and Kinkaku, are some more examples of a central cast that uses each character to his or her fullest extent throughout the span of the story. Speaking of utilization, as I’ve said before, it is what makes the cast so great. More often than not, shows throw together too many characters to the point where some roles feel unnecessary or simply added on without proper prior planning. In Uchouten Kazoku, each character fits more than just his or her role, but acts as an integral part of the story’s development. To put it in laymen’s terms, it’s hard to actually imagine the story being complete if any one of them didn’t exist. Enjoyment (10/10): As advertised, the point of Uchouten Kazoku was to have fun, and boy was there a lot of fun to be had. Despite starting off a bit slowly, failing to showcase what the series really had to offer until a few episodes into the series, the majority of the ride was highly entertaining. Even the aforementioned gaffe of not giving their all in hooking in potential viewers cannot be blamed on the staff, for the set-up episodes, albeit a bit slow-paced, were absolutely integral to the composition of the series as a whole. I admire this decision because it was a worthwhile investment that acted as a backbone to the series, and it paid dividends as the series reached its climax. Overall: Technically stunning, intelligently constructed, and wonderfully enjoyable, Uchouten Kazoku is a complete package that squeezes everything out of its limited scope. It takes its creative premise and skillfully crafts a highly entertaining experience that relies not on cheap conventions, but its own ambition, to keep its viewers constantly on the edge of their seats. The best anime of 2013 thus far, and one of the best in years, Uchouten Kazoku is that diamond in the coal mine that I would not hesitate to recommend to any fan of the medium. Average score: 9.4/10 Weighted score: 9/10 (Absolutely loved it, a must-watch) (if the rating confuses you, take a glimpse at my rating system on my profile for clarifications)
Reviewer’s Rating: 9
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Sep 18, 2013
Tamayura: More Aggressive
(Anime)
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I can’t believe I even considered skipping this before the season started.
Story (9/10): Recommended to pick up after watching the prequel (Tamayura: HItotose), Tamayura: More Aggressive picks off a year after the start of its predecessor, and Sawatari Fuu (Potte) is still in Takehara with the group of friends she had reacquainted herself with the year before. School is starting and Potte is resolving to become “More Aggressive” this coming school year by forming a photography club. After much wavering and thought, she finally forms the club with an equally shy senior, Kanae Mitani. This is where Tamayura’s storytelling shifts a bit from the first season. ... While still remaining episodic and involving much of the same cast from the previous season, the second season focuses more on Potte learning about her deceased father and coming in terms with this loss while dealing with the position of “president of the photography club.” While the languid pacing of the previous season is still present, one can feel an ever so subtle push in terms of direction that the story provides the viewer. Even though it doesn’t seem like the “story” itself has much more to offer than following these girls’ daily lives, each episode, telling a different little story or showcasing a certain festival, event, or field trip, always finds a way to hit home in a very cathartic manner. Though on paper the show is about photography, that isn’t the thematic focus. Much like the Aria series, Tamayura’s tales relates photography to meaningful and touching events or happenings that occur naturally in life. Whether it’s taking photos for the school yearbook or talking with her dad’s old friend, the series uses photography as a medium to convey the emotions behind these wonderful memories. Additionally, with Kanae’s addition as a senior who is on the verge of graduating, the story gains by adding a subtle pressure to more pressing themes like uncertainty or separation. These thoughts slowly transfer from Kanae to Potte as both begin to think about their futures. What’s great about how the series handled the more serious episodes was that it didn’t rely on sudden melodrama to perpetuate the story’s direction. With subjects as heavy as losing a loved one or uncertainty of the future in this season, Tamayura approaches these in the most reassuring of manners. It would’ve been the easier route to simply fill these thoughts with angst and hatred like most other anime do, but to be able to make light of such subjects without diluting the impact of these experiences showcases Satou Junichi’s trademark storytelling skill. Overall, the stories Tamayura: More Aggressive has to offer are definitely more memorable than those of its predecessor. With the focus on character development already accounted for through the first season (which is the reason why I recommend watching that first), the story is able to focus on more emotional and serious subjects without feeling too forced. Nonetheless, the experience was still very similar to the first season, calming and relaxed, but never aimless. Art (7.5/10): If there was a noticeable downside to Tamayura, it would probably be its animation quality. TYO animations, which is essentially what was once Hal Film Makers, has had its fair share of good looking and well-detailed shows; however, Tamayura is only about halfway there. Character motions and animation fluidity is a bit choppy for 2013 standards, and details like character figures and features when not zoomed in are inconsistent at times. Fortunately, Tamayura makes up for this with its setting and atmosphere. Although Takehara is no Neo-Venezia, the series does a great job of providing the viewer with some nice views of the coastal city and its several self-discovered wonders. The atmosphere is warm and inviting, and the photos that are often taken to commemorate such a view often augment the experience. Although there are few truly breathtaking images, there is still a steady consistency in these photos. Speaking of photography, as a healing-type anime with photography as its subject, the actual photos are very simple. Even being addressed in an episode itself, the calming simplicity of many photographs speak to the themes and messages of the show. Sure it’d be awesome to see more grandiose and awe-inspiring photographs, but simply seeing pictures of happy memories is always nice too. Sound (8.5/10): It wouldn’t be a Satou Junichi anime without great music, and Tamayura is no different from his other directed or created works. From listening alone, it doesn’t seem that there were too many tracks in the OST; however, there were definitely many memorable ones to listen to. Most of the tracks are calming piano ballads that subtly accompany the languid pacing of the series and help the viewer relax and enjoy the experience. Bringing back a piano arrangement of the season’s first opening, Okaerinasai, was also a nice addition that is used sparingly, but effectively. The opening sequence, Hajimari no Uta, is a very catchy opening that has a slightly jazzy twist to it, and the ending, Arigatou, is a simple and calming ballad accompanied by an adorable animation sequence that reminisces Potte’s early memories of his deceased father. There are a few insert songs that play throughout the series, most notably Kazeiro no Film at the end of episode 11. Songs like these are also ballad-like in nature and fit the tone of the series perfectly. The one issue I always had with Tamayura’s sound was with its voice acting. Even in the first season, Ayana Taketatsu’s Potte annoyed me a bit since she isn’t very used to performing with a more reserved and non-whiny voice. While some voices did take strides in being less squeaky than in the previous season, the cutesiness of many voices is still unfortunately apparent. This is not to say that the voice acting was not done to fit the characters well (because they did), but they could’ve toned it down a bit. I know it may be a bit hypocritical coming from someone like me who adores shows like K-On!! or Aria, where the voices are usually very cutesy, but Tamayura’s execution went a tad overboard. Characters (9/10): While many would immediately dismiss the show as another generic moefest without even giving it a chance, the first season of Tamayura was laden with excellent characterization. Each character was given at least one episode of focus, and slowly developed throughout the span of the season. The primary difference between the first and second seasons of Tamayura is that focus of character development narrows a bit to focus on Potte and the newly introduced character, Kanae Mitani. That’s not to say that the others stop developing, but they take a step down from the spotlight in order to focus more on the aforementioned characters. This may seem like a negative at first, but what this season of Tamayura was able to do to make up for this was through the introduction of Kanae, an entirely new character. What was so surprising about plugging in Kanae into the Tamayura formula was that it was done so in such a nice way. In a slice of life series, it’s important that every character is constantly accounted for, and in shows that have a good amount of characters to focus on, some begin to feel…unnecessary (for lack of a better term). Kanae quickly finds her way to become an integral part of the Tamayura experience, and the focus given to her is plentiful, but not overdone. After only a few episodes, she seamlessly fits into the already established group of friends, whom are all very easy to sympathize with due to excellent characterization. The other focus of Tamayura: More Aggressive lies in the name. Most of the series focuses on Potte taking a step up in order to become, well, more aggressive. As cheesy as it sounds and as cutesy as Potte says the phrase “More Aggressive,” her development as a character becomes the byproduct of such a decision. Throughout the series, she’ll make decisions and act upon her thoughts a bit more often than in the previous season, showing her steady and growing confidence. Now don’t go into the show expecting her character to completely change from the shy, wavering soul she inherently is, but what you can expect is a subtle, reassuring development that comes along with the episodic stories where she learns more and more about her deceased father. Despite the leisurely approach, the series uses this pacing to nail in the idea that growth itself needn’t be sudden. The rest of the cast is still as strong as ever, and while they’re more in the background cheering Potte on, they still have their own quirks and traits that made them lovable in the first place. Enjoyment (9/10): I’d be lying if I didn’t say that I am very biased when it comes to these types of shows. I’m a sucker for feely, slice of life shows, so I enjoyed this second season immensely. Much like Aria, Tamayura gives off a very distinct “healing” feel to its experience. In multiple episodes I found myself a bit hazy-eyed because the series is able to be so touching. Sometimes it was by the middle of the episode, but most of the time, the message hits at the end, playing out similar to an episode of Natsume Yuujinchou. It’s something that you won’t want to marathon or watch when you want fast-paced shows. Overall: In the end, Tamayura: More Aggressive is a niche show that many will unjustifiably dismiss without even giving it a chance. This sequel has proven to be a worthy successor to the first season, providing many moving episodes to form a memorable experience. Unfortunately one of the most underwatched and underrated shows of summer 2013, I would highly recommend this season and the previous one to any fan of the slice of life genre or healing-like shows. Average score: 8.6/10 Weighted score: 7/10 (Liked it, highly recommended for fans of the slice of life genre, healing shows. If not, still give it a try) (if the rating confuses you, take a glimpse at my rating system on my profile for clarifications)
Reviewer’s Rating: 8
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Aug 29, 2013
Sakura-sou no Pet na Kanojo
(Anime)
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Romantic comedies have generally been a genre that annoy or confuse me, especially when drama is introduced in its formula. The result is more often than not an amalgamation of mixed emotions ranging from blind love to complete angst. In one second, characters seem to be resolving issues with one another, and in the very next, they act as if all previous resolutions were never even brought up. With so many mental 180’s going on, I tend to call romantic comedies the “identity crisis” genre. Sakurasou no Pet na Kanojo unfortunately, does not deviate much from this formula.
Story (7.5/10): Kanda Sorata is a second-year student at ... the well-known Suimei University of the Arts’ high school branch. Sorata is a typical kid; he’s a nice guy and all, but nothing about him scream “special.” One day, he gets kicked out of the school’s normal dorms for housing stray kittens, and in order to keep on living in campus range, he must transfer over to the notorious Sakurasou dorms, an apartment house-like complex that is known for housing the more…flamboyant personalities of the high school. The story throws us right into the situation he’s in, with necessary backstory put off, but not forgotten. This is done in order to introduce us to one of the heroines of the show, Shiina Mashiro, a silent, seemingly emotionless girl whom Sorata is tasked to take care of due to her inability of performing any basic domestic task. And now we’ve got all the tropes set up, and so the train takes off. In its entirety, the story of Sakurasou isn’t all that bad. With 24 episodes, there was room to get a lot done, and to its credit, Sakurasou delivered just what the genre is so good at potraying: raw teenage emotion. Although the story may diverge from its main “plotline” here and there, the core of the story involves Sorata finding what he’s going to do with his future. Parts of the series play out like a coming of age/ slice of life tale, but the focus on Sorata’s growth is often clouded by conflict or romantic issues. Granted, as a romantic comedy, these elements need to be included. However, one can’t help but to desire execution that might come off as more…mature. Contrary to how many people laud it, the show’s story really does not stand out from the genre. Just about every plot point or conflict that arises has been done before and done better in a certain way. The comedy is present, but most of the humor was too dry, cutesy or forgettable. When the show took a turn for the dramatic, the only way any conversation would progress would be through incoherent yelling, crying or physical altercations. Additionally, some key plot points that I will not bring up for the sake of spoilers were either dealt with or resolved in a less than favorable manner. Pacing was painfully slow at times, mostly because the creators wanted to nail in some themes and messages to its viewers. Unfortunately, they tried a bit too hard in that department. However, it’s not all doom and gloom for Sakurasou’s story. Since the show takes the viewpoint of your average John Doe, the experience is much more relatable than a standard romantic comedy. The show doesn’t sell out to become a harem, and at the same time, it explores some very relatable and understandable themes such as dealing with those who are far more skillful than you and coping with failure, while having a few memorable romantic moments scattered here or there. To put it in perspective, it at least tries to be different, and it sure did its best do differentiate itself from being doomed to obscurity. Overall, the story of Sakurasou aspired to be different, and was minutely successful at doing so. The show presents enough conflict and messages to be considered reflective, but most of its substance hardly scratches the surface. Art (8/10): When I first glanced at the Fall 2012 anime chart, I was baffled to see JC Staff tackle three 2-cour series at the same time. Along with Little Busters and Bakuman 3, I was going in expecting messy animation and lazy artwork. Instead, I was pleasantly surprised at the result. Since the setting of the anime is at an arts school and several of the characters are genius artists, the crew at JC Staff tried their best to make some pieces of “art” look as mesmerizing and atmospheric as possible. For the most part, kudos to the animation crew for doing so very well throughout much of the series. Animation throughout the series is decent, but there’s nothing really spectacular about it. Character designs were done well, but could’ve been a less generic. However, there’s only so much an animation crew can do when probably burdened with a time limit, pressure and budget. To say the least, most of the setting seems rather dead or generic. Despite being the branch to an arts university, seldom does the series show off that their school is in fact an arts school. Sure we see an art room here and there, but for the most part, the school setting feels and looks rather generic, and the Sakurasou dorm, although having its own charm and sentimental value, is also nothing too special for the most part. Sound (9/10): Either I’ve been getting soft with the sound section or the shows that I have watched recently all have very good sound sets. The OST of Sakurasou isn’t as memorable as other excellent soundtracks, but it has its fair share of fitting tracks. With over 50 tracks spanning 24 episodes, the diversity of the OST range from the cutesy, yet memorable “Change Clothes” to a piano arrangement of the show’s first ending, Days of Dash. Speaking of opening and ending sequences, the series has got quite a few of them. From the poppy and catchy first opening, "Kimi ga Yume wo Tsuretekita,” to the ballad of its second ending, “Prime number ~Kimi to Deaeru Hi”, the series has its fair share of great songs and OST tracks. However, what really made the show’s sound stand out was its magnificent voice acting. While important roles such as Matsuoka Yoshitsugu’s Sorata to Kayano Ai’s Mashiro among others gave very strong performances, Nakatsu Mariko’s performance of Aoyama Nanami was absolutely fantastic. Standing in par with the other great voice acting performance in 2012, Sawashiro Miyuki’s Inaba Himeko (Kokoro Connect), Nakatsu’s rendition of a shy, yet strong girl with a charming accent won my vote as one of the best I’ve heard in a while. Characters (6/10): In any romantic comedy, the characters more often than not make the story. In a rather plotless storyline format, series have to rely on strong characterization to drive the viewers to continue watching rather than falling back on story direction. Sakurasou’s cast is one that is reminiscent of a juvenilely executed Honey and Clover. Starting off with our protagonist, Sorata, who is just about as plain as you can get, the progression of his character is a model that unfortunately, many of the characters in this series follow after. Sorata is built up with your “average Joe” type of archetype; he struggles with finding his identity and in doing so, he faces many difficulties that are easily relatable to. That’s great and all; however, the problem with his character isn’t much his personality as it is how the writers decided how he makes decisions or faces obstacles. Don’t get me wrong, I admire the attempts to portray Sorata as an adolescent who will never give up, no matter how much adversity he’s faced; however, his development and consistency as a character is mediocre at best. Like how many shounen or shoujo romcoms end up playing out, his character takes one step forward only to take two steps back. Constantly throughout the series, he finds a resolve to one of his internal worries and fears only to completely disregard it within a few episodes for the sake of extra drama. The rest of the cast isn’t much better, since not only do they follow this “one step forward two steps back” development, but most of them are even more archetypal than Sorata. Mashiro is one of the heroines of the series, and the writers decided to try their darnedest to make this artistic “genius” feel so inhuman that by the time that they expect the viewer to see her as a person rather than a distant entity, there’s no quality or trait to her character that defines her as a person rather than as a simple archetype. Other main characters like Jin, the typical cool guy, or Misaki, the hyperactive senior, are all characters that have been done many times and better in several different series. It’s not a favorable situation when so many of the show’s main characters can be characterized in less than a sentence. Thankfully, the show has two bright spots: Ryuunosuke and Nanami. Ryuunosuke, albeit with his generic buildup, is essentially a better-done version of Mashiro. As a computer genius, you’d expect a snobby, anti-social nature to begin with, and that’s what we get. However, unlike with Mashiro, we get to see his character grow thanks to another character introduced later in the series. He grows as a person, but at the same time, he doesn’t fundamentally change who he is. It was a welcome breath of fresh air from all of the nonsensical melodrama and identity crises the rest of the cast suffered from. Saving the best character for last, Aoyama Nanami is to Sorata as Ryuunosuke is to Mashiro. The development of her character also follows that of a normal, struggling individual who works very hard in order to make her dreams a reality; however, that’s the extent of similarity the two characters share. Nanami only steps forward throughout most of the series. Her resolve is clear, and she takes into account her self-reflection rather than tossing it aside. It’s a shame that the series didn’t focus more on her as the series neared its close, but what’s done is done. Overall, looking at the cast of Sakurasou is like trying to find a diamond in a coal mine. Within it there are a few characters that are pretty well done, but you have to bear through the search before being rewarded. Enjoyment (7/10): I can’t really say I completely enjoyed watching the show, but at the same time, it wasn’t unbearable. Several episodes dragged out boringly, while others flew by pretty fast. It was a rather inconsistent series overall, but it had its moments. Overall: I have to admit, it is very difficult to pull off a romantic comedy because you have to mix so many elements together in order to be successful. It has to be lighthearted, entertaining and serious at the same time. Very few anime are able to pull this off, and those that do are shows that are often aimed towards an older demographic. With that said, Sakurasou no Pet na Kanojo comes off as a bundle of good ideas and concepts that doesn’t do much with what it potentially has. At times it attempts to explore multiple viewpoints of love, but at other times, it completely ditches said concept for another such as the struggles of adolescence. Instead of having these themes build on each other, they end up working against each other because of execution that demands melodrama over self-reflection. Nonetheless, the series has great production values and will definitely be entertaining for those that love the genre. Not really a series that fell under my preferences, but still an interesting ride. Average score: 7.6/10 Weighted score: 5/10 (Average, give it a go if you’re into this genre. Otherwise, I’d pass on it) (if the rating confuses you, take a glimpse at my rating system on my profile for clarifications)
Reviewer’s Rating: 7
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Aug 16, 2013
Saraiya Goyou
(Anime)
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When you think of Samurai, what images flash into your mind first? Courageous warriors clad in their traditional hakama? Fierce sword fights to the death? Or maybe a lifelong journey to achieve some form of enlightenment? Saraiya Goyou, or The House of Five Leaves (I’ll refer to the show as “Goyou” for the rest of the review), is none of these. In fact, it doesn’t come close to anything our culture has widely perceived about the behaviors of these swordsmen.
Story (8/10): Akitsu “Masa” Masanosuke is a ronin, or a masterless samurai, who lives in Edo period of Japanese history (a time period that lasted from ... the early 1600’s to the late 1800’s). Despite his swordsmanship skills and his humble personality, Masa never seems to be able to hold down a secure job as a bodyguard. His slightly naïve nature and aloof presence is his Achilles heel, and he often finds himself being fired because of them. One day, after being fired from yet another job, Masa runs into a charismatic, white-haired individual only known to the viewers as Yaichi. To Masa’s dismay, Yaichi beings to gain interest in Masa’s character and offers him a bodyguard position. However, it doesn’t take long for Masa to realize what he’s getting himself into. Yaichi reveals himself as the leader of the mysterious group, “The Five Leaves”(Goyou), and he expresses his desire to admit Masa as a new member. What plays out from here is a bit odd. It’s extremely difficult to pinpoint a specific genre for the series, since the story plays out as a sort of pseudo-mystery that has light dose of drama, slice of life, and very limited action. With that said, the show is definitely not what one would expect from any samurai show. It is heavy on dialogue, and it relies on its characters to drive its plot rather than relying on a coherent storyline. Although the show does work with the aforementioned “mystery” through carefully placed flashbacks or hints through conversations, there really isn’t much else when it comes to direction. However, this is what makes Goyou such a unique and entertaining experience. It’s different to a point that the premise becomes a risky task to execute well, but it really doesn’t do anything noticeably wrong. Throughout the series, we get to learn a good amount about the show’s main cast, and the way we find out about each individual’s pasts and reasons behind joining Goyou comes off naturally, without any unnecessary drama or nonsensical development. Unfortunately, that is the extent to its unique nature. Despite providing such a different experience, the series doesn’t do anything in particular to “wow” viewers. As a result, the series will draw a niche crowd, but it will likely be doomed for obscurity. Nonetheless, the story of Goyou relies on its execution, and it definitely delivers. It does just enough to keep an interested viewer interested, but it doesn’t go the extra mile to draw in a larger crowd. Art (8.5/10): Manglobe has always been a studio that doesn’t shy away from taking risks with its art style, and Goyou is no exception to this pattern. Unlike the studio’s other samurai-related show, Samurai Champloo, the atmosphere of Goyou gives off a heavy, melancholic feel. Covering a wide variety of locales from the Edo countryside to its red light districts, the richness of the setting is often overlooked due to this gloomy atmosphere. As a result, the color palette limits itself to duller colors in order to consistently fit the almost depressing setting. Matching this sullen tone are the character designs of our main cast. Characterized by their detached stares and wide mouths, the designs aren’t the prettiest anime have to offer, but they surprisingly fit the equally sullen environment of the series. Animation is decent throughout the series, but it doesn’t really stand out (mostly due to the lack of sword fights, the most common form of showing off animation skill in a samurai-related anime). As a whole, the art and animation of Goyou is solid. Defined by its uniquely dull (sounds counterintuitive, I know) atmosphere, Goyou makes its visual achievements noticeable and appreciated. Sound (9.5/10): At this point, I should stop trying to doubt Manglobe’s ability at composing quality soundtracks that match the show perfectly. The OST of Goyou is comprised of 26 tracks, most of which enhance the gloominess of an already dreary, dreamlike atmosphere. Tracks like “Umaku Ikusa” give the viewer a sense of regret, melodic yet haunting. Such tracks are amongst the most common in the OST, with the anime’s main theme of the same name as the title seem almost like a tango remix of the aforementioned track. Even the more lighthearted tracks such as “Chokko Tokurri” possess the same melancholic tone as the others, despite its attempts at being a bit more upbeat. Despite being the near perfect addition to the technical set of Goyou, the OST’s limited diversity in tracks is a flaw that, although doesn’t deter much from the overall experience, is still a noticeable flaw. The opening sequence, Sign of Love, is in a genre probably somewhere in between electronic pop or trance that, although does not fit the time period of the series at all, is still a very catchy and uncharacteristically upbeat song that surprisingly, works very well with the anime. The ending, All I need is…, plays out similarly to the opening but is a bit more generic and forgettable. Voice acting is cast well in general, with each voice seeming almost reluctant to play the role. However, the disinterested tone of each voice is again a characteristic of the series that after a while, I just began to simply accept. Sometimes the voices seem as if they are being performed through a filter, which adds to the atmosphere. Overall, the sound set of Goyou is both strong and memorable. With few and almost unavoidable flaws, everything from the OST to the voice acting is done with the utmost attention to detail. Character (9/10): If there is any other category that stands out in Goyou as much as its OST, it’s the amount of depth put into its characters. The series boasts a very strong cast that, although may seem to be dull at first, are all properly fleshed out and have distinct personalities. From the humble and awkward Masa to the cynical, yet caring Ume, each character’s persona is built off of well-developed backstory and feasible interactions. What really surprised me other than the diversity and odd likeability of each character was that each individual had a certain human aspect to them. Every character is multifaceted, and it’s hard to describe them using a simple archetypal word or phrase. The series does a wonderful job at making the characters interesting enough to not only drive the series, but to provide the needed depth in order to make the overall experience a well-planned out one. However, it’s this very mature handling that somewhat dooms the cast. Despite the very human approach at developing and reasoning out the motives of each character, the results might be blander than a typical viewer would expect. To put an example to this reasoning, viewers won’t remember a character like Yaichi as much as they will remember a character like Lelouch (Code Geass). Despite both being charismatic leaders of their respective “groups,” there’s no “selling point” to the cast other than their realness. Although this is by no means a fatal flaw, it’s an unavoidable gaffe that unfortunately just happened to hurt the experience. Nonetheless, even the lack of flashiness in the cast isn’t enough to discredit the thorough characterization and overall quality of the character crew. Although you won’t be seeing Masa or Yaichi skyrocketing to the top of the favorite characters list on this site, you will appreciate the care put into their personalities. Enjoyment (8.5/10): I’m a sucker for slower paced shows because I love kicking back after a hectic day to slow things down. Goyou does just that, but it doesn’t bore you to death doing so. As stated in previous sections, the story has some drive and direction and keeps it present enough to keep a viewer slightly pulled into the experience. Although it’s by no means a psychological thriller, the languid pacing was a welcome change of pace that I happened to enjoy a good deal. Although I had no problem getting through the series, if you’re walking in expecting something like Samurai Champloo, you’ll definitely be disappointed. Overall: At the end of the day, Saraiya Goyou is a thankless anime. Despite its excellent execution of multiple categories, its achievements will likely be as hidden and humbled as is Masa’s personality. It’s aimed at a rather niche crowd, but it does a great job at satiating that crowd’s desires. Nevertheless, I would urge viewers to give Saraiya Goyou a try if you’re willing to try something pleasantly different. Average score: 8.7/10 Weighted score: 7/10 (Liked it, recommended) (if the rating confuses you, take a glimpse at my rating system on my profile for clarifications)
Reviewer’s Rating: 8
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Aug 8, 2013 Recommended
Director Goro Taniguchi has always been known for his extremely popular and critically acclaimed series, Code Geass. Boasting over 220,000 viewers on this site alone, you’d think that some of his other works would be shed into light because of this popularity. Planetes is a show that flies under the radar for two reasons: the first being that the show, as of this year, is a decade old, and the second reason being that it will always be overlooked by the 10x more popular (literally) Code Geass.
Story (9/10): Tanabe Ai is a rookie at Technora’s Debris Collecting Section, spitefully labeled as “Half Section” because ... it only has enough manpower to be, well, half of a Section. The year is 2075, and after the unfortunate Alnair 8 accident that saw a piece of space debris destroy a suborbital passenger liner, the world (well most of the first world countries) immediately focused on the issue of Space Debris as a response. The job of these space garbagemen is to clean up space, one piece of garbage at a time! Now, while the concept of the story isn’t something that’ll have you at the edge of your seats, this setup is only the tip of the iceberg to what the entire story has to offer. The first 2/3rd of Planetes is mostly episodic, with most of the episodes reminiscent of a typical slice of life with a twist due to its setting, which ranges from locales like the coast of Japan or a lunar base. Although this slice of life element to the series may turn off some viewers to begin with, the show makes sure never to be aimless with them. Many of these episodes play out like a “burning moral/philosophical/social issue of the week” sort of deal, offering a wide variety of subjects ranging from raising children born off Earth to the dangers of interplanetary expansion for the sake of acquiring precious resources (consequences such as terrorism build off and develop and become a more major focus as the series progresses). These heavy themes are lightly and skillfully sprinkled throughout the first two-thirds of the series, as if hinting at more, and they work well alongside the slow and steadily developing romance between Ai and our other protagonist, Hoshino “Hachimaki” Hachirota. While some of these episodes may appear to be tedious and unnecessary at first, the series does a wonderful job tying together many of the previous themes and characters to form a highly entertaining experience. Because of this format, Planetes is not a pure science fiction (SF) story. While the exploring of the functionalities of the future world is definitely important throughout the series, it isn’t its sole focus. It is a highly character-driven anime, which is a detail I will go into further detail in the character section. Not only until the last third of the series does it show its true direction, utilizing all of the previous buildup to work towards a stunning and touching conclusion. Overall, the story of Planetes was excellent all around. It makes great use of its setting while intertwining believable themes from its time into its deftly woven narrative. While I do think the story could’ve focused a tad more on the ongoing situation on Earth and probably could’ve done without 1 or 2 of the more lighthearted episodes, mostly everything else is done extremely well. Art (9.5/10): For its time and even by today’s standards, Planetes was a beautiful anime. It’s pretty difficult for a setting in space to look breathtaking and accurate, but the series is able to do both very well. The show boasts a variety of locales, which provides us with a thorough picture of the future world. We get to see glimpses of struggling third world countries while being able to experience life in space corporations such as Technora. Details are kings in a series like Planetes, and the SF setting is extremely consistent and surprisingly believable. From the functionalities of the space suits to the laws of gravity, the crew at Sunrise has worked alongside Japan’s equivalent of NASA, JAXA, in order to ensure that the anime can build a visually stunning, yet accurate world. Character designs depend on a viewer’s preference, but I personally loved the attempts to make the characters look human rather than look like typical anime caricatures. For its year of production and even compared to shows of this day, the animation is extremely fluid. Movements seldom feel choppy or inconsistent, and every other detail is accounted for. All in all, Planetes delivers a breathtaking atmosphere, signature art style, and fluid animation, a feat that few shows are able to accomplish. Sound (9.5/10): The OST of Planetes was fantastic; a wide variety of notable tracks were composed and placed well throughout the entire series. From the more mysterious yet grandiose “Outside Atmosphere,” which provides the viewer with an audial sense of scale of the setting, to an extremely memorable and emotional track like “A Secret to the Moon,” which plays out like a soothing lullaby, it is apparent that a lot of effort was put into crafting this comprehensive and memorable OST. The opening sequence, Dive in the Sky, is a fitting and well done song that gives an adventurous feel, much like the nature of the series. The ending, Wonderful Life, works pretty well for the first two-thirds of the series, but starts to lose its sense of fitting as the story takes a turn for the serious. Voice acting was excellent all around, with Yukino Satsuki’s Ai and Tanaka Kazunari’s Hachimaki leading the way. Other notable performances like Koyasu Takehito’s Yuri round off a group of voice actors and actresses that had their voices perfectly casted. As a complete package, there is little to argue about Planetes’s sound. From its perfectly cast VA crew to its execution of the smallest details (It’s actually silent in space!), there are only a few downsides I can point out to in the sound section. The first is the ending sequence, which stops fitting after a while and begins to act as a mood killer that hurts the experience noticeably by the last third of the series. The second was that the OST placing could’ve been done a bit better since it didn’t really feel like a 40+ track experience after I completed the series. Other than these minor details, Planetes amazes me again with its technical brilliance. Characters (10/10): As I have stated before, Planetes is very much a character-driven story. These types of stories are an anomaly amongst the SF genre, but the show was able make it work out perfectly. The supporting crew is very strong, and it boasts a wide variety of personalities from the smoke-loving pilot Fee Carmichael to our comedic relief duo, Chief Myers and Assistant Chief Lavie. While the supporting cast doesn’t receive nearly as much development as our main duo, their personalities are lovable, and there is actually a legitimate attempt at fleshing out most of the cast. Characters like Yuri Milhalkov and Claire Rondo are perhaps the most well-developed supporting characters I’ve seen in anime. The series definitely works with what it has, and uses most of its characters to its fullest extent. However, even the excellence of the supporting crew is dulled by the stars of the show. Enter Tanabe Ai and Hachimaki. In terms of personalities, the two seem to have opposite beliefs to begin with. While Ai is a goody two-shoes who spouts about the power of love and morality every five seconds, Hachimaki is a seemingly cynical individual who, despite his personality, has big dreams which include wanting to own a spaceship one day. Put these two together, and you’ve got a formula for an extremely awkward couple. However, it’s this very awkwardness that makes them one of the most adorable couples I’ve seen in a long time. Unlike many other shows that try to force a romance into its story, the romance in Planetes comes about naturally. The two experience several ebbs and flows throughout their relationship, but nothing is portrayed as overly melodramatic. Worries one has about the other feel real, and as they continue to spend more and more time together, the chemistry between the two become apparent. As for their individual personalities, Ai may come off as annoying at first. She is initially thrust into the spotlight, and it seems like every episode she’s yelling at or debating to another person who doesn’t agree with her moral standards. Although she may sound whiney because of that, many of her rants actually bear much importance to the series, and it is not only until later when these results are fully realized. As for Hachimaki, he may come off as snobby or immature, but the amount of development put into his character (much of which is through introspection reminiscent of Shinji from Evangelion) is fully realized only after Ai takes a step down from the spotlight. The amazing thing about this couple is how they work hand in hand with each other to convey their personalities, and how they ultimately develop as people by the end. Overall, Planetes boasts one of the strongest casts I’ve seen in a work of science fiction. From a diverse and lovable supporting crew to two quality protagonists, there’s little to nothing that I can complain about the show’s characters. Enjoyment (10/10): From start to finish, Planetes had me completely hooked. While the setting did sound silly at first, it only made me more curious towards what the series really had to offer. Once some of the harder-hitting episodic tales started coming up, Planetes flexed its story-telling creativity, and continued to keep me thinking while providing high quality entertainment. The last third of the series blew by like a breeze, and before I knew it, there was nothing left to watch. The show gets full marks for enjoyment from me, and I hope it can do the same to other potential viewers. Overall: Planetes was a technical marvel that packed one hell of a philosophical punch. From nearly flawless and fluid visuals to a grand OST and excellent voice acting, the crew at Sunrise made sure to make details king. At the same time, the series doesn’t sell short on delivering a brilliant and diverse cast who populate a wonderfully constructed SF setting. One of the most comprehensive and well-executed anime I have seen to this day, Planetes is a must watch for any fan of the medium. Average score: 9.6/10 Weighted score: 9/10 (Absolutely loved it, a must watch) (if the rating confuses you, take a glimpse at my rating system on my profile for clarifications)
Reviewer’s Rating: 9
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Aug 5, 2013
Higurashi no Naku Koro ni
(Anime)
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Recommended
This will mostly be spoiler-free, and will cover the first season (although I might reference the second season for technical comparison reasons)
The horror/thriller genre (I will be using these two terms interchangeably) has always been a tricky one to deal with in any medium. Other than with the written word, it’s very difficult to find the fine line between genuine, quality horror and cheap shocks. Personally, although I tend to favor shows that prioritize quality of writing and characterization over sheer entertainment value through heart-pumping thrills, I do admit that I am a sucker for the horror genre. That’s why when I finally started Higurashi ... no Naku Koro ni (let’s just shorten this to Higurashi for the rest of the review), my feelings were mixed. I wasn’t completely sure what to expect. One side of me expected nothing more but lots of senseless blood and violence, but another side of me thought that there had to be something more considering the show’s high ratings. One very fast marathon later, and I had my answer. Story (9/10): Maebara Keiichi and his friends live in the calm, village-town of Hinamizawa. Spending their days of youth playing around in an after-school club, the lighthearted tomfoolery soon takes a very dark twist. The history of Hinamizawa’s ritualistic murders are shed onto an unsuspecting Keiichi, and an unfortunate set of events begin occurring as the days close onto the night of the town’s festival, where for the last few years, people have mysteriously died or disappeared. Higurashi’s story resembles an arc-split narrative that seemingly covers the same chunk of time that lasts around a month (give or take a week or so), and repeats itself six times. However, there’s more to this set-up that meets the eye. While one could describe the story in the sarcastic words of one of my friends: “Hi! My name is Keiichi, and I just moved into a new town! Murder, murder, murder, murder…,” the six different narrative arcs do more than simply repeat; they change, develop, and sometimes vaguely connect with previous arcs at times. While the story itself covers the same basic concept in the same period of time, the experience itself never drags or feels old. This is a testament to quality of the content. The series will always keep you guessing and theorizing as it adds more and more details. Even the exposition/buildup phases are noticeably different, whether it is through different character introductions or different roles. As far as the horror genre goes, Higurashi handles both its concept and shock in a controlled manner. Contrasting it from other anime with a similar concept such as Another, the story never relies on body count or liters of blood splattered per minute (lbs/min) to keep the viewer’s attention. Throughout the entirety of the first season, Oyashiro-sama’s curse (the “curse” that the villagers believe is the cause of the murders) is an element that is never fully addressed in the first season, but is integral to the air of mystery that encompasses the different arcs. The story has an excellent fast pace to it, and the end of each arc adds more to the mystery, but never makes it feel contrived or unsolvable. Unfortunately, there are some flaws that inherently come from the genre and the situation it places itself in. The first season is extremely incomplete with the obvious reason being that there is a second season, but allow me to explain why this is an unforgivable flaw. In terms of structure, Studio Deen essentially forces the bulk of the mystery aspect of this horror into one season. What results is that most revelations are all dumped into the second season, which unfairly sets its sequel up for inevitable failure (well, at least when it comes to being a horror). While the mysteries steadily gain, not much of an honest attempt is made in explaining many of these mysteries, ultimately putting everything off until the end. While this is not a huge flaw, it is a noticeable one. Also, although I did enjoy the funny, lighthearted exposition for the reason that it contrasted so much with the serious and dark climaxes, sometimes the transitions in tone can be rough and abrupt. Again, not a huge flaw, but small flaws add up too. Overall, the first season of Higurashi tells probably one of the better stories the horror genre has to offer. It boasts a great concept, and caps it off with excellent buildup and pacing. Despite some flaws, Higurashi is still one hell of a thriller. Art (7.5/10): Unfortunately, I can’t laud the quality of Higurashi’s art and animation as much as the story’s great pacing. In terms of animation, movements are rough and choppy and details aren’t very well-addressed. Even though the show was animated in 2006, there are still many shows during the time that boasted much better animation. However, the art style itself in terms of character designs is special in its own odd way. While I do think that the designs aren’t the best, for some odd reason, I can’t imagine them looking any other way. The cutesy design lends to the air of deception that the story presents itself with. Unfortunately, I do think that they went a bit overboard with the facial expressions. Although cartoony glares have worked well in other anime like Monster, the crazy serial killer-looking facial expressions some characters give look hilarious rather than intimidating. It offsets the mood at times, and the show really could’ve done without them. The series does a decent job with its atmosphere and setting. While the town of Hinamizawa itself isn’t the most noticeable one in anime, it does have some memorable locations (due to the limited scope we have with the setting). With the atmosphere, the show feels dark when it wants to be that way, and it feels light-hearted (if not too much) during the carefree setups. My overall feelings with the art and animation of Higurashi are mixed. While I do credit the series for having noticeable and effective character designs and atmosphere, the animation in general is very rough, and the setting is a bit dull. Sound (8.5/10): The soundtrack of Higurashi sets the tone as well as the atmosphere does. While the soundtrack doesn’t particularly stand out, it is a fitting compliment to the series. Tense and ominous tracks like Kikai augment the mystery aspect of the experience, while there are some even more hard to describe tracks like Ai, an almost nostalgic piano tune that looms in between the realm of esoteric and depressing. While I do think that the soundtrack could’ve been used more to its full potential throughout the series (since frankly, a few months after completing the series and sitting down to write this review, I had to refresh my memory on the OST and its use throughout the series), there is no doubt that the OST is very good. Voice acting was great overall too. Standout performances included Nakahara Mai’s Ryuuguu Rena and oddly enough, Shimasawa Hirotaka’s Ooishi Kuraudo. Most of the main characters have a go-to catchphrase and/or sound effect they fall back on for the sake of sounding cute, but I’m not the type of person to find that to be a problem. Rika’s Ni-pah’s or Satoko’s devilish laugh were both enjoyable to listen to, and for some reason, I never got tired of hearing them. The opening, which bears the same title as the series itself, sets the perfect ominous tone for the series. The ending, Why, or Why not, wasn’t a particularly memorable ballad, but I wouldn’t say the song itself was bad (that engrish though). Characters (8/10): I honestly think this is where Higurashi’s story structure comes to hurt itself in the short term (the long term being the second season itself). For most of the first season, we are guided through six different mysteries. In some mysteries, characters play a different role (whether being a suspicious person or a good friend, all in relation to Keiichi), while in others they are either static or not the focus. As a result, Higurashi becomes inconsistent and choppy when it comes to characterization or development. While it does add the story’s thriller-entertainment value, it really doesn’t help the characters, who fall victim to the story. In a masterfully executed horror show (in fact, in masterfully executed shows of most genres), the characters should work hand in hand with the story. If one takes too much precedence over the other, the one that is neglected is likely doomed for mediocrity. This is what stops a lot of good shows from being great, and unfortunately, Higurashi is not an exception. Thankfully, there is some light at the end of the tunnel. In exposing the characters to several different roles in the different narrative arcs, you get an odd sense of starting to just know the characters for who they are, regardless of whether they are playing the good guy or the bad guy. A lot of this is aided through the exposition at the start of most arcs. No matter who ends up being what by each climax, they usually start off by acting in the same way. For instance, Rena is just about always characterized as a cute, hyperactive girl who loves to take cute things home a bit too often, and Satoko is always the clever trap master. Sure, the show itself may end up depending one particular point of characterization (or just a typical trope) to define a character, but it ends up working wonders on getting to know the true nature of each individual. Overall, the characters of Higurashi are done well to an extent. This “extent” exists because the story’s structure demands incomplete characterization. As a result, some characters that eventually become lovable in the second season never really stood out or were liked by myself after completing the first season. Much like the nature of the series, it felt almost like an experiment. Enjoyment: (10/10) I’d be lying if I said I didn’t enjoy Higurashi, and a terrible, terrible lie it would be. As far as thrillers go in any medium, I don’t think I was as sucked in with any other series before when it came to just wanting to know answers. And while most of the answers ultimately weren’t delivered until the second season, I did feel sad that the first season didn’t address more, but not disappointed or angry. Again, a lot of Higurashi’s enjoyment is credited to the double edged sword that is the anime’s script. As far as pure entertainment goes, there’s not much better; however, if you’re looking for a bit more care and thought put into the bigger picture, you might be a little disappointed. Nonetheless, that still doesn’t discredit the roller coaster of a ride that I absolutely enjoyed. Overall (a.k.a TL;DR version of the review): Within its genre, Higurashi is definitely one of the better and more complete packages. Despite its ultimate reliance on a second season that has a bit too much on its agenda, Higurashi is by no means a slouch or a miss. It delivers a great concept with six strong narrative arcs and fast paced entertainment, and the entire experience is complimented by a becoming OST and strong voice acting. Even though I can’t really say the same about the art style, it’s really a case by case basis that ultimately depends on your preference. A good watch, and definitely worthwhile, Higurashi no Naku Koro ni is an engrossing and creepy horror/mystery that is not for the weak of heart or stomach. Average score: 8.6/10 Weighted score: 7/10 (Liked it, recommended) (if the rating confuses you, take a glimpse at my rating system on my profile for clarifications)
Reviewer’s Rating: 8
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