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

Whales are intelligent, majestic creatures. Rulers of the sea by size and by power.

In comparison, Kujira no Kora wa Sajou ni Utau has no size. It has no power.

All it really rules over is the bottom of the ocean – right where it belongs.

STORY

Credit where credit is due: Kujira no Kora (as it will be shortened to from here on out) contains a neat premise what with its expanse of sand, an inexplicable titan, and the cultural norms it creates. It at least has the footing necessary to get the ball rolling (or, in this ... case, get the “boat” rowing).

But as a narrative, as a story, this whole venture sinks rather than swims.

Major issues reveal themselves swiftly and without remorse. For instance, the bad guys have a weird tendency to just not really do anything in situations where they clearly have the upper hand, turning specific events into an excuse to push the plot in a certain direction rather than into intense moments that allow it to develop naturally. Moreover, hardly anything is known about these adversaries since the show will go long stretches without talking about them or at least referring to them, missing out on crucial exploration of their side.

The trading of information also encounters trouble. Characters like Lykos will hold onto vital clues for very little reason other than to obstruct the narrative. Then, in complete opposite fashion, someone like Aima will descend in front of Chakuro to give him her umpteenth example of deus ex machina so that the plot at least “makes sense” when going to its next part.

Quotes must be used there since Kujira no Kora often treads into nonsensical territory. Random characters, such as the older elders, appear and disappear out of nowhere. Certain interactions, such as Chakuro speaking with one of the Nous directly, involves incredulous logic. Important changes, such as Ouni’s newfound powers, have miniscule impact in the aftermath of their discovery.

This systemic plague within the writing festers and oozes its way into the more fundamental aspects of the show. An excessive amount of exposition bogs down the flow, and pacing can get too quick which hinders events. There’s also the intermittent comedic relief. It stilts the tone since people are literally dead or dying and such jokey asides clash hard with the serious morbidity.

Even disregarding the comedy, Kujira no Kora breaks apart with its drama and its action, the areas that make up the bulk of its story.

On the drama side, it’s tough to care about the loss of life which occurs. It tries to be emotional insofar as those who perish usually represent major figures in the lives of those nearby, but the lacking presence of these people to begin with prevents the drama from landing.

On the action side, not enough happens to justify the skirmishes. Those who are Marked have essentially magical powers, but their abilities and their usage rarely (if ever) aim for an interesting angle let alone reach memorable status.

Problem after problem hounds this story nearly every step of the way. It’s largely incompetent, and its premise simply cannot carry the glaring mishaps and the ludicrous inadequacies that weigh it down. This vessel doesn’t just sink; it implodes.

ART & ANIMATION

While the show may not recover from the damage to its narrative, Kujira no Kora at least dazzles with the artistry at its disposal.

Chief among its wonders is the color palate. The anime opts for a watery fade to achieve its softer hues, coinciding with the sea motif and forming the watercolor looks for many of its visuals. It also chooses much lighter colors in general: pinks, teals, yellows. They add a vibrant contrast not only to the darker blues and purples but also to the overall darkness of the mood at hand.

The rocky outcropping the characters call home also gets attention. Craggy walls and earthen stone encase their lodgings. Rudimentary holes act as rough windows. Quaint amenities line their rooms. Vegetation on other floating islands and the regal cities of the “normal” people have a place, but this monolith of mud and clay captures the rustic intent of the anime.

Combining the colors and the setting provides the show with ample opportunities to highlight the beauty of this world. Again, it almost never leaves the static ruins of their roaming giant. Yet, when a sunset casts light on their abode or dancing lights flicker in the nighttime air, it becomes easier to forgive the stale variety and to appreciate these gorgeous segments.

While the art and the artistry often impress, the more nuanced, technical side of things isn’t as captivating. Cinematography remains standard for many of its scenes, and the actual animation during bouts or as they go about their daily lives stays relatively straightforward.

Kujira no Kora prevails with other details, though. The designs for its characters fit the scope and the lore of their era and their culture as loose clothes, accessories, sandals, and other simplistic garb invoke a native feel to their looks. And above them, a painted, almost canvas-esque sky stays aligned with the painted vibe of the art, granting an awe in all directions.

Overall, the anime contains some rather good artistry. One can’t complain too much here.

CHARACTERS

The characters within Kujira no Kora, however, cannot evade complaints.

Chakuro takes the helm of this “ship” as the lead star and the narrator, speaking of his account aboard their home and his knowledge of the Falaina people (i.e., his people). However, he’s entirely too passive to be considered a worthwhile character within the anime. Not that being passive is inherently a problem; it’s that that’s all he is.

He’s a writer at heart, so it’s understandable that he stays on the sidelines during fights (even if he’s apparently a very strong thymia user) since he has little in the way of battle training. But he contributes almost nothing else. He watches events play out, and he cries a lot, yet he just laments the situation and goes along with nearly everything that happens around him.

Deaths of dear friends do affect him, so he’s at least attuned with the gravity of their dilemma. That’s not saying a whole lot, however, when he won’t speak up even if he knows the causes behind it. Worse yet, Chakuro will constantly talk about wishing to record the stories of his people for historical purposes episode after episode, but his progress on this front must be minimal because Kujira no Kora rarely showcases him doing as such. I.e., he talks the talk but does not walk the walk.

Chakuro is so bland and so useless that it’s a miracle to see him connected to this story whatsoever. Lykos is a walking blob of a character, too. She begins as a blank slate of sorts, harboring almost zero emotion when Chakuro and the others find her. Meaning, the anime primes her for an interesting arc to follow throughout the season.

True to its trends, though, Lykos succumbs to the same problems of overt passivity and minute contributions. She receives a tiny bit of backstory near her introduction, and she’s related to the main baddy, but the extent of her presence stops there. She barely says or does anything meaningful despite her growing emotions.

Lykos maybe-possibly develops feelings for Chakuro, indicating her recent changes on a psychological level. Sadly, their relationship neither goes anywhere meaningful, has a resolute foundation, nor is challenged to any significant extent. That is to say, just as they are individually depleted as characters, the bond they share turns hallow as well.

Besides these two leads, Kujira no Kora includes side characters who likewise fail to meet a proper spot. Shuan, the eyepatch guy, is the outlier amongst everyone insofar as he cares not for anything, including (apparently) his own wife. But he’s almost too much of an outsider, leading his small asides to register as inconsequential moments without much follow-through. Then there’s the purple-hair goofball who gets some pretty vital backstory right before a key scene in his arc. It demonstrates a complete lameness in the character writing, aggravated further by his absurd motivations.

Perhaps the only two notable characters in the show are Suou and Ouni.

Suou becomes the voice of reason whose nonviolent ideologies struggle against the fear and the hatred which brews in the hearts of his fellow thymia users. He’s the anchor of hope that the rest of the characters look up to, a mature person who himself has a lot left to learn. As a supporting character, he’s at least beneficial to the ensuing plot.

Ouni is arguably the most well-written character in Kujira no Kora, but it’s still a weak and precarious backing. The anime sets up him as a conflicted anti-hero who inspires everyone to fight back and who cares deeply for the misfits he has befriended over the years. His never-ending angst and his much-to-be-desired backstory don’t do him any favors, but the personal troubles he endures push him down the right path. A statement that cannot be said for the other two main characters.

Unfortunately, Suou and Ouni find themselves drowned out by a mixed bag of other additions to the cast. Sami enlightens the audience to the harshness of their world, Hakuji shows how people can redeem themselves yet, and Masoo reminds everyone of the unfair toll they have burdened. On the opposite side, Oruka is an annoyingly blasé villain in need of depth, and the latecomers from the new country arrive way too late indeed.

For these characters, it’s mostly just a wash.

MUSIC & SOUND

A cleansing of the audio is also required for Kujira no Kora.

At the minimum, its opening track “Sono Saki e” harbors a hefty emotional tone that strikes at the bittersweet layer permeated throughout the anime. The tender female vocals and the light acoustic guitar strings work in unison to meld this mood, relying on the drums and the shakers for a steady rhythm. It’s perhaps slightly repetitive in its structure, but poignant delivery for many of its lyrics supplant this grievance.

The tail end of each episode brings the ending track “Hashitairo”, another song aiming for that bittersweet tone. However, it dives into it with more gusto. Female vocals and acoustic guitar strings return alongside piano keys, extra backing vocals, and violins to emphasize the bitter half of the term. Unlike the OP, this ED skirts around repetition, yet the middle section of the track meanders to a questionable degree. Still, the poetic, story-like lyrics introduce a complexity that befits the song’s equally complex emotions.

While neither the OP nor the ED stand out as too impressive, they at least do not go down the contemptable route of its semi-insert songs. Over the course of Kujira no Kora, a few musical numbers per se pop up to crescendo as sweeping emotional points in the story. Per usual, though, they fall flat. Sometimes they’re way too out of place, like as the prelude to a battle about to commence. Sometimes they’re too methodical, like as the beginning of the end to the story’s conclusion. Whether melancholic or uplifting in nature, these songs are easily the worst audio decisions in the anime.

The majority of the rest of the audio elements simply pass the mark. Heavy cellos and quicker instrumentation coincide with the somber and tenser parts of the anime (respectively), but the collection of tracks it touts leave behind nothing all that memorable. The voice-acting performances similarly lose out on any standout mentions. And the sound-effects, regardless of the thymia possibilities, remain par for the course.

In short, the music and the sound fairs slightly better than the other aspects of Kujira no Kora, but it ends up in the red anyway.

ENJOYMENT

To say I disliked this anime would be an understatement.

The weaknesses throughout the season were already enough to make it a soured and sorrowful experience, but the anime goes that extra step further with some more baffling choices. Key among them involves a certain purple-hair antagonistic who shall go unnamed still for being absolutely insufferable.

Jim Carrey as the Grinch put it best: “Loathe entirely” describes this annoying, eye-rolling, grating nuisance of a character (intentional or not). Yet the show steps it up again by making him into a literal personal jester later on, increasing his loathsome behavior to another level after what should have been his leave. He pretty much deserved such a fate for being a psychopathic lunatic, but, having hit maximum on the hated scale beforehand, he breaks it afterwards. He has now become one of my least favorite characters I’ve ever had the displeasure of viewing onscreen, and I pray I never have to see him mentioned anywhere ever again.

Furthermore, I couldn’t take the anime very seriously at all. There’s a distinct part in episode five that is one of the most unintentionally hilarious moments I’ve ever seen in a long time, if not ever. The Nous creature gets hit by an arrow, and its reaction is priceless. The scream, the eyes, the camera zooming in and out. It was a trifecta of funny that wasn’t meant to be so but got there anyway.

Also why would throwing sand at each other equate to a worthwhile pastime for these stranded people? I get that they must be bored out of their minds out there, but the fact that nobody seems to question such a dangerous activity comes off as irrational.

Maybe I’m being nitpicky over such a tiny detail, but it just goes to show how frustrating this whole project ended up being for me. It’s empty. It’s inane to watch. It’s borderline bottom of the barrel.

When this one did finally wrap up, it boldly declared that, “The journey will continue.” I can acknowledge its confidence for future success – but that’s as far as I’m willing to extend my olive branch.

Kujira no Kora wa Sajou ni Utau fails miserably. Like a golden toilet, it shines on the outside thanks to its beautiful art, but, on the inside, it contains excrement in the form of poor narrative writing, odd musical choices, lame characters, and unappealing entertainment. A whale of a time it is not.

SUMMARY

Story: Terrible, a ridiculous enemy, improper plot handling, nonsensical happenings, fundamental problems, and an uninteresting direction sink its maiden voyage

Art & Animation: Good, vibrant colors and a painted style give the visuals a gorgeous look even if the more technical traits like cinematography and movement do not impress

Characters: Bad, Chakuro and Lykos are horrible protagonists, Suou and Ouni have a mediocre presence, and the remaining supporting and extra cast members lean towards the weak, negative side

Music & Sound: Bad, the OP and the ED demonstrate emotion, but the absurd singing moments and the rest of the lackluster audio elements fail to contribute

Enjoyment: Terrible, has one of the most annoying characters ever seen, laughable when it doesn’t intend to be, and increasingly frustrating the further along it proceeds

Final Score: 2/10

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

Unlike the leading ladies of Shoujo Shuumatsu Ryokou, I probably would not survive the apocalypse.

It first assumes that I’d make it through whatever horrible catastrophe would befall humanity, and I would just-so-happen to be lucky enough to have a fighting chance. But then my prospects would reach zilch real quick when most everything else has disappeared: life’s pleasures, family, some semblance of health.

I wouldn’t know what to do with myself, and I’m sure my mental state would degrade as hopelessness sets in. However, after finishing this anime and seeing the ways in which these girls ... approach such a world, I’ve learned that there may yet be optimism left to cling onto.

STORY

Shoujo Shuumatsu Ryokou emerges from its in medias res cocoon as a contrasting hybrid, a chimera formed with the body of a post-apocalyptic lion, the slice-of-life wings of an eagle, and the dramatic-laced tail of a snake. This mystical entity is normally Greek in origin and fantastical in nature, but this variation hails from the land of anime – and “exists” at that too.

From the onset, an amalgamation of parts so jumbled is rightfully questionable. A dreary sadness plagues the atmosphere as melancholy and loss envelop the area, but cuter interactions between the two leads and their environment spark a warmth and a comfort through giggles and fun more commonly found among the cheery, comedic genre.

Despite these extremes, the show balances the creature through thoughtful coexistence. The taming evolves from the manner in which Shoujo Shuumatsu Ryokou partitions itself into small chapters. These chapters focus on a certain item, place, concept, or action, keeping the scope of their current situation narrow despite the vastness of their predicament.

As such, there’s no real plot to speak of, and there doesn’t need to be one in the first place. Instead, it spends its time essentially curating a bunch of vignettes as if they were a museum on the back of this chimera, showcasing the testaments to humanity and lining them up for the audience to see in continuous fashion as Chito and Yuuri roll along on their tiny military vehicle.

This lofty museum features that thoughtfulness. For example, the two ladies will investigate an unknown place and hum and sing a song as they make rations. Or they may sit down in an empty room, imagining the comforting bliss a nostalgic home provides. Or maybe they dance the night away while under the bright moon and a drunken stupor.

Whatever the case, these smaller, almost inconsequential asides demonstrate a caring nature and a maturity in the writing as its methodical approach typifies the happiness discovered in those everyday happenings. Moments in life about life – without life around them. A contrast so distinct it amplifies the meaning and the power behind its life-lesson topics and appreciation towards the simple things nearby.

The outside of the museum displays the bigger pictures. Graffiti takes shape as Shoujo Shuumatsu Ryokou challenges ideas such as religion, war, and death, darker subjects which remind the audience that humanity has its underbelly and its quirks too. Simultaneously, clear windows introduce compassion and determination, for humanity contains goodness at its core.

A chimera and a museum cannot stop all woes, though. It’s arguable that the anime doesn’t lean far enough into its apocalyptic setting. Not that their trip is idyllic or exactly easygoing, but the show keeps itself within a specific circle as it ignores potential avenues (e.g., injuries, psychology). It also bends its fictional realism a tad too far during the last couple episodes when a bizarre technological super-beings subplot treads more so into fantastical territory.

Yet (and to extend this extended metaphor one last time) the beast and the building defend themselves. Various dialogue pieces highlight how Chito and Yuuri will reference previous episodes, forming a nice sense of continuity from all their past experiences. And it balances the tone between the drama and comedy well, refusing to lose sight of either as an indication of its sturdy narrative.

Indeed, the overall story is strong in execution.

ART & ANIMATION

It’s weird to call destruction of this magnitude “majestic”, but Shoujo Shuumatsu Ryokou delivers a majestic artistic vision through the squalor and the voids it depicts.

All-important establishing shots immediately get at the decrepit state of the world, capturing the wreckage as an unfortunate woe that the girls must traverse to survive. Delipidated buildings. Barren fields of war. Metallic warehouses and hangars. Wind farms. Concrete pillars and hallways. Factories. Abandoned structures. As the title of the anime hints at, this tour of these lasting monuments enshrines not only the pessimism of the situation but also the history of what once was.

This terrain formed from the rubble of a civilization long dormant thus immortalizes the despair and the malevolence of a place whose eerie loneliness the audience both sees and feels. To this end, the show incorporates swathing details for better realism and quite the dreary color scheme with heavy emphasis on those darker hues. Weapons, tangled masses, and large broken objects litter the path almost everywhere, oppressing with stark impossibility. And the colors: greys, blacks, browns, greens. They complement the carnage present, and they drag down the mood not by force but by a constant realization that there’s almost nothing left except sadness.

Yet, through this wreckage, a serene beauty surfaces. Shoujo Shuumatsu Ryokou punctuates its somber air with scenes of clarity, contrasting the darkness with light and with awe, rays of hope which the audience and the girls admire. From a high-rise look-see at the dazzling cityscape beneath them to a full view of a bright room reflecting off the glass “pond” as a tribute to some unknown deity. The anime lets its majesty shine among the snowy hills, the makeshift forests, and the underground caverns for rare glimpses of optimism.

Beyond the gorgeous setting, the anime makes other conscious decisions with its visuals. Movement remains solid throughout as they interact with the environment and move onwards to that next destination, relying on its at-best stiff CG models only for those most taxing maneuvers with their vehicle. It also goes for creativity as well. A grainy photograph of the two or the smudged filter of an old-timey hand telescope showcase the show branching out with newfound minutiae and perspectives.

To top it all off, Chito and Yuuri have nice designs to match. They fit the part, what with their soldier helmets and heavy coats protecting them from the inescapable harshness. Contrasting traits – heights, eyes, hairdos – pinpoint their differences by looks alone and setup their duo duality with ease. Not to mention how their round-yet-blocky features afford a lot of malleability, seen in the slightly squashed style that aids the comedy with exaggerated looks and extra silliness for a cute, fun approach as required.

The setting. The fundamentals. The designs. Each part strikes gold in each artistic part, and the anime is all the richer for it.

CHARACTERS

Chito and Yuuri enter Shoujo Shuumatsu Ryokou as a tried-and-true narrative pair: the brains and the brawn. Such a standard setup has been around for ages because it works, and these ladies are yet another testament to this fact.

Chito essentially leads the group (if it can be described as such). She pilots their mini-tank from location to location, and she manages their free time and side ventures with a perceived caution. Moreover, true to her brainy nature, she reads books to understand culture, she writes down notes as a record of their adventure, and she has her wits about her. However, she has her faults. Heights scare her completely. She does not know how to swim. She lacks physical strength.

Yuuri earns opposite stripes. While she loves to laze about and can never have enough food in her belly, she certainly can be her own individual. Using weapons, pushing debris, not being afraid of heights. Clearly the brawny muscle, she anchors the trip they take with a stout head on her shoulders. Much like her companion, though, faults arise. The most notable is her lackadaisical attitude, contributing to a carefree nonchalance in handling situations.

Thus, Chito and Yuuri look to each other for help during these trying times. Not just because they must, given they are practically the only people remaining on their godforsaken planet, but also because they can. They cover each other’s weaknesses: Yuuri keeps Chito calm whereas Chito keeps Yuuri reeled in. Yet their most important roles stem from the fact that humanity has an inherent need to think and to conjecture.

This core represents the basis of nearly all thought: questioning and answering. For Shoujo Shuumatsu Ryokou, the main protagonists form a dichotomy insofar as the anime typically relegates them and their time to one of those sides. Yuuri is the questioner; Chito is the answerer. Yuuri is very simpleminded, but her frank honesty and unashamed questions invite a pure dive into everyday wonders that people generally take for granted. In turn, Chito attempts to explain these “foreign” topics, offering similarly simple answers which elucidate their overall complexity.

Their inquisitive nature begets the semi-philosophical edge which the show leans into for much of the season. Yuuri will take Chito’s answers at face value, applying them in a straightforward manner for an out-of-the-box way of thinking. Chito will take Yuuri’s questions as a sign of her reserved maturity to view their predicaments in a new light. Together, the contemplative conversations they exchange, from the small asides to the larger sit-down discussions, further characterize themselves and hearken back to that crucial motif on the value and the nuance life contains.

Looking more so at their relationship, it’s seemingly that of best friends, but a nugget of frustration and disparity exists on occasion. Calling it “animosity” or “hatred” is not correct, yet the anime unfortunately refrains from truly testing their bond to discover otherwise. Emotions remain mostly stable over the course of Shoujo Shuumatsu Ryokoueven as it scoots close to such interpersonal conflict. Ultimately though, and similarly to the story, the anime shies away from possible avenues, extreme or not. Yes, being friends is essentially an inevitability under such insane circumstances, but this missing challenge sticks out.

Speaking of friends, a certain patchy spider from a particular video game borne of blood can be quoted as saying, “What is friendship, but a chance encounter?” Such an “uplifting” statement applies to the friends which Chito and Yuuri happen to meet along the way.

Their brief stays combat the nihilism such a predicament would entail. A cartographer letting things go to start anew. A mechanic finding goodness in hardship and in failure. A zoologist learning about empathy, be it for man, fish, or robot. Arguably, the show doesn’t tie back in these scarce side characters all that well, but it may be unfair to expect them to do so, especially when their encounters have given them memories, direction, and hope anyway.

No matter the case, Chito, Yuuri, and these friends prove that the human spirit lives on through sheer tenacity. It could be by thinking, or it could be by realizing the obvious. Either way, they’re all an existence within the anime that surely improves the project.

MUSIC & SOUND

For Shoujo Shuumatsu Ryokou, it’s imperative that the two leads Chito and Yuuri are as intriguing as possible since they are followed constantly and cannot have usual rapports with other side or supporting characters.

Which is why Inori Minase as Chito and Yurika Kubo as Yuuri lead the charge with a couple of strong voice-acting performances. Chito has a resigned cadence to her words that bring out a so-done-with-this attitude, and a carefree lilt for Yuuri stamps in her usual jokey self. They each boast a calmness to their voices, too, lending even further credit to their VA chops when the role demands a delicate touch for this tough in-universe habitat.

The original soundtrack follows suit with a diverse selection that does not interfere with the ladies or the grounded presentation but rather supplements the events with its purposeful music. Xylophones for the methodical sections; acoustic guitar strings and chords for those moments of reprieve; banging drums and quick drumlines for a can-do vibe. From the gentle pieces to the mild tunes to the depressing ensembles, the OST captures the mood and the beauty of the anime once again.

But chief among its aural landscape are those items which may not be strictly categorized as part of the normal music offerings. I.e., Shoujo Shuumatsu Ryokou smartly takes advantage of its story and of its medium when it creates signature moments inspired solely by the sound in the air.

A reddened sunset overlaid with a choir-like radio channel comes to mind, but the plinking of rain on various objects during a storm manifests as a trifecta of perfection. It’s very relatable, it morphs into an awesome song, and it follows the ideas and the intent of the show to the highest of degrees. It would not be a stretch to claim this chapter as one of the best parts in the whole anime.

As for the opening track and the ending track, they too deserve praise.

“Ugoku, Ugoku” aligns with its namesake as the steady beat and the reserved pacing move the song along. The techno, space-like sounds add a technological and mysterious edge that goes with the show, and the chiptune instrumentation instills a meta-regression that likewise befits the non-modern-day content. The “1, 2, 3…” lyric is also a catchy inclusion with its surrounding, fuller portion of the track that sandwiches comfortably within the docile beginning and finishing segments of the OP.

“More One Night” targets a slightly different genre of music. This dance-party tune makes for a jovial conclusion to each episode, the quick repetition of the lyrics, the onomatopoeia, the piano, the bass, and the snapping making it almost mandatory to nod or to tap a foot to the song. It’s a non-complex, straightforward ED that caps off the rest of the audio design in groovy fashion.

ENJOYMENT

I’m not a religious person whatsoever, so I may be biased in my reasoning here, but the following dialogue exchange between Chito and Yuuri is one that I find encapsulates this series: “What’s a God?” “A god is like… I dunno.” “Can you eat it?” “You can’t.”

Before hearing it, I was already quite enjoying the anime. After hearing it, I had a feeling I was going to view it all very favorably when it finished – and my hunch thankfully turned out to be correct.

That exchange and others had me engrossed during its run for two reasons: the laughs and the simplicity. Chito and Yuuri were often a couple of goofballs, their antics leading to a bunch of funny moments as they dealt with yet another obstacle and talked to each other on a regular basis. Yuuri and her hilarious lines. Chito and her deadpan stare. The two together getting by as best they can. They were a hoot and a gleeful pair.

And it’s a simple show. Deceptively simple. This description is a positive mark in my eyes, for it takes this simplicity and delivers a show on being and living and wondering. Interlaced within this drive is a ton of heart behind its actions, and the necessity for hope, while slightly saccharine for this setup, is a message that I certainly endorse and appreciate no matter which walk of life somebody happens to tread.

Shoujo Shuumatsu Ryokou flies to the top-tier level with enormous success. The thematic exploration in its story and the introspective angle in its characters are swell, and the production values for the entire anime uphold a beauty and a vigor that do not go unnoticed. Combined with an overall rewarding amount of entertainment, its prospects reach far above zilch.

SUMMARY

Story: Good, a dramatic, comedic, slice-of-life chimera whose museum of life- and life-lesson vignettes form a meaningful journey

Art & Animation: Great, the majestic visuals for the setting, the smart artistic decisions for the fundamental elements, and the tailored designs for the narrative equate to an artistic treat

Characters: Good, Chito and Yuuri are a classic brains-and-brawn pair who support each other, their inquisitive nature and their chance encounters along the way defining the tenacity of the human spirit

Music & Sound: Great, nice VA performances, a fantastic OST, signature audio moments, a nifty OP, and a dance-party ED bolster the audio with execution aplenty

Enjoyment: Great, gods cannot be eaten

Final Score: 9/10

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

The geological timescale views singular months and years as unregistered blips on a radar.

To us regular folk, though, even just a tough few hours at work can seem like an eternity. We value our time greatly, thinking about that joke we heard the other day or looking forward to that cool party in the weeks to come. And, as the saying goes, “Time flies when you are having fun.”

That’s why the here and now is so precious; the present is a valuable existence we can almost never take for granted. In this time, a curious ... anime titled Houseki no Kuni emerged, and the fact that we’re lucky enough to have it around should not go unnoticed.

STORY

Rorshach-summoned moon entities called Lunarians invade an Earth-like land inhabited by anthropomorphic crystals who devote themselves to their caretaker as difficulties unfold. Such a unique premise sounds rather intriguing, perhaps impossible. Houseki no Kuni, however, embraces this synopsis from the start, refusing to let its initial pull falter.

An excellent script gives this pull a lot of strength throughout the season with plenty of opportunities. The fun dialogue and the sharp scenes lead to surprisingly comical moments and lively interactions between the rocks as they go about their daily business. It can be trying to “wake up” Sensei, Phos fed up with an unlucky slug, or the lot of them clambering to see a new sight. Whatever the case may be, the anime brings with it a robust sense of timing and direction that equates to an engaging string of events.

This sense of flow also carries over into the dramatic elements which Houseki no Kuni touts on a regular basis. From a broken body washing ashore beside Cinnabar to the futile attempts of saving another, it becomes clear that its emotional weight balances out its comedic elements with a seriousness that warrants exploration of its meaningful themes.

Such themes align extremely well with the geode motif at hand. Personal discovery. True purpose. Innate worth. They are just a bunch of rocks, defined by their hardness, durability, and chemical composition, yet they are more than just a smattering of numbers or a litany of letters on a page. Rather, their aspirations of being more, their motivations of proving themselves demand a greater calling. For if even the very stones of the mountains wish for a grander presence, then surely these ideas must have some reputation somewhere.

Unfortunately, Houseki no Kuni does not always get it right, especially when particular story beats lack buildup on a writing level. The complication behind Phos, their arms, and the ice floes occurs over the course of a few minutes; Dia separates from Bort and then faces that separation within the span of the same episode; Rutile fixes up their long-dormant friend Padparadscha out of nowhere only to have them sleep again right away. Despite the impressive comedy and drama nearby, these instances demonstrate that the show sometimes values getting to that next crucial plot point over letting it simmer for better impact.

There’s also the trouble of how the last few episodes proceed. That this season definitely comes off as a first-parter when it essentially leaves many of the mysteries up in the air: the Lunarians, what Sensei seems to be hiding, those fish people who were hardly referenced after the first quarter of the season. Meaning, it concludes with a twinge of disappointment at the fact that its plot hasn’t really progressed past anything exactly pivotal.

This last grievance can at least be excused somewhat since the opposite is also true: that it does not attempt to rush towards an unsatisfying conclusion. Plus, the anime deserves further recognition for the consistent tone in its narrative as well as the frequent-enough action scenes which showcase a cooler side of the show. So, while the story couldn’t quite reach the loftiest of heights, it still pulls along a respectable amount of clout.

ART & ANIMATION

If Houseki no Kuni should be remembered for anything in the history books, its artistic vision no doubt claims a chapter. For it is not a stretch to denote this anime as a landmark project for the medium regarding the CG approach it daringly takes and the notable execution it ultimately achieves with it.

The show immediately takes advantage of its near-constant extra dimension with slick camera work. Following perspectives and dynamic shots enable the show to go for tougher angles and more interesting possibilities that are just not as feasible in the normal space anime occupies. Not to mention that the general cinematography for the various scenes allows the CG-ness to flourish.

It then goes for those extra steps. While regular stuttering in the actual animation reminds the audience of its 3D nature, it has a certain charm in that the anime isn’t afraid to embrace its computerized roots. Nevertheless, very smooth movements are common as Phos and the others engage in skirmishes and play off one another. The flowing of gold and the richness of fur also catch the eye.

When it isn’t typifying CG usage, the show still remains a sight to behold. Amazing backdrops not only set the stage for the ensuing battles and the calmer downtime they experience but also add context to the loneliness these characters feel and the wonder that their drive manifests. More to the point, Houseki no Kuni integrates flashes of 2D art (rather than the other way around in traditional shows) for its facial expressions and even particular scenes. It’s often subtle, but this melding affords the anime new options around most corners.

The character designs also deserve praise. Their attire coincides with the genderless state of their beings: casual suits and formal ties during the day; bathrobes before bed at night. However, their hairdos garner the most attention. The styles and the colors vary, and an alluring quality follows them almost everywhere as it bobs on their heads and shimmers on their shoulders to a dazzling degree. A feat realized by its CG strides.

Nearly everything coalesces into an incredible display of skill and prowess on an artistic plane. Indeed, this show is now what every other CG-centric anime should most likely look up to and learn from moving forward. And that’s not a shallow statement whatsoever.

CHARACTERS

Houseki no Kuni continues its streak of strong execution with its cast members.

Phos, the main protagonist, is key among this group. They begin as a weak, clumsy, and naïve pebble and evolve into a strong, determined, and inquisitive gemstone. Their extreme changes become emblematic of character development as the journey before them tests their might and their mettle in an almost uncompromising fashion.

Their personal Ship of Theseus situation modifies their body and their mind, implicitly challenging the concept of identity for another philosophical edge the anime hones. But their heart remains true. Constant failures do not impede their progress but rather instill in them the growth and the maturity they desire. In turn, their setbacks hearken back to that thematic take on self-discovery and guide them towards purpose for both others and their own being.

Moreover, Phos feels hapless and ignored and unwanted. So, they find themselves forced to confront their own weaknesses – known or otherwise – as a means of displacing their supposed inadequacies and thus quelling any doubts. Sometimes the outcome seems desirable; sometimes the outcome drags a haunting burden.

Yet they answer the uncompromising with a refusal to stop. They help. They learn. They mature. While Phos has yet to reach the end of their adventure, they have clearly gotten so far.

Phos alone cannot carry Houseki no Kuni. So, the anime pays attention to its side cast members, ensuring that they as well have a chance to shine. Bort fights as the strongest among them. Alexandrite studies the Lunarians with overexcitement. Sensei oversees his cherished flock with discipline and care. Even fringe characters like Yellow Diamond and Zircon have their own mini-arcs accounted.

Of course, there are vital supporting characters, too. Dia battles against jealous inner demons, and Antarcticite acts as a role model for Phos. One could argue that Houseki no Kuni drops the bar with Cinnabar, its next most important character after Phos, due to their lack of screen time. However, their outcast parallels, their contrasting attitude, and their sideline wisdom form a tight relationship between these green and red wonders.

With the entire crew polished to a refined sheen, it is no wonder that they place the anime ever higher on the pedestal.

MUSIC & SOUND

The CG is basically the mainstay of the show, but the audio decisions within Houseki no Kuni are no slouch over either.

Its opening track, “Kyoumen no Nami”, elicits fascination when plinking piano keys give way to a melody of notes that anchor the song to a forward momentum. The rapid tapping of drums, the bass strings in the background, and the powerful vocals charge up the song with equal parts imagination and sorrow while still maintaining its light, airy ambiance. It all comes together as a vibrant piece that primes the audience for the story that awaits.

Perhaps the crown jewel, though, rumbles forth from the original soundtrack as ancient moods and mystical atmospheres erupt from a majority of the tracks. Dancing xylophones and somber Asian instrumentation evoke an introspectiveness perfect for the narrative. Piano melodies, sweeping violins, and a rousing wind section quake with an orchestral stomp that captures the whimsical, uplifting, and dramatic parts off the anime. Hand drums increase the frantic tension during those common spats with the Lunarians. The ensemble is simply beautiful and memorable.

“Kirameku Hamabe” bookends many of the episodes as the season’s ending track, and it also earns its keep. While not initially as captivating as its OP or OST brethren, this ED grows on the listener with each subsequent listen as the finer details are heard. The blaring trumpets. The crashing cymbals. The rhythmic tambourine. All while moving at a nominal pace the whole time, letting the composition speak for itself. Overlaid with piano and a stoic vocalist, this track soars alongside the rest of the music.

The entire voice-acting crew does a swell job, too. Tomoyo Kurosawa as Phos nails it best. Not because she must as the lead but because she gives them as much personality as she can muster, capturing their jokey mannerisms, their naïve delivery, and their resolute tone, ranging in feeling and emotion as Phos undergoes their bevy of trials. Ai Kayano as Dia and Jouji Nakata as Sensei also get shoutouts for their performances. The former has a gentleness to her words that soothes the soul, and the latter commands with a low-sounding calm.

Smaller touches, like the clashing of stone-on-stone as the characters run through their marbled abode or the ringing emanated from arrows striking swords, further highlight the attention to detail Houseki no Kuni houses in its audio direction. Combined with everything else in the music and the sound, it’s a powerhouse of mountainous proportions.

ENJOYMENT

It’s always a pleasure being able to watch a top-tier anime.

This one had reeled me in from the beginning thanks to Phos. They are force of amusement and intrigue, and they are a constant source of awesome for the entire experience. I like how silly they can be. I’m a fan of their arc. I appreciate their spirit and courage. They have risen high on my list of favorite characters for sure.

I cannot forget about how much fun the other characters bring as well. Dia is lovely and cute with their wholesome kindness and their fondness for fluffiness. Rutile cares mostly for the science of their “people”, so their straightforward behavior when it comes to mending the “scars” and checking the “bones” of their comrades gets me chuckling. And Red Beryl frustrated about improper measurements makes me smile with glee.

Besides the fun, many of the dramatic moments are noteworthy, and its engaging, anti-nihilistic vibe forms a taut tether throughout the show. And it’s just inspiring to see. Not only since I’m a computer dude at heart but also since it accomplishes its goal of tearing down the current CG connotations. I view it as one of the first truly phenomenal CG anime, and I can only hope for a continuation sooner rather than later.

Until then, I sit here content, knowing that this anime has attained stardom already.

Houseki no Kuni surfaces as a fantastic project worth its weight. The philosophy of its themes. The groundbreaking artistry. The fortitude of its cast members. The serene music. The bulk of its entertainment. Any geological timescale will have this anime on its radar indefinitely.

SUMMARY

Story: Good, a very interesting premise, an excellent script, nice dramatic moments, and strong themes are held back by a few awkward narrative decisions

Art & Animation: Great, a CG landmark within this medium

Characters: Great, Phos is emblematic of character development, and supports like Cinnabar, Dia, and Antarcticite contribute to both them and the larger tale being told

Music & Sound: Great, a vibrant OP, a soaring ED, a stellar OST, a bunch of wonderful VA performances, and a set of smart audio design choices cap off the production values with style and finesse

Enjoyment: Great, Phos is a favorite, lots of fun discovered, filled with intriguing elements, and inspiring to see

Final Score: 9/10

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

The online definition of “apocrypha” from Merriam-Webster states the following: “writings or statements of dubious authenticity”.

For those people in-universe who somehow got their hands on Shakespeare’s perspective of the trials and tribulations within Fate/Apocrypha, they would most likely agree that such a word fits his work all too well.

But for the Masters and Servants who underwent these troubles themselves, they would obviously disagree, stating that fate decreed it so.

STORY

Another Fate tale to be told, another (Great) Holy Grail War to be fought. The twist this time? Rather than a free-for-all between nine chosen Servants, the ... battlefield involves the Red and the Black sides, each getting a set of nine to control as each “team” (a loose term here) battles for wish-fulfilling supremacy.

Comparing with earlier installments Fate/Stay Night and the oft lauded Fate/Zero, this newest story doesn’t stray too far from familiarity. Yes, that twist sets it apart from the others, but the underpinned elements prevail. A dark tone due to deception and betrayal. Quasi-philosophical themes about the nature of man. Enough battles to fill a goblet (or, in this case, a cracked-open sphere). In short, the audience should not fear that this installment has lost its identity, for it clearly follows its brethren.

Unfortunately, Fate/Apocrypha cannot muster up much of a narrative to speak of. Its action-centric sequences at least engage the audience with their multi-duel format, but they cannot always be around. And when they’re not, the lull between them becomes a noticeable slog.

The mishaps are many. Subplots like that of Avicebron’s mega-golem fail to go anywhere meaningful. Plus, despite the large number of characters, not only do the disparate groupings not interact much between each other but also the intrateam dynamics fall short as well. And the overarching driving force behind the story itself feels empty as the Grail, the motivations, and the world don’t matter much in the grander scheme of things. It all combines into a rather lackluster trip as the string of events unfold.

The pacing could be odd at times, too. This whole shebang has been in the making for 60 years, but about half the plot takes place over the course of a single day or so and then, in the back half, over a few more. However, the arrival and clashing of so many legendary heroes simultaneously cannot help but get the ball rolling. Not to mention that they are really vying for each other’s jugulars. So, it makes sense that it all spills forth once the game is set and ready to go.

Fate/Apocrypha also seems scared to kill off any of the heroes during actual fights in the first half since many either self-sacrifice as part of the plot or die in pitiable fashion. It can leave a disappointing feeling in the stomach given how much the action matters to the show. Nonetheless, the finale pretty much makes up for this lameness as brawl after brawl has those jugulars spilling blood in combative annihilation.

To the show’s credit, it blends together the morality of the situation to a notable degree. Almost nobody is all good or all evil, leading to a mixture of stances which permit the second-guessing of ideologies. Again, the characters, especially the heroes, do not communicate or converse with each other all that much, so exploring or comparing their personal ideas isn’t always on the menu. But it is, at the minimum, an option that surfaces on occasion.

In the end, though, Fate/Apocrypha only really has the action going for it. Since said action is the calling card of the series, the effectiveness of its story isn’t a total wash. But because it tries for more and can’t quite get there, it wraps up as an unfavorable war that isn’t quite as “Great” as it self-describes itself to be.

ART & ANIMATION

Perhaps reiterating already, but, without a doubt, the anime prides itself on its fight scenes and the coolness they tend to bring.

But they work and don’t work. In the first few major bouts, they can be tough to follow due to the overreliance on massive, mega explosions to get across the ferocity of these duels rather than letting their swords and lances do the talking. Plus, Fate/Apocrypha won’t always stand still on a shot to let the audience seep it in before it hurriedly goes to that next mammoth-sized explosion.

Regardless, a spectacle erupts as multiple colors and dazzling lights dot the air when the Servants cross one another. And the show makes sure to highlight their insane abilities. Vlad’s spikes. Chiron’s arrow volleys. Frankenstein’s electric nuke. These and other powers make for visually cool moments, and Fate/Apocrypha ensures that they each have a chance to strut their stuff.

In the last chunk of episodes, though, where the final fights commence, the show steps it up to that next level with several separate duels which treat the audience to many awesome battles. Jeanne dodging Atalanta’s demonic attacks. “Siegfried” squaring off against Karna with stylized destruction. Mordred and Semiramis refusing to give in. Astolfo charging forward upon his mighty griffin steed. Sieg and Shirou having one last hurrah.

If the first half wasn’t the most captivating, the latter portion certainly assuages any further woes. Also, to the anime’s credit, a couple of scenes standout for their attempts at looser movement for a wider range of action. Specifically, Frankenstein writhing in terror from unwanted visions, and Chiron and Achilles boxing each other with brutality, demonstrate the anime risking a rougher look to its movement in exchange for more emotion and expression.

Whether showcasing battles or not, the background art fails to impress. Open fields, the Yggdmillenia castle, and the floating city structure act as formidable, understandable places for the fights to unfold, but the hyper-focus on said fights leaves the rest of the setting for want.

Fate/Apocrypha brings it back again with its character designs. Everyone across the board lays claim to a combination of interesting details and varied getups. There’s the regal Astolfo. The bejeweled Karna. The cat-girl Atalanta. The elven, black-robed Semiramis. The wizarding Avicebron. The knightly Jeanne. The heroes don’t just play the part; they look the part as well.

So yes, the art and the animation can have its hiccups in certain areas. But, for the most part, the visuals and their presentation benefit the show and its causes.

CHARACTERS

Fate/Apocrypha contains five tiers for its characters: cannon fodder, sorely lacking, supportive, respectable presence, and vital. Now, with over twenty in total that make up the crux of this story, it isn’t feasible to dive into every single one. However, using these tiers, the bigger picture can be extrapolated on.

Starting at the bottom, the cannon fodder either barely matter or hardly contribute to the festivities to the point that one wonders why they were even there to begin with. Spartacus counts as the former, for he runs ahead, gets captured, and then perishes without a second thought. Celenike, the crazy psycho lady who cares more about Astolfo’s body than any magical mighty wish-granting device, counts as the latter. She could be removed from the plot, and almost nothing would be affected.

Being cannon fodder is not automatically a detriment. With such a large cast, it makes sense to have fringe players in the game so that the anime can start cutting the cruft for some earlier-rather-than-later entertainment. Those who don’t contribute, though, have less of an excuse going for them.

Doubly so for those who are sorely lacking in any regard. These characters are technically important, but they have very little going for them or in their favor, so they end up as weakly written. The major antagonist Shirou comes to mind first as he puppeteers the entire war from up high and in the shadows, spouting off about nonsensical salvation.

The supporting members attempt to make up for the fodder and the lacking. Astolfo, the jovial man who believes in the goodness of humanity, guides Sieg to safety and to kindness. Same for Gordes, the heavy-set Mage who eventually thawed his rough demeanor to help the homunculi amidst the carnage.

Fate/Apocrypha also has those with a clear presence. They play their role well-enough over the course of the story, building up relationships or interesting moments while avoiding the major pitfalls for those who go sorely lacking in clout.

Jeanne is key among them. She rules as Ruler over the game, protects Sieg as her feelings for him churn, makes tough decisions when required, and finds her resolute, stoic persona changed for the better come the finale. Mordred and Kairi can be placed here, too, for their general independence from both the Red and Black sides of the war give them extra freedom to jump into the fray and investigate their backgrounds.

The only vital character, then, within the show is Sieg himself. Basically a human with a clean slate in terms of memories, thoughts, and emotions, his unbelievable adventure molds him into a person of justice as the main protagonist. His time with the old man and his asides with Siegfried teaches him heart. Seeing his fellow brothers and sisters suffering instills passion in his soul. Witnessing the horrors from Jack the Ripper challenges his mind. His journey therefore transforms him into an entity filled with humanity’s greatest asset: hope. A vital takeaway, indeed.

In total, this five-tiered melting pot of characters gives Fate/Apocrypha a range of opportunities and shortcomings throughout the entire season. While half of them end up as mediocre in terms of writing, the other half reach that solid level to balance everything out.

MUSIC & SOUND

The anime sets the audio stage with its first opening track, titling it “Eiyuu Unmei no Uta”. Off-kilter instrumentation, such as the twinkling of a music box and some bag pipes, as well as the whispering vocals get at creepy vibes for a menacing mood. But the pounding drums and the majestic choir remind the listener that Fate/Apocrypha has its intensity when it so chooses. While the entire song may be a bit too all-over-the-place in terms of arrangements and styles, the strong female vocals and the variance in general combine into an interesting piece.

“ASH”, the second opening track, does not surpass its brother. It isn’t a horrible song either by comparison or individually. That’s thanks mostly to yet another bout of strong female vocals and the nice orchestral backing from the piano keys and the violins. The little stopping flourish near the end is nice, too, but it all around misses out on the same sense of intrigue with its somewhat bland composition.

It’s tougher to vouch for the first ending track, though. Titled “Désir”, it has almost nothing of note about it as its first half lacks the finesse to follow-up with its loud second half. Which is why the second ending track “KOE” works. Its slow, methodical start leads into a smooth acoustic-and-electric guitar segment, a combo which contrasts rather harshly and nicely with the quick-and-chaotic clashing which happens in Fate/Apocrypha on a regular basis. In this case, following it up with a fast drum beat and a grandiose finish flows well with the earlier foundation.

Similar sentiments exist for the original soundtrack. While the songs are normally drowned out by the yelling and the high-octane sound-effects, the quieter moments grab the ear due to their contrasting lightness. Especially the little piano tune. Sure, maybe it’s overused, but it cuts through the darker direction of the anime with a tenderness that keeps that aforementioned hope alive.

And while the voice acting is by no means repugnant, it also doesn’t attain any noteworthy spots. The only person who comes close is Rumi Ookubo as Astolfo who helps to sell the “illusion” of his feminine charm.

Altogether, the audio elements within Fate/Apocrypha manage to meet that middling ground.

ENJOYMENT

I have a tiny bone to pick with the Fate franchise at this point.

Having seen several of its stories now, it would be nice to see someone actually win the whole ordeal for once. I know. Part of the point is that the wishes and the Holy Grail itself are not the true goal. “It’s not the destination but rather the journey that matters most.” I get that. I even love such platitudes.

However, each story has been some interpretation of that concept. And no, these bittersweet endings, such as was the case in this one, don’t count. I want to see a true winner, someone who fought and battled and could legitimately be claimed the victor. As opposed to the same-old outcome of nobody wins or someone “won” in quotations with maybe an asterisk or two.

Rant aside, this show had a host of characters that run the gamut. Near the top, I was quite surprised at how much Astolfo grew on me. In the beginning, I admittedly viewed him as an annoying player in the game. But, as the episodes progressed, and his honest sincerity shone through, he slowly became one of my favorites around. Same goes for some of the less exciting Servants. Chiron, Karna. I respected their tenets and their virtues, so their presence made the anime a more enjoyable time.

Mordred and her Master Kairi were likable, too. Shakespeare was initially near the top of my rankings, but he wasn’t around or as impactful as I would have desired. That’s why Frankenstein was my top favorite. Not just because the novel she comes from is likewise one of my favorites but rather her other traits. Her fierceness. Her gentleness. Her cuteness. I was sad to see her have an early exit, but a later-surprising plot point (while perhaps slightly contrived) got a thumbs-up out of me.

What gets a thumbs-down, though, are a few of the other characters. Specifically, Darnic, Jack the Ripper, and especially Shirou had me shaking my head or rolling my eyes at their actions. Darnic was too comically evil. Jack’s cute-girl-but-really-a-demented-cannibal personality was not scary or endearing but laughable. And Shirou was pretty much impeccable and therefore untouchable at everything he said or sought, an archetype I loathe without end.

As for nearly everything else in this anime, I was pleasantly entertained. Some clashes were more interesting than others, and several relied too much on giant explosions instead of letting these warriors duke it out, but they had their neat moments here and there.

I also appreciated the romantic angle that Sieg and Jeanne’s relationship took on, for I wasn’t exactly expecting such a development before getting into the show. They were sadly both clueless when it came to their feelings. Her because she doesn’t understand them; him because he’s a homunculus that doesn’t automatically have them. But the tiny spark and words shared between the two got my romance gears spinning to at least a small degree.

Altogether, it had enjoyable parts and others not so much. Thus, as a complete package, it lands somewhere within the average field. Neither overly impressive nor horribly awful but instead a nice-enough project for this ever-popular franchise.

Fate/Apocrypha weaves a tale of guts and glory that called in sick a few times. An action-oriented story cannot hide its questionable choices, and not every character has the luxury of strength. Nevertheless, the production values do have their high points, and certain aspects can be fun to follow. And that’s far from a dubious proposition.

SUMMARY

Story: Bad, the identity remains familiar, and the action has its appeal, but a bunch of narrative mishaps and iffy choices otherwise keep the plot and the structure in dire straits

Art & Animation: Good, with visually cool battles, a couple of risky animated sequences, and a host of interesting designs, the artistry fights onward

Characters: Fine, a melting pot of players who range from fodder to vital and everywhere in-between provide a lot of opportunities yet also a lot of shortcomings

Music & Sound: Fine, a couple of interesting and not-so-interesting OPs and EDs set the stage, a tender OST supports throughout, and the VA performances are passable

Enjoyment: Fine, some exciting skirmishes, the handful of likable cast members, and an appreciated romance twinge counter the dislike for the same Grail outcome and the several unlikable cast members

Final Score: 5/10

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

Like a couple of the characters in Just Because!, I too went through the grueling process of test taking in the hopes of earning high scores and favorable university-related invitations. They went to cram school, so they have a one-up on me in terms of drive, but, as someone who empathizes with their position, I don’t envy them one bit.

As for the tale told around them and their close friends, the results may just barely pass the mark.

STORY

Fiction sometimes depicts fantastical lands and strange creatures. Other times, it will take a typical setting, twist it ... slightly, and produce a new take on a familiar concept. But then there are those stories which simply mirror real life in a straightforward way, following the small struggles and everyday events which push most people.

Just Because! takes to heart that last category and never lets go. As the plot focuses on a handful of adult-bound teenagers who must deal with prospects and relationships, the anime revels in its mundanity. No bombastic dialogue. No ultra-exciting happenings. Only believable moments that beget a sense of realism which most people either relate with or otherwise understand firsthand.

This approach can be a double-edged sword of sorts, for a plot of this nature can tread into dull territory if mistreated. Especially so in this instance when the school setting argues against it for lack of originality (despite being an original project in origin). The drama must therefore have an allure which elevates it to a worthwhile spot so that it may engage the audience with its content.

Thankfully, this show discovers that allure. Very grounded and very personable scenes form a quiet direction whose sincerity supersedes any perceived dullness. Rekindling a friendship between two people who had grown apart in recent years. Visiting an aquarium as a group. Playing a poignant trumpet out by the river for all to hear. Quizzing someone on the train to calm their nerves. Getting someone a foodstuff from the nearby convenience store. On paper, these scenes appear mediocre at best, but, in practice within Just Because!, they highlight the anime and its ability to capture those mundane yet believable moments.

A breakdown of the narrative, though, starts to unveil cracks in its makeup. Certain story beats – such as self-promises not being kept or wagers causing the same result regardless of their existence – do not matter as much as preordained. A grander theme fails to weave in-between those nice moments, too.

It can get worse when Just Because! invites those two frustrating neighbors from down the bloc just past Romantic Avenue: Ms. Communication and Ms. Understanding. Their involvement prevents some delicious payoff throughout the entire season, and their combined might can even cause plain silliness when, for example, an obviously intelligent student not only amuses a “friend” where feelings are already known but also somehow cannot change the background of his own phone to avoid obvious confusion.

Now, yes, these neighbors drive the plot and allow the necessary conflict to arise. However, for a story so presumably proud of its realistic portrayal, their arrival often replaces dramatic weight with induced eye-rolling. Thankfully, they aren’t so obnoxious that they outright ruin the show, for the consistent, deliberate events eke out at least a slight victory.

ART & ANIMATION

Just Because! has a small debate which surrounds its visual acumen.

Not in question: the atmosphere. A strong sense for lighting sets the mood quite well as somber thoughts and the unknown future cloud not only the wintery air but also the characters which carry this tone with them.

As for the background art, it dazzles amidst this cloudiness thanks to the constant establishing shots and realistic detail given to the many areas visited. Often, the audience feels as though they are there at the school, the surrounding city, and even within the homes of the characters as the show goes super out of its way to create a space alive with opportunity.

The debate comes with the animation quality. On the one hand, its looseness leads to expressiveness, allowing for a larger spread of actions and reactions. On the other hand, it can get (very) rough on occasion and therefore not exactly pretty to look at, especially in contrast to the rest of the artistry.

But it goes back to the realistic approach which Just Because! champions. How this expressive, rougher style coincides with the anime’s overall direction. Better yet, it lends itself to higher emotion and stronger purpose in the scenes depicted. If nothing else, it can be nice to see some risk now and again, and such is the case with this interesting decision here.

Tougher to defend is the CG usage, but it’s infrequent enough that it doesn’t impede the show too much. And, while the color palate for the character designs may be too washed out, that aesthetic follows the grayer mood of the story. Plus, the simplistic looks of Eita and the others ensure that the realism levels remain right where they need to be.

And this anime deserves a special shout-out for its phone and texting display. Letting the speech bubbles and stacking exchanges pop up near the characters as opposed to always focusing in on their phones was a neat choice. It gave Just Because! more chances to let the quietness and the normalcy of the visuals breathe, and so the debate deescalates again.

CHARACTERS

Just as the story hugs docility, the cast members within Just Because! contribute to that same feeling. Eita, Mio, Haruto, and Hazuki do not necessarily pounce with fervor but instead contend with their personal predicaments in a subtle, reserved manner.

Take Eita. Having been away for a while due to his father’s work, he must reacclimate himself with this familiar-yet-distant environment. Not just the area itself but the people too. Haruto, his once best friend. Mio, the girl he has always had a crush on. While he and they know each other, it isn’t until now that he puts in the effort to really know them on a deeper level.

That doesn’t mean he overwhelms them with information or digs into their psyches. Rather, Just Because! follows their small conversations, their everyday interactions which create between them those lasting relationships which talking and understanding could only achieve. Be it running into Haruto out on the streets and asking questions about each other or apologizing to Mio (and her in turn as well to him) after the two took part in a small spat, these interpersonal moments allow them and their connections to grow.

It can also be seen in the other relationships. Hazuki and Mio chat together at a quaint café or in a secluded spot of the school as they discuss feelings and futures. Haruto and Hazuki have an aside all to themselves on the local baseball field. Mio confronts Haruto about her own thoughts (with eraser in tow). And they all meetup to have a warm, hearty meal to combat the cold weather, taking comfort in the friendships they currently share.

All the while, as these interpersonal problems play out, they face their individual issues with that same sense of subtlety. Eita chooses to ignore the flow, not letting the leisure of life keep him sedated. Mio stops making excuses and realizes that hard work can pay off. Haruto picks up tons of courage, fights his fears, accepts compromise, and promises to do what he can. And Hazuki begins to think less about what others want and, through makeovers and introspection, starts to think about what she needs as well.

Altogether, Just Because! creates in these characters a theme of agency for them to embrace. It doesn’t always manifest in quite the same manner between the lot, but that docile drive to forge their own path rings true. Given the premise, how they are becoming adults very soon and must therefore grasp such independence, this theme gives the anime strength of writing throughout most of the season.

The odd one out, then, is Ena, for she already has that agency. An outsider to this group, and, indeed, only really ever interacting with Eita, she’s a go-getter through and through. Her ideas, her photography, her emotions, her words. Ena may be difficult to handle at times, but her self-understanding arguably puts her above the rest when it comes to reaching adulthood.

Which is why her outcome in the love triangle ends up as one of the most intriguing parts of her arc and the anime at large. The denial comes off as a semi-surprising decision but a realistic one at that. Even better, it juxtaposes with the others in the cast. That having that agency and going for it all does not always equate to success and to happiness.

Perhaps it goes against the spirit of Just Because!: because everyone else lives happily ever after (more or less). But loss is yet another means of growing up. With a story centered on characters experiencing precisely this transitional phase, this sad outcome fits right alongside the strong character writing present in Eita, Mio, Haruto, and Hazuki’s own arcs.

MUSIC & SOUND

Unfortunately, this anime hits a few walls regarding the audio elements it includes.

Within the OP, titled “over and over”, the piano flourishes and parts of the vocals get at that poignant feeling which Just Because! adheres to. Yet the fast pace contradicts the flow of the show, other parts of the vocals sound flat, and whatever energy it tries to go for gets lost along the way in its straightforward presentation.

“behind”, the ED, fights back against its title by moving ahead of its OP counterpart. A mid-tempo pace and a slew of ambient effects give this at-times gentle, at-times empowering song a solid foundation. The harmonized vocals, the return of that piano, and the orchestral edge push it further ahead as well.

The original soundtrack has both its positives and its negatives. While it can have a couple of nice melodic tunes, some of its more slice-of-life offerings are way too all-over-the-place, making for an unfitting listen that clashes with the subdued vibe of the show.

A couple of the voice-acting performances attempt a save even if nobody exactly knocks it out of the park. Taishi Murata as Haruto brings forth enthusiasm and gleeful responses. And Lynn (her full name given on database sites) as Ena overbears others with her loud, persistent speaking but can also lay bare her softer, emotional side.

Aoi Ichikawa as Eita may not have had the most skilled or impressive performance, but, given that it was his first ever role in the medium – and the main lead at that – he deserves a little leeway as he sharpens his craft in future projects.

In total, they do not completely falter, but the audio elements within Just Because! at least seem to be some of its weaker facets.

ENJOYMENT

It probably comes as no surprise that I’m a big fan of these mature dramas. “Mature” defined here as “focusing on a believable cast with a realistic backdrop and grounded conflicts.” I’m all for stories with lots of action, a comedy side, or a fantasy angle. But I also gravitate towards these intriguing replications of the human condition.

For this reason, I liked this anime despite some of my grievances. While not a “slow burn” per se, watching the events play out in such a calm, normal manner was not only a nice change of pace but also a mellow experience. It would be fair to say that this tale roots itself too much in non-excitement since almost no parts of it truly stick out as memorable, but its consistency and care within the narrative are positives to me.

On the characters themselves, some were favorable and a few not so much. Haruto was a good dude, and I admired his attitude when dealing with his situations. Mio didn’t do a whole lot in the anime, but she was cute and likable nonetheless. And Yoriko, the runner girl, was a nice person to have around, too, if only for her wing-girl helpfulness.

I didn’t much care for Eita, though, for I found him devoid of any interesting motifs. I wanted to like Hazuki more, but she didn’t have the presence or the impact to get me fully on her side. Indeed, her slight aloofness made me sad to see.

Most of my dislike, though, comes from Ena and her wedging herself into the situation. I know that that’s her personality, and it’s only fair that she has a shot at love like the rest of them. However, she got on my nerves more and more as the season progressed because she just wouldn’t let up and pushed things in a semi-selfish manner.

However, credit where credit is due on the show’s part: The last episode had me antsy, agitated with how long it was prolonging its final reveals. It knew what it was doing, and it did it well, for I shouted at the screen at least once, pleading with the anime to “get on with it already” (or another such similar phrase). So, kudos to the show for having me invested in its proceedings.

Doubly so for giving me the ending I was personally rooting for. I will say, though, that I would have preferred greater justification for the winner since their romantic relationship isn’t the most electrifying. The idea is that their future together now will expand on their love for each other, but this story didn’t heavily involve such a throughput, and we the audience will (presumably) not be getting to see it unfold anyway.

Either way, as the title implies, a two-word phrase is sometimes the only retort required.

Just Because! holds a lot of ambition and capitalizes on a few of its ideas. A realistic premise, strong artistry, and a meaningful thread for its characters battle against plot problems, sufferings in the musicality, and some missing excitement. But, if it were to earn a grade, it still passes.

SUMMARY

Story: Fine, reveling in mundanity, this believable tale about a bunch of soon-to-be adults finds strength in its quiet setups but invites frustration with its romantic storybeats

Art & Animation: Good, an overcast mood, detailed establishing shots, a rough-yet-expressive style of movement, simple designs, and neat displaying for the texting achieve a big thumbs-up

Characters: Good, Eita, Mio, Haruto, and Hazuki enlist subtlety and embrace agency, and Ena juxtaposes them for added benefit

Music & Sound: Fine, a weak OP, a gently empowering ED, a subpar OST, and a set of passable VA performances leave the audio as a tossup

Enjoyment: Fine, a likable, mature drama with half the cast lacking appeal

Final Score: 6/10

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

As technology advances, so do the ways in which we consume its generated content.

Two of the more intriguing concepts warp our very perceptions: virtual reality (called VR) and augmented reality (called AR). VR puts us, the player, into a computerized world as if it were all we have ever known. AR keeps us in our understood space but instead adds those computerized elements as if they were a natural extension.

Both have their cool points and oddities, their benefits and detriments. In Sword Art Online Movie: Ordinal Scale, AR becomes the prominent vehicle, and its usage ... leads down the next crazy path for this isekai-centric series.

STORY

Kirito, Asuna, and many others from the Aincrad incident have survived an unbelievable ordeal. The recent Gun Gale Online debacle raised further concerns, and the loss of a dear friend still stings. But life goes on. Their time within the death game they knew for so long is just about a faded memory, a forgotten nightmare at this point. Ordinal Scale, then, seeks to undo this trajectory.

Representing the first true film for the franchise, this next leg of the race has this divisive series moving away from VR for the moment as AR becomes all the rage. Using in-app utilities for health monitoring, keeping track of news. This powerful device of the future invites the populace with its technological wonders. And, of course, its video-game potential knows almost no bounds.

These two preceding paragraphs are important; they establish the major direction of the movie from the get-go. The plot considers their harrowing time within that old game, reflecting on if such a negative experience can be counted as worthwhile or if it should even be remembered in the first place. Such a theme bolsters strength in the narrative. As for AR, it affects the situation inherently, for it is tied to the realer setup. Not only in the cityscape setting but also in the content being an extension of their physical and mental worlds.

In the first half of the film, these worlds do a solid-enough job of forming the plot. It showcases Kirito and Asuna’s relationship and the promises they share, and it puts those cool fights front and center. Some slight comedic moments here, a few dastardly deeds there, and Yui tagging along all the while collectively craft for this anime a clear foundation.

Fans of the series will appreciate many of the different inclusions from previous installments. Visiting Kirito and Asuna’s personal lakeside cabin. Interacting with side characters from both previous seasons. Encountering familiar enemies from days of old. Ordinal Scale gives the audience some welcome callbacks that do not interfere with the plot but rather find a place naturally within its confines while also awarding the anime with some slick action sequences.

The second half more or less begins after Asuna suffers the same fate as some of her fellow Aincrad survivors. At this point, the narrative shifts gears as Kirito spearheads the charge of discovering the problems which surround them.

Arguably speaking, the last quarter or so of the film ramps up the pacing to a zany degree. True to form, Kirito slices and dices his way through the bosses and the rankings, pushing the film to its overall finale event without much care.

Furthermore, reading from a certain someone’s diary may be a bit too direct to get the message across, and the “doomsday clock” premise is a bit too obtuse. However, Ordinal Scale takes advantage of that earlier foundation, concluding these throughputs in satisfying fashion with romantic goodness and over-the-top brawling aplenty.

The film doesn’t achieve much else, though. While Kirito voices a few musings about AR, the concept and the comparisons with its VR counterpart rarely surface. Troubles with the underlying mystery and how it isn’t exactly the most enthralling subplot imaginable also pop up now and again.

Even so, Ordinal Scale delivers on what the Sword Art Online franchise has been built upon. Mixing the real world and the fantasy world. Neat battles. A mainstay couple at the helm. Sure, it is far from the most intriguing or the subtlest story around, but it at least provides a consistent, likable experience for the two hours-ish it demands.

ART & ANIMATION

Films tend to take on a higher caliber of visual splendor. Be it because of the smaller runtime affording better scheduling, the extra resources pooled into such ventures, or the theatrical venues in which they appear, reaching that “Wow!” factor becomes ever easier.

Ordinal Scale follows suit with impressive artistry, indeed. Standing out most within the movie are those all-important battles that Kirito, Asuna, and the others wage throughout the story. It spares no expense: colorful explosions, multiple camera angles, crazy abilities, huge scales, nicely choreographed moves. These awesome fight sequences highlight the film at its best, letting the audience absorb such animated treats with ease and expertise.

These fights commence in and around Kirito’s nearby city. Recalling the AR nature of the movie, the refined details for the buildings and the parks as well as the grounded view in general equate to a hefty amount of realism which sets the stage alight. Of course, Ordinal Scale incorporates the opposite end, morphing the playing fields into reimagined states of Aincrad’s various environments and even visiting it directly on at least one occasion.

The film also stays mostly within the nighttime hours for a gloomier atmosphere which mirrors the misfortune that permeates the air. As such, lighting and shadowing tend to be well-composed, too. And (perhaps expected) the character designs remain as crisp as always. Switching between casual clothes, their ALfheim Online looks, and their newer futuristic gear likewise increases the movie’s overall artistic clout.

Certain shots, such as a top-down first-person perspective of Asuna or an up-close frontal view of Suguha, can come off as feeling too on the nose in terms of capitalizing on apparent popularity. However, these scenes don’t outright ruin the movie, and they instead fall under that continued category of creating a fun experience for fans of this franchise.

CHARACTERS

It can be tough to develop people in a story who have gone through so much already, but Ordinal Scale does what it can to make it happen anyway.

At the minimum, the anime takes some extra time to explore Kirito and Asuna with increased focus on them and their connection. While the first season of Sword Art Online placed a sizable amount of attention on them (either together or in their feelings for one another) within the first season, the second season went in multiple different routes with other stories and newer characters. So, seeing a (in a way) return to form comes as a welcome surprise.

Granted, not that anything drastic or huge changes or grows between them. They are already a bona fide couple after all. But having the film return to their relationship in earnest showcases a deeper look into Asuna’s feelings and forms the major driving force behind Kirito’s actions throughout this new film. This look-see, at the very least, makes for a solid aspect within the film.

In fact, their bond hearkens back to the plot and the outcome of the tragic event they and so many others experienced. Whether those memories are best forgotten as painful or if those hardships matter because they define them for who they are now. Case in point, Kirito and Asuna have their fair share of troubling events, but they also shared many intimate moments they absolutely wish to hold dear forever.

Individually, Asuna faces her own trauma head on. Complications force themselves upon her, yet she displays stalwart conviction and mental fortitude as she either trusts Kirito or fights back against her demons all on her own.

Kirito’s arc fumbles a bit instead. He appears to have an interesting aside when the concepts of AR and VR differ in actual physical capabilities, putting him behind the others in his lax ways. That’s the extent of this line of thought, though, for he lives up to his storied self insofar as he catapults from almost useless to impossibly overpowered. Yes, Kirito (and indeed the series) just wouldn’t be himself if he weren’t wrecking the opposition, but it seems as if the film left this potential idea out of its scope.

Besides the main couple, Ordinal Scale also provides its handful of prominent side characters with limelight as well. Klein succumbs to the evils at work, and he questions his own memories in turn. Sinon supports Kirito to let him know that he doesn’t have to go at these problems alone. Silica worries with guilt over indirectly causing Asuna’s current predicament, a subplot which goes without a ton of momentum but adds a small extra layer to the writing. Even Agil gets in on the action. Not to the same extent or purpose as the others, but he can be found swinging his weapon around like the best of them.

Then the film falls apart again with its two newest characters: Eiji and Yuuna. While they take on a somewhat morally grey position in terms of defending the “other” side of the Aincrad incident, they don’t receive as much attention as possibly required. The audience gets the gist of who they are and their meager relationship together, but the mini-flashbacks and the sparse, infrequent scenes with them fail to reach any worthwhile developments or outcomes in either an individual or pairing sense. It turns these two not into an intriguing antagonist or a pitiable soul but rather a couple of (ironically) forgettable characters.

MUSIC & SOUND

Looking at the other half of the production values, the audio elements within Ordinal Scale spice up the film with their own flavors. For instance, the voice-acting performances remain at a veteran level for most of the characters across the board. Yoshitsugu Matsuoka in particular delivers on his signature role as he interacts calmly and yells with fervor.

The original soundtrack has many a foreboding tune and several intense pieces, improving the atmosphere and the power of its separate scenes. Yet it isn’t afraid to include some sentimental arrangements for those lighter or romantic moments. Not to mention the familiar tracks which ring in nostalgia as well, and the faux-insert songs from Yuuna that induce further intrigue.

And the breadth of sound-effects throughout the battles deserve some recognition, too. The clashing of weapons. Monstrous roars. Gunshots. Magical spells. Specialized move sets and attacks. While Ordinal Scale ensures that the visuals for these battles provide an eyeful, it also complements them with an aural edge that boosts their efficacy.

To play devil’s advocate, almost none of these elements leave a lasting impression or have an extensive finesse to them. Those VA performances don’t scream “incredible”; that OST hardly has any standout hits; these sound-effects may be expected or at least required given the subject and premise. Nonetheless, they contribute to the film’s overall success.

ENJOYMENT

Wanting to go into the third season of the franchise (which is currently airing as I type this out) without missing any of the major previous content, I took it upon myself to seek out this film before doing so. I don’t consider myself a mega-fan of this franchise, but I am not a hater either. I’m simply somewhere in-between. A person who likes it for what it is and finds its attempts at generating cool ideas around games and gaming worlds to be fun enough.

Luckily, the same thoughts carry over into this movie, for I liked what it presented per usual. As a dude big on romance, my heart was all aflutter as Kirito and Asuna bonded over their feelings for each other. Those fight segments were fun to watch, too, as they went about destroying the enemy creatures and then worked in unison with almost everyone else for larger spectacles.

Other parts had me interested as well. The comedy bits here and there, like when Asuna hurriedly backed away from Yuuna after winning again, had me chuckling. Yui’s enthusiasm in supporting her “parents” out whenever and however she could had me smiling wide. And, as always, Sinon was rad in her sniper-rifle ways, and Klein was a bro on and off the battlefield.

Truth be told, I didn’t much care for the new characters, but it was neat seeing their downfall or their kindness in the end. I also wasn’t exactly floored by the film in total, but I liked it more so than I believed I would once I finished watching it in its entirety. So, in my eyes, it proves that the series still has that entertainment factor going strong even after all these years.

Sword Art Online Movie: Ordinal Scale continues in its predecessors’ footsteps in a positive manner. A lot of cool action and a swell artistic vision allow this anime to move forward even if parts of the writing and the musical direction merely pass the execution mark. Thus, technology aside, the whole project advances another step.

SUMMARY

Story: Fine, this AR-centric tale neither has the smoothest pacing nor has too many meaningful moments, but the action-packed events, the sweet romance, the cool throwbacks, and the reflection on the past make the narrative at large a solid offering

Art & Animation: Great, awesome battle sequences, wonderful detail in the real-world setting, and crisp designs as always allow the visuals to grasp the audience’s gaze from start to finish

Characters: Fine, Kirito and Asuna’s relationship earn center stage once again, and the side characters join in as well, but Kirito himself lags behind with a non-nuanced arc, and newcomers Eiji and Yuuna fail to have much of a presence despite their importance

Music & Sound: Fine, nice VA performances, an intense OST, and a breadth of effects may not sparkle but still contribute with strength of their own

Enjoyment: Fine, another likable iteration for this popular series

Final Score: 6/10

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

Each sunrise brings sunshine. But, eventually, that sunshine must give way to a sunset.

The same similarly goes for Love Live! Sunshine!! 2nd Season, a metaphorical sunset for the school-idol group Aquors and their hard-fought journey. While it does not sing nearly as loudly or as proudly as its prequel, a few rays of hope sneak in nonetheless.

STORY

Sunshine 2 (as it will be nicknamed from here on out) picks up almost right after Sunshine 1. The group still has its sights set on saving their school, banding together anew to tackle the Love Live gauntlet again. ... Not as separate ladies but as a unified unit with a more-than-zero mentality.

Having addressed its predecessor and its influence – in a thematic sense no less – within the prior season, this season attempts to carve a name out for itself and nobody else. Indeed, mentions, references, or allusions to the famous Greek-lettered group are practically non-existent (if not missing entirely). In doing so, the show breaks away from that looming glare of “they aren’t like them” and moves towards a proper stance of “they aren’t like them.”

This subtle difference appears as Sunshine 2 basks in slice-of-life goodness. Several episodes aim to highlight the quirks and the challenges of the girls in a less dramatic manner, such as episode four with Dia wanting to grow closer with the younger members or episode five with the doggy dispute between Yoshino and Riko.

Not that the series has never had its fair share of this type of content. However, these events align much more with exploring these characters and their situations rather than going for introductions or resemblances (which its first season already did).

Key to the Love-Live formula, Sunshine 2 also incorporates those team-related aspects. They collaborate to write songs. They stick with each other during melancholic happenings. They go on a road trip that solidifies their fortitude (and defies the laws of physics). Chika, Riko, You, Yoshiko, Hanamaru, Ruby, Kanan, Dia, and Mari may be a bunch of individuals, but, when together as one, this season proves they are Aquors first and foremost.

This last season also champions the same atmosphere, making sure not to lose sight of its Love Live origins outright. The mood of the anime maintains that comedic angle as always, and the ultra-optimism in-between, while maybe overbearing at times, continues to lend itself well to an uplifting experience.

But the narrative overall is a downgrade. Where their beginning is mired with loss and difficulty, their ending here stands in stark contrast as a meteoric rise to the top ensues. Granted, the Love Live spectacle itself isn’t really the point of the story being told, especially in this instance where it represents a spiritual win for all involved. Still, a weakened thematic presence and this missing drama reduces impact in the story.

Sunshine 2 tries to make up for that easier rise with its increased focus on the threat of the school closing, but it doesn’t always come through. This dilemma can sometimes get lost amidst its other interpersonal scenes, and their vehement need to keep it around isn’t exactly quantified or justified besides the notion of memories and attachment. Traits the audience do not see much of let alone can relate to.

To its credit, though, the bittersweet direction is interesting, both because of this franchise’s inherent optimism and because it once again chooses to move away from those that came before it. Thus, despite those narrative troubles, Aquors’s journey concludes in solid-enough fashion.

ART & ANIMATION

The interim between this season and the previous season is negligible, so the artistic vision for this next iteration remains practically the same. So, to keep it short and sweet, this sameness is a welcome return to likable form.

The proof is in the performance. For instance, the character designs remain collectively cute yet individually distinct among the lot. Their musical attire takes on a colorful and charismatic look per usual. Choreography for their dances is still easy to follow (CG or otherwise). Increased actual animation highlight the fun in their actions. Expressions contort into hilarious responses.

Sunshine 2 fails to have its settings and backgrounds reach the same level as these other visual elements, but that’s perhaps expected since (to reiterate) the artistic direction has been carried over into this sequel season. That also means that it reaches the same level of strength as before, so it’s certainly not a major problem.

CHARACTERS

In Sunshine 1, establishing the characters meant exploring their reasons and their struggles before joining on as an official member. Here in Sunshine 2, the anime explores other conflicts surrounding the ladies, but it also has a much tougher time juggling them in conjunction with the plot.

A few characters certainly have their moments. Ruby receives a large amount of attention as her relationship with Dia, her older sister, becomes a point of contention regarding maturity and “moving on” later in the season. The anime steps it up another level when it draws parallels between them and the sister duo of Saint Snow. And Chika herself earns some time as the prospect of failure challenges her determination and her resolve (in flip-like motion) not only for the sake of the rest of Aquors but also for her own sake, too.

Yet some characters seem woefully left out: Hanamaru, You, and Mari come to mind first. Phrasing it obtusely, they’re there but not there. Hanamaru seems reserved for comedic relief only. You sticks with mostly a supportive role. And Mari exists as the arbiter of the closing school and not much else. Arguably speaking, these characters had their problems already taken care of in Sunshine 1, but so did everyone, so it feels odd to leave a sizable chunk of the cast on the sidelines.

Sunshine 2 gets back on track when it enlarges the scope from their singular characters to the intrateam dynamic. For example, third-years Mari, Kanan, and Dia (Dia, as can be gleaned from this analysis, appears to be around the most) acknowledge their separation after graduation but likewise know that, at least in their hearts, they’ll be together forever.

More generally, they rally around each other as a group, solidifying their camaraderie as their shared reams become a reality. It happens a lot. Back in episode three, they initially split up to take care of two back-to-back events but eventually realize that their strength derives from their collective. Even the smaller pillow-fight scene before the big night in episode twelve helps to highlight the friendships they have fostered over the course of their whole adventure.

Yet other dynamics hit speedbumps as well. Chika and Riko’s relationship, despite being so vital in the first season, fizzles out to some extent. And, despite being around one another for so long now, the ladies rarely cross party lines, sticking with their year’s internal group for the most part rather than crossing over, missing out on jokes and possible bonds as a result.

In the end, Sunshine 2 simply doesn’t have as much to say about Aquors. Be it because of the strife they already went through last season or this season’s failure to really include everyone in the festivities, it leaves the nine girls in a precarious position.

MUSIC & SOUND

Per usual, the various parts of the audio within a music-centric anime like Sunshine 2 are held to a slightly higher standard. Unfortunately, this season succumbs to a middling rendition once again.

The opening track, “Mirai no Bokura wa Shitteru yo”, has a similarly grand feel as last time, using bells, drums, pianos, and other brass instruments. But the first half or so of the song misses out on catchiness and intrigue as the buildup meanders. However, the second half swoops in with tons of passion as the vocals soar with that mandatory optimism.

As for “Yuuki wa Doko ni? Kimi no Mune ni!”, this new ending track follows suit as well in a negative fashion. It’s an okay track with more of a fantastical feel, a neat little lyrical “reverb” part near the end, and many different takes done by different members of the cast. Sadly, though, okay just doesn’t cut it.

Especially so when the insert songs of Sunshine 2, at least a couple of them, demonstrate maturity and prowess in both the song writing and the musicality. A special shout-out goes to one such song: “Awaken the power”. While ironically not an exclusively Aquors song, it stands as one of the best the whole franchise has put together thanks to its changes in pacing, instrumentation, and vocal delivery.

Moving on, the original soundtrack also starts to grow on the listener. It was already pretty swell, but its main motif and poignant arrangement, found throughout several tracks, elicits even more emotion, either because the series is coming to a close itself or it has been lightly patting the audience on the back for the past twelve (twenty-four in total) episodes now.

And the voice-acting performances remain passable in execution. The women behind Aquors sound more comfortable in their roles when compared to the first season, and their experience in talking and singing moves ahead a bit. Again, while nothing special, their relative newbie status and their commitment to these quirky personalities deserves some props within Sunshine 2 for sure.

ENJOYMENT

I greatly liked the first season, so I selfishly expected the same here. It didn’t quite reach that same level of entertainment, but I can’t lie and say I didn’t find myself laughing or smiling or cheering during its run.

My favorite characters Yoshiko and Hanamaru were in full force with their silliness and their reactions. Sometimes they would team up for duo hilarity, and I liked them all the better for it. Kanan, one of my other favorites, wasn’t as prominent, but her “hug” line as she got scared of the dark was too cute to forget.

Of course, I still liked the rest of the cast as well. Riko dealing with her fears. Ruby and her “Rubesty!” catchphrase. Mari’s frequent English usage. You with her saluting as always. And Chika leading with happiness aplenty. Maybe oversaturation occurs with their signature jokes, such as Dia’s “wrong-answer” buzzing and definitely Yoshiko’s “It’s Yohane!” response. Nonetheless, they were all once again a likable troupe of idols who not only tried to the best of their ability but also created a heartwarming environment whatever they happened to be doing.

Lastly, the performances were often a spectacle as always. The meanings behind them and the concert-esque structure. So many colors and formations. So much winking and hand flourishing. Emotions for days. I’m a huge metalhead (e.g., black metal, death metal, and each subgenre therein), but I found myself grabbed by their setpieces for the last time.

And so, this chapter of the franchise concludes (save for whatever other films and song-releases they have on the horizon; announced or otherwise). It hasn’t been the most perfect or sensational follow-up to a beloved series, but this second season – and indeed this entire second iteration – has been a respectable outing regardless. I look forward to seeing where the (inevitable?) third iteration goes next.

Love Live! Sunshine!! 2nd Season waves goodbye to Aquors but gives them a solid farewell tribute in the process. While most aspects of this season do not live up to the previous prequel, its unconventional plot direction, its nice production values, and its strong sense of entertainment make up for some of the woes in its character writing. But no worries. There’s always another sunrise right around the corner.

SUMMARY

Story: Fine, a bittersweet ending, slice-of-life segments, and the focus on group activities compete against missing narrative nuance and weak drama

Art & Animation: Good, following the footsteps of its immediate ancestor, the visuals alight with cool choreography for the dances, noticeable movement, and cute designs

Characters: Bad, while specific characters and dynamics vouch for some of the ladies, the cast members have a hard time either being relevant or establishing relationships for most of this finale

Music & Sound: Fine, the OP and the ED are another step down when compared to before, but the insert songs, the OST, and the VA performances do not go the same way without a fight

Enjoyment: Good, hilarious still, engaging in its routines, and a respectable sendoff of this second tale

Final Score: 5/10

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

For as long as I have known my older sister, she has been a dancer through and through.

Everywhere has counted: at the school talent show, at her local studio, at numerous recitals, at different states. Everything has counted as well: tap, ballet, hip-hop, Latin. Across her entire leg-driven journey, she has claimed enough awards and cheers and experience to last a lifetime.

Basically, she has seen and partaken in nearly all that dance has to offer. Despite her dancing expertise, though, I have yet to hear any mention of ballrooms. And after watching the entirety of ... Ballroom e Youkoso, I can confidently say, as someone with zero dance moves whatsoever, she is seriously missing out.

STORY

The world of competitive ballroom dancing may not exactly be on the forefront of everyone’s mind. It exists within that niche corner given its lack of truly intense traits and low popularity. It tends to also be a very difficult sport to get into, demanding countless hours of repeating the same basic techniques and requiring certain physical builds to succeed. And its set of unfair stigmas potentially turn people away from the get-go before they even give it a fair chance.

Ballroom e Youkoso faces such negativity head up and foot forward without ever losing a beat.

True to its premise, the anime understandably makes it a priority to explain what goes on within ballroom dancing for the uninitiated (which, again, is most likely a majority). The dances themselves – the waltz, the quickstep, the tango – are paramount, so the differences, the nuances, and the moves between them become a focal point. Tons of smaller details about the league, the scoring, the ranks, the gender ratios, and the types also pop up to further flesh out the formation of the sport and thus the show itself.

The anime is not just content with explaining itself; Ballroom e Youkoso also demonstrates what makes ballroom dancing worthwhile to begin with. It does so with a passionate edge, a look-see into the minds of the dancers themselves. In doing so, the show grants itself a cooler, fuller picture of its scenes beyond just watching a bunch of people twirl and step about.

For instance, ballroom dancing posits that mutual chemistry between two people causes a better understanding of one’s self as adaptation and sympathy take hold. Moreover, it demonstrates a willingness and a purpose on behalf of the dancers, for they choose this sport not for direct confrontation but instead as a want and as a desire to prove their capabilities to the masses. And the sport simply brings fun and happiness as synchronized steps form rapturous emotion for the dancers, the judges, and the audience at large.

Looking into Ballroom e Youkoso on a narrative level, it showcases a solid-enough plot as the practices, the tournaments, and the conflicts naturally arise. Furthermore, themes on self-worth and numerous engaging moments affix an appropriate amount of drama. It could be argued that the competitions tend to stretch out too long at times, but the intermittent hype of the dances and those introspective thoughts of the characters yield the right amount of variety to keep these stretches manageable.

The anime does not earn full marks in every round, though. The occasional sexual content is not totally out of place when considering the sensuality of dancing itself and the attractive people who believe this sport to be their calling. Akira commenting on Chinatsu’s extreme beauty or Chinatsu in turn teasing Akira for her extra curves do not cross over into weird territory.

However, the infrequent “jokes” related to accidents, sizes, and masculinity can cross the line, clashing too much with the seriousness of the drama and leaning too far outside of the lighthearted direction of the comedy overall.

Besides this problem, some of the writing and the dialogue can come off as antiquated due to the terminology surrounding the male-and-female duos. But this awkwardness deals more so with the culture of the sport and treads into nitpicking territory since the ladies are themselves a powerful bunch anyway.

Otherwise, the setup, the purpose, and the structure of the story allow positivity to reign supreme within this dancing spectacle.

ART & ANIMATION

On the visual side, Ballroom e Youkoso continues its strong stride.

The character designs start things off right. Nice line work and facial details in general increase the accuracy of their depictions and therefore give greater definition to their expressions. Their casual garb versus their competitive attire – especially for how much handsomer and prettier the men and women respectively jump – makes for a lovely contrast, too. Even their overly long necks (giraffes or no) contribute an elegance and a fragility which further emphasizes the impact of their dances.

To be fair, the audience must suspend some disbelief that these near-pro-yet-still amateurs are at the tail-end of middle school despite looking like college kids or outright adults. Nevertheless, their slender frames once again bolster the ballroom motif, and their different builds even become a factor in the character writing itself.

Not so right is Ballroom e Youkoso’s penchant for reusing past moments or segments to a noticeable degree. Tatara’s ginormous smile as he comes into frame comes to mind. While not a deal-breaker (since it is unrealistic to expect an absolute, constant upkeep of new depictions), it leaves the show for want of stronger artistic appeal.

It combats against this detriment with interspersed scenes filled with style and creativeness. Kiyoharu and Shizuku turn on fire at one point as their dancing heats up, and Tatara and Chinatsu break down doors together amidst their foggy consciousness. Whatever the case may be, these scenes up the intrigue and the fascination of the presentation, giving Ballroom e Youkoso another leg to stand on as its vital events commence.

This anime deserves some extra credit, too. Animating and articulating the complexities of dancers, both on their own and in unison, is by no means an easy feat. And, despite the troubles outlined above, the dancing depicted almost never took on any outright mistakes or notable hiccups. Rather, Ballroom e Youkoso took many a creative liberty with perspectives and proportions to up the ante.

Yes, the back bending could be slightly less obtuse, but this exaggeration furthers the finesse this sport demands. A praiseworthy stride no doubt.

CHARACTERS

While Ballroom e Youkoso does well on both a story and artistic front, the characters make a claim for the strongest part of the entire show.

It all centers on Tatara, the main protagonist of this dancing tale. Without much in the way of prospects, his humble beginnings make him a prime candidate for everlasting change. He has no experience whatsoever in this field, and he only joins the studio after watching the entrancing footage which Sengoku-san, the best ballroom dancer in the world, lent to him.

As such, Tatara’s journey is far from an immediate rise to the top. He has sharp eyes that let him absorb information by studying those around him, and he has a keen knack for dance in general, but he begins at the bottom like any other jelly-legged nobody. Stamina issues, confidence issues. The anime makes it clear that Tatara is a bright young man with a good heart yet still needing all the help he can get.

That’s where the supporting cast members arrive. Ballroom dancing is a paired sport, so the people around Tatara offer their aid either directly or indirectly through mentoring, coaching, or battling. For instance, Shizuku will offer advice or encouragement from the sidelines, or Mako, with her own low self-esteem, will lean on him in her own time of need to challenge his perception.

Then similarly, Tatara sees Sengoku-san and Kiyoharu as companions-in-arms (or rather legs) that inspire him. Sengoku-san represents his role model as he strives to be like him while also realizing how vastly inferior he is skill-wise. As for Kiyoharu, he wishes to compete alongside him someday soon, for they see in each other the same knack of passion and of potential.

Truth be told, these side characters do not normally have the largest depth given the small amount of background exploration and the quickness of its delivery. But again, they exist mostly to compare and contrast with Tatara and show his strong points, his weak points, and everything in-between. Plus, Mako, Kiyoharu, and others still either receive their own time to shine or otherwise have portions of episodes dedicated to their past experiences and subsequent upbringing. That’s more than enough for their supportive roles throughout the series.

What they and Tatara cannot fix, however, is his lacking foundation. In other words, Tatara’s motivations and personal conflicts stem from a rather nonexistent place. His desire to change and to kickstart his static path is flimsy at best, and his background, home life, and general non-dance life is hardly (if ever) explored outright. So, while the path he takes develops him well, his core character never truly emerges.

To combat this problem, Ballroom e Youkoso doubles down on Tatara’s character growth in the back half of the season. It does so not with its standard approach but instead by introducing into the fray a newcomer and, perhaps surprisingly, the second-most important person in the show: Chinatsu.

Chinatsu puts up a tough personality, dislikes dance, and maintains a lot of experience. Basically, she is the complete opposite of Tatara – naturally making her the perfect partner for him and him for her. They therefore don’t quite get along (at first anyway), but they need each other more so than they realize. If for nothing else than to discover the “other side” of sorts.

These sides capture what they each fail to do. Tatara cannot lead; Chinatsu cannot follow. By mirroring their individual yet interlinked struggles in this manner, the show marks their bond as a stellar point of the series. They test and practice, fight and compromise. All in the name of leaving everything on the dance floor.

As this dichotomy plays out, he finally discovers the magic in his footing thanks to her uncompromising will, and she finally learns to trust others thanks to his unflinching determination. Thus, she goes from leading to following, and he goes from following to leading. Such a reversal in roles makes for an awesome dual character arc that they share together in splendid fashion.

Simultaneously, more supporting characters arrive during this home stretch, too. Akira and her relationship with Chinatsu. Kugimiya and his internal frustrations. Once again, Ballroom e Youkoso enlists the help of these extras who both affect the mains in a worthwhile way and receive at least a modicum of attention to give their presence more than a passing stance.

By the end of this two-cour season, Tatara, Chinatsu, and a host of other characters form a stalwart cast who not only contribute to the well-being of one another but also charge ahead with advancements of their own. They don’t reach that top-tier spot, but strong execution in the writing can be seen readily enough.

MUSIC & SOUND

Speaking of leading and following, Ballroom e Youkoso leads with several nice musical pieces and follows with some swell audio decisions as well.

The show kicks it off with its first opening track, “10% roll, 10% romance”. The rhythmic drums and the upbeat guitar build the foundation for this peppy song, and the lighter vocals form the mood equally as light. Better yet, the step-wise delivery and the multitude of pacing switch-ups coincide with that all-encompassing dancing motif, placing this OP into good graces.

Come the second half of the anime, the second opening track, “Invisible Sensation”, replaces the first one. While it returns with a similar sense of instrumentation and singing, this new OP takes on a slightly different tone. A twinge of both passion and melancholy now exist in the composition as the hopeful arrangement carries on. While this track is somewhat of a downgrade, the nuanced shift in the overall feeling, to reflect the remainder of the season upon its arrival, can at least be appreciated.

“Maybe the next waltz” isn’t a statement but instead the title of the first ending track. Compared to its two OP counterparts, this piece invites the listener with gentleness aplenty. Piano keys and string instruments provide an orchestral base for a grander sound, but the chimes and general daintiness keep the song in check as its fantastical aura moves about softly on the ears. The main vocals dance along, the backing vocals uplift the track, and, in unison, they round out the rest of this unassuming melody.

As for the second ED, “Swing heart direction” combines a bit of each of the three songs heard already while carving out its own piece of the dance pie. Drums and guitar accompany a piano, working together and on their own, towards a sincere yet mellow angle. It doesn’t quite dazzle as much as the other tracks, but its simplicity and (as it denotes) heart fill the song with a steady amount of emotion.

Ballroom e Youkoso also creates a bunch of sweet pieces for its original soundtrack in-between these OPs and these EDs. Dramatic tunes of violins and of pianos add the necessary weight to the more powerful moments, such as when Shizuku talks to Tatara about how he (and others) have already left an impression on her. A defined acoustic-guitar gets at a tensioned, almost sexy atmosphere when required. And hip-hop beats with a nearby saxophone push scenes along with a smooth, jazzy hand.

This diverse and intriguing OST is perhaps the best trait from the music-and-sound department, but the remaining elements deserve at least a shout-out, too. The anime demonstrates attention to detail with the squeaking of shoes on wooden flooring and, while the voice acting may not exactly enrapture, the ensemble cast provide very solid performances.

At the minimum, Chinatsu Akasaki as (coincidentally enough) Chinatsu displays a directness and a range of emotion that elevates the red-head above her peers. Alongside the strength of the audio direction overall, Ballroom e Youkoso caps off its production values with a lot of clout, indeed.

ENJOYMENT

Slap on me a bowtie and nickname me “Tango” because I was a fan of this anime the whole way through.

The gentlemen brought a lot. Tatara is an earnest fellow, and I like seeing him face his position with realism and guts. Gaju is at first a jerk, but he turns into a cool friend. And Kiyoharu is the quiet star, yet his wisdom and advice are honest and true. Each of the main ladies were a treat, too. Shizuku’s alluring, thoughtful intimidation. Mako’s tiny, cute smile. Chinatsu’s tomboyish, fiery passion.

These characters are a ton of fun, and their rivalries and interactions translated into entertainment galore. I found myself rooting for and cheering on Tatara and Mako as their combined efforts led them to sincere happiness, and I invested emotions into Tatara and Chinatsu as they fought with everything they had.

Plus, as someone without much interest in ballroom dancing, it kept me hooked. This sport is not technically a marvel, and I’m certainly no expert in that field. Meaning, I’m aware of its existence but I place myself in that group I described way earlier who truthfully cannot say it has landed on my radar in the past. Yet I’m always open to trying out stories or premises that don’t automatically fall into my favorite categories, and so I was pleasantly surprised that it basically never lost its luster and kept me engaged throughout its whole run.

And I cannot forget to mention the other likable parts of this anime. The blonde Russian bombshell Marisa and the attractive Chizuru. The slight sparks of romance. The hilarious comedic segments throughout. Even if these parts weren’t here within this anime, I would still be singing its praises – or, more relevantly, attempting a jig in its honor.

Ballroom e Youkoso impresses the judges and wows the onlookers with its moves. The audiovisual elements grab some attention, but the worthwhile setup, the strong character writing, and the huge amount of entertainment glide this project towards the front of the line. While not going everywhere or doing everything, it wins out regardless.

SUMMARY

Story: Good, ballroom dancing takes center stage, delivering a stout introduction to the sport and the benefits it brings, while also putting together a solid, exciting plot despite the occasional tactless “joke”

Art & Animation: Good, wonderful designs, intriguing stylistic moments, and, for the complex dance numbers, both an avoidance of major mistakes and lots of creative liberties overcome some of the issues with reused segments

Characters: Good, despite the weak motivations backing the core of Tatara’s person, his growth throughout the season is reasonable and meaningful, his pairing with Chinatsu is stellar, and side cast members such as Mako and Kugimiya both support and improve

Music & Sound: Good, a collection of interesting OPs and EDs, a diverse OST, and some solid VA performances put the audio on the correct footing

Enjoyment: Great, waltzed right in and quickly became fun as it tangoed without end

Final Score: 8/10

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

Circles, triangles, and rectangles begone. In Konohana Kitan, rhombuses rule as queen.

A peculiar shape, that. Some people refer to it as a diamond (hence the royalty). Others, with technical knowledge of Euclidean geometry, are quick to point out that squares are special exceptions (to said rule).

No matter which side jousts first, this anime makes two ideas clear. One, a rhombus for a mouth makes for a darn cute reaction. And two, our lives have many sides and corners to hold dear.

STORY

In the ethereal space between the land of the living and the unknown beyond, a ... peaceful place known as Konohanatei exists. This otherworldly resort promises its guests serene views, relaxing environments, and fox-girl attendants aplenty. From weary “travelers” to the very gods themselves, either by accident or with intent, these visitors (coincidentally enough) visit this small reprieve in the hopes of achieving some level of spiritual enlightenment.

As such, Konohana Kitan showcases not a structured plot but rather a series of individualized mini-stories (with maybe the occasional crossover here and there). These asides often live up to the premise insofar as their content often takes on an almost-unexplainable nature. One set of scenes may feature the ladies dealing with an egg that sticks to them a little too closely, and another episode may instead find an attendant shrunken in size.

Either way, these supernatural happenings get at the anime’s numerous moments filled with laughs, cuteness, and a whole lot of wholesomeness. The characters have their specific pairings which lead to nice rapports between them. They fill their actions and reactions with sincerity and embarrassment, giving an adorable edge to much of what they do. And the constant flow of their workplace causes (especially for Yuzu) what can only be described as out-of-body experiences that in turn grant a different perspective to appreciate or simply hint at a thoughtful idea worth noting.

Such an iyashikei story takes this triplet of aspects and applies them to its afterlife setting by delivering messages about life itself. While Konohana Kitan mostly includes simpler truths such as the value in building relationships and satisfaction of a job well-done, these snapshots of the visitors and their own lives provide a sense of sympathy for the struggles they endure and the growth, however slight, they receive. In turn, these messages leave an impression on the audience as they think about what life has similarly brought for them.

In this way, the viewer is just as much a guest at this storied establishment as those depicted, reveling in and warming up from the quaint atmosphere curated. Altogether, the show provides next to nothing ingenious or groundbreaking, but it gets the job done. Considering that the show essentially revolves around a job – and the (ironically written here) interruptions that guide them – it is tough to ask for much more out of this simplistic yet kindhearted narrative.

ART & ANIMATION

To get at its iyashikei vibes, Konohana Kitan includes many techniques on a visual front to soothe its audience into a lull of rest and relaxation.

Key among these techniques, its main setting builds towards an idyll. Lush greenery, colorful trees, and pleasing sunshine await those who peer at the nearby gardens, evoking a sense of awe and beauty. The chill vibes of the hotel itself, replete with wooden fixtures and simplistic décor, likewise create a space with calmness in mind (and on the eyes).

The ladies’ designs also contribute. Yes, they have specific looks which distinguish them from each other and their personalities. Natsume is tall and tomboyish. Kiri is mature and reserved. Ren is pretty and adorable. However, their collective details, such as the fox-girl angle and the colorful, refined outfits, not only improve upon the fantastical nature of Konohana Kitan but also get at the desired pleasantries of the visuals.

It also branches out beyond the respite it so heavily endorses. Imaginative moments and stylistic changes support a plethora of sequences, such as when Yuzu finds herself witnessing the birth of the world through the baby bubbles. Super-simplistic caricatures of everyone when reacting to particular events push the comedic side along, too.

Truth be told, the show refrains from having a ton of movement, or it at least doesn’t have any standout animated segments of note. But, given the rest of the artistic direction in play, the collective visual offering reaches a soothing, impressive state, indeed.

CHARACTERS

In an anime focused almost entirely on the guests and their own mini-stories, it wouldn’t seem as if Yuzu, Satsuki, Ren, Natsume, Sakura, Kiri, and Okiku would manage to matter a whole bunch in comparison. However, Konohana Kitan strikes against this notion where it can, allowing the girls to find some semblance of meaning among the large supporting and side cast members.

As the star of this show (or at least the pseudo-main protagonist), Yuzu fumbles her way through her work and her duties, but she almost never loses the beaming smile on her face. Her meager backstory involving her caretaker and her drive to avoid being useless setup her humble beginnings as someone who wishes to impact others while learning more about the world around her. Better yet, she finds comfort in the fact that this place and these friends have given her a home and a family she can truly appreciate.

Thus, as an employee of this well-respected and well-established inn, Yuzu regularly helps the guests who visit as well as Satsuki and the others. She listens to their problems, and she takes each strange predicament in stride. Her constant positivity meshes well with Konohana Kitan and its mood in general, for her words and thoughts, while not exactly wisdom (since she herself has neither the age nor the experience yet to call it as such), enlighten those who listen with an optimistic outlook.

Yuzu not only dishes out this happiness but also receives some in turn. She gains perspective from them just as much as they from her, so she succeeds in growing as a character, too. Not that she has any major developments or a tangible arc to speak of. Far from it. Rather, she simply understands that these moments shape her soul, giving her an even bigger smile on her face to spread her shine that much more.

Satsuki is another interesting character. Many sides of her person surface now and again: fearing the dark, having a stern yet considerate personality, showing lots of determination, smiling despite that sternness. However, the anime pinpoints a conflict with and about her sister that defines her motivations. It gets established early on, gets returned to during the season, and ultimately gets addressed outright. This three-step process gives Satsuki and her conflict the necessary focus they require and therefore leaves this feisty fox on a high note.

The rest of the cast members do not stack up to Yuzu and Satsuki in terms of importance, but they serve their own roles nonetheless. Ren and Natsume share perhaps the most open relationship between any of the implied pairings, and Konohana Kitan at least explores their connection through their mutual awareness and affection of the other. Unfortunately, in the back half of the season, they aren’t around as much, falling on the wayside instead.

As for Sakura, Kiri, and Okiku, they round out the characters with some comedic relief. Sakura is a young girl whose curiosity and awe elicit joyous reactions. Kiri dodges any and all questions about her older age. And Okiku rides Urinosuke, her gallant (pig-like) steed, as she “spars” with everyone. While these ladies have their own minuscule moments, its their innocence, guidance, and difference (respectively) which provide their distinctive edge among the lot.

Thanks to Yuzu, Satsuki, Ren, Natsume, Sakura, Kiri, and Okiku, the guests of Konohanatei have a splendid time during their quick stay. And, thanks to Konohana Kitan at large, these attendants similarly have a solid outing.

MUSIC & SOUND

The anime finds further success with its audio elements, and it begins with the tracks off its original soundtrack. Several heartfelt tunes of acoustic strings and wind instruments, like when Yuzu exits her dancing daze as she sees a spirit leave, tug at the soul. Tiny piano melodies elevate that slice-of-life life feel as Yuzu and the others go about their daily business. Even the simple shamisen interlude which guides the audience from Part A to Part B within an episode delights as its few heavenly notes strike a serene chord.

“Kokoro ni Tsubomi”, the opening track for Konohana Kitan, likewise earns a bit of praise. A soft start gives way to drums and to bass that set the stage for an eventual optimistic flourish. The benign vocals complement the piece, and the airy delivery and light instrumentation in general prep the audience for simplistic yet positive times ahead.

Listening to the characters, the voice-acting performances have their place, too. Yuuko Oono as Yuzu brims with kindness in her attitude and manner of speaking, and Risa Kubota as Ren is cute in her arrogant yet embarrassed ways. While almost nobody particularly stands out, Ms. Oono and Ms. Kubota, the former in only her second major role and the latter in her actual first major role, show promise in their future careers by backing this anime project with some nice VA work.

And finally, Konohana Kitan composes four main different ending tracks that the audience can embrace: “Haru Urara, Kimi to Sakihokoru”, “Natsusaki Koihanabi”, “Akanezora, Kimi Mau Kouyou no Sanpomichi”, and “Yukihana Kirameku Ieji nite”. They correspond to the changing seasons, and their structure and sounds do the same. A refreshing spring’s warmth. A fun-filled summer’s day. A calm autumn’s air. A slow winter’s evening.

These EDs are not necessarily incredible or memorable. However, hearing the anime go out of its way to switch up these songs multiple times throughout its run must certainly count in some regard. For, if nothing else, they clearly went above the average one-cour show by having more than one to begin with.

Thus, with the original soundtrack, voice acting, opening track, and ending tracks doing pretty well overall, the audio decisions follow the presentation of the visuals by benefiting the show and working in its favor.

ENJOYMENT

This anime made it its mission to win me over. Yuri undertones. A sweet direction. Fun characters. The cuteness ran deep, and the happiness was palpable, so it was pretty much impossible to dislike this show along the way.

Yuzu as a munchkin was super-cute as well, and the show in general almost never strayed far from such a path. Its moe-ness seeped in-between each of the more serious spots it depicted, so the constant switching between thoughtfully sincere and wonderfully adorable brought about a fluffy feeling that I quite liked.

I also got a kick out of the author of the source material popping into frame or even certain scenes now and again. That’s a level of meta not often achieved. And, on a grander scale, the themes of the anime, while perhaps overly saccharine on occasion, had me liking it even more. I’m someone who personally tries to find and see the good in life, and so having each event spin towards such goodness aligned with my own ideals.

Altogether, I wouldn’t go so far as to declare this show a favorite of mine. But I do like what it did and what it set out to accomplish, creating a nice anime both in its execution and in its portrayal.

Konohana Kitan may not be the most impressive cloud up in heaven, but it answers at least a few prayers for those who seek healing salvation. The visuals are pretty, the mini-stories are simple but appreciable, the music hits the right mood, and the characters bring different advantages when they so choose. It’s no diamond per se, but a rhombus is a-okay, too.

SUMMARY

Story: Fine, an iyashikei narrative which features supernatural happenings, a wholesome atmosphere, and life messages to take to heart

Art & Animation: Good, beautiful scenery, varied designs, and stylistic choices form strong artistry with calmness in mind even if movement rarely stands out

Characters: Fine, Yuzu becomes the backbone for this tale, Satsuki goes through her own arc of sorts, Ren and Natsume have a clear relationship, and Sakura, Kiri, and Okiku round out the collective with comedic chances

Music & Sound: Good, heartfelt tracks from the OST, an optimistic OP, some promising VA performances, and seasonal EDs demonstrate the strength of the audio elements

Enjoyment: Good, happiness and goodness abounds

Final Score: 6/10

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

I like to think that I’m an okay kind of dude. So, my opposite alter ego, if I were ever to have one, would be someone downright dastardly. He would perform misdeeds like wearing mismatched socks and inserting a silent “m” at the beginning of every word he spoke out loud.

Such super-evil antics would befit his own motives and contrast my own personality. If I could control this hypothetical alternate self of mine, I could then potentially earn a job at Stile, the fictional maid café of Blend S where the employees’ own personas balance ... out into a straightforward experience.

STORY

People are multifaceted creatures. They have many skills they hone, and they have many thoughts in their brains. They also have emotions and personality traits that “betray” who they “normally” happen to be.

A quiet, solemn person could in fact be a race caller at a local betting arena in his or her spare time. Someone who looks gruff and menacing with a skull tattoo doesn’t mean that he or she cannot collect flowery stamps on the side. No matter the case, the platitude “what you see isn’t always what you get” rings true for nearly everybody on the planet.

Blend S takes this phrase to a dichotomous extreme in the comedy it creates. The staff at Stile roleplay particularly classic styles within the medium: the sadist, the tsundere, the imouto, the onee-san, and the idol. The catch is that their actual personalities are almost the complete opposite. For example, Maika is the designated sadist, but she is the nicest person imaginable. Or there’s Mafuyu, the designated imouto who is really a college student with an unforgiving attitude.

With such contrasts at the show’s disposal, hilarity forms naturally as the ladies engage with their guests and deal with each other. Kaho the “tsundere” will give in to her gaming tendencies, Miu the “onee-san” will punch (rather softly), and Hideri the “idol” will make a lewd hand gesture without fear. By sticking so closely to its premise, relying so much on these huge self-made gaps, the anime not only remains consistent in its delivery but also cycles through a diverse amount of comedy.

Perhaps surprisingly, a large chunk of Blend S takes place away from the café, leading to the slice-of-life label attached to this show. Events at the beach, the mountains, the city, and the parks allow for some variety in the setting and, aligning with the premise of the show, form yet another dichotomy between the everyday happenings abroad and their concentrated shenanigans over at the restaurant.

The core of this anime does not extend a whole lot further, though. Its faint romantic elements merely scratch that lovey-dovey itch. Its episodic nature does not attempt for anything too adventurous. Its meager life lessons, while wholesome, do not have much thematic weight to them.

Altogether, this story about a bunch of silly guys and gals at a local café may not be the most interesting, but its forms a likable-enough comedic base to make this contrast-filled trip at least a stamp worthy of a bet.

ART & ANIMATION

Perhaps its biggest strength, the artistic direction within Blend S provides the anime with the visual niceties and comedic gags it so heavily leverages.

No doubt near the top sit the designs for the ladies in all their cute and colorful splendor. Vibrant eyes entice the eyes, but their frilly maid outfits welcome the audience with open arms as their casual looks once again contribute to the leitmotif of stark contrast which laces this show.

Employing a chibi style at times, squashing and rounding the characters’ features, likewise gets at their silly brand of comedy. Same goes for overexaggerating proportions, “dumbing down” reactions, playfully toying with the movement to fit the needs for a given scene, and even pasting in a literal picture of a giant tuna. Indeed, Blend S switches rather effortlessly between its normal presentation and this fun concoction, demonstrating a keen grasp of timing for its laugh-inducing ventures.

While its grip isn’t as powerful when it comes to its backgrounds and its settings, these find a foothold within the show, too. The backgrounds flit between many shapes, hues, and imaginations for added delight, and the treks to other areas break up the monotony of the rather plain café. Otherwise, these parts let the flashier details in front of them do most of the Blend S talking.

Other elements help, too. Off-camera speech bubbles. Nondescript guests. A nice feel for scene lighting. Wacky visuals for the opening and ending tracks. The soft layout in general. When everything melds together, the anime clearly stands strong, proud of the artistry it touts.

CHARACTERS

For an anime such as Blend S, it makes total sense for it to put its comedic foot forward for most of its run, granting Maika, Kaho, Mafuyu, Miu, Hideri, Dino, and Kouyou a chance at hilarity. But the anime also tries to avoid the devoid when it comes to having more to say about them beyond the giggles they serve.

For instance, Maika accidentally frightens others with her menacing smile, so her “evil” behavior turns into a source of laughs for the audience. However, she has much more normal traits to speak of. She adores items and locations and people of a foreign status, and her siblings back home look after her dearly as they wish only for the best for their sweet younger sister. So, her charge to get out there and do more to achieve her dreams acts as a neat part to her characterization.

Kaho also earns similar words for herself. Her infectious happiness as she indulges in her favorite games and recreational activities paints her as an energetic and likable lady. Yet she cannot always burst with positivity, especially where her math exam scores are concerned. Thus, the magical-girl-loving Mafuyu steps up to bring her kouhai some guidance, solidifying the friendship shared between the two.

These details, both the funny side and the serious side, bring about a welcome balance for Blend S and its characters. The show can swing back and forth between either, allowing for a lot of silliness one moment and a wave of wholesomeness the next. Granted, neither half is particularly elaborate nor complex, meaning the level of writing and nuance overall cannot exactly be called captivating. Nevertheless, the show does what it can to intertwine these halves, and it fares all the better because of it.

Speaking of balance, Dino, Kouyou, and eventually Owner round out the crew even more. The two men ensure that the show (for the most part) avoids pigeonholing itself into the cute-girls-doing-cute-things (or CGDCT for short) genre, and the cool dog brings about different ways in which the anime can approach its interactions. In either case, they inject diversity into the group, leading to a better form for the anime overall.

Not everything goes well for Blend S, for it unfortunately succumbs to poor decisions that diminish certain characters and their impact. Specifically, Miu, Hideri, and Dino fall further on the wayside than perhaps intended. Miu ends up oddly absent for a lot of the later parts of the season. Hideri is introduced a tad too late to have a meaningful presence despite the interesting role. And Dino, with his fixation on Maika, can tread into strange or eyebrow-raising territory often (despite playing it up for laughs here and there).

So, much like the story, the characters may not be the most interesting bunch the medium has ever seen. However, thanks to their good comedic fun and their lighthearted connections, they give this show another passable part to own.

MUSIC & SOUND

The audio elements within Blend S also deserve some praise right alongside their visual brethren.

And it starts with a string of six words: “Smile! Sweet! Sister! Sadistic! Surprise! Service!” These lyrics swept through a large swath of the Internet outside of the anime community when they spawned a meme craze of “S”-related proportions.

Such catchy and fun content must certainly count in the show’s favor, and the remainder of “Bon Appétit♡S” (the title of the song itself) is no slouch either. The blaring trumpets elevate the piece onto a grand scale. The multiple female vocalists add lots of deliveries and flavors. The instrumentation in general – sweeping piano keys, claps, drum patterns – quicken the pace for higher energy. And the various switches to musical beats and flow keep the song light and dancing. It all combines into a big ball (or, more relevantly, a sphere) of fun worth jamming along to again and again.

The original soundtrack also has a lot of appeal. Its piano tunes flit and laze about as appropriate for those chaotic and mellow times. Acoustic guitar and electric guitar fill the air with a bittersweet sound during those emotional moments. Accordions and bongos incorporate a foreign feel to go along with its foreign motif. And the xylophones, the flutes, and the violins allow for stronger musicality in general.

A set of swell voice-acting performances also pop up in Blend S for both the men and the women. Tatsuhisa Suzuki as Kouyou stumbles forward in his embarrassment and frustration; Atsumi Tanezaki as Miu soothes the ears with her sultry tones; and Sora Tokui as Hideri uses a somewhat androgynous inflection to fit the character as well as can be.

The only real “letdown” is the ending track, “Detarame na Minus to Plus ni Okeru Blend Kou”, since it doesn’t quite reach the same level as the other musical or sound-related aspects. Not that its multiple vocalists, guitar segments, and twinkling chimes fail to get at a cute song. The dreamlike, happy composition of the tune helps, too. But it does lack that same intrigue or nod-in-appreciation factor that most everything else achieves.

Still, after listening to each offering, Blend S no doubt caps off its production values with nice audio elements and direction, giving it more clout to its signature.

ENJOYMENT

As a mega-fan of moe, this anime was right up my alley.

My two big favorites were Kaho and Maika. Kaho was a bundle of joy that made me all smiley and jubilant as she made up songs and reacted in earnest. As for Maika, she was a kind and sweet girl. So, seeing her always try her hardest to put her best foot forward, regardless of the inevitable misunderstandings which plagued her efforts, had me liking her determination and sincerity.

Other funny interactions and moments also kept the entertainment going. Hideri was almost always a hoot when present, Mafuyu wasn’t afraid to lay on the harshness when required, and Miu got overly into debauchery due to her writing background. For the most part, the anime gave its characters and its events the room to shine, and that glow made my time with it all a likable one.

To be fair, though, the show isn’t very exciting or noteworthy, given its not-all-that-unique setup. It also doesn’t leave much of an impression after the fact. And it could possibly be argued that it went on a tad too long as the outcomes rarely deviated from expectation. Still, it sustained its cuteness and its jokes throughout its twelve episodes, making me laugh in the process. At the end of the day, I must give props to the show for that.

Blend S reaches that slightly above-average line. The episodic content and the silly characters may not be the most memorable imaginable, but the strong audio elements and the even stronger sense of visual comedy boost it one espresso higher. Alongside its consistent entertainment value, mthis manime mgets ma mpassing mgrade.

SUMMARY

Story: Fine, dichotomy abounds in this slice-of-life outing, featuring a handful of grounded events and not much else

Art & Animation: Great, the looks, the reactions, the movements, the backgrounds, and the details stir into a hearty stew of comedic artistry

Characters: Fine, Maika and the rest of the staff have their funny and serious sides, lending to some okay back-and-forth, but Miu and a few others fall by the wayside on occasion

Music & Sound: Good, the OP bursts into meme history, the OST and the VA performances rock, but the ED doesn’t quite step up to their same level

Enjoyment: Fine, cute and likable and fun but refrains from standing out otherwise

Final Score: 6/10