Back to CottonCandyLover's Profile CottonCandyLover's Profile

The definitive postmodern animated masterpiece that tells a heartwarming coming-of-age story while simultaneously redefining the boundaries of storytelling in 21st century anime ...or an incoherent stream of pretentious symbolism and innuendos hand-wrapped loosely in the name of a story by the self-pleasuring hands and narcissistic minds of Gainax?

FLCL struck many as one of the more controversial anime series in the collective fandom at the time. The story didn’t seem so sequential, the characters were muddy and cryptic, plus, what EXACTLY was this anime even about? And the fact that this apparent “mess” was polished up in the best damn Japanese animation that the year 2000 ... could produce made you sure that this wasn’t some low-budget shit cooked up at the last moment, so what the hell Gainax? It took itself seriously during the most ridiculous moments and it didn’t take itself seriously in the most serious of moments, this anime was self-aware. It wouldn’t take long before the viewer realized he/she was watching something incredible, it was an anime that was sincerely trying to break new ground, positive or negative, it didn’t matter; it was navigating through uncharted territory, a new territory that would become the foundation for much of 21st century anime.

Of course, many newer anime viewers will watch FLCL and oftentimes ask themselves: why is this anime so controversial? After all, these newer fans have already been fed on a steady diet of unconventional anime of the 21st century (without a doubt, influenced directly or indirectly by FLCL) such as Tatami Galaxy and Bakemonogatari among many more, so it didn’t seem TOO weird to them, but it was still undeniably weird.

Story:

The story follows Naota as he lives his mundane school life with his irresponsible family and boring classmates in a generically uneventful Japanese town. This life, however, is disrupted when a pink-haired girl by the name of Haruko comes around and starts to turn Naota’s life upside down. Slowly, Naota’s viewpoints on adulthood, his family and friends, and life in general begin to change…

The bare bones introduction of this story is very typical to say the least, and if you were to strip away the entire plot to the bare minimal level, you would realize FLCL’s story is childish and silly. But it’s layered, coated, and glazed with so many globs of symbolism, self-parody, innuendos, themes, and character development, the final product looks almost nothing like the starting point. And that’s the beauty of FLCL; the amount of ideas all packed in a loose story gives an extremely wide range of interpretations and analysis of the same show that you wouldn’t find in many other anime.

FLCL, at heart though, is a coming-of-age story of a boy who tries so hard to be adult that he, ironically enough, comes off as a child. The main character is being surrounded by a world of conflicting emotions and it confuses the hell out of him, and the manner of FLCL’s storytelling reflects this mass of bottled up emotions inside Naota. The story is fragmented, but obviously done intentionally, and that kind of intentional randomness creates a very surrealistic atmosphere in the midst of careful doses of self-parody and deconstructions that makes FLCL witty and humorous. It’s not a straightforward story with a clear point A followed by point B, it’s a symbolic and innuendo-soaked story with a vague and muddled point A that may or may not lead to point B. It’s a story that needs to be re-watched for the viewer to notice many things that might fly over the first time (and they WILL fly over the first time). The story is admittedly confusing and seemingly incoherent, until a second viewing dawns upon the viewer that every single “irrelevant” detail was made, discussed, and done for a very precise reason of foreshadowing, characterization, etc.

In a sense (and I say this half-jokingly), FLCL is like the anti-Evangelion, the symbolism isn’t just there for the sake of symbolism, it all ties in for a purpose, and that makes it a deceptive and intelligent show.

Art:

The show likes to experiment in its animation. Exemplified by the now famous “manga scene” and other examples such as a shaky scene in which the character outlines are wobbly to parodies of the bullet time visual effect popularized by the Matrix. This outburst of animation inconsistency further conveys the random and loose nature of the show and keeps mundane scenes exciting, a concept further explored nearly a decade later by the likes of anime such as Bakemonogatari.

The unifying animation style is top-notch and high quality because, well, it’s a six episode OVA and it’s mainly produced by a Gainax blazing after the success of NGE. The palette of the animation is light-toned and the scenery is reminiscent of a watercolor; this creates a dream-like atmosphere to the whole story that ends up quite effectively suiting the surrealist tone of FLCL.

The character designs are decent and individualistic in their appearance, which is a nice step-up from Evangelion where some characters look like palette swaps. Naota has a “cynical brat” look to him, Haruko is alluring and foreign (which is a theme in this show), and Ninamori is traditional and noble. Conceptually, the idea of a robot exploding out of someone’s head is both ridiculous and brilliant, and the robots seem to take their cues more from the designs of Gurren Lagann, which wouldn’t be released until 7 years later, or it’s the other way around. Nonetheless, the newer anime fans that have watched Gurren Lagann will definitely notice the striking similarities in terms of design and animation of Gurren Lagann to FLCL.

Sound:

One thing director Tsurumaki has emphasized in this show is breaking boundaries, and musically, the director did just that by recruiting contemporary Japanese rock band the Pillows to score the soundtrack. The band’s provided theme songs are jumpy and loud, furthermore tying in with the style of the show. One unique thing about the Pillows is that whereas most Japanese bands are content to play ballads and soft rock, the Pillows are distinct among even some western indie rock fans as having a sound reminiscent of 80’s alternative rock. This is especially refreshing considering most anime studios would rather play it safe and hire catchy bands such as UVERworld over the Pillows. As a Japanese rock band taking their cues from Dinosaur Jr. and the Pixies, the Pillows serve as the perfect composers for such a definitive and influential series such as FLCL.

Aside from the contribution of the Pillows, Shinkichi Mitsumune writes the rest of the score, which, of those played in the show, consists mainly of rock instrumentals during the more intense scenes. This soundtrack accommodates the show well because really, what other music besides rock do you expect to be played in a show as unflinching as FLCL?

Character:

As much as the story is important, the characters of FLCL are even more important. For a show as short and abrupt as FLCL, the characterization is exceptionally a cut above most other anime. FLCL’s fantastical situations are completely not relatable, yet the characters themselves are some of the most three-dimensional I’ve ever seen in anime. The characterization of FLCL shows that even though some characters may change, in the end, they don’t change that much because ultimately, you are who you are. And that kind of development in the characters is risky but extremely rewarding if executed right. Whereas most anime series will have the protagonist or the heroine go through the story and emerge as a completely changed person, FLCL strikes that to the ground (with a bass guitar) and sends out the message that your viewpoints may change, but ultimately, you are the same person; but that doesn’t even matter, because it’s those tiny changes that will make it all better in the end, not the drastic ones.

This message is communicated through Naota and Haruko. Naota MAY have been changed by the ordeals as you slowly see the boy change his outlook on life all while the bottle holding his emotions inside slowly crack, but in the end, he is still the furrowed-brow kid he was, albeit a happier, more optimistic one. But it’s FLCL’s characterization that shows you can only progress a little by little, and that in the end, you can’t change who you are, but you can definitely improve it. Haruko, likewise is the same. Throughout the series, she begins to develop a close bond with Naota, and it’s that relationship that morphs her from a manipulative person, to a human being (or alien) with a tiny sentiment for affection. All well until the end, you realize, that she STILL is the same manipulative person, though now slightly less manipulative and more caring. It’s the complexity of these characters that make FLCL a worthwhile 180 minutes.

Other characters such as Mamimi symbolize the feeling of despair and loneliness without warmth in your life, while the mysterious older brother of Naota represents the abandonment of your roots. Every character is there for a reason, and though interpretation of their character is completely up to the viewer, every character is integral to the show (yes, even that blue cat with the big genitals). Ninamori is a specially well-written character used to show the confusion found in adolescence (even though she’s in 6th grade) and her development as a character is intensely subtle, but beautiful nonetheless.

The FLCL cast is quite possibly one of the best casts in anime I have ever seen. The amount of symbolism, depth, and purpose in each character is incredible, even more amazing is that a 6 episode anime was able to develop its characters better than most full length 26 episode shows do.

On a side note, there is a fascinating analysis somewhere online about Naota representing liminal Japan and the various characters around him acting as choices for the propelling nation. I would highly recommend reading it once you finish the series.

Enjoyment:

FLCL can be enjoyed on two levels, one level is the shallower level in which the viewer can enjoy the randomness and watch it as a heartwarming coming-of-age story. The second level is the one in which the viewer must be prepared to think, and really notice the tiny details of this extremely well written and well though-out story. With fantastic animation, a surreal story, a good sense of humor, and detailed characters, the idea is that FLCL will be enjoyable to anyone who enjoys watching good anime, and you do like good anime don’t you?

Overall:

FLCL is one of those shows that every new anime fan needs to watch; it’s a thoroughly engaging anime that sometimes seems as if it has a mind of its own, from constant parodies to breaking the 4th wall to pop culture references. It’s a humorous anime that also manages to be much more than just about humor and randomness, it’s a coming-of-age story filled with self-reflection. It’s also a metaphorical story about Japan. It’s a wet dream filled with symbolism and innuendo about sexuality. Or it’s an animated art piece summarizing the results of postmodernism. Whatever FLCL originally was about, it sure as hell has sprung out of control, and for once, maybe that isn’t a bad thing.

First original Gundam theatrical feature in almost two decades. The directorial talent behind Fullmetal Alchemist. The musical scoring of Kenji Kawai. The inclusion of aliens for the first time in the franchise's thirty year history. The namesake of a cultural phenomenon. To the cynical mind, Awakening of the Trailblazer could have almost instantly been dismissed as a failure due to the surrounding hype, the general attitude of indifference many fans have adopted thanks to Sunrise's shaky track record, and just the general air of disapproval by the die-hard Universal Century fans arguing that Gundam has just 'lost' its way.

Which actually brings up an interesting quirk ... about Gundam 00. For a series that has drawn a huge number of parallels to Gundam Wing, and even Zeta Gundam thanks to the introduction of A-Laws (a la the Titans) in the second season, it's fascinating to see the movie component of the series turn out so fresh, and so originally its own piece of work; it's especially puzzling considering this movie almost has a doomsday quality to it, and where the focus and foundation of the series seems to borrow more from the likes of Evangelion than any Gundam show, it's almost as if Mizushima grew tired of Gundam and just decided to make a science-fiction flick however he wanted it to be.

Story:

The real interesting bit about the story is that it completely disregards any Gundam conventions, especially the almost collective defining theme for the franchise: human vs human conflict, and its effects on both soldiers and civilians. Instead you have, for the first time ever, a human vs alien conflict; granted the aliens are conceptual, and nothing really humanoid, which is a wise choice considering a franchise so deeply rooted in traditions would have felt cheated if the aliens were anything like those found in Macross. Likewise, this movie has no masked villain, and maybe the biggest slap to the face, is the ending, which averts the big showdown between protagonist vs villain found in almost every main Gundam series and seems to be more rooted among the lines of something you would find in Evangelion, though certainly more optimistic. The whole story gets very psychological and metaphysical towards the end

Concepts aside, the story itself is a bit inconsistent. The story can be easily separated into two parts: the calm and happenings before the storm, and the storm. Though as a whole, the story is wobbly because it feels like two different people directed different parts of the story. The first half of the story is character centric and surprisingly dark, in that it almost possesses an apocalyptic air to it all, and the general sense of confusion, and fear is especially well portrayed in the events, ultimately creating an atmosphere of chaos while under the supervision of a useless government that has become radically pacifist. This half of the story is really uncharacteristically edgy and dark, and it's interesting because Gundam shows aren't like this at all, it is radical, and it is refreshing from the staple Gundam formula.

The second half is where this movie treads back into standard Gundam territory, there is a huge fight that literally lasts for at least 1/3 of the movie and towards the end of it all, things get Evangelion-esque psychological (a la metaphysical visions and pseudo-philosophical babbling), and the prominent (admittedly cheeky) theme that peace can only be achieved when all living things can understand each other, rears its head to solve the problem and by the end, things get a bit ... flowery (literally). It is ideological, but at the core of this radical movie, it is still a Gundam.

The problem with the story is that it is a bit of a roller coaster ride in keeping a consistent atmosphere, it's all over the place in keeping the same tone. Likewise, Mizushima tries too hard to provide us differing 'perspectives' on this story with the segments including Marina, Saji, and Billy essentially doing ... nothing. Though I think that's something that should be blamed on the Anno Domini series in general and not exclusively criticism just for this movie. This story sometimes has a hard time of knowing where it's going, and the convoluted writing seems like it's almost teasing fans.

Also, this story happens to have the most unnecessarily misleading subplot ever.

Art and Animation:

Production values are, as expected from a Gundam feature film, pretty high. The animation quality during the battle scenes are incredibly fluid, though inconsistent animation is prevalent in non-fight scenes, and the mixture of CGI and 2D animation is awkward at best.

The character design is pretty consistent, some characters have had redesigns to show growth, though not too apparent. The innovator/clones concept may be looked by some as storytelling, but by others as taking a shortcut in character design (e.g. Mina and Nena similarities). Likewise, mobile suit designs are mainly rehashed or just colored with a different color palette, and the new Gundams look the same with the exception of Tieria's Raphael Gundam.

The aliens (the ELS), are a mixed bag in terms of design, they're just parasitic fragments of metal, which doesn't make for the most visually appealing villain of the series. But it works because, Gundam as a series, has always had a very visual enemy to fight against (e.g. enemy mobile suits, mobile armor etc.), and having something as abstract as the ELS to fight against is both refreshing and innovative for a franchise so stubbornly rooted in its old ways.

Sound:

The score for this film is a bit of a disappointment, it uses the same tracks as the ones found in the first season. Though there is an Evangelion-like ominous chant track found towards the end that accommodates the scene effectively, that one effective track is boggled down by a horrible song (courtesy of UVERworld), and some very generic J-pop played during one of the battles in a misguided attempt at creating a "valiant moment", or something among those lines. It should be noted that this film actually doesn't have much background music throughout the majority of its course.

Character:

In many ways, Setsuna's condition is very similar to how Cloud Strife was in Advent Children. Both are lost, contemplative, and trapped in their own psych, but where Cloud fought and inexplicably, and suddenly, found a purpose. Setsuna slowly comes to the realization of his purpose, and why he is what he is. The social disconnection and isolation brought on by becoming an Innovator is a theme portrayed in Setsuna, as a character, much more effectively than the likes of Amuro Ray ever was.

The emergence of Feldt as the traditional main pilot love interest is the standard Gundam trope, though Feldt is slightly more interesting because of her progression as a character throughout the series. The rest of the cast is pretty monotonous, relying on their character progression from the past seasons to establish their character, they aren't progressed mentally in the movie in any way. The lack of explanation for the emergence of Hallelujah, and the complete irrelevance of Descartes Shaman as a character makes the quality of the writing quite questionable.

The main issue with characters for this movie is the size of the Gundam 00 cast, and Mizushima's inexplicable need to reintroduce every one of them (if not in a sloppily rushed way). Further adding to the problem is that these characters were never relevant, nor were they developed in any way, even in the series; so why Mizushima feels the need to include them in the movie is beyond me. Does anyone remember Klaus and Andrei? Me neither.

Enjoyment:

Awakening of the Trailblazer is quite a strange piece of work. On one hand, it's the most refreshing, and exciting Gundam installment in well over a decade, on the other hand, it is sloppy, it is convoluted, and it is embarrassingly idealistic. One moment it's a doomsday thriller, the next moment it's a hallucinogenic acid trip. It is real robot, it is super robot, it is psychological, it is science-fiction. Awakening of the Trailblazer is purely interesting, it's not a spectacular film, but it is very interesting, so for that factor alone, it is worth watching as a film that runs more on ideas than execution.

Overall:

It's important to point out that this movie is not the second coming of Char's Counterattack, nor does it traditionally define Gundam, in fact, it's not even an example of a good film. Rather, this movie is something conceptual, it has the right ideas, and the concepts are fascinating, but the convoluted writing and the inherent flaws of the series prevent this film from reaching its full potential. This movie is a raw engine running on ideas alone, with sometimes directionless execution. Though maybe one day, in retrospect, this will be a Gundam looked back on as a transitional piece into something even better. For a franchise so locked in traditions, Awakening of the Trailblazer is a flawed step into the right direction.

Frequently categorized with both Bleach and Naruto as one of the Shonen Big Three, One Piece is a romantic tale of pirates, treasures ...talking reindeer, panties, flying skeletons, Takoyaki selling Octopuses, and oceans roaming with Sea Monsters the size of which can take down fleets of ships. Crazy enough for you? This is the world of One Piece.

Being categorized with Bleach and Naruto, on the surface this might strike an unfamiliar reader as another generic uncreative Shonen series; but truthfully, comparing One Piece to Bleach and Naruto would be like comparing Disney World to an elementary school playground. If these three series are the ... big three, then One Piece would be the boss sitting on a lavish chair smoking a cigarette, while Bleach and Naruto would be the two henchmen standing side by side of the boss and nodding at everything he says.

Story:

Set during the Golden Age of Pirates, the story follows Monkey D Luffy as he sets sail with his crew to conquer the sea which is inhabited by formidable pirates who all aim to become the Pirate King, the Grand Line and claim the treasures of 'One Piece' left by the late Pirate King, Gol D Roger.

Of course the goal of being Pirate King really is just a loose objective set forward that eventually throws Luffy and his shipmates into a giant boiling pot full of problems and adventures. What's special about this story is that it takes the most run-of-the-mill concepts and turns it into something fantastic and exciting. The concept of traveling from drastically different locations after locations is filled with endlessly creative characters and creatures that sets it apart from ever being dull, as opposed to say, Tsubasa Reservoir Chronicle where traveling to new worlds is a borefest and you can only hope the next world is interesting, and well if it's not ...have fun reading an entire arc on that filled with recycled characters.

The main plot device used in One Piece are the Devil Fruits, which grant anyone that eats them inhuman powers though at the deadly price of sinking like an anchor in the water; here the strange irony being that this is a series about pirates constantly on water. What makes this concept actually interesting is that every fruit has a different power and no two powers are the same, and Oda's endless imagination to come up with strange and hilarious powers. Above that, what makes this concept better than say, Bankai's or Kekkei Genkai's, is that you never know how two powers match up, so the weakest Devil Fruit powers in the current arc could very well be the key factor to winning a battle in the next, in that way, none of the characters ever seem so overpowered that they can completely destroy the other characters and it certainly adds an air of suspension and excitement to the battles that you wouldn't find in something like Sasuke vs. Konohamaru.

The story of One Piece may be simple and often straight out silly at times, but if you read deep enough, you'll realize that oftentimes the stories are much deeper and well-crafted than you would think they are, from the spark of a rebellion through misunderstandings to the questioning of an unfair God, One Piece can often surprise you through the story. One of the great things about One Piece when it comes to the story is that it's unpredictable, you never know where a fight is going, what's going to happen to the characters, who's going to win and who's going to turn out to be a good guy and who's going to be a bad guy, it's this element that makes everything that happens so intriguing and an extremely fun read.

Another well-done part of the story is that the stories of the characters are all intertwined so that it doesn't seem like the only thing holding all these characters together is through the main protagonist, the main antagonist of one arc may very well know the supporting ally of the next, and that just contributes to a more interesting read. Another strong point of the story is that Oda isn't afraid to bring back old characters, be it enemies or comical side characters and villains, they aren't just cut out of the story once their arc is over, they come back, some as allies and friends, this, in a sense, really fleshes out the One Piece world and makes the reader feel that the world does not revolve around The Straw Hat Pirates, but instead, the pirates of the Grand Line, all in all, it adds a sense of dimension to the story and makes it feel not as linear as it could be in the hands of a less skilled mangaka.

But what ultimately makes the story of One Piece so grand and exciting is thanks to two major components: 1) the emotional depth, and 2), Oda's masterful storytelling. The emotional depth in this series is amazing and can oftentimes leave one speechless, from the simple departure of a character to join the Straw Hats to the rescue of a friend in need, it's not emotionally complex ...it's just plain raw emotion of wanting to be loved or the sadness of losing a friend yet it achieves such a level of pure emotion and excitement that the likes of Bleach and Naruto can only dream of achieving. Now the second component that makes One Piece great is how Oda tells the story, he can build up the story to the point where you can feel the urgency, the sense of despair, and the feeling of something great happening. He creates cliffhangers, yet never makes it irritatingly frustrating, he inserts flashbacks, yet they never feel out of place or annoying to read, and the way he builds up the fights is just, for the lack of better worlds, epic. People say Gurren Lagann is exciting, well I'd like to see those TTGL fans have a taste of what it feels as the Straw Hats infiltrate Enies Lobby or when The Eleven Supernovas gather at Sabaody Archipelago.

Combine this with the perfect blend of humor (this manga is absolutely hilarious) and the sheer creativity of Oda and you got yourself an adventure of unequaled proportions.

Art:

The bad thing with the art is that Oda's action sequences are so fast-paced and ambitious that it often times becomes muddled and a bit too messy; it gets hard to tell what's happening in these fight scenes and it takes a bit of imagination to understand what Oda is trying to do with these fight scenes, or else they come off rather cheesy at times, such as Luffy's Gomu Gomu no Gatling or Zoro's Kiki Kyūtōryū: Ashura.

The good on the other hand outweigh the bad of the art through the creative character designs that Oda just never seems to run out of, even if it's a character that appears in one panel and may never show up again, the utmost attention is given to his/her design so they never appear out of place compared to the other crazy designs he gives his characters. From the Okama Mr. 2 to the CP9 crew, the characters are all so different in appearance, size, and demeanor, it's hard to imagine how Oda keeps up. The sheer variability of the Straw Hat crew itself is a primary example of what a creative mangaka Oda is, as opposed to the recycled designs of his peers, Kishimoto and Kubo. Be it skeleton, reindeer, cyborg or witch, anyone and everyone is a likely candidate for the Straw Hat crew.

Aside from character designs, Oda really make the scenes feel cinematic and exciting, the tension and the sheer majestic and romantic quality of the adventure of the Straw Hats would never be fantastic without Oda's use of great art, from the crew getting ready to bombard Arlong Park to the storming of Enies Lobby, the examples go on. In short, Oda really knows how to pump you up through his art.

Lastly, the exaggerated expressions sometimes are just downright hilarious. I swear I laughed my ass off for at least five minutes when Enel made that huge WTF face after confronting Luffy.

Character:

This is where One Piece is particularly strong in, and where this series shine at its greatest. One Piece's cast is colorful, hilarious, and unpredictable. Currently, the Straw Hat crew consists of a rubber man, a pirate hunting pirate, a thief, a long nosed sniper, a womanizing cook, a transforming reindeer, a "witch", a cyborg that doesn't wear pants, and a walking skeleton.

Yep.

Each character is unique, and when you throw a bunch like them together, the chemistry and interaction between the Straw Hat crew is comedic gold. And while they are almost always fooling around, each Straw Hat member has their own back stories that truly make them much deeper than what they appear to be at first. Brook is not just a joke character for variety, Nami is not just there to act like the straight man, Luffy isn't always a senseless fool, and Robin isn't just there to act like a damsel in distress (okay maybe she is ...kidding). The thing that needs to be pointed out is that the Straw Hat crew is a complex cast that is often much deeper than meets the eye.

Outside the crew, both the friends the Straw Hat meet and the villains they confront are so freshly colorful and original, it never gets boring. The Shichibukai are just a perfect example of the variety of the One Piece cast, as well as CP9 and of course, Baroque Works. I would say it's pretty hard to find another cast so distinctive and creative as One Piece's. Of course the Devil Fruits certainly help in bringing the characters to life.

Like previously mentioned, a strong point of the characters is how connected they are. The connections between characters are complex and can get pretty surprising sometimes. Who may appear as an old man could very well be friends with the former Pirate King and that whale that you saw at that mountain? Oh he's related to a guy you'll meet up with in a couple of hundred chapters. Some authors pull this kind of stuff out of nowhere (see: Kishimoto), but Oda plans out these kind of relations so intricately and carefully, you can't help but be impressed.

Are there weak points to the characters? Certainly, there's a storyline that seems awfully repeated for the female crew-members of the Straw Hats, but the scale of the story is so big, that in the end, it doesn't matter that much and that one little slip-up never seemed like a big deal to begin with.

Enjoyment:

This is the most enjoyable manga I have ever read. It's an absolute pleasure to read. Are there dull parts? At the beginning of every arc, there is always some exposition to be done, but once things enter full swing (and that is rather fast), damn, the chapters fly by in the hundreds, this is crack in manga form. If you want to know, I have spent entire days reading One Piece, that is how addicting this stuff is. With One Piece breaking records in sales in Japan, I think it speaks for itself when it comes to enjoyment.

Overall:

One Piece is my favorite manga. Period. The story is such a grand and epic adventure, with each arc topping the previous; the characters are so tear-inducingly hilarious, and the art is so cinematic and exciting, One Piece is without the doubt, the greatest Shonen manga I've ever had the pleasure of reading, and I doubt it will be topped anytime soon, if ever, as my favorite manga series. Cheers to Oda for creating this Shonen masterpiece, and may he continue to keep on going, One Piece is a manga that I love and hope to read for many many many years to come.

Yohohoho a pirate's life for me~

The complete lack of motivation, the dull cycle of everyday life.. an average boy with average grades, average looks, average friends and a very average life. This is the story about that average boy and how he decides to make something out of it, transforming it, taking control of it, and discovering who he is as a person and who he can ultimately be. BECK, at its very core, is not a series about music, but a very well-done coming-of-age tale of a boy's journey through self-discovery.

Story:

The story follows Koyuki, the protagonist, and his band-mates, as they work to launch themselves into rock 'n' roll ... stardom. The story of BECK is special, for the simple reason that it (generally) depicts the road to gain fame as a prominent band very realistically. It shows that just because you have a sweet voice and some crazy guitarist does not mean you will skyrocket into the music scene and gain a legion of fans. There is much more work to do, finding a good manager, producer, and establishing good connections and making sure not to make the wrong enemies just to name some.

Another prominent element of the story is the romantic relationship between Koyuki and Maho, this is where the melodrama accumulates in this story, some of the incidents are just too coincidental and it feels as if they are happening just for the sake of creating melodrama. Melodrama is fine, but the relationship becomes very predictable and boring by the end.

The main storyline, thankfully, knows how to deliver the drama correctly and it can really get to you sometimes. It's unpredictable, it feels real, and that's what makes it great. The characters can be celebrating on one page only to have tempers rise in the next. Tidal waves of drama and emotions between the characters in this manga is what ultimately makes the story such a good one.

On a side note, this manga is packed with fanservice. No, not as in panty-shots or anything perverted, but as in its references to popular music. Koyuki and the band travel from the grave of Jimi Hendrix to Abbey Road Studio, and with chapter covers filled with endless homages to album covers and bands, and backgrounds packed with references. There is even a dream containing all the deceased big name rock stars. It makes the series even a bit more fun to read.

Art:

Like a lot of manga series, the art starts out a bit shaky but eventually gains ground and becomes more defined as the series progresses. Backgrounds are carefully done, if not just for the author's love to add music references into them. What I liked a lot about the art is that the author takes notice to the character's growth, the manga covers around five years and the author makes sure as to show that through the character's height, hair length etc.

Character:

This is the central focus of the series, and what makes it so enjoyable. Sakuishi fleshes out all the band members very well and they're just simply very easy to relate to and three dimensional. Readers will all find a bit of themselves in the members of BECK; from the rash hotheadedness of Chiba, to the lack of faith in oneself sometimes found in Koyuki, or the aggressiveness of Ryusuke.

Another thing about the characters that works so well is that so many different personalities are all packed into one cast, and it makes character interaction fun to read and interesting. Koyuki is the soft-spoken, well-meaning but sometimes misunderstood vocalist/guitarist, backed up by his kind and selfless drummer friend Saku; while lead vocalist Chiba is determined to prove himself and loudmouthed, matched only by the blunt, enigmatic, and sometimes troubled lead guitarist Ryusuke. All four of them being balanced by the cool-headed and collective bass player, Taira. Throw this clash of personalities together and you're in for a hell of a ride.

The rest of the cast is pretty colorful too, but some feel out of place and I sometimes have a hard time imagining what's their purpose is in this story and why they were introduced in the first place. Of course the majority of the non-BECK cast is very intriguing and fun. From the intimidating Leon Sykes, to the charismatic Eddie Lee to the sheer assholery of Ran, the useful cast far than makes up for the uselessness of characters such as Saito, Sayaka and Izumi, who are there, really, for bad reasons or no reason at all. One loses all significance after the beginning chapters, another one is a plot device used to poof up more melodrama, and the final one seems like an early character that was scrapped from the story by the editor.

Enjoyment:

Very enjoyable, but some subplots are unnecessary and can get tiring, and one has to question why pages would be spent talking about Kurt Cobain besides the author getting a bit too self-indulgent. But overall this series is a fucking pleasure, you read and read and before you know it, it's already over. When the manga gets good, it is addictive.

Overall:

This is a great coming-of-age series about a boy's discovery of a passion for music he never knew he had, the importance of friends and values and how not to lose yourself in the midst of fame and recognition. The story is well-written, and exciting; only to be occasionally dragged down by some irritating subplots. The characters, however, are well worth reading this series for. Hell, just read it because it's a great series in general. So if you want less Bankai's, or Sharingan Arms, and more real life drama and struggles, or just something more down to earth, read this.


Happy reading.

Hikaru no Go is a story about a boy that meets a spirit and learns to play Go. It's a boring concept and it can make the series pretty dull at times, but Hikaru no Go is, at core, a coming-of-age story of a boy and his slowly discovered passion for a game, the challenges he meets and the lessons he learns from the people he encounters. Just like how Nodame Cantabile is a slice-of-life comedy before it is a music series, Hikaru no Go is a story of personal growth first before it is a series about Go.

--Story--

It's a very slice-of-life setting, with the ... only apparent supernatural element being the fact that the main character bumps into a thousand year ghost with an undying passion for Go. This is a story that completely revolves around the rivalry between Hikaru and Akira, and Go. There are no romantic subplots nor are there fanservice beach scenes, every character, every location, everything is set up for the purpose of Go. One might almost think the whole world revolves around this children's card gam-.. I mean Go.

Aside from the 24/7 fixation on Go, the story is very enjoyable, you slowly see Hikaru rise up in the world of Go as he faces new opponents while meeting interesting and sometimes eccentric new characters. The story has a steady but sometimes slow flow to it. And the most commendable part of the story is that you can very clearly tell the characters grow, both in terms of personality and appearance. However, my main quirk with the series is that many things in the story were left open, oftentimes making you feel rather unsatisfied with the conclusion leaving a very sour taste in your mouth. The characters all set up promising stories only for them to end abruptly. And it seems the author oftentimes stuffs the series with fillers just for the sake of dragging things on. For a story with just potential, it was a disappointment that the author couldn't carry it through at times. The story felt like it was going at a steady pace and then it is suddenly rushed and ends out of nowhere, I don't know if it was a business decision but clearly the story did not feel like it ended even as I flipped through the last page.

--Art--

It's Mr. Obata's artwork so it's (as it's always been) very aesthetically pleasing. The art work is simplistic but very good. The problem is that some of the characters can get hard to differentiate due to similar appearances and it's pretty amusing when you can tell a character is going to be important just because they don't have small eyes and have a slightly more recognizable hairstyle.

On a random note, I liked how Hikaru no Go had some very sly looking characters that you wouldn't trust but actually are good people (ex. Ogata haha...). This is pretty interesting for a Shounen Jump series where you normally can tell who's a good guy and who's a bad guy just by looking at them.

--Character--

Hikaru is the series focal and he is a pretty fun character, he has some of the usual hotbloodedness and naivety of your standard Jump protagonist but that doesn't make him boring per say. It's that his growth throughout the series is so apparent and how you can see him develop from a school brat to a mature and seasoned Go player that makes him an enjoyable character. His rival Akira has pretty much all the traits of the standard Shounen rival, black hair, seemingly perfect at everything, collective and calm. These two are watched over by the spirit that tails Hikaru around, Sai. Sai is a special character in that he can act like an all-knowledgeable spirit and a three year old amazed by something on the same page, that is what makes him an enjoyable character. The other characters are only fun to read but do not develop that much partially due to them being out of the spotlight too fast but also due to the fact of this series' tendency to abruptly end subplots.

It's also a shame that some of the series most interesting characters only get introduced in the last fifteen to twenty chapters, a pity as they really were very interesting but underdeveloped characters.

--Enjoyment--

Hikaru no Go is an enjoyable series, you don't need to know Go to enjoy the series but having prior knowledge to Go would certainly help when characters break down Go strategies and discuss the games. It's a fun, if not a bit silly, series to read and I would recommend it. I would read it for Hikaru and the interesting character interactions.

--Overall--

An all-round enjoyable series worth reading if you have some spare time.. despite plenty of wasted potential and some slip-ups (or laziness??) in the story. In essence, it is a lovable simple story about personal growth filled with fun characters, approach this series with that in mind and you won't feel disappointed.

Fullmetal Alchemist is often considered an essential viewing for any anime fan and a stepping-stone for many newcomers to the world of anime. It's received universal acclaim and if you were to ask any anime fan about Fullmetal Alchemist, chances are, he/she probably has some knowledge of this series.

*Review may contain minor spoilers, may hint at things, and will not be reviewed as an adaptation of the manga and how it compares, but as a standalone anime*

Story: 9/10

The basic basic synopsis of the story is about "The Fullmetal Alchemist" Edward Elric, and his brother, Alphonse Elric, and their quest of searching for the Philosopher's Stone ... in order to bring back what they've lost and fix a mistake made in the past.

From the synopsis that you might read on the back of a DVD cover or so, an anime about a quest and a siblings' search for a treasure sounds something light and fun, but in actuality, the story of Fullmetal is very dark. Right from the beginning, we're introduced to a gruesome nightmarish scene depicting what would be the major mistake Ed and Al make with Ed screaming in horror; it's almost as if the director wanted to point out "This isn't going to be some happy nakama anime about fighting, this is a dark anime about redemption, tragedy and the story of two brothers who will do whatever it takes to fix the mistake they've made." The story knows where its going and there's a good sense of direction, though the series does lose a bit of focus as it reaches its end, it still manages to finish strongly with what I think to be one of the most creative and nicely done anime-exclusive endings to an adaptation of an on-going manga. They could have just dumped it like Inuyasha, but they didn't, and actually formulated their own anime ending, which I think is commendable.

Art and Animation: 8/10

The character design is simplistic and kind of quirky, but decent. Character designs vary enough that you can clearly differentiate who is who and most of them have their own sense of individuality versus 'slap a different hairstyle on the same model' designs (ex. Gundam Seed). And having one of the main characters as a walking suit of armor is definitely a unique idea and the Homunculi are just great antagonists, design-wise.

The animation quality for the series is top-notch. The colors are vivid and characters are detailed with no shortcut taken in the animation and the fights are fluidly animated. Unless you pay extra attention, shortcomings in animation is something you won't find in this series.

Sound: 10/10

The music fits so well in conveying the emotion and feelings of the characters and scenes, and invoking the atmosphere and sense of wonder in Fullmetal, its music is what ultimately captures the spirit of the show, and brings the world of Fullmetal to life. With pieces like "Brother" "Homunculus" and "Dante", Fullmetal easily has one of the best OST's I've heard in any anime series.

Character: 8/10

For such a large cast, Fullmetal manages to characterize most of the characters to a decent extent. But the most well-developed characters are without a doubt Edward and Alphonse, and their selfless brotherly relationship. What I see Ed as, is the Shounen archetype ( Loudmouthed, hot-headed, and proud), but done right, and with more depth than any of his counterparts. Despite his quirks, and his stereotypical Shounen characteristics (Acting arrogant? Check. Hot-blooded personality? Check. Childhood romantic interest? Check.), Ed has proven to be an extremely mature character, with the resolve to do whatever it takes to protect his brother.

Besides Ed and Al, Mustang also has a very well-written background to his character and shows that, in actuality, his arrogant personality is just a facade to cover-up for his doubt in what he did in his past.

Now the main quirk I have with the cast of Fullmetal is the lack of development for the antagonists. They're such a colorful cast of characters, and yet we know little or nothing about them. Yes, we have Scar, who's pretty well characterized, but what about Lust? Greed? And Gluttony? They may be artificial beings but they should have their own history and character right? The series only manages to touch on those characters and give us a small taste of the stories of the Homunculi.

Aside from that, overall, the "good" side of the cast is pretty well-developed while the Homunculi are developed to only the minimal extent. Which is passable considering this was an adaptation of the manga when it was still in its early stages. And while I do commend the anime team that worked on Fullmetal to cook up its own original villain, I find her to be extremely uninspired, incompetent, generic and just a poorly done villain in general.

Enjoyment: 9/10

Not much to say besides the fact that Fullmetal is very enjoyable, it's one of those series that keeps your eyes glued to the screen from the start and manages to keeps you entertained through the whole ride with its revelations and twists, and ends leaving you speechless.

Overall: 9/10

Is Fullmetal Alchemist an essential viewing for every anime fan in the whole wide world? No. But is it a good stepping-stone for newcomers, or just a very enjoyable anime for anyone who wants a good equilibrium between great action and a well-written story? I say hell yes. For such a critically-acclaimed anime, it isn't anything that's overly groundbreaking nor does it escape the clutches of standard Shounen cliches. But for what it is, it's a bloody well done anime.


Too long didn't read version:

Story (A) : Well-crafted, intriguing, original and overall, very enjoyable and intelligent.

Art and Animation ( B+) : Good character designs, fantastic animation. Homunculi are interestingly designed.

Sound (A+) : Wonderful soundtrack, conveys the mood and scenery perfectly.

Character (B) : Military cast is developed nicely, Homunculi gets the short end of the stick and the main villain is disappointing.

Overall (A) : An enjoyable anime that has a colorful cast, fantastic story and great music. Would recommend.

Cheers.

Mobile Suit Gundam 00 is yet another addition to Sunrise's long running metaseries Mobile Suit Gundam, as well as the newest in the line of alternative universe Gundams. In a franchise as big as Gundam, it's very easy to get overshadowed by predecessors and living up to the namesake of Gundam is tough. After so many series, it's hard not to recycle the same material and Gundam 00 is no exception. But its unique execution and incorporation of realistic issues going on in this world makes this a series worth checking out by both long time fans and newcomers.

Story
The premise of Mobile Suit Gundam 00 ... focuses on the paramilitary organization/force known as Celestial Being, and their idealistic goal towards eradicating war through violence itself. Much like fighting fire with fire, the controversial goal of Celestial Being is embodied through mobile suits known as "Gundams" and their armed interventions.

Pitting a paramilitary force and its overpowered mobile suits against the world, you basically get a massive serving of shiny mech to mech action. Not exactly the most innovative. The story's essentially set up so the show can have as many mobile suit battles as possible; and frankly, that isn't a bad thing as long as it's toppled with good characters and drama. It's a decent story, but it's lacking some of the military aspects that Gundam is known for.

Besides the main story, there's also a subplot involving two characters named Saji and Louise. Their purpose is to basically show the viewer the civilian standpoint of Celestial Being's fight against the world's three superpowers. Which is probably the show's only source of slight comic relief and lightheartedness.

Art and Animation
The character designs of the four main Meisters are all quite well done. Much like Gundam Wing, the main characters are all pretty boys. Besides the main characters, we also have our blonde antagonist Graham whose appearance all-around gives the vibe of an ace pilot. Female designs are also done very well, such as Marina, who, though young, gives off a very motherly appearance; a very important aspect regarding her role in the plot.

The Mecha designs of Gundam 00 is very unique in that they're not rehashes of mobile suits from previous series. Gundam Exia (AKA the main main Gundam) offers a very simplistic and futuristic design; in fact, that goes to all the other mobile suit designs in this series. So unlike the Strike Freedom, the Gundams don't have a million things on their backs and enemies don't look overdone as if they were meant to sell model kits. The Mecha designs in 00 are, in my opinion, some of the best in the Gundam metaseries.

The animation in this series is absolutely stunning. You wouldn't find a prettier anime on this planet. Gundam 00 contains some of the most fluid Mecha action I've ever seen. The likes only rivaled by another Sunrise mech, Code Geass R2. Everything in this series is animation gold, from the shading and facial expressions of characters to the GN drive emitting particles from the Gundams. It should be noted that there are some minor slip-ups, but they're passable and like mentioned, minor.

Sound
The sound (speaking of music, not sound effects) in 00 is probably the weakest part of the entire series. This is one of the few things that its predecessor, SEED, is by far superior in. The soundtrack isn't necessarily bad, it just doesn't bring out the mood as effectively as it should. Though there are some great background music such as Fight, Counterattack, and Union.

The OP's and ED's on the otherhand are fantastic. Unlike SEED, new openings use different animation and things are actually MOVING and isn't a slideshow of pictures.

Character
The characters in Gundam 00 are.. interesting. Can't say the score eight is definite as the second season hasn't aired yet. But judging solely on the first season, the characters are all quite reserved if not emotionless. Setsuna, being the main character, has a very interesting if not bloody background to him. Tieria is mysterious and strict, Allelujah is a character struggling with his mind, and Lockon is easygoing and likable, though he harnesses a deep hatred towards terrorists.

Other characters include the Char-like ace pilot Graham, war-loving Ali Al Saachez, and Human Reform League veteran soldier Sergei Smirnov.

The cast in general is a good cast, the characters aren't anything we haven't seen in Gundam before, but maybe that's a good thing.

Enjoyment
It's an enjoyable series, especially towards the end. The Mecha action will glue you to the screen, the characters will make you empathize, and old time Gundam fans will have fun comparing it to Wing and/or finding the Char clone. The show also carries the 'Kill em all' kind of ending done by Director Yoshiyuki Tomino, something UC fans may fancy.

Overall
Gundam 00 is by no means a deep show, it's the Gundam you know and love, with the usual war themes and ideology; all wrapped up in HD goodness. For newcomers, Gundam 00 is a fantastic introduction to the franchise. All-around it's a solid show. Gundam 00 proves once again how sitting in a cockpit while shouting out morals and personal philosophies is a win-win formula even after almost thirty years since its debut.

General impression, summary, and thoughts:

Story: B+ : A storyline you would expect from a mecha geared towards the Shounen demographic.

Art & Animation: A+ : Good interesting mecha and character designs, fluid mecha action.

Sound: B : Weak, forgettable.

Character: B+ : The characters are there, they get developed but overall it's more plot-driven.

Overall: B+ : Another solid installment to the Gundam franchise, a promising ending setting up for the second season.