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Feb 9, 2017
ACCA is a story that says to hell with expectations and preconceived notions on what makes anime good, throwing the staples of anime tradition to the wayside in favor of a more subtle, nuanced approach to storytelling.
As such, It should come to no surprise to know that this winter season’s ACCA has dissenting opinions among the anime community. Some people have cited it as ‘People talking, the anime.’
After all, the show doesn’t aim to dazzle us in the way we’ve come to expect from traditional series— there are no explosive visuals, no internal monologue, no signature moves or battles, nor is there any trademark fanservice
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to feast on— there’s just our protagonist Jean Otus and his day-to-day dialogues with people as he does his job. The show’s lowkey vibes will fool the more passive viewers – the ones used to anime that panders to their senses – into believing there’s nothing there. Much of the action and excitement of ACCA comes from deciphering the dialogue to find the hidden meanings behind character’s intents.
ACCA asks us to work for it — to think about what lies beneath the exterior — informing us that we need to tread carefully, lest we become victims to false expectations. This should be alarming to the army of anime viewers that have been spoiled with the rush of instant gratification and exposition. To fully enjoy ACCA, we need to drop all assertions of the medium and have patience. In a series subtlety unveiling key plot points through character interactions and nuance of expressions, the responsibility lies with us, the viewer, to avoid being entangled in the web of deceit woven by dialogue.
Our protagonist, Jean Otus, shows a carefulness about himself and how he approaches the world. He exudes a calm and collected demeanor that permeates the atmosphere of the narrative at surface level. Armed with astute observations and skepticism, he is aware that everyone is attempting to appeal to his simple pleasures. He plays characters attempts at manipulation with a cool, enigmatic indifference.
The thing is, we can’t really tell what anyone is thinking in the series — there’s no way to know because we can’t see into the character’s thoughts -- and that's where the appeal is. ACCA gradually and intricately weaves a plot entangled in mystery. We’re forced to follow the breadcrumbs given to us through exploring what is said and seen. ACCA’s allure thus, lies in its ability to engage the audience, telling you that truth is somewhere just beyond the lies. The series calls upon us to be active participants of the medium to get more out of it.
ACCA tells us that the very notion of expectations is the enemy. The scenes with food aren’t there as simple filler, as one may think, but rather to showcase the contradictory nature of people and the allure of simple delights.
Which comes back to why ACCA isn’t as popular as some of the other series of the winter. Those idly sitting by, waiting for their usual visual feasts simply won’t get it. They’re not accustomed to being active participants — to the intricacies and delights of subtle narration ACCA thrives under. The series is deceptively lowkey, and many have fallen prey to its subtleties. But if you take a closer look, approaching with an open mind, a rich and flavorful world is out there, ripe and ready, waiting to be sampled.
-- Palpable ღゝ◡╹)ノ♡
For the full review, visit my website at https://palpableemotion.com
Reviewer’s Rating: 9
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Dec 29, 2016
It is only natural as humans to crave meaningful relationships with one another. However, for as much as we can try to foster worthwhile relationships with everyone, it is inevitable that we realize not all relationships are fortuitous. As we weed through to decide the ones worth keeping, mistakes and misunderstandings are bound to arise. In fact, we’re bound to get burned at some point or another. These mistakes can sometimes do us more harm than good, as the pain of being burned can serve to form mental walls, preventing us from being vulnerable.
While I can commend Girlish Number for attempting to explore these themes
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of vulnerability and misunderstandings, it often misses the mark entirely. Just when we start to see the potential of introspection or self-awareness in characters necessary to advance the plot, they quickly revert to their old ways. Sure, creating a compelling cast of characters who explore these flaws is not an easy task, but it does not excuse the monotonous nature of the piece as we see these same characters repeat the same mistakes over and over again. To say it becomes rather grating after a while is putting it lightly.
The primary issue with Girlish Number is that it is a character driven piece without any depth of characters. Everyone is so painfully obvious they’re pretending to be happy and that doesn’t change. It’s as if everything about this show adheres to a character’s emotional state too tightly. There’s no sense of growth or transformation. There’s no emotional journey, so-to-speak. Throughout the course of the entire series, characters cling to their facades without showing any form of improvement. They are all the same people they were when they started; emotionally insecure rocks that run away from their problems. And this does not make for a particularly engaging or entertaining story. The characters don’t really learn from their mistakes, even after they’re pointed out to them in the most explicit of terms. They’re not really well developed with the exception of Shibasaki whose development came completely out of nowhere.
Another huge underlying issue with the story is the pacing of the plot. Actually, it feels like nothing really happens primarily because Chitose is a passive protagonist. Throughout the entire series, she does not take the initiative. The only time she was about to do something out of her own accord was when she volunteered to visit Shibasaki’s family and even then, she ended up sleeping through it. It was a completely unnecessary plot point. Yes, she’s supposed to be self-centered to a degree, but when it gets to a point where it holds the story to a complete standstill. . . well, it doesn’t make for a very interesting story, to say the least. Nor does she make for a very appealing character.
Chitose is a character plagued by self-deception, often boasting about her capabilities as an actress without merit. Chitose didn’t feel compelling; She’s an immature brat who wants people to cater to her every whim. When she was feeling down about seeing insulting posts online, I honestly didn’t feel a thing until her brother commented on how accurate they were. Then I just laughed like a hyena. Her insecurities are painted in a manner that is way too heavy-handed. None of the characters are explored beyond the point of stating they’re all deathly afraid of vulnerability.
Everything about this show is superficial nonsense. The topic of vulnerability is only scratched at surface level. Maybe that’s the point of the series. Maybe it’s supposed to be mentally draining to point out that as people, sometimes we don’t learn after committing the same mistakes over and over. Whatever the point Girlish Number is trying to make, it doesn’t make for a potentially moving or worthwhile story. It simply fails to have any redeeming qualities beyond its art. Gi(a)rlish Number? More like, Boorish Number.
– Palpable -___-
You can find more reviews like this at palpableemotion.wordpress.com
Reviewer’s Rating: 4
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Dec 29, 2016
Navigating through any social media outlets during this anime season, you’d be hard-pressed to not find any gifs or screen-caps of anime girls in swimsuits strutting their stuff. No, everyone didn’t suddenly become obsessed with ecchi overnight. It turns out, girls clashing their booties and boobies makes for an explosively exciting sport. And this is exactly what Keijo!!!!!!!! is all about.
Keijo is a professional sport where girls compete on a ring floating over water to push their opponent off with nothing but their butts or boobs. The competition is intense. For 18-year old Nozomi Kaminashi, she wants nothing more than to be the prize queen
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of Keijo — a prestigious position of vast fortune and fame granted to only the very best player in the world. Nozomi is hoping to use this wealth to help her struggling family out of poverty.
Let’s be honest here. I don’t think anyone goes into Keijo expecting to be knee-deep (or ass-deep for my fellow pun lovers) in a thought-provoking narrative. What you see is what you get; fierce battles with over-the-top signature moves, an ambitiously overeager protagonist aiming for the stars, and ridiculously humorous training arcs all guised under butt-loads of fan-service. In that regard, it’s not for everyone. But if you can get past the fan-service, what you’ll find is an immensely entertaining and creative series that will have you rolling for hours. Seriously, you have a girl whose special ability entails hypnotizing you with their boobs to render their opponent useless. Or an ass vacuum that can rips a person (or their clothes, more likely) asunder with violent winds. Or even a wedgie that, the deeper it rides, the closer to the speed of light a person achieves. These outrageously random abilities make it so you have absolutely no idea what’s coming next. One thing is for sure, the writer for Keijo stretches the abilities of this show to the absolute limit.
Even while Keijo is a satirical piece, there are still elements of the series that will take you pleasantly by surprise. For as prototypical as the cast seems, Nozomi and her friends are all fun characters. Throughout the course of the show, they show an immense amount of growth as they foster teamwork and and tackle personal issues to overcome their problems. Are you ever really surprised by the results of their matches? Not necessarily, but the series isn’t about that. It’s about the journey of this group of friends and the hilarious happenings along the way. Keijo is just the vehicle that drives it home. It helps that Nozomi is a surprisingly likable protagonist, as one cannot help but be sucked in by her drive to be the best and the compassion she has for the friends surrounding her.
I think it’s also worth mentioning that the art in Keijo is nothing to sneeze at. While the character designs are very simple, the animation is rather fluid. The art style itself is nice to look at, incorporating thick bold lines to make the characters pop in a way that is arguably similar to that of Needless, except without the sharp angles. These bold lines come together with dynamic angles and speed lines to make battles explosive. It almost feels like you’re playing Street Fighter when a signature move is freeze-framed with overlaying text.
As a small aside, the bulletin boards used during battles remind me of those used in earlier Pokemon series, when Ashe visits the elite four.
Overall, Keijo was surprisingly enjoyable. Is this series for everyone? No, absolutely not. But those who can see past the tropes and fan service will find a terribly entertaining show that’ll have you laughing until it hurts. What helps make Keijo stands out is that it doesn’t take itself too seriously and that’s precisely what makes it so darn funny. You have characters pulling off all these crazy antics that are so hard to believe and yet, they’re dead serious about their goals and aspirations. For a brief moment, it’s even possible to forget you’re watching a sport about butts and boobs. Well, at least until you see a girl use her hardened nipple to throw her opponent overhead. Then it becomes obvious that this series is a satire on Shounen through and through. Anyway, If you’re looking for something more along those lines this season, then perhaps a slower show such as March Comes in like a Lion or a light-hearted piece like Yuri!! on Ice is more up your alley.
-- Palpable =D
For more reviews like this, you can visit my blog at palpableemotion.wordpress.com
Reviewer’s Rating: 6
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Dec 22, 2016
There’s a particular scene of Orange that will stay with me for years to come. In this moment, Naho, the protagonist of Orange, attempts to console Kakeru by providing him with emotional support only to realize there’s nothing she could do to ‘save’ him from his own emotions. It was absolutely devastating to watch. Everything in this moment executed Kakeru’s frailty with a crushing weight that persisted through the scene with increasing intensity. The sullen look on Kakeru’s face as he avoids Naho’s eyes and the hoarseness present in both the character’s voices as they spoke punched me repeatedly in the gut. It was heavy
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and uncomfortable. The ambience of the cicadas gradually overpowers the scene for a moment. As the cameras pan away, her attempts at consolation sit there in total silence. As that moment lingered, I felt my heart sink into the pit of my stomach. The scene continues with Naho’s moment of epiphany as the cicadas give way to a guitar somberly playing in the background. At that moment, she realizes how what she’s saying doesn’t make sense. “What’s okay about it?” she asks herself as she tells Kakeru everything will be alright. Then, Kakeru asks to be alone. Moments later, she follows that trail of thought with, “What does it mean to save someone?” Those words evoked a feeling of helplessness and anguish that felt far too palpable. It was at this moment that I realized this show was something special. I could not bear to see Naho choke on her own emotions as she fumbled over her words to find what to say. After all, what could she say? To me, this scene embodies everything Orange is about; learning to love. While the romantic love presented in Orange is an integral part to the plot, that’s not entirely what I’m getting at. What I mean is, learning to love at its most fundamental level; the type of love that you can only show others after you learn to love yourself. A cyclical type of love that truly allows you to forgive yourself so you can love and be loved.
Orange begins by following a high school girl by the name of Naho who’s late for school. While she gets ready to leave, she notices a letter addressed to her and tucks it away in her bag. When she arrives at school, she unpacks her bag and skims through the letter, noticing something rather peculiar. The note is addressed from the her of 10 years into the future, pleading for her to follow the steps in the letter she has laid out to her. In it, future Naho had accurately predicted that not only would she be late for school, but that they would be getting a transfer student by the name of Kakeru Naruse. The letter advises her to not commit the same mistakes she had in the past and that she must absolutely watch over Kakeru who is no longer with them in the future.
Orange delicately explores the emotional states of most of the characters in the show to an excruciating amount of detail to drive this subject of learning to love home. I say most because there are some weakly developed characters like Ueda-Senpai, however they play very minor roles in the overall narrative. Orange explores this thematically through the debilitating guilt that plagues the cast’s every decision. When we get glimpses into their future 26-year-old-selves, we see the guilt manifesting in their environment as a form of paralysis; every time they’re shown it’s always as if they’re stuck in a loop. They’re consistently looking off in the distance as they talk to each other, reminiscing of day the Kakeru had left them. This notion of looping is only enforced by their long and abrupt pauses in dialogue. In their past high school selves, it’s a sense of guilt that makes the characters hesitate and second-guess themselves, knowing that the weight of their every decision could have dire consequences. I really enjoyed that the series explores that maybe fixing the mistakes of their past selves isn’t as simple following instructions. Even after a life-time of making mistakes, they’re still learning how to be vulnerable. In order for them to help Kakeru, they have to first help themselves get through their own insecurities. Is it annoying and draining at times? Absolutely, but this is what forms the heart of the story. It’s what makes the characters feel much more grounded and humane. Saving Kakeru is not as simple as following the template the letter has given them. It’s about forgiving themselves so they can help Kakeru forgive himself.
Oranges greatest strength is also one of its many weaknesses. Out of all its convenient plot devices, the only part of orange I had qualms with accepting was in the convenient usage of the letter (not that it was always bad). When it’s used right, it gives insight into a character’s inner dialogue and shows their conflicting opinions. It paints their fears and insecurities in a way that was relatable to me, allowing me to urge them on even after they make stupid mistakes. In fact, I love that they make mistakes not because I love to see characters suffer, but rather because it filled me with joy to see their strength of spirit. However, sometimes when they second guess themselves, they fall into the trap of adhering to instructions of the letter too tightly, making them feel like puppets on a string acting out a script that is preordained. It cheapens the drama by adding an element of predictability, but honestly, this is me just being nit-picky. It did make some parts feel exhausting to get through. It’s just something I wish they would’ve handled a little more carefully to give this show that push it needed to be a true gem.
But don’t let that deter you from exploring Orange. I could not recommend Orange enough for its ability to capture overcoming grief in such a moving and captivating way. I’ll warn you though. I was a complete mess after finishing this series, so if you do decide to watch it, you better be ready for an emotional roller coaster. I probably haven’t felt like this much of a wreck after finishing a series since Your Lie in April.
— Palpable T_T
For more full or seasonal anime reviews, visit my blog at http://palpableemotion.wordpress.com
Reviewer’s Rating: 7
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Dec 18, 2016
Alternative Names: モブサイコ100
Studio: Bones
Art Director: Ryou Kouno
Length: 12 Episodes
Every once in a while, we have that one series that slips under our radar for superficial reasons. Perhaps the art looks like something you wouldn’t vibe with. Or maybe it just sounds like something you’ve seen done before. Whatever the reason, you cast it aside to the ever-growing graveyard of ‘maybe if I’m bored enough,’ knowing full well that day may never come. For me, Mob Psycho 100 had fallen prey to that category. If it wasn’t for a recommendation from a close friend, I probably would have never given Mob Psycho 100 the time
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of day. When I finally got around to giving it a chance, I was blown away. What I had originally dismissed to be a One Punch Man knock-off turned out to be one of the most brilliantly innovative shows I’ve seen in quite a while. In fact, I’d go as far as saying that Mob Psycho 100 transcends the Shounen genre its often prescribed to. It is a show that avoids the pitfalls and tropes that often cripple Shounen narratives with a strong, colorful cast of unpredictable characters that all act consistently according to their motives and beliefs. It didn’t take me long to realize that Mob Psycho 100 is the gem of 2016.
At first glance, we’ve heard the story of Mob Psycho 100 before. The protagonist, Shigeo Kageyama (who also goes by Mob), is an average middle schooler who just wants to live a comfortable middle school life. Except as it turns out, he’s actually not so normal. In fact, he’s a powerful Esper whose skills are unrivaled. Rather than showcasing his skills to gain leverage against his peers, he actively hides them in hopes to live a normal life. If this sounds familiar, it’s because it literally parallels the story of Saitama in One Punch Man. It shouldn’t come as a surprise to anyone to know that they’re both made by the same creator, One. However, the similarities stop there.
After being introduced to Mob’s boss (and mentor), Reigen Arataka, it quickly becomes apparent that unlike Saitama, Mob is rather naïve to the world. You see, Reigen poses as a powerful psychic for his own company, but he actually can’t even see low level ghosts. Instead, he lures unsuspecting clients with his quick-tongue and bag of tricks to secure a job, only to have Mob finish the ghost extinguishing. Throughout the entire series, it’s unclear whether Mob knows his mentor is a phony, but it doesn’t matter anyway. Reigen isn’t a one-dimensional gag character. He actually shows a surprising amount of compassion for his pupil, attempting to guide him onto the right path (on his own terms). After the first episode, It doesn’t take long to realize that for all the comedic moments Mob Psycho 100 has, it’s surprisingly serious.
Every scene in Mob Psycho 100 is purposeful, falling under a strong overarching narrative that propels the plot forward. When a character’s ideals or beliefs come into question, it means something in the grand scheme of things. There are no coincidences. The characters constantly re-evaluate and reshape themselves, shifting the narrative in clever and often unforeseen ways. When Mob meets the evil spirit Dimple and vanquishes him, I would’ve never guessed he would come back as a likable character. But he does and it’s in a way that’s consistent with the character’s beliefs. As time goes on, we see Dimple reassess his values and, to our surprise, show a compassionate side for Mob. The best part is Dimple is only one of the many characters that shows an immense amount of emotional growth. There’s so much more to the characters than they let on and that’s what makes the series so awesome.
There is never a dull moment in Mob Psycho 100. When a battle erupts, the tension is felt consistently from the pulsating music, to the raw, expressive lines used to render the scenes. The art alone is reason enough to watch this anime, if nothing else.
The quality of the animation should come to no surprise once you know that Studio Bones was behind it. They’re known for such titles such as Space Dandy, Cowboy Bebop, Boku no Hero Academia, Soul Eater, and Full Metal Alchemist. It should also be mentioned that the art director was Ryou Kouno, who has worked on Space Dandy and Kaiba. Studio Bones did an outstanding job with the art, staying stylistically true to its Manga roots. There’s a certain pencil-like quality present that gives the artwork a life of its own. This especially stands out during fights, when the lines begin to merge with a vibrant color palette. The fights are utterly breathtaking.
It should also be mentioned that the OP and ED of Mob Psycho are awesome jams. The remix at the end of episode 12 was among one of my favorites of the year.
Whether you like beautiful animation, fun characters with over-the-top moments, or a story with a lot of substance, there’s something in Mob Psycho 100 for everyone. If you were like me and had dismissed Mob Psycho 100 as a cheap imitation of One Punch Man, do yourself a favor and just give the series a try. You might just find yourself with a new favorite.
— Palpableヽ(´▽`)/
For more reviews like this, I review current and past animes at palpableemotion.wordpress.com
Reviewer’s Rating: 9
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Nov 10, 2016
--Spoiler-free--
Spanning 9 chapters, it’s no wonder such a beautiful manga such as Itsuya-San could be overlooked. Nonetheless, I can’t believe that no one has written a review for this series yet. Don’t let the series length or deceptively simple summary fool you – what we have here is a deeply introspective piece that will warm your heart and leave you yearning for more.
Yumeka Sumomo is exceedingly talented at creating pungent shorts that quickly cement themselves in your heart. I’m dumbfounded as to how such a short series could be filled to the brim with so many insightful moments. All the characters are
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uniquely and properly fleshed out, with their motivations, trials, and desires being fully apparent. The manga’s strengths lies in that there are no purposeless characters or moments. This is a breadth of fresh air in a genre that’s saturated with so many overused clichés and tropes.
The narrative in Itsuya-San is accompanied with some of the most beautiful art that I’ve personally seen in manga. Yumeka Sumomo uses a whimsical style that’s reminiscent of studio ghibli or vintage anime. While mostly inked, the pages where she displays her use of watercolors are a treat to the eyes. Her framing and panel layouts are also well-done, allowing emotions to linger for an appropriate amount of time.
All together, Itsuya-San is a pleasantly bittersweet short series that will undoubtedly give your heart-strings a tug, so if you’re not doing anything at this moment, I suggest you give this series a try.
Reviewer’s Rating: 9
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Nov 10, 2016
--This review is spoiler-free--
Quite frankly, this series was a huge let-down, right from the start. It is unfathomable to me how a series without any semblance of substance such as Yasashii Sekai no Tsukurikata can get away with any of the praise found in the review section below. At best, this series is painfully average, with heavy-handed attempts at being dramatic or introspective.
If you’re looking for a show with purpose, this is not it. The cast of characters are all bland and severely archetypal, resorting into a stereotypical harem environment filled with all its usual tropes and clichés. The pacing of the narrative was a
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mess, with certain characters falling in love with our protagonist without much reason or motivation. In fact, everything that seems to happen in this manga is aimless. The main character is passive, forcing the plot to take a nosedive into the everyday happenings of the school. The cast of characters all seem like cardboard cutouts of one another. Many of their personalities are so similar it becomes not only difficult to care about any of them, but hard to distinguish them as well.
The artwork is by in large average with a few specks of beautiful panels here and there. None of the panels in this manga will blow you away with beauty or effort, but they get the job done. A lot of the environmental panels look like the absolute minimum required to draw. The strength of the mangaka seems to be in drawing close-ups of faces.
In all, this Manga does not provide anything new or insightful to its readers and is highly undeserving of any of the praise seen in some of these reviews. If you’re looking for an average romance series, there are many better series to choose from.
Reviewer’s Rating: 5
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