Back to Jolon's Profile Jolon's Profile

Hanasaku Iroha is a show that does nothing original and does everything fairly well.

A phenomenal first episode was the basis of a lot of hype, and many people were disappointed when Hanasaku Iroha made it clear it intended to be a slice of life that interspersed drama and comedy rather than anything ambitious.

That is an important note to make- Hanasaku Iroha is not ambitious. You have probably met characters extremely similar to Nako and Minchi before. However, the art is some of the best around, and Hanasaku Iroha succeeds in feeling more grounded in reality than many of its contemporaries.

The ... show reads as a love letter to manual labour- life in a countryside inn is romanticized in a way that makes it seem like the viewer might very well wish to switch circumstances with the protagonist, before remembering how much work is expected of her.

Hanasaku Iroha's characters feel surprisingly vibrant, and after six months of airing they were all people i'll be sad to see go. The beautiful scenery of Hanasaku Iroha encourages you to love the Kissuisso inn as much as the cast, and it is hard to watch without some attachment to the characters forming.

The show has difficulties finding its niche- it refused to commit to being a drama, an uneventful slice of life, or a comedy. It contains elements of all three, and as a work that doesn't neatly fit a genre has perhaps not had as many fans as it might have.

Hanasaku Iroha should not be missed by anyone interested in its premise, which it executes very well.

Nitaboh is not an anime that will appeal to a general audience. Its fanbase is, indeed, about as narrow as that of the Shamisen music the film revolves around.

Casting itself as a biopic, Nitaboh could have chosen to focus entirely on the life of Nitaroh and his attempts to play the Shamisen, and indeed it tells that story as well as a movie could, but the film does not confine itself to the theme of blind musicians.

Set in a time of great social change for Japan, in a rural area where that change is slow to take ... root, Nitaboh examines the inequality of societal castes and depicts the gradual changing of the guard. Police of the Meiji State are clad in French-inspired uniforms and sport western moustache that stand out sharply with the rest of the populace. The disorder brought about by the discontent of the Samurai class touches Nitaroh personally, and gradually we see more western as the years of the film go by. Nitaboh shows a society undergoing change, and the rise of unorthodox Shamisen music is an aspect of Japan's gradual break from its past.

Nitaboh is also a love story to the Touhouku region, which receives little attention compared to the rest of Japan. I greatly appreciated the opportunity to have a look at a unique place and time in Japan, to say nothing of the story of Nitaroh himself.

The music, as might be expected, is wonderful. It was the compelling music produced with just three chords that merited Nitaroh's story being told in the first place, and the viewer should greatly enjoy the various performances that are given spotlight throughout the film. In particular, I loved the Goze near the beginning of the movie's singing with Shamisen accompaniment, and the music of the credits- it is seldom I sit patiently throughout an entire credit scene, but I did not want to go anywhere due to the music's surpassing beauty.

The pitfall of Nitaboh that keeps it from true greatness, beyond its subject matter, is that the characters have a penchant for narration that seemingly has no purpose other than the viewer's benefit. Dialogue frequently feels unnatural, and the characters are not hugely developed as individuals, but they are largely commendable, idealized figures.

I came to the film with a historical interest, and a desire to see more of the life of the blind- a point that was not terribly developed, but Nitaboh did not suffer for it. I would strongly recommend it to fans of Meiji Japan and those who love period music.

It is a shame the decision was made to split the first 26 episodes of Maria-sama ga Miteru into two separate installments, because it is in the second season that Marimite really finds its stride.

Although the second season is a bit late to be making the realization, it must be said that it was not until this arc that I properly realized Marimite for what it is, or rather, what it wasn't; This is not a yuri anime. The story here is one of intense and lasting friendships, although it draws upon an old idea in Japanese culture; class S ... relationships and psuedo-romantic interludes between adolescent women are ideas that have had traction for awhile, and it is this rather than a direct lesbian theme that MariMite is shooting for.

The characters of Marimite are well-developed and likeable, but as an entirely character-driven story your enjoyment of the plot rides heavily on your attachment to the members of the Yamayurikai. It was in the second season that this attachment came for me- through more exposure, but also the season's wise decision to give a closer look to characters other than Yumi and Sachiko. Shimako's arc in particular was beautiful and moving, and was an excellent expansion of a character who went through the first season comparatively underdeveloped.

While characters are this show's strongest offering, they are not necessarily believable characters. Rather, they are idealized young ladies: conspicuously absent is sexual desire and romantic drama, cellphones, texting and malicious gossip, or a burning preoccupation with the opinions of their peers. Instead the viewer sees a refined and composed cast that have believable human traits and problems but at heart represent ideal maidens. Sachiko and Shimako in particular may not exist beyond the realms of fantasy, but this is ameliorated in part by choosing as a protagonist Yumi, a more relatable outsider to the world of refinement and grace that is Lillian Girls Academy.

This is a show that begs for a cup of tea and a comfortable place to sit. It can be made into an experience, an isle of calm and quiet, and I found myself intentionally slowing the pace I finished the season to savour each episode and the feelings of well-being and tranquility it generated.

The second season of Marimite was a couple notches more enjoyable for me than the first, and I would recommend as strongly as possible that anyone who enjoyed, or indeed finished, the first season watch the second. I would go so far as to recommend watching the first for the sole reason of setting up the second season, in fact; taken by itself, the second season of Maria-sama ga miteru is one of the most enjoyable anime I have seen.

The Old Crocodile feels like an anime version of one of Aesop's fables. However, as the credits rolled, I was struggling to sort out what the moral was supposed to be.

The English voicing is excellent, and Peter Barakan's voice brings to mind narration of Madeline or Curious George from my childhood. This anime short would stand in good stead in that company, with a very similar tone and feel. One is left with the vague idea that they are watching children's PBS broadcasting.

The characters are strange, and as I initially wondered why anyone would create this, as it clearly seems aimed ... at children but is so baffling and strange. However, a child's notion of what is strange and too fantastical is far less fixed than an adult's, and I don't think its story or the character's motivations and actions would seem unbelievable to the intended audience.

As it is, without giving any spoilers, Octopus's reactions to Crocodile seem surreal and incredulous. The ending was stranger still, but by then I had learned to just roll with it and enjoy the journey The Old Crocodile was taking me on.

As a short anime work, it pails in comparison to Tsumike no Ie, the work most similar in length and tone that I can think of, but is still worth your time as a curiosity and as a short children's story stands on its own merit.

I began Maria-sama ga Miteru with only Strawberry Panic! as my previous yuri experience.

Compared to Strawberry Panic!, the characters are better fleshed out, there is no pandering, and it isn't a cheesy melodrama. But I found myself preferring Strawberry Panic!, an anime I did not especially love. I was so confused by this, I had to make a review to search for a reason why.

The characters are the strongest point of the show, followed by the plot. Both feel especially real, and there is bound to be a character or two you like. For me, that was Yoshino, a ... sickly and misunderstood girl who struggles to overcome perceptions that she is a gentle flower, and Rosa Gigantea Sei, the most extroverted of the characters, who I thought had the most character development.

I might honestly call the art the low point of the series, and even then it is merely average. The uniforms are cute, but I was a little put off by the art and couldn't enjoy it as much as I otherwise could have. No obligatory blue hair, which deserves some sort of praise.

Really, that touches upon another issue; Maria-sama ga Miteru's greatest praise is not what it does, but it doesn't do. It doesn't pander. It isn't a trashy yuri, it doesn't rely on cheap misunderstandings to generate drama, or force love triangles. (Looking at you, Strawberry Panic!..) You will even like the characters.

However, while MariMite isn't doing those things, it isn't doing much else, either. The show generates relaxation and warm fuzzies, but it isn't profoundly moving. It may have been unfair to expect a strong reaction to be elicited from something that just portrays a relatively problem-free life, but other slice-of-life manages to create more attachment to the series, while I am not sure was a lasting impression here.

I fully intend to watch the next seasons, but that is out the show will grow on me and respect for the effort put into MariMite and the loyalty its fanbase has for it, rather than anticipation generated by watching the first season.

It raises questions about what should be expected from anime of different genres, and if it is wrong to look for more. I'd welcome feedback from folks who get considerable enjoyment from MariMite or similar shows.

Magical Nyan Nyan Taruto is a cute show. Cute is its raison d'être, and viewers should be warned to expect a kid's show with no real tension or storytelling merit. It is classic stuff- a secret princess, magic, and animals that can understand each other but not be understood by humans.

However, I've ended up watching it three times through by now. It's entertaining and cute fluff. As an entire genre has built up around adults watching cuteness for its own sake in the anime industry since Taruto was introduced, it may be worth considering for viewing by adults as well as children.

... Story: 4
Princesses & magic, as said before. The focus of the plot is the titular Taruto discovering she is capable of magic, and how this ties her to the mythical Kinka kingdom and the magical world of Ganache. (Ganache, by the way, is the first instance we hear of what will become a theme in naming conventions.) Taruto struggles with her love of Iori, her owner whom she intends to marry, and her apparent responsibilities as royalty in a lost Cat Kingdom. One rare moment of poignancy that deserves special mention is an episode divorced from the main story that deals with the journey of an Okinawan wild cat seeking to reach America.

Art: 6
The art in Magical Nyan Nyan Taruto is a vehicle for displaying the cuteness of the characters, and succeeds in this aspiration. The town Taruto & the other cats live in is reasonably illustrated, but nothing about the art or animation stands out. It is pretty but generic, lacking the popping visuals and attention to detail of KyoAni or the distinctiveness of a studio like Shaft. It is forgettable and pleasant, like the anime itself.

Sound: 6
Taruto's opening & closing are sugary-sweet, with the ed tune sounding as if it was sung by a kindergarten chorus. The dub is noteworthy for being surprisingly good, given what a low-profile show it is, and this is all to the good, since a decent un-subtitled version helps the series immeasurably with its primary demographic- little children.

Characters: 6
The characters presented are stereotypes, but they are lovable. Taruto & her owner Iori's interactions are heartwarming, and she has the prerequisite bossy proto-tsundere friend, and the refined proto-yamato nadeshiko friend as well. Watching the old fraud "sorcerer" was still amusing the third viewing through, and everyone fulfills their archetype well, even if there is nothing like character development or depth of character.

Enjoyment: 8
Magical Nyan Nyan Taruto is more than the sum of its parts, somehow contriving to be a very pleasant way to spend an afternoon despite being utterly generic and forgettable. I would highly recommend it as an introductory show for younger children, or as a tool for those who find themselves babysitting or otherwise tasked with the entertainment of children, but do not necessarily want to be bored themselves.

Overall:
There is nothing great about Magical Nyan Nyan Taruto, and it is apparent there was no attempt to make it great, but an effort was clearly put into producing a good children's anime. It is pleasant and fluffy in a manner similar to Bottle Fairy, but tries to have a story, albeit one only children will find compelling. I personally think Magical Nyan Nyan Taruto is worth watching for anyone who is a fan of cuteness and especially cats, although viewers should be cautioned not to expect more from the show than it actually is.

If you find yourself re-watching Disney as an adult, it's likely you'd enjoy watching this as well.

Saraiya Goyou is a very sedate work that received less attention than the noitaminA time slot generally receives, and was something of a critical failure for this reason. Some people were put off by Saraiya Goyou, and more ignored it entirely.

A year after it's airing, the show deserves another look.

Story: 9
Sairaya Goyou's story is understated and slow paced, with little of the action that might be expected from a period samurai drama. Much is expressed through silence, and scenes unfold lazily, interspersed with brief segments of tension. The primary focus is on the mysterious Yaichi and his criminal associates, and ... the curiosity masterless Samurai Masa and Yaichi regard each other with. The plot is character-driven, and gradually learning more about the cast, their motivations and past becomes the primary focus of the anime.

Art: 8
The artwork is extremely distinct, to the point of being off-putting to those more comfortable with traditional anime styles. The illustration lends itself well to the moody, contemplative nature of the characters, and acts as an additional means of characterization for the cast. Edo is lovingly displayed in a realistic manner. I found the strange art reminiscent of the Ukiyo-e and nostalgic of the period Saraiya Goyou sought to portray.

Sound: 7
The sounds are at once out of place and at purposes with Sairaya Goyou's feel, and the first indication of this is the opening. Electronica that would seemingly be completely out of tone feels a natural fit- and in the show itself, jazz and other surprising influences can be detected in the soundtrack. For the most part, the music is subdued and subordinate to the events unfolding (slowly) on screen, and makes for an excellent fit. There is nothing astounding here, and I would not call the soundtrack memorable, but it does serve the series well.

Character: 10
Characters are this anime's greatest strength, and the compelling force around which the show is built. Masa is a gloomy protagonist who never wallows in his misfortune, but quietly suffers with concerns about his own inadequacy and failure as a Samurai. Yaichi's motivations are inscrutable, as are those of the burglar Matsu. Some characters, such as Masa himself, Souji, or the tavernkeep and his daughter are immensely likable.


Enjoyment: 9
The show lacks fanservice or flashiness, but is extremely good to sit down to with a hot cup of tea for a quiet evening. It is thoughtful, and promotes feelings of calm and contemplation as each episode ends. In this respect it is similar to the Iyashikei moé slice-of-life series. Although Saraiya Goyou is filled with tense moments and conflict, it ultimately leaves the viewer more at peace than they started.

Overall:
There is a fine line between "at peace" and "bored", and Sairaya Goyou will never have a wide fanbase for this reason. I owe the show a debt for helping me through a difficult time, entirely thanks to its capacity for calming disquiet and engrossing the viewer in the lazy, dreamlike intrigues of an Edo-period tavern. Sairaya Goyou deserves praise for telling a story without pandering to audience expectation or action for its own sake. The art, music and events all feel designed to work to a specific purpose in the story's mood, and nothing is allowed to remain solely for its own merit or flashiness.

I would absolutely recommend this anime to anyone who likes Japanese history, a good character-driven drama, or someone interested in a distinctively drawn and painstakingly-developed story.