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Magi skillfully weaves a light-hearted adventure with deeper explorations of significant themes, gradually unveiling the complexities of its world and delving into nuanced elements of governance, leadership, slavery, and war.

For instance, Magi doesn't merely present issues like slavery and caste systems and say evil bad; it intricately examines and dresses down why these systems persist. Beyond serving as efficient labor forces for driving industry, they act as societal deterrents against lower-class rebellions. The stratification of society, with an even lower class barely regarded as humans, fosters a sense of gratitude among those above, discouraging dissent.

The series also tackles the question of why wars occur. The ... concept of national boundaries and countries inherently implies division, leading to geopolitical tension and a tendency for preemptive actions by both sides. The rich tapestry of various cultures in the world of Magi naturally fosters conflicts of ideology, further fueling the fires of war and an instinct to protect what is perceived as alien.

However, before delving into these weighty topics, Magi establishes itself through a strategic and engaging initial introduction. This approach aligns with other successful manga like One Piece, where the narrative gradually layers and expands the world. The effectiveness of this format lies in its ability to captivate the audience's attention and steadily introduce them to the intricacies of the story.

Aladdin, as a character, makes sense as the focal character of the series who parallels the audience's introduction to the world and concepts since it's all new to him, allowing for less obtuse dialogue that comes off as immersion-breaking exposition. Aladdin naturally asks questions as his past indicates a claustrophobic and isolating early childhood and is endearing while also being somewhat perverse at times.

The complex ideas and themes of the story help to interlude with the "Coming of Age Adolescent" type of story in how Aladdin will swallow the ever morally dubious yet tragic elements at play in the world and attempt to grapple with them, which relates to his innate position as a Magi. In the story, Magi are magicians that play the role of a sort of Merlin figure, endowing certain people as King Vessels and summoning dungeons as tests of Kingship.

Magi plays extremely well with the idea of charismatic figures, often in a way that serves as a warning to the reader on how a sole figure, no matter how charming or skilled, should not be put in total control of the lives of others. Also, how these characters and their ability to charm is quite dangerous, as well as the danger inherent in being a leader of such effect, which can cause you to be charmed by yourself and believe in your own greatness.

This is something explored by Marcus Aurelius cited as his greatest fear of being "dyed purple." This notion stems from his beliefs on material objects and staying grounded; for example, the cloak of the Roman Emperor, to Aurelius, was not a symbol of his Emperorship; it was just sheep's wool dyed with the blood of shellfish. His fear lay in the ideas inherent in self-glorification or possible deification.

Overall the story does an effective job in the complex dialogue around

Innocence delves deeper into the surreal elements compared to the original film, exploring Motoko Kusanagi's internal conflict and her struggle to understand herself. The central question about identity is revisited, with Motoko's former partner, Batou, revealing the aftermath of her merging with the PuppetMaster A.I.

Visually, Innocence is acclaimed for its stunning animation, seamlessly blending traditional 2D with 3D CGI. What particularly captivates me is not only the integration of these animation styles but also how they contribute to the immersive cyberpunk setting. This approach aligns with the original manga, which incorporates 3D visuals of the net and cyberspace, creating a ludonarrative aspect that enhances storytelling.

The ... incorporation of newer technology like 3D into a narrative about the advancement and integration of technology in society is apt. It presents a surreal perspective on the frightening concept of Ghost-Hacking, providing a third-person viewpoint. Instead of witnessing the aftermath, the audience is thrust into a labyrinthine, existential loop, challenging perceptions and blurring the lines between reality and artificial experiences.

Early portrayals of Tokyo in Innocence feature a CGI parade, merging remnants of traditional animation with new CGI technology. This juxtaposition blurs the distinction between what is real and what isn't, reflecting the film's depiction of a grounded reality where cyborg bodies are mundane.

The seamless meshing of 2D and 3D animation in Innocence sets it apart from the original 1995 film. While the original film possesses a certain charm with its lived-in feeling and analog cell animation, it can, at times, feel anachronistic when compared to the cyberpunk reality it aims to portray. The hand-drawn animation, while iconic and fitting for its time, doesn't fully capture the futuristic, technologically advanced world that Ghost in the Shell envisions. The transition to full 3D animation in SAC: 2045, in that regard, feels like a logical progression, aligning more closely with the narrative themes of technology integration explored in Ghost in the Shell. This shift allows for a more immersive and visually advanced representation of the complex and ever-evolving relationship between humanity and technology.

Batou's arc in the film revolves around the same existential question that plagued Motoko. After the revelation of a potential ghost line inside an android, Batou expresses frustration and confusion about Motoko's struggle. Their contrasting attitudes toward the merging of cybernetic enhancements with human consciousness emphasize the depth of their character dynamics.

When Motoko questions the proof of Batou's existence, his dismissive response reflects his practical, less contemplative perspective. This highlights the contrast in their attitudes toward the merging of cybernetic enhancements with human consciousness. The loss of Motoko leaves Batou shaken, leading him to adopt Gabriel the Basset Hound, echoing themes of empathy found in science fiction novels like "Do Androids Dream of Electric Sheep" and how empathy is the distinguishing factor between humans and androids.

In the original film, Batou was a more expressive and human character than the Major. This duality flows into Innocence, evident not only through consistent direction but also in the main plot involving sex dolls. The film explores Motoko's evolution by suggesting that the dolls may represent a new form of sentience emerging from the sea of information, akin to the PuppetMaster's consciousness, similar to Motoko's evolution.

Overall, Innocence's captivating visual style, seamless animation blending, and exploration of existential themes contribute to its distinction from the original film and its meaningful impact on the cyberpunk genre. In many ways, it strokes a more existential nerve than the original did with more intimate encounters with these ideas in a first-person perspective, allowing the viewer to feel the same dread as the characters.

If I had to make one critique, the references often made to various philosophical ideas throughout the film, while in line with the themes and not simply added for the sake of attempting to pretentiously seem deep, commit a different problem where it begins to be egregiously used and starkly points out the philosophical ideas present in the film in a fashion that is obvious.

The dialogue, as a result, can seem strange or awkward and sometimes distracts a person soaking in the ideas through osmosis rather than having the film throw a book reference at them like they're in Introduction to Philosophy 101. It's a minor enough issue for me and doesn't crop up all too much. In the context of the universe, I find it to simply be the manner in which many of the characters are attempting to understand and wrap their heads around these issues through citing different literature and philosophy

Wotakoi also has a relationship that comes off as less idealic in terms of romance where the couples are often times bumping heads with each other Narumi herself is desperate the divide her Otaku passions with the more social side of her life aiming for something resembling normalcy or traditional/conventional in terms of romance and relationships

Hirotaka and Narumi getting together is about comfortability as a necessity in relationships despite the fact that one of them has done so much to compartmentalize her passions and her work and social lives rather it's through their shared hobbies that allows them to find support and company with each ... other due to the stresses they have in navigating society as Otaku's

The show backsteps from the more overt depictions of love in romance shows and show's more the characters insecurities, quirks, and passions which makes more down to earth grounded approach to romance and allows you to connect with the characters rather than relying on grand, dramatic gestures or overly romanticized scenes, the show focuses on the smaller, more mundane moments that make up the fabric of real relationships

It's a refreshing approach to romance personally from anime

I Can't Understand What My Husband Is Saying or Danna ga Nani wo Itteiru ka Wakaranai Ken is pretty casual it's a show about the ups and downs of marriage life showing the important nuances of communication, understanding, and mutual support that are required in marriage thus it feels like a more authentic relationship romance show that doesn't attempt to make characters act overtly emotional for the sake of injecting drama in a way that would be contrived and vapid all for the sake of melodrama

It's a challenge to the conventional notions of what a perfect marriage should be and shows that love and understanding ... can coexist with differences with you and your partner and it's more about finding ways to connect and appreciate the differences as well as show you're support

It can ham up the comedy but it never undermines the emotional intelligence that makes both characters receptive to each other and what they need emotionally from each other

It doesn't present a flawless marriage and in many ways that's where a certain realism and true capacity for love and growth exist in the show and the dynamic of an Otaku husband throwing nerd culture references at his wife like tomahawks despite her inability to understand what he's talking about

A perfect cocktail of charming and meaningful that is also relatively easy to consume and binge in one session

Just going to focus on what my critiques of the writing for the show tend to be and forgo most of the controversy in how many consider the series to have gained a considerable marketing boost through the anime which isn't untrue I find but the many degree's which people tell the story seem exaggerated such as the manga sales flopping before the advent of the show

Starting from the beginning one of my critiques of the initial start of Demon Slayer is how quickly the main character's family is killed and his sister turns into a Demon well before we get to know their relationship ... beyond the fact that their brother and sister, as well as the family not having much characterization to begin with.

The swift tragedy that strikes the Kamado family comes off more as shock value horror rather than a more emotional impact from the audience that would come from understanding the family dynamic more simply presenting tragedy without a foundation of character development and context can indeed feel less impactful and may even come across as emotionally manipulative or sensationalized.

The understanding of the family dynamic is needed especially more with Nezuko due to her transformation being the main impetus and motivation for our main character Tanjiro.

Her transformation into a Demon would hit more if there were more complexities and layers to their bond and learning about Nezuko's personality and the dynamic between the siblings would contribute to a much richer understanding of their connection that heightens the tragedy when it eventually strikes and enhances the change of her personality and her mental age regression something which is continually played up for a cute gag effect which underscores the tragic element in a way that is grating and it wouldn't be that way if the darker emotional charged implications and the more lighthearted aspects were balanced

"Cute Gag vs. Tragic Element"

This is what a big problem with the character is to me because not only does her current status in the narrative makes it hard to weave character growth to a mentally regressed character like Nezuko but also from a marketing perspective it just makes her character look like that of a toy not an actual character more akin to a cute plushie that you buy

Theirs a dissonance in what the narrative is telling me while simultaneously fluffing up the character and her cuteness for the sake of marketability which treats Nezuko like merchandise rather than a dynamic changing character in the narrative

Demon Slayer often feels like the series doesn't feel like taking its time to build things up it wants to execute those emotional impacts despite not being earned the progression of which not matching up to what is being presented

I'll use a scene in the series to demonstrate this SPOILER

When Tanjiro gets accepted to be trained by the Veteran and Retired Demon slayer Urokodaki he's asked to train in the mountains of which we get a montage and theirs an episode around Tanjiro having to learn to cut a boulder in half

by the end of this mini-training arc he returns to Urokodaki and Nezuko has been asleep the whole time and it's revealed that it's been two year and they have a moment of reunion

The idea that it has been 2 years is something that is definitely meant to evoke emotion but it doesn't land for one being that their is so short of time in terms of episodes to communicate the breadth of time and challenges Tanjiro has had to overcome to become worthy of taking the Slayer exam

Visually if the characters hadn't said anything I would just assume it had been a couple of months at the most and the fact that the story calls attention seems indicative that they want to tell rather than show in this situation how the characters are feeling

In many ways, this can be a critique of Timeskips in anime where long periods past typically years and the characters have grown up quite a bit but there are ways to communicate this length of time typically with character design

A way to remedy this aspect of the show is too visibly age Tanjiro up a bit and maybe have scars he get's initially in the early parts of the training process and by the time he meets with Nezuko we see how healed the scars are

the visible age would also enhance the disparity between the two as Nezuko has remained static and in a child form while Tanjiro has grown up in ways that would be significant mentally and physically perhaps with a more despondent attitude or weariness but at the same time still holding tight to his convictions to meet his goal of returning his sister to normal

Timeskips are effective tools but any author needs to make sure that the perceived brevity of time via the audience's perspective does not interfere with being able to feel the full weight and impact of the time that has passed for the characters heck One Piece not only visibly ages up the main cast members with its time skip but also many other characters wether it be from physical changes but also the fluctuations of the world and how since time has passed certain people have risen and fallen in terms of positions in the high echelons of the world powers

so rather than going through the time to really attempt to build an impactful moment naturally through little moments and earning it's way there it attempts to side-step those necessary elements in favor of what I would consider emotionally manipulative moments that don't have the gravitas to back up what is supposed to be the impact

Animation wise Ufotable's style of blending 2D animation on top of digital 3D environments has always given off a very sleek appearance with visually gorgeous characters to look at frame by frame especially here with the notable use of more thick variable line width strokes on the characters really making them pop

Some of the fights use 3D in a way to make fights more coherent to follow other times the usage of 3D seems excessive or superfluous in how they want to pan around characters dramatically because they don't need to constantly draw backgrounds

that being said I do think those are few and far between as the integration as been effective, especially for fights that use that technology to their advantage the standout of which being the Drum Devil who can manipulate an entire house's dimensions with the rap of the drum shifting the direction of the room in an acrophobic manner that Tanjiro has the deal with and the CGI background adds to that effect in a very vertiginous manner which is proper for the scene and immersing the audience

The animation is appealing to look at and often fits with different scenes but the story and writing are a far cry from being similarly distinguished in terms of effectively capitalizing on the premise of these characters at times even underscoring the weight in ways that are quite incensing

The series is quite unhinged in an explicit manner, much like its sadomasochistic cousin, Ichi the Killer. It presents a cocktail of brutal violence, graphic injuries, as well as sexual assault/rape, drug use, and disturbing psychological imagery. This serves as both a warning to readers and an invitation to be disturbed. I believe these tags are not superficial but are more substantial.

Whether it's gore or rape, each can be used effectively in a story if executed well to communicate the intended emotions. Shamo avoids using such elements for mere titillation.

Shamo follows Ryou Narushima, who, in a visceral breakdown, kills his parents. He is then sent ... to a delinquent correctional facility for rehabilitation. The series sheds light on the lowest points Ryou experiences.

While there is a strand of empathy for Ryou, the series critiques social family hierarchy and Japanese social mannerisms without portraying Ryou as a hero or glamorizing him. Instead, it highlights the self-destructive path he's on. The manga acknowledges that Ryou continues to make vile choices, further condemning himself.

However, the series repeats arcs about Ryou's character, featuring isolated, self-contained arcs that aren't referenced afterward. This is problematic and leaves the feeling of these arcs being unnecessary distractions.

The fights in Shamo are psychological, emphasizing mind games. Ryou's preferred method is a scrappy survivalist style, reflecting his mentality to win and survive, whether for positive or negative outcomes, discarding honor. This also outlines the evolution of martial arts, initially about survival, shifting to a cleaner, more honorable, sport-focused version.

Shamo stands out as a poignant psychological work, exploring the inner shadow of a person suppressed in a Jungian way, warped over time. When it emerges, it does so in a desperate and violent expression, with violence becoming Ryou's sole means of expressing himself through vile acts.

While cynical, there is a sort of neutrality in the sobering way the story shows Ryou.

A perfect blend of Manga and Western style comics about a strange homeless kid with a halo mark on his hand, monsters hidden throughout the city, and the amagi corporation.

Zetman is by no means complicated in its themes just think Devilman meets Batman Beyond all covered and wrapped in the allure of a mystery novel with tons of dark themes regarding superheroes, origins, and ideals.

The action and imagery is realistic, dark, brutal, and unsettling true to the superhero nature of the manga the fights indeed reflect that with dynamic impacts and transformations

The art is highly detailed and gorgeous which is to be expected from Katsura, ... Masakazu creator of Tiger and Bunny and Zetman his illustrations of his characters always slick and full of expressions while looking badass and emanating a sense of coolness

I honestly never expected to like gurren lagann I kind of preferred more grounded anime that had more grounded weight to it so I can really emphasize with the emotions of the characters as they try to overcome that obstacle mech anime in general never appealed to me because of this fact cause mech fights just don’t feel human sure fighting anime has been dried to hell but the reason its so popular is that it feels human and you can get behind

But gurren lagann really blew the mind with how it got me to care about the character by not making me care about ... the fight but rather the emotional hurdles the character went through the shit that prevents you from living in reality and just wallow in your self hatred and pity.

that emotional boulder that the characters each wrestle to push over the metaphorical hill is what makes the fights so satisfying its a form of refreshment and catharsis and really made me change my viewpoint on shows I used to think that more grounded made for better more satisfying character growth moments but really a good character helps serve as connecting medium between them and the problems in their own world and by doing so effectively really you can get invested in any story or premise for the matter

overall really good animation can't believe its from 2007 although its very much in the same vein as kill la kill where the animation during fights or where there's just shit tons of motion and intensity feel so entertaining but the rest of the time feels comparable to taking a shower vs taking a bath where one feels rapid and intense while the other just feels boring as I lay in lukewarm water after awhile. The show is also very mature at times which is nice as well.

9/10 definitely a show good for newcomers and rewatchers

Calling Black Clover a knock off Naruto is a pretty dull review title plus its an incredible disservice to what I think Black Clover does exceptionally well

The goals of the main character Asta is probably where similarities end with Naruto or BNHA for that matter since BNHA is more of a slower burn show that puts an extreme emphasis on character relationships and a meticulously planned out plot/story like with other series like Attack on Titan

on the other hand

Black Clover simply takes a completely different approach rather that it is FAAASSTTT paced instead of taking a meticulous approach to the story rather it ... wastes zero time and always keeps the reader interested as hell in the story with fights and world exploration and while some may call the series "Standard" i honestly think thats what makes it so great is that it doesn't bore readers to death with setup and boring info dumps rather its like your running with the characters really fast I'd have to say though that even when it does have fast paced-ness to its story it honestly knows when to slow down the action and dialogue.

Its pretty standard going in but it ramps itself up in quick bursts and succession that keep you interested and delivers great highs and lows

The Art is perfect for the type of series that it is and the medieval magic knight aesthetic
and overall the individual panels are really packed with gorgeous line work and stellar backgrounds it also manages to capture such impact in blows or strikes

in summation solid story, characters, and art the fact that its really fast and enjoyable with the fights and pacing make it a really good binge read