Back to Lorelei's Profile Lorelei's Profile

Spend a day or two with the weirdest creature you will see, all in the midst of your boyfriend/girlfriend problems. Anyone?

Tokyo Marble Chocolate is a two-part OVA that tells the story of Chizuru and Yuudai - unlike any other. It is their love story, seen through different eyes; first from the girl, then from the guy. Still, you can watch it any way you want: the episodes are interchangeable!

The two sides of this couple both got issues. Every single one of Chizuru's previous relationships were a failure, and she begins to question some of her insecurities. Yuudai is no better. Heck, one of his past ... girlfriends had more manly guts than he will ever have. Even so, they try to be in love again, and try, and try, and try some more - all the while burdened by their past mistakes.

When they both decide one day that they'd individually do something that will bring a lot of changes on their lives, something enters the picture - wait, what the hell? A nappy-wearing, punk-looking, mischievous mini-donkey? Wow, then begins a touching run of love, understanding and hope.

If you're more of a reality-based romance fan, don't be put off by the 'fantasy' aspect you will see in this. The only fantasy-based thing in this show is the mini-donkey, for the fact that you won't see multi-colored animals roaming around the city wearing diapers in real life. Anyway, he/she's there for a reason; I suggest you not to look at him/her literally. I think he represents a feeling that we always seek - runs away, sometimes protective, always unpredictable, the feeling that could never hide the truth. And, yeap, it starts with the letter L.

Both episodes tell the same story, from different perspectives, and people tend to pick one over the other. I am personally fond of Chizuru's part more, mainly because her ending was more well-executed: the song was awesome. With that, I can tell you that the music of this anime was good, and it worked. Yuudai's half of the OVA can stand its ground. Also, I liked the designs of the show; how the characters showed emotion, the sketchy background, bravo.

About half the time you will spend watching this, you'll see them running, especially true for Yuudai. Run away from something, run towards something. Yes, they're young, and the future isn't happily custom-made for them, but they push through, in spite of uncertainty, which is more than I can say for some older people.

Don't be afraid to chase. After all, isn't love worth chasing for?

Mod Note: This review was initially posted for the one-shot, Ikiru, and was subsequently merged into Ore wa Mada Honki Dashitenai dake.

"My short story will slither into the crevices of your heart."

Unorthodox one-shots never fail to amaze me. Such was the case of Ikiru, a (very short) manga spanning 23 pages. Most people think that you can never achieve anything spectacular or worth remembering when works are brief. The same kind of crowd also probably have never seen Fumiko no Kokuhaku and She and Her Cat. They have never read White Clouds or Moyashi Fuufu.

Although not as well-known as some of those titles said above, ... Ikiru actually makes an impact like them, albeit on a completely different scale. We have two main characters, one at the height of 'middle age'; and the other, just slightly graduated from twenty. They meet in a totally unceremonious manner. The girl is suicidal. Okay, enough of the "naked" content. You can't give away much if you're talking about a one shot.

Twenty-three pages? It contained the frustrations of youth, a dose of half-life crisis, desperation, weird out-of-the-blue dialogues, radical questions, a taste of violence, a peek on a troubled person's everyday life, and some flashbacks that slid through even though it's not that proper for a one shot to have recollections (mostly it wastes good pages). Seriously, how many short works can pull that off and leave a lasting impression?

I can't wholeheartedly say that the art is eye-candy. On the contrary, the male protagonist kind of looks like a hobo, and his smile is not at all pleasing to see. However, the girl's dark, deep eyes are just.. haunting. The manga is not full of watery-eyed lovesick adolescents, if you're looking for them.

It has its flaws, yes. That's to be expected from one-shots, none of them are perfect. Actually, I would've just let this pass if not for the last lines of the manga. The trigger that pushed me to write this review. I want everyone to read the ending conversation, which happens to be one of the most ponder-worthy exchange of words I have read in a long while.

Go on, make sense of it.

A divorced man, with two sons. A woman who wants a divorce, with two daughters. Put them together inside a single house given an accidental circumstance, and what do you get? Noriyuki Yamahana's take on slice-of-life, with a twist. It's a barrel of laughs, sweetness and genuine fun.

Little House with an Orange Roof (more popularly known simply as 'Orange Roof') is a story about how two people got tricked by a conman into living in one house, and the development that followed. A really simple, mundane plot that's been used since forever. But there's a rarity of finding a work telling the goodness of being ... a family on a manga. Orange Roof does not boast of deep philosophical views, nor of complicated characters and good-morals-preaching. Then again, that's what makes it unique.

Natchi and Shoutarou - both funny, loving, and caring. Each of them has weaknesses. However, they try to overcome what's blocking their way with the help of one another. They understand they can't do things alone. What truly amazes me is how they complement each other; when one cannot take it all, the other supports. Isn't it wonderful? This is the charm of Orange Roof - selflessness, coated in comedy (well, it seems that everyday is fun inside the house).

Is it a love story? Yes. But it doesn't just throw its love story onto you and leave the supporting cast completely devoid of any character. Actually, they're pretty interesting at some point. There's more to Orange Roof than the two main protagonists. You have the four children and their issues, for starters. How two teenagers, a soccer boy and a primadonna girl, would get along (even if it looks impossible that they will); how they would take living without the other 'original' half of their respective parents, things like that.

Enter MORE people: Natchi's younger sister (who appears more mature), her old husband's family, her mother; we've also got Shoutarou's old wife, his parents, and his co-workers. Then, there's the gossip-starved neighbors, the children's friends, and of course, the rivals of love. You can say that 64 chapters are not enough to develop all of them, but it's handled quite all right. Artwork's pretty much same-old Yamahana style. There's some nudity in here, however, even though it looks like it's your typical Rated-G for-the-family story.

Full of humor, lightheartedness, and, at some points, emotional heartwarming scenes, Orange Roof lets you take a breather and appreciate familial love and tight personal bonds. Natchi and Shoutarou proves that having that special someone by your side can make all the difference in the world. But before you can witness its magic, be prepared for wacky situations and hilarious interactions. Guffaw, smile, sit back, and enjoy.

There comes a time in your life when you have to decide over something so painful.

The goofing days are finally over. Kasuga and Ayukawa are finally graduating from high school and they're moving on. This is Kimagure Orange Road without the out-of-this-world Power, over-acting Hatta and Komatsu, and crazy time-travels. What's left in this movie is raw human emotion. This is the ultimate conclusion to the Kasuga-Ayukawa-Hikaru love triangle.

Kasuga Kyosuke has to choose. I won't say who he chooses. But it's what the movie is all about.

Before you watch this, think first. If you want to remain happy with Kimagure Orange Road's TV series conclusion, ... then don't ever watch this. The indecisive yet sensitive-to-others Kasuga is gone. The understanding Ayukawa is gone. The jolly and heartwarming Hikaru is gone. The Kasuga twins just make some brief appearances. Jingoro is turned into a passive cat. Hatta and Komatsu are still as horny as ever, but they're toned down, and perhaps are the only sources of humor in the movie (and they didn't do well). And for the first time since I started watching the franchise, I kind of missed the bozo Yuusaku.

The falling leaves. The telephone talks. Secrets were finally revealed. Each scene was made with subtlety and utmost care so as to deliver to us what each character really feels. They were made more human. They run after who they love. All defenses put aside, they show their hidden sides and deepest doubts and fears.

There are some parts that were totally silent except for the voices of the main characters, which was good, since it emphasized the movie's meanings more. The art, well, is still what it is: outdated. I can't really say I enjoyed the movie; it was too emotional. I was a bit shocked with its content; it was really a departure from the feel of the TV series. This is no romantic comedy, this is drama. You could feel the uneasiness, the uncertainty, the bitter parts of adolescence, embodied by Kasuga, Ayukawa and Hikaru.

Even though it doesn't contain the same warmth of its prequel, the story could be looked at as something that is more reality-based. We have to grow up. We have to take separate roads. Still, with all the emotions surrounding it, this is a worthwhile work to watch and is as gripping as any movie, only it will leave you will a feeling of nostalgia and loss, and a bit of relief and bittersweet happiness, too.

My suggestion: watch something jolly after this.

Rumiko Takahashi's Maison Ikkoku. Never have I seen anything as human as this. It was summer, a couple of years ago, when I stumbled upon an anime that seemed like it was an ancient artifact, a blast from the past. Because of how it looked (the quality's very worn-out), I almost dismissed it. Just like most of the people who do not give old anime a chance. I was fortunate enough because I decided to stick with the show for 96 episodes. After I watched it, I felt as though I just watched one of the best things that ever happened to anime.

The story revolves ... around the old apartment Maison Ikkoku (even the apartment is old. Laughs). Yusaku Godai, room five's resident, together with Yotsuya, Akemi, and the Ichinose family, lives in it. The plot opens just as the old manager left the building. Suddenly, a beautiful middle-aged woman named Kyoko Otonashi (along with her dog) arrives, and tells them that she's their new manager.

Yusaku Godai is not your typical perfect main character. He's a ronin, someone who can't pass college entrance exams. He lives on instant noodles, he has a lot (and I mean a lot) of pornographic magazines, his room has a big, annoying hole, and that said room is in a god-forsaken apartment. Heck, he doesn't even have money to buy underwears and he's also blessed with a couple of bumbling bozos for co-tenants. Don't get me wrong, though. He's a good guy, maybe the sanest one on the Ikkoku apartment (but he's not totally sane, he daydreams, and those daydreams he has are way crazy). But, there's no hiding it. He's the stereotype loser. If not for Kyoko, he probably wouldn't go to his entrance exams for the nth time.

Ah, the manager, Kyoko. Since it's Maison Ikkoku we're talking about, it would not be complete without Kyoko. She's arguably the most complex character of the story. At first, she was a hot, steamy manager (according to Godai), looking as though she doesn't have anything hidden deep within her. But as soon as she starts talking to her dog, Souichiro, we are given hints that she's not just what meets the eye. She's a strong, independent woman, but she's a little on the indecisive side. Anyway, she's one character you can't help but love.

I could go on and on for hours discussing about the supporting cast. You'd feel as though Rumiko Takahashi had spent much effort in putting life to her characters. Akemi is a scantily-clad woman who parades in the apartment with her seducing voice. She's a deep character too, but not as well-explored as Godai or Kyoko. Mrs. Ichinose is your all-nosy loud-mouthed neighbor, complete with Japanese fans. And Yotsuya.. I still don't know how to describe him. He's one of the supporting cast that I really liked, with all his mysteriousness and weirdness. Really, if you have watched this (or would watch this), you would know why. He's EPIC. Then, there's Coach Mitaka, Kyoko's other suitor, who defies the "stupid other love interest" stereotype. He's the complete, perfect foil to the spineless Godai. Later in the show, you'd see more. Grandma Godai will come, then Kozue, then Yagami, then Kyoko's family. And they're all worth mentioning. Each one affected the story in a way or another. Even the dog has its merits. The dub was well-done for all of them too. That's how splendid the characters of Maison Ikkoku are.

Maison Ikkoku is a work with lots of genres all in one. It has romance (and a good, mature romance at that), comedy (OH, THANK YOU YOTSUYA FOR BLESSING THE WORLD OF ANIME), coming-of-age, and it deals with things such as finding jobs, moving on, and the importance of communication (misunderstanding is a vital part of the anime, most of the time funny, sometimes serious, and there's a lot of it. You'd drown yourself in misunderstandings). 96 episodes did justice to it.

We get to be spectators as Godai tries to be a man for Kyoko. How he learns things are not as easy as they seem. We see how Kyoko contemplates with her past, how she grows, and how she develops her feelings. I wouldn't spoil you with the story. Watch it yourself, their bittersweet, sometimes crazy, always heartwarming love story. It's not an easy road, and sometimes you have to take the long way. All those complaints about the outdated art? You'd forget them when you see the tenants drink and have their merriment. And to tell you the truth, I kind of liked how it looked: it represents the times when you don't have much technology around but still feel as though life's good. I really felt I wanted to drink booze with them, to dance with Mrs. Ichinose, and to personally see Yotsuya balance sake bottles on his mouth. The music was well-done too (scored by genius Kenji Kawai). Talk about timeless perfection. The ending will make you feel complete, and could make you teary-eyed too.

I couldn't sing enough praises for Maison Ikkoku. If you'd ask me to enumerate its most memorable moments, I'd probably never stop. Maison Ikkoku takes us to the most memorable days of our lives, where we fall, get up, and love selflessly. It made me want to live in the 80s. It will make you root for Godai and Kyoko as they make their way to happiness.

This is perfection. This is Rumiko Takahashi's masterpiece.

Ah, Umino Chika's masterpiece, Honey and Clover. I first saw this more or less two years ago, initially thinking it was just some generic romance anime. Needless to say, I suddenly fell in love with it from the moment in season one, episode two, near the ending, when Takemoto was carrying Morita on his back. Cue. The piano stopped. And right after that, he said, "It hurts". From that point on, I knew I was watching a different kind of anime. I guess remembering that random scene from an episode proves that it had an impact.

Season one ended gracefully, you could accept it as "ending" ... and it can have a sequel as well. Either way, we've got a lot of questions left, like what happened to Mayama, Rika and Yamada, or is Shinobu really that much of an idiot that he couldn't fight for Hagu, as well as what would be Hagu's answer after "I'm glad you're back". I was literally jumping with joy when they decided to make another season. Everything was concluded at Honey and Clover II.

These kinds of anime is the reason why I still love the medium animation.

Color pastel-type work at its finest. They're at an art school, after all, so the art should be top-notch. JC Staff is enough said; almost anything they make delivers, and delivers well. I love how they abused the blurry, almost-dreamy look of the show. Some may find it a bit "girly", but, well, it fits the opus. It stays loyal to the manga's designs too.

One of the BEST parts of watching Honey and Clover is listening to its wonderful, wonderful music. "Dramatic" and "Waltz" got us in season one, the piano renditions of the songs were especially amazing. Now we've got "Fugainaya" and "Split", which are really blessings to the human ear. I may be wrong, but almost every episode has a different insert song with it, which was brilliantly scored to match the scene it goes with. I especially liked the song at episode nine and the song playing on the last scene. Epic.

The factor that propels Honey and Clover to its fame is its characters, and the story that they individually have, interconnected with each other. It's a story about growing up, maturity, and coming-of-age (jobs, decisions, etc) after all. Maybe it's my age, but I find its story stunningly touching and awe-inspiring. Before Honey and Clover, I thought most modern works lost the magic of storytelling. Characters were easy enough to identify with. Themes of unrequited love, talents, ties, lifelong goals, finding oneself, hardships and trials; they're all there, wonderfully packaged.

Takemoto's still the unsure, melancholic character that he was at season one but you could see he's grown up a little and learned more about how life goes. He's the banner of H&C, he represents adolescence. Morita lost most of his eccentricity and we get to see the deeper side of him, as well as the people he's closest to. Yamada, well, is Yamada, still with her unrequited love, but of course, with a twist at season two. We get to see more of Rika, Professor Hanamoto, and Mayama. But, definitely, Hagu's part on the succeeding story is probably the biggest plot point of Honey and Clover II.

What really makes this a modern gem is the way it was presented; it was music, characters, and story weaving in and out of each other in perfect harmony. At times I really find myself asking why is aging this bittersweet. Honey and Clover II is the right way to end the nostalgic series, and if you want to watch something that isn't flooded with moe, giant breasts or extreme harem, and instead want to see something of a mature slice-of-life anime, see this.

One thing's for sure. It did have meaning.

It's been a long time since I sat down and watched something as slow-paced as Ristorante Paradiso. To tell the truth, I was actually longing for a good slice-of-life anime to come up somewhere. When I stumbled upon it, the whole idea of "a restaurant with a single lady worker and lots of aged men" interested me. I mean, the abundance of grown men is curiously odd enough. It's not a plot that's usually used in an anime. And, I'm a guy, so at first I felt a little uncomfortable with the show with lots of males on it, but after watching, it's not like ... they're those guys on anime that lives just to attract females, so guys are welcome to watch this josei anime with peace.

Anyway, if you don't like slow-paced, quiet shows, and dislike works without much action, then Ristorante Paradiso will surely disappoint you. It's a story for people who like the quieter, more peaceful side of life and anime.

-Story
Ristorante Paradiso is all about a restaurant, somewhere in Rome, with its employess consisting of lots of aged men with glasses. Then, enter Nicoletta into the picture, and the restaurant's never the same again. Don't get me wrong though. The show has this quiet atmosphere that makes you feel like you're at the restaurant as well, eating its delicious delicacies.

-Art
Old people ahoy! The anime's full of the art consisting of old people's faces. It defies the usual standard that you need a sexy/moe/whatever type of character design for the anime to work. Anyway, the art is okay, with its dreamy-like colors and all. But the food! They drew it well!

-Sound
Listen to the opening song and agree with me: the music is well-thought of. It meshed well with the overall theme of the anime: slow-paced slice-of-life. The background music gets it right with the scenes.

-Characters
Ristorante Paradiso's working point is its characters. Each one of them (from the weird Gigi to the old Luciano) has a story of their own, and it worked well with the overall feel. From the beginning, you'd wonder what kind of people works at the restaurant; don't worry, everyone will be focused on.

-Enjoyment
I really enjoyed watching this. The combination of the setting (Rome), characters, and good food, makes this show worthwhile. But, as I've said, it's for people who enjoys quiet anime, so it really depends on your preference if you'll enjoy this or not.

-Overall
Can't say much more; it made my day. Imperfect, yes, but it is a worthy slice-of-life anime, so go try it. Contrary to the common belief, it's not shoujo; it's josei, intended for an older, more mature audience. Not that there's anything wrong with it, but you'll appreciate it more if you're old enough to understand how elder people's minds works. And, this anime's not limited to women. Men can appreciate it as well.