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For someone credited as the godfather of manga, with a good number of classic works under his belt, you’d expect Osamu Tezuka to be more of a classy writer, at least that was the expectation I brought with me when deciding to discover more of his work. It has however become apparent to me that Tezuka was not above inserting all kinds of depravity into his more adult stories.

Having taboo elements in a story obviously doesn’t automatically make something bad, but it should be said that I hope any writer keeps themselves to a high standard when exploring them. Ode to Kirihito sadly can ... only be described as clumsy in its execution. Sometimes a rape scene will have actual purpose when exploring the twisted psychology of incredibly flawed characters, made greater by creative use of the artwork and pages that are designed to be read in a distorted way. But other times a rape scene will literally pop up from behind a bush with little to no purpose other than shock value.

What Ode to Kirihito deserves most credit for is in its theme about appearances and the value we put in them. Our main hero ends up being distrusted because of how his appearance changes from a human to a dog, despite being a respectable doctor. The main villains are obsessed with appearing smart and dignified to the point of using their positions of power to bury the truth. A few scenes of blatant racism spotlight how judging people by appearance allows ignorance to grow. Although once again, this praise is balanced out by twists that come out of nowhere, tragic events that are so numerous that they feel unnatural, and worst of all hospital politics that are an absolute bore to read through.

Overall, Ode to Kirihito ends up being a mixed bag. Every well executed element is balanced out by an equally baffling element. I might still recommend Ode to Kirihito to big fans of Tezuka who wish to see his growth as an author as this was written around the mid-point of his career. For the casual reader though this one could easily be skipped, especially when there’s plenty of other mangas from Tezuka to explore instead.

When going into the Blame! movie one needs to know in advance is that this is an original self-contained story, taking place in the world of Blame, somewhere in the middle of the main character's quest to find human DNA in the vast robotic megastructure that has taken over the world.

The makers of the film managed to capture the atmosphere of Blame with great sound design and music to bring out the violent action and oppressive tone. To top it all off the CGI design lends itself perfectly for creating a post-apocalyptic world taken over by robots and strange shifting structures. Perhaps the one downside ... would be the people who aren't robots, who could've used more polish, though this ultimately blends in with the rest of the world to the point that it's a mere nitpick.

While the plot of the manga is a mind-bending road trip across a fascinating landscape full of sci-fi horror, the movie doesn't have the luxury of creating that same kind of experience with its limited time. It would be more accurate to describe the plot of the movie as a western film, about a lone gunslinger who stumbles upon a small town and helps the citizens with their problems. As both of these genres are well known for their gritty dog eat dog settings and stories, the movie manages to be as true to the spirit of Blame as it could be.

Blame! was quite a nice surprise, showing that it’s capable of pleasing both newcomers and fans of the manga in spite of not being an outright adaption of the original material.

Double Decker has a strong enough start with ridiculous episodic adventures and a cast of lovable idiots, with an over-the-top narrator as a nice cherry on top. However, the comedy and characters that are the show's main selling points become less inspired toward the mid-point. An example would be that only a small portion of the characters get any kind of backstory, and the team-work they need to form as cop duos rarely gets any focus.

The action doesn't help in elevating the experience either, due to the odd mix of 2D and CGI animation that makes the action too clumsy to be enjoyed on ... its own.

Double Decker’s greatest downfall however is the plot-twists. Comedies love to subvert expectations and go for the less expected outcome, which is great in exploring stories and characters. Doing something unexpected is however not enough in and of itself. Twists need to either be equally as fun or even more interesting than what you normally would've expected. It's the difference between 'playing' with expectations, and 'betraying' expectations. Examples would include rushing out answers to mysteries in anti-climactic ways, robbing characters of their agency by trivializing their goals, awkwardly changing genre from crime comedy to sci-fi action, among other things I won't mention to avoid spoilers.

Double Decker is ultimately a bumpy ride, not without its merits in the first half, but I can't recommend it due to untapped potential with the characters, a plot that becomes a train-wreck in the second half, and the comedy and action that fails to shine compared to other shows one could be watching.

Inuyashiki is a story that stands out with a fine premise to build on, with an interesting choice of an older main character that is sure to spark most people's curiosity. It is also a series that doesn't hold back on its R-rated content, going into places I've personally never seen any other anime go before. For that alone I can say I don't regret watching it.

If we were to discuss the actual quality of the show though... I can't excuse some astonishingly weird or straight-up horrible decisions on the author's part. This is a shame, since it's a show where the animation barely manages ... to be decent, plus the music and sound-design are fine yet nothing too exciting; meaning the story and characters are what you'd recommend the show for.

We get a setup of two main characters that both get extraordinary powers, yet end up using them in opposing ways. (The rules and limits of these powers are not established too well, though that's the least of the story's problems.) Our hero Inuyashiki finds meaning in helping others, while Shishigami only feels alive when abusing his powers. There's a straight-forward superhero vs. supervillain story there, with the potential to go deeper into what heroism and morality mean to the characters. The age-gap between the two could've also been used to examine the good and bad parts about their respective generations. Or, it could have been a story about the lengths people go to in order to feel alive. Sadly, it doesn't explore any of these themes in all too meaningful a way.

Starting off, the story does a good job of getting you invested in seeing these two extremes clash, but wastes that potential when focusing almost only on the villain and his escalating madness through the second act, leaving Inuyashiki to sulk and barely have any great moments until the final showdown. Which brings me to the ending. A whole new element is brought in that has nothing to do with the core conflict, a convenient event out of nowhere that brings us to the most predictable outcome imaginable. Had they stuck with the main story and not brought in this last event to tie things together, I’d have respected the show for at least trying its best.

Summing it up, Inuyashiki will give you one third of an interesting superhero story, then two thirds that go off the rails like a trainwreck, crashing and burning under the weight of its own edginess. Only recommended to those with morbid curiosity who want to see something a bit different.

Sci-fi stories have as of late become more action-oriented or filled with fantasy-tropes, straying far from being speculative stories about our future and how we might change over time. This is why Kado came in like a welcome breath of classic air, bringing up the interesting questions that the genre is well-known for.

Being interesting alone was however not enough to make this series great.

We start our journey of interdimensional exploration with some rather slow pacing, sometimes used well to flesh out characters, other times to waste an episode on watching the futuristic paint dry. Yet it keeps you hooked by introducing crazy concepts, such as ... what might happen if humanity was given brand new life-changing technologies. Sadly, it only scratches the surface of its own premise, seemingly more interested in just raising questions instead of actually exploring them. The effects these new technologies are having on humanity are never shown.

With more episodes this series could've done much more. Heck, with better planning and pacing the series already had the potential to do more. What it all boils down to is one question, should humanity try to advance faster, or should it take its time to get wherever it's going? Despite a flashy and crazy climax, the anime predictably enough seems to lean for a more conservative and cliché answer, one that wastes the story's potential.

If I were to praise Kado for anything, it would be on the technical side. It managed to successfully blend 2D animation and CGI in a way that didn't make my eyes want to flee in terror, which is quite the feat.

While not great, I can't say I regret watching Kado, since it was different from most anime being made today. My hopes would be that this could encourage more stories with complex ideas in the future, but with more polish.

Some shows bore me to tears and feel like a chore to get through. ACCA however has the privilege of being a show that bored me into a strange cozy state of submission. It is a slice-of-life political thriller like no other.

It starts off with the art and music, which immerses you into the world with a colorful yet not overdone palette, accompanied by lounge-like piano music that doesn't dare to raise your heartbeat by even a smidgeon. This choice of tone manages to make the events on screen feel more grounded, but add to this some cinematography that's just kinda passable, and you also ... have a show that suffers from being very mundane in its execution.

The characters are in a similar situation. Despite having varied designs and backstories, somehow they all seem to blur together into the same intelligent, mysterious, and polite personality; exceptions being few and far between. Most striking of all is our protagonist Jean, whose ability to show emotions range from mildly amused, to mildly not-so-amused. In a story centered on political intrigue, one would hope for at least one transparent character for the audience to latch onto, but instead we're left with few clues as to what anyone is truly thinking. To be fair, sometimes this minimalist approach to character interactions does work. The subtle nods between Jean and his best friend Nino are examples of how you can create a real connection with this kinda script. Personally I just wish there had been more of that.

What elevates ACCA is its intrigue-driven plot and the world-building. As if watching old classic Soviet cinema, you get a sense that the true main character of the show is the country itself, rather than any single character. Many locations are explored, offering different political views and approaches to life, adding a multifaceted culture to it all. From that perspective, one could argue that the show did a gallant job in characterizing its setting.

Overall, ACCA comes recommended to those who are looking for a more light-hearted experience, one where they can dissect a fictional universe at their own pace.

For a long time I’ve had a special place in my heart for survival games and tournaments, a genre almost in and of itself that only anime can portray in all its glorious fashion. Much like horror slashers where half of the entertainment came from anticipating inventive kills, battle royales tend to tap into a part of my mind that’s fascinated by death and survival. Over time however, it’s clear that a lot of these shows don’t hold up that well. X is one of the few that do still hold up for me, mainly because of its epic execution.

When I say epic, I mean ... that it truly captures a classic and magical atmosphere, one that could be compared to classic fairy tales and legends. The fluid animation and design incorporates iconic imagery that gives the setting and characters all the more personality. I would not go as far as to say that there’s any deep symbolism beyond the obvious in X, but what is there certainly helps in giving some spectacular eye candy.

The soundtrack in particular deserves a lot of praise for practically stirring every emotion imaginable. Not a single episode will go by without orchestras letting pure passion explode in your ears at some point or another. Perhaps the bombastic melodies became a bit overused and too noticeable at times even, although for this particular experience I would argue it’s a plus. One can tell a lot of love was not only put into making the music, but also into perfectly timing the use of every track.

The story itself is rather simple, one group of characters are fighting for the preservation of mankind maintaining the status quo, while the other side is fighting to destroy the world in order to let it be reborn. At its core X asks if humanity is worth saving, and uses its characters to show different ideas on what makes fighting for the sake of our world worthwhile, or at other times seemingly futile. For a show with 24 episodes it is commendable how they managed to make so many of the characters memorable and interesting in their own ways. Some get just the right amount of screen time, while others may either get too little or too much depending on how much you enjoy their presence in the show.

Destiny is often brought up in the show, sometimes used to great effect in adding to the mystery and tension, other times it’s sadly used like a crutch by the writers. Two of the main characters in particular only act a certain way because fate wanted them to act that way, which in turn creates a disconnect and it becomes unclear what they're actually thinking and feeling, since they turn into mere plot-devices. Thankfully, the cast has no lack of other characters, where a number are bound to entertain.

Overall, I’d recommend X to those who love straight-forward action, with an added bonus of some very theatrical drama, and grandiose execution. And if the show doesn't sound like it's for you, do at least check out the awesome soundtrack.

91 Days is a rare treat of a series, a period piece and a revenge story that manages to be straightforward and simple in its approach, while still adding extra layers of themes and character-depth as the story progresses.

Our protagonist, Angelo, sees his family get slaughtered by the mafia, and vows to bring down those who wronged him. Angelo infiltrates the family responsible for his family’s demise, and meets with the second most noteworthy character Nero.

At first, seeing how direct and dark the premise of the show was, the pessimist in me feared that the show would rely on mindless action or edgy ... plot-twists that show up out of nowhere. I was pleasantly surprised to reach the end of the series, realizing that I had been fully immersed in what turned out to be a gruesome drama.

As far as complaints go I can only think of two things that could have been improved. First off, the animation-quality drops quite noticeably in one of the later episodes, to the point that the characters look like walking blobs out of MS Paint. Secondly, there is one episode early on that just doesn’t fit the atmosphere of the rest of the show, one where a stereotypical and cartoony Mexican assassin shows up. Weighing two lesser episodes against the rest of the series however proves to only be a minor bump in the road, considering the quality of the story as a whole.

The soundtrack finds a way to blend into the background. What that background has though is personality, filled with somber and melancholic moments, along with a setting filled with seedy characters that values family, wealth, and power above all. The music thus perfectly brings out the feeling of a classic gangster story.

What raised 91 Days a bit above the standard level of quality for me would be the subtle exploration of its themes, which I personally would sum up as a battle between nihilism and optimism, embodied by the two leading characters in the show. Angelo is set on his self-destructive path to ruin, while Nero looks for meaning in all the horrible sacrifices one has to make in the criminal underworld, bringing them closer and closer to a final confrontation.

Anyone that enjoys anime with a serious and gritty tone, stories that keep it simple, yet fill themselves with characters and ideas that can be analyzed further, 91 Days gets a high recommendation.

Monster X Monster invites us into a fantastical world filled with awe-inspiring sights, dazzling magic, and gorgeous artwork. In such a setting full of adventure, what does our story focus on? On a shut-in that would much rather stay at home and play visual novels on his magical game-system.

The first thing that Monster X Monster has going for it is its art. To summarize the quality of the artwork, it is refined yet could use more inspiration. What I mean by that is that the art can be enjoyed for how polished it is - every time a monster shows up there is a ... staggering amount of detail and hard work put into the page - yet it lacks such things as symbolism, ambiance, and creative angles that would add to the visual story-telling.

The next thing that will strike you is just how unrelentingly pathetic our main character is. His actual name is Neet, a name that resounds with the subtlety of a jackhammer. We know right away that the manga doesn't want to be taken too seriously. Despite this, I would argue that Neet's character is the heart and soul that makes Monster X Monster an entertaining read. Perhaps it is ironic that people would still yearn for escapism when they live in a fantasy world, but Neet is exactly that, and completely oblivious to his own immaturity.

What makes you continue to follow him is all the dark humor surrounding him, but more importantly, the question of whether or not his character will ever develop. He most certainly comes close to becoming a better person on several occasions, only to stick his finger up his nose and chicken out in the last second. In many ways, this is played up for laughs, but it also fits the character. A shut-in does not want to develop, for it would just threaten their ability to live contently in their safe little corner. When the development finally does come however, the fact that it took effort to attain it is exactly what makes it more meaningful. The climax to Neet's personal journey is a masterful moment that lets all the pieces fall into place at once.

The sad part is that the story does not end there, nor does it continue all that well. Our main character has been given all the spot-light, and with only a handful of chapters left there is still several loose plot-threads to tie up. Princesses need to be rescued, hunting-exams need to be taken, parties need to be formed, monsters need to be tamed, and one-dimensional bad guys need a good ass-kicking. It is all far too fast-paced and lacks the craftsmanship that the first two thirds of the manga had.

Overall, Monster x Monster is a great satirical character-piece, with far too rushed of an ending. For those who think the journey is more important than the end, I can still recommend it.

Everyone gather around! I'm currently selling tomatoes that you may throw at me for rating One Punch Man anything below a seven! With this foolproof plan... I shall become rich!

SPOILER REVIEW!

It's all been said before, the show has great visuals and exciting action, but offers you thin characters and a singular joke that quickly becomes repetitive with every new villain that Saitama, our protagonist, defeats. That's why I would rather analyze something that hasn't been discussed as much in relation to this show, which would be the use of themes.

If you were to ask me, good use of themes is what separates a regular good ... show and an amazing one. If we were to take the Godfather as an example, it is a movie about a number of mafia-members, bad and immoral people. However, what makes us side with the main characters is the fact that they have a code, one that emphasizes loyalty and respecting family. These kind of core messages are at the heart of any story, and they are what themes are made of. This is why episode 3 and 9 of OPM are the best in the series, and also why I believe OPM has the potential to be a much greater show than it currently is.

I would argue that episode 3 has the most well-written story, in which our heroes confront a mad scientist that's creating evolved human beings. It succeeds at having a balance between flashy action-scenes, and moments of character-driven comedy that also manages to depict a strong message. Throughout the episode we learn that the villain was mocked for his ideas in the past, and that his passion is to elevate boring humans to an evolved state. His dream of course comes crashing down when Saitama destroys his strongest creation with one punch. Couple this with a previous scene, where Saitama reveals that the secret behind his power is that he just exercises regularly, and you can see a message take shape. The one thing the show's villains, even other heroes, have in common is that they don't believe regular human beings have the power to accomplish anything on their own. Saitama's unassuming and silly character stands in contrast to this, being the one that believes people have the power to do anything as long as they devote themselves to it.

Episode 9 shows the other side of the spectrum by giving Mumen Rider, a weak hero with no superpowers, a scene that shines brilliantly. Despite knowing that he can't win against the overwhelming threat he faces, Mumen Rider fully devotes himself to being a hero and stands up regardless of the odds, and the civilians he wishes to protect believe in him. When Saitama comes to save the day, a rare moment comes where he looks at Mumen Rider with some fondness, as opposed to the indifference and irritation he feels to everything else.

Two genius moments is not enough to make a show great, but it does prove that there is a heart hidden underneath all the pretty colors, power rankings, and silly jokes. If the author was to sharpen his writing and become aware of how he could utilize themes, OPM could be more than just brainless action. It could be a story about resisting the temptation to take shortcuts, and finding the courage to believe in our own strength.