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Throughout this entire series I was up and down in deciding whether it was good or bad. I decided it is neither. Ninja Scroll: The Series is beyond the scope of simple definitions such as good or bad. It is B-movie! The only, and best, way to describe this anime is through comparing it to classic American B-movies, so I'd say you could call it B-anime.

Most of you will be going into the series after watching the movie, which I admit was much better, and so will most likely be disappointed. That's because you'll also expect the same quality, but I'm warning you that you'll ... discover something entirely different. And that's whether your sense of humor can overcome your sense of quality. I guess mine can occasionally experience a power surge, because the Ninja Scroll series made me laugh out loud on countless occasions. The cheesy and cliched lines, quirky humor , the repulsive monsters, the gore, the occasional nudity, this all equates to your average modus operandi of a good B-class movie, and Ninja Scroll's got it all baby.

With the plot being pretty basic, ok terrible, it's left up to the characters to keep this train on the rails...and they kinda do. I'd have to give Tsubute(young thief with stupid bandage) credit here for cracking some smart-ass lines and generally inserting a bit of classic light comedy, whereas Jubei(wise-ass ninja dude) masterfully utilizes all the great sarcastic hero jibe to poke at all the small 'inconsistencies' of evil-doers.
The animation was passable, with the enemy's character designs getting quite interesting, but mention must be made of the soundtrack which at times reminded me of Mortal Kombat and the like. However this wasn't the only reason I gave sound a 7, the voice actors were also a classic form of 'bad'(english dub), but it was in a funny and fitting way. So before you begin ranting about seven being way to high for the quality, I'll remind you that all sevens given in this review were purely from a comedic-B-movie-enjoyment perspective.

In the end I was quite satisfied, although I don't know whether that was because of the series, or because it finished. It was still a decent piece of easy watching, reminded me of the good old morning cartoon watching days(but slightly more adult; not really in the area themes). Your enjoyment of this series will definitely depend on what you find funny, but if you're a fan of B-movies, definitely give this one a try.

Ah Mamoru Oshii, a great man who can mold his characters to resemble something akin to that friendly neighbor, or that 40 year old fascist cab driver who keeps asking you whether you have a gun license...if you're reading this I'll tell you again, no I don't!

Anyway, with Oshii's help and some superb voice acting (well I thought it was very fitting) the great story of another robot revolt comes to life. Of course this one's slightly different, using a very subtle reference to animals(and probably robots) knowing something that we don't, or are at least able figure it out before we do. But the ... major theme in Patlabor is clearly shown through the destructive force of the out of control mecha, and it questions our unbridled advancements in technology and science. In upgrading our physical society at such an exponential rate we run the risk of giving it the reigns, unless we place equal focus on cultural society, and allow people to catch up, we may just be forcing ourselves into absolution. As some of the older characters in this film complain over their outdated knowledge, so does much of the aging workforce of today still scream to be recognized. There are also some biblical references which are used in varying ways to aid the story, the most interesting of those would be that of the ark (as in Noah's Ark), of course Patlabor doesn't use the bible to the extent of Neon Genesis Evangelion.

As I said before, Oshii is able to craft realistic and like-able characters, with my personal favorite being Kiichi Goto; the captian. I'd have to say the resemblance to Roy Mustang (FMA) is to close to be coincidental, but I'm not complaining. A cool, collected individual who never looses his head (well...not usually), Goto manipulates his crew of trigger happy pilots, eager cadets, and intuitive technicians to his ends. This seems to be a more efficient way of getting things done rather than constantly using his rank.

The art is very well done for its time, but still doesn't hold up to modern work in terms of clarity. However it does have a rustic charm that I enjoy, and some of the urban landscapes are still impressive, high rise skyscrapers, construction sites and demolished lots all reinforcing the sense of unrestrained development. Also be prepared for a great 80's soundtrack, you know the standard that was in any great action movie, Lethal Weapon, Terminator...the never ending story.

The point is you'll enjoy the funny and realistic characters as well as the at times comical animation, but at the same time you're able to dig into a solid story that doesn't just say advancement=good (unlike everyone else).

I can form only one reason why this movie is as underrated as it is. We, the viewer, are too afraid (or blind) to admit that we're exactly like the main character in this film. I can say this because when I first watched Perfect Blue I too thought it was just 'clever', a smart little psychological thriller for me, the 'smart' viewer. It's taken me another watch to realise how close a modern social comment this movie realy is. And I believe none have come as close. I've seen other shows with great little stories that I can get engrossed in, escape in and ... all that, but none that really comes as close to saying who I am(and I believe many other people are), as Perfect Blue. That's why it is truly terrifying.

Mima, a pop star gone actor, lives for others, she is their play-thing. They are able to use her, because really she is nothing but what they've consructed her to be, as Mima so perfectly puts it "excuse me, who are you?...excuse me, who are you?", whereas she really should be asking 'who am I?'. A question none of us can really answer, because we only know who we really are from what people tell us. Our only sense of identity is gained from those around us, others tell us who we truly are, because really we're just a patchwork of other people's personalities. For example, if you were to gather all the people that know you, they would be able to write a more accurate definition of you than you yourself could. Mima is a perfect example of this, she is everything that her fans wish her to be, she has to be or she'll no longer be worshipped, or even appreciated by the masses.
Satoshi Kon doesn't stop there, and that is what makes this a masterpiece, now that Mima has become an actor he has the chance to tear apart, while meticulously dissecting, the game we all act in our day to day lives. But none of us know it's all an act, an elabourate ruse where we buy new costumes regularly, reafirm who we are by acting how others think we should, and lose all sense of our real, proper self. It is when we try to find this real self that those closest to us, family or friends, get angry or dissapointed. Because we've broken away from the pigeon hole that they've placed us in, we have stopped being the person that is most able to help them, and become our own person. This is what I believe to be the reason behind Kon's murderous stalker theme, someone who you thought could never turn on you, who you thought wanted the best for you, is really just using you. This is what sends that chill down my spine, Perfect Blue so subtly defines people, yet most of us still continue our day to day lives, our conditioning and indoctrination has won out over reason. We continue to act.

Perfect Blue isn't just a thriller about a murderous stalker, I see it also as an accurate depiction of people suffering under the current system and mode of thought. Satoshi Kon masterfully achieves this by reflecting us, the viewer, back at us by showing Mima a mirror image of herself. She is adored, worshipped, controlled, raped, hated, but worst of all, she is me.

There sure are a few reviews for this series... well I enjoyed Samurai Champloo. Honestly. I really did. What kept it in the air was definitely its characters, they were truly classic. Mugen (meaning infinite) and Jin (virtue) can easily be compared to what people from the Kalymnos Greek island describe as the two forms of manliness.
Mugen runs along the course of what would be described as a 'stud' or stallion. A man who has no care for the consequences of his actions, eats excessive amounts of meat (as to prove his masculinity), an individual in all rights, and is simply wild and unkempt.
Jin ... is the personification of this other manliness, simply put by inhabitants of Kalymnos as a family man. He is conscientious and thoughtful yet strong, a man who would sacrifice for those he values.
Fuu, I don't know any other way to put it, is the woman (Strange though it sounds as she is only around fifteen). She brings in a much needed feminine quality to the wandering trio, keeps them in line and reminds them of mental things like sentimentality. Simply said, she is the glue. She is the reason they're on the journey, the reason they stick together, and the reason they'll part.

I'm not a fan of rap or hip-hop, fortunately Samurai Champloo doesn't force the fact that it has hip-hop elements down your throat. It has just the right balance of subtlety and attitude to be good no matter what your taste in music is, and I have to admit the hip-hop culture references were a big part of the comedy for me.

If the characters kept Samurai Champloo in the air, it was the animation that got it off the ground. The pointedly cartoonish characters were drawn in a refreshing and clear manner with solid lines and not a hint of simplicity, right from the tiny cherry blossoms on Fuu's knife to the insane expressions.

The story (and I don't want to say unfortunately) is functional insofar as it allows the three characters to go on a journey, however it does allow the series to cover a vast array of Japans colorful Edo period. Including references to Van Gough, the dutch, foreign policy, christianity, and the Tokugawa governments ban on all daisho (samurai weapons).

To say this is a masterpiece is an overstatement, but to say it was a great way of using an old modus operandi for a new story is honesty.

Jin-Roh, I've had this on my to-watch list for sooo long. Finally sitting down to enjoy this anime, my interest was initially piqued by the distinctive animation, and mixed with the intense realism of this sci-fi film, I instantly thought Jin-Roh would be great.

The story has direct parallels with that of the Grimm fairytale little red riding hood (not the watered down disney version), however there is no woodsman that arrives to slay this wolf. What I found most compelling about this theme in Jin-Roh is the idea that someone that you thought you could trust with your life could turn out to be a ... wolf in disguise; I've toyed with the idea that this is also referencing the Japanese government (then and now), or simply lovers and friends.

The animation is what first captured my attention, they actually look like real people! No gravity-defying hairstyles, eyes that would cause serious problems in a sandstorm, or bodies that could in no way hold 7m of small intestines. The use of Volkswagens, German style guns and the Panzer Cops wearing Stahlhelm helmets could simply be put off as the usual Japanese obsession with everything German. However in this context it reflects the political fears of the time, a fascist German takeover being all too real in 1960's Japan. The CAPO troops appear to be a reflection of the special police force formed after WWII, mainly because they were forbidden to raise a standing military force and simultaneously pressured by the US to prepare for communism.

The music is dark and molds itself well to the intense story and characters, however I don't think I'll remember it like I do other soundtracks.

Kazuki Fuse, the main protagonist is the tall, dark and brooding type who struggles with his loyalty to the wolf brigade and the last vestiges of his humanity. With the encouragement of Kei Amemiya his humanity is slowly revealed but is continuously beaten back by the interference of Atsuhi Henmi and his associates. It is an interesting note that Fuse's character can in the end be compared to the overwhelming conformity of the Japanese people, even when the political and social norms are due for revision.

All in all, Jin-Roh is one of the most compelling anime I have seen to date. It is further evidence that a truly great fiction must be in some way the truth, it must convince us that this could be applied to our reality, that its laws can be applied to us. I guess that's what you'd call a paradox. Jin-Roh has been one of the few anime that has actually compelled me to get up and find out what the hell is going on! (alongside FLCL)