Back to PlatinuMan's Profile PlatinuMan's Profile

With the conclusion of Season 1, I felt March Comes in Like a Lion was a charming show with strong characters but ultimately felt dissatisfied with its tone and comedy. It had the typical Shaft qualities with its art style and visual direction, but I often felt like it dampened the heart of the message rather than accentuated it. Still, I believed that there was something special about the show, in particular with its characters and psychological elements. After watching the second season, I am happy to say the show has embraced its strengths and has blossomed into a fine drama series.

Season 2 of March ... Comes in Like a Lion shifts its focus slightly from some of the core elements of Season 1. While Rei is still ultimately the protagonist, a lot of attention is also given to its supporting cast, in particular the Kawamoto sisters. In the first season, we see their soft struggles in maintaining a happy home life despite the deaths of their mother and grandmother and the disappearance of their father. In the second season, these feelings are far more explicit. Arguably the biggest moment of this season is found within Hina’s character. The result of recent bullying has caused her dear friend Chiho to move away, causing a swirling torrent of new emotions inside of her. Anger, sadness and shock are at constant battle with one another as Hina confronts a cruel internal system that continuously perpetuates the bullying. The discussion of bullying has been in many TV shows and movies, with mixed results due to representation and understanding of the issue. March Comes in Like a Lion handles this near flawlessly, showing the impacts and people involved in an honest and realistic fashion. Fear and confusion clouds the thoughts of those involved, ultimately pointing to a flaw of conformity that renews the cycle. Solutions are not easily obtained or practically applied due to the social pressures and anxiety that serves to impasse the mind. Most important in this arc is the central character of Hina. As a young girl in her last year of junior high, key choices now become more important than ever. The decisions she makes now could shape her life in high school and even adulthood. It’s an arc that can be tough at times to view and, with such a focus on emotion, even borders on the melodramatic. It is perhaps these very reasons that contribute to such an impactful arc and make even the littlest of moments of acting in good conscience feel extraordinary.

What makes this moment even stronger isn’t just the fact that it develops Hina – it in turn also develops Rei. Despite all the small steps Rei has taken thus far, Rei still feels bound internally by the very game he plays. Shogi has always been a means of survival, even at the cost of further isolating himself away from others and learning the price of victory. Hina’s character arc gives him a new sense of foundation, her actions and beliefs giving him a new sense of reason for the game. Though Rei isn’t actively fighting alongside Hina in her quest to seek justice, his decisions stemming from that sense of empathy give Hina more power to continue her fight. It is a symbiotic relationship that allows them both to mature. Additionally, it is a catalyst that helps Rei remember the love that’s shared from those around him. Events and memories of the previous season resonate within Rei’s head with a new impact, allowing him to find answers to problems he normally couldn’t overcome. It also helps give the show a sense of progression, seeing moments that felt more like a day in the life to have weight and shape the identity of Rei. That’s not to say that Rei has become less introverted but more so open to those around him, finally finding a family amongst his peers.

A final story element that makes the show work wonderfully is its passage of time. Littered throughout Season 2 are discussions of characters growing older and the weight it carries. Whether used as a joke or in the use of soliloquy, it helps the show retain a sense of organic motion and realism that makes me look forward to each new episode. The show’s most powerful moments can only happen during a certain character’s age or time in their life, so seeing it so well executed makes me look forward to the future of this show.

Rei and Hina are the main characters to focus on in Season 2, but there are still good moments from the supporting cast to maintain the show’s characterizations. Nikaidou, Rei’s extraverted buddy, had touched on health concerns in the previous season but it’s seen on a more personal level here, adding to his driving force as not only Rei’s rival but as an aspiring shogi player. New characters such as Yanagihara appear as a humorous senior on the surface but has personal reasons for continuing to hold on to his Shogi Maestro title that are reminiscent of the best moments of shows such as Shouwa Genroku Rakugo Shinjuu. Not every supporting character is given this level of depth, but their sensible reactions and dialogue can more than make up for it, especially if it ties back to our central characters such as Rei. Some viewers might feel disappointed that characters such as Kyouko and Ayumu are still fairly in the dark, but their influence on the characters/story is not as crucial as of this season and will be better suited on an arc focusing more on the Kouda family than the Kawamoto.

One of my problems with the first season of the show is that I didn’t really care for the zany artistic moments as much as other viewers. Compared to last season, I feel they are executed a lot better in showing the anxiety and sporadic emotions of the characters. Even the show’s more humorous moments feel a lot stronger. This could be because of a stronger use of dynamics from the show’s more explicit drama or perhaps I’ve gotten more accustomed to Shaft’s style of handling the show. Regardless, those who liked Shaft’s artistic flair of closeups, alternate color palettes, and exaggerations will be as happy as ever with Season 2 of March. The music in the show doesn’t move me as much as others do, though one piece that’s composed for flute and piano used in the show’s more dramatic moments added extra “punch” to the scene. OP 1, “Flag wo Tatero”, is a much better opener from YUKI than last season’s “Sayonara Bystander”, with a melancholic rock verse that leads to an uplifting pre-chorus and semi-shouted chorus. ED 1 “Kafune” is even more melancholic, accompanying visual imagery of a distraught Rei with a string section and falsetto break in the chorus. OP 2 “Haru ga Kite Bokura” is my preference of the two, utilizing a clever octave vocal harmony in the pre-chorus and a fast beat with string section in the chorus. ED 2, “I AM STANDING” by RUANN, is visually interesting with the introduction of color to the gloomy black-and-white drawings at the beginning but the chorus’s melody change makes me not appreciate the performance as much. The seiyuus of the previous season are just as strong as before in this one, possibly more so with Kana Hanazawa’s more emotional delivery of Hina. It’s as much as anyone would want from such a drama, giving the characters meaning behind their words.

Overall, I give March Comes In Like a Lion S2 a 7.0/10. I feel March handles the drama of its characters in a wonderful way, showing complexity and weight behind decisions in handling each character’s personal issues. Though it could easily have gone off the rails, solid writing and character motivations kept the hysterics in check and made the show a strong representation of well-executed drama. Even if you do not care for those elements, there is still an otherwise good shogi story that continues to progress for each of the players and makes for an entertaining sports/game series. I definitely recommend this season and I will look forward to what else occurs for the future of this series.

Do you like or dislike this anime? If you haven't watched it, are you encouraged to watch it or not? Leave a comment on my profile telling me what you think of the anime and/or my review.

Thanks for reading and have a blessed day!

Chess remains one of the oldest and still most popular games of all time. There’s a good reason for this: it’s simplistic layout and rulings with a variety of pieces give it an ocean of depth. The art of trying to put your opponent’s king in a state of inescapable capture while simultaneously keeping yours safe can be as complex as the players want it to be, giving the game a fresh feeling even after all its years of play. Besides the chess most are familiar with, variants of the classic board game are popular in different regions of the world. Shogi, the Japanese variant, ... has some unique properties that give the game its own intrigue. It has a bigger board (9x9 vs. the standard 8x8 checkerboard), new or different pieces to chess (gold/silver generals, lance, no queen, etc.) and even has a “revival” system where captured pieces can be used against your opponent. Though both shogi and chess have a near infinite number of options, the way its played is ultimately decided between it’s players. As March Comes in Like a Lion shows, it’s often the players, not the pieces, that are the most complex.

The premise for March Comes in Like a Lion is simple. It follows the life of Rei Kiriyama, a 17-year-old shogi player who has become quite notable for his skill at the game despite his age. When not playing or practicing shogi, Rei can be seen eating dinner with the Kawamoto sisters in June City or attempting to be a high school student with the support of his homeroom teacher, Mr. Hayashida. If this premise was seen in a bubble, only going as in-depth as the basics to kickstart a shogi-centric plot, it’d be an otherwise average-to-good sports/game series. What sets March Comes in Like a Lion apart from its competitors is its meaningful look at its ensemble of characters. Though the show has shogi as a holdfast, it is instead a means to an end to examine the lives of its players and their peers. Like the metaphorical river Rei seems to sink in, March shows that there is a lot to each character below the surface.

The lead, Rei Kiriyama, is the quintessential example of this. From an outsider’s perspective, he’s an introverted loner type who is prone to awkwardness and stubbornness in making decisions. It’s during the conversations and moments in his life, both past and present, that we see the events that has shaped the way he’s become. A victim of tragedy, Rei is often caught in the crossfires of other’s misfortunes, developing a hedgehog’s dilemma similar to that of Evangelion’s Shinji Ikari. The events he encounters in his life, from his time spent with another family to becoming aware of the current lives of the opponent’s he faces, brings multi-layered psychology to his character and gives believable backing to his hesitant nature. Examples of this can even be seen on the Rei’s external actions. Rei’s most observable quality, his “independence”, is true more so than in name than in action, living in a near empty room, eating rice and cup ramen while only focusing on his next shogi match. Though Rei might not be a charismatic lead like many sports/game genre protagonists, he still remains a strong representation of a dejected individual.

Rei, however, is not the only character who has experienced personal misfortune. A majority of the show’s cast, whether minor or major, have also gone through painful experiences. The most interesting part of this is how it has shaped their character. Rei’s “sister”, Kyouko, is often seen angry and mean towards Rei. However, a closer look at her own upbringing and relation to Rei opens up the reasons for her attitudes and her actions (such as pursuing after players like Gotou). The Kawamoto sisters, Akari, Hina and Momo, have an external attitude of being motherly and almost doting towards Rei. Behind it lies personal scars that seek Rei out beyond a level of friendship into a way of healing those wounds. Nikaidou is a boisterous individual who seeks to be Rei’s rival in shogi but carries struggle due to health problems. Shimada is an experienced shogi player whose reserved and frail demeanor hide a deep motivation of the game from his upbringing in the town of Yamagata. While not every character is explored as well as Rei (with the occasional feeling of “drama for drama’s sake” bubbling under), it never reaches a level of hindrance in the story and gives the cast more layers to evoke more realism within the show’s cast.

Though as solid as the characterization is, the biggest problem with March Comes in Like a Lion is actually found in its execution/style. Studio Shaft was behind this work and, with director Akiyuki Shinbou on board, you can expect the show to be more colorful and visual than other titles. Though this may work for other series he’s directed (such as the Monogatari series), it often feels as if it’s a major detractor to March’s message and delivery. The show will sharply go from serious to comedy as a way to break the negativity, but it does so in such a silly way that I felt that the tone or impact of a scene was hindered. The infamous “head tilts” found in Shinbou’s work are in full force here. They’re good for emphasizing a point or belief of a character, but when used in excess, it feels unnecessary and detract away from what a character is saying or doing. Because of these decisions, it can feel like Shaft are pouring their resources in heavy artistic flair in a show that doesn’t really need them. There are also a few animation goofs, seeing characters jog in place as if they’re trying to run away or the head tilts leading to a shot that doesn’t match the direction or place a character was. This is partially caused by the animation oversights/limits and partially because of the focus of making this appear more artsy.

Ultimately, though, a lot of what the show is at this point will strike people differently. Though the show is indeed a drama, you wouldn’t be remiss to say that it also has quite a few slice-of-life elements. While seeing them can be a nice breather and way to counterpoint the work from becoming too dramatic, I didn’t find as much enjoyment in these more relaxed environments. Though many of them in theory open up Rei to the surrounding world, I don’t always see the immediate or long-term impact from these decisions. I’m more moved by Shimada’s game against Kiriyama than I am seeing Rei eat with the sisters or Nikkaidou’s commentary speech towards Rei. As said before, every moment in the show technically makes an impact in a slice-of-life sense, but it’s more dependent on the viewer as to how much they take away from each scene.

Regarding the sound of the show, the seiyuus all did an admirable job portraying their characters. Kengo Kawanishi, Rei’s seiyuu, does a good job portraying Rei’s sensitivity and even his expressions of pain. Nobuhiko Okamato showcases the loud, extraverted passion of Nikaidou, while Misaki Kuno gives Momo a cuteness that would make anyone say “Aww!”. The music itself, outside of the OP’s and ED’s, wasn’t as memorable as I’d like, though there was a pleasant piano piece utilized in the last episode. BUMP OF CHICKEN does a great job capturing that wistful melancholy in OP “Answer” and ED “Fighter”. OP 2, “Sayonara Bystander” by YUKI, doesn’t capture that same feeling. Despite a more raw, “honest” vocal delivery, it has a buildup that doesn’t hit its mark, coming off as flat by the time the OP ends. “orion” by Kenshi Yonezu is a modern smooth pop track, with catchy tenor harmonies and finger snaps. It’s not really for me but I can see the appeal the track has. The only real problematic element I had was found in the sound effects. As an extension of the comedy, the sound effects of the show were said out loud by an overdubbed female seiyuu. While it wasn’t anything very detrimental, it was a contributor that broke my immersion of the show, making the character’s lives feel more silly than serious. Like many of my detriments with the show, though, this will be all dependent on who’s watching and they might appreciate this comedy more than I would.

Overall, I give March Comes in Like a Lion a 6/10. At face value, the score looks rather low for my praises, but don’t be fooled. I still think of the show has having great characters and an otherwise good story, but I’m just not sold on Shaft’s interpretation of these events. I feel I would enjoy the manga’s version of what I’ve seen vs. the adaptation. Perhaps I still need to get used to it. Regardless, fans of shows such as Rakugo or other character dramas should definitely watch this show. If you also like Studio Shaft or Shinbou’s style, this will also be another favorite as his fingerprints are all over this show. At its core, though, March Comes in Like a Lion has a lot of good elements and I can easily see users listing this as an essential watch.

Do you like or dislike this anime? If you haven't watched it, are you encouraged to watch it or not? Leave a comment on my profile telling me what you think of the anime and/or my review.

Thanks for reading and have a blessed day!

Rakugo was certainly an interesting show when it debuted in 2016. A historical fiction piece about characters loving the art of acting certainly didn’t seem like it would grab an audience, but it quickly became a highly beloved title. One aspect about the show that was undercut was what was happening in the show’s present. Season 1 was mostly focused on the past, so it didn’t really get a whole lot of time to show off the current story and characters. Of course, as Yotaro says at the end of Season 1, the story was far from over and the second act to the “play” ... was revealed the following year. Season 2 continues the story of rakugo, offering new concepts and ideas wrapped in a bittersweet delivery. Though many have found favor with the season, placing it as equal or greater value judging by the averages, I would have to disagree. Unfortunately, the season simply cannot compare to what its predecessor laid out.

At the end of Season 1 of SGRS, we see Yotaro become a shin’uchi among other important details, such as Yakumo becoming the president of the Rakugo Association and Konatsu announcing her pregnancy. The story starts off from this point in Season 2, refamiliarizing the viewer with the setting while introducing more characters into the central cast. Eisuke Higuchi, who asked to become Yakumo’s apprentice in the first season, has now become a writer and is obsessed with all things of the world of rakugo. Mangestu Tsuburaya serves as a struggling performer and comrade to Yotaro. Konatsu’s child, Shinnosuke, is a bright-eyed boy who becomes enamored with the world of rakugo, naturally as a result of the passion that Yotaro and Konatsu has. The addition of other characters certainly gives credence to that rakugo still strikes the heart of its audience and are important for a few plot points (such as Higuchi’s rakugo research), but they also contribute to a few problems discussed later. For the most part, the story is centered on Yakumo and Yotaro. Having grown older and experiencing the loss of Miyukichi and Sukeroku, Yakumo has become quite forlorn and grows more spiteful of the art he practices. In contrast, Yotaro is a goofier Sukeroku, having a more extroverted nature and playing up to his stage name of being “a fool”. However, he still carries great compassion for others and carries out what he feels is right, such as in the case of being a foster father to Konatsu’s child. Though I feel he does not carry the same charisma that made Sukeroku so enamored, he still serves as a great foil to Yakumo and Konatsu.

As the opening to Season 2 plays, the first thought that entered my mind is that this would be the more melancholy of the two seasons. As if opening theme Imawa no Shinigami’s stop-start instrumentation and lyricism didn’t give it away, the OP is filled with grief. Starting with the characters facing the camera frowning (with the exception of Shinnosuke), it focuses on Yakumo in a number of sad ways, such as rejecting the assistance of others, falling off a cliff in suicide, and having Sukeroku’s ghost reveal the lack of heart/spirit underneath Yakumo’s robe. What’s more, the theme of the passing of time has been carried over to this season. As Yakumo grows older, it becomes more difficult to perform the art he loves and the memories of Miyukichi and Sukeroku still haunt him. Interlaced with this are plot twists and developments that reveal truths to previously known events. Though this is one of the main pulls to Season 2’s story, not every episode or moment is downcast. Though Yakumo delves deeper into his personal despair, Yotaro experiences many wonders as a new shin’uchi, hosting a television show and radio show where he performs his rakugo. Yotaro does face some conflicts of his own, but his side of the story ultimately is a contrast to Yakumo’s. As Yakumo’s story begins to close, Yotaro’s story blossoms with his growing family, friends and rakugo career. It shows the perseverance of rakugo and how it will continue to blossom as long as there are those who care for it.

This begs the question as to what about this season makes it less captivating than the previous season. One minor aspect is in the season’s sound. Compared to the seductive allure of first season’s opening, its funereal ending theme, and the anxious crescendos that were littered through the first season’s key moments, the second season doesn’t carry that same punch either in the music’s arrangement or it’s placement. Again, this is more minor and will be more relative as to the moods of the viewers watching it. If I had to give a single answer, I believe it ultimately comes back to the cast of characters and themes of the show that make it falter. Season 1 of SGRS showed the growth of two rakugo superstars, the complex clashes they had with one another and finding their place within rakugo. While it didn’t go as in depth as I would have liked it, the focus on the Yakumo/Sukeroku relationship and rakugo’s waver over time made it an interesting watch. Season 2 expands this a bit by adding more supporting characters to show how rakugo has shaped the supporting character’s lives. While there’s nothing inherently wrong with characters like Mangestu or Higuchi, they present ideas or concepts that aren’t as explored as I would have liked, resulting in them being less memorable or mostly used for moving the plot along. Higuchi’s love of rakugo makes him want to write new stories for the medium. Mangestu struggles to captivate an audience with his rakugo and wants to inherit the Yakumo name for himself. Yotaro wishes to see Konatsu perform rakugo, but is given resistance from her saying the art is a “man’s field”. All of these ideas point back to Season 1’s big theme that rakugo is being eschewed for other forms of art. These are great opportunities to show rakugo’s need for change as it’s audience was rapidly decreasing by the end of the first season. This statement is hard to be believed during Season 2, where rakugo seems just as big, if not bigger than ever. While it’s true it’s due to these issues being resolved, the lack of discussion/development from problem to conclusion hinders their impact. It’s the equivalent of being given a math problem and it’s answer, but not knowing how to solve it. As a result, big character victories or plot points found in Season 1 feel less sharp in Season 2. Those looking for moments such as Sukeroku’s expulsion from the association or Yakumo’s geisha performance awakening his love for performing will only find weaker substitutes at best.

This may be the overarching problem with the series. There are many explicit moments that show the anime’s darker side, such as the “lover’s suicide” and Yakumo’s haunted visions, but it’s too attached to a “feel good” origin point that the big picture can get muddled.. The biggest contributor to this may be the show’s frequent usage of large time skips, showing big moments in time for a character’s life but hurting the overall impact of the show’s core themes. Then again, it is a necessary evil. Processes such as earning futatsume and shin’uchi rankings would take far too long without these big skips and could possibly be seen as repetitive if Yotaro’s story played out similar to the co-leads in Season 1. Still, seeing a more explicit outcome to the show’s questions would be preferred to the emotion it tries to stir in the last couple episodes.

Overall, I give Rakugo Season 2 a 5.5/10. Unfortunately, Rakugo S2 is at best a lesser variation of things seen in Season 1. At worst, it is a few good ideas without proper execution. All things considered, I do think this season will have its fans, in particular if you were head over heels for the first season and are more prone to emotional memories of that same season. If you found the first season a fine show but nothing more, I’d recommend passing on Season 2, as it won’t cement anything you didn’t already love about the show.

Do you like or dislike this anime? If you haven't watched it, are you encouraged to watch it or not? Leave a comment on my profile telling me what you think of the anime and/or my review.

Thanks for reading and have a blessed day!

The life of the theater. An actor playing a role for a demanding audience. A presentation told to not only the musicians’ tune but also the environment of the theater. A story is unfolded, characters appear and then disappear, and in what can seem like a few minutes, the act is over. A final bow and then dismissal.

In a year where so many titles were known for their action or supernatural qualities, it’s hard to believe a title like Rakugo became so beloved. The show’s concept is extremely simple – for “Act 1” (or Season 1), we spend a majority of the time learning about ... the pasts of two men, Kikuhiko and Hatsutaro, entering the world of rakugo. Rakugo could be seen as a minimal sort of theater – a lone storyteller sits on stage and, using only a paper fan and small cloth, tells a long story that is often comical or sentimental. With such a lack of props or other actors to assist the storyteller, the strength of the performer is tested. How can he differentiate between multiple people? How can he represent an object with just his props? Most important, can he entrance the audience within the story? In a way, it could be seen as the ultimate monologue for an actor or, for a looser comparison, equivalent to the silent films of old, where an actor had to master the art of body language to convey emotion. With such a niche and down-to-earth premise, it wouldn’t be surprising to have the anime left to the wayside by more broadly appealing and flashy looking shows. It is, however, this very core that Shouwa Genroku Rakugo Shinju (SGRS) sticks to that makes it as lovable as it is memorable.

The stories of our leads serve as an excellent introduction to the world of rakugo. Set in the 1930’s, where it is seen as one of Japan’s main entertainment sources, we observe Kiku and Hatsu’s rise through the world of rakugo under the instruction of their master Yakumo. Like many shows with dual protagonists, the boys have a contrast that distinguishes them from one another. Kiku’s personality is more formal and introverted and is much more reflective of the current desires and status of the rakugo association. Hatsu, on the other hand, is far more brash and extroverted, seeing the storytelling in a more vibrant way than most are used to. These contrasts extend into their preferred style of rakugo. Kiku’s sly and cunning approach to storytelling make him excel in the more seductive story type, whereas Hatsu’s range and animated approach make him a star at comedic pieces. Despite all their differences, a bond is formed between them that’s deeper than even they realize. As they rise through the ranks of rakugo, both Kiku and Hatsu learn more about each other than they initially thought. This level of humanity is much appreciated and serves as a way to add more depth to each of the leads. This is also quite crucial when in the mix of the supporting characters, such as Yakumo and geisha Miyokichi. Though the setting is simple, the emotions are quite complex as characters try to find their place in this art and make or break connections with one another due to their beliefs. It’s easy to claim that SGRS is trying for melodrama, but the show’s slow sensual nature helps mature rising overdramatics.

Arguably the most important aspect of the show is in its namesake: the rakugo. When not focused on the lives of the co-leads, the anime allows them to show their progress as developing shin’uchi. We are treated to them acting out these stories, from the perspective of both the audience and the storyteller. This latter part is crucial to seeing the storytellers as people and not just as people reciting old tales. The camera can pan to the storyteller’s neck covered in beads of sweat or adjusting their position on stage, a subtle way of recognizing the humanity of the performer. What’s more, the focus on these stories allow the anime to show its sincerity towards its source material. It feels like creator Haruko Kumota earnestly wishes to show his love for the art by letting the characters present these stories. Of course, longer stories cannot be told due to time constraints, but some shorter stories are presented in full to the audience. Tales such as Toki Soba and Shiba Beach are as interesting as the performers make it out to be and seeing what kind of story is found in each episode was just as intriguing as the continuing plot.

But even when not focused on the drama or the rakugo, there is another haunting truth underlying the whole show: the passing of time. As I said previously, the show’s premise is sort of niche. Not many people are involved or know rakugo, much less seek it out of interest. This fact becomes more apparent in the show: as the years go by and major events such as World War 2 transpire, new forms of entertainment and technology become available. What once was prevalent is now becoming outdated or turned away for said new entertainment. A clash of ideals also interferes this art, as talk of what truly is rakugo, or if it could be changed, surfaces. Even if delved in deeper, and even if there is some grand plan to “save” the art, would it even work? As the generations pass by and the characters get older, there may come a time when rakugo will disappear. Despite this, the characters still remain hopeful and persevere in a craft that still has meaning to them. Like any performance, all it takes is one performer and one person to watch.

If there’s any setback against the show, it may very well do with the format or editing of the anime. The beginning episode is twice the length of a normal episode and establishes the characters that will be featured in the present. However, a majority of the anime takes place in the past, meaning the “teaser” doesn’t come to fruition until the 13th episode. Some of the drama, as well meaning as it is, can also be a bit tone deaf. There are times when a character will spark drama with an incendiary line only for no further action to proceed it. In the first episode, for instance, Konatsu accuses Kiku of the death of her father. Tension is felt, but the next scene is quickly shown with no further investigation of the claim. It makes sense not to “give the plot away”, but then again, why show this in the first episode? The introductory episode, while good for setting up the events of the present, is not the focus of the first act and thus feels like awkward foreshadowing for a flashback, if that makes sense. This sparked drama also hints at a show that could potentially be much darker than what is shown, but currently the events are more of everyday realism than a scandalous form of slice-of-life. I do appreciate the more approachable tone but I’d rather the show eschew from its sinister undertones and focus more on its captivating strengths in rakugo. Speaking of captivating, a plus must be given to the show’s use of sound. The soundtrack of the show fits well with a historical drama, whether serving as an introductory theme to the rakugo performers (using the plucks of the shamisen and beat of a large taiko) or building tension with a rapid tempo increase in acoustic guitar and trumpet. Special attention should be given to the show’s opening “Usurahi Shinjuu”, a seductive bit of jazz pop that splashes dramatics with quiet drawn vocals and descending flute lines (perhaps a nod to the anime’s “descending stories”), and the ending “Kawa, Taredoki”, an instrumental trumpet-led jazz piece that somberly closes each episode like the touching ending to a rakugo story.

Overall, I give SGRS a 7/10. Though not as resonant as I wanted it to be, the first season of Rakugo is still an entertaining and meaningful look into the lives of those passionate about the storytelling art. Those that are involved in the dramatic arts, or those looking for a historical tale with more realistic characters, should definitely give this one a watch.

Do you like or dislike this anime? If you haven't watched it, are you encouraged to watch it or not? Leave a comment on my profile telling me what you think of the anime and/or my review.

Thanks for reading and have a blessed day!

Possibly one of the most iconic directors of the era, Masaaki Yuasa is known for his loose animation styles alongside meaningful stories. A number of his works have certainly gotten the attention of anime fans, from the recent “animation motivation” of Keep Your Hands Off Eizouken to the introspective take on sports found within Ping Pong the Animation. However, his most famous work might just be The Tatami Galaxy, a work that gets its fame from a story that resonates well with its target young adult audience. But what separates this entry from others in his catalogue?

The story centers around a nameless protagonist (affectionately dubbed ... “Watashi”) as he tries to experience a “rose-colored” campus life. Disaster seems to befall him in his attempts for this lifestyle and his experiences are constantly rewound in an effort to finally find the correct path. Stories like this have been seen before in titles such as Haruhi Suzumiya, but Tatami Galaxy easily outclasses its predecessor by avoiding banality. Whereas the former was content doing the same thing each time with only minor variation, Watashi tries to seek out each possibility available to him. It makes for an entertaining watch seeing him try to become successful in various clubs or relationships with others. In contrast to Watashi’s frenzied attempts at finding his ideal life, a memorable selection of characters plays off of him. Ozu is a devilish looking fellow whose initial claims of wanting to cause nothing but despair to Watashi make him a curious antagonist. Higuchi plays the role of a serene “sensei” keen to the world and his surroundings, despite him being in his 8th year on campus. Akashi is an engineering student who puts on a cold exterior though she is extremely startled by moths. A fortune teller lady tells Watashi of his talent and opportunities in front of him while charging him increasing amounts of money. Despite these being the basic descriptions to some of the show’s cast, it would be a disservice to say that is all they have to offer. What makes these characters so interesting is that you don’t feel you’ve known them after only seeing them once. In each of Watashi’s “lives”, the characters start to be shown from different points of view. It gives even minor characters a multi-faceted look that is refreshing to watch and makes it so you feel you’re taking away something from each episode. By the time the show ends, it’s guaranteed you’ll have a new perspective on someone you saw at the beginning of the series.

Upon watching the first episode, it’s very clear what may be the biggest challenge for some new viewers: the show’s speed. Based on a novel, the 11-episode series seems like it’s trying to cram the entire book within itself. Seasoned subtitle viewers should have only a little trouble getting adjusted (especially if having seen entries such as Bakemonogatari) but it can be intimidating for newer viewers. That said, this faster pace is beneficial to the Tatami Galaxy and Yuasa’s style. The art and animation of the show is a mix between various approaches to the world of animation. The show mainly has a flat, loose style that favors motion and quick changes in expression. Of course, the con against this is found when the animation isn’t as fluid, as seen by the lack of detail that some characters gets, but for the most part it’s a treat to watch. Contrasting it are beautiful backgrounds and an art direction that make the series feel like a storybook. Color dynamics and minimalism allow us to see how recognizable the characters are from one another as well as adding additional layers to the story Watashi conveys. The show also goes beyond exploring the realms of 2D, giving characters like “Johnny” a strange 3D that makes him puppet like in motion and even mixing in camera recordings for first-person perspectives. Those looking for an artistic series will feel happily at home here. While I can’t speak for the sound in the same department, there are quite a few standouts. Opener “Maigo Inu to Ame no Beat” by Asian Kung-Fu Generation is absolutely stellar with horn fanfares and melancholic yet hopeful vocal harmonies. Coupled with the symbolic “endless people/places” animation of the OP, it makes for a memorable introduction to the series. Watashi’s seiyuu Shintaro Asanuma deserves some praise for his frantic delivery and emotion, while Hiroyuki Yoshino delivers a slimy and sinister delivery as Ozu.

As a whole, the Tatami Galaxy is a straightforward tale. As speedy and artistic as it can be, it never goes off the main path of what it wishes to say. Sure, the show loves to spend time talking about locations or making analogies as to what Watashi feels, but it feels more in line to a thought process of someone going through such a pivotal moment in their life as to who they are and how they fit in with others. When not following a stream of conscious thought, the show has no problem using its visuals to convey the meaning. They allow the viewer to see things from Watashi’s perspective or make a point on the situation Watashi’s in a clever and charming way. Whether symbolic or spoken, the show’s quirks allow it to stand out as being as creative as it is meaningful.

This is probably why so many people have taken to this series. As outlandish as some of the premises can get, they all have a shred of truth to them that can be seen in our own lives. Approaching those “checkpoints” in life, the first instinct is to go about it trying to make it as perfect as can be and to achieve that idealized vision seen in your head. Even if you have the same gusto as Watashi, life can throw many curves that can shake you off that path. Though it’s easy to lament as to what went awry, the real lesson is to take both the positives and negatives into account as you progress forward. And who knows? Maybe you didn’t miss that chance – as the fortune teller says, opportunity is always dangling in front of you. All you need to do is grab it.

Overall, I give the Tatami Galaxy a 7/10. It’s a great series that delivers its message in a unique and charming way. If you’re in high school or college or are looking for a series that is a surreal yet mature look on finding your place in the world, I definitely recommend this series.

Do you like or dislike this anime? If you haven't watched it, are you encouraged to watch it or not? Leave a comment on my profile telling me what you think of the anime and/or my review.

Thanks for reading and have a blessed day!

Since their inception, vampires have been one of the most popular supernatural creatures in horror. Their imposing status is backed by their array of powers, from their ability to fly to turning others into vampiric servants of their own. I remember back in the mid-to-late 2000’s when series like Twilight and True Blood were around. They wanted to seek out drama and romance in the world of the undead. Hey, if you got the right actors, even vampires could be sexy! I never bothered with either, but I remember seeing a lot of backlash against this move, criticizing the stories for poor writing or overdramatization. ... Maybe it was a call from the purists or enthusiasts against the newfound trappings associated with their beloved undead. However, another series was also introduced in the mid-2000’s (or earlier for the manga readers) that would give the extreme qualities back to the bloodsuckers – Hellsing Ultimate. Granted, a 13-episode series by Gonzo was produced in the early 2000’s, but it branched off from the original story due to lack of material. Hellsing Ultimate, a 10-episode OVA by beloved studio Madhouse, stays truer to the manga. Each episode is roughly 50 minutes in length, giving a volume’s length worth of material per episode. Though it may be the “ultimate” adaptation, is it a worthwhile watch?

The story is fairly straightforward. Alucard, our vampiric protagonist, is the underworld mercenary to the Hellsing organization. He deals with all things related to the undead, mostly vampiric. An abnormal number of vampires in the town of Cheddar have started to spring up, alerting the Hellsing organization of someone planning something behind the scenes. This story unfolds to a battle of epic proportions, involving old foes from Hellsing’s past in a brutal bloodbath. This is a series that wants to be known for its action and violence, so naturally the story aims for whatever can provide the most extreme outcome. Almost every twist and turn in the story is meant to drum up emotion or shock. This can be a good and bad thing, as will be explained later. The first few episodes are a good way to introduce the story and some of the key characters of the tale. It’s a necessity, as the primary focus of the series is an all-night battle royale in London. Blood is shed to an absurd degree and, with each episode acting like 2 or 3 episodes of a normal viewing, it may become a bit tiring to watch. That said, the show is not nearly as gory or extreme in its display as one would think. It smartly “self-censors” some of the more brutal aspects of the show to keep its more curious viewers hooked while not letting down the blood enthusiasts. This isn’t an 80’s style OVA, but it sure will provide more barbarous moments than your average action show.

Of course, what separates good action from the bad is found in its characters and Hellsing has quite a few. The protagonist Alucard is what you’d want out of a lead. Cool, cocky and charismatic, this vampire has a knack for getting in his opponent’s head as much as he gets his bullets in their body. You read that right – in addition to being a vampire, he also brands 2 guns that soften up the enemy before he has his way with them. Contrasting him is the stoic Integra Hellsing, the daughter of the late Arthur Hellsing. As the head of the organization, she orders Alucard and others to learn about and destroy all the vampiric foes attacking the local areas. She is fearless in all manners, not breaking away from her sternness in even the direst situations. Their butler, Walter Dornez, is an older gentleman who once bore the nickname “Angel of Death”. Though he does not possess any vampiric powers, his use of razor-sharp, near-invisible strings catch enemies by surprise and lead them to their demise. The last of the main troop is Seras Victoria, a former policewoman saved by Alucard. She has a friendly personality and provides more of the humorous or sweet moments on the show. Don’t be fooled, though: when she gets going in battle, her more vampiric personality traits start to show and she becomes far more aggressive. She provides a decent reference point for viewers as the newly formed vampire on the team to introduce us to the world of Hellsing.

What’s probably the best part of the show is found in the character interactions and personality traits of each character. A hierarchy is found in the Hellsing crew, with Integra on top, followed by Alucard and Walter, and then Seras. It’s rather strange to let the member with the least battle-ready skills be on top, yet this paves way to some deeper meaning the show aims to scratch at. Alucard won’t attack unless given permission by Integra and these conversations reveal the true power dynamic at play. Alucard gets a strange sort of pleasure poking at Integra’s cold demeanor, aiming to make her as much a monster as he is. With such a deadly force at her disposal, one has to wonder if an enemy could be saved or if someone innocent could get caught in the crossfire. This is more lightly touched upon and, if given more time, would be an interesting look behind necessary sacrifice or war crimes. Other themes of humanity are explored, such as what qualifies as human in a show filled with supernatural creatures and body modifications. Even topics such as religion and their duties are explored in a strangely mature way. Yes, there is endless amounts of violence and irrational hatred driving some points, but some characters question their methodologies and what is right even if it’s what they’ve been told to believe. Father Anderson, the rival to Alucard, is a great example of this. Though an impassioned man hellbent on sending vampires to Hell (as well as an extreme dislike of Protestants), he grows more mature as he realizes the extremes his cohorts will go to. Coupled with his holy blades, he provides a great clash against Alucard and is always a joy to see on screen.

Though the show is over-the-top and as bold as one could want, the show suffers from a few big problems. The pacing of the show is one of the first I could think of. The first few episodes are good to introduce what the show is about and its characters, but the meat and potatoes of the show is an all-night battle in London. So many opponents come into the mix, with millions of lives lost, that it becomes quite ridiculous to take in. The point is made clear by the villains that their efforts have been leading to this one-night blitz, but it often feels like more characters and fights are introduced for the sole sake of continuing the series. If this was a war anime with strategies and larger time spans between fights, it’d be more understandable but here it often comes off as mindless. As if it wasn’t enough, between these moments of action are rather long monologues, often repeating what’s already been said or known. It’s a sort of paradox – when you want action, they’re monologuing, but when you want a break, they’re adding more bodies into the mix. It comes down to a sense of timing more than anything else and other viewers may not see this as a problem.

The biggest problem of the show I can see is in its development. The show has so many cool ideas, themes to explore, characters to introduce and yet does little with them. This is a show that’s begging for a prequel to explain character origins more clearly (which it technically did but was cut short for reasons that escape me). As a result, a lot of depth is lacking from the show and adds to that mindless feeling I described earlier. Some villains are a footnote in the show’s story despite being labeled as big threats – one villain treated as a major threat doesn’t even speak! This is honestly one of the few cases where a manga/anime is justified into needing more episodes. Maybe creator Kouta Hirano wanted to focus more on the action or felt he’d add on to certain details later but didn’t get around to it. Whatever the case, it really hurts what is otherwise a cool show brimming with ideas.

Almost as a fallback to expanding out on these ideas is the final problem with the series: Alucard’s overpowered status. Now, it’s to be expected that the members of Hellsing need to be naturally tough to combat their enemies – after all, there’s only 4 main members of the group compared to the squadrons of the enemy. That said, it often makes me question how he was taken down in the first place. He has so many abilities and attributes that you often need a nation’s men to even think about tackling him. Even just having a regeneration ability can be busted as it makes any battle against him (or any opponent with a similar ability) the equivalent of fighting a wall. While that may be the point to this endeavor, it often makes each situation he’s in predictable and loses out on potential edge the show could have. It’s almost humorous trying to see what other busted powers the opponents have. What is usually a dominant force in any other show is treated as the bare minimum to keep up with the protagonist. This is the case for many unmoderated supernatural works. To give credit where it’s due, it often is displayed as “rule of cool” and those who enjoy the imagery or quips of Alucard will probably not mind this point as much.

Hirano’s art style is accurately portrayed here, with its sharp outlines and big ringed eyes. Everyone seems to carry a cocky grin to boot, giving each character some form of assurance of their victory no matter the odds. Things can get bloody, but they never get too graphic as to turn your eyes away from the screen. Often, it’s a whole man in one frame followed by their limbs everywhere in the next. Despite being backed from Madhouse and given the OVA treatment, the animation isn’t always of the best quality. It can sometimes appear a bit choppy or make characters look a bit off in mid-shots (though this latter part can also be found in the manga as well). Most controversial will be the show’s use of CG for weaponry and large crowds. It’s not the worst but, like most CG, it sticks out like a sore thumb. The music department will be a real gem for most. Hellsing Ultimate has a varied soundtrack, ranging from rock to choral pieces and everything in between. Some songs will get you pumped, while others reminisce of stereotypical war songs. Sometimes the songs can be mashed-up, such as in ED 8. It starts off with a choir before plunging straight into a distorted boogie blues piece. I was recommended the English dub for this anime, a move that’s a bit out of my element as I usually watch subs. Crispin Freeman is the star of the show, with a deep menacing voice that shines as Alucard. It was a bit strange to hear at first and some lines felt a bit too “straightly spoken”, but by the end I could imagine no other voice. Other voice actors tried to match the setting by having varied English accents. Though there is some danger as to being “phoned in”, they all felt believable. Katharine Gray is as bubbly as you’d want for Seras while Victoria Harwood gives the voice to Integra’s commands. Sometimes the anger or tenderness is a bit misplaced, but they did a great job overall. It could be a bit of bias: after all, it’s easier to recognize atonal voice acting when it’s your native language.

Overall, I give Hellsing Ultimate a 5.0/10. With enough time, this could’ve been the definitive vampire, horror and possibly action series. As it stands, it’s a treat for the fans of the manga and perhaps adolescent audiences, but not for me. Despite my rating, I still would recommend it to those who are looking for an action series that delves into the supernatural. My only condition would be that the viewer is looking for over-the-top action/powers but not anything more than that.

Do you like or dislike this anime? If you haven't watched it, are you encouraged to watch it or not? Leave a comment on my profile telling me what you think of the anime and/or my review.

Thanks for reading and have a blessed day!

One of the best-selling and most popular manga in Japan, Berserk is perhaps the quintessential action fantasy title. Placed in a medieval setting, it tells the story of Guts, a powerful swordsman who carries a sword that’s as big as he is. The anime focuses on his time spent in the mercenary guild, The Band of the Hawk, and his relationships with the members of the guild during the period of The Hundred Year War. Though the premise itself is straightforward, it is the story that helps Berserk become something truly gripping, allowing Berserk to shine amongst its peers.

Arguably the greatest strength of the show ... is found in its characters. Guts, the protagonist of the tale, first appears as a swordsman with a simple ideology: swing your sword and win battles. But over the course of the show, his character opens to reveal a life riddled with misery and a desire for something more purposeful. These developments are aided by his time interacting with members of the Band of the Hawk, most notably Griffith and Casca. In sharp contrast to Guts’ role as a wandering mercenary, Griffith is a shrewd man with grandiose ambitions. A man born as a commoner, he wishes to have his own kingdom despite the resistance of the nobility. He’s a charismatic individual, playing a variety of roles to accomplish good standings with others while simultaneously concocting the most devious of schemes. Casca is a female knight who forfeited her feminine side to show strength on and off the battlefield. Despite this, she holds Griffith in great regard due to his leadership and for teaching her the importance of fighting during their first encounter. Though many other characters are important to the Band of the Hawk, such as the wise-beyond-his-years Judeau or the snarky Corkus, they are often limited to supporting roles for the 3 characters listed prior. That said, the dynamic range in character growth these three have over the course of the series is astounding. What is thought to be certain can change over a single battle or dialogue, as the characters realize the feelings and hopes of one another. Loyalty and love can be easily traded for betrayal and hatred and vice-versa.

Medieval settings are seen quite often in fantasy works, most notably in the isekai trend. It’s a simple setting that opens a lot of opportunity for exploration and world-building. Sadly, it seems to have fallen out of favor with audiences as it has become clichéd. Too many shows have come out with this setting and submit to the usual tropes that were better suited in the role-playing games of old. While Berserk does not eschew these elements completely, it uses them in a much more appropriate way by showcasing the brutality of yesteryear. Several battles are fought over the course of the anime, with seemingly insurmountable odds needing to be overcome by the rogue mercenaries. It is the cunning tactics of their leader Griffith and the strength of their commanders that allow them to be seen as a threat to even the strongest of armies. Yet even during these fights, an ominous atmosphere hangs over the cast. Secret ploys and a slow unveiling of the show’s fantasy themes often make it so there is never a point of safety. These additional burdens serve to further strengthen the cast, allowing them to realize not everything is as it seems. These properties made the show a joy to watch and I was always eager to see what would happen next for the cast of characters. Perhaps the greatest part lies in the show’s twists and turns as a result of these conflicts. Even when things seem to border on ridiculous, there is an organic flow to how events transpire. Characters act accordingly and no one ever says or does anything that would betray their own character – they merely adjust to the current events with a new perspective. Perhaps the opening is true, with its solemn statement of “man having no control, even over his own will” – they are actors in a cruel and barbaric play, forced to adapt to what the script demands.

Though the story and characters are rich with complexity and intrigue, I do have some problems with the tale. A very minor one is found in the battles midway through the anime. Though there is some satisfaction to be had seeing Guts massacre a horde of enemy troops, it can occasionally get tiring. Obviously, it is required to continually build up the reputation of the swordsman, as well as provide a harder hitting introspection later in the series, but the “kill ‘em all” approach over an excess of time can become a bit tiresome. Perhaps this could be tied to the animation, as in a manga format, this wouldn’t be as problematic. A more major concern is one that will put me at opposition with the core fans of the series: it’s supernatural themes. Most of the series is that of medieval warfare and customs, with the character’s motivations and ideals serving as an interesting clash to otherwise tired clichés. However, by the end, the fantasy elements become very prevalent, serving to shock the viewer similarly to titles such as End of Evangelion. Though it perhaps is hypnotically horrifying to the fans, I personally do not care for it. Even so, I will admit it is necessary for the story, as the foreshadowing and direction of the story could only lead it in that direction.

One element that may be dividing is in the animation. The studio OLM (most famous for their works on the Pokemon series) is behind this production and unfortunately does not show the detail or fluidity that many would hope for in the adaptation. Examples of this can be found in the action scenes, where the intensity is represented by a single drawn frame. That said, it would be hard to show the level of detail that is found in the manga in an animated form for such a studio, so I find the work to be at the very least serviceable. I adore the cel animation and find its desaturated colors to work in the favor of the show’s overall dark and gritty environment. The characters can look a bit off in mid-range or faraway shots, but closeup have good multi-tone shading and detail to give striking character profiles. Though the anime did not receive the greatest production for its time, it still holds a consistent quality through its 25 episodes.

Despite the limits of the animation, the sound for the anime is superb. Each seiyuu displays a wonderful breadth of emotions for their characters, from their sorrow to their rage. More key is the OST that provides backing for the adventures of the Band of the Hawk. Each piece provides a mystical quality that entangles the viewer deeper into the story, evoking emotion when the animation cannot. Perhaps the definitive piece is “Gats”, or Guts’ theme. A heartbreaking piece for piano and vocal, it expresses the introspection and the passion of the main characters. The female vocal wails like a siren luring sailors to their death, while the harrowing cry of the male vocal is a haunting yet lachrymose beauty. In sharp contrast, opening “Tell me Why” by PENPALS is a delirious alternative rock anthem. An off-key guitar solo gives way to a slacker vocal delivery that speaks in freeform, stream-of-conscious “Engrish”. It is as disjointed as it is catchy. Even if there’s no relation to the anime promoted, there is a strange bond formed between them. The iconic opening 4 beats will forever be tied to that burning picture of Guts and the many travails he undergoes. Though not as iconic, other pieces like “Behelit” provide a sinister tone to provide mysticism to this dark fable, while ED “Waiting so Long” is a gothic release to the agonizing events in each episode.

Overall, I give Berserk a 7.5/10. Berserk is a tale of determination. It is a tale of iron-clad grit in the toughest of conditions. It is brutal and soul-crushing, yet also sweet and sensitive when it needs to be. Regardless on your feelings of its setting or animation, I would advise anyone to at least watch a few episodes to see its strengths in story and characters. Those that already are looking for a dark fantasy or medieval show should definitely watch it, if they haven’t already.

Do you like or dislike this anime? If you haven't watched it, are you encouraged to watch it or not? Leave a comment on my profile telling me what you think of the anime and/or my review.

Thanks for reading and have a blessed day!

Arguably the most well-known element of Japanese culture and history is the samurai. Wielding a katana while maintaining allegiance to the honor code of bushido, they are known for their honor skill and skill at fighting. As such, many manga and anime have references to these swordsmen, whether it be for comedic purposes or to serve as a piece of historical fiction. With how many of these samurai stories are out there, what makes one stand out from the rest? What are the elements to make a successful samurai story? Trust and Betrayal answer those questions with ease, making for an enjoyable OVA series that ... aims to tell a story of romance and violence in under 2 hours.

The year is 1864 and rebellion has bubbled against the military government of the Tokugawa shogunate. In the midst of this action is the protagonist Shinta, renamed as Kenshin Himura, who is an excellent assassin who’s wish is to protect the innocent. Despite his brutality against his targets, Kenshin is a soft-spoken man whose cold exterior hides a rather caring individual. The OVA oversees his development by having him interact with characters that serve as guiding forces. Seijuurou Hiko and Kogoro Katsura are leaders to Kenshin, recognizing his strength as a swordsman through training or missions but worry about his ferocity. Tomoe Yukishiro serves to balance out this very nature, as her role is eloquently described as being the “sheath to his sword”. Other characters introduced in the series serve as a way of providing more strength to Tomoe and Kenshin. These minor characters are successful as their behaviors and reasons are believable, tying in directly with the central plot without interfering with the story’s focus. All of this encapsulates a drama that flourishes, a story that tells of the prices paid for good ideals.

The story itself, despite the ominous title, is rather standard. Tales such as this have been told in older manga such as Lone Wolf and Cub. Though the “trust and betrayal” is the key element in the tale, it is not as explicit as one may believe. This is because the series is more inclined to show rather than tell. Dialogue blocks are still present, but they play a subservient role to the atmosphere the show develops. It is this silence that often speaks more than the characters themselves. Yet despite this atmosphere, the show never feels swallowed by lethargy. The pacing of the show is perfectly matched to all the key scenes, making the action build the viewer’s adrenaline and allowing the sensual portions to burn slowly yet gracefully. The OVA plays out like a string arrangement, adjusting tempo to draw out the emotions of the piece.

Speaking of music, the score for the OVA is superb. Though it is sparse, they are all wonderful instrumentals that serve the animation well. Perhaps the moodiest of these is “Quiet Life” by Taku Iwasaki, a beautiful string piece that only adds to the wistful feeling of the series. The seiyuus (save for one I’ll mention later) all adhere to the emotional qualities of the show very well. Sound director Shouji Hata should be very proud of his work on this OVA. The studio behind it is Studio DEEN, one that has a bit of infamy behind their production quality. Despite this, the OVA’s animation is well done. I adore the look of cel animation and it’s done very well here. The desaturated colors and painted backgrounds are wonderful and add to the serious tone of the show. Though the animation is well done, the overall visual appeal stems from the various editing tricks that DEEN have done. Rotoscoped imagery and filtered images are present at times in the show. This allows DEEN to avoid having to animate these scenes while avoiding a stylistic clash. Sometimes DEEN’s editing tricks don’t always work, like when a strobe effect is used to emulate quick action, but for the most part they are successful.

There are a few minor problems I have with the show. As focused on pacing and presentation as the show is, I can’t help but feel some cuts were a bit erratic in the first half of the show. Scenes could often be interrupted by other moments that were occurring or by flashbacks without much lead in. It is to be expected, as the series wishes to promote a more subtle narrative while keeping good pacing. Still, it can lead to some confusion early on when organizing characters and events within time. The second problem I have is another contradictory issue – the voice acting of Kenshin. Kenshin’s design and character (at least, in this OVA) is designed to be soft-spoken and rather cold. As a result, the seiyuu Mayo Suzukaze plays this role to a tee. However, these limits to Kenshin’s range hinders the character during more critical moments, taking myself away from proper immersion into how the character feels. Again, this is more minor, as for the most part the acting is fine. The visual qualities of the character more than make up for this, so Kenshin’s current state of mind is expressed even if the voice doesn’t seem to match.

Overall, I give this show a 7/10. I must admit that I was more indifferent starting out, but over time the series’ qualities began to enthrall me. If you’re a fan of samurai stories or historical shows in general, I recommend this title. I also recommend this show if you are looking for something a bit more atmospheric. This is a series that had a lot of love put into it, wanting to show the artistic integrity of the Rurouni Kenshin to its fullest. I can definitively say DEEN succeeded with their mission.

Do you like or dislike this anime? If you haven't watched it, are you encouraged to watch it or not? Leave a comment on my profile telling me what you think of the anime and/or my review.

Thanks for reading and have a blessed day!

What makes a movie realistic? Is it found in the themes that it covers? Is it found in the way characters behave to these themes or the vernacular they use? Dramas try to answer these questions in their own way, usually through a serious and emotional look at a character’s recent misfortunes. However, it is often times a drama can bite off more than it can chew, resulting in a work that feels over the top (melodrama) or, at worst, unfaithful to the topics at hand. This is commonly seen in soap operas, where there’s always a problem to be had for the cast, but ... I feel that this is more prevalent in Japanese anime than I had expected. So when A Silent Voice, a movie that covers the serious and realistic topics of deafness and bullying, comes along, it’s hard to find fault alone based on what it aims to do. Unfortunately, this movie’s execution and use of its premise hinder the movie badly, almost feeling more exploitative than real.

A Silent Voice was released by Kyoto Animation Studios back in 2016. Based on the manga of the same name, it tells the tale of Shouya Ishida and his changing relationship with the deaf girl Shouko Nishimiya. The setting first takes place in an elementary school, where Shouya and his group of friends harass Shouko for her disability. Things take a turn when Shouko eventually transfers out of the school due to an increase in bullying, scaling to a more violent form. This sparks a chain reaction that causes the class to turn away from Shouya, casting him out and ostracizing him from his classmates. This attitude haunts him until high school, where he happens upon Shouko once again. To make things right, he tries to reconnect with her. This effort to reconnect soon spreads past Shouko to other students and Shouya’s efforts may be the key to breaking him free from the loner status he has attained.

Although this sounds like a fine premise for the movie, notice a key aspect of the synopsis: Shouya and his group of friends harass Shouko, yet Shouko is the only one ostracized. This is one of a few problems in the beginning of the movie that hurt the film from becoming something heartwarming. The first 20 or so minutes shows the daily life of Shouko, including the cruelty she endures. Yet most of these actions make very little makes sense. The homeroom teacher Takeuchi includes Shouko for chorale singing and vocal reading despite her lack of hearing. Not only does it not make sense for her to participate in these activities, if including her in these activities is a burden, why bother at all? Takeuchi also suddenly gets a change of heart when Shouko transfers out of the school, roaring at an explanation from him to the principal and class. Why does he suddenly care now when he witnessed all the actions up until this point with a blind eye? If it’s due to the principal’s presence, then it’s clear to him and the rest of the class that students such as Ueno and Shimada should also receive punishment. These unanswered questions (or, perhaps, improper actions taken in response to these questions) set the scene to make Shouya the sole “villain” of the movie, the only character needing of redemption from an ensemble of misfits.

A second major problem is not found from Shouya’s side but rather from Shouko’s side. Shouko is a nice girl to a rather unbelievable degree. Rarely throughout all her torment do we see any sign of her dislike towards main “villain” Shouya. It would be understandable early on if she suppressed this or ignored it due to her having an introverted nature. Perhaps this could have even been a roundabout effort to make friends. By the time she transfers out, and it is revealed that 8 of her hearing aids have been damaged in the last 5 months, it seems ludicrous as to why she would continue to allow herself to be in the presence of these students any longer (one of these instances involves Shouya ripping out her hearing aids, making her ears bleed!) We see how concerning Shouko’s family is for her in the film, so how come it took so long for anything to be done? Alternatively, did we need to see more instances of physical bullying towards Shouko instead of what was happening behind the scenes for answers as to Shouko’s attitude towards this and her family’s efforts in helping her with her schooling? These two major problems (alongside other minor questions/problems) beg the question as to what the movie is trying to say or where its focus is.

The greatest problem with the film happens shortly after this. A time skip occurs and Shouya, all grown up, has ostracized himself. At first, this was due to rejection from future classes he took (Shimada spreads this information to other students, despite him being one of Shouko’s bullies) but has recently become a form of “self-punishment” for his cruelty long ago. He encounters Shouko again and shockingly enough, despite all the torment this “sole villain” has caused, she has very little ill will towards him. He even begins to talk to her in sign language, a skill he’s learned during this time skip. At this point, the focus of the film becomes clear. This is not a movie in which we learn more about understanding those with disabilities nor is it a film dealing with finding strength towards bullies: this is a movie about self-pity. This movie is a focus on Shouya learning to love himself, a premise that doesn’t work because the main conflict is set up to be Shouko’s struggle with her hearing loss. Nobody in the school is scolding Ishida for his actions (it’d be ridiculous at this point if they did anyway) and his growing circle of friends even includes some of the former bullies. Yet as his circle continues to grow, he continuously holds a negative image of himself, asking himself if he’s “allowed to have fun”. Perhaps this rather childish remark would hold water had he not re-encountered Shouko. Since we’ve seen that Shouko has no problems towards him after all she’s been through, it’s a nonsensical question. Not only is this problematic, Ishida’s “woes” hinder the actual serious conflicts that happen later in the film. By the time they occur, I was so swamped with drama that it hardly made an impact. It’s a case where it’s often better to focus on one conflict (ESPECIALLY in the form of a movie) than it is to introduce several.

Adding to this is the lack of depth to some of the supporting cast. Ueno has strangely not changed since the time skip and acts in impudent and rash ways. Her first major appearance since the time skip could make a case for her character to be sociopathic. Characters like Sahara and Kawai offer little except more faces to the circle or more drama to a movie plot saturated with enough drama as is. A few exceptions to this are present: Nagatsuka and Shouko’s family. Nagatsuka's initial characterization is an upbeat, caring friend who goes out of his way to help Ishida, though he is prone to being seen as a comic relief character due to his mannerisms. Shouko’s family naturally holds a grudge against Ishida for what he’s done. I would’ve liked to have seen more action taken from Mrs. Nishimiya, but it’s understandable given the age of the characters and their growing independence. The characters in the family start, grow and end more naturally than others in the film (even more than Shouko herself). With such a large ensemble and amount of character-specific problems, they’re also lucky that their story gets concluded. The film spends too much time on trivialities and introducing new dilemmas that by the time film ends, there are still many more questions yet to be answered. This seems like a case where this should’ve been a TV series instead of a movie.

This film would have been better if they had made a few changes. The first change is to make Ishida the ONLY villain of the movie. Having more bullies in the class only takes away from the impact of Ishida’s story and adds confusion as to how the rest of the class perceives them when they aren’t punished. The second change would to NOT have a time skip, instead showing the results of his actions and change of attitudes more clearly. Seeing Ishida learn sign language (his struggles with a new language, understanding the disability, possibly making new friends in a sign language club) is much more fundamental to a character’s growth than glossing over it with a time skip. This would contribute to the third and most critical change – changing this movie from a romantic drama to a drama about understanding disabilities. With the way this movie portrays Shouko’s deafness and the big conflicts the movie tackles, it feels like the movie doesn’t even need Shouko to have hearing loss. Save for one or two small moments, you could rewrite this movie to have Shouko not be deaf (conflict would be primarily the bullying) and not much would change. It’s often better to write a simple story and do it well than to throw in serious topics for the sake of grabbing an audience’s attention and flub up the delivery.

What probably has most of the attention of the audience is the art for the movie. Kyoto Animation was the studio behind this movie and they did good work here. The characters are well drawn and fluid, though not more so than a usual KyoAni TV show. The highlights would be found in the backgrounds and scenery, with their vibrant color and lighting to make the world around the characters feel like places of pure beauty. One negative that I have with the art is the use of chromatic aberration. This is a flaw in traditional film as the lens dispersion makes the colors in a shot appear blurry or have colored edges. This was intentionally placed into A Silent Voice, as digital animation would not have this effect normally. Perhaps director Naoko Yamada felt it added a dreamy quality to the film or gave it a more realistic look, but I found it rather distracting. The sound of this film was par for the course. Considering how dramatic the film was, I would think there would be more compelling pieces but there was nothing that stuck with me after the movie was over. The sole exception would be the use of The Who’s “My Generation” at the beginning, which is a good rock song to enter the movie with and sets the scene for how wild of a character Shouya is (even if the lyrics aren't exactly characteristic of Shouya as a character). The voice actors did fairly good, with some points given to Saori Hayami’s awkward Japanese for when Shouko speaks. The voice actors fit their roles and did it well, though there were no moments that made me feel it was truly real or captivating.

Overall, I give A Silent Voice a 4 out of 10. My main problem with this film is that it sets itself up to be a realistic drama about the struggles of disabilities and dealing with bullying but comes off as a melodrama for the characters to wallow in. This could’ve been so much more – it could even have been a critique on Japan’s policies and treatment of those with special needs with how the film sets itself up in the beginning. Unfortunately, it feels to me this was a movie that cared more about its image than what it had to say. I do not recommend this film.

Do you like or dislike this anime? If you haven't watched it, are you encouraged to watch it or not? Leave a comment on my profile telling me what you think of the anime and/or my review.

Thanks for reading and have a blessed day!

Darling in the Franxx is a mecha anime with a heavy skew towards romance and is a joint production by Studio Trigger and A1 Pictures. It’s set in a dystopian society where children are forced to fight enemies known as “klaxosaurs” for the safety of the human race. This involves piloting a mecha known as a Franxx, which require a male and female in order to pilot. These children are specially picked out from a nursery area known as the Garden, which is where they also return if they cannot handle the Franxx. Our protagonist Hiro is in danger of returning back to the Garden, ... despite his supposed high innate abilities at being a pilot. While on his own, he comes across a girl named Zero Two, who takes a liking to him and wishes to become partners with Hiro. However, Zero Two’s checkered past as a “Partner Killer” hangs over her, as no one who has ridden with her has lasted three times. As Hiro takes this challenge, the world opens up and the meaning behind the klaxosaurs, the Franxx and the society they live in is soon revealed.

The show features a large ensemble, with the majority of time spent on the 8 children in Group 13 who pilot the Franxx. The protagonist Hiro is a rather quiet individual, though he carries surprising determination. Despite the warnings surrounding Zero Two, he feels like she will be the only one to bring out the best of his abilities. Zero Two serves as a contrast to Hiro, with a manic energy and assertive personality. She claims Hiro as her “darling” and refuses to, or let Hiro, be with anybody else. Her quirks and attitude cause a divide among the team, most notably with the team leader Ichigo. Ichigo serves as a class rep type, trying to give a formal and forward appearance. This is changed with Zero Two’s appearance, as the challenge to her authority and her harbored feelings towards Hiro pick apart at her leadership status. Other teammates include the childish Zorome, who’s desire for praise from the adults (most notably from the “head adult” Papa) fuels his pride to do well, and the mature Goro, who is the most leveled when it comes to the surrounding fighting and drama that encapsulates their lives. Though there’s quite a few characters in this series and the focus can quickly go from one group to another, it’s never hard to manage and I never felt lost following the characters. One aspect of the show that was intriguing stemmed from the innocence of the characters. In addition to learning about the klaxosaurs and their mission as Franxx pilots, they know nothing when it comes to the basics of love, even being unaware of kissing. This sheltered lifestyle puts a spin on the drama that this series purports, where the characters slowly feel what it means to love someone and find the way to express it. It’s an interesting concept and was one of the reasons I was initially hooked. Though the show’s synopsis and premise seem interesting, the execution is full of problems.

One of the major problems of the show stems from the drama itself. The romance and drama found with these characters is messy and unpleasant to watch. Several characters find themselves attracted to another with those feelings unreciprocated. Though its natural that some characters will prefer one over another, it often feels like a means to see more drama rather than part of the story. Additionally, this can completely encapsulate a character, making them feel more as a prop than a person. Futoshi is a prime example of this. Outside of a few fat jokes and his seemingly endless romantic trappings, I don’t feel like I’ve gotten to know the character at all. The drama of their innocence is paralleled by the extensive symbolism. Unfortunately, the symbolism used for Franxx is rather hamfisted, with constant allusions to sex. It never comes off as particularly clever and really only serves as either fanservice or to drive the drama even further. Moments such as the start of the whole “boys vs. girls” debacle or “partner swap” make me roll my eyes instead of keeping me engaged. Obviously some tension and problems need to be felt to keep things interesting, but all of this is rather sophomoric for something that could have had far more depth. Though it’s easy to say this was A1’s doing, that’s not necessarily the case. The character drama is also similar to a previous Trigger show, Kiznaiver, so this isn’t the first time something like this has occurred. However, I didn’t care for Trigger’s take on drama then and I certainly don’t care now.

The drama is a double edged sword, but not in the way one would expect. With so much focus on the character’s conflicts, it makes the other elements of the show hurt significantly. Though the mecha fights are flashy, you’ll notice a pattern as to how they play out. It follows a formula that makes a case for pathos, but is ultimately lost when repeated. These familiar dynamics are used in plenty of shows but often reserved for one important moment. When you see Hiro and Zero Two have another discussion of love among an intense battle, it’s clear as to exactly how things will pan out and part of me wants to just skip ahead to the result. Another show element that is hurt is in the story. Though it’s fine at first as the truth of their situation is slowly revealed, a sharp direction in the last third sacrifices the build-up for a plot twist/attempt at being cool. A move like this is often high risk/low reward and that’s exactly what I got. It’s unclear why Trigger/A1 decided to go for this, but whatever the case, it was unnecessary to do so.

Though the show certainly has its share of problems, there are two things that could have been done instead that would have increased my overall enjoyment. The first would be to let Zorome be the protagonist/let this be “his” story. I know the conflict and development of Hiro and Zero Two was the main point of the story, but their progression was mostly focused on themselves. Zorome started off believing in the world around him and searching for praise in a parental figure he never had (“Papa”). He even had an episode where he meets one of the adults he’s protecting, which is one of my favorite episodes of the series. Seeing how his pride and beliefs change over the course of the story may be a bit par for the course, but it opens up more opportunities for Darling in the Franxx to show its world and story, which in turn could mean less time wallowing in melodrama. The second would be to cut back on the emulation of older works. Watching this show reminded me of some of the mecha shows Gainax had produced, such as Gunbuster, Neon Genesis Evangelion and Tengen Toppa Gurren Lagann. These shows certainly were not the first of their kind but each has a unique style that in turn cultivated a strong response. This might have been the cause of some of this show’s downfall, trying to aim to be like past glories instead of being their own show. The last third, for instance, strongly reminds me of TTGL in how the story plays out – why not focus on what you have instead of something wholly unnecessary? Though some audience members may not have seen these shows, I wouldn’t be surprised if they were to enjoy the shows I mentioned more so than this one.

The animation is definitely the strongest point of the show. It’s not as fluid as I’d like, but Trigger’s bouncy style, full of smears and dynamic angles, can be found in this show. The environment is a bit dull, seeing as the world is a flat desert dystopia, but this is more in line of the world of the characters and not really the art itself that’s a problem. The soundtrack is fair. All the songs are what one would expect from a show like this, with pieces trying to drive home emotion with soft piano playing or soaring strings. I do like the battle music that’s led by a fiddle, but otherwise I’m indifferent to the music selection here. The OP, “Kiss of Death”, sung by Mika Nakashima, is a bit overwrought for my tastes and doesn’t feel as powerful as it is annoying. A remix exists midway through the show, but it doesn’t really change my feelings on the song. There are quite a few ED’s here, but they all share a similar feeling. They are all melancholic ballads sung by the cast of girls talking about, you guessed it, romantic pangs and heartbreak. They’re not bad, but not as heartfelt as they wish to be.

Overall, I give Darling in the Franxx a 5 out of 10. I hate to say this, but it does feel like the show was more of a marketing idea than something that director Atsushi Nishigori (or writer Code:000) wanted to say. Whether you abhorred it from the beginning or were mad at the constant relationship troubles, I’m not sure if anyone was fully satisfied with this show. Though I’m not a fan of all the Gainax mecha shows I’ve mentioned, I would look towards one of them if you want something similar that may satisfy you more. Darling in the Franxx has some good elements to it, but I’m not sure if it’s worth the watch.

Do you like or dislike this anime? If you haven't watched it, are you encouraged to watch it or not? Leave a comment on my profile telling me what you think of the anime and/or my review.

Thanks for reading and have a blessed day!