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Serial Experiments Lain is a beautiful series, yet also enigmatic and a freak-of-nature. An interest in the role of technology in human culture is a partial prerequisite to enjoying it. Associated themes are comprised of, but not limited to: technology, the human condition, and futurism.  More broadly, the show does something to the mind that is hidden, at least at first.  It works by peeling back the brain and poking your squishy philosophical innards, making one consider the strange life we live and how fragile identity becomes in the sea of everything we call existence. Serial Experiments Lain (SEL) is a tech-centric version of Alice ... in Wonderland.  Dive in, if you are fine playing chicken, to see how broken your brain can get before you crack as a whole.

In its age, SEL exudes a sense of timelessness in its energy and is timely in its themes. Furthermore, it subverts the audience in a novel way that calls into question what reality is and can be. Despite the cacophony of noise created by the usual suspect anime shows, SEL stands loud and proud as a deviation from the norm.

This show is uncompromising in its subtly. Without being apparent, the underlying plot addresses a variety of issues. In fact, every time I watch the show, I learn something new about identity and human nature. One of the more intriguing ideas is the depiction of a slow apocalypse. It's the approaching catastrophe that comes with the advancement of technology into a higher level of consciousness. Higher consciousness is likened to insanity, if we take the show on its face.

Lain, the protagonist, discovers (as do we) that all is not well. The world is lonely and empty, reminiscent of a film noir, and only inches closer to feelings of insecurity. "The Wired" (the world's global net) collides with Lain's "objective" reality, prompting the question, "What is objective, and what is subjective?". 

Overall, with Serial Lain's story, we can take solace in the fact that some people decide to tackle difficult and creative questions.

Onihei (10/10)

**Spoiler-free review**

This was an interesting show to watch. Reading reviews on here, and elsewhere, I thought I'd be in for "just another samurai show". Let me explain what I mean by that. Anime typically adapts novels, manga, and other forms of literature into animation. Thus, the medium tends to have MANY various shows, and MANY various flavors of the same material we've seen before. Since the Japanese have a culture that focuses heavily on history and the essence of things past, many shows inevitably fall under the radar. Don't let this one.

Now, I'm not saying everyone ... will find this to be a gem. I can see that many may criticize its slow, perhaps meandering plot for being just that. I however find it refreshing. For those who are familiar with Mushishi's relaxing tone: chronological tales that seem unified, yet paradoxically serial, and enjoy it for being so, you will like Onihei. I personally found it to be a masterpiece, in that it told a story in a deeper way than many similar shows have done. It's always nice when people act like people, because a script is good enough, and when a tone is established, and a mood fastens the viewer to the screen as if by a sort of magical thread. Above all, Onihei tells a different tale in a common setting. It's ultimately distinguished by the detail the creater's put in taking a chance to humanize thieves and those who bust them (especially in a mostly corrupt society). It suggests that kindness can be found in anyone, even for those who are in positions to abuse power.

I will now finalize my description of the show in the upcoming paragraph. The main character, Onihei, is a generous humanist, uncommon in feudal Japan. He is progressive, kind, funny, and the kind of person you would like to be. He seems like a friend; he is the reason the show works so well. What is Cowboy Bebop without Spike? Empty. The same can be said for this show, as it is a character study. In our age of junk TV, modern-classics like this are a treat to find. It's a modern show, yet it plays out like Anime shows of yesteryear. Expect greatness, fans of Mushishi, Cowboy Bebop, and Ghost in the Shell.

If you are on the fence, watch it and reserve judgment until after you are done, as you may find yourself a changed anime watcher. Now I need to go. Reviewing Onihei reminds me I need to get drunk on Junmai Sake.

This show is weird. Weird good, or weird bad is the question.

I rated this an "8", but it can just as easily be a 3 or a 9. Both are fine ratings. Here's why I consider it an 8 or MAL's "very good":

This show is hard to figure out, but I don't think on an intellectual level. It's not really cerebral, yet it does makes you think. This show is polarizing because it either grows on you or not. Whether you like it depends on whether you can "feel" it. I know that may sound strange, ... but although it lacks greatness for other aspects of production, its tone is effective at emoting. Pain, sorrow and estrangement are emotions the show MAKES you feel.

Aku no Hana is about corruption of self image. There's depth, in the psychological characterization. The plot includes a growing sense of morbidity not easy to describe. If it weren't for the second half of the show deviating from what I'd like better, in hindsight, I would've considered this close to a masterpiece. It has potential in its creativity, exploring the protagonist.

Aku no Hana's story touches on many issues present with Japanese youth. It delves into depression, perversion and shame. But the main notion I saw played with was: corruption of self image. Aku no Hana is an apt embodiment of Japan's repressed sexual culture. And this is what makes it compelling. Characters take a turn down an unfamiliar path for us. It is refreshing to see people do complex and heinous things. The story also grants us another perspective; an inspection of Japanese culture through another lens, albeit mostly hyperbolic.

Aku no Hana is an interesting show, and many may not like it for being so, but it grew on me. It takes an open mind to enjoy. Likely unconventionalists would favor it. The reason why it works, is that tonally it accomplishes much by irreverently spitting on our attempts to understand it, and bringing tension through atypical character development. The thing is, the protagonist arc is strange, leading where we don't expect it to go. More generally, there is a sense of a growing, festering plot, adding unease with each episode. This 'feeling' gradually seeps into the plot, aided implicitly (by music, actions of characters, etc. and explicitly, as displayed on screen. You'd have to see the show to know what I mean. But I must say, not everyone enjoys cringeworthy material. Thematically, however, much is able to be accomplished by the cringeworthy, sickening tone.

Therefore, those who are open-minded, unconventional thinkers, or anyone who is....sexually depraved or can appreciate depravity...would likely enjoy this show.

Flanders no Inu: Catharsis in Two Hours

After this film, I have been forced to side with the argument that a story alone can make a(n) anime/movie great. And story is at the forefront of this movie's accomplishments. At least in this regard, Flanders no Inu is transcendant, subverting the genre and common tropes. I wasn't expecting the film to be as powerful as it was in it's presentation of love and loss. Also, character development was very true-to-form; as the narrative is extremely humanistic, granting the viewer some escape from the weary and lackluster stuff in the medium, often being force-fed ... at an alarming rate (Come on Netflix...don't "original titles" imply originality?).

The Dog of Flanders makes you care. In the words of Roger Ebert, it's an exemplar of cathartic films: "empathy machines". Often movies miss the point that when tragedy strikes a character, there must have been some vicarious bond between them and the viewer. Relationships are tricky, because in any (anime) film, a director/writer must keep in mind that everything is interrelated; and many overlook this subtle, albeit important characteristic. It's clear, however, that Flanders no Inu accomplishes what it does because of it's attention to human nature. For example, each individual character's relationship with the dog implicitly (yet powerfully) expands our understanding of them. Much like a dog owner's mistrust in a new boy/girlfriend simply because their dog doesn't like them. Really, pack mentality is not dissimilar to tribe mentality. Hence: "A man's best friend". Ultimately, eliminating the 'tell' in "show don't tell" is a good move.

The story of loss, love, and companionship is age-old. Therefore, no matter the score, art, etc. the movie can never seem dated. I almost cried three or four times and I haven't cried for years. I'm stoic, so the fact that an animated film can moisten my eyes is an impressive feat altogether. Among all this, nothing better expresses an art form than "catharsis", as wrote by Aristotle himself.

I must preface with some information before delving into the review, full-force. Pass over it if you are fine with God knowing you are a dunce (I'm joking, have a sense of humor):

As Masaaki Yuasa rises in popularity, especially in the Western world, Netflix series: Devilman Crybaby, it is important to ask if there is a reason backing his rise to fame. I say yes. Not necessarily for the quality of his content, but the consistency, or quantity of good content. Ping Pong is only a milestone. Yuasa has been able to create fandom that does not cling to only ... one of his works, a fairly rare occurrence in the anime community. I personally prefer Kaiba over his other productions, however many fans would debate that. And that is the beauty of being a Yuasa fan, there is no definitive masterpiece.

That said, Ping Pong is easily one of Yuasa's most confident works. It has gorgeous, fluid animated art, not commonly found in anime, sadly. And the script and character arc work beautifully in the self-contained story dealing with the human condition as it relates to friendship, alienation, and sportsmanship. Like almost all of Yuasa's work, excluding Lu Over The Wall, existentialism is a common theme in his works. Ping Pong is not the most thematically existential, yet it still has the classic Yuasa touch. One of the biggest strengths in Ping Pong is characterization, because generating characters who come across as relatable is hard...especially for as skeptical a viewer as me. In each character is a semblance of someone you know, and I respect the craftsmanship of it. Art and animation in Ping Pong are epic, visceral, and overflow with style. Imagination runs rampant in Ping Pong, and those who watch it find it an instant classic. Although I would rather not compare them on any other plane than style and confidence, Ping Pong is clearly today's Cowboy Bebop.

Kids on the Slope is a simple story, but an effective one. In this review, I will highlight what I find to be the most important characteristics, not necessarily touching on everything.

Aristotle, being the unofficial first critic of entertainment, is noted for his theory of Drama in his book "Poetics". In it he mentions that when a storyteller evokes emotion in an audience, they have been successful; more specifically, catharsis-purging of emotions. So, using logic, Sakamichi no Apollon is an effective drama, because it is very good at pulling heart strings. And primarily it does so by making the ... characters relatable (with the backdrop of 1960's Japan).

This show is about relationships and how they are tested. Both friendship and romance are re-occuring themes played with, without being tired out. As the main characters are in an unlikely bond, this notion unlocks many narrative avenues that are interesting. The story in Sakamichi no Apollon is serial-continuing in an episodic fashion. Typically I prefer serial shows over standalone episodes because they avoid being formulaic. The decision to have an overarching plot and steady pace is best for Kids on the Slope, and it shows.

World building is often one of the most difficult aspects to get right in the anime medium, but when it's perfected it makes a world of difference, no pun intended. Kids on the Slope uses the 1960's as a setting, big band jazz music, and dreamy art/animations to establish a believable and serene place and time.

Music is intertwined within the narrative, complementing the story, and reminding us of the setting. And we should expect no less when Shinichiro Watanabe is directing. Watanabe (Cowboy Bebop, Samurai Champloo, Space Dandy) is known for his Western influence, especially with music. The score in Cowboy Bebop was instrumental to establishing a sense of style. Likewise, Kids on the Slope uses big band jazz to create a quiet, melancholic appeal. Jazz is known for its subtlety, and that's what this show projects.

As good as this series is, it doesn't come across as a Watanabe production. It has some style, but doesn't ooze it, which is what I consider his biggest strength as a director. Kids on the Slope is casual, while at the same time engaging, and self-contained. Further, it doesn't focus too much on a particular plot-point too long before shifting gears. I recommend this to anyone who understands the bond between friends

Detroit Metal City (DMC) is as irreverent as they come; it doesn't care if you like it, or if you have panties on top of your face while watching it. Since I find every facet of this series to be rated a 10/10, it is unnecessary to comment on the individual aspects of it. Instead, I will treat this as a more condensed review, to abstract what I find most important.

DMC is controlled-confidence is one of many facets that make it a masterpiece. I admit it was hard for me to pick the series up. Yes, there ... were mostly positive reviews, but given my history with anime, I cannot trust the majority's opinion. Really my issue is with the (anime) comedy genre as a whole. Often, anime lacks what I find funny: subtle comedy such as sarcasm, deadpan, black comedy, etc. I find the sillier and more slapstick content, inherent to Japanese comedy, troublesome. As funny as DMC is (and it is funny) it treats the Metal music culture, among other cultural phenomenon with honesty and seriousness, making the series interesting. Truly, being genuine is what makes DMC transcend its genre.

DMC is relatable. And it comes down to its underlying philosophy: people are irrational and different. I agree. In it, humans are humans, which is refreshing. For this reason, I recommend Aku No Hana, which is in the same vain, but perhaps more self-deprecating. I always found that with any medium (anime, movies, or TV), making a human act in a realistic manner is difficult to do, ultimately boiling down to the writing. And the writing for this series is spectacular. The show is differentiated not only for juxtaposing interesting concepts, but also for weaving a narrative almost solely through its characters.

So, if you are wondering what makes some dislike this show, it is because it oversteps boundaries. Most dislike anarchic comedy. Although, if you are as boundary-less a personality as I am, you will be fine.

Overall, if you like a comedy series that breaks the mold, while being genuine in its presentation, look no further.

This is long, but informative. If you care to, read on my compulsive samurai kin:

Let me preface by stating how important it is to this review that Yuasa is my favorite director, so I am naturally biased. I don't know the future, but this is likely the hardest review I will ever do.

Lu Over the Wall is essentially a lighthearted youth film charged by Yuasa's gift of creativity. However, given Yuasa's streak as a director, the movie could have been better. Knowing him, much better. There were some Yuasa-esque moments, but those moments didn't show why ... Yuasa is such a great director. With Kaiba, Tatami Galaxi, Ping Pong the Animation, Mind Game, etc. under his belt, as a fan you come to expect his odd-ball style, interwoven with underlying existentialism that Yuasa is noted for. Further, immersive world building, confident and self-contained story lines, as well as eccentric, visceral art styles are things you can come to expect from Yuasa. This is not that.

Seeing the trailer months ago, I was hoping against what I had the sneaking suspicion of-a Yuasa piece for the masses that by being 'pop' dilutes his creativity as a director. A Yuasa piece for the masses doesn't compute. Most people wouldn't typically like Yuasa's eccentric themes and art. At least not the demographic this film was aimed for. So, essentially, instead of the manic and irreverent tone Yuasa fans love, fans of Ponyo and Miyazaki are more likely to find this film appealing. Maybe, I wouldn't know.

I don't enjoy family movies in general. So, perhaps I'm being far too critical because I expect more from Yuasa. But, let's pretend I'm not a babbling idiot for a second, and attempt to put aside the fact that he is my favorite director.

What does this movie have going for it. Well, it does have a semblance of style. The direction (in terms of cinematics) is spectacular. The angling-where Yuasa chose to point the camera, but for the later portions of the film, was effective in its establishing the setting. It's obvious the production was better funded than usual. Additionally, character development was quite well done as well.

What Lu Over the Wall doen't get right is the storytelling and pacing of the plot. At first it was quite immersive, because the setting was established perfectly. As the movie continues however, it meanders, to the point where you wonder if there could have been a better alternate storyboard. Further problematic, I guess common with the genre, is that there was no depth to the story. This review is not objective so I feel comfortable saying that I found fault with that aspect. Truly, imagination flourishes from the beginning to about halfway, when the antics become stagnant.

Overall, this film comes across as being this: a misguided but heartfelt attempt of Yuasa to step outside of his comfort zone, only to have it end up being somewhat generic. But there is good news. Dear God almighty, Devilman Crybaby will be the best thing since the Sengoku Period. Honestly, I'm not worthy.

Let me preface. This is my favorite anime. If you enjoyed Kaiba, Cowboy Bebop, or Usagi Drop, check this out.

That said, I am a fan of character-driven stories and storytelling consisting of more show than tell. Above all, Saraiya Goyou is in my book a masterpiece because of the adept, layered plot and well-paced story. I must warn you, since I love this show so much, this review will be long and detailed.

Starting with story (10/10), a social outcast, but skilled sworsdsman for hire, Akitsu,
is introduced. Many anime titles (generic ones typically) would attempt to redeem ... the character, with the character we love proving him/her to the world. This marks Saraiya Goyou as smart, breaking conventions. The story unravels the psyche of the main character and others over time. As it is a Slice of Life, it also attempts to offer a glimpse of the real, sometimes harsh samurai world. Yet it does so in a slow and relaxing manner, forcing you to feel sentimental, perhaps even pensive. Story is a major asset of Saaiya Goyou, as every aspect of it (music, characters, art, etc.) are interwoven through the world, without inconsistency. World building is the strongest aspect of this series. The tremendous depth of characters as we see their emotions painted across their faces, lets us dig deeper into a time, setting, and ultimately an individual.

The art (10/10) of Saraiya Gayou is strong, if it does not rub you the wrong way. Many would most likely be turned off if only fans of moe, shonen, etc. This title is much more serious, therefore art follows suit. The art is difficult for some people because, although original, it is stylized. Really, it fits well with all other aspects of the show, as it is both unconventional, and easily conveys expressions and gestures of characters, and helps establish the setting (a difficult feat for art to accomplish). For example, the color palette is dreary, adding to the melancholic mood.
Animation is similar to what would be expected in a late 90's-mid 00's anime, but everyone knows that is the best time for anime anyway.

Admittedly, sound (10/10) is not something I spend much attention to, unless a score is otherworldly. The score is similar to Mushishi's, quiet yet memorable, minimal and appropriate.

The characters (10/10) are basically the plot, in that they are integral to the story; yes, all of them. I will say that each character has their quirks and background. We learn about them over time. We depend upon information about the characters for the story to continue. Since we spoke about plot no need to write further.

Enjoyment (10/10). Why 10/10? It's my favorite anime of course. Out of the anime I've watched there has been no other title, that offers as much of a complex or stylistic world. It makes you happy you are smart, because Saraiya Goyou is extremely sophisticated. Truly, this show treats us as if we were observers (flies on the wall), of an ethereally suspended place. It unwraps to reveal a complex puzzle, candidly presented, with pieces faded and hinted scent of sweet, sickly passion. Words like this better describe the show than using reasoning or logic.

Nekojiro-sou is a short that proves to be quite the surreal adventure. I can therefore say, many will be turned off. After all, surrealism is not the most appreciated sub-genre. Nekojiro-sou is strange, but good, understandable as its director is Tatsuo Satou, with Masaaki Yuasa behind him (and heavily involved). Thereofre, if you are a fan Yuasa you will appreciate this title. Also, those of you who enjoy Mind Game, Serial Experiments Lain, and especially Kaiba, check this out. Inversely, if you are not a fan of unfettered absurdism, with stream-of-consciousness plot pacing, avoid.

Let's break ... it down:

Story (8):
For Nekojiru-sou, story is 'what happens'. In other words, it is paced in an uncontrolled manner: think Seinfeld. Truly, surrealist plots are best when progressed in a stream-of-consciousness manner. Nekojiro-sou effectively does this.

Art (9):
The art/animation is what you would expect from an independent studio's work in the late 90's/early 2000's. I personally prefer it; it is able to effectively create a surreal atmosphere. No reason to scrutinize too farr-it has only a 30 minute run time. From my recollection, the color pallet is drab and unsettling, and animation itself, fluid.

Character (9):
Again, since stream of consciousness plots are unconventional, the character arc is surely hard to judge, other than whether characters are out of place in the world they are created in, I suppose. The characters are minimally portrayed, as I recollect, as dialogue is reduced to word bubbles, and noises. They are cats after all. This segues to sound.

Sound (9):
The soundtrack piqued my interest as it was very atmospheric, befitting the context of Nekojiru-sou's 'world'. It adds to the inclination of weird that is Nekojiru-sou.

Enjoyment (10):
If you are a fan of off-kilter things and want to watch something different, this is for you. Perhaps not so hidden of a gem, but a gem nonetheless. Ultimately, the short was a refreshing rabbit hole to dive into, albeit for only a small duration.