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I feel bad for the people who watched Porfy no Nagai Tabi while it was airing. Because so few people were watching it to begin with, there was no one interested in subbing it; in fact, the entire show (52 episodes) had already aired before a fansub group finally began to work on it. This led to the show being largely ignored during its runtime, which is unfortunate because it's a good series despite its unpopularity.

Released in 2008, Porfy no Nagai Tabi is one of the most recent World Masterpiece Theater releases. It's directed by Tomomi Mochizuki, who has recently garnered infamy for having directed ... the anime adaptation of Pupa. Don't let this discourage you though; most directors have a blunder or two, some worse than others. Mochizuki deserves to be better known for series such as Saraiya Goyou, Zettai Shounen, and, of course, Porfy no Nagai Tabi.

This show has an interesting arc-based structure. The first 10 or so episodes detail the simple life of Porfy, Mina, and their parents in a small village in Greece. It's all very mundane, but there's this charm to the main characters that makes you want to keep watching. Porfy is a good-natured but sometimes rash 14 year-old boy with an almost obsessive interest in automobiles. Mina, his younger sister, balances this out with her sweetness and innocence. Together, they go to school and play with friends while the family works toward building a service station at their home. It's a happy time for them, but not for long.

After a certain event occurs, the series is then divided into several distinct arcs. A few episodes are devoted to the aftermath of the event; then, when Mina eventually goes missing, the main storyline of the show begins. The bulk of the story involves Porfy traveling to different locations across Europe to search for his sister, experiencing new things and meeting people with good intentions as well as those with more questionable motives. This traveling arc comprises two halves: the first half is a series of mini-arcs that are each about three to four episodes in length. Each mini-arc is about Porfy's interactions with the people he meets and how he lends a helping hand to solve their problems.

The second half changes this up a bit; it's composed of episodic stories that are more "standalone" in nature. For example, one episode is about Porfy staying in a town with very strange customs. Another episode simply shows Porfy walking through the countryside with nothing significant occurring aside from a couple of brief interactions with passersby. I guess that's realism for you!

The show isn't all about Porfy though. We also get glimpses of Mina's new life after she's taken in by a traveling gypsy woman and her family. In fact, the last ten or so episodes are primarily focused on Mina as she experiences an unexpected but fortunate turn of events in Paris. The purpose of this last arc is to build everything up to a finale — a satisfying one for sure, but unfortunately the show ends right at the climactic scene (it even plays in slow motion through the credits), which leaves the viewer craving for an epilogue of sorts to tie up all the loose ends.

A series about traveling isn't complete without pretty scenery, and Porfy no Nagai Tabi doesn't disappoint. The background art in this show is gorgeous; both landscapes and cities are drawn with stunning detail, and what's more impressive is that the show maintains the quality of the art through all 52 episodes. On the other hand, the character designs are somewhat simple with no shading, so the contrast between the two may be a little jarring at first.

The soundtrack is appropriately mood-enhancing; that's all I really have to say about it. Something interesting I noticed was that the overall sound of the music changed to suit each new city or location that Porfy visited. For example, the tracks that play during the slice of life arc in Greece consist mainly of soft piano and violin; however, in Paris, the accordion and synthesizers are introduced, which I thought was a nice touch.

In short, Porfy no Nagai Tabi is a story about friendship, new experiences, loneliness, loss, and, most of all, growing up. Many viewers will probably dismiss it as boring, especially since it's 52 episodes long, but if you like these types of stories then you'll definitely want to experience this journey with Porfy and Mina.

Fuujin Monogatari, or Windy Tales, was a real treat to watch.

It's a very experimental anime, which is a rarity in the slice of life genre. Right off the bat, one will notice that the art style is seemingly messy and hastily drawn. In fact, it could even be called ugly. However, I found that it complemented the wind element of the show and meshed quite nicely with the animation. What struck me most about the art were the character designs: those tiny hands and feet, as well as those angular eyes that give the characters a distinct Asian appearance. I was also impressed by how ... highly expressive the characters' faces were. Joy, surprise, and even fear were depicted very effectively, despite the rather simple facial features of the characters.

Wind is the primary element that drives Fuujin Monogatari. Or rather, it starts off that way. During the first few episodes, the characters learn how to control the wind, but by episode three, these wind powers sort of fade into the background as the show becomes more episodic in nature. A more conventional slice-of-life show would have probably shown the characters using their powers in everyday situations, but we don't really see this in Fuujin Monogatari. Although the concept of wind control is revisited occasionally throughout the show, it mainly serves as a motif and is often paralleled with the occurrences and themes in each episode. For instance, the act of controlling the wind is often likened to showing responsibility and taking control of one's life. Of course, this is never stated outright; it's up to the viewers to catch the subtle messages behind an event or a character's actions.

Although the show is soothing and even lighthearted at times, it's not afraid to show those darker moments in life. For example, one episode depicts the change in attitude of a character who was involved in a near-fatal motorcycle accident. Another episode contains a metaphorical scene in which the act of suicide is illustrated with haunting imagery. Fuujin Monogatari is honest in its portrayal of events — a refreshing trait in a genre full of optimism and carefreeness.

As with all slice of life shows, Fuujin Monogatari is driven by its cast, and fortunately the characters here are quite likeable and respectfully represented. The main character of the show is Nao. Observant and thoughtful, she is one of only two members of her middle school's photography club, the other being her best friend Miki, who is more assertive. They are eventually joined by a boy named Jun, who becomes Miki's love interest. He's a bit of an airhead and provides much of the comic relief in the show. Although the characters don't get too much development, their personalities do get fleshed out and they feel delightfully genuine. I mean, Nao considers Benjamin Franklin her idol! Even the adults in the show, such as Taiki and even Nao's parents, are well depicted and play meaningful roles in several episodes. Oh, and I almost forgot to mention the flying cats, who have their own special moments.

Another aspect of the show I enjoyed was the dialogue. It's subdued and representative of what people would say in everyday situations. After all, Nao and everyone around her are just normal people living their lives, and it's great to see that the dialogue is driven by their characterization and not by drama or plot. For example, there's one episode in which Nao listens to two adults talking about traveling. The conversation is very matter-of-fact, almost boring, but it provides a lot of insight into the adults' personalities.

The music in Fuujin Monogatari is calm and very soothing, greatly enhancing the atmosphere of the show. There's the typical soft piano tracks, of course, but some songs incorporate bells and even the flute, which are very befitting for the show's wind motifs. In addition, the OP is incredible and captures the essence of the show very well. It's one of those OPs that you never skip.

With all that being said, Fuujin Monogatari is not a perfect show. The characters' wind control powers are never really explored in depth, which may be off-putting. Episodes vary in quality, which is to be expected of an episodic series. While I don't consider any of them "bad," there are undoubtedly some episodes that are weaker than others. Also, the concept of wind is not incorporated in every episode (and in some, it's very loosely connected at best), making those episodes seem thematically detached from the rest of the series.

From its unique art style to its down-to-earth nature, Fuujin Monogatari is worth a watch for anyone who's interested in something a little different from the typical slice of life fare.

A girl and her extraordinary bond with wild beasts. An ancient secret hidden away by a mysterious clan that comes and goes with the mists. A growing conflict between the two great ruling regions of the land.

Together, these narrative threads form the intricate web that is Kemono no Souja Erin, a coming-of-age story that slowly unfolds against the backdrop of political tension. Through the course of 50 episodes, these story lines gradually intertwine and eventually come together to deliver a somewhat clumsy but mostly satisfying conclusion.

Kemono no Souja Erin is undoubtedly a slow-paced anime. It takes its time to set everything up, and some ... viewers may find this unappealing. But for those who love to absorb themselves in fantasy settings, this show will not disappoint. The amount of detail that is meticulously crafted into the history and culture of the land is captivating. And because the relationship between man and animal is such a core element of the show, even the behavior of the beast-lords and their interactions with the main character Erin is explored quite extensively.

Because Kemono no Souja Erin retains its leisurely rhythm throughout, this gives the show enough time to build upon its greatest strength: Erin herself.

I can honestly say that Erin is one of the most well-developed characters I've seen in a storytelling medium, anime or otherwise. We smile with her and cry with her as she grows from a child — curious and endearing — to a young adult burdened with years of experience. From the get-go, we see that Erin is a bright and studious young girl, taking the opportunity to learn all that she can from her mentors. Each stage of her life is detailed in a humble and straightforward fashion. Her actions, decisions, and even morals are a direct result of the hardships that she has endured during the course of the story. Even as she grows and develops, one key characteristic of Erin remains consistent: her resolve. To be blunt, Erin is obstinate, almost to the point of stubbornness. She chooses to remain steadfast in her beliefs, even though she is quite aware of the consequences of the path she is leading. Don't be fooled by the negative connotation of these words though; they are exactly why Erin is such a human character.

The other characters in the series are rather hit or miss. Some of them turn out to be bland and stereotypical, such as the main antagonist; others are not really explored fully, such as the Mist People. Furthermore, the comic relief duo of Nukku and Mokku may be appealing to children but will likely be irritating to more mature viewers. Several characters, however, play key roles in Erin's development and are interesting individuals in their own right, such as Ia-lu. But perhaps the most important characters in the show besides Erin are the beast-lords with which Erin bonds. Their attachment to Erin is very believable; it is touching and tragic at times, but never idealistic. Beast-lords are wild creatures after all, and they rightfully remain as such during the course of the series.

My main gripes with the show may sound picky, but unfortunately they were severe enough to affect my enjoyment of the show. Recycled scenes and flashbacks are prevalent in the show; one scene in particular is replayed so often that it becomes grating, even though the purpose of repeating it is understandable — for reinforcement. Still, I believe that the show would have benefited from cutting down on the excessive use of such scenes. I also noticed that the same few insert songs were used in almost every episode, and many of them are inappropriately placed. The emotional impact of these songs would be greater if they had been used properly and more sparingly. And as mentioned earlier, the ending (particularly the very last episode) was messy and could have used more closure, especially since it was a 50-episode series.

I feel like these flaws were the unfortunate result of the show trying to be family-friendly — an interesting dilemma indeed, considering that most of the story is presented with a level of sophistication that no child could hope to appreciate.

The art in Kemono no Souja Erin is simple, unique, and has a very appropriate children's-book feel to it. The OST is pretty varied and ranges from soft piano tracks and ambient pieces to Oriental-sounding melodies and even electric guitar tracks. They add a nice touch to the show's atmosphere for the most part. The OP and ED in particular are of great significance; they are heartwarming at first, but both are replaced about halfway through to fit the change in tone of the series.

If you can manage to ignore its flaws, Kemono no Souja Erin will shine for you — if you give it the time to do so, that is. For those of you who desire continuous plot development, a fast-paced narrative, or loud action scenes, this anime is not for you. It is an anime for those of you who simply desire a warm and well-told fantasy tale with a solid main character and a truly fascinating world.