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Feb 2, 2025
Oshimi’s concept of identity disorder is interesting, especially in a gender swap setting as it allows the examination of conflicting behaviors between males and females. The manga’s title is a double entendre, the metaphysical implications of which are gradually made apparent as the manga progresses. Most of it functions as a mystery, as Komori attempts to find the true inhabitant of his new body, Mari, all the while trying to adapt to a teenage girl’s lifestyle. Being placed in a body of the opposite gender is disorienting, and Komori soon realizes the stark differences between two individuals’ lives, especially of another gender altogether. It’s an
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uncomfortable situation, even for the readers as there are quite a few sexual interactions that are repulsive, yet I consider the incorporation of these one of Inside Mari’s strengths. Oshimi inserts the idea of the male gaze across chapters, mostly around the earlier portions where he dedicates panels that focus on intimate parts of Mari’s body along with suggestive glances from people that clearly indicate degenerate intentions. It’s a portrayal of hedonistic desires, how everyone is only interested in a person’s exterior as long as it continues aiding their selfish fulfillment.
Satisfaction with oneself is rare, as it’s extremely easy to compare ourselves to others who lead lives we’d rather have too. This is a prominent motif in the manga, and Oshimi suggests how a person we envy might very well not be content with themselves. It’s difficult to understand how someone feels inside unless there’s an active effort to do so, without which a person’s suffering goes unnoticed until they’ve completely changed for the worse. Inside Mari explores an unbothered world and its ramifications on the mind of displeased individuals. Although, despite having a lot of thematic virtue, the plot progression is not exactly crisp, and the character drama towards the latter half of the manga is superfluous. The ideas here would’ve worked much better if the manga was shorter and more contained, but Oshimi’s paneling and art are consistently ingenious, which is a plus. The character expressions are phenomenal, he often adds panels with just eyes and it’s enough to realize the emotions on display. His backgrounds seem like doodles but in context, they work well; in one of the later chapters he implements surrealist artwork too, which is a neat addition. Inside Mari falls short in its execution, but the concept it outlines is a thought-provoking one.
Reviewer’s Rating: 6
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Feb 2, 2025
Inspiration is hard to draw in a confined environment, especially in artistic avenues, as the world around you fuels your idiosyncrasy. Our individualism is often more pronounced when in the company of diverse personalities, shaping us through newfound experiences, and Barakamon focuses on the impact of nature on personal growth. Seishuu Handa is a gifted calligrapher with little control over his emotions, following his father’s footsteps while making a name for himself. However, his inability to handle criticism prompts his father to banish him to the Goto Islands, a necessary change of pace for him to reflect on his actions and discover himself in the
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process. The show follows a simple structure, with every episode featuring a set of characters and some activities that they involve Seishuu in, ultimately providing some development to him. These islanders are the main charm here, each of them having unique traits, and the character dynamics are quite refreshing, which manages to keep the comedy afloat. Barakamon works well as it isn’t overly ambitious; it’s content with being wholesome and letting its characters naturally bounce off of each other, gradually displaying how the environment plays a role in changing a person’s perspective. The consistency of its gags is probably the most impressive aspect, seldom having a dull moment among the interplay of Seishuu’s self-doubt and the locals’ joviality. It also has pretty good animation, mainly the character acting, which adds a ton of liveliness to the overall vibe of the show, and the music is usually blithesome as well. Success doesn’t come easy, and Barakamon emphasizes how treating continuous failures as an asset teaches you acceptance and sets you up for bigger things; sometimes, carefree fun is what drives motivation.
Reviewer’s Rating: 7
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Feb 2, 2025
Some stories simply work better in an audio-visual format, and Dandadan is an excellent example of this. Clearly, Science Saru deserves praise here, but creativity is challenging to derive from nothing. The source material’s elements offer a wide array of experimentation as it deals with the bizarre, and although the general plot is incredibly fundamental, that’s precisely the reason why the staff is able to add their vivid touch to this adaptation. It’s almost impossible not to notice Yuasa's undertones, from the playful camera angles to distorted character models displaying fluidity in movement, and I’m impressed by how well Yamashiro has handled the narrative flow
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in his directorial debut. Dandadan creates a balance between its sexual hyperkinetic sequences and the subdued romantic moments of character growth. It’s consistently fresh with its gags as new characters and entities are regularly introduced, all while subtly playing its emotional beats in the background. A variety of clever editing techniques are employed to match scenarios, and coupled with the tonality-specific use of solid colors, Dandadan is visually enthralling throughout. It’s rare to come across anime so bold in style yet contained enough not solely to rely on it, and most of its merit can be attributed to the short arc nature. I’m unsure whether this structure will be sustainable in the long run, but so far, it works well with the rambunctious animation. Kensuke Ushio on the music composition is a total blast as well; his instrumental range heightens the emotional response in both the action and personal set pieces, and the beats are exceptionally coordinated with particular cuts, lighting choices, and character acting. Dandadan exemplifies the multifaceted strengths of the medium, a bonanza of unbounded energy and entertainment.
Reviewer’s Rating: 7
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Feb 2, 2025
Conceptual merit is probably the only positive of Armitage III, but that’s entirely by virtue of the cyberpunk themes. It’s simply half-baked, inept at forming an identity for itself as it meanders in its lackluster plot and world. Mars has developed a civilization advanced enough to develop Androids physically and intellectually indistinguishable from humans, and it leads to an insurgency from the human populace that fears they’ll snatch opportunities away from them. Armitage (an Android) and Sylibus are designated with the task of capturing the terrorist D’anclaude, who murdered a Third (advanced Androids), propelling the majority of the show to operate as a police procedural.
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The direction is downright awful, with nothing of worth occurring throughout the show as it insistently surrenders itself to a barrage of asinine retcons. It wastes potential by emphasizing the chase (in a tedious manner) instead of examining the Androids’ reception to political strife and intolerance. A significant amount of plot points go nowhere, which could be a product of the short runtime, but I’m rather inclined to believe this is due to the production being severely mismanaged. It is most evident from the egregious last episode that suddenly features overdue exposition in hopes of wrapping things up quickly. Even the action segments are uninspiring, with dreadful editing playing a significant role in how scenes are strung together, constantly switching focuses. The show also lacks stylistically, with only Armitage having a chic and risque fashion sense, while the other character designs and the world layout are disappointingly humdrum. The Techno music tracks don’t fit most of the scenes, with the show’s opening being the only exception; in hindsight, Armitage III would’ve been better if it had ended right after the first opening had concluded.
Reviewer’s Rating: 4
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Feb 2, 2025
As a first feature by Studio Durian, Look Back is nothing short of a staggering accomplishment and a validation of Kiyotaka Oshiyama’s multifaceted capabilities in spearheading a project. The opening sequence here differs from its manga counterpart, as Oshiyama creatively animates Fujino’s 4-koma manga, capturing her childish humor. It subsequently characterizes her passion for art and sense of pride when her classmates express adoration for her talent. However, her discovery that Kyomoto utterly outshines her in drawing skill, coupled with the shift of attention from her art toward Kyomoto’s, causes momentary dejection but an ensuing drive to improve. Such delicate sentiments are portrayed through brilliant
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character animation that implements Fujimoto’s signature rough linework, elevating emotionally intense scenes. His repetitive paneling in the manga is a crucial attribute of his visual storytelling, which Oshiyama replicates in his film with elegant storyboarding and editing that illustrate the passage of time. Look Back depicts the joy and fulfillment artists attain through their arduous and frustrating learning processes, and it does so by intertwining Fujino and Kyomoto’s lives.
They both discover friendship through their mutual passion for art, uplifting each other in their manga-making endeavor. Fujino gets the recluse Kyomoto out into the world, and Kyomoto helps Fujino reignite her love for drawing. There’s a sequence teeming with raw emotion following their first interaction where Fujino is skipping in the rain, a marvelous display of great background animation, camerawork, character acting, and sound design. On a technical scale, the film is phenomenal, and Oshiyama deserves commendation simply for the amount of effort he’s put into the production. The gradual bond built between the two leads is shown through timelapses of them working on their mangas, and we see how artistic inspiration is found naturally in daily activities. Visual metaphors and references to Fujimoto’s other works are consistently implemented, along with montages and a fatalistic hint towards the ending. The tonal change and the accompanying shift in color grading to more dull shades is transitioned well from the manga, and the latter half of the film is emotionally powerful. Look Back is life-affirming; our pasts might be riddled with regrets, but looking back with gratitude for the good times is essential for us to persist in the present.
Reviewer’s Rating: 7
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Feb 2, 2025
Oshi no Ko’s 2nd Season is incredibly deceptive, and it ultimately reinforces my opinion that its narrative is severely misguided. The 2.5D stage play arc exemplifies the series’ strengths, exploring the most compelling motifs the show has to offer, and the revolving character drama here should’ve always been the primary focus. Gathering an eclectic medley of actors and creators to collectively work on a project provides the opportunity to examine how differing inputs affect the production process, underscoring the importance of effective communication in such artistic avenues. Although some circumstances are slightly overblown, the theatricality on display is relatively favorable due to the arc’s nature.
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Contrasting characters are paired and made to face each other throughout the rehearsals and the main play, and everyone is allocated sufficient time to come to terms with their insecurities and discover a better version of themselves amidst all the internal conflict. Observing their talented co-stars gives rise to all kinds of emotions like dissatisfaction, envy, regret, and guilt, which are common sentiments experienced in passionate people, and Oshi no Ko brilliantly paints these feelings onto the canvas with its visual direction. The production has improved significantly over the first season, and this arc is perhaps the one most deserving of it as its denouement leads us back to the tedious revenge plot. If it wasn’t blatantly evident in the first season, this arc proved that Aqua and Ruby hold back the show from being genuinely entertaining, as limiting their presence amplified the writing quality. It seems to be leaning even deeper into the supernatural aspect, something that it would’ve done better without, and this season ends up concluding on a disappointing note after a remarkable first act. Oshi no Ko’s 2nd season will presumably end up being the one with the most realized potential unless the murder mystery plot is miraculously discarded.
Reviewer’s Rating: 6
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