o get the most out of Mai-Otome 0~S.ifr~, or even just to fathom why it could possibly need to have such a confusing title, you really have to have a vested interest in its lineage. Much like how the baby-boomer generation are able to enjoy ABBA only after “growing up with it”, you can only appreciate these later OVA entries in the franchise if you've been groomed into a state of meek compliance by its more charismatic forbears. If you were to just pick it off a shelf and watch it without this crucial requirement of already being a fan of its origin, then you
...
will find it to be a tedious and puerile pile of crap. But there are those of us who were enamored by Mai HiME, which actually had the entertainment assets to bring in a fresh audience and then whip them into a bunch of frenzied addicts by pulling what I still consider to be the most ambitious/desperate direction change in a show ever: from a frivolous high-school comedy to a heart-wrenching melodrama. The following series, Mai Otome was another worthwhile addendum to the franchise. But we are now on the second OVA series set in the Mai Otome universe, and it's becoming clear that the three episodes of Sifr had to tap into the last dregs of potential left in the “Mai” pedigree. With that said, you'll understand that the only way to make this OVA series worthwhile is by being a fan of the previous works. It's a prequel, so obviously there's benefit in knowing all the background story, but more importantly, if you're a fan of the franchise you'll still be able to appreciate the style and tone prevalent in Sifr, even though it now lacks the edge to bring in new viewers.
But a show doesn't need edge to be entertaining. If you know what to expect from an Otome OVA, then you should be able to extract some fun from this. The usual approach of having a bloated cast of cute and sexy (definitely leaning more toward the sexy type this time, which is a shame because I'd rather more girls like my beloved Arika!) girls and a story that juggles both action and some dramatic subplots is still applied. It's just that, with only the space of 3 episodes to work with, and almost no appearances from established characters, the OVA struggles to make any of its array of characters feel worthwhile or in any way memorable. I mean, sure the character designs were as cute and unique as ever, and they were vital enough with their lines, but they just didn't get enough material to really give them presence. No one was fleshed out or had enough screentime to leave a mark or have their idioms/personalities remembered. Because the plot had to move so fast, and because the episodes had such sparse release dates, it was more like seeing disjointed flashes of the characters and they all ultimately burr together into a mess of moe.
Sifr, the lead character, essentially felt like Arika from the Otome TV series without the clumsy moe-appeal. Rena Sayers was soft-spoken and unnaturally guilt-ridden about her powers, but I didn't find her interesting at all. Most people would agree that her two points of interest rest firmly on her chest, one of which is delightfully exposed in the final episode (which gives it a lower nipple count that Zwei). The character I was most interested in had less than a handful of lines. Sakura has a really amazing character design and I was really intrigued by her mysterious role in the show. Her inclusion seems to be just a hook to lead into a following OVA series, if there will be one. I suppose it worked too, because I would watch another OVA just for her. The villainous force was pretty much laughable, although M9 was a lethal foe whenever she was thrust into battle.
And speaking of battles, there was a lot more action-based excitement than in previous series, especially in the final episode, where the banked animation budget was pillaged to deliver a fast and furious duel between the two opposing superpowers in the series: Rena Sayers and M9. The immense power of any androids in the 'Mai' franchise has always struck me as kind of bizarre, as though being made of metal and alloy entitles you to limitless abilities and power – why not just do away with Otome and build royal android bodyguards? But M9 provided the only test of Rena's powers and the result was actually quite spectacular, even with the slight DBZ feel. Any battle that spans more than one atmosphere and involves more than one re-entry has gotta be good! The action quota in this series was certainly fulfilled, and the animation was there to back it up, even if there are some obvious shortcuts in places to save the cel count (like teleportation). As with the other series, the detail in the cel animation is quite low, but this enables the studio to keep things consistent and curtail potential moments of QUALITY. Perhaps the reason they seemed to have plenty to spend on the animation is due to their cutting off of Yuki Kajiura from the musical lineup. She has done the score music for every other entry in the franchise, so this is a pretty big change. Fortunately, I'm not a big Kajiura fan so I wasn't altogether bothered by the switch to an unknown for the musical score. About half of the score music was strikingly familiar, which made me feel like the whole score was just lifted from other movie/tv scores and tweaked a bit. But nonetheless, the music did the job almost well enough and, at the very least, it wasn't awful to the point of vexation.
So the production was like the rock of the series – the only thing that was solid and reliable. The plot, on the other hand, was more like a face-full of gravel – a painful mess. What we have here, ladies and gentlemen, is a case of severe over-ambition. We have a group (or just one?) of writers who envisioned 26 episodes worth of plot and couldn't bring themselves to simplify it when it came to the crunch and it had to be crammed into about 80 minutes of anime time. By the time it got to the end of the show, I had given up almost entirely. There was something about a weaver, which is dangerously powerful. Rena has a mysterious power, or it may have not been mysterious and I simply failed to pay attention well enough to miss the bullet-speed explanations. There was too much going on with all the characters, for any one of their subplots to have any satisfying conclusion (or even a middle or beginning), and the main plot lacked momentum in its confusion.
The result is a colourful series with cute characters, some pretty fun action scenes, and not much else. For interested fans, there are still sprinklings of references to Mai HiME, hinting at a connection between the universes, but it's clear now that that won't be taken anywhere. More importantly, the 'Mai' formula just feels tired now, without humour and dramatic impact. Hell, Sifr didn't even have much fanservice (although Eri being stripped down to her cat-ears and panties in episode 2 was pretty good, and I suppose there was quite a lot if you count the incredibly cute maid outfits as fanservice). Thankfully, it did have the requisite amount of yuri undertones for a “Mai” series though, and the scene where Eri was trying to get a kiss out of Rena while the others gossiped behind a couch was one of my favourite scenes. I definitely preferred Zwei to this, because it already had that established cast and story to work with, and because the pacing was more relaxed.
All (42)FriendsAlso Available atRSS Feeds |
Dec 28, 2008
Mai-Otome 0: S.ifr
(Anime)
add
Mixed Feelings
o get the most out of Mai-Otome 0~S.ifr~, or even just to fathom why it could possibly need to have such a confusing title, you really have to have a vested interest in its lineage. Much like how the baby-boomer generation are able to enjoy ABBA only after “growing up with it”, you can only appreciate these later OVA entries in the franchise if you've been groomed into a state of meek compliance by its more charismatic forbears. If you were to just pick it off a shelf and watch it without this crucial requirement of already being a fan of its origin, then you
...
Reviewer’s Rating: 6
What did you think of this review?
Nice
 0
Love it
 0
Funny
 0
Confusing
 0
Informative
 0
Well-written
 0
Creative
 0Show all 
Nov 15, 2008
Allison to Lillia
(Anime)
add
Recommended
Allison and Lillia has a rather unusual flavour to it for an anime series. While you can see from a mile away that it is an action/adventure series with an underpinning romance subplot, it carries itself very differently from all other anime I’ve seen in this broader genre, and deals with a lot of themes that aren’t regularly explored in this medium. Perhaps this is to be expected from any anime that comes along with Keichii Sigsawa, original creator of the successful and remarkable Kino’s Journey. Kino’s Journey really tackled a whole array of social and human themes with depth and subtlety that I have
...
not found in any other anime series I’ve ever seen, and while this show retains some charms of the author, particularly how his love for travel and adventure once again shine through, it really is vastly different. Gone is the grit, angst and metaphoric render of Kino’s Journey, and in its place Allison and Lillia pulsates with light-hearted energy and tries diligently to capture the pure spirit of adventure. I struggle to think of something that works as comparison, which is funny because one of the first things that sprung to mind to describe this show was “a traditional adventure”.
Perhaps it is reminiscent of forgotten childhood books and stories, and just maybe this is how its charm really resonates. The soaring elation of flying in a plane for the first time, the anticipation and trepidation before setting off on a journey to somewhere unknown, the thrill of getting swept up in a dangerous train caper – Allison to Lillia at its core is about that, and about tapping into a nostalgic, childish form of escapism. Speaking of planes and trains, they are featured heavily in this series, and help to form the setting which is one of the ways in which it gains an atypical feel to it. The war-era West is the perfect choice of fictionalised setting as a time when technology and machinery still had a degree of magic to it. Allison to Lillia really capitalizes on this feeling of wonder, taking us for flights with a sense of gusto and amazement that must have existed before planes became a banal form of commute. The setting may be a refreshing change from the generic Japanese High School but the characters that populate it are still distinctly Japanese in their behavior and culture. The result is like an antique Western adventure characterised by a familiar anime tone. The romantic aspect of the series plays out largely very predictably and bashfully, and the female characters are spiced up with some bouncy moe features to their personalities. Much of the show revolves around the relationship between the core duo getting caught up in these antics. In the first half, the duo comprises of Wilhelm and Allison, and in the second Treize and Lillia pair up to assail the world. In both cases, one of the characters is trying to confess to the other (and propose marriage no less) for much of their half of the show. Cue the botched/interrupted confessions and romantic obliviousness of the resilience seen only in anime! It is in this that she show loses a lot of points, with characters who are supposed to be so adventurous being so gratingly nervous with each other, and with the female characters being made so cute that it sometimes seems a bit jarring. Jabs at their believability aside, the main characters are really very likeable, and, especially in the case of Lillia and Treize, their interplay with each other is a lot of fun and gives the series a lot of its personality. Even if I may cringe when Treize is unable to confess, they are good enough characters that I genuinely did want to see things turn out happily for them in the end (which isn’t to say that it doesn’t – no spoilers from me!). Believability is misplaced a bit in other areas of the show too. The creators may have spent so much effort nailing the essence of adventure that they completely neglected the details of said escapades. In a lot of cases, the villain presence feels contrived and there are quite a few relatively glaring leaps of logic in the plot that are ignored in favour of in-the-moment suspense. If you’ve seen the show I’m sure you’ll be able to think back to some times where you disconnected from the flow of the show and had to think “why are the villains going to all the trouble of doing this when they could have just..?” or “how is killing a seaplane load of orphans an optimal way to draw attention to a nation’s poverty crisis, at all?”. Often it gets ahead of itself, which unfortunately erodes the credibility of some of its stories. This may be the fault of the original creator; while Kino’s Journey was quite abstract and could afford the absence of realism, Allison and Lillia tries for conventional storytelling that relies in suspension of disbelief. Mediocrity seeps into it from one other angle and that is the visual production. The score may have not been great music in its own right, but it got the job done in providing an extra edge of tension or drama where needed. The animation and direction, however might have been just a tad bland for this kind of show. Some scenes looked really great – some of the dog fights were done very well for a tv anime. But the background art was too simple and the episode direction was boringly conventional. I’m not asking for trippy 3D camera pans or anything like that, but the direction did nothing to add atmosphere to the series. It was generally just close up, followed by another close-up etc – the minimum thought needed in getting the animation into a frame. The director is not an unknown, Nishida Masayoshi worked on Mokke recently and I recall that suffering the same blandness. On the other hand, the character designs were very different and, especially for the female characters, very nice indeed. With their rounded, feminine features both Allison and Lillia often looked very beautiful (as opposed to just cute). There is a message and a moral to each of its arcs, but it does not burrow too deeply with themes into the darker side of humanity. Rather, Allison to Lillia is washed over with a thick coat of optimism that is essential to this fun-spirited nature. To those of you who retain the childish yearning for adventure and exploration, Allison to Lillia should prove to be very enjoyable, providing just the right mix of tension, charm and romance. If you can latch onto this brand then it’s got to be a healthy change from or alternative to the kind of escapism fueled by the moe genre. It’s not particularly complex, involved or intelligent (quite unlike Kino’s Journey) but I’m sure it never tried to be and it works quite well as simple, wholesome entertainment, if you can overlook some logic gaps.
Reviewer’s Rating: 7
What did you think of this review?
Nice
0
Love it
0
Funny
0
Confusing
0
Informative
0
Well-written
0
Creative
0Show all 
May 5, 2008
Stranger: Mukou Hadan
(Anime)
add
Recommended
Sword of the Stranger is both unusual and refreshing in the way that it seemed to come out of nowhere and prove to be a remarkable anime. It seems, lately, that anything warranting a large budget and a lot of effort from a studio is either a sequel, an adaptation based on a successful manga or novel, or the next dull addition to a creatively stagnant franchise. None of these things, Sword of the Stranger is an unexpected big-budget film, which leapt instantly to the forefront of my favoured anime movies with exhilarating action sequences, captivating visuals, raw, evocative music and simple but affective characterisation.
...
The look and sound of the show will instantly grab you, and perhaps even carries the film over the insubstantial plot backbone.
Some people have already ordained this film as a classic of sorts, but I’d have to disagree with that, simply because, although it hits hard and fast with splendour, and resonates beyond mere eye-candy, it doesn’t have a crucial element to elevate it into that tier. The characters do have sufficient weight for the audience to empathise with them, and they are also very likeable, but I felt that my appreciation of the characterisation is due largely to the voice talent behind them. So, credit goes to the cast and not necessarily to the way the film was written, which perhaps had more featured characters than it should have. If the film had focused more on the central to characters, I feel it could have been a classic, or at the very least, deliver an even more powerful finale. Perhaps replacing some of the action scenes with more intimate, personal character moments could have helped. But that minor gripe aside, the big problem with the film was the gaping hole where the plot should be. A plot should always be more than just a vague framework to drive a movie from one scene another all the way to the climax. It should give credence to the movie, so that the film has a certain importance or reason. As it was, the plot, both simple and relatively silly, told me that the film existed for the sake of great action scenes. It’s a valid premise for entertainment, but it means there’s no lasting impact on the audience because it doesn’t really have anything much to convey. There’s no story here I haven’t seen before in this genre, and for much of the time the plot is a little too confusing. It seems I’d almost forgotten the potential for animation to be so visually compelling. On a technical level, the anime medium has frequent success, but transcending animation quality, it’s a very rare experience for an anime to be truly visually compelling, creating not just mood and detail, but also scenes of beauty. This film achieves that in a way that totally blew me away, and I don’t say that very often (I’m not one of those apt to calling every Kyoto Animation production flawlessly animated). The climax of the film, a roaring skirmish amidst snow and fire, is breathtaking and elegiac. More than just an impressive, visceral action sequence, it is tinged with emotion and dramatic tension, which drives the film up to its climactic pinnacle. As I say time and time again, the concept of a conclusion is highly important to me. When anything ends I expect more than a bit of excitement, or an explanatory wrap-up, I want the climax to resonate and to pay-off the themes of the series/movie. This film does achieve that, and even though it is devoid of really challenging and engaging themes, it still manages to be moving with likeable characters and endearing score music. In my mind, an anime that can end on a powerful high note, with stunning production and consistent pacing, is a winner. Even though the film falls prey to a number of action film clichés, and at times feels like a rehash of bits of the samurai film genre, and even though its plot is undemanding and almost silly, it is irresistibly engaging. Beyond anything else, this should definitely be approached as an action film, and with that approach, I can safely say it is a great accomplishment in its genre. It is fast-paced and features fierce, clever battle sequences, but more importantly, overshadowing the violence (which any action film can claim on), it is rendered with artistry and beauty, and effortlessly tugs at your heart. Frankly put, the only flaw in this film is the slight lack of depth to the characters, and the completely unremarkable plot. But if, like me, you’ve grown tired of the relative mediocrity of most anime television and want something to renew your love for the anime medium as an art form, this would be a good bet.
Reviewer’s Rating: 9
What did you think of this review?
Nice
0
Love it
0
Funny
0
Confusing
0
Informative
0
Well-written
0
Creative
0Show all 
Mar 21, 2008
Kaleido Star
(Anime)
add
Recommended
A certain expectation arises for an anime series such as this, which takes the effort to build a unique premise and story. Without the telltale signs of pervasive cliché, like a harem or giant piloted robot, I had good hopes for Kaleido Star. The show wasn’t even approaching flawless or astonishing on any technical level, or even in the way its story was written and reared, but what I found is that it had an intoxicating charm and that it was far more vibrant and ‘energetic’ than most anime. When I say energetic, I don’t mean just a cast of genki characters relentlessly talking quickly,
...
and running around, I mean it had a certain sparkle in its eye, or a skip in its step that elevated it above its content, and even its technical quality of production. Something intangible was born from the sum of its parts, its voice acting, colourful animation, charismatic score music, and its amalgamation of so many fascinating characters and relationships. Even when I was shaking my head in the second season at how incoherent and silly the story had become, I was simultaneously glued to the screen, and enthralled by the climactic stage performances. Even though I’ve never considered myself a fan of anything to do with the stage or of shows that rely mostly on drama to hook their audience, I thoroughly enjoyed this series, both in the sense that it was fun, laidback entertainment, and in that it was occasionally emotionally stirring.
The most prominent feature of Kaleido Star is undoubtedly its characterisation, and as such, each character is given a strong dream or ambition that they strive towards over the course of the show, as well as a heavily fleshed-out personality. Almost every character is likeable and easy to become attached to. If you find that you’re a sucker for getting behind your favourite characters and empathising with their hardships, then Kaleido Star is a good bet. By the end of the show, the real emotional impact lies not in the conclusion to the plot, but in the final send-off for a great cast of characters you’ve come to know and love. Relationships are dealt with, but almost always in the form of friendships, rivalries and companionships. Rarely does Kaleido Star tread in the thorny realm of romance, and when it does it’s usually just for a cheap gag. Don’t be deterred though, the friendships that are grown over the course of the series have more weight to them than most romantic relationships in anime. I’m not sure if the characters interactions are massively realistic, but they are believable and earnest enough to work. Really though, the rest of the series is in orbit around Sora Naegino, the heart and star of the series. Fortunately, she is really a great protagonist, particularly in the first season. She is portrayed very much as being a real person, with holes poked into her resolve to achieve her dreams, and struggles that she must overcome, not with superhero talent, but with hard work and perseverance. I must admit to being in admiration of her from time to time. Most importantly, through all the harsh training she endures, you end up really wanting to see her succeed, which really makes the stage performance scenes what they are. The animation used in the stage show scenes themselves is certainly quite good. Although the level of detail in the cel animation is overall surprisingly low, the stage scenes are carried by a high degree of fluidity in the animation and strong use of artistic direction, such as the use of colour and dramatic camera angles. The music definitely helped to create the sense of tension and beauty required. I do think they could have been done better, and rendered in more lavish detail befitting the scope of the shows, but for a 51-episode tv series it’s production is definitely solid. Unfortunately, off-stage doesn’t allow for the same graceful movement to overcome the simple visual style. The background art lacks personality and detail. The character designs range from completely bland and uninteresting to memorable. Sora and Rosetta, fit into the latter category, while most of the other character designs leave little impression. The music had a very strong presence in the series, and it was definitely good quality, with rousing instrumentals and melancholic strings tugging at the heart when required. However, it was far too repetitive; far more music is required for a series of this length to stop the tracks from overstaying their welcome. The OPs and EDs were relatively good. I watched the first and second OPs every episode, but was appalled by the 3rd. The plot, looked at in isolation, is very weak indeed, marred by inconsistency and incongruence, especially in the way the plot for season 1 is wholly confused by that of season 2. The way terms like “true Kaleido Star” were thrown about really annoyed me, in much the same way as the over-use of the Angel/Demon analogy in season 2. It all felt so contrived and silly, as though it was an attempt to give the stage some sort of misplaced mythology that ended up just being a distraction from the performances themselves. Furthermore, Leon Oswald’s backstory, and his frequent visions of Sophie grated my patience, because they were a symptom of the overall problem with the second half of the story, which is immature and simplistic plot development. Everything was given parallel and faux meaning with such forceful blatancy that it became a nagging irritation. However, unlike most series, the plot is not the backbone of the show, and with its strong characterisation and emotional themes, it can stand on its feet without the need for a concrete story to support it. Kaleido Star is no great achievement as an anime series from a technical or cynical perspective. If you watch past the first season, the plot becomes haphazardly thrown together and nauseatingly unsophisticated. However, for its colour, vitality and charm, Kaleido Star proves to be a worthy entertainer/ Perhaps ones could look at the series for advice about why it is so enjoyable - like Sora’s stage play, it is unpretentious fun, and manages to keep itself at an arms length away from derivative clichés. And more than just light-hearted fluff, it has the potential to wet the eyes of all its viewers through Sora’s trials and mesmerising triumphs.
Reviewer’s Rating: 8
What did you think of this review?
Nice
0
Love it
0
Funny
0
Confusing
0
Informative
0
Well-written
0
Creative
0Show all 
Feb 7, 2008
Juuni Kokuki
(Anime)
add
Recommended
I decided to start watching the anime The Twelve Kingdoms more out of convenience than genuine enthusiasm - the character designs and the general look of the show lulled me into dismissing it as a generic fantasy anime - an uncharming mix of demon-slaying and silliness (like the terminally unwatchable Orphen). But I was proved wrong, as the show quickly enthralled me, with a beginning that may not have promised a sophisticated story, but which was loaded with hooks to capture its audience: immediately interesting characterisation, a sense of urgency and bewildered excitement, and some original fantasy ideas and elements. Firmly hooked, I embarked on
...
a story that proved to be rapidly expansive, emotionally gripping, and unrelentingly interesting. Not only was I affected by the gritty profundity of the characters’ plights but I was consistently impressed by the many fascinating details that were woven into the story to bring the fantasy world to life, especially things that the fantasy genre often overlooks.
Much like I found the overlapping worlds of Seirei no Moribito to be an interesting concept, I really enjoyed the way this world of The Twelve Kingdoms was mythically linked to our own - and how the cultural response to the kaikyaku (people from our world who fall into theirs with the passing of a mystical storm) is handled. Although the world has its fantastical oddities and mysteries, the peoples that populate it, their trials and tribulations, their feelings of animosity and companionship, are inescapably human, bringing the creative setting to life with a sense of believability and depth. This is when fantasy is at its best as far as I’m concerned - you can shove as many wizards and dragons into a story as you like and it’ll fall flat without an edge of humanness. For example, I loved the fact that the world had its own language, and that the language barrier between Kaikyaku and the native populace was of great significance, and that the world is filled with as many people eager to take advantage of you as there are apt to be helpful and friendly. The differences in ideologies and cultural outlooks from one kingdom to the next also lend the world a greater sense of realism. All these things combine to create a setting that is alive and vibrant, and easy to become attached to, as one becomes attached to a real city or country with personality. Unfortunately, the dialogue is often stilted and seemingly unnatural (apparently every character is perfectly able to slip into a casual introspective monologue at the drop of a hat), and at the micro level, there are several small inconsistencies and poorly handled plot points dotted throughout the series which are sometimes distracting. Overall though, the story is woven together with deft hands. The series always has a strong sense of direction and an epic scope, with a story that deals with countless characters across many kingdoms, and yet which never seems bogged down, convoluted or tangential. Many anime series with fantastic plot seem to be unable to write it in a way so that the characters become emotionally involved in a profound way - but The Twelve Kingdoms really stands out from the crowd in this respect. Perhaps this is even more of an achievement given the length of the series - whereas most anime seem drawn out at 26 episodes, this show charges its way veraciously through its plot, with almost no filler to be seen. The only thing I could call filler would be the too frequent use of recapping. Perhaps it’s just because I watched the series in such quick succession, but it really did seem that there was too much time spent showing bits of previous episodes over again. The single biggest gaping flaw in the story is the lack of conclusion in Taiki’s story (leaving me looking to the novels). But for this, the story is wrapped up nicely, even without the originally planned continuation pending further novel releases. The production on the series is very well done - far from perfect but, given the length of the series and the scale of the story, I think the studio (Studio Pierrot) did a good job at producing it. The character designs are all very well detailed and attractive, and the battle scenes (excluding the bigger army battles, which would be impossible to animate properly on a tv budget) look really good, occasionally exceptional with brutal choreography and fluid animation. As was typical of this vintage, there are numerous shortcuts taken in the animation and many imperfections, but some leeway has to be given unless one wants to declare all tv anime before digicel to be badly done excluding Bebop. The background art fits the bill, with nice and detailed scenery and a sense of exoticness to the landscape. Beyond a satisfactory visual render for the show, there isn’t much more of note to the production elements, other than perhaps some of the music, which is used sparingly but to good effect. The main theme, which plays in the opening is a great little piece, with an inviting sense of heroism and adventure to it. The voice acting shouldn’t be overlooked, with some voices well and truly making their characters; the sympathetic Taiki, the soft-spoken elegance of the Mt Hou sages, the unbashful heroism of Shoryu, and the earnest performance for the lead character, Youko, whose transformation from an insincere and insecure high school girl to a battle-worn Empress is handled with impressive believability. Enhanced, no doubt, by these performances, the characterisation and character development in The Twelve Kingdoms is another of its triumphs. With one of the most memorable young heroines in anime, Yoko Nakajima, who is simultaneously easy to relate to and awe inspiring, and a large cast of supporting characters, each of whom have a distinct and interesting personality, this series is a joy to watch for those of us who love stories that flesh out their characters. You’ll swing from feeling pride at your favourite characters’ triumphs, to heart-wrench as they endure hardship and persecution, and lots in between. At the end of the series, you’ll be sad to see the curtains close because it will mean saying goodbye to a cast you have become attached to, whether because they are just likable or because you’ve empathised with them and watched them grow emotionally. I know I finished the series just wishing there’d be more so I could see what happens to Taiki, and what kind of rule Youko will uphold as a full-fledged Empress. In conclusion, the series is good wholesome entertainment, with strengths in the most important fields of storytelling: plot, and character. The production won’t make your eyes widen, but it keeps up with the rest of the series. Every now and then, things feel a bit disjointed or the writing seems a little forced or unnatural, but with 45 episodes there’s plenty of content to redeem its missteps. Some arcs are more consistently gripping than others, but none of them should ever bore, and all of them had me on the edge of my seat at their climax. When I say arcs, there are only 3 major arcs, and each of them overlap, so don’t think it’s “episodic” in any way. I recommend it to anyone who likes fantasy or who is just in search of an anime they can really sink their teeth into: a good old fashioned tale which is neither frivolous nor pretentious.
Reviewer’s Rating: 9
What did you think of this review?
Nice
0
Love it
0
Funny
0
Confusing
0
Informative
0
Well-written
0
Creative
0Show all 
Jan 27, 2008
Le Chevalier D'Eon
(Anime)
add
Recommended
Watching Le Chevalier De’on ended up being quite a saga for me. Back when it when it was initially airing, I was really enthusiastic about the series and was watching it as fast as possible - until AnimeYuki’s “as fast as possible” became slow enough to hamper my interest with signs of limping plot development. So I put the show on hold and recently decided to watch through it with a friend from the start again. At first, beyond the stunning first episode, I thought the show had some significant flaws. From the start it was immensely pretty, Production IG going all-out on the production,
...
and the plot was original, well-researched and envisioned in amazing depth and complexity - however, this all seemed wasted by languid pacing and tepid characterisation. In short, despite having a great plot, for a long time the show alienated viewers with its verbosity, lack of humour and characters that were largely hard to sympathise with.
Even until the very end, the main character, De’on left little impact, and were it not for the eventual growth of his comrades the series would have been hard to finish. Durand is a warm, likable presence and easily one of my favourite characters; his plotline toward the end of the series was undoubtedly a highlight, being both gripping and intense. The youngster, Robin is ultimately transformed into a remarkable character as he battles with the emotional challenges of their journey - grief, betrayal, revenge. And last, but not least comes the conniving and bitterly honourable Teillagory, who is not as straight-forward as we are lead to believe. The majority of the cast really come out of their shells and reveal their true selves as the pressure of the plot-climax accumulates, which makes for a final run of about 7 episodes that are packed with emotion and poignancy. Yes, the series well and truly redeems itself, trading slow-winded for brevity, and packing a really strong punch for the show’s climax. Those last 7 episodes are edge-of-your seat entertainment, and, quite frankly, exceptional in every way. I really mourn all those out there who dropped this show pre-emptively, as it truly teaches us the virtue that good things come to those who wait. Drawing from, and upturning the subtleties of the characters explored during the first half of the series, especially in terms of the ideology and approach to loyalty and patriotism, and slathering the audience with the answers to mystery after mystery, the plot explodes into a fiery culmination that extends to the very end of the last episode. As if just to mock those who did not persevere, this final run is also blessed with the very heights of Production IG’s production efforts. The animation in this episodes is excessively good, and, in terms of the cel detail and fluidity of motion, up there with the very best of animation ever produced in an anime tv series, if not the best. But that’s not all; beyond a generous budget these episodes display a sense of artistry that most anime cannot even approach. The background art is, in typical IG fashion, excellent, and a number of background works later in the series depict some really memorable locales and scenes. Let us not forget to mention that drawing a building as a background is a lot different to trying to recreate early France - the detail in the architecture is supreme. The directing in Le Chevalier only really shines as it approaches its end and there is more striking content to present, but when it shines it really shines. Honestly, I find it difficult to praise IG’s work here enough, but I’ll say that it ranged from impressive to astounding - high quality through and through, and more attention to detail being payed than I’ve ever seen from an anime series before. Very rarely am I captivated by the aesthetic beauty of an anime tv series (as very rarely does it have it), but frequently was while watching this series - particularly in episode 18. Not to be outdone, the musical production is very much up to scratch, with a mature, classical composition that captures the spirit of the series very well, and grants it plenty of energy when it’s needed. The sound in general, was in fact very good, with good sound effects, and a nice OP and ED capping each episode - they kind of grow on you. The plot is both a strength and a weakness of the show, its convoluted and complex nature meaning that it’s very easy to become lost or confused, and, towards the beginning, bored. However, the layered complexity of the plot is ultimately very rewarding, as the end pulls everything together and explains it all, making for very enthralling viewing (the kind that cannot be achieved with a simplistic plot). Furthermore, the way that it is interwoven into French history and the roots of the revolution is really very clever, and even more impressive that it was pulled off believably. There is a lot of dialogue, and a lot of step-based progression earlier in the series which can make it feel like it’s going nowhere. I do admit that some of the dialogue could have been trimmed here and there, but it certainly had direction, it just took time to build up a good momentum. I think the story is an ambitious one, in its scope and intricacy, the likes of which aren’t often pulled of well in anime. IG have gone all out in bringing this ambitious tale of politics, knighthood and the supernatural to life, and came very close to making a masterpiece. The conclusion is wholly satisfying and thrilling, and the whole series is rendered with artistic flare and meticulous attention to detail. Its downfall rests with its first half, which doesn’t provide enough emotional attachment or solid plot direction to make it captivating. Nonetheless, I urge everyone to press on until the show hits its stride and recommend it to everyone who thinks they’re capable of this.
Reviewer’s Rating: 9
What did you think of this review?
Nice
0
Love it
0
Funny
0
Confusing
0
Informative
0
Well-written
0
Creative
0Show all 
Dec 15, 2007 Recommended
Where Evangelion revolutionised the mecha genre, and perhaps inspired melodramatic experimentalism in modern anime, Gasaraki made a quieter step in a different direction for mecha. From the very outset, I’ll just say that one of the main draw points for this series is the mecha design, and the high degree of thought that was put into the functionality of the bipedal machines as effective tools of war in near-future combat. But there is a lot more to the show than that; Gasaraki is one of those rare anime that manage to rise above what could easily have become a convoluted mess of a plot. With
...
elements of military, romance, supernatural, sci-fi, mecha, history, and politics, Gasaraki is the product of an amalgamation of a whole slew of genres and plot-lines that manages to work. But it doesn’t work as well as it could have, and the constant juggling of its many characters and stories result in some elements being underplayed and others over-stressed. The character of Misuzu and her endearment to her brother seems to be almost completely redundant at times, and quite often you end up wishing one storyline was given more attention than others. But the hectic plot also means that the show manages to be engaging for the majority of its run without ever resorting to an episodic format, which is a bit of a rarity in anime. One of the show’s biggest flaws is its characterisation, largely in the first half of the series.
The series has a very large cast, and as such, it struggles early on in giving any one character enough attention to establish them as a believable, human individual. For far too long, the protagonists of the series are sidelined to a seemingly inconsequential role of feeling sorry for themselves, and most of the rest of the cast are like talking clichés. This results in a disappointing, flat beginning. But the show does eventually manage to pull in the viewers when things start to come together and the characters are faced with hardship after hardship, the way they handle each obstacle a contribution to their depth of character. By the end of the series I felt a strong affection for many of the characters, and the villains prove to be very satisfying in their antagonistic roles, with Gouda-esque scheming and cunning. The almost iconic Nishida was one of the more interesting characters, a tactical genius and a man of honour and strong values, he provided the backbone for the idealistic elements of the series. Unfortunately, Miharu is never quite granted enough development to make her anything beyond blatantly sympathetic, and Yushiro is often terminally quiet. The more outgoing members of the TA crew proved to be the best source of characterisation from the whole show. I’m not usually a fan of mecha at all, in fact the mere concept of creating bipedal weapons that dwarf other combatants or transform into jets is just impractical. A man-made bipedal weaponry would not only be incredibly hard and costly to create (just look at how long it took them to get ASIMO waddling about), but it would serve no purpose, having no benefit over existing vehicles of war such as tanks and aircraft. Not to mention, hominoid designs for mecha are only possible to a certain height, whereupon the sheer weight of the mecha would cause its legs and joints to crumble. Gasaraki, however, is the one and only mecha anime where the mecha is both feasible and logically designed. Rather than trying to sell them as useful all-purpose weapons, the “Tactical Armours” or TAs, are portrayed as being optimised for urban combat, where the mobility of tanks is severely limited. They are not oversized, instead built with a stock frame that is able to hold a large array of equipment, ammunition and some missiles. The thought that was put into them is quite impressive, exemplified by the fact that they, realistically, are not flawless super-powered machines. In one of the earlier episodes, for instance, the functionality of the TAs are severely impaired by sand getting into their systems when they enter combat in a desert area. Also, the piloting of a TA is shown to be quite a taxing experience, with the use of drugs to manipulate the pilot’s physical condition being a common occurrence (quite an adept foresight into the direction of warfare). In combat, their mobility is significantly better than alternative vehicles (especially as they are able to hoist themselves up the sides of buildings), but they are not overly dextrous or agile. This down-to-earth, believable portrayal of mecha is something I hadn’t seen done before (or since), and so I give the show credit for its pioneering mecha conception. However, with that appraisal out of the way, the fact that they are more realistic also means that the action scenes are often slightly subdued and slow, not as exciting as the fast-paced fisticuffs of your usual clichéd mecha. There are a number of action highlights, such as Symbol’s TAs taking out a unit of tanks in Belgistan, and the battle following the awakening of the Kugutsu, but all in all, the action scenes are relatively bland, and sometimes the animation budget clearly isn’t there to support them (such as when the rioting takes place later in the series). A few times, they are made more interesting by the ingenious use of the TAs many functions to escape a tight situation. The show maintains a relatively fast pace right the way through, so it isn’t lacking in excitement, but don’t expect to be blown away with intense action sequences. On the whole, the production values get the job done but do not excel. The character designs are different, but, with the exclusion of the Gowa family, also uite unappealing. There are a number of reused cels and shortcuts in the animation are apparent at times. The music, on the other hand, is remarkable, with an ethereal clash of archaic Japanese and modern, militaristic sounds. This melding of sounds is exemplified best by the OP, which I consider a musical accomplishment, and quite possibly my favourite anime OP ever. The soundtrack is fittingly haunting and refreshingly innovative. So, where the characters and the production are the sources of most of the show’s flaws, the plot is an understated success, crafting a complex mythos for the gasaraki, as well as deftly utilising the global economy as the stage for a truly modernistic conflict. The way the series balances, or rather, collides the old and the new through its exploration of multiple timelines, one set in archaic Japan and the other in the near-future, is clever and engaging. It mirrors the thematic core of the series, which is all about the conflict between traditional and modern values, and the resultant direction of human civilisation. I especially love the story behind the Gasaraki, and their plight was a nice way to cap off the themes of the show in a thought-provoking manner. I will also attest to the fact that Gasaraki truly nails the fragile balance between mystery and explanation; where many anime leave frustrating plotholes, Gasaraki leaves a hazy sense of unknown which compliments the new-age mythical tone of the show. It helps that I’m a great fan of political espionage and conspiracy, as a good portion of the show is spent scheming and plotting, as well as exposition interestingly delivered through news reports. There is a lot of dialogue, and the story is quite involved, so it’s not a show you can casually skip through. That’s not to say it becomes bogged down in pointless dialogue; there should be enough going on to keep anyone interested. All in all, Gasaraki is a series that should be applauded for trying something new and interesting with the mecha genre, and for the amount of thought that went into its complex story, but is one that failed to live up to its potential through unexceptional production and often poorly written characters. It’s a series that will be highly enjoyed by anyone with the fortitude to watch past its opening episodes, and for anyone who really appreciates innovation and a creative story. Those who simply must have strong dramatic elements to their anime, or who are likely to be apathetic toward the cool mecha designs may find the show very disappointing. In any case, its milestone treatment of mecha as more than a fanciful superweapon, is one that no other anime has put in the effort to match, and its plot is several cuts above the cliché that plagues the mecha genre.
Reviewer’s Rating: 7
What did you think of this review?
Nice
0
Love it
0
Funny
0
Confusing
0
Informative
0
Well-written
0
Creative
0Show all 
Nov 12, 2007
Toki wo Kakeru Shoujo
(Anime)
add
Recommended
This movie caught my attention way back when it first came out, due to the interesting premise of a high-school drama played out to the tune of quirky time travel - a fascinating combination of genres and concepts. Where time-travel is usually limited to the geekdom of science-fiction, and as such is used as a platform for (often overly) serious storytelling, The Girl Who Leapt Through Time whacks it onto an otherwise basic drama story to create a fresh, accessible movie with a gratifying romantic plot, and a zany, time-leaping twist. The protagonist, Makoto, has as much fun with the idea of time-travel as her
...
audience, abusing it for the frivolous and the trivial, as a source of unending entertainment, which leads to a whole slew of amusing scenes toward the beginning of the film. However, it is not until she begins to utilise her ability to travel back in time to avoid responsibility, particularly in avoiding being asked out by someone she considers a friend, that the consequences of her selfish antics begin to accumulate to disastrous effect. This leads the film in an emotionally gripping and turbulent direction as she begins to regret what she has done.
The dramatic themes of the films are juvenile in nature, that is, they deal quite simplistically with the indecision of youth, the inability to look to the future, and unrequited high school love. Some people above this age-group may be hesitant in this respect, but I found it wholly enjoyable because of a strong sense of Nostalgia. I found that it was disturbingly easy to relate to these characters from my memories of how I felt then. Makoto’s emotional immaturity and short-sightedness felt very familiar to me. The main theme of the film revolves around the line “Time waits for no one”, which Makoto reads on a blackboard the day she gains the ability to leap through time, and is an understated strength of the film. The romantic aspects of the film perhaps are allowed to overshadow this theme, but the very end of the film delivers a strong conclusive moral; it is not until Makoto has well and truly learned her lesson from her obsession with shaping the present, that she is able to look to the future and truly appreciate the meaning of the phrase “time waits for no one”. It was interesting to see time-travel used in this respect, by this kind of character. Whereas the consequences of time-travel are usually dealt with in terms of the dangers of changing the future by changing the past, this movie deals with the idea of consequences resultant of using it to try and avoid changing the present. Makoto’s desperation to maintain the status quo of the life she enjoys so much ultimately proves to her that it’s better to face the future. The romantic aspect, thanks to very believable characterisation and sharp dialogue that doesn’t pander to soppy romanticism or employ passionate monologues of profession, is very satisfying. For most of the film, love is approached in a realistic day-to-day-life approach that lends it an engaging sincerity. Clichés of romance, begone! More anime need to adopt the concept that you don’t need to look like a French aristocrat and carry a rose to fall in love. The central romance between Makoto and Chiaki is given above average depth by her initial obliviousness to his interest, which, through the challenges the film hits them with, turns to a believable yearning. The network of crushes and adolescent infatuations built up by the supporting characters is perhaps a bit tiresome and needlessly melodramatic, but the relationship between the two lead characters certainly elevates the film from interesting to engaging. The music, while far from bad or intrusive, is entirely forgettable, employing the time-old (and sufficiently effective) use of violins and piano to back the emotional scenes. The animation is nothing spectacular for a movie anime at all, but because we can’t grade all cinematic anime with the high-budget Ghibli productions, I don’t really have any complaints. The cel animation is very simplistic, but also very fluid and colourful, which may well be a style that is more fitting of the energetic youthfulness of the protagonist. It is an attractive film nonetheless, with really fantastic character designs (particularly Makoto) that don’t rely on stupid hair colours or styles to differentiate characters. The background art is high quality, as should be expected at the movie level, but is nothing exceptional. The element of the production that most seduced me was the seiyuus; Makoto’s seiyuu, who appears to be relatively new to the anime scene, was a perfect casting choice, and put in a strong performance. Without her performance bringing Makoto to life with such vibrancy and gusto, the film could have very easily been quite dull. Chiaki’s seiyuu was also notabley well-cast and was a perfect match for Makoto’s voice, making their interplay very fun to listen to. When all is said and done, this film is not the kind of film that will go down in history, or leap to the forefront of people’s favourite anime lists; it is not an exceptional movie, but I think anyone who enjoys a well-written drama will agree when I say it is a good film. If anything, it is a film that will be remembered for its sincerity and its quiet originality. Older fans may not appreciate its immature themes, but for the rest of us, this is a very hard film to dislike. It is perhaps bogged down in the middle of the film with Makoto’s frustratingly silly actions and the unnecessary complexion of the many romantic interests, but it is, for the most part, fun and engaging.
Reviewer’s Rating: 8
What did you think of this review?
Nice
0
Love it
0
Funny
0
Confusing
0
Informative
0
Well-written
0
Creative
0Show all 
Oct 26, 2007 Recommended
For a show with so much promise, Darker than Black is remarkably unremarkable, with a production as insipid as it is polished, and plot that tries so hard to be original that it ends up being turgid. I know there are hordes of fans of the show who will no doubt line up to disagree with me but, if the show had lived up to the expectations the names “Studio BONES” and “Yoko Kanno” conjure, I wouldn’t be here expressing my disappointment. But irrespective of expectations and potential, I couldn’t help but think of the show as dressed-up mediocrity, with only an added dash of
...
heart to save it from being entirely unmemorable. The show’s strengths lie in its characterisation and dramatic themes, which ultimately manage to shine through the absurd pseudo-sci-fi banter and general silliness. Its weaknesses are pronounced in the overarching story itself, and the way its progression is paced over the course of the show, but are also reflected in some surprisingly unimpressive production choices.
By no means is this a cheap anime, and on numerous occasions the visuals prove this with displays of technical excellence. However, I was rather dissatisfied with the show’s production due to its poor and uninspired use of aesthetics to create a sense of style or to build an atmosphere. I think the show could have been enhanced greatly with greater attention being payed not simply to the detail and framerate of the animation, but also to its overall look. The background artwork, excluding a few scenes inside the gate, is bland and disengaging, with basic design and criminally unsubtle colouring. Compare the striking, and varied cityscapes of Gits:SAC to the featureless squares that DTB passes for buildings. Walls are lazily depicted in gradients of grey or brown that seem at odds with the lighting of the scenes. Rather than bringing the settings to life, they actually detract from them. Perhaps I’m spoilt by IG’s background work, but for a series of such supposed calibre I found it to be very poor indeed. The cel animation is crisp and detailed, and holds up well in the action scenes (as expected from the professionalism of BONES). Unfortunately, the character designs it has to work with are fairly average, with a few exceptions (Misaki, Yin). The music is by Yoko Kanno, which says a lot for itself, although not as much as I’d like in this case. The quality of the music itself is inarguably high - not Kanno’s greatest work by any stretch, but nor her worst. Her jazz pieces lack the sophistication or personality of her work on Bebop and I can’t help but feel that Mai Yamane’s vocal contributions are wasted in her songs - but this still really good music. Unfortunately, it is often misused in the series - a common occurrence in anime. The problem with anime composition in the style of Kanno is that they’re more pieces of music in their own right than they are score music. So, at times, the choice of music for a scene is jarring and some tracks are too oft repeated. I have no real qualms with the music, I was merely expecting a little more; if I hadn’t known Kanno was behind it I would have been far less sceptical. Darker than Black presents the kind of story that only anime would have the audacity to envision. The strangeness of the story almost leads me to suggest that it exemplifies the desperation of anime writers - where originality can only be found in the most farfetched and bizarre. So, rather than revolving around a core sci-fi concept or idea, the story is merely a construct of frivolous machinations that have no thematic connection to the real world whatsoever, and which are left mostly unexplained. I find it hard to justify my reservations toward the premise of the series, but it probably amounts to the fact that it is completely ridiculous AND it takes itself seriously. Such a wedding of the ridiculous and the serious should only be undertaken at the hands of those with extreme stylistic prowess like Shinichiro’s Samurai Champloo or Cowboy Bebop - it really didn’t work out in this anime. As part of the modern tradition of sci-fi anime, Darker then Black has hit up the viewer with a whole arsenal of strange vocabulary to learn, like “Hell’s Gate, Contractor, BK201”, in what appears to be an attempt to alienate the audience while giving the impression everything makes sense if you’ve done your homework. The anime industry seems to have come to the irreverent conclusion that the more convoluted and inaccessible a storyline is, the deeper and more worthwhile it is. I’m not sure whether to blame Hideaki Anno for this, but Darker than Black is a certainly a culprit, leaving unanswered questions and logic gaps in its determination to condense a plot worthy (or not) of a fantasy epic into its 25 episodes. Much of my frustration stems from the fact that the core backbone of the plot isn’t divulged until far too late in the show, so that, for the majority of the series, you have an idea of what’s going on but almost no idea WHY, or why it should matter in terms of the overall plot. I’ve seen this in numerous anime before and I don’t like it. It comes off as being little more than a gimmick to impress the viewer towards the end of the series by suddenly whipping out the answers to its seemingly incomprehensible premise. I prefer a traditional, linear approach to storytelling, as knowing the context of the story always adds gravity and import to the character’s decisions and motives. The characterisation is, nonetheless, a strength of the show, a strength that is not flaunted nearly enough. In this arc-based show, it is important that a sense of affinity or empathy with a character is swiftly established, and DTB achieves this nicely. Many of its earlier episodes are saved from their redundancy by the profoundness of the minor character’ plights. Hei, the protagonist, is certainly quite lacking; he spends so much time being mysterious that it’s very hard to really care about him until the quick burst of character development he receives towards the end of the show. Luckily, the cast is rather large, and there are plenty of characters to become attached to. I grew particularly fond of Huang’s anti-social rhetoric, and Mao’s sceptical imparts. Together with Hei and the detached Yin their portrayal as a defunct family, who ultimately came through for each other, warmed my heart. In a fleeting grab for redemption, the series manages to pull out a surprisingly gripping and sincere finale, which very nicely brings together the many emotional themes and dramatic overtones that have been brewing. The result is a climax that will tug at the heart of cry-baby and cynic alike with a powerfully bittersweet wrap-up, even if it won’t divulge answers to some of the series’ greater mysteries. In fact, it was probably the most satisfying conclusion I’ve seen all year. But a delectable aftertaste cannot wholly excuse the lack of direction of the bulk of its earlier episodes - which almost seemed like padding before this final arc. This could almost have been a 6-part OVA series. When all’s said and done, the show was enjoyable enough through its entire run for me to recommend, but one should be prepared to be frequently underwhelmed and almost always unapprised.
Reviewer’s Rating: 7
What did you think of this review?
Nice
0
Love it
0
Funny
0
Confusing
0
Informative
0
Well-written
0
Creative
0Show all 
Oct 21, 2007
Seirei no Moribito
(Anime)
add
Recommended Seirei no Moribito was one of those rare anime that I commenced with an unshakeable sense of anticipation and with high expectations. I can never resist the urge to assume a show will be spectacular based on the staff or studio involved, even if my hopes have all-too-often been crushed (as was the case with Darker than Black). So, when I heard that Kenji Kamiyama, who is largely responsible for some of the finer creative inputs for both seasons of Gits SAC, was going to be heading this show with Production I.G, it instantly became my single most anticipated series of the year. By the ... time the trailer came along I was well and truly brimming with excitement. However, the show that I got was both different to what I had hoped, and also not as memorable or entertaining. On some levels, the show is a resounding achievement, and there are moments dispersed throughout when it reaches remarkable heights of excitement, emotion and splendour. Yet, when looked at as a whole, the show has failings that can not be ignored; most notably, flaws in the pacing and the build-up of the story. The element of Seirei no Moribito that most screams for attention is its stunning production, and here is where my faith in Kamiyama is affirmed. The entire series has maintained an unprecedented quality of art and animation. It has the look and feel of a (good) movie, with a sweeping cinematic mode of directing that befits the stories’ expansive fantasy world, and stunningly realised landscapes that bring the show to life. More so than in any other anime I can recall, the background art in Seirei no Moribito left a profound impression on me - this could well be the finest example of background art in anime, not just for its level of detail, but for the way it is used to enhance the atmosphere of the show and draw the viewer in to its vibrant and striking settings. On top of this, the cel animation, while it could quite easily have been blessed with a higher level of detail to match its surroundings, is amazingly fluid and vital when it needs to be. The use of cel-shaded CG has been popularised among IG’s producers it seems, and it’s generally put to good use in Seirei, to animate hordes of extras in scenes such as in the towns, or when the palace assembles its army. This means that these scenes are bought to life in a way that would otherwise not be possible with a tv anime budget, successfully avoiding the common anime trap of either having a surprising absence of people in the background, or have large crowds of people inexplicably still. Unfortunately, it sticks out a bit too much on a number of occasions, providing a nagging distraction. I think this show’s production also excels in a way that people generally don’t give credit for, and that is the expertise with which it is directed - Kenji Kamiyama’s style of directing is a subtle yet effective one. Unlike the in-your-face stylistic shots of Akiyuki Shinbo’s work (Sayonara Zetsubou Sensei, Tsukuyomi MoonPhase, Petite Cossette), Kamiyama has presented this series in a conventional yet fresh manner. The fight sequences, particularly those in the third episode, exemplify this, where the use of camera angles serves to make the fight more engaging while not drawing from the choreography. The wide and distant shots used in and around the palace are excellent at creating its cold, detached atmosphere, and the overall choice of shots is amazingly good at highlighting the show’s beautiful scenery. As he did with his directing work on Gits SAC, Kamiyama has created a visually captivating series. The music was a surprising achievement from the veteran, Kenji Kawai, whose scores I generally find bland and uninspired. I’m not sure why this anime marked such a great deviation from his usual standards, but the music in Seirei no Moribito is a really crucial contributor to its dramatic impact - from the urgent and threatening battle theme, to the quiet and hauntingly evocative tracks, the music delivers in every respect. I’m shocked to say that his work here was more compelling than much of Yoko Kanno’s recent work, and he wasn’t even creating music with real instruments. Fitting with the visual style of the show, the score music is very much produced in a traditional cinematic way, which does this show justice. Unfortunately, the show’s content fails to live up to its gloss, and I think this is mainly a failure of the pacing of the script rather than of the story itself (which comes from a novel series). The bare plot is an accomplished exploration of life and adulthood, and of the connection between humanity and nature. It is set in a fantasy world, but at its core it depicts a very down-to-earth, human ordeal. Fortunately, the intricacies and depth to the characters and their relationships is well incorporated into the show - the connection formed between Balsa and Chagum gives the show most of its emotional weight. The other thing that I found to be well written is the development of Chagum himself, as he is torn from his palace life and forced to experience life and shoulder responsibility. It is satisfying to see him grow as a person as the show progresses. Perhaps the egg inside of him is a parallel to his rearing into adulthood. The problem lies in the amount of time the show takes to achieve this development, and in the unsatisfying climax. My appreciation of a good story stems from its sense of direction toward a climax that brings together all of the crucial plot threads from throughout the show and culminates them in a burst of excitement of drama that pays off the time the viewer has spent watching it develop. Instead, the big event that the show had supposedly been leading up to was a rushed affair with a surprising lack of tension or emotional potency. The show did not have any filler per se, but by the time the conclusion was wrapped up I felt that a lot of the show’s time was poorly spent on redundant subtleties of its character development. The trailer gave a very different impression to what was delivered. Balsa and Chagum living together was nice a pleasant affair, but it lacked a sense of tension or danger that ultimately dragged down the middle of the show. The exploration of Balsa’s character was far too spontaneous and vague for my liking. I did get a strong sense of her character from her actions throughout the show, but I really think she had a lot more potential and that we were never given the kind of insight into her that was frequently hinted at. All in all, this show left me feeling unsatisfied, like being left hungry after a serving of fine food. The show is of undeniable quality; however the writers behind it failed to capitalise on its full potential, through sloppy pacing that made its stand-out moments seem like a tease, and through its inability to deliver a conclusion that sends off the show at its peak. I recommend this show to anyone with an ounce of patience, as the subtle development of the characters and their companionship is ultimately its most rewarding component. I think this show also succeeds in its fantasy elements - its portrayal of two intersecting worlds is fascinating. Don’t go into this series expecting non-stop, heart-pounding action, because it’s a laidback show about the endearing strength of the human spirit with only intermittent bursts of excitement.
Reviewer’s Rating: 9
What did you think of this review?
Nice
0
Love it
0
Funny
0
Confusing
0
Informative
0
Well-written
0
Creative
0Show all |