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'Kuragehime' is a gem. Granted, it's a gem that still needs to be cut, polished, and set into a ring, but it's still very well worth the read. Higashimura does so much right with this story, with her characters, and with the world that she built. Unfortunately, she doesn't quite nail the landing.

This isn't even a problem with the writing, as much as it is a problem with Higashimura stretching herself too thin with multiple projects, as well as herself and her editorial team not planning the spacing of the last arc of the manga. There was definitely room for two more volumes in ... order to properly flesh out the climax of the story, as well tie up everybody's loose ends.

But enough of the negative already. What did 'Kuragehime' do to deserve a 9?

I started reading this manga when I was 17 years old (I'm 21 now) and it opened up a whole new world of manga to me. I expected a silly story, one ridden with tropes and shalloweness, but what I got was a story that takes so many shoujo-manga tropes and flips them on their heads. Or flips them off altogether. This manga is hilarious, it's sometimes even preposterous, but never at any one point do any of the characters seem like cartoons. Despite all of their eccentricities, the Amars and Kuranosuke are very much real people, with real problems, and beautiful personal growth.

'Kuragehime' is probably the manga that kick-started my disdain towards vanilla shoujo manga. After I became so deeply invested in the world of these characters, and the stories that they had to offer, I could no longer look upon most vanilla high-school shoujo the same way. Why? Well, because it was refreshing to see characters - especially so many characters who are women - be concerned with something other than a shallow, silly romance or looks.

Sure, there's romance in here (I'll get that onto that later), and Tsukimi does have a complex about her looks. OK, a lot of 'Kuragehime' IS about looks and fashion. But it isn't about going through a drastic makeover and then suddenly making friends and winning the guy. It's about expressing yourself through art - no matter what your interests are - being yourself, learning to love yourself on the inside and then letting that love show on the outside. One of the most beautiful things this manga does is turn Tsukimi from an insecure, shrinking violet, who doubts are artistic ability and loathes her lack of femininity and appearance, into a creative genius who is capable of making beautiful items of clothing for the people she loves. Whilst growing to love herself. Without even realising that she now loves herself. And it isn't conveyed in a change of wardrobe. Yes, from time-to-time she'll get dolled up, but her appearance changes because her confidence changes. She's no longer hunched over, or sweaty, or timid. She walks with an air of confidence, and she looks happy, all the while still wearing her braids and funny glasses.

As someone who has both an eating disorder and depression, the message this manga sent was truly beautiful. It embraced the diversity, eccentricity, and unconventional beauty of its characters and said: you are worth it. You deserve to be loved. You don't need to look like everybody else, or behave like everybody else, or conform, whatever you do is the right thing.

I think that's why it handles the concept of Kuranosuke's fluid gender identity very well. Their gender fluidity is never portrayed in a cheap manner. It's not used for laughs; Kuranosuke's not the butt of the joke - they're a hero. A beautiful hero in a dress and a wig. Kuranosuke may ID as a man, but he rejects the societal pressures and expectations placed upon him because of his gender and decides to be his own person. Dressing up in clothing that are traditionally seen as being "feminine" is just part of his way of expressing himself. I won't get into too much detail about the reasoning behind Kuranosuke's decision to start wearing "women's" clothing since it gets into spoiler-y territory, but it's definitely worth the read in order to find out.

Now, onto the romance. I love romance. A story is never usually complete to me if it doesn't have some sort of element of romance in it. However, I'm also incredibly jaded, and rather cynical, for someone who likes romance as much as I do. It's probably why I can no longer stand the horrible excuse for a "romance" story that we are so often presented with in crappy high-school shoujo manga. That shallow, superficial, love-at-first-sight-even-though-the-guy-is-an-asshole-and-we-have-nothing-in-common romance played out in the corridors of a school when the students should be more busy studying. I can't stand it. It infuriates me. It's so pathetic, and woefully unrealistic.

Do teenagers even talk like that? When I was a teenager, my peers were more concerned about getting hammered on the weekend and having lots of sex. Not writing love letters of Shakespearean proportion to the boy in the next class that they only laid eyes on one. But, I digress. My point is, 'Kuragehime' lets you think that it's going to fall down that superficial love-at-first-sight romantic route by giving us a romance based on exactly that. However, it unravels that trope, showing you just how shaky a relationship based on such superficial qualities is. How it that flame of 'love' dies as quickly as it sparked to life. And you know what else it does? It shows us that it's not a bad thing that our crush didn't work. It's not the end of the world like shoujo manga tells us. It's actually a really good thing, because it allows us to understand what exactly we want from our significant other, it allows us to realise what it means to really fall in love.

Though I do think it's completely unfair that Akiko Higashimura has created a completely unrealistic precedent for men in the form of Koibuchi Kuranosuke. I mean, where can I find a man like that?! He's a bit vain, but honestly, the pros greatly outweigh the cons. lol

It's quite sad that through all of that 'Kuragehime' didn't deliver on the ending -- not that the ending was bad. Actually, it gave us a lot of what I was already expecting through foreshadowing. However, it was just so rushed. It gave us glimpses to things that deserved chapters. To be honest, Higashimura did her characters a disservice by rushing the ending like a J-dorama. I don't entirely blame her, because she did have a lot on her plate at the time, and it had been announced a while ago that 'Kuragehime''s final volume was going to be its 17th. But she should have planned herself a lot better. If only she had shelved 'Tokyo Tarereba Girls' (also a must-read) until after 'Kuragehime's conclusion, we might not have had to go through such a messily executed ending.

Nevertheless, 'Kuragehime' is still most definitely worth the read. You will come out of it with a sense of joy, and with characters that stay close to your heart for a very long time.

Rakugo: an oral art form that hails from the Genroku period of the Edo Era. A lone storyteller, introduced by the glimmering tones of a shamisen, appears on stage to mystify an audience of all kinds with a comical tale that usually heralds some sort of a moral message. The lone storyteller, equipped with nothing but a fan to assist in his gestures encapsulates his audience through changes in tone, gesture and behaviour in order to successfully manifest the characters the story is about. Through this, the rakugo-ka is able to draw his audience into a trance that is only broken when he ends ... his story with an elegant bow.

Sometime in the later Shouwa Era, a young man is released from prison with a goal to become a great rakugo-ka; his passion to pursue a profession deeply rooted in tradition is contrasted with the backdrop of a rapidly modernising Japan. The young man is apprenticed to a national treasure: the rakugo-ka Yuurakutei Yakumo, who strives to preserve the traditional essence of the oral art, despite the younger generation writing it off as being a stuffy piece of entertainment reserved for the elderly. With this, the story shifts perspective and tense, and becomes almost rakugo-like in nature as the aging Yakumo recounts his past to his apprentice.

From here on, Shouwa Genroku Rakguo Shinjuu clearly establishes itself as a character-focused drama that takes its time to unfold the emotions, ambitions and thought-processes of the characters that inhabit the world of the series. Far from being a boring slice-of-life character-driven anime, that relies heavily on plot-devices to push the characters forward, Shouwa Genroku Rakugo Shinjuu manages to establish a compelling and evocative narrative, that respects its characters and settings, whilst naturally progressing the plot without the need for artificial plot-devices.

Although languid, the pacing never crawls to a halt, as focused direction and tight writing removes unnecessary exposition that often prevents the progress of failed stories akin to this one. The story is approached with a deft hand that appreciates the fact that the story is told from perspective Yakumo’s memory. Minor details are approached swiftly, whilst aspects of the story that carry deep emotional importance to Yakumo are emphasised and divulged into. This approach allows for a steady, well-balanced pacing that never lags nor feels too rushed.

The characters are most definitely the strongest point of the series. The exploration of the characters’ personalities, the presentation of their growth, and the dynamics that exist within the multiple relationships are all handled with great care. This allows the characters to be presented as human beings, rather than as props that exist in order to push forward the plot.

Rakugo is never treated as a simple backdrop for the story and is part of the characterisation itself. It is Rakugo that leads to the self-actualisation of both Yakumo/Kikuhiko and Sukeroku, although their mutual love for it sends them down two very different roads. The toils that they experience, and the way they are handled, are used as artistic inspiration to bring life to the stories that the two are telling. Their individual Rakugo is also used to characterise them: Sukeroku brings an boisterous and exuberant personality to his Rakugo, enlivening the audience, whilst the more reserved and introspective Kikuhiko draws the audience into his world - keeping them entranced until his stories are over. Although bittersweet, it is a delight to see the two develop as humans whilst refining their craft, and the series does an excellent job of portraying the of the passion and despairs that come with being an artist.

This is why the 5-15 minute segments of Rakugo, that exist in the series, are so vital. Much of what Kiku does is affected by the importance Rakugo has on his life, and in turn his actions affect the quality of his Rakugo. Through the extended scenes where we see Kiku (and Sukeroku) orate a story, we can tell where exactly and how they have grown because their Rakugo affect their characterisation. Especially in regards to Kiku, his sneaky and intricate performances seem to reflect a darker element of his soul. It takes great to skill to intertwine the art with the character and make it fundamental to their development, but Shouwa Genroku Rakugo Shinjuu manages to accomplish that in an evocative manner that resonates with the audience.

Of course, dynamics between characters are of utmost importance as well. Although the story is told from Kiku’s perspective, and he is the main attraction of the show, not a single character of importance is neglected and left as a cardboard prop on the stage. Almost every single character is presented as being multi-dimensional with flaws, ambition and struggles that are explored both introspectively and in relation to Kiku himself. Not one character’s struggle is written off as being trivial, but is instead treated with a sensitivity that evokes compassion from the audience, whilst, at the same time, affecting the characterisation and perception of the other characters. For example, the geisha Miyokichi acts the source of emotional development for Kiku as his romantic relationship with her is what leads him onto the road of mastery as he is able to use her for “artistic reference”. However, Miyokichi is more than just romantic fodder, as Kiku’s success is intertwined with her downfall as she comes to the realisation that yet another man she has put her whole faith and love into is abandoning her because she has served her purpose.

The setting of the story is also treated with tantamount respect. The audience sees Japan go from a country that is steeped in tradition, with yukatas and kimonos being frequently worn on the streets and rakugo theatres in high attendance, to the war bringing the era of tradition to a close. With the influence from the West came American forms of entertainment that proved more popular as society shifted from tradition to progression. Thus, as time goes by, audience numbers continue to dwindle for whilst Rakugo prides itself on being “steeped in tradition”, the audience see it as stagnant and lacking in progression. The setting lays a good foundation for the characterisation of our characters as Sukeroku’s progressive ideas on Rakugo are contrasted with his Master’s (and Kikuhiko’s) orthodox approach to the art form. In addition, whilst society is shown as becoming more progressive - at least in regards to fashion and the arts - more conservative ideas are highlighted as juxtaposing the apparent “modernisation” of Japan. Through focused direction and clever writing, the team behind Shouwa Genroku Rakugo Shinjuu have managed to make the setting of the series a living and breathing thing that doesn’t just act as a back-drop for our characters’ stories, but also impacts on their lives.

Whilst much of my praise for Shouwa Genroku Rakugo Shinjuu is directed at its realism and natural progression, there are times where elements of the story and characters’ actions can feel staged. Rather than seeing that as a flaw in the series, it can be perceived as being a dramatic device used to highlight the unreliability of the narrator. Kiku is a storyteller, not just in name but in nature too therefore elements which may seem theatrical are most likely parts of the story that Kiku has inserted for his own convenience.

One of the main reasons Kiku recounts his past is in order to reveal the truth behind his late friend, Sukeroku’s, death. The more “scripted” parts of the story suggest that an altered version of the truth is being told. I thought of addressing this matter because I have seen complaints about some scenes seeming staged with some characters acting too out of character to be believed; however, the existence of Kiku - a clearly unreliable narrator - suggests that the audience is being withheld the real truth. This provides an excellent, as well as compelling, set-up for the second series because although the “flashback” aspect of the story has been told their are threads that will carry on to the present until the real truth is revealed. Accomplishing such a feat without making the story seem incomplete takes real sense of focus when it comes to directing.

Nevertheless, it is understandable why some audience members may not feel invested in the scenes with heavy theatrics.

The final source of delight comes from the series’ audiovisuals. Despite being very dialogue heavy, the art and animation is never compromised with some of the most power scenes being where emotions are silently conveyed in changes through changes in facial expression. The voice actors were also able to successfully portray their roles - with the voices behind Kikuhiko and Sukeroku managing to perform Rakugo whilst staying true to their characters’ personalities, respectively. The blues and jazz soundtrack perfectly complemented the warm-toned palette, whilst highlighting the modernisation of Japan. Whilst the classical strings of the shamisen reminded us how deeply rooted in tradition Rakugo is. If one cannot admire the story Shouwa Genroku Rakugo Shinjuu has to tell, they can still admire the audiovisual splendour of the series.

Whilst I can find no reason to say that the series was anything other than great, it is not for everyone as the conflict is internal with gradual build-up. It is story about its characters, not about any great mission that is common in most popular series. Lastly, this isn’t a complete adaptation of the source material so there are evident loose ends (especially in the final episodes), but it all provides for an interesting set-up for the inevitable second series.

Shouwa Genroku Rakugo Shinjuu lives up to the art form that it pays homage to. It manages to provide us with an intimate insight into the lives of two men who loved and lost for their art, whilst changing themselves and each other in process. Their’s is a tale that will continue to resonate even when the rakugo-ka takes his final bow and the curtain is closed. As art forms continue to evolve, the remnants of those that existed before the new one’s will continue to echo on.

--- DISCLAIMER: Minor Spoilers Ahead ---

Lovely Complex was OK: there were times where it was hilarious and I really liked it; however, more often than not, Lovely Complex's story and characters tested my patience. Because of that, I think that it's fair for me to give Love Com a score of 6.

Going by most of the comments about Love Com, it's clear that many people regard the series highly and believe it's 'refreshing'. However, if one ignores the fact that Risa and Otani have a rather large height difference, Love Com is your standard shoujo romance set in a high school. Risa is your standard ... noisy crybaby whilst Otani is your standard jackass with a soft heart. The rivals are clingy, one track-minded and annoying (as per usual). The misunderstandings are typically stupid. Everything just follows the standard romantic comedy formula without doing anything different at all. Yeah, the gags are funny but they're too far and few - especially when most of the pages are full of incessant whiny and crying (from Risa's part).

The relationship between Risa and Otani isn't particularly innovative either. Of course, Risa, being your typical submissive heroine, is the first one to fall for Otani after he does one nice thing after being a huge jackass for most of the time. She chases after him in her mission to "make him love her". Now, I know this isn't an uncommon trope in manga like Love Com, but in the case of Risa, it really goes on for far too long. I really hated seeing her try so desperately to make Otani fall in love with her for as long as she did. She was so whiny and pathetic - it was as if this girl's only goal in life was to get some permanently butthurt half-pint, like Otani, to fall in love with.

When the two finally do get together, the relationship itself is just as generic as the build up to it. A rival, or a stupid misunderstanding, will arise and either Risa or Otani will end up blowing their top off and throwing accusations at the other party. Cue a bucket of tears from Risa, and lots of cold glares from Otani, several pages (sometimes even chapters) of not speaking to each other etc etc before the side characters tell the two MCs that they're both being unreasonable idiots and should just talk things out. MCs talk things out and make-up. Rinse and repeat. Literally, that is pretty much all that happens in Love Com. Things do get more interesting near the end of the series when it starts to focus on the prospect of the future and we get to see more of the supporting characters, but otherwise, there's really nothing that sets this manga apart from others in its vein. The story is actually really frustrating, for the most part, and I found myself rolling my eyes on more than one occasion because all of the major conflict was seriously stupid and pathetic. I understand that the two are in high school, so they don't need to have such severe communication problems. It's so inane.

Furthermore, Risa is just plain annoying. I could barely tolerate her. She had been a whiny and hypersensitive crybaby from the beginning, but instead of getting over her insecurities once she got boyfriend, she got worse. All she did was moan, whine and cry. It was like Otani was much better, but at least he did mature a bit as the manga went on whilst Risa's character just stagnated and she continued to be her incredibly childish self. Both of the characters were stupidly selfish as well, and I don't think they ever truly got rid of that.

Honestly, I don't think the relationship in Love Com is a particularly viable one. Risa and Otani weren't compatible, in my opinion, because they spent more time bickering with one another instead of having meaningful communication and trying to get over their differences diplomatically. It's probably why Love Com did very little for me, in the romance department. I would have preferred reading more about the supporting couples because whilst those relationships did seem to have some conflict, it wasn't incessant and they seemed compatible with another.

As for the art, well, as for most things about this manga, it was generally OK. My biggest gripe with the art is that too many of the characters look exactly the same sans for different hairstyles. Even Otani and Risa look ridiculously similar. However, this manga did have some excellent comedic facial expressions. They were hilarious and better than the characters' regular faces.

Overall, Lovely Complex is OK. I wouldn't tell people not to read it, but at the same time I wouldn't recommend it either. I think there are lot of manga, like Lovely Complex, that do what Lovely Complex does, but better and with more depth. It's disappointing to see the characters barely develop over 62 chapters as it makes their relationship seem really shallow. I mean, it's all well and good that they say that they love each other, but I can't help but wonder WHY after reading Lovely Complex. I did have high expectations for Lovely Complex. Unfortunately, they weren't fulfilled, but I wouldn't say it was a waste of time. It was a fun way to kill time, whilst it lasted, but I probably wouldn't read it again if I didn't have anything else to do.

[SOME SPOILERS AHEAD ARE NEEDED FOR REVIEW PURPOSES: READ AT YOUR OWN PERIL]

I liked Steins;Gate. It was decent. For the most part, the experience was enjoyable; however, I don't agree with the hype or gushing praise that surrounds the anime. My feelings towards S;G are somewhat mixed - though they lean more towards the positive end of the spectrum - therefore I'm going to whip out my favourite review format in order to express how I truly felt about the anime. So put down your fistful of dollars, and be prepared to witness the run down of The Good, The Bad and The Ugly of ... Steins;Gate.

THE GOOD:

1. The development of Okabe Rintarou's character. For about 8 episodes, the main protagonist of S;G was one of the most annoying characters I have ever encountered in fiction. He was an egomaniac with an "evil genius" complex. Annoying and incredibly immature, Okabe grows from a guy who likes to do weird stuff in his Mother's basement into a proper adult who is relatable on a human level. His emotional struggle and the sacrifices he has to make in order to right his wrongs, completely destroys the façade of his character forcing him to see the world for all of its true ugliness. By the end of S;G, we get a jaded, somewhat passive, man who is completely disillusioned by his own delusions and what the future holds and is just trying to make the most of the present. I never thought I'd say it, but by the end of S;G I ended up really liking Okabe.

2. Mayuri. She really proves why she's the most important person in Okabe's life. She's essentially a major part of his personality and we probably wouldn't get to see him develop so rapidly if it wasn't for her. Unlike the rest of the characters, Mayuri's perspective isn't influenced by science. She's not constantly looking at things from a scientific point of view or trying to analyse people as if they were machines. She might not understand what Okabe or Kurisu (the main female protagonist) have to say all the time, but she understands people's personalities better than anyone else. Mayuri is able to detect a slight change in behaviour, and from that she provides truly beautiful advice that isn't pulled out from some psychologist's study of personality or emotional disorders, but comes from her relationship with the characters. She's fleshed out so realistically that she comes across as being almost human - it makes sense as to why Okabe holds her dear.

3. The voice acting. I don't think there was a single weak member of the cast: everybody captured the personality of their character perfectly well. Miyano Mamoru was especially outstanding as Okabe - he captured his transition from complete immature idiot to a grown men who has gone through hell and back for the ones he loves perfectly. I still can't believe he's the same guy who voiced psychopath Light in Death Note, though, because the characters sound completely different. Hanazawa Kana was perfect - as per usual - as Mayuri: she brought a real childlike innocence to the character with a lyrical, yet emotional, performance. She, once again, proved why she's one of my all-time favourite seiyuus.

Now that my praise for this anime has come to the close, it's time to move on to the more interesting part of my review -

THE BAD:

1. The pacing. S;G suffers from some pretty bad pacing for the first 8-9 episodes of its run. I was tempted to drop it, had it not been for the encouragement of my friends, because it gets off to a really slow start. I'd say the first half a cour is really boring and a struggle to get through with the pacing also slowing down near the end of show. A better director would have resulted in a higher score.

2. The plot-holes. There were a lot of plot-holes regarding how time leaping and D-mails actually work - especially during the later parts of the show. The writers didn't even bother to gloss them over, they just ignored them.

3. Character development of the supporting cast. Characters aside from Okabe were barely developed - which includes Mayuri despite my love for her - this probably has something to do with the fact that every time Okabe time leaped, he was the only one who retained his memories. Therefore, whilst Okabe kept growing, everyone else returned to their original states and just remained one dimensional. It made it difficult for me to sympathise with a lot of the characters - especially the shows main female lead, Kurisu. I also found a lot of their actions to be quite unexpected because there was no development to justify what they were doing, they just did it for the sake of driving the plot. Which brings me onto my next point...

4. The romance. It. Did. Not. Make. Any. Sense. Whatsoever. Where, in between constantly time leaping in order to make sure Mayuri didn't die, did Okabe and Kurisu find the time to fall in love with one another? I mean, it can't have been before shit hit that fan because my observations told me these two developed nothing more than an awkward friendship. When Okabe said he loved Kurisu I actually burst into laughter because it was so freaking random. There had been no prior hints to suggest that those two loved each other, and the love was even less realistic coming from Kurisu's side because she would lose her memories every time Okabe leapt through time! I was just left really confused by the totally unrealistic romance and I really think S;G would have been better off without it.

5. Makise Kurisu: I just don't like tsundere characters. I find the inherent dishonesty of their personalities off-putting. Kurisu isn't the worse tsundere I've encountered, but she's annoying and I don't like her.

THE UGLY:

There wasn't anything abominably bad about Steins;Gate except for the animation and art. Everyone was fug and the animation was pretty cheap. Some of the shots just really sucked, and I hated just saying the mouth move on characters during conversations with only slight camera pans. The small budget that the anime has really, really shows. I got used to it after a while, but I know some people find ugly anime a big turn off.

Oh yeah, the original ending also sucked ass pretty bad and was a steaming pile of deus ex machina (therefore I recommend skipping it entirely and just watching the alternative episode 23).

---

To reiterate, I liked Steins;Gate and I thought it was decent. However, it was definitely not without its flaws. They did have an effect on my enjoyment experience - especially at the beginning - therefore I believe that my 7/10 score is definitely justifiable. But, hey, this is just my view on the matter and if you're a fanboy/girl who believes that I'm wrong - go ahead and drop me a line.

[DISCLAIMER: minor spoilers ahead]

Trust. The faith that we humans put in others hoping that they will not break it in return. But when that faith is broken by the one we held most closest to our hearts, in the most brutal way possible, how can one not help but lose their trust in humanity? In Akatsuki no Yona we see our heroine - the Princess Yona - extend the arm of love and compassion despite suffering from a bitter betrayal.

The momentum of Akatsuki no Yona kicks in right from the first episode with the chirpy tone being undercut by something more sinister - instantly grabbing ... one’s attention. The pacing is generally quite good, but are times when the plot is somewhat disrupted by frequent flashbacks, but those are mainly in the first third of the anime. Whilst Yona is a shoujo anime, it doesn’t shy away from violence. There are plenty of fight scenes to keep you in your toes, but they aren’t just there for simple entertainment purposes - fight scenes include the psychological analysis of various characters. Romance is not a driving factor in the anime, either. Yes, it is made clear from the beginning that Yona is very much in-love with her cousin, Soo-Won, but this isn’t a story about how Yona is pining for him whilst wanting to murder him. There’s no “I love you so much, but you killed my Father therefore I’m going to end your life, and mine, in a Shakespearean murder-suicide”. Instead, the line between hate and love is blurred and whilst Yona’s difficulty to completely throw Soo-Won away is important to the plot, romance is really not a priority. The anime instead focuses on putting Yona and her entourage in situations that will test them and our heroes go through a lot of hassle to get to where they are at the end of the anime. Friendship, betrayal, suffering and other important themes are well-explored within the 24 episodes.

Furthermore, the anime is not afraid to tackle difficult subject matter in order to test the strength, resolve and resilience that Yona has been building throughout the length of the show. I won’t talk too much about it, but anime can have the tendency to deal with such matters in an insensitive way sometimes. But in Akatsuki no Yona, the issue is dealt with tact and nobody’s dignity is compromised in the process.

As the main character of the show, the anime is essentially Yona’s story. The story of a once weak, naive, sheltered and - sometimes - spoiled young girl who fights to become a woman of strength, honesty and wisdom. Yona does more than just find four dragons on her journey through the Kingdom that her father once ruled: she grows up and forces herself to become resilient to her own suffering so she can help others alleviate their terror. We see Yona put others before herself. Her fellow companions attempt to shield Yona from stepping into something serious and encourage her to depend solely on them, but she refuses. She refuses to remain docile and ignorant. Yona’s resilience and passion makes her remarkable person. She is unlike any shoujo female protagonist that I have ever encountered, in that she goes through the most character development and it is her character trajectory that proves to be of most importance. There’s no need to worry about a wet-wipe of a heroine who can’t even think for herself. Yona is not just the heroine in name, but in what she does as well.

Hak, dubbed the Thunder Beast for his brute strength and skill in battle, is more than just a raging warrior that his nickname makes him out to be. As Yona’s bodyguard and trusted childhood friend, he is conflicted between making her rely him for 100% protection and allowing her to become stronger on her own. Despite the emotional tirade that Hak seems to be fighting within, he still manages to be teasingly humorous and relaxed when the time calls for it. It’s what sets him apart from other shoujo loyal-dog types. He’s not brooding nor is he bitter: he is, at heart, a selfless man who doesn’t mind being sidelined as long as it makes the people he loves happy. He might be righteous, but that doesn’t make him dull. He’s one of my favourite characters on the show - after Yona - but he wouldn’t be if he was the irritating silent and ‘cool’ type who always protects his master from the shadows (and never has anything nice to say). Hak is up-front and honest in everything that he does (even if Yona doesn’t always catch on to his true intentions) and that is what makes him so lovable.

To round it up, the third main character is Soo-won - our main antagonist. However, I’d be lying if I said I hated him. Akatsuki no Yona doesn’t give us a flat and psychotic villain with a laughable motivation. Instead we are presented with the counter to our heroine, he is not the epitome of evil as most villains are. Dishonest and cunning he may be, but Soo-won doesn’t believe that he is actually doing anything wrong - and it’s somewhat hard to disagree with his motivations. He seeks to repair weaknesses within the Kingdom of ... whilst uniting the five tribes in order to both strengthen the country against outside invasion and improve the lives of his subjects. His motivations are, essentially, honest but the way he goes about doing thinks is morally reprehensible. In my opinion, his character his full of nuance and I’m interested to see how he progresses once I catch up with the manga (and if the anime gets a second season).

The cast of supporting characters are also very interesting and there wasn’t one that I felt was unnecessary baggage. Although they are developed to varying degrees, in relation the amount of time they have on-screen, we get a clear indicator of their personalities and they all complement each other whilst adding depth to the show.

Don’t let the number of men put you off watching Akatsuki no Yona. This is a far-cry from a reverse-harem series. Yona’s entourage (excluding Hak) might be devoted to her and care deeply for her, but there’s none of this “I must protect Yona because her heart calls to my heart” garbage that we so often see in shoujo with a lot of dudes.

As well as a good plot and well-developed characters, Akatsuki no Yona also has some of the most beautiful animation I’ve ever seen. The colours, character designs and sceneries are a real treat. The actual animation, itself, is also very well done. Characters are never seen in still shots and the fight scenes are animated with fluidity and precision. The soundtrack is also gorgeous - with the second ending theme being one of the most beautiful things I ever heard. I especially appreciated the inclusion of more traditional sounding East Asian music and instruments as well. There’s also some pretty outstanding voice work as well (nothing ever sounded stilted and flat): with the Yona herself having a very emotional and nuanced performance. Chiwa Saito really captures the highs and lows of Yona. Special shout-out also goes Yuusuke Kobayashi who manages to make Soo-won sound both lovable and detestable.

Overall, I think Akatsuki no Yona is a great anime that was able to capture me from start to finish. It’s both moving and entertaining as well as wonderfully produced. I do hope it gets renewed for a second season because there were plot points and characters that needed development. It also ended in a way that suggests the studio wants to go ahead and adapt the rest of the material of the manga - that leaves me hungry for more.

What could go wrong with an anime about a girl who is shunned for being able to manipulate her blood and a boy who feels like an outsider because he's half-demon? What could go wrong with an anime produced by one of the best studios in Japan - a studio with a string of successful anime under their belt and a history of great animation? Apparently, a lot.

Kyoukai no Kanata suffers most from poor direction. When one sees "dark fantasy" in an anime's description, one expects an anime to be exactly that - a dark fantasy. However, somewhere along the line, Kyoukai no Kanata turned ... into Kyoto Animation's typical slice-of-life anime with a high school setting (with some poorly timed stale humour thrown in for lols). This is especially obvious in the idol episode which completely derails the whole anime and turns Kyoukai no Kanata into a tonally confused mish-mash with absolutely no sense of a story.

To make matters worse, the main characters of Kyoukai no Kanata were so insipid they were difficult to hate. I felt absolutely nothing towards them as a viewer. They had no depth and were incredibly flat - it felt like Kyo Ani were characterising them by their quirks and looks rather than their actual personalities.

This was most pronounced with Kuriyama Mirai who was incredibly cute with her cool hair and glasses. But asides from her cool hair and her glasses, there really wasn't much else to her at all. She had some scars, but that back story wasn't explored enough for me to feel any true sympathy towards her. Besides, her character trajectory was glossed over so quickly I didn't really understand the extent of her relationship with the girl she killed. This was similar with Kanbara Akihito: I defined him more by his (annoying) obsession with glasses and girls who wear them rather than the struggles he faced as someone who is half-demon. The chemistry between the two main characters was also completely non-existent, which made me wonder how they had even fallen in love. I just couldn't buy their romance and saw their feelings as nothing more than Mirai's appreciation for her Senpai, and Akihito's obsession with a chick who wears glasses. I'm not even going to talk about the Nase siblings because there was nothing to them whatsoever. I mean, nothing. They were like wallpaper.

I didn't really care much for the voice-acting - nothing was particularly outstanding, and most of the characters tend to speak in the same tone throughout. The art and animation, however, were excellent - and I don't expect anything less from Kyo Ani. Beautiful colours, individual designs, fluid movements and excellent battle scenes made Kyoukai no Kanata a very eye-pleasing watch. Nevertheless, there's only so much a pretty animation can do for a vapid story.

I'm very, very annoyed with Ao Haru Ride at the moment. I write this whilst hitting my head against a proverbial brick wall, wondering why I wasted four hours of my PRECIOUS life watching such a limp anime when so many of my friends told me to avoid it. I just had to be a rebel, didn't I?

I've got nothing against the shoujo demographic, romance or slice of life - I actually really enjoy it when its done well. Unfortunately, this was absolutely not the case with Ao Haru Ride. It spent 9-10 episodes doing nothing but play endless feeling ping-pong. Some semblance of a ... plot didn't actually kick in until episode 11, but by then it was too late because that was the penultimate episode of the anime. The story was so limp that the cheese dangling in front a mouse plot device used at the end of episode 12 did not excite me an ounce, because by the time the thing was finished I was barely paying attention.

I know this is a slice-of-life anime thus it isn't really meant to have an overarching plot because it's more about the characters, than the story. But when an anime has characters as flat, shallow and soulless as the ones in AHR the anime has a big problem.

There was hardly any character development from any of the characters outside of the main pair. The supporting cast were frankly irrelevant and a waste of screen time. I didn't know any of their names and you could have swapped others in their place and I probably wouldn't have noticed.

Kou was the only one who had significant character development and it wasn't anything exciting at all. You see, despite what some will say about him, Kou is nothing but a 16 year-old arsehole with angst issues. His character trajectory is supposed to make us feel like he's something else, but he doesn't even have a trajectory that makes him redeemable. Everyone else around him is doing all the hard work whilst he's just stringing them along and confusing them emotionally - this is especially the case with Futaba.

I know the difficult time he went through affected his personalit, but it isn't any justification for how he treated people. What he did was morally reprehensible: he always played push-and-pull games with people, without giving a second thought towards their feelings. I've seen people do that in real life and TRUST ME when I say that it doesn't end well. Nobody will put up with that shit for a long time - no matter how much they care about you - because people like Kou are highly taxing on one's emotional stability.

I'm annoyed with Futaba for loving Kou, but, otherwise, I actually like her. I think she's got some horrible taste in friends and men, but she's honest and she's got guts. I'm glad that she finally realised it's okay to be yourself, and be hated for it, instead of being loved for who you aren't. Her character development was incredibly short though, and she stagnated after the fourth episode. Nevertheless, she was the gem in the dust and I saw aspects of myself in her at times.

Makita Yuuri is the only supporting character I'm going to talk about because, for about 30 seconds, she was a plot pusher. The other lot are so irrelevant I can't even remember their faces (and I finished the anime just over an hour ago). I have no problems with cute characters, but Yuuri wasn't cute she was just plain sly. She says it herself, at the very beginning, that she only acts cute because she wants male attention and appreciation. Not only is that incredibly sly, but it sends out an absolutely awful message to young girls (and boys). I also don't get why Yuuri and Futaba are such "precious" friends - asides from being hated by girls for being cute, what do you they really have in common? Their relationship was so superficial. I also didn't like how Yuuri could be so foxy and pragmatic when it came to Kou, but could get away with it because she acted like a three year old.

The art and music in AHR might have been really pretty, but that doesn't detract away from the anime's clear and undeniable flaws that obviously impact on one's enjoyment factor. You can't save an anime from the poorly construed characters that are supposed to hold the show together.

WORD OF WARNING: MY REVIEW IS ON THE ANIME AND THE ANIME ALONE. I HAVE NOT READ THE MANGA OR THE WEB-COMIC.

I just don't understand the massive hype that surrounds One Punch Man. Everyone around me seems to have nothing but praise for it, whilst I'm sitting here - blankly - trying to figure out what was just so damn innovative about this anime. There was virtually no plot to One Punch Man and there is only so much humour can do to prop up something that doesn't have a leg to stand on.

Speaking of the humour; it was funny - at first. There was ... a wry and satirical element to it that was quite charming. However, it wore thin and One Punch Man ended up feeling like a parody that had become a parody of itself due to the crap script and lack of an actual storyline. This probably has something to do with the fact that the Producers want to milk OPM for many seasons, but a lot of potential plot threads were left untouched and just hanging without any of the characters acknowledging their existence - almost as if those events never happened in the first place. It wasn't exactly frustrating, but moreso boring because OPM began to rely too heavily on a monster-of-the-week format, without hinting at even a semblance of an overarching plot. This meant that once I went to bed, and then woke up, I couldn't really remember what had happened in OPM the night before (and I have a very good memory).

I think that speaks as a fundamental flaw regarding OPM because if it doesn't leave a lasting impression on one's mind how good can it really be, right?

Even Saitama became boring to me mainly because the plot nowhere which meant that his character really didn't have any room to grow as a person. Once he became a member of the Hero Association, whatever development his character was experiencing suddenly stopped. He remained the same nonchalant and deadpan person that he was for the rest of the anime, which was, frankly, rather dull and did nothing to capture one's interest. He just remained flat.

I did enjoy supporting characters such as Genos, Sonic and Silverfang but it was just really difficult for me to root for Saitama when he was just so unappealing to me - personality wise, that is. (I care little for a characters looks.)

On a more positive note, I thought the animation of OPM was very, very good. The animators did a very good job in capturing Saitama's expressions and I was found it enjoyable watching his fight scenes and seeing him get excited. The OST matched very well to every frame, as well, though I sometimes found the electric guitar riffs a bit annoying. The closing theme was very beautiful too.

Also, despite my complaints regarding OPM it didn't bore me enough to force me to watch it and I did end up finishing it. I guess there was some sort of a charm to it, though it was significantly dulled by the end and I can't guarantee that I'll return for season 2.

Its been two years since I watched the nineteenth episode of Attack on Titan and I've kept on saying that I WILL complete the series. I try not to drop anything I've let myself get really invested in and I'm so close to finishing, but I just can't bring myself to finish it.

Why can't I bring myself to continue watching an anime that is lauded, praised and virtually worshipped by a mass of anime watchers? Well, its because I just found so utterly unoriginal, contrived and boring.

Attack on Titan is essentially an anime about zombies who mindlessly want to rip people to shreds and eat ... them for no reason whatsoever. (For those of you who try to tell me AoT is not about zombies: shut up. It came out during the era where zombies were a thing, and due to perfect timing it blew up and turned into a "worldwide phenomenon". )

Humanity lives in terror of these bizarre humanoid creatures until a bunch of generic teenagers - led by a rage driven Gary Stu who is really fucking annoying - come along with their anachronistic weapons in what looks like Renaissance era Germany. Still, nobody knows WHY these creatures exist! Which is probably why AoT is just SO thrilling.

(Oh, come off it, it's so obvious that they're a result of some Weapon X programme gone wrong. There is absolutely no subtlety to the show whatsoever. If you haven't figured out the basement is really a chamber for an evil scientist, right now, your intelligence must be lacking.)

I won't even talk about the characters because Eren is just insufferable and everyone else is like a piece of cardboard. Especially that Mikasa - all she does is look depressing into the distance whilst fighting Titans with the most nonchalant expression on her face. Ever.

The complete lack of originality that comes with AoT could be forgiven if it was at least executed in an enjoyable manner. But when Eren and his gang aren't slicing Titans to bits, they're spending needles screen time doing typical shounen exposition. They talk for what feels like hours in monotonous tones which is set to boring ass music that really just drills the brain in. The pacing of show also moves at the speed of a slug crawling up the Empire State Building, which suggests that AoT will run on for another 300 episodes before it finally gets somewhere. I mean why the fuck would you dedicate an episode to cleaning? All it does is waste time and bore me to fucking tears.

I just couldn't do it any more: the story was predictable, the characters lacking in flavour, and the pacing so freaking slow it almost cured my insomnia.

How this show has a such a high ranking is beyond me, but, hey, if you want to buy into this dumb-ass show who am I to stop you?

Noragami was good; I liked it. However, I'm not blind to its flaws - and there were quite a few of them. The biggest problem was the overarching storyline that existed throughout the whole season: it was barely there. Blink and you will miss it. Therefore once the "main" conflict came into play, it felt random and disrupted the flow of Noragami. I was confused, lost and wondering what I had missed. The problem could have been avoided if the pacing of the show had been faster as it would have allowed for more plot development in a twelve episode show. Sometimes, whole episodes were ... dedicated to an introduction of a character (for example, the episode that introduces Kofuku) whilst completely ignoring the overarching storyline. Their should have been more relation to the overarching plot in the other arcs that were explored throughout the series. The again, the problem might just lie with the fact that the storyline itself doesn't exist in the manga which is why it felt so disruptive to Noragami's framework.

Saying that, I did really enjoy the separate arcs of Noragami - especially Yukine's arc which was beautifully executed. They really captured the feel that Noragami was going for, even though the main plot was somewhat disappointing.

Noragami is definitely a character-driven anime rather than a plot driven one. This is most prevalent due to the fact that one of the main arcs of the show focuses on Yukine's redemption and acceptance of his death. Also, a lot of time is spent on the development of the trio's relationship with each other which is something I appreciated because the audience was able to see how the characters developed in relation to the dynamic they have with one another. Individually, Hiyori, Yato, Yukine are all quite well developed and their personalities are well established from the beginning through their actions and mannerisms. There isn't much original about them, but they aren't one dimensional or generic (you can lack orginality and still not be as boring as cardboard). I was also surprised at how well-developed supporting characters like Kofuku and Nora are - we got a real idea of their personalities despite them not appearing as often as our trio. The characters are definitely one of the strongest aspects of Noragami.

The art, as well, is beautiful. Noragami has been sitting on my list for a while, but I didn't decide to actually watch it until I saw GIFs of the fights and Yato's magnificent eyes. His eyes are beautiful, not only aesthetically, but also emotionally. The animators express a lot of what Yato feels and his nuances through the shape of his pupils and the shine in those glowing blue eyes. Yeah, I have a huge fascination with Yato's eyes.
Erm, I don't really pay attention to the music in the background of an anime - especially one like Noragami - because it tends to be your usual stock rock music in a fight scene or a piano sonata in an emotional scene. However, I will say that the opening theme for Noragami was awesome (and I'm somewhat upset that I they changed it for season 2).

Overall, although Noragami had its flaws it didn't stop me from wanting more. I was glad I got more because season 2 is a big step-up from season 1 (and shall be reviewed shortly).