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Visual novel adaptations have always had a notorious reputation in anime communities. Whether it be issues with pacing, narration, or some nonlinear route structure, these adaptations suffer from a variety of heated complaints from fans of the original source material, sometimes even as to have their very existence denied.

Thankfully, White Album 2 is not one of those adaptations.

Adapted from the ~introductory chapter~ segment of the bestselling Leaf visual novel of the same name, White Album 2 (henceforth referred to as “WA2”) manages to retain a lot of the strengths of the source material while approaching it in a different, but appropriate, fashion. It is important ... to note that, despite the title, WA2 is not a direct sequel to the first White Album, related only by setting and a number of references, so viewing of the first series is not required.

With that said, WA2 is, simply put, a romance. To be more specific, it is a love triangle. It begins with a student named Kitahara Haruki trying to revive his high school’s light music club. In doing so, he eventually finds himself involved with the two girls who join the club: Ogiso Setsuna and Touma Kazusa. Certainly, this is a fairly basic set-up for the genre. WA2’s romance is played out in a straight and down-to-earth manner, and its strengths lie with the subdued execution of that romance. In a genre filled with stories that often resort to predictable archetypes and tropes to drive themselves forward, WA2 avoids the pitfalls of many other titles by doing away with the excessive melodrama and roundabout confessions. It does not strive beyond the boundaries of its genre, and thus certainly cannot be compared to shows that feature Titans being screamed at.

Consider the very beginning of the show, which reveals some key events that will occur at the end of the anime. In this brief sequence, viewers will be made aware of the kind of road that WA2 is set on. Both readers familiar with the source material and newcomers may initially find this to be a questionable directorial decision. However, in the grand scheme of things, WA2 is not focused on the fact that these events occur, but on how the characters and their relationships caused these events. After all, there are only so many ways a romance can turn out without treading on the grounds of bizarre or convoluted narratives. In general, the genre should focus on the chemistry between the characters and how they deal with the emotions of love.

And the characters are undoubtedly central to the romance in WA2. The characters are not dolls made to fulfill a given role, but believable people with distinct personalities. In particular, the main lead Haruki seems like an excellent student, yet so obviously flawed. His altruistic personality leads him into making many unintentional mistakes, and he is unable to avoid the problems he is causing despite being aware of them. And just like Haruki, Setsuna and Kazusa also try to avoid the problems in their own way, but inevitably end up hurting the others in the process. These characters make sensibly human mistakes that some viewers will resonate strongly with, while others may find themselves incredibly frustrated. The notion that viewers opt for a favorite heroine need not apply when the characters can be both endearing and detestable. The alleged title of “best girl” might as well be given to Haruki.

Of course, much of the characterization is owned to the wonderful script written by Fumiaki Maruto, the original scenario writer for WA2. The characters and their interactions are brought to life through clear and purposeful dialogue. The lines illustrate the chemistry between the characters and the gradual build-up of romantic tension as the show progresses. As an adaptation, the script is very much condensed to serve time constraints in the animated form, and Haruki’s insightful narration is lost. Thankfully, this is substituted by visual expressions and gestures used by the characters to show certain emotions rather than tell them. Setsuna’s physical distancing during some conversations in the earlier episodes, for example, indicate her perceptions toward Kazusa. In many cases, this use of storytelling adds to the scenes, improving upon the original. On the other hand, some lines in the script are altered, perhaps changing the nuance of the original scenes. A particular example of this is with the scene that introduces Kazusa, in which she speaks with an angry tone as opposed to a confused one.

Despite the show’s use of visual storytelling, the technical aspects of the animation suffer from a number of problems, particularly due to the production by Satelight. While the character designs themselves are arguably an improvement over the original's, quality mishaps are abound regarding the anatomy of the characters in some shots. There is also a general lack of “liveliness” in the animation, resulting in dull movements and stills. A notable offender of this is when the concert scene occurs in the story, and repetitive shots of the school’s scenery are seen as music is playing. Moreover, a few other important scenes feature questionable fanservice shots and odd angles, intruding on the mood of these scenes.

Fortunately, the aural aspects of WA2 make up for the mishaps in the animation. The soundtrack, featuring tracks that are played by an actual pianist, really complement the nature of the show, more so due to the focus on music. Dramatic sequences are accentuated with powerful yet delicate melodies, such as the instrumental of the aptly-named ending theme, “Sayonara no Koto.” Vocal songs are also prominent, reinforcing the show’s themes through their lyrics. Ultimately, the music is an integral part of the experience in WA2.

And the experience is certainly something else. Despite being only a prologue to a larger story, the anime adaptation of WA2 offers a sense of completeness that most adaptations, and anime series in general, should strive for. It is faithful as an adaptation, yet carries its own unique charm. It has a fairly simple premise, yet goes much deeper than that with its characters. The season of White Album has gracefully passed us by, but it won’t be forgotten so easily.

Pain and pleasure. They are two sensory feelings that are central to the experience of living as a human being. Although they are typically distinct from one another, it is certainly something else when the two feelings merge: something that may seem strange to some, enticing to others, or perhaps strangely enticing to the rest.

Masaaki Yuasa, the acclaimed director of titles such as Mind Game and Yojouhan Shinwa Taikei, drew the idea for the main theme of Kick-Heart from this concept of pain and pleasure. He watched a French man getting tortured, and then amused himself at the thought of what it would be ... like if that man experienced pleasure simultaneously. Also noteworthy is that he also drew inspiration from Tiger Mask, which is where the idea for pro-wrestling came from. Eventually, Yuasa’s ideas developed into this short film, which is notable in itself for the fact that its production was funded through a Kickstarter crowdfunding project. It is thanks to Kickstarter that this delightful tale of sensual wrestling was made possible.

With that said, Kick-Heart’s story is a simple one. At only twelve minutes, it would be unreasonable to expect an in-depth exploration of the human condition. Still, Kick-Heart, with its theme of pain and pleasure, focuses on a romance that is created between a “Romeo” and a “Juliet.” The Romeo in this case is a pro-wrestler who goes by the name of “Maskman M.” In the wrestling ring, he faces off against the Juliet, “Lady S”. As the letters in their names might suggest, Romeo enjoys taking the beatings in his job, whereas Juliet enjoys dishing them out. The romance appropriately kicks off (pun somewhat intended) during a match when Romeo takes a kick from Juliet, hence the title “Kick-Heart.” Just enough information is given about these two characters so that they firmly represent the different sides of the film’s theme. While the characters themselves are not the focus, the short movie format makes this work well, as attempting to flesh out a character in a limited amount of time would instead detract from the narrative focus. Despite the fairly simple premise, the film’s monomaniacal focus on its theme of sensual pain and the contrast between the two main characters is one of its strengths.

Another one of the strengths of this short film undoubtedly lies with Yuasa’s directing. Those of you who are familiar with his works will recognize his dynamic and fast-paced style and composition, coupled with some over-the-top scenes and quirky humor. And Kick-Heart is indeed funny and entertaining, putting the main character in strange and awkward situations. Dialogue is somewhat sparse and is only used when it absolutely needs to be, or to deliver the humor. Kick-Heart is ultimately a visually-driven work, as is the case with Yuasa’s other titles.

Accordingly, the aesthetics of Kick-Heart are perhaps its greatest treat. Yuasa’s works are often known for their art styles that are significantly different from the norm, and this film is no exception. This is mostly evident in its use of vibrant and vivid colors that emphasize its lively atmosphere. The character designs are eccentric, reinforcing the quirky humor that is used throughout. A bright color palette becomes more prominent during the wrestling sequences, in which the film’s climax lies. Of course, the colorfulness of the film is not limited to the art style alone, as the use of animation is just as lively. Of particular note are scenes that are depicted in a unique and peculiar manner, such as Romeo falling in love and his heart visibly pounding to show that. As an animated film, Kick-Heart uses the visual medium to great effect, making it both a pleasure to watch and to simply look at.

The soundtrack for the film may not be outstanding in comparison to its visuals, but it emphasizes the robust nature of the film nevertheless. The track used in the opening credits sequence is an excellent indication of things to come, establishing the atmosphere in an upbeat and energetic sort of way.

Kick-Heart’s length alone makes it a difficult title to simply pass up, as it is only about half the length of an average anime episode. It is a definite recommendation to anyone who watches anime or animation in general. Fans of Masaaki Yuasa will enjoy his familiar style in this film, and others will find it a great introduction to his growing list of works. Kick-Heart may not have the scale of a feature-length film, but it certainly packs quite a punch.

Or, in this case, a kick.

“Lolicon.” We hear it all the time, yet the term always seems to lack definitive meaning in modern anime communities.

However, there is really no doubt to its application here. Certainly a controversial gem of hentai, “Lolicon Angel” is, in short, a lolicon hentai, depicting young girls engaging in sexual acts. The issues surrounding lolicons are undoubtedly a touchy subject, and the very low number of animated lolicon hentai only serves to reinforce this. Nowadays, a production such as this would never be released.

Beyond its gratification, though, “Lolicon Angel” takes an interesting approach in its narrative. The premise is simple- a young girl loses her money ... and two of her friends help her investigate the possible theft. There are three suspects, so they split up in order to confront each suspect. Little do the girls know that they are about to uncover a hidden side to themselves. Each segment has a girl exploring the pleasures of sex, and the presentation of these scenes leaves a lot of room for debate.

Accordingly, the opening sequence outlines the idea of sexual exploration that permeates this OVA. While they are showering, the three girls discuss their curiosity with the male “thing” as an object of fascination. After the shower and discussion, as if in a bout of catharsis, two of the girls decide to get “playful” with the third.

The first segment has one of the girls confront a female student. In a shocking turn of events, the girl finds herself in an unfavorable situation as a teacher becomes involved. The teacher-student relationship is explored here, and there is definitely an interesting religious metaphor being used in this segment when the teacher mentions a punishment from God.

The second segment has a girl confront a male student. A relationship soon builds upon a few misunderstandings, beginning with a love letter, and a simple yet delicate boy-girl pairing is explored. The boy demonstrates the essence of primordial lust that is so natural to the growth of his gender, whilst the girl remains constant in her innocence and naivety. This segment arguably exemplifies the crux of the OVA’s themes as the boy exerts his knowledge that is unknown to the girl.

The third segment is perhaps one of the most surreal to exist in hentai, involving a girl and an old father. A “merry-go-round” becomes the focal point of sex, and the scene undoubtedly banks on the limits of absurdity. The logic behind this is complicated, but this segment seems to make a reflexive statement on the escapist nature of hentai, suggested by the delusions that the old father embodies.

An interesting twist brings the OVA to a close. Yet, in the process, the young girls have uncovered much more than the money that was lost. Important to note is that the girls still retain a sense of innocence, in that they are never explicitly informed about the act of sex. Rather, they have only experienced its pleasures without the reason, adding another possible level of discussion.

Unfortunately, the OVA’s technical aspects do suffer. Being from the 80s, the animation and designs, while decent for their time, have not aged well, and this is evident in the crucial sex scenes. The soundtrack comprises of simple compositions that serve an atmospheric purpose, but are unmemorable and lacking in presence. The voices for the young girls are another issue, as the voices do not properly represent the OVA’s themes of innocence and naivety.

However, the technical aspects do excel in other areas. There are a variety of angles and perspectives in the cinematography, showcasing the sex scenes in a dynamic format. Alongside this is the editing, which lends the OVA a fair amount of its creativity. Some of the most powerful use of editing in hentai is employed in this OVA, using a scene transition to present the “climax” of the sex scenes. Such a technique accomplishes much more than conventional presentation, adding another level of ambiguity to the scenes.

At just under 22 minutes, “Lolicon Angel” can certainly be considered ambitious within its genre. Ultimately, it is a real treat for hentai aficionados and loli enthusiasts alike.

Buddha is an epic. And by 'epic', it must not be understood as the term defined by that which appeals to those who want jaw-dropping, blood-pumping battles, or a superhero that can defeat powerful magical beings with a mind of steel. Rather, in this case, it refers to a lengthy work that follows heroic endeavors on a grand scale. As strange as this may seem, Buddha fits that definition, presenting a sublime narrative that blends elements of history, religion, politics, and mythology.

Buddha is a manga written by the famous Osamu Tezuka, and is one of his titles considered to be an epic. As the title ... might suggest, it is about Siddhartha Gautama Buddha and his undertaking of ascetic trials, embarking on a spiritual journey in which he eventually attains Enlightenment. Although the manga spans the entirety of his life, it is not just about Siddhartha. In fact, he isn’t even born into the story until late into the first volume. Needless to say, he encounters many people during his journey, ranging from kings who loathe him to slaves who seek his help. Through witnessing the suffering of these characters, Siddhartha begins to discover the facts of life. The way in which he learns about lessons that eventually develop into the religion known as Buddhism contribute to an engrossing experience.

With the characters comes a central part of Buddha’s storytelling and narrative. One of the things that make it an epic is the scope of the story in how it deals with multiple protagonists, rather than simply focusing on Siddhartha. Numerous characters are introduced over the course of the story; which may make it seem confusing to follow at first glance. Fortunately, the narrative never gets overly complicated with its execution beyond the initial hump of having a large cast of characters across multiple plot lines. What is really important with these characters, though, is the surprising amount of depth that they are given despite their number. As more is revealed about each of their motives and goals, their actions become more understandable, to the point of conveying a great deal of sympathy. It is when these developed characters interact with one another that the multiple plot lines begin to intertwine, smoothly putting everything into place and resulting in a graceful narrative that is nothing short of brilliant.

Of course, that is not to forget Siddhartha, the main character of the story who connects the others to one another. It is certainly an interesting choice to base a manga on an important religious and historical figure whose teachings have influenced millions of people. While such an attempt may raise issues for some audiences in regard to the questionable historical accuracy of Siddhartha’s life or the presence of supernatural elements in the story, Tezuka has thoroughly researched the subject. This manga is a clear demonstration that he regards the teachings of Buddha highly. Still, it should not be treated as a religious doctrine of Buddhism or a biography of Siddhartha’s life. Rather, it would be more appropriate to treat it as Tezuka’s own unique interpretations of the Buddhist teachings. Tezuka constructs a religious mythos based off the milestones of Siddhartha’s life, following him on a heroic journey. That is not to say there is nothing to be learned from this manga, because it is certainly possible with an open mindset; for example, the earlier volumes focus on the cruel caste system of ancient India, offering some insight into the theme of social injustice which is further explored in later volumes.

With that said, Buddha is highly philosophical. Not in the sense in that it delves into complex discussions of existentialism or the state of the mind, but in that the central lessons of Buddhism permeate the work. One theme that is handled reverently in this manga is the sanctity and equality of life. Sometimes, the idea is expressed explicitly through the dialogue, where Siddhartha will mention how precious an individual life is. A common trait, however, is how Tezuka expresses his themes with a degree of subtlety. The very first scene in the manga offers the perfect example: An old man, weary from his travels, is starving. He encounters a bear, fox, and rabbit, who attempt to help him find food. The rabbit is the only one to fail, and, in an act of self-sacrifice, offers itself as food by jumping into a fire.

Accordingly, the philosophy in Buddha does not try to be more than what it is. That is to say, it remains thematically focused on the ideas of Buddhism throughout the story, clarifying its themes at the beginning (such as with the above-described scene) and avoiding deviation from those themes. It also does not rely heavily on the use of obscure symbolism that hinges on poignant analysis- a problem that many often have with most philosophical works.

Certainly, it seems as if Buddha is an extremely serious work. Inevitably, those who prefer a more serious approach will find themselves disappointed, as part of Tezuka’s writing style is the inclusion of the sense of humor typically found in his works. Buddha is no exception from this, containing the use of anachronisms, slapstick, references to his other works, and fourth wall breaking. Some audiences will find the humor jarring and unnecessary, while others will find it highly entertaining and refreshing. The humor contrasts with the serious nature of the story, but it does not go so far as to ruin the coherency of the narrative. Ultimately, this is an issue that deals more with personal preferences concerning Tezuka’s writing rather than the content of the narrative.

Likewise, the outdated art may pose another subjective issue for some. Tezuka’s trademark art style places cartoony and stylized character designs against a highly detailed landscape- a type of contrast similar to the juxtaposition between humor and seriousness. Regardless of the designs, however, there is a great deal of realism that is depicted with these characters. In accordance with all the suffering that Siddhartha witnesses, there is a number of graphic scenes and panels that are shown throughout the story, and they are fairly explicit in terms of violence and nudity. It is highly appropriate, though, given the context of the social injustice in relation to the caste system of the time period. Slaves and pariahs, who were on the lowest social status according to the system, were the target of constant humiliation and mistreatment.

Despite the possible preferential differences with the art, the composition of said art remains excellent. The panels are used to great effect via different techniques, such as slowly presenting a scene by splicing it into a series of vertical columns across the page, or by using large panels to effectively convey the scenery in greater detail. These techniques make the transitions clear and present the story in a dynamic manner. Praise can also be given to the remarkable two-page spreads, which serve to emphasize the scale of an event. A noteworthy example of this is when it is used for an image representing the birth of Siddhartha. Returning to the scene with the man, bear, fox, and rabbit, there is an impressive display of the manga’s composition at work. The one aspect that makes this scene noteworthy is actually its execution, in that it is told without a single line of dialogue. The visual narrative is an element that is central to the nature of the medium; this scene is an exemplification of this. With Tezuka having pioneered the medium, it shouldn’t come off as a surprise that his techniques can be seen in most modern manga.

Tezuka is undoubtedly an influential figure in both anime and manga. As Buddha is considered by some to be his magnum opus, it is difficult find reasons to not make a recommendation for this work. If you haven’t read any of Tezuka’s work yet, you cannot go wrong by starting with one that has such a well-crafted story and visuals. The religious narrative it presents is definitely a unique journey in itself.

And at the end of that journey, Buddha is certainly an enlightening experience- perhaps even one beyond that.

Going back in time is always a surprising turn of events. As if that wasn't enough, you also find out that you're the special hero that has to stop a conflict between two opposing factions!

That's pretty much what the main character goes through, and what the premise for Onigamiden is. Unfortunately, that's as interesting as the story gets. Jun Tendou, a middle school boy, is thrown back in time to the ancient Japan in the Heian period and finds out that he is the Savior- the only one who can control the legendary Orochi and turn the tides in a war between ... the Oni tribe and the humans.

With this set-up, a somewhat interesting yet predictable turn of events occurs, and the theme of "man versus nature" comes about. The question of who the hero should fight for is raised. It's a common theme to explore, sure, but that isn't the concern here. Rather, it's because of its execution that makes the issue largely one-sided. Due to the how the story presents itself, the main dilemma that Jun goes through is hardly given any thought and the decision that he's supposed to make becomes obvious (in other words, there are really no "gray areas" presented). Thus, it makes the majority of the plot all too standard.

Art and animation are obviously the focus of this movie. The scenery and traditional temples all look nice, and help depict the setting of an older Japan. Character designs might feel a bit different for some, but nothing too jarring. I personally got a Sky Crawlers feel from them, which isn't much of a surprise, as it's the work of the same character designer. Where the art and animation really shines, though, are the designs for the fantasy elements. The Oni tribe looks particularly demonic, and the CG effect that they have actually helps to create an evil aura for them. The spiritual beings, including the Orochi, all have fascinating designs which really bring out the setting of the movie. The action scenes are nicely animated and are another plus.

Unfortunately, the same cannot be said for the sound, which suffers from inconsistency problems. Sometimes the soundtrack is good- it is fitting and gives the appropriate atmosphere to the movie's traditional setting. At other times, however, modern pop/rock is playing and basically feels anachronistic. This is mostly noticeable through the action scenes. At the very least, the voice roles are appropriate and not out of place. The one thing that's noteworthy about the sound is the ED, "Starlight." It's a rather catchy song that creates a rather emotional feeling.

Characters, for the most part, feel very static. None of their personalities particularly stand out. They exist and fulfill their respective roles. There might be some interesting developments shown for some of the characters, such as their past or motivations, but no one really changes by the movie's end, save for maybe Jun. He is pretty much the typical male lead who first lives an average life, until something extraordinary happens. Of course, he's confused about all this at first and questions the morality of the situation, eventually making the (obvious) decision to do what the hero is supposed to do.

Despite all its problems, Onigamiden was a somewhat entertaining watch. The action scenes were nice, as were the depictions of the various mythological beings in this movie. The premise, setting, and themes had a fair amount of potential, brought down by its lackluster story and characters. The pacing was fine, as no particular scene dragged on for too long. As a movie that targets a general audience, it does accomplish its job.

If you're looking for a title that has fantasy elements with some great action scenes here and there, then this is a movie that you might be interested in.

Well, this was a surprise. From the various comments that I've seen, I didn't have much expectations of this OVA after the experience that was Boku no Pico. In fact, I was expecting a mediocre work in comparison. Thankfully, it seems that I was proven wrong.

Pico to Chico is the second title of the renowned Pico trilogy and undoubtedly its turning point. In this OVA, Pico, the protagonist, has his first encounter with Chico. The story takes an interesting twist as it deals with Chico's experiences in learning about the human body and its pleasures, which many viewers could relate to. ... Essentially, we witness the growth of an innocent boy who discovers a whole new world to explore. It is a journey of exploration as well as self-discovery. The events of this tale are presented with exquisite pacing and execution- each scene flows seamlessly to the next. Although a conventional means of storytelling is used, especially with regards to the vanilla depictions of "intimacy," it is exceptional in execution. By the time the conclusion is reached, you will crave for more on the life of Pico and Chico.

The arguably profound imagery and engaging dialogue from the first OVA are still present. One example that really stood out to me was a toy near the beginning that took on a phallic shape, as if to foreshadow the events to come. However, like the other images of this series, what I just said was just merely one interpretation of it. I would mention more on the dialogue, but it may very well be a crucial spoiler. I will say, however, that it is particularly gripping and will have no problems holding anyone's interest, dealing with topics such as servitude. Each line is masterfully crafted to serve as a building block for the relationship between the two main characters.

The art and animation are superb, with little to no changes from the first OVA. The character designs for Chico and his sister are very appropriate for the tone of the work. Backgrounds and scenery are presented with clarity, and are a sight to behold as well as to analyze. The "intimate" scenes are fluid and delivered succinctly, ensuring that the main messages aren't missed. I found myself watching intently in order to appreciate the beauty of the visuals of these scenes, almost forgetting that there was much more than eye candy involved. You can really tell that Natural High had a field day with this one.

Sound is excellent, as usual. The OP/ED, "Natsuyasumi," is a catchy song that really fits the atmosphere of the OVA. Voices are as they should be, and the characters' personality really shine through when they speak (a bit more on that later). The soundtrack works much like the song, but one important thing to keep in mind is how the tracks help emphasize innocence and intimacy. Without them, important scenes wouldn't be as engrossing as they should be.

What really makes this OVA stand out from the rest of the trilogy, however, are the characters. Pico is still a protagonist shrouded in a bit of mystery, as we question his motives for meeting Chico and introducing to him another side of human nature. Chico is developed extremely well, especially since the story focuses on his growth. By the end of the episode, we can really see the changes he underwent from starting out as a curious and naive boy. The relationship between Pico and Chico is also key here, as the chemistry between the two is just perfect. Going back to dialogue and voices, we can see that each exchange offers some insight on their individual personalities, especially in regards to Chico and his childish demeanor. A prominent example of this is the manner and context in which he says "ochinchin." The choice of this word suggests a youthful personality, and his tone helps to exemplify that.

Some might argue that a flaw in character is Chico's sister. She is just there and doesn't interfere with the boys' relationship. It could even be said that she is simply a character for unnecessary fanservice! However, we must realize that Chico's sister serves as a catalyst- through her own character, she creates a foundation for the two boys to build on, sparking their curiosity and thus initiating the story with a boost in speed.

What can I say? This title is definitely something that I'll remember. From the thematic exploration to the bonding relationships, the second title in the Pico trilogy has no issues with engaging the viewer. Pico to Chico has many aspects that make it a truly "interesting" work. This is definitely something that can be rewatched multiple times to firmly grasp every detail. Still, it may be too "excessive" for some audiences, and that is quite unfortunate.

If you're still wondering whether or not Pico to Chico lives up as a successor to Boku no Pico- it does, perhaps even surpassing it. I would strongly recommend this title to any aficionado that has watched Boku no Pico. Also, don't forget to check out the third title of this installment - Pico x Coco x Chico. Without it, the tale of the Pico trilogy would be incomplete.