- Last OnlineJun 2, 2023 6:35 PM
- GenderMale
- BirthdayNov 28, 1991
- LocationWandering
- JoinedApr 21, 2011
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Mar 29, 2023
Stand Alone Complex is my favorite science fiction series.
I was disappointed by the first half of 2045. The reintroduction of Section 9 didn't hit as well as I would have liked. The animation wasn't what I'd hoped for, and the writing was decent but not as visionary with the exception of the boxer and bank episodes. Season 2 retreads what made 2nd Gig great. The camaraderie between Section 9 and brief glimpses into their past. A sympathetic antagonist with a grandiose plan. Perhaps most importantly, a stark depiction of the future we're headed towards that lingers with you after the credits roll. I'm looking forward
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the film edit as I think they focused a tad too much on the "fight" to take down the big bad which messed with the pacing.
Reviewer’s Rating: 8
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Jul 6, 2017
Night on the Galactic Railroad is a slow-burning reflective piece about death and self-sacrifice. The story follows Giovanni, an absent minded yet diligent working class boy, through his night whisked away on an inter-dimensional trail ride. Though adapted in 1985 from the 1934 cult novel of the same name, the work’s enduring influence on anime cannot go unnoticed. This is what drew me to the work initially as I felt my understanding of shows like Mawaru-Penguindrum and Giovanni’s Island were lacking. After viewing the film I quickly realized how much wider this scope of impact was. For example, its persistently soft and otherworldly feel, and
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ephemeral characters are all over the waterside train scenes in Miyazaki’s Spirited Away. I was pleased to find that the film stands on its own despite its age and countless imitators.
This owes to its characters above all else. I was initially off put by the stolid reactions to the fantastical and terrible situations many of the cast found themselves confronted with. However, it becomes evident that this was the point in a scene where Giovanni easily shrugs off disparaging remarks from his schoolmates. Giovanni and the rest of the cast have an enviable stoicism about them that the author endearingly asks the audience to imitate. Throughout the film characters willfully resign to their fates trading faith for fear. Many instances of Christian symbolism and ritual are employed to reinforce this theme. The conclusion seems to be patently Christian too - service to others is happiness. However the film’s incorporation of religion, though reverent and unassuming, is somewhat eclipsed for a broader more metaphorical take on its precepts.
While the animation wasn’t impressive even by 80’s standards, it still manages to be engaging. The character animation was given the most fluidity. The film is without any grand action set-pieces but what action there is is at least colorful and stylized. The backgrounds were the most unique aspect of the art direction. They have a stripped-down psychedelic design aesthetic to them. This paired with the sparse, lightly distorted and swelling synth tracks makes for a compelling atmosphere. Both the sound design and art direction vary enough while maintaining an otherwordly theme that creates a strong sense of adventure.
Night on the Galactic Railroad takes the pauses it needs to. It works remarkably well as an unhurried, simple and multi-dimensional meditation on life. It is a journey that borrows from old literature and history itself so well that even when the references are not understood it still speaks well to the themes it sets out to explore - another undeniable anime classic.
Reviewer’s Rating: 8
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Jun 20, 2017
A Woman Named Fujiko Mine is a sultry spin-off to Lupin the IIIrd - Japan's long-running international spy thriller franchise. Slightly downplaying its typical flair of adventure for a decidedly more cerebral tale, this iteration shifts the spotlight to our eponymous heroine. The intrigue usually surrounding Fujiko's personality and history is brought to light. In this way, the narrative is elevated by focusing in on the female perspective. Fujiko’s sexuality is prominent throughout the show as a rhetorical device. It unflinchingly delves into the power and pleasure she derives from it - though, the more macabre aspects of it are also raised. This is done
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through the accomplished direction of the series’ first female staff members - Sayo Yamamaoto (Yuri on Ice!, Samurai Champloo) and Mari Okada (Toradora!, Anohana). The result is a refreshing and gripping take on a tired formula that welcomes newcomers while not betraying its roots.
The show itself is composed of a split between side stories and mainline episodes. This is a classic formula that serves the show well. Dai Sato who has written some of the medium’s most famous vignettes in Cowboy Bebop, Stand Alone Complex and Eureka Seven - lends his talent to the show. His influence paired with the directors allows for the momentum to be handed off between the two episode types without a dull moment. In this space also arises a diversity of themes such as revolution, homosexuality and the limitations of science through a classically feminist lens. The camp tone present in the main series is also retained. This helps the show avoid the pitfalls often present in lighthearted shows that attempt to take a darker approach. However, this also causes the only unfortunate aspect of the show. The dialogue comes across as cheesy during some of the most pivotal scenes.
Thankfully, the art direction does most of the talking. It perfectly supplies the needed tone at every turn. The show is simply a masterpiece of magical realism and noir. Charcoal lines embellish the sleek and distinct 70’s character designs - reinforcing the melancholic atmosphere the show strives for. It effortlessly achieves this with the intricate yet ephemeral background design. On top of all of this is the strong psychedelic motifs.The shot compositions often register as nostalgic and surreal. This style lends itself to incredibly fluid action sequences. Most of the time I felt I was watching a moving impressionistic painting. On that note, The show feels more like a work of traditional animation than anime. This is likely because it is a joint production between French and Japanese studios.
Fujiko does remarkably well as a Byronic take on a classic formula. The cat and mouse games and the breadcrumbs of a grander scheme lead to a satisfying pay-off. It closes with a long overdue moment of catharsis for a character, genre and medium plagued by uninteresting representations of women. It's the kind of self aware revelation that only anime can have. Hopefully the implications of the work’s conclusion inspire better works in the future.
Reviewer’s Rating: 8
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Nov 16, 2011
Bokurano is an anime series that follows a group of children as they pilot a robot named Zearth, fending of 15 alien invaders. The catch is though, is after they defeat the alien enemy, they child in control of Zearth dies. And if they lose thier fight, the Earth dies. There’s a lot more to it than that, but anything else I could say would be a spoiler.
I will say this though, it’s hard to pin down how I feel about this show.
Initially I saw similarities to Evangelion, but I quickly let those leave my mind. The plot held my interest the entire show.
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Bokurano has a nice and steady pace, the plot moves forward each episode and leaves you wanting to no more and more. Most everything gets answered and explained. The ending fits well with the rest of the series, there’s no sudden mood change or last second curve ball, it ends quite nicely. There was also this social commentary vibe I was getting about the “all for one” mind set Japan has. Bokurano spends a lot of time exploring the idea that individualism is just as important as a group mentality mind set.
The characters are the stars of the show, specifically the 15 kids that pilot Zearth. Each of the kids gets fleshed out nicely, but at sometimes the impacts of their deaths seemed cheap. The structure of show is easy to catch onto pretty fast, so it becomes obvious real fast when someone is going to die. The character development the kids get right before they pilot Zearth is great, but to me it seemed almost to convenient. The writers do a great job with everyone’s back stories however. They all are believable and unique. I didn’t get tired of hearing about the characters or think that the backstories were to repetitive. The characters come to life and get a reaction out of you. There wasn’t one main character I felt indifferent about.
The animation was nothing to out of the ordinary, very standard Gonzo anime production animation quality wise. Nothing that stopped me from enjoying the show though. The music was very plain which sometimes worked for the show, I was surprised by this because Bokurano is a very emotional show. There seemed to be very few pieces of music.
Bokurano does a great job at showing how even through adversity or even in the face of death, there is a reason to going forward and to keep fighting. Bokurano is an anime I see myself looking back on to think about and discuss with people. It is an anime I think will grow on me more with time, something I can definitively see myself re watching someday.
Reviewer’s Rating: 8
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