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It will frequently be said that Baccano! (emphasis on the second 'a', I believe, if you care about that kind of thing) is a hardcore anime, containing rather heady themes, vulgar language, and some of the most deliciously graphic violence to grace our shores. In this light, the series on the whole should be considered as a reward to all those who are or aspire to be "hardcore ". Simply put, I have not enjoyed an anime as much as I've enjoyed Baccano! for some time.

"The more things change, the more they stay the same." Likewise, as much as Baccano! is a ferociously original show, ... it still succeeds in all the conventional ways: the story is simple yet engaging, the characters are larger than life yet completely relatable, and the technical aspects have all been polished to a mirror shine.

Not to say that there isn't anything wrong with Baccano! (and considering how much I have to say in favor for it, it would probably be much easier to start with my critiques anyway). Now, as should be obvious from anyone who has seen a clip or screen shot of the series, Baccano! is very well drawn with a wide range of character designs and some lovingly created locations. However, there is often a trade-off to be made in exchange for this degree of artwork, and that's where animation comes into play. The action scenes are highly fluid and beautifully choreographed, but the fact remains that the majority of the show requires characters to talk and interact in comparatively subtle ways. And whenever you find yourself watching an extended conversation scene, especially after multiple viewings, it becomes almost distractingly obvious just how little these characters move. Characters express themselves to an audience of cardboard cutouts, all listening with rapt, unblinking attention. Talking heads move smoothly past painted backdrops. Worst of all are those moments when a character enters a room or finishes a sentence, then freezes just a second too long, their mouths hanging open as testament to some animator cutting corners. To be fair, these problems seem to affect some episodes more than others, but when they're there and when you're looking for them, they can really take you out of the experience.

At least, they do the second and third time around. Speaking as someone whose watched the entire 13 episode arc three or four times now, I can say that those willing to persevere through the aforementioned stiffness will be rewarded with an immensely entertaining and rewatchable show. As if the 10s across the board didn't tip you off, this show has got it all, from a thoroughly engaging story fleshed out with tons of great characters (Bryan Massey's take on Ladd is absolutely fearless, and Issac and Miria are 24 carat comedy gold) to one of the best anime soundtracks around. Though before I get away from the characters, I will say this: only two black characters in the whole show, and you make them a kidnapped maid and a secretary who talks like a cross between Chris Tucker and Double D from Ed, Edd 'n Eddy?

"No matter."

PS: Before I go, there's one more thing I want to touch on. Personally, I believe that Baccano! will go down in anime history as having one of the best ever American dubs. What bothers me is that it seems as though there's a fairly decent portion of the population out there who will let such trivial things as New York accents (or rather," Noo Yok" accents) ruin the whole experience for them. Personally, I've never been that distracted by accents of any kind, save the ridiculously racial ones (and Baccano! might have its fair share of those too, now that I mention it), and what's more, I've never understood how something as harmless as a cartoonish Brooklyn drawl could be considered offensive, let alone a deal breaker. In short, I feel that I must say that if you are the kind of person who wants, nay, demands their cartoon 1930s mobsters talk like "real" people, then perhaps you simply lack the capacity for suspended disbelief that is necessary to enjoy any kind of cartoon, let alone one of the greatest in recent memory.

Welcome to the NHK on the whole has much in common with its main protagonist, Sato. Both are thoroughly odd and awkward balls of tension, yet if you do come to like them, it will likely be due to these faults rather than in spite of them.

In the area of music, NHK is indisputably endowed. The score for this show is unified yet fluid enough to change with the tone of the plot. Such functionality from a soundtrack is usually something you'd expect from a motion picture rather than a whole series, but that's exactly what you have here.

The animation, on the other hand, is ... rather 'love it or leave it'. The character designs being standard as they are (though some may find them refreshingly realistic over the myriad of shiny, big-eyed creations floating about the anime aether), the animation varies between fully functional and arguably artistic. Personally, I'll take a moving pile of mush over a stiff oil-painting any day, but for those who prefer more sensible animation, there are moments in NHK, if not entire episodes, where you might want to look away. Regardless, the show's artistic appeal gets much better whenever the perspective of the leading man shifts into fantasy mode. These forays occur with such frequency at times that they lend an even greater emotional weight to the moments when they are completely gone, particularly those scenes involving key character interactions.

As for the characters themselves, they all seem fully developed and realized, yet underutilized. Various characters whom the story suggests could be vitally important end up appearing in only a hand-full of episodes; all the while, the series puts to much pressure on other supporting character that ultimately just aren't all that compelling. The two main characters, Sato and Misaki, hold up their ends just fine, but the overall cast could have been spread about much more effectively.

As for the story, it's best to make a break for it in one or two goes, rather than try to digest it over an extended period. Should you ever find yourself in Sato's position, resigned to never leaving the space around your tv or computer, NHK makes for a great time, with a story that's packed with pathos and a climax that bears genuine emotional weight. Don't come to this show expecting answers, because the moral (not that it would ever claim to have one) is that such concepts can rarely ever be pinned down, and even then usually aren't full-proof. Still, for what it's worth, the end result does seem to say something without watering it down or compromising. As uneven as it is at times, Welcome to the NHK is certainly not lacking in integrity.

Whenever a film, animated or otherwise, strives for greatness, said film is always commendable for its pursuit, even if it does not succeed. Such is not the case, however, for Mind Game. This film aims at greatness and, if anything, overshoots it and lands right on masterpiece.

Some viewers may be strongly reminded of another film, Tekkon Kinkreet, when watching Mind Game, and this is to be expected. Both films share production houses 4 degrees Celsius and Asmik-Ace, thus explaining similarities in some of the more realistic character designs. Another link, though not as obvious, is that with the extremely surreal experimental feature Cat Soup. Masaaki ... Yuasa, one of the chief designers and animators for CS, here rises to the occasion as both screenwriter and director. In this manner, Mind Game shares some of Cat Soups mindboggleing energy and imagry, though it's here that the similarities end (as well as all this annoying name dropping). Where Cat Soup was dark and twisted, MG is excitingly free spirited and optomistic, though it's arguably just as convoluted.

The film centers around Nishi, a young and timid aspiring manga-kan, who reconnects with his childhood sweetheart, Myon, just as she's preparing to marry another man. Sudden turns-of-events following this reunion work to shake Nishi out of his complaciency, and turn him into the bold, free-spirited man he's always dreamed of being. Together with Myon and her sister, Nishi embarks on an adventure that will lead to the most unlikely of places, where he will learn what it truely means to live.

Mind Game's story is fairly simple, though very surprising all the same. There's a significant chang of pace about halfway thru, though the film never for a moment loses its ingenuity or excitement. The second act is in many ways a relaxing look at how to get the most out of life, accompanied by several stunning musical interludes. The in-your-face action of the films first act comes roaring back for the climax though, and I am not exaggerating when I say that it's one of the most exilirating scenes I've ever witnessed (and I was watching it on my ipod first time I saw it)! The ending is definatly for the open minded, as the resolution, and indeed everything that has happened up to that point, is suddenly thrown into question, with plot points rectifying and contradicting themselves in a beautiful, better-not-blink montage that is the film's finale. All together, this is exactly the kind of film I relish, though I'm afraid to say that it most likely is not for mainstream viewers (though if you found satisfaction through the likes of NGE (any of them), than Mind Game shouldn't be beyond your grasp. And even so, the sheer astetic value is enough for anyone to appreciate. Anyone who loves anime should see this film, and will either love it or at least feel justified in seeing it, for it is truly a film like no other.

Before I begin, I'd like to say something for the record. I have no idea what you want from me when you ask me to rank a show's "sound". If I can hear it, that's fine by me, and a show's audio would have to be truely horrid for me to say anything against it. Now, on to Kanokon.

First off, the sound is utterly fantastic ; P

Seriously though, apart from having a nice rhythmic title, there's little to say for this show other than the obvious. The character designs are attractive (aesthetically as well as... well, you know), and it's just as well that the ... overall animation is shiny and crisp. The animators do love them some still shots, though, as the viewer takes a trip down memory lain to the sights of immobile children, forever on their way to school. And if you think the male protagonist's eyes are unsettlingly large, then join the club.

Otherwise, the show is every bit as contrived as it has a rite to be... arguably more so. It's your standard "fling with otherworldly beings" excuse for some good oldfashioned fanservice, with some particularly stunning kiss scenes, courtesy of the aformentioned animation. The show suffers from the same affliction as all those that came before it: all the relaxed campiness is eventually bogged down by pointless drama. Not to give anything away, but there's pretty much nobody in this show who wants the two main characters to get together, or at least is willing to let them do so without a fight. I understand that true love must overcome obstacles, but this is a show about fox spirits hitting on prepubescent high schoolers; the realism ship has already sailed, you can stop swimming after it.

In short, the episodes where the focus is on silly romps and startling degrees of fanservice tease (seriously, not an episode goes by where you "think" you saw something) are the best, because they most successfully attain a certain aspect that Kanokon is striving for. The drama bits are bearable at best (if only because they lead back around to said silly romps and fanservice) and frustrating at worst (more so than said false starts in gratuity). It's not bad by any means, but don't expect any sort of satisfying narrative out of this show (it's only 12 episodes long, for pete's sake! Minami-ke managed 13 easy, and it had less plot than a shoe). Kanokon is the chocolate Easter bunny of anime: sweet and cute on the outside but inevitably hollow (and there's more where that came from as I'm sure you already know).

Also, having just read back over this, I'd like to apologize for my rampant use of parenthesis. I promise I'll work on that.

One of the most popular archetypes of pop-culture is that of the accidental genius: the guy who achieves outstanding success with little visible effort or awareness. The most popular example of this as of late is that of Captain Jack Sparrow from the Pirates films, but it goes back all the way to such classic fables like "The Brave Little Tailor". Again, the accidental genius finds itself in Irresponsible Captain Taylor, and it's just as effective and entertaining.
Justy can't be bothered to look up his middle name Tylor is in many respects the idealic hero. While caring and compassionate, he remains firm in his persuits ... and rarely suffers any of the moral conflict that plague other protagonists. Whatever emotional issues the rest of the sizable cast might suffer, Tylor stays Tylor through it all, and that alone earns this series major points in my book.
The plotline is farely simple, which is actually something of a disappointment considering this type of story really lends itself to plot intricities (see "Cerebus" graphic novels for an excellent example of such). Still, it remains accessable and entertaining for all viewers. The art isn't anything special, but by no means bad; simply put, it accomplishes what a series that isn't aesthetically focused requires. The music is pretty good, what of it there is.
That pretty much covers all the bases. Really, when a show is this good, it's hard to describe it technically. All I can do is recommend it to anyone who loves a good story (with a great character) and hope you'll take my word for it.

The animation's better, as is the conclusion. That's all I feel I can say in favor of this season over the previous one. In every other way, Okawari falls short; not even the promise of gratuitous fanservice could help (which, by the way, the first season did just fine without). Not to say that it was bad. If you enjoyed the first season, then watching this one is the next logical step. Just don't expect any of the free-form plot progression that made Minami-Ke so outstanding. Apparently in the span of time between then and now the writers figured such unique pacing* was a bad ... thing, and proceeded to eleminate almost all trace of it. Furthermore, what plot is there feels recycled and tedious, even uncomfortable in some cases. The character development feels forced and unneccesary where it could instead have been pleasant and rewarding; the addition of a new character is well done, but seems to come at the cost of overlooking other promising minor characters from s.1 (why is the female boncho in the opening credits, but only appearse in one episode?). Lastly, there's the tone, which seems claustrophobic where season 1 was welcoming and comfortable, an effect no doubt aided by the fact that the show now takes place in winter. In conclusion, (I really do need to end it here or else I'd go on all night) it's okay, and even then only for people who're already fans.

*okay, so it's a bit like Lucky Star, but there is a subtle difference.

I'd heard good things about this show, and honestly, I'd hoped for a fun time in watching it. However, I took a risk in doing so that ultimately did not pay off: I watched the english dub before watching the origional sub. I can't stress enough the sad state of the dubbing for this show. The character's voices are whiny and bring about a total lack of interest in whatever cutesy slice-of-life story happens to be going on at the time. Granted, I didn't make it very far, but I just couldn't. Perhaps if I had seen it subbed things would be different, but I ... just can't bring myself to do it now. You may have a better experience with this anime than I did; maybe it's all a matter of taste (though bear in mind, slice-of-life is a personal favorite of mine). If you do see it subbed and enjoy it, please let me know so maybe I won't miss out. As of right now, however, Ichigo Masimaro is about the last anime on my mind.

Minami-Ke is a bit of an oddball show, even for the slice-of-life genre. The character designs are more realistic than the far more popular Azumanga Daioh and Lucky Star (and it took be a bit to get used to the whole tear shaped mouth thing), and the plot is somewhat sporatic, bouncing form episodic to continuity at random (all animes do this, of course, but in the same episode?). These aren't complaints, however, just the facts. Really I can't think of anything bad to say about the series except that the pacing's a bit slow at first. Stick with it, though, and a taste for ... Minami-Ke's unique style should develop. The characters manage to define themselves in the viewer's mind, even when they go several episodes without reappearing. The reaccuring elements are delightful, as are the more singular stories told (the later experiences several peaks, but hardly any lows from what I recall). Despite the potential for such, fanservice plays a very small part in the show, appearing here and there, but never making its presence known until the last couple of episodes. The whole thing is over before you know it, but fortunately, the show makes it clear that a second season is on the way. While this is a show that requires a bit of a gear sift to get into, the overall effort one makes is totally worth the end result, as Minami-Ke is probably one of the best anime of its kind.

I was plesantly surprised by this manga (I'm not calling it a series, since it's only two volumes long). The humor is a bit absurd but translates well alll the same, and it's plot doesn't get to bogged down (except just before the ending for a bit). Truth be told, there's nothing that exceptional about it: characters are colorful (a few are annoyingly so) but fairly normal, and the premise is pretty common actually. Still, it manages to pull everything off with good results, and the ending, while a tad sudden, is satisfying. The manga actually seems to benefit from being so short. Had it ... been longer, I imagine things getting diluted and derivative. Rather, being only two volumes long, there's a franticly crowded atmosphere which lends itself to quick reading and rereading. Not the deepest of manga (unless you like fanservice, both trivial and ecchi), it accomplishes what it strives successfully, certainly more so than many of its peers.

There have been alot of shows like Nagasarete Airantou. It embodies pretty much every harem anime ever, though fortunatly only the good parts. The cast is varied and covers all the typical archetypes (buxom tomboy, cute/creepy girl, bookworm, ect.), and the male protagonist is refreshingly resilient and generally un-angsty (a criteria I hold for all anime). The character designs are well done and the standard of animation remains strong throughout all 26 episodes. The plotlines are more "slice of life" than romantic, though the main romance is well-developed (if never outrightly acknowledged >.<). All in all, this is by far one of the best anime ... of its kind to come around in a while; certainly of the current batch.
Alas, no show is without its faults, and the only apparent one here is crippling (hence the rounding down of the overall score). That being a totally unsatisfying end. The story arch of the last 4 episodes is an exercise in pointless drama; appropriate perhaps somewhere in the middle of the series' run, but a harsh way of sending the viewer off. Fortunately, if your not the type to strive for completion, this flaw can be easily avoided by simply stopping at ep. 22. The same sense of open-ended resolution is achieve, only without the viewer having to suffer through the aformentioned melodrama (oh anime, will you ever learn). Take this advice, and I can pretty much guarentee that you have a great time.