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Now I will admit that change can sometimes be a good thing as it can bring new perspectives, a new feel, and a new avenues for the plot to explore. The only problem is that all too often in anime, change simply means demeaning the existing work and it's fanbase by producing, well, crap.

It's unfortunate then, that a pioneering show like Comic Party should suffer the ignominy of having a sequel like Revolution, and while the two shows share many qualities, they are sometimes used in very different ways.

The story initially follows directly on from the original Comic Party, with Kazuki and Mizuki now attending college. Kazuki has continued to work on doujin creation in his spare time, while Mizuki's attitude towards otaku has softened slightly, although she does still hate the majority of them. The rest of the gang from Comic Party are all present and correct as well, and the show also introduces a few characters who, if you've played the game, were noticeably absent in the first series.

The biggest problem with CP Revolution is the lack of any coherent or cohesive plot. Now I will be the first to admit that some shows work really well on nothing more than a "what if....?" premise, however this isn't one of those occasions. CP Revolution suffers from a fundamental lack of plot and, while there is a lot of comedy in the show, much of it, especially during the first few episodes, is generic and overblown. The problem with the show is that it suddenly strikes off in what seems to be a vaguely new direction from time to time, something which really upsets the overall flow of the story. The reason for this is simple. CP Revolution was originally intended to be a two-part OVA, but was bumped up to four episodes after the release of episode one.

Many will have noticed that there are actually two versions of CP Revolution, an OVA and a TV series, and potential viewers of either need to know one important fact - the OVA is basically the first four episodes of the TV series (with some minor editing). The OVA, directed by Sakata Junichi, was extended to a 13 episode TV series in 2005, and the four episodes were edited and shortened to ensure they fit in the show's time slot. The following episodes however (5-13), were not direct by Sakata, but by Tougo Mitsuhiro, and the difference in style really shows midway through the series.

The production schedule is actually the main reason why the directors have tried to compensate for the show's failings, however in respect of the comedy they have tried a bit too hard. The show's focus is also different from the original series. Where Comic Party focused on Kazuki and the creation of doujins in amongst all the antics, CP Revolution focuses more on the female characters.

As far as the design, animation and backgrounds go, CP Revolution is every bit as colourful and well animated as Comic Party. The character designs largely follow the first series and the game, however there is a certain genericism that permeates the show, reflecting the fact that CP Revolution is also a harem rom-com. The change in production companies hasn't really brought anything new to the show, and in truth, the fact that CP Revolution was made by a different comany, with a different director (on both occasions), is actually a hindrance rather than a help.

In terms of production, the biggest letdown was in the music and voice acting. The score was particularly bland for a show that is essentially trying to be a madcap comedy, and gives much of the humour a rather "forced" feeling. The voice acting in the Japanese dub is pretty decent, which is understandable since the cast is much the same as that for the original series. The problem is with the English dub, as the cast, for some reason, really try to ham up their roles, especially when it comes to accents.

The English dub is the main reason why I've scored the sound as average. If you're planning to watch this show, stick to the Japanese dub and subtitles.

Character-wise, the show runs on the assumption that the viewer has already seen the first series. CP Revolution isn't bad as far as development goes, with certain characters having an entire episode devoted to them. Unfortunately, this type of development is artificial and haphazard, especially in comparison to the first series. The reason for this is, once again, the messed up production schedule. The characterisations were pretty decent for the most part, especially with the characters that continued on from the first series. That said, because the show tries to be a harem rom-com it very much needs the characters to be developed, and developed well. The characters in CP Revolution only grow sporadically, and it's truly sad to see the huge missed opportunity here as the characters in CP Revolution are older than in Comic Party, and college students to boot.

This show could very easily have become a real rival to Genshiken instead of the lacklustre attempt at otaku based humour that it is.

That's not to say that the show is so bad that it's unwatchable. In comparison to the first series, CP Revolution is hands down the loser in pretty much every department, but that doesn't automatically make it bad. The humour, while being over the top, is sometimes pretty funny. The characters are okay for the most part, with the biggest plus being that none of them are overly annoying. Although the story is on the "here and there" side, it isn't so bad that it won't keep fans of otakudom watching, and the show has just as many references as the original Comic Party did, so playing the spotting game is always an option.

I'll be completely honest though - this show could have been so much more. All the chopping and changing in the production schedule meant that there was simply no time for other options to be examined, so everything was simply thrown together and everyone hoped for the best. Strangely enough this has worked - and it hasn't. The viewer is able to see just how much potential the show had as either a rom-com, a slice of life comedy, or a zany, surrealist comedy (like Jungle wa Itsumo Hale Nochi Guu). If the director and studio had chosen any one of those paths, then CP Revolution would have been a much better show than it is, especially as the seeds of all three types of comedy are there within the series.

It seems as though the old adage "if it isn't broken, don't fix it" only exists for certain anime, and sadly, Comic Party Revolution isn't one of them. read more

One of my pet gripes with multi series anime is the tendency to make major production changes from one season to the next. The main issue I have with this is simply that there is a lack of continuity in the look and feel of the show once this has been done, even if the different series are equally as good as each other (Top wo Nerae 1 & 2 are great examples of two equally good shows that look and feel completely different).

Thankfully, Slayers Next doesn't suffer from any of those problems, and it's great to see chief director Watanabe Takashi (who also directed both seasons of Shakugan no Shana, Shin Hokuto no Ken, Boogiepop Phantom, and almost all the Slayers anime series and movies), continue to work his magic with the show.

Slayers Next is a little different from the first series in that the show has a bit more bite to it than before. This time around Lina and the gang are searching for an item called the Claire Bible, a book that supposedly contains knowledge imparted to man by the Mazoku, and that Zelgadis believes has information on how to return him to normal. Aside from that Lina, Gourry, Amelia and Zelgadis spend their time fighting, playing tennis, getting kidnapped, destroying castles/towns/anything that makes Lina angry, dressing in drag, and generally making nuisances of themselves.

The "bite" that I referred to stems primarily from the fact that all of the character and scenario introductions were done in the first series, so Next can simply crack on with the story. As with the first series, there are some pretty obvious holes in the plot, but once again the comedy comes to the rescue, and while the humour will be familiar to anyone who's watched the first series, it retains a degree of freshness thanks to the overall feeling of continuity and the acting talents of the seiyuu. The one area where the plot is actually better than the first season though, is in it's development of Lina.

As a character, Lina Inverse was pretty one dimensional in the first series. That's not to say she isn't fun and approachable, especially in terms of female leads. During the course of the first season though, there was very little in the way of development for her, and while she and the other characters had some very good characterisations, the development on her part doesn't really begin until Next. While she remains as happy-go-lucky as she was before, certain events in Next serve to temper her personality and actions, giving her character a more rounded persona. That said, these changes are also the cue for some laughs, and become an important factor to the climax of the series, so it was nice to see this tempering process handled in a manner befitting the show.

I will be honest though. As much as I love the characters it should be noted that Gourry, Amelia and Zelgadis receive only token development, however in the case of Gourry this can be forgiven since he's an idiot (all brawn and very little brains, like any good fantasy "hero"). However, the characters remain as good as they were in the first series, and fans will find that they like them even more come the end of Next.

After all, character development isn't always necessary, and can sometimes ruin a great show, especially one as action oriented as this is.

In terms of art and sound, there's very little that's different from the first series - both have aged fairly well. The biggest plus points are that Next retains the whole cast from the original TV show, and that the director and production company are the same as before. This gives the show feeling of continuity in terms of how it looks and sounds, and while one can watch Next as a completely separate entity, it's advisable to watch the first season of Slayers in order to fully appreciate the second.

Slayers Next is a little different from the original series, but only in terms of how focused the show is this time around. However, the series retains all the charm, humour, action and adventure that made the first season great. Next takes the adventure one step further, and where the first series liked to show Lina as almost god-like at times, Next isn't afraid to show some of her weaknesses (slugs, for example). While the characters are as likeable as ever, Next gives them a little more room to get themselves into trouble.

Suffice to say that Slayers Next is at least equal to the original Slayers, and is one of the few occasions where the sequel not only adds to the whole, but also improves it (much like Ghost in the Shell: SAC 2nd Gig, and the Aria: The Natural & Origination).

If you're a fan of Slayers, then this is a must. If you're a fan of wanton magical destruction, then this is a must. If you're a fan characters getting into trouble just because they have "a bit of a bad temper and a complex about their breast size", then this is a must.

If you're a fan of action, adventure, romance (the off-the-wall kind that sometimes involves crossdressing), tennis, and magical hijinks and shenanigans, then Slayers Next may be up your street. read more

When one looks back one the history of anime in the West, it's easy to see the progression from the initial "cartoons are for kids" perception to it's current position as a viable storytelling medium. It's only natural then that both anime and manga have begun to creep in to our everyday lives, from modern "cartoons" for children, to games, advertising, even quiz show questions. The influence of anime and manga is literally all around us, every day. However, like anything in life, both anime and manga are also susceptible to influences as well, and Miyori no Mori is one of the few titles that has not only utilised this influence, but has openly embraced it.

What am I talking about? Well, the movie is based on the manga of the same name by Oda Hideji, and while the style of both the manga and the movie is very much Japanese, there are overtones of European comic styles, in particular those from France. This is because Oda is one of the growing number of mangaka to be associated with "La Nouvelle Manga", a movement which gathers French, Belgian and Japanese comic creators together, and the influence of this is telling in the designs of the characters and settings in both the manga and anime.

Miyori no Mori is about 11 year old Miyori, who has been sent to live with her grandparents in a remote mountain village due to her parents divorce. At first she is unnerved by the sudden upheaval in her life, however as events settle into a much calmer pace, she begins to appreciate her life in the country, until she begins to see the spirits that live in the forest that is.

One of the biggest problems with Miyori no Mori is simply that it has a distinctly sanitised feel about it. The plot, which proceeds at a decent rate, lacks a certain punch that could have made the movie great. Most of this is due to the fact that the movie places a great deal of emphasis on cooperation between the spirits of the forest and humans, however the actions and feelings of the spirits have been heavily doctored so that the movie will appeal to younger audiences. That's not to say that the movie would have been better with people being ripped to pieces, no, it's simply that the spirits feel like something out of a children s book instead of a folk tale.

However, the story is still enjoyable in it's own right, and while there is a distinctly environmentally friendly theme to the movie, this is balanced in some measure by the fact that the tale is also about a girl coming to terms with the "loss" of her family.

In terms of art and design the movie feels very "Ghibli-esque", which is not surprising as even though the movie is Yamamoto Nizo's directorial debut, his previous work includes art directionon several well known movies, including Mononoke Hime, Toki wo Kakeru Shoujo and Grave of the Fireflies. Probably the most pleasing thing about this though, is that Yamamoto's and Oda's styles seem to mesh rather well within the movie. Oda's designs for Miyori, the forest, the spirits, and the other humans have been carefully transferred to anime, and while there has been some minor alterations here and there, the end result is pleasing, if a little quirky at times.

Animation-wise the movie is very good. There is a smooth, sometimes fluid, feel to the movie, especially in it's depiction of more ephemeral beings. The characters move in a very relaxed and natural manner, and while the movie features very little in the way of "action", the more hectic sequences are very nicely realised. The background art is also very well rendered, and is the main reason why many people initially believe the movie to have been made by Ghibli. This is no surprise though, as the director is also responsible for the background art and, like most directors, he has found a way to stamp his mark on the movie.

As far as the music goes, the movie is well served with the various scores used throughout, many of which have a distinctly pastoral feel to reflect the environmental message of the film, an atmosphere which even extends to the more dramatic pieces. The nice thing about this is that the music doesn't have that "mish-mash" feel that can sometimes appear in anime, giving the film a more "continuous" atmosphere than it may have otherwise had. The effects are also very good, and are clear and distinct even when there are several effects occuring at once. However, the movie does suffer a little from the inevitable clash that occurs between sound effects, music and speech, something which can lead to re-watching the scene in order to decipher what is being said (hurray for subtitles!).

The voice acting is of a very good standard, especially for what is effectively a fringe movie (i.e. not based on a popular manga, game, etc - yes, it had a large budget for a TV movie, but that doesn't mean it was well known to begin with). Yuu Aoi plays the role of Miyori extremely well, imbuing the character with all the feelings, fantasies and frustrations of an 11 year old girl with a chip on her shoulder. Although Yuu is relatively unknown as a seiyuu (her only other role is in Tekkon Kinkreet), her performance in this movie makes her one to watch out for in the future. The rest of the cast are also relatively unknown for the most part, yet they manage to portray their characters with aplomb and, especially with the older characters, grace.

One of the things I liked about the movie was the degree to which Miyori is developed. At the beginning of the story she is understandably depressed, upset, and more than a tad angry about the events in her life, and it was nice to see that the reason for her emotional distress was rooted firmly in reality. Granted the supernatural element helps her to come to terms with her new life, yet this should not be used to diminish the growth in her character come the end of the film.

That said, where the movie suffers most is in the fact that Miyori is the only character to receive any continuous development. While there are sme sparing nods at developing certain other characters, these are simply token gestures that don't really go anywhere. The upshot of this is that Miyori actually stands out too much in the film, which isn't necessarily a bad thing until you reach the point where nothing can happen in the story unless she's around, and it's unfortunate that this is exactly what happens on several occasions.

This is a rather quirky and charming story on the whole. The animation and sound make this pleasing to watch, and the designs of the characters and creatures, as well as the lush backdrops, give the movie a nice, relaxed feel. The plot is well laid out, with understandable reasons and goals for the characters, however the strong environmental message is reinforced somewhat by the supernatural element, and can become annoying for some people as the movie progresses. Also, while this is very much a Japanese production there are distinct European tones present throughout, something which adds an air of surrealness to both the plot and the characters, and some viewers may be put off by the slightly "alien" feel inherent in the film.

Miyori no Mori is surprisingly enjoyable in many respects, especially if one likes certain Ghibli movies (or others of that ilk). It may even be the case that fans of Higurashi no Naku Koro ni, Mokke, Mushishi and Ghost Hound may find themselves warming to the film because of the numerous similarites, not the least of which is the fact that they all have rural settings and involve the supernatural.

As far as directorial debuts go, this is a pretty good showing for Yamamoto, and one hopes this movie will be the start of better things for him and Yuu Aoi, as well as the other cast members. read more

Every so often anime throws up something completely out of the ordinary, not simply in terms of content, but also in terms of production. There's many a title that can boast an extremely original plot, or cutting edge animation, or some other aspect of it's production that has the potential to shake the foundations of the entire medium. A case in point is Shinkai Makoto's much acclaimed Hoshi no Koe, which proved once and for all that a quality anime could be produced by one person (with some time and effort of course). It's a sad fact that the current trends within anime have precluded other such innovations in favour of what's popular or what will sell.

With Cencoroll though, the winds of creative change that were long thought becalmed, may have started blowing once more.

The anime is simply about a boy named Tetsu, a girl named Yuki, a mysterious amorphous blob with a transformation ability and eyes in odd places named Cenco, and a fight (kind of).

It sounds completely uninteresting right? That's what I thought too before I watched it, and to say I was extremely surprised by Cencoroll would be an understatement.

The anime is based on a one shot manga called Amon Game by Uki Atsuya, and it deviates from standard anime practices in almost every aspect, from plot to production. The story itself is laced with a large number of metaphors and symbols, some of which are easy to spot while others are far more subtle. While this can sometimes be a bad thing if used too much, in the case of Cencoroll it can, more often than not, promote discussion about the various references or symbolisms present in the anime, and more importantly, their usage within the context of the story. An example of this is the scene with the giant pudding that carries Tetsu for a while, which made me think "I wonder what King Kong would be like if it was made by Salvador Dali?". This is merely one of a large number of "I wonder.." thoughts that popped into my during the 27 minutes of this anime.

The entire show has a large dose of surrealness about it which is reinforced by the presence of Cenco and other "creatures" like "him". The symbols and metaphors present within the show also lend themselves to the overall sense of wierdness, and while the show can sometimes feel like it's overdosing on odd, it always manages to reel itself back to the main plot. That's not to say that the story is great though. It's too short to do any serious development in terms of plot or characters, which some people may find unfulfilling, however the show has a lot to offer if you approach it with an open mind.

Aside from the ED, which was produced by Supercell (an 11 piece doujin music group), the anime has almost no thematic music whatsoever. This lends the show a strange, almost eerie, feeling of calm (bordering on apathy). Unlike most anime that are reliant on music to heighten the impact of a scene, Cencoroll studiously avoids using such techniques for the most part. The impact of this is most apparent when one considers the characters in the show, and while some may find the lack of music a little disconcerting, leaving the major part of the anime free of music enhances the characters in a big way (more on this in a bit).

The one area where Cencoroll really separates itself from the crowd though, is in it's art and animation. While the character designs are a little on the plain side, they are extremely expressive, and their actions are well animated throughout the show. This, in particular, goes for Cenco's transformations which, although surreal, are extremely fluid. The backgrounds are very well rendered from start to finish, with some scenes reminding me of the stunning artwork from Mahou Tsukai ni Taisetsu na Koto ~Natsu no Sora~, and it came as a real shock to find that this level of quality was the work of one man.

That's right. You didn't misread me. Cencoroll is, aside from some bits of music, the work of Uki Atsuya, who wrote the screenplay, designed the backgrounds and characters, directed the show, and animated everything. In that respect it has a great deal in common with Hoshi no Koe, yet even this can't keep the show static for any length of time. Unlike Shinkai, Uki actually received the backing of Aniplex for the production of the film, something which made his job easier. This marks one of the first occasions where an established production company has backed a single person in this way, and while producing an anime alone may not be a rarity nowadays (there are hobbyist animators after all, who regularly publish their work on the internet), the ripples from Aniplex's decision will be felt in anime for years to come.

In terms of characters there is very little in the way of characterisation or development, which is due to the running time of 27 minutes. That said, there are those who would argue that the apathetic nature of the characters signifies that they are not believable in any way, which is a fair assessment for the most part. There is an argument in favour of the characters though, and that is the fact that they are teenagers. Consider, for a moment, that the majority of teenagers actually do display a degree of apathy, uninterest, boredom, etc, and one begins to understand the character's reactions in the show. While all three characters display a certain amount of boredom, Yuki also shows a good deal of curiosity during the first part of the show. In the case of Tetsu though, the strange occurences and wierd creatures are everyday occurences, so much so that they are no longer astonished by events, and this "boredom" with his daily routine is what is most emphasised by the lack of music.

Cencoroll is a surprisingly well designed show, so much so in fact that it managed to catch me completely off guard. There are a number of aspects to the show that deviate greatly from normal anime practices, with many of those deviations occuring as part of the story. There are also several scenes which are simply moments of creative genius, the giant pudding being one such moment, however the scenes that occur inside Cenco's stomach are also memorable for their oddness. Granted the story and the characters lack a good degree of development, but given that this is only one episode, and is mainly the work of one man, I believe such failings can be forgiven.

After all, many forgave those same failings in Hoshi no Koe, and while Cencoroll is decidely wierder than, well, most other anime out there, it also challenges the medium in a way that, in recent years, no other show has done.

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Many people will know the name of Hideaki Anno, in particular because of Neon Genesis Evangelion. His directorial debut though, was an OVA called Top wo Nerae (known as Gunbuster in the West), and whilst NGE has many, many advocates, I will admit to being one of the few who consider his debut work to be superior in almost every aspect. That said, I approached the sequel, Diebuster, with a degree of trepidation, in particular because the directorial reins had been handed over to Tsurumaki Kazuya, who also directed FLCL, NGE: Death & Rebirth, and the first two installments of the NGE remakes.

To say I was surprised by the end result would be an understatement.

Top wo Nerae 2 takes a bit of getting used to, especially for fans of the original series. The style, plot and scripting are very different to the original OVA, however the feel of the show is remarkably similar to it's predecessor. Part of this is because the story is set around ten years prior to the final moments of Gunbuster, at the very end of the 12,000 year period. Humanity is still at war with the "space monsters", but they are more able to cope now thanks to the efforts of the Fraternity, which is made up of teenaged pilots who possess "supernatural" powers (known as "Topless"), and their Buster machines.

The story begins with Nono, a clumsy girl living on Mars who dreams of being a space pilot. She runs away from home to follow her dream, only to find that reality is very different. Through a chance encounter she meets a Topless called Lal'C Melk Mark, and is completely bowled over by the experience. She follows Lal'C into space, ultimately to meet her destiny.

In all honesty, the plot is actually the weakest part of the whole OVA. Although the story is well paced and the scripting is tight but flowing, there are some obvious homages to Gunbuster which, all told, the show could really have done without. That's not to say that all the references are bad, especially as this is set within Gunbuster's timeframe. It simply means that the show is too reliant on knowledge of the original OVA at times, and would have been better served by trying to be more original on occasion.

The biggest problem though, is that the director and the writers have tried to cover this by making Nono a fan of Nonoriri, the girl who saved the Solar System thousands of years ago. This attempt at deus ex machina didn't sit too well as it gave a certain falseness to the characters thoughts, feelings and actions at times, especially on the occasions that mirrored occurences from the original OVA.

However, while the story may have it's problems, it is actually enjoyable for the most part, and it's to the credit of the writers that a number of flaws can be forgiven (not all though, more on that in a bit).

One area where the show does excel is in it's animation. Gainax have, once again, produced some stunning work in terms of character movements and set piece action sequences, and it's fair to say that in this department Diebuster is actually better than Gunbuster. The character designs, created by Sadamoto Yoshiyuki (who was also the character designer for FLCL), are very good on the whole, although they are, at times, a tad cartoonish. The backgrounds, especially the renderings of space and it's wonders, are very well done, and some of the visual effects used in the show are truly inspired.

The OVA does fall down though, in it's usage of nudity. Where the original series also had a degree of nudity, it's usage was minimal at best (aside from the bath scene), with the most prominent example being Noriko's famous shirt ripping moment in the final episode. Diebuster, on the other hand, seems to take any excuse to show the fans some skin, and whilst there are times when this mimics the first series, there are far too many occasions where it serves no purpose other than to please the fans. I'm all for pleasing the fans, but Tsurumaki and Gainax should have tried to do this in a different way instead of choosing to be "cheap".

Diebuster is very good in terms of it's sound effects, not simply in their usage, but also because of their timing. The sound department has paid a great a deal of attention to matching specific effects to the on-screen action, and whilst there are times when the sound is a veritable cacophony, closer examination will reveal that each individual effect stems from an individual action, item, character, etc. In truth, Diebuster is one of the few anime that is worth watching with surround sound to truly appreciate the quality of the effects.

In terms of music, the show has a generally martial tone to the various thematic pieces, however these are offset by some mellow tracks that work well with the more relaxed moments. The show has a certain feeling of continuity because of the music used throughout the series, some of which is taken directly from Gunbuster, while others have the same feel. The ending theme in the final episode is very much in keeping with that of the original series, and given that both OVAs finish at the same point in time this, like many of the other tracks, is well used and choregraphed.

Once again though, Diebuster is let down by something simple, in this case, the OP and ED. Where the ED from Gunbuster was a pretty staid ditty about love, the OP had a "get up and go" feeling to it that was reflective of the whole OVA. Diebuster, on the other hand, has two J-Pop tracks for it's OP and ED, both of which don't really reflect any aspect of the show, and seem to have been chosen to make the OVA more "trendy".

That said, the voice acting was very good throughout the show. Fukui Yukari's Nono possessed a bubbly personality that was tempered with determination, while Sakamoto Maaya's Lal'C has an aloof, and slightly disgruntled air about her. In terms of acting ability, the cast is truly excellent, and while there are occasions when they do ham up their roles a little, this is very much in keeping with the "excessive" feel of the OVA (more on that in a bit).

As for the characters themselves, they are the second weak point for Diebuster. Nono, in terms of the story, possesses no real motivations other than to be a space pilot. While she is most definitely an enjoyable character, she doesn't actually develop in any real way, as much of her drive and conviction remains the same even after her memory returns. Much of the development in the show actually happens on the part of Lal'C, especially in the way her thinking changes to reflect that of Nono.

Unfortunately, the show has a number of recurring characters who really get little to no development, and whilst it's true that this is only a 6 part OVA, if all the development was only supposed to occur on the part of the main characters, then the director should have focused on this instead of making lame attempts to round out other characters, a case in point being the furore involving Tycho and Buster machine Quatre-Vingt-Dix. The time could have been better used to round out the story instead, and it's ironic that while Diebuster hasn't done this, Gunbuster actually did.

To many it may seem as though I don't like Diebuster, especially as I'm an advocate of the original OVA, however nothing couldbe further from the truth. I found Diebuster to be very good, however not in the same way as Gunbuster. The reason for this lies solely on the shoulders of several people, including the director and character designer. Like many directors, Tsurumaki has tried, and in some measure succeeded, to stamp his mark on the series proper, and his influence, along with that of certain other staff members, is readily apparent throughout the anime, so much so in fact, that there are occasions when Diebuster resembles FLCL or Tengen Toppa Gurren Lagann more than it does Gunbuster.

This is not a bad thing though, as it does give the OVA a different feel to the original, but therein lies the problem as well. Where FLCL and TTGL have an excessive, over-the-top atmosphere that is prevalent in Diebuster, the original Gunbuster opted for a quiet heroism that was truly touching, and nowhere is this more apparent than in the final episodes of both OVAs. The final scenes in Gunbuster are quiet, with an emphasis on personal sacrifice - the needs of the many outweigh the needs of the few being the most appropriate sentiment. Diebuster, on the other hand, opts for a much flashier ending, with lots of noise and action, and to be honest, very little emotional impact. In truth, Nono's transformation scene and what follows is actually far more memorable than the ending itself, which says a lot about the actual scripting of the show.

The problem, at least for me, is simply this: the entire series is supposed to be about how far humanity will go in order to survive. Given that fact, the method chosen to combat the "space monster" in the final epsiode doesn't equate with the core of the story, especially as there are other planets in the Solar System that would have been more suitable. That particular method was an attempt at mimicking the usage of Buster machine #3 in the first OVA which, unfortunately, doesn't have the same effect, mainly because the element of personal sacrifice for the greater good is missing.

It may sound strange to say this now, but Tsurumaki et al could have easily channeled their collective creativity into creating a show that not only captured the spirit of Gunbuster, but also encapsulated the style of FLCL and TTGL, and, in all honesty, a show like that already exists - Giant Robo: The Day the Earth Stood Still. That said, Diebuster is surprisingly honest in a number of ways, the main one being the fact that it makes no excuses for it's numerous homages to the original OVA. While there may be those who think that using so many references is simply a method of capturing fans of the original anime, this method gives the entire show a feeling of continuity that is so often missingfrom sequels.

On the whole Diebuster is a great addition to the franchise, and while it has it's flaws, it's definitely a worthy successor to Gunbuster. While the story and characters may not be as good as the original OVA, Diebuster has a style and flair of it's own that elevates the show to a whole new level.

I wouldn't say that it's truly equal to Gunbuster, but it comes very, very, close. read more

It sometimes surprises me just how much anime as a medium affects Japanese society, in particular in areas of creative development. There was a time, both in Japan and the West, when working on anime/cartoons and manga/comics wasn't classed as real "work". Oh, how times have changed, and part of the reason for that change is the fact that both anime and manga have a great degree of industry recognition. Granted this recognition is specific to Japan for the moment, however both mediums are steadily increasing their presence overseas, Spirited Away winning an Oscar being symptomatic of this change.

One of the awards given in Japan has only been around since 2002. Being a fairly recent addition, one would think that such an award would hold little meaning for established mangaka, scriptwriters, animators, etc, however this is an incorrect assumption. The award in question is given as part of the Animax Taisho, a scriptwriting competition organised and run by the satellite TV network Animax. The competition is open to all comers, however the sixth year it ran it changed, opening itself not only to Japanese viewers, but to audiences worldwide through Animax's broadcast networks. The winners of the award will see their script/screenplay turned into an anime by an established producer (think Sunrise, Toei, Production I.G., etc).

Why am I boring you with this information you may ask? Well, it has a point as the winner of the sixth Animax Taisho award was a screenplay written by Takamaga Hayato, who until then was completely unknown in either anime or manga. His screenplay, entitled "Takane no Jitensha", told the story of 11 year old Takamusi Takane, a boy whose mother has promised him a new bycicle provided he can rank in the top 100 on his school tests. Unfortunately, Takane places 112th, so he tears up the results and lies to his mother. It's then that his little sister becomes involved in proceedings, and Takane must decide which is more important, his new bike or his sister.

At first glance the story is intruiging, especially as it injects some supernatural elements which the main character is unable to deal with. Like most things though, Takane no Jitensha is much better on paper...

Given that this is essentially a leg up for an unknown, A-1 Pictures have actually done a decent job with the animation and design. Like any studio though, animating the winning screenplay from the Animax Taisho plays second fiddle to their own projects, and it shows. There are definite areas where the animation isn't quite up to scratch, and although this doesn't really affect the overall enjoyment of the OVA, it is somewhat distracting. The design is pretty standard fare on the whole, with nothing new or groundbreaking displayed in the backgrounds, settings or characters. Everything looks pretty normal, which is how it's supposed to ironically enough. By not putting in 100%, A-1 Pictures have given the show a feeling of normality that is more than a little surprising.

Unfortunately, the anime is let down somewhat in the sound department, especially the music which sometimes feels "out of sync" with the animation. The effects also suffer from this problem, however it is more noticeable with the music. The other problem with the music is that it often doesn't quite reflect the mood of the scene, but aside from these problems there isn't really much to complain about.

The voice acting is a big plus for the anime though, as the role of Takane was given over to Sakamoto Maaya, a name that fans of Escaflowne, Kara no Kyoukai and Diebuster should be familiar with. Her experience in the lead role is telling, as it gives the character of Takane far more personality than the story initially allows for. The other seiyuu are pretty good for the most part, however Sakamoto pretty much steals the show.

Takane no Jitensha, like almost every other single episode OVA in existence, has a big problem in terms of characters, in particular characterisation and development. Like all the others, this OVA has made exactly the same mistake in that a weak character is expected to develop over the course of one episode due to some major event in his/her life. The few that actually manage to achieve this feat have all done so by providing an extremely strong characterisation, or an almost complete character, right from the start. In Takane no Jitensha however, the lead is an 11 year old boy, and while it is true that presenting a complete character may be unbelievable in this case, providing a strong characterisation is always possible no matter the age.

I was actually surprised to find that I did actually enjoy this to a degree. The story reminded me somewhat of Mokke in it's approach to spirits and otherwordly beings and their relationship with humans. Whilst it lacks Mokke's charm, it does make up for it a little by being original in it's plot. After all, how many of us wanted a bike more than we wanted our younger siblings, especially when we were 11. Whilst the supernatural element adds an unbelievability to the story, the core of the plot, a boy wanting a bike and seeing his little sister as an annoyance, is more than probable.

On the whole, this is worth watching if you like supernatural anime, or you like to keep an eye out for potential new talent in anime.

I watched this for the former reason, however I'll be checking out the other Animax Taisho winners as whilst Takane no Jitensha does have it's problems, it also has potential.

Hopefully the other titles will showcase the same creativity as this.

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There are lots of anime that feature some sort of humour, however outright comedies are still few and far between (whereas outright parodies are fairly common, but are very much dependent on knowledge of the reference). Part of the reason for this is the method in which comedy is handled in anime, with most shows featuring a lot of parody to shore up the weaknesses in other humourous aspects. Anime, especially outright comedies, have one big weakness though - situation comedy.

That doesn't mean that there aren't any good sit-coms in anime. Nodame Cantabile, Genshiken and Moyashimon are great examples of situation comedy at it's best, especially in terms of anime. Historically though, anime, as a medium, has never really had a series where the main focus was fun and humour in manageable portions, as all too often the tendency is to go overboard.

One series has, however, defied all the conventions, and has become one of the greatest comedy anime of all time. Incorporating elements from some of the best comedy of both East and West, the series has an anarchic streak that, at times, is more reminiscent of Monty Python, The Simpsons and Family Guy.

I am, of course, talking about Gintama.

The concept of a samurai sit-com isn't new to anime and manga, however it wasn't until the serialisation of Sorachi Hideaki's manga in 2003 that anyone actually realised the potential in this type of story.

Set in a quasi-historical Edo, Japan, and possibly the rest of the world, has been conquered by an alien race known as the Amanto. Japan's strongest warriors, the Samurai, were no match for the alien technology, and in an effort to prevent another samurai uprising, the powers that be have banned humans from carrying swords in public.

In this world there lives a former samurai with silver hair, who runs the firm known as Yorozuya from his rented second floor apartment, and takes on odd jobs (yorozuya), for people in order to pay his rent and buy milkshakes and his beloved Weekly Shounen Jump. He is Sakata Gintoki, a man once feared as the "White Demon" during the samurai uprising.

To say that the story is a bit on the haphazard side is probably a gross understatement, however Gintama is nothing if not consistent in it's approach. The underlying story is of Gintoki and his "friends", Shimura Shinpachi (an average human teenager with no real special qualities), and Kagura (an alien who looks human and possesses monstrous strength), as they go through their days doing odd jobs for people, and trying in some small way to make the world a better place.

And that is really about as serious as many of the episodes get. The haphazard approach to the story is a purposeful measure that actually works very well given that Gintama is a comedy series. There are story arcs that occur throughout the course of the anime, and even though they may include some serious or dramatic content, Gintama never once loses it's sense of fun. Indeed, the comedy is the true strength of this series, not simply in it's style and delivery, but also in it's content. Some of the visual gags are extremely good, and whilst the series is top-filled with parodies, it never once over-uses these references, instead turning some of them into running gags that appear throughout the show.

That said, Ginatama has one aspect that is greater than all others in terms of it's plot and comedy content, and that is it's ability to turn the seemingly ordinary into something completely different. This is the main reason why I class Gintama as a sit-com rather than a parody, as this aspect has more in common with shows like Blackadder and Monty Python than anything else. I can't count the number of occasions when the series has caught me off guard with it's slyly anarchic take on seemingly normal events (like being in a public toilet and running out of paper).

Of course, there are downsides too. Although the series is extremely strong in terms of comedy, it sometimes lacks when events take a serious turn. This may be due, in part, to the audience's reactions as viewers may automatically think that something funny is going to happen next, however a part of it also stems from the fact that the comedy is sometimes too "strong". It's ironic really, that Gintama's greatest strength is also it's biggest weakness.

As with any long running shounen series, animation and design are pretty good on the whole. The character designs are extremely well done, and convey a sense of visual individuality that, at times, goes beyond that of other shounen anime. The colours are extremely bold and solid, whilst the backgrounds and set designs highlight the synergy between alien technology and Edo. The animation itself is of an extremely high standard, so much so in fact, that some of the visual gags only really work because of it.

One of the high points of the art and animation is the show's ability to parody other things well. There are numerous occasions when the style, animation, end even the character design, changes to make the humour more immediate. These changes can sometimes occur in the blink of an eye, but can also last for a good portion ofthe episode. The series also plays around with a variety of concepts that most people only really read about, the best example being an occasion where Gintoki and the gang are rendered invisible because the anime is incomplete. I can't honestly think of any other series that not only mentions something like this, but also shows the viewer what it would look like.

With regards to the humour, much of it comes from the characters themselves, but no matter how good the scripting is, delivery is everything when it comes to comedy. In this respect Gintama is extremely well served by it's seiyuu. The cast are able to perform with a panache that is sometimes astonishing, and their portrayals of their respective characters is so good that you'd be forgiven for thinking someone else was acting. Possibly the best example of this is Kugimiya Rie, who plays the part of Kagura. I will freely admit that I'm not a huge fan of hers, mainly because she is typecast into tsundere roles, however her portrayal of Kagura is truly excellent, especially in terms of comedy. Like the rest of the cast she has managed to not only maintain consistent character for a long time, but has actually become more adept at her delivery.

In terms of sound, Gintama is generally consistent with it's choice of music. There are certain tracks that are repeated throughout the series, and that add to the comic atmosphere of a given scene, however some of the more serious moments can feel a little off-kilter because the score changes can be a little bit sudden. As with any long running series, the OP and ED have changed since the show began airing in 2006, however these tracks are usually pretty good at capturing the essence of the show as a whole, especially with the introductory sequences being choregraphed to highlight the important aspects - humour, fun, some seriousness, and a large slice of anarchy.

In all honesty, there is no real reason for me to find the characters outstanding, yet they are, and this is possibly Gintama's greatest triumph. Each of the characters, from Gintoki, Shinpachi and Kagura, to the members of the Shinsengumi, and all the sundry characters, alien and otherwise, who appear in the show are, without doubt, memorable. When taken as individual characters, each is a flawed creation that really wouldn't work were this any other anime, however the plot and scripting for the series, together with the talent of the seiyuu and the design of each character, turns this idea completely on it's head. Much of the comedy in the series is very much dependent on the characters, and it's because the show is so good at entertaining the audience that any noticeable flaws are generally forgiven or ignored.

Gintama is not simply a funny anime though. Over the seasons the show has gradually become a phenomenon in anime, especailly in light of the show's ability to maintain consistent humour for over 120 episodes. The irreverent and oh-so anarchic humour can, at times, come off as wierd, however this has only served to endear the show to more fans - myself included.

That doesn't mean I'm an absolute addict of the series. I've heard many fans refer to Gintama as their "anime crack", and I can understand their perspective (I may not be hooked, but I am definitely a fan). The series has a lot to offer if you approach it with the right mindset.

The show will most definitely appeal to shounen fans, not simply because it bears all the hallmarks of shounen anime, but also because it isn't afraid to to parody other shounen series (Bleach, Naruto, One Piece, etc - who can forget the infamous DragonBleaPiece movie trailer). Fans of other comedy series, especially Seto no Hanayome and Jungle wa Itsumo Hale Nochi Guu, will also find Gintama's ability to mess with everyday concepts worthwhile.

There are a lot of aspects to this show that have a broad appeal in terms of humour, and it's to the show's, and the cast and crew's, credit, that the series never gets old or stale, or too bogged down in how good it actually is.

There's a new king of comedy in town. Make way for Gintama. read more

When the original Super Dimensional Fortress Macross was released back in 1982, it became an immediate success for several reasons, the main ones being the story, the music, and the variable fighters. Unlike other mech shows, the Macross franchise focused more on human relationships than it did on war and combat, and because of this the series has been able to produce some truly excellent stories. The one thing that has long been missing though, is the story of what came before SDF Macross.

Macross Zero is set in the year 2008, and chronicles the final days of the conflict between U.N. Spacy and the Anti-U.N. forces on Earth. The story takes place in the South Pacific, in an area where an alien spacecraft crashed nine years before, and both sides are looking for it with the hopes of gaining a technological edge.

Kudou Shin, a pilot with U.N. Spacy, is downed by an enemy aircraft with the ability to transform, and crashes onto a remote island. When he regains consciousness he finds that his injuries have been tended by the natives, a peaceful tribe who want no part in the conflict.

Macross Zero is a big departure for the franchise in terms of it's story, being at times more brutal and less forgiving than other outings. In almost every other Macross series, the enemy has invariably been alien, but here the enemy is other humans, and because of this there is a certain harshness to the tone of the series which is actually rather refreshing. The franchise has always had a slightly sugary aspect to it's stories, so it's nice to finally see a Macross tale that has some teeth, and that allows the characters to behave more like humans instead of an ideal. That's not to say that characters from other Macross series are bad, simply that they have a bit more realism to their personas and actions in Zero.

The OVA is extremely well scripted and paced, and although the story has an element of predictably to it (it's Macross after all, so some things will automatically be included ), there is a distinctly fresh feel to it because of the premise and plot. There are also a number of surprising elements that actually explain several aspects about the entire Macross universe, especially Frontier.

In all fairness, Zero could actually be considered as not simply a prequel, but also a re-envisioning of the entire Macross franchise. Granted there are the staple plot elements of variable fighters, music and love triangles in the OVA, however these actually play second fiddle to what is a truly gripping story.

As with any Macross series there is a certain standard to the quality of the art and animation, and Zero is no slouch in this department. The OVA is possibly the best looking of any Macross anime, and contains some truly remarkable designs and visual concepts. The colours are vibrant and bold, and Zero features some of the most fluid animation seen in the franchise. At times the animation is good enough to put even the mighty Frontier to shame, and nowhere is this highlighted more than in mech combat.

The character designs are one area where Zero truly deviates from other Macross series, with almost every character possessing a certain realism which even extends to items of clothing and jewellery. Blue hair may be a norm in anime, but the lack of it can change the whole feel of a show, sometimes for the better.

One thing that Macross is famous for is music, in particular, songs and singing. Zero is no exception to this, and while the general music is familiarly orchestral (and more than a little martial), the all important singing is very different to what Macross fans will be used to. The songs in Zero have a distinctly tribal tone that is brought about because of the importance of the native islanders to the entire Macross universe. The OVA, unlike other Macross series, actually downplays the popular music element that is prevalent within the franchise. Because of this, the singing has a far more peaceful and natural feel to it, something that also plays a part in Macross Frontier.

One thing I did like about Zero in particular was the quality and timing of it's sound effects. Although there are times when almost everything else is drowned out by explosions, the effects are generally very sharp and clean.

Voice actingis another big plus for the OVA, especially with regards to the lead roles. Suzumura Kenichi performs extremely well as the troubled Kudou Shin, whilst Kobayashi Sanae is truly excellent as the proud Sara Nome. The rest of the cast are equally good, and are able to give their respective characters a greater sense of purpose than I've seen in any other Macross series.

As for the characters themselves, there is really very little to complain about. The lead characters are all individuals to a tee, each with their own problems, goals and ideals. Possibly the most interesting aspect is the internal conflicts that Sara, Mao and Kudou struggle with which, at various points in the OVA, promote some surprising developments in their relationships with each other.

Because the story is set during a period of conflict there is a certain amount of predetermination with regards to their development, which is actually the main weakness of the series. The viewer can almost predict how a given character will react in certain situations. This is, however, an unfortunate necessity because of the length of the OVA. At only five episodes there simply isn't enough time to offer the majority of characters any substantial development. so any that does occur is normally on the formulaic side.

Macross Zero is a surprisingly unique addition to the franchise, and one that will invariably cause some arguments among the more hardcore fanbase. For the average anime viewer though, it is an entertaining and sometimes thought provoking series that isn't afraid to try a new approach. The setting and time period, together with the more realistic tone of the story, also mean that it is more accessable to those who want to give the franchise a try.

Arguments notwithstanding, fans of the Macross franchise should be pleased with this addition, especially with regards to the recent Macross Frontier. Of all the Macross series' that have been released thus far, Frontier and Zero have the closest ties, not simply because of the infamous movie in Frontier, but also because it is suggested that Sheryl Nome is actually the granddaughter of Mao Nome, who we see as a young girl in Zero. There's also the "Birdman" link between the two series, and in all honesty fans of Macross Frontier should definitely watch Zero as it is not only a prequel to SDF Macross, but also the true beginning of Macross Frontier.

The Macross saga has it's detractors, and rightly so as there have been times when the franchise has simply not delivered.

Thankfully, Macross Zero isn't one of those occasions.



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The mid 90s were a bit of a special time for anime, kind of like a mini golden age. Akira had opened the doors to the West and, after a taking a little rest, the second great expansion of anime began to gather pace. Titles like Ghost in the Shell, Martian Successor NADESICO, Fushigi Yuugi, Golden Boy, Escaflowne, Macross Plus & 7, and the ever contentious Neon Genesis Evangelion became firm fan favourites, and cemented anime's place as a viable media in the West.

In amongst all this great anime came a fantasy series that would literally change how anime would approach the genre for years to come. With it's irreverent humour, a cast of memorable characters, and a story that was more about getting rich than going on quests, it possesed an appeal that was almost universal.

Slayers originally began as a series of light novels written by Kanzaka Hajime (with illustrations by Araizumi Rui), which were adapted for manga from 1990 onwards. In 1995 the series was then re-adapted as an anime, and the rest, as they say, is history.

The series follows the adventures of the notorious Lina Inverse, a young sorceress whose name strikes fear into the hearts of, well, pretty much everyone (even though she's petrified of slugs and her older sister). She is joined in the first episode by a wandering swordsman named Gourry Gabriev, the wielder of the Sword of Light (which Lina wants for herself), who, at first, believes Lina to be a lost little girl, and decides to become her bodyguard.

Many shenanigans ensue from that fateful meeting, and things only get worse when the pair are joined by princess and resident justice freak Amelia Wil Tesla Saillune, and the man with a huge chimera chip on his shoulder, Zelgadis Graywords.

The story is, at heart, a fantasy adventure that on the surface resembles many other sword and sorcery romps. The big difference though, is that Slayers doesn't take itself too seriously, mainly because of the characters themselves. Although the plot follows a pretty straightforward route through the series, there are many occasions where the action plays second fiddle to the comedy, especially where Lina and Gourry are concerned. Whilst there are some obvious holes in the story, the comedy more than makes up for it and, more often than not, the viewer will find that they simply ignore any inconsistencies just so they can see what Lina gets riled at next.

The comedy is pretty formulaic for the most part, however that doesn't mean that it's bad. The humour is actually very good throughout the series, and some of the running gags are very well thought out and executed. It's strange, but there are very few comic fantasies out there, especially those of the sword and sorcery type. Most series that include a degree of comedy only really include it as a periphery to the main, serious, story. Slayers approaches things from the other direction, and the main aim of Lina and Gourry isn't to save the world, but to get as rich as possible for the least amount of effort.

This is, perhaps, the main reason why the show has become a benchmark for the fantasy genre, as many series will, either fairly or unfairly, be compared to Slayers. I can't even count the number of times I've heard someone ask "well, is it as good as Slayers?". The uniquely defined characters, the lack of any real
"quest", the explosive humour, and many other aspects of the show, all serve to separate this from the rest of the pack.

Indeed, it's the characters in particular that draw people into the series. Lina is, without doubt, the most notorious female lead in fantasy anime, and one of the most well known in the entire medium. Her vivacity and explosive (and often destructive), temperament, together with her streetwise savvy and tremendously powerful magical ability, all serve to provide the viewer with all manner of entertainment. Gourry is very much like Lina in that he provides the audience with much of the physical humour whilst never becoming a part of the visual "furniture".

I will admit though, that I did, at first, find Amelia to be annoying, and Zelgadis to a lesser degree. Over the course of the series though, the pair grew on me because of their combative relationship with Lina and Gourry, and with each other. The series is particularly noteworthy because of the fact that the characters don't really act like those from a stereotypical fantasy anime.

As the series progresses the characters do actually develop to a degree, however this is usually masked by some action or comedy so it doesn't really get pushed to the fore, something which is actually better for the series because of the nature of the story. This may not sit too well with some viewers though, especially those who believe that character development is one of the most important aspects of a show. That said, Slayers has some particularly strong and complex characterisations, in particular Lina herself. It's the strength of these characterisations that actually precludes any unnecessary development, and leaves the door open for the characters to go off and do other things (like arguing, eating, destroying monsters/bandits/towns/mountains, trying to kill each other (only as a joke - honest), looting treasure, etc).

Given that the series is from 1995, it's actually aged pretty well. The colours are bright and bold, especially with backgrounds and settings. The characters themselves are designed to be unique and expressive, although much of this comes from the actions rather than their faces. Animation is a big plus for the show, and it's to the credit of J.C Staff and SoftX that the series has held up rather well over the years. The animation by modern standards may not be exceptional, especially as it tends to add a more cartoon-like quality to movements, but it is extremely well choregraphed for it's time and genre.

Sound is another big plus for Slayers, especially the fact that the series has been dubbed into over seven different languages (including Japanese and English). In all honesty, I prefer the Japanese dub, but that is no reflection on the quality of the English dub, but rather a personal taste. The Japanese seiyuu are very good on the whole, and are able to express a wide range of basic emotions, as well as humour. The English cast are pretty good as well, however I did find Lisa Ortiz' voice to be a little too high pitched for my tastes.

The music is pretty decent throughout the series, although it does get a little repetetive at times. The sound effects are well timed and choregraphed, however the more complex combinations can become a little too heavy on the ears at times.

Slayers is an absolute joy to watch, and it's truly rare to find a fantasy series that has such memorable characters or humour. There is a certain amount of formula to the plot, however the blend of comedy and action, together with the unique take on the characters, ensure that cliches don't feel out of place in the story.

This is a series that is worth watching by, well, everyone, especially those who prefer fantasy and comedy. There are very few shows around even today that can be called comic fantasies, and most of those have the name "Slayers" somewhere in the title.

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As a long time reader of the manga series, I've looked forward to the various animated versions of Mahou Sensei Negima. The first anime adaptation was good, but it deviated too much from the manga, and attempted to play on the viewers sympathies too much. The second adaptation began well, but became a joke very quickly, and bore no relation whatsoever to the story proper aside from maintaining the character base. Of the two seasons, the first was by far the better, especially as Negima!? ended up as a very poor, supernatural style PaniPoni Dash.

I won't even talk about the two OVAs, Haru and Natsu....

Upon hearing of the third iteration of the series, Mahou Sensei Negima: Shiroki Tsubasa Ala Alba, it seemed that hope was not lost for a decent animated version, especially as the story was supposed to follow events from certain chapters of the manga.

Unfortunately that hope was in vain.

The main problem with this OVA is that even though the story is pretty much the chapters from the manga in animated form, it's not really designed to appeal to anyone but fans of the manga. This is, unfortunately, a poor move as the OVA doesn't actually enhance the story or develop the characters in any meaningful way, and is little more than eye candy for the existing fans of the manga.

That said, the Ala Alba iis a very good adaptation of the chapters it covers. It's so good in fact, that the viewer would be able to watch the OVA and skip the relevant chapters, and they wouldn't miss a bit of the story. As adaptations go, this is up there with the most complete. The biggest problem with it is that it won't appeal to newcomers to the series, or to those who have only watched the anime versions, as the story is taken from the middle of the manga so there's no real explanation about events or characters.

As far as animation and design goes, this is actually very well made. The characters, backgrounds and settings are taken directly from the manga, with only a minor alteration here and there. The animation is fluid and the visual effects are well used. However, like the notorious Negima!? and the OVAs, this is a SHAFT production, and whilst they may be a great animation studio, they do have a tendency to do some rather odd things with animation at times. Their penchant for this rears it's super deformed head in this OVA on several occasions and, more often that not, it serves as a distraction rather than an enhancement.

In terms of sound, the OVA will definitely appeal to fans of both anime series. The OP is a new rendition of the notoriously boppy "Happy Material", whilst the ED is a slightly more martial take on "Kagayaku Kimi e". The music used throughout the series has a decidedly upbeat tone which, given the lack of any truly serious events in this section of the story, isn't a bad choice on the whole. The sound effects are atmospheric and well choregraphed, with the most impressive being the distorted vocals when a spell is being chanted, which is then overlayed by the characters voice. The effect is rather surreal at times.

The biggest plus for the OVA is that the gang is all here. The various (and numerous), seiyuu from both anime series, and the Haru and Natsu OVAs, are all gathered together once more.

One interesting thing that arises because of this though, is how a different look and feel can affect how one hears things. This is especially true for those who have watched either, or both, of the other two series. The characters, as a whole, have become more, or less, likeable in the OVA, although I should point out that this is in terms of individual characters and not as a group. Given that each character is played by the same seiyuu, and is essentially doing the same things and behaving in the same manner as before, I found this changed perception gave the OVA a slightly odd feel compared to the other efforts.

Negima is notorious for having oodles of characters however this OVA, being simply an animated form of certain chapters, doesn't really have the scope to develop them in any meaningful way. One thing that does get highlighted is the disparity in terms of "power" between the girls that have contracts with Negi, and those that don't. Aside from that though, there isn't really anything else.

I did actually enjoy Ala Alba, as it made a nice change to see what the anime adaptations could have been like if they'd followed the manga. However, this is an OVA that will only really appeal to fans of the manga, although fans of either anime series who have yet to read the manga may want to check it out as it will give a taste of that version.

On the whole, it's not a bad OVA, and it does have some plusses going for it, especially how closely it follows the manga. That said, I would have preferred to see something that added to the overall story rather than a glorified version of chapters I've already read. read more