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Story

The story starts in a fairly disorienting manner and then moves quickly from there. After about 20 minutes of confusion, however, the anime soon finds its feet and I began to be able to follow what was going on. At around 40 minutes in I was actually somewhat interested... and then, the anime falls apart under its own philosophical weight. Apparently, the creators of this anime thought that they could substitute all semblences of plot with random scenes that supposedly have symbolic meaning. A quote from Roger Ebert's movie glossary comes to mind: "If you have to ask what it symbolizes, it didnt."

I have seen ... this movie several times, and still cannot enjoy the film one iota. I do not believe that it is because I didn't "get" the film; I believe that there is quite simply nothing to get. Certain Neon Genesis Evangelion fanboys have gotten a huge kick out of analyzing the show and attempting to fabricate some sort of interpretation of the events that transpire, but in my opinion this is a futile endeavor. The shows plot was deliberately made incomprehensible for incomprehensibilitys sake; there is no meaning to the show other than to have no meaning whatsoever.

The difference between this film and other virtually indecipherable anime (see: Cat Soup, Paprika) is that End of Evangelion pretentiously demands interpretation.There is nothing to entertain the viewer beyond the movie's pompous symbolism, and this is the film's downfall.

Animation

Generally, the animation is pretty damn good. Because of the film's obviously larger budget, End of Evangelion improves on the excellent original character designs with greatly improved fluidity and backgrounds. A sequence near the end, where iridescent crosses spring from Earth, is one of the nicer pieces of eye candy that I have seen. Another highlight is Asuka's central fight midway through the show, which oozes with perfectly stylized violence.

The awesome animation is marred, however, by two dreadfully awful sequences. In one scene, the "anime" is not animated at all. Instead, a person with a low budget camcorder randomly wanders around town, filming things like empty movie theatres. This comes as quite a shock midway through and manages to come across as exceedingly ugly. Many people I have spoke with have tried to defend the scene by citing its symbolic meaning, but all of them have given me different answers. Ultimately, the sequence is a jarring break from the continuity of the animation, and definitely hurts both the show's pacing and overall video quality.

In another scene, there is a horrendously long sequence in which thousands of still frames are flashed across the screen at a mind-numbing rate. Never before have I had to sit through such an obviously expensive, thoroughly pointless, and horrifically painful section in anime.

Sound

In general, I found the sound to be pretty much flawless. The music does a pretty good job of setting the mood even as the story is falling apart, and voice acting is still excellent. Sound effects, particularly in Asukas battle, are nicely done.

Characters

Some may disagree, but I thought the original characters of Evangelion were excellent. All of them were almost perfectly imperfect, and as a result managed to capture some of the darkest parts of the human soul. While none of the characters were particularly likeable, every single one was captivating in their infinite flaws.These promising characters, however, are pretty much destroyed in the treadmill of an awful story. By the end of the show, just about every single individual has lost his or her humanity; their actions no longer reflect any semblence of logic or compassion. Forget character development - this is an anime about action figures.Because of this, what was arguably Neon Genesis Evangelions greatest strength becomes End of Evangelions biggest fault.

Overall

I went into this anime genuinely hoping that at last I would find a little closure to Evangelion. Instead, I got this. Deliberately plotless, the creators apparantly assumed that they could pass off mindless and pointless scenes under the pretense of "art." A huge budget is wasted, a good storyline is desecrated, and one of the most promising animes of 1997 is put to shame. Pretentious and disappointing, End of Evangelion is certainly down there among some of the worst anime that I have seen.

Story

Despite being a remake to a kitschy 70’s anime “classic,”Casshern Sins begins promisingly. In the first few episodes, the creators lay out a post-apocalyptic setting that manages to feel both unabashedly retro and grimly bleak at the same time. The resulting mix of camp and angst is weirdly intriguing, especially when the solid supporting characters and mysterious titular protagonist are factored in.

Sadly, Casshern Sins fails to live up to its initial promise due to its unfocused overarching narrative. Rather than develop any core theme in the early to middle stages, the series meanders among flavor-of-the-week plots and half-hearted attempts at a main story. After countless ... thematically tangential episodes, the anime barely has room to resolve its main plotline and is forced to squeeze a half-hearted conclusion into the final few episodes. The final episodes seem to assert that death is needed to make life worth living. However, the distracted narrative and conflicting themes beforehand causes this moralizing to feel hollow and unconvincing by the time the creators decide to tack it to the end. At the end of the series, Casshern Sins doesn’t feel like it was ever actually about anything, and this is perhaps its greatest flaw.

The anime’s plot is further diluted by lame fight scenes that lack context or relevance. In many occasions, a group of mooks will simply appear in the middle of an episode to suicidally impale themselves on Casshern’s foot. These scenes appear to have been inserted to please the action junkies, but the problem is that Casshern Sins tries to be something more than just another shounen action show. By mixing mindless action with serious science-fiction, the anime fails to appeal to fans of either.

Still, in spite of all these weaknesses, the series is not without merit. Casshern Sins’ main strengths lie not in the actual meat of the plot, but in the assorted one-shot episodes that pepper the overarching narrative. While they disrupt the flow of the actual story, many of the disjointed plotlines are well-written enough to be entertaining in their own right. Granted, not all of the self-contained stories are good, but others are genuinely compelling. This alone prevents Sins’ story from being an outright failure.

Animation

Fortunately, Casshern Sins has an excellent idea of what it wants to look like, if not what it wants to be about. Put simply, the style of the series' dystopian setting is wonderful.Casshern Sins uses carefully chosen color schemes and crisp animation all to great effect, and the final visual package is one of the most impressive I've seen this year. A particularly impressive aspect of the visual package is the dramatic use of light in just about every scene. It's not Makoto Shinkai obsessive, but the shadows drawn across the hero's face do a lot to darken the mood.

Sound

Voice acting as a whole is uneven. The protagonist’s seiyuu is so hideously terrible that I genuinely wondered if he was trying to sound wooden on purpose, while some of the supporting roles turn in excellent work. On the other hand, the background music is almost universally excellent. The music grimly underscores the anime’s bleak mood without ever becoming a distraction. The soundtrack’s one flaw is its frequent repetition, but this never becomes too much of a problem.

Characters

In addition to the haphazard plot and the hamfisted ending, the creators botch the characterization on nearly every major player in the show. Casshern himself is the most egregious example; his deadpan voice acting, terrible dialogue and unconvincing development combine to form one of the most ineffective protagonists that I've ever seen. Dio and Leda, the two main villains, are almost as bad; not only are their motivations left woefully unexplained, they're just flat-out boring characters.

Fortunately, some of the supporting characters fare better; Lluyze in particular is a welcome exception to the bad characterization. Casshern Sins dedicates an entire episode to dissecting her psyche in a weird and decidedly Freudian fashion, and the result is arguably the highlight of the show. Sadly, she is a comparatively minor character and simply can't carry the show on her own.

Overall

Overall, I enjoyed myself as I was watching and in particular liked the one-shot episodes, which at times evoke the amazing work done in Kino's Journey. However, the turgid overarching narrative, the bad characters and the incompetent ending make me wonder if these scattered episodes were enough to make the series actually worth my time.

Story

I’m actually going to make the case here that the story would be entertaining even without the ultra-violence. Elfen Lied has a relatively interesting tale involving apocalypse, split personality, and evil-men-in-lab-coats performing diabolical experiments. In other words, there isn’t anything that we haven’t seen before, but the elements are mixed in such a way to hold one’s attention well.
When the shock value is added, however, the storyline is elevated from interesting to riveting. Aside from two distinct moments (a recap portion in episode 12, and a fairly weak “bonding” session between Nana and Mayu in an earlier part of the show), I was held to ... the screen from the guiltless bloodbath of the first 5 minutes to the final episode.
The story is somewhat marred by a “read the manga” ending and some unnecessary ecchi moments, but these are minor complaints in the grand scheme of things.


Animation

Whether you love it or hate it, I doubt anyone can really dispute the fact that the gore is exceptionally well animated. In fact, just about every part of the various fight scenes are almost flawless: fluid, quick, and exhilarating. Outside of these scenes, the animation is not quite as impressive but nonetheless appealing. My one complaint would be with the somewhat lackluster character designs. I wouldn’t call them terrible, but they definitely seem generic.

Sound

Elfen Lied has a fantastic opening theme that reappears as background music in the actual show, with favorable results. Voice acting is fairly unmemorable save for the excellent performances of two seiyuu. Yuka is one of Noto Mamiko's first major roles, but here she seems a perfect fit; because of her efforts, what would otherwise be a relatively bland character is made into a likeable one. A similar (but less significant) effect happens with the appealing machismo of Bando’s seiyuu.

Characters

While the characters in the show could have been a lot worse, they’re by no means good. Most of the characters are likeable on a basic level (my favorites were probably the off-kilter, steroid pumping Bando and the surprisingly compelling Nana), and some of them have interesting back-stories thrown in for good measure. Unfortunately, in the end they feel more like caricatures than actual human beings. Given the nature of the show, this might have been unavoidable.

Overall(8/10)-

I hate harem animes with almost no exception. As well as being shamelessly clichéd and artless, most of the plot lines that these animes manage to come up with simply aren’t interesting. The majority of the anime-watching community seem to enjoy brainless, ditzy, high-pitched and disproportionate girls emasculating an already girly protagonist, but the entire idea has never really appealed to me.
I bring this up because, as much as I am loathe to admit it, Elfen Lied is undeniably a harem anime. All of the ingredients are there: the faceless main character, the ample supply of unnecessary female characters, the spacious former hotel… anyone who says otherwise is simply delusional.
…and yet, here I am, defending this title as not only a good anime, but a great one. Despite the pointless panty-shots, despite the random breast fondling, despite the girl-barges-into-room-with-hero-in-compromising-situation scenes, I was glued to the screen for pretty much the entirety of the series. This isn’t just something I’d recommend; I thinkElfen Lied is one of the best shows of 2004.
What makes this show excellent are not the harem elements; when all is said and done, the ecchi part of the show merely provides a basic skeleton for the creators to build upon. What they add is one of the bolder moves that Ive seen recently in anime. While most series nowadays are invisibly affected by some time-tested boundaries, Elfen Liedsmashes just about every rule on what is considered acceptable within the realm of entertainment.
The obvious example that many people have already brought up would be the gratuitous violence. Trust me, these people are NOT exaggerating; of the numerous animes that I’ve seen, this one takes the prize for most gore. However, what many people are failing to note is that the most disturbing parts of the show don’t really have anything to do with blood and guts. How many animes have you seen that involved animal torture? Child molestation? The total loss of conscience? These subjects have been touched upon before, but never with the intensity and prowess thatElfen Lied manages to achieve.
In the end, the most criticism that this anime receives will be derived from the fact that the anime uses raw shock value to help bolster a relatively shallow plot. What they’ll fail to mention, however, is that this is not really a bad thing. When all is said and done, the unblinkingly savage nature works; Elfen Lied is absolutely fascinating in its sheer viciousness, and the ecchi part of the show only helps to contrast this brutality. If you’re worried about others accusing you of having “bad taste” in anime, then by all means skip this show. However, if all you want in anime is an engrossing, balls to the wall rollercoaster ride of betrayal, cruelty and fanaticism, then there arent a lot of titles that Id recommend over this.

Story

For series of this length, there’s a fairly intriguing piece of conjecture that I occasionally enjoy trotting around. According to the theory, no matter how awesome the original premise, no matter how charming the cast of characters, no matter how competent the studio, every long series will tank after about 75 episodes. As evidence, a myriad of lengthy anime can be cited that begin excellently and then slowly degenerate into recycled material and filler. Kenshin was excellent until some genius decided to deviate from the manga. Kodomo no Omocha was brilliant until the series drowned itself in the utterly craptastic New York arc. Naruto was ... actually fairly fun until Gaara and his whiny, sniveling flashbacks slowed the series down to a monotonous crawl. Prince of Tennis, Slam Dunk, Galaxy Angel... I could rant on this phenomenon for hours, and probably will someday.
Of course, my theory has an annoying, irrefutable, and ultimately fatal hole in its logic. Even when I’m at my most eloquent, I inevitably find myself forced to tag “…except One Piece” onto the end of every sentence. According to the hypothesis, the series should have died off episodes upon episodes ago, and yet continues to succeed well beyond any possible expectations. Just as other shows of similar length are running out of creative steam and tormenting their fans with shamelessly shitty schlock, One Piece draws from a seemingly infinite well of creativity to deliver time and time again. Put simply, One Piece seems almost limitless in its capacity for entertainment.
Granted, the storyline is not without its weak moments. There are scattered filler episodes that really don’t belong, and the dragon puzzle arc is some of the most boring material that I’ve ever willingly watched. However, although during these moments the show seems like it might finally go the way of Inuyasha, the creators always bounce back to deliver more of what everyone loves. The Arabasta arc, which has just recently concluded, is one of the best segments of the entire series.
This fact alone leads to the inevitable question of what separates the show from lesser works. What makes the series as good as it is? Why has the series succeeded where so many others have failed? Essentially, what is driving the show to remain so engaging for such a ridiculous amount of time?
The answer, I believe, draws not from what the story is about, but how the story is approached. With fight scenes, simplistic humor, and the ever-present emphasis on the importance of friendship, the anime contains many of the expected trappings of the shounen genre. However, a characteristic seemingly unique to One Piece is the distinct air of genuineness that the show seems to permeate.
With other shows of similar length, I’m often struck by the distinct feeling that the show has exactly one thing on its mind: money. Oftentimes, an anime with an established audience will simply stop coming up with new material, and start recycling what they’ve already made. In this creative void, the show will rigorously follow its formula beyond any semblance of what is entertaining. Thus, the studio is able to pump every possible cent from its cash cow until nothing is left but the lifeless husk of what the show used to be. At this point, ratings dip, and the studio cancels it at a completely arbitrary point, neglecting even the slightest of closure and basically spitting in their fans’ faces.
With One Piece, however, the feeling is crucially different. While watching the anime, one gets the impression that Eiichiro Oda, the author of the original manga, was focused not on money, but something much more substantial: having fun. Every element of the storyline, from the delightfully absurd jokes to the most serious of plot points, seems to be there because the manga creator enjoyed putting them there. This, I believe, is the reason why One Piece has remained fresh for so long. For some unfathomable reason, the creator enjoys pumping out volume after volume of golden material. Furthermore, as opposed to many other manga to anime conversions, the studio is actually faithful with its material. The result is a storyline that, despite some inevitable inconsistency, is one of the best of its kind: an unnaturally enjoyable romp across the seas of a thoroughly original world.


Animation

Animation, while fairly nice, is not completely free of the penny-pinching shortcuts that typically plague shows of this length. Backgrounds are often rather ugly and hastily drawn, and anything drawn at a distance tends to be a little too oversimplified. The show also sports some truly ugly character designs that take a good deal of time to get used to, and a good deal longer to actually appreciate.
The fight scenes are almost certainly the highlight of the animation, which seem to involve a lot more money than the rest of the show. The action is usually very well timed, and character movements are suitably lithe and convincing (and by that, I mean as convincing as a person made of rubber could possibly be). A lot of fight scenes in other anime tend to overuse repeated footage, but One Piece doesn’t seem to have this problem.
Overall, One Piece’s visuals are pleasant, but certainly not groundbreaking.


Music

Music starts out on a fairly shitty note, with one of the lamest OP’s I’ve heard that I can remember. After the first episodes, the anime begins to cycle through the opening and ending songs at a fairly quick pace, and soon there are too many of them to actually keep track of. However, just about every song is a fairly mediocre J-Pop track, and none of them are actually good enough to really get excited over.
Background music doesn’t really stand out, but never becomes noticeably repetitive or distracting, either. Voice acting tends to be fairly good, although there are exceptions to this (in particular, that one dog from the Buggy arc comes to mind).


Characters

Love them or hate them, few people would disagree with the statement that each and every character of One Piece is decidedly unique. From the bizarre character designs to the off-kilter personalities to the extensive back-stories, there isn’t a whole lot here that can be seen somewhere else.
The question of actual appeal, however, is a slightly different issue. For the actual protagonists, many, many people (including myself) are going to have an initially difficult time liking characters like Usopp. Also, a good deal of the supporting cast in the early episodes has the tendency to be excruciatingly annoying (Buggy the Clown, Kobe, Guy in the Box).
However, whether the show is actually improving at development or whether it simply takes time to grow to like some of the more pathetic characters, this is becoming much less of an issue than what I’ve previously made it out to be. Amazingly enough, I’m beginning to like Usopp as a character, and for the recent Arabasta arc, there wasn’t a single character that I wasn’t fond of.
Furthermore, the characters that happen to be above-average for the show tend to be downright excellent. If there are people in this world that are immune to the charms of characters like Sanji, Luffy, or Nami, then I haven’t met them yet. Each one of these has an immensely compelling back-story and a loveable and distinctive personality. Also, each can be amazingly funny when played off of the rest of the cast.
My one possible complaint would lie with Vivi, who seems a little dull at times; there just doesnt seem to be anything interesting about her personality. However, this could easily be just because she’s not quite as original and wacky as the rest of the crew. As a whole, the characters are an ultimately endearing bunch, especially if one chooses to overlook the weaknesses of some of the more minor characters.


Overall

Do I believe that One Piece will last forever? Surely not. All great things, even ones that initially seem infinitely robust, must eventually come to an end. I’m sure there will come a time whereOne Piece will either cease to be entertaining or simply cease production.
However, even if One Piece begins to suck from the very moment that I finish writing this review, the sheer length of quality episodes that have been released already easily elevate the series to far beyond most anime can dream of. Besides, if the Arabasta arc is any indication, One Piece looks as though it will remain entertaining for a good deal longer.

Story

Jigoku Shoujo is the latest in a long and celebrated tradition of "horror/suspense" titles that don't really have either horror or suspense. The anime tend to go for sheer style over things like character development or logic and generally end with gruesome deaths tinged in irony. In the case of some of the shorter works, the formula tends to work: Vampire Princess Miyu, Pet Shop of Horrors, and even the more recent and slightly longerRequiem from the Darkness are all fairly worthwhile titles despite having basically zero character development or coherent storyline.
Unfortunately, this is where Jigoku Shoujo falls short: length. With so many episodes to ... fill, the show quickly dead-ends into the same exact formula. Just as a magic trick gets less impressive the more times you see it, Jigoku Shoujo'sexcellent premise is bound to lose appeal by the 17th iteration of the same basic episode.
People might think I'm exaggerating, but not only is the plot basically identical for each episode, there are in fact entire stretches of dialogue that only change by one or two words. Feeble efforts are occasionally made to mix the show up a little, but adding different-colored sprinkles to the same goddamn cup cake does not make a new experience.
This wouldn't be so frustrating if the first episode hadn't been so entertaining. The show's actual premise is delightfully creepy, a true example of a modern Japanese ghost story. If the creators had actually continued to come up with original ideas, the storyline could have really shaped up into something special. As is, we're left with a disappointing narrative some people might like but almost no one will love.


Animation

The show has a good stylistic feel to the entire thing, but falls short in a lot of areas when you compare it to other contemporary works. The designs of the one-episode characters all begin to blend together after a few episodes, and movement is generally choppy and minimal. There's a bunch of reused (albeit admittedly cool) animation from episode to episode, and the entire visual experience is tainted by an action scene at the end that looks like absolute ass.

Sound

OMG GOGOGOGOGO Noto Mamiko!!!!!!!1111!!!1
...at least, that's what I'd usually be saying, as I love her work in just about every anime I've heard her in. In this case, however, all the director has her do with her character (Enma Ai) is speak the same handful of lines over and over again in a sleep-inducing monotone. The experience is somewhat comparable to hearing a master musician play one note continuously over the course of two hours - a freaking waste of talent.
The rest of the voice acting is unmemorable either way, and the music does an ok job at setting the mood, but does suffer a little from overuse. I didn't particularly enjoy the OP, either.


Characters

In every episode, the anime focuses on a new set of characters, which translates to minimal development or depth. These characters generally fall into one of two archetypes: victim and villain. From there, it's a slow agonizing process of watching them sink into the dull abyss of inevitability. This works for a while, but after a few episodes the total lack of characterization makes caring for them extremely difficult.
There is a small set of recurring characters, but most of these are even less developed than the ones that go away at the end of every episode. Enma Ai, the title character, remains an emotionless enigma until the final few episodes, at which point her back-story feels decidedly underwhelming.
The sole beacons of light in an otherwise tedious cast are the "mortal" recurring characters, Shibata and his daughter. Their past actually ends up being somewhat touching, and is definitely the high point of Jigoku Shoujo's development. Unfortunately, this isn't enough to save the show.


Overall

The old cliché is that variety is the spice of life, and it certainly applies here, where literally every portion of the anime is reused somehow. Even though the show starts strongly, this becomes irrelevant when the writers refuse to expand on their initial ideas.
Imagine your favorite episode of your favorite TV series. Would the series have been half as good if every episode was merely a slight variation of your favorite one?

-Story

A note: This review covers both Black Lagoon and Black Lagoon: The Second Barrage, and the score is a composite of the two series. If I were to rate the two seasons individually, I would most likely give season 1 around a 7.5 and season 2 around a 6.5.
Black Lagoon looks like a mindless action series. It smells like a mindless action series. However, it is not, by any stretch of the imagination, a mindless action series.
To be sure, Black Lagoon almost certainly has mindless action in it. Minor characters spew streams of automatic fire at the protagonists without so much as scratching them. Buildings ... and vehicles explode at the slightest provocation. Villains emerge from flaming wreckage completely unscathed. Without doubt, these scenes are completely brain-dead, but this is not really what Black Lagoon is all about.
In fact, more than three quarters of the show is reserved for dialogue. One might think that this would slow down an action series, but instead it is easily the best part of the show. Put simply, the show's script sparkles with wit and intelligence. Through an interesting blend of obscure pop culture references, serious philosophical debate and hilarious one-liners, Black Lagoon has some of the best writing of the year.
Unfortunately, Black Lagoon is hampered by a disappointing final arc. The ending drowns itself in a seeming avalanche of petty plot details that I didnt really care about, and the things that made the first season so great (the black humor, interesting philosophical discussions, and risqué attitude) are almost completely gone. In particular, a large part of the normally excellent dialogue is carried out in English. While all of the English is grammatically correct, it's hideously voice-acted, almost to the point of being unwatchable.
In fact, as a whole, the storyline is somewhat uneven. Some of the episodic arcs work well (in particular, the Twins arc at the beginning of the second season is wonderfully creepy), but others either are too ridiculous to really take seriously or get bogged down in unimportant details. Fortunately, as mentioned earlier, the story usually takes a backseat to the dialogue, which is fantastic.


Animation

The technical aspects of the show are serviceable, but certainly not outstanding. Animation-wise, the show looks fine most of the time but seems unsure of itself when it comes to the action scenes. Some scenes literally consist of two characters running in a straight line while shooting at each other, and are somewhat dull to sit through. Still, the character designs and backgrounds are top-notch.

Sound

There are a couple of problems with the sound. For one, the show leads into the ED at the end of every episode. This slow and depressing instrumental piece is often at odds with the frenetic action that has happened right before it, and serves to dampen the mood of the show. Also, the aforementioned switch to spoken English represents a key misstep in my mind. Fortunately, the OP and non-English voice acting are both great, so Black Lagoon's sound isn't a complete failure.

Characters

The wonderful dialogue serves to create characters that feel much more real than the cookie cutter clichés that have come to dominate most of today's action series. Despite the inherent ridiculousness of the setting, all of the characters are believable and likeable. In particular, the two primary protagonists, Rock and Revy, are fantastically well-developed and serve as primary illustrations of the show's theme of moral relativism.
As a denizen of the "normal world," Rock represents the core moral values of modern Japan. Conflict is wrong, life is sacred, good and evil exist, etc. Then, over the course of the series, his traditional beliefs are challenged again and again and again. These beliefs are most apparent in his conversations with Revy. In the beginning, whether he can help it or not, he judges her. He sees her as a thoughtless, cold-blooded beast, an amoral killer that should be both despised and pitied. However, over the course of several heated arguments, Revy slowly shows him that he cannot judge her, because he has no experience whatsoever in her world. He is an alien, a visitor. He does not live in the "night" like the rest of the people of Black Lagoon's accursed city of Roanapur (where even the church is corrupted); he can only peek in through the "twilight." Combined with the characters, this moral "twilight" is ultimately what makes the show what it is.


Overall

In many ways, the show strongly resembles Cowboy Bebop. Both series can superficially be written off for their action or episodic plots, but both have significant and interesting things to say about the outcasts of society. While Black Lagoon fails to match Cowboy Bebop in sheer execution, the anime is certainly a step in the right direction for the otherwise increasingly derivative action genre.

Story

I seem to seperate myself from most of the anime-watching crowd in that I actually prefer shorter animes. In a TV series, the object is generally to pad the length as much as possible in order to cut costs but maintain viewership. In short OVAs, however, little time is available, and so every minute usually will contribute to the overall experience (as opposed to bloated series like Naruto or Hikaru no Go).
Another large perk of short animes is well illustrated by Azusa Will Help!: if the anime sucks, it doesnt waste too much of your time. The OVA is decidedly below average, with a weak ... storyline, generic characters, and only a handful of laughs, but its 40 minute runtime prevented me from hating it passionately.
Still, even if the show is a relatively small waste of time, its still a waste of time. The one or two good jokes in the entire OVA are largely cancelled out by the tedious and trite maid shit that dominates the running length. An attempt is made to dilute the cliche by combining the maid parts with elements from sports anime, but mixing together two hackneyed story devices seldom produces something original, and this is no exception.
The story doesnt really make a whole lot of sense from a logical perspective, either. In the anime, we are told that anatomically correct androids are no longer being made due to the apparent sexual consequences that inevitably result. This leads to the question of how the protagonist manages to purchase one of the older, fully fleshed out robots for so cheap. If sexdroids were in fact banned from production, there is no doubt in my mind that rabid, undersexed otaku would soon make the remaining ones nearly priceless. Also, the very idea that androids would be used to play baseball at all is preposterous. The whole point of athletic sports is to engage in fun, competitive excercise, and having a robot do that for you is just stupid. I think the concept is somewhat similar to getting a robot to jog for you every morning.


Animation

Decidedly below average, especially considering the shows age and length. Very little money went into making this anime, and it shows with jerky animation, generic character designs and lame action scenes.

Sound

Voice acting is definitely on the stale side (although Ill grant that there isnt much ANYONE could do in these godawful roles), and music is weak and unmemorable.
An odd note is that Noto Mamiko is in this one, presumably before her career took off and she earned the luxury of not having to participate in this kind of degrading material. She does what she can with her role, but even Mamikos succulent, oh-so-good-to-hear-it voice isnt enough to save a cardboard character with some absolutely idiotic dialogue.


Characters

Unlikeable and dull - pretty much characteristic of what I would expect from a 40 minute maid show. I could write more, but then Id be spending more time talking about the characters than the studio spent actually creating and developing them.

Overall

Basically, Azuza does just about what every maid show before it has done: weak-ass comedy. The lackluster plot and characters combine with the decidedly mediocre animation and sound, and one is left with an unusually disappointing overall package. Im just happy the anime cant waste any more of my time than it already has.
If youre one of the thousands of people who actually enjoy maid shows on a consistent basis, then by all means knock yourself out; theres enough tribute to the tired genre to please most of the diehards. However, if youre not a dedicated fan of the genre, then know that this brings nothing new to the table.

Story

Writing about works like this is always a bit tricky, because the movie will at best appeal to a small percentage of the people reading this review. The challenge is always to make the show appear as repellant as possible to those that cannot and will not appreciate it, while at the same time recommending the movie to those that will actually like it. Essentially, this 1962 Tezuka short is not for “anime fans,” but “animation fans” – a subtle distinction to some, but a crucial one. Tezuka made the movie long before the stylistic distinctions that differentiate Japanese animation from the rest of the ... world came onto the scene. The heavily deformed character designs, giant robots and maid/schoolgirl/robot/whatever fetishes that the medium has become (in)famous for are all but absent.
Many will disagree with me on this, but Tales of a Street Corner can hardly be described as “anime” in terms of what the English definition of the word has come to mean. Thus, there is little here that will appeal to the standard Naruto-loving, DBZ-hating anime fan. They’ll balk at the primitive visuals, the slow plot, and the largely experimental approach. They’ll wonder where the kawaii schoolgirls/super-powered shonen have gone, and why most of the “characters” in the movie are actually inanimate objects.
On the other hand, a true fan of animation itself (one who appreciates anime not for its now commercialized mass appeal but for its occasional bursts of immense creativity) could very well love this. When Tezuka made the short, he was entirely unconcerned with profitability or broad appeal. Rather, he had his mind on something rarely seen today in the modern Japanese anime industry: creating art for art’s sake.
As a result, many people are going to get hung up on the first 20 or so minutes of the short, which is basically nothing more than world building. I found the beginning vaguely charming and entertaining, but Im afraid most are going to become deathly bored by the time the actual conflict of the show finally arrives.
By the end, the events in the show are clearly meant to be allegorical; obviously no one would care about the “lives” of posters on a wall or a tree spreading seeds if they did not represent something larger. In this case, they are used to show the effect war has on a community.
As a whole, the storyline is clever, creative, and poignant. Basically, this is the reason people will like Tales of a Street Corner, assuming they like it at all.


Animation

The animation is certainly not on the level of sophistication that has become the norm in modern shows, but is also not without merit. Tezuka uses the technology at hand extremely well, and the visuals as a whole are extremely creative and tell the story well.
For instance, rather than animate a walking soldier (who, with the animation standards of the time, would have looked marginal at best), Tezuka opts to show only the soldier’s marching boots. This image alone is enough to put the actual idea of a soldier in your head without getting caught up in the meaningless details. The result lends the short film a universal feel that works well with the allegorical approach of the story.
Also, even though the actual animation is limited, the visuals themselves are colorful, vibrant, and nice to look at.


Sound

Instrumental pieces coupled with the occasional sound effect or two. As a whole, I thought the soundtrack fit the work well - no complaints here.

Characters

Tales of a Street Corner hosts a plethora of truly bizarre characters. I have already mentioned the pair of walking boots, wall posters and a tree. These are all major characters, and get about as much screentime as any of the more traditional characters in the short (a little girl and an assortment of Disney-esque animals round out the cast).
As in most experimental shorts, none of the characters are particularly well developed, and many are intended to be symbolic. For instance, an intimidating poster of a mustached man in a uniform represents fascism, and the one human character in the show, a girl, is probably meant to represent childhood in general.
The plethora of characters is used to develop the actual street corner in which they reside into a living, breathing character of its own. By the end, I felt an emotional attachment to the street corner in and of itself - an impressive feat, given the brevity of the work.


Overall

If the audience can look past the unorthodox approach and the extremely dated animation, they’ll find a surprisingly profound anti-war piece that manages to say more with no dialogue than most shows (or this review, for that matter) could with ten thousand words. Unfortunately, this is a pretty big "if," and most likely only active fans of "the weird stuff" should consider this.

Story

Angel Beats borrows ingredients that are achingly familiar and mashes them into something miraculously entertaining. The series cheerfully rips off Suzumiya Haruhi's titular character, adds her to a Sunrise-inspired ensemble cast, and plunks them into a rehash ofHaibane Renmei's basic premise. There's an all-girl rockband, a shy warrior angel, and even a dude who hypnotizes people with his creepy eyes, Code Geass style.
And somehow, this messy mismatch of borderline cliche isn't horrible. Part of this inexplicable success can be attributed to smart storytelling. The pacing is brisk but coherent. More importantly, even though Angel Beats varies wildly in tone (hard not to, when you are ... ripping off so many different works!), these disparate scenes tend to work in the way the writers intend. While there's an unmistakeable cynicism on the writers' part when it comes to combining manipulative angst with school comedy, the show's execution is executed well enough to overcome it.
Only the atrocious final two episodes prevent a full recommendation, which ensure that every plot thread is wrapped up in the most predictable and ordinary way possible. Watching Angel Beats' ending made me long for the open-ended finales of low-budget shows like Haibane Renmei. Rather than risk leaving anything open to interpretation, Angel Beats blugeons the audience with explanation after explanation, with mind-numbing results. There is also a lengthy and unnecessary sequence in the final episode that could have been removed from the show entirely.
After the dust has cleared, we're left with a reasonable narrative that could have been called ambitious were it not for its awkward plot holes, borrowed everything and unsatisfying conclusion. Ironically, the undeniable savviness in pacing and development only widen the disappointment, suggesting that a superior storyline could have been crafted if the writers had just lived a little.

Animation

The overwhelming quality of the animation represents a shift in priority for studios. Thirteen episode series used to be seen as a low-budget alternative to the "real" 26 episode works. Haruhi has done a lot to change that, showing that there is serious money in high budget one season shows. Put bluntly, this is among the best conventional animation released this year.
Everything is flawless, from the appealing character designs to the masterfully frenetic action scenes. By the time you get to the orgasmic rock band sequences, which sparkle with all manner of lighting and particle effects, it feels like the animators are just throwing money at you. Indeed, the superiority of the animation seems to explain the derivative plot - this is a series too big for the creators to risk an original storyline.

Sound

Well-produced (albeit generic) J-Pop mixes with a deep library of high quality background music. The voice acting is stellar, with high-profile seiyuu in even the minor roles. These seiyuu add a surprising level of depth to the otherwise cookie-cutter characters. It is to Kana Hanazawa's credit, not the writers, that I eventually cared for the hackneyed trope that is the "Tenshi" character. The natural charm of the seiyuu's delivery does wonders for the character's limited dialogue.

Characters

While the characters lack originality, they tend to be better executed than most mainstream shows. I expected the massive cast to prevent any real characterization, but this is not the case here. Instead, the show carefully separates the myriad of characters into those who develop and those who do not. For the "developed" characters, the series takes plenty of time (indeed, maybe *too* much time) to trace back several characters' backstories. While these flashbacks tend to be a little heavy-handed, they at the very least make the characters distinguishable from each other, and in some cases make them sympathetic. Because of this, the developed characters are unoriginal, but not overbearingly so. The remaining undeveloped characters remain purely as comic relief, which is perfectly reasonable treatment; all things told, these side-characters inhabit the story without cluttering it.

Overall

The technical elements of the show are nearly flawless, but ultimately, this series is better suited for relative neophytes of anime than experienced viewers. A newbie won't notice all the tiny instances of plagiarism sprinkled into the series, and will more readily forgive the botched ending. For the rest, there is less derivative fare that you could be watching instead.

Story

With 5 Centimeters per Second, Shinkai Makoto has polished the elements that made his previous anime so heartbreakingly poignant and produced a wonderful work. If the film did not have a disappointing third arc, this would be his best work thus far and probably the best of the year.
5 cm’s story will feel warmly familiar to those who have already had the pleasure of watching the director’s work. Makoto is still very much obsessed with capturing the sheer, unrivaled beauty of an impossible love. No matter how cruelly fate intervenes, his protagonists cling desperately and determinedly to their love, as if it were a lone ... piece of driftwood amidst an angry and roiling ocean. These themes are no less powerful here than they were when Makoto first explored them, and should strike a chord in all but the most hyperactive viewers.
While 5 cm foregoes the science-fiction elements that Makoto is usually known for, the down-to-earth, slice-of-life story is never boring. If Makoto’s first two major stories had anything wrong with them at all, it was that Voices of a Distant Star was too simplistic and The Place Promised in Our Early Days had too much excess baggage. In 5 cm, however, Makoto finds the perfect mix; the film manages to be wonderfully rich without having a trace of unnecessary plotting. For the first two parts of the film, 5 cm meets and even exceeds Makoto’s former material.
Only the third and decidedly imperfect act prevents me from scoring 5 cm as highly as Makoto’s first two works. Sadly, I can’t help but believe that Makoto ran out of either time or funding, because the final arc is rushed and sloppy. For one, the episode makes a key mistake of introducing a new character and then doing almost nothing with her. Even more disastrously, the haphazard pacing actually serves to undermine the message that I think Makoto is going for. As a result, the final product feels positively amputated.
As a whole, however, 5 cm is still a heartrendingly powerful work. As Makoto continues to release these somber masterpieces, the fact that they must be partially autobiographical becomes increasingly clear. Makoto’s raw and heartbreaking material feels so personal and intimate that he could only be drawing from his own bittersweet memory.

Animation

When I reviewed The Place Promised in Our Early Days several years ago, I said that the movie had the best animation that I had ever seen up to that point, and that the visuals would not likely be surpassed for some time. Well, I seem to have been mistaken; Makoto’s new visual masterpiece surpasses even his own monumental work.
Many will recognize the numerous similarities in style between 5 cm and Makoto's other works. In particular, 5 cm’s power lines, gorgeous portraits of cloudy skies, and ubiquitous use of lighting to set the mood will feel extremely familiar. However, while the two film’s visuals are similar, everything that made The Place Promised in Our Early Days so impressive has been improved to the point of near perfection. There is an added level of detail here in 5 cm that will raise the bar on every anime released after it.
I've been been suspecting this for some time, but 5 cm utterly proves that Makoto is the best in the world at animating light. No one else even comes close.
This uncanny ability allows Makoto to draw beauty from even the most mundane scenes. Most anime directors need to use fantastic, action-filled scenes to excite the audience. Makoto, on the other hand, can amaze us with nothing more than a boy sitting alone in an ordinary Japanese train. He’s just that good.

Sound

For the most part, the soundtrack is excellent. For one, the quiet, understated instrumental music fits the somber and contemplative mood of the story well. There’s also a fairly good and completely unexpected JPop song near the end. The extremely emotional tune is completely different from the rest of the soundtrack, and jerks the audience out of wistful reverie and into active grief (a similar tactic was used in Pale Cocoon). The song somewhat eases the lack of a satisfying ending, although it's still certainly no substitute.
Additionally, the film’s urban sound effects are so universally excellent that I actually noticed them as I was watching the show. The sounds of the train system that the protagonist rides in the first part are particularly immersive.

Characters

Like in Makoto’s other works, the characters are essentially blank slates. They have no defining characteristics, and have only a minimal amount of development. Thus, many might criticize 5 cm’s characters as shallow and unmemorable. However, the lack of development gives the events an undeniably universal feel. Since the characters are so undefined, empathizing with what happens to them becomes extremely easy. As a result the film feels much more personal than if the characters had been more unique.
I will complain, however, about the character introduced in the final arc. The story does almost nothing with her, and as a result she feels unnecessary and superfluous.

Overall

While not perfect, 5 cm is still a fantastic film. The animation is easily the best of the year (the only other anime that even comes close is Paprika), and the timeless themes of love and regret are achingly universal. While action junkies should probably look elsewhere, I'd recommend the film to almost everyone else.