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Totally forgot I had this review.
Please don’t break out the pitchforks for not giving it a 10 and calling it the best thing since sliced bread either.

Story: (7.5/10)
Set approximately a century in the future, Tsunemori Akane is a rookie inspector for the MWPSB, the equivalent of Japan’s police force. Governed under a mysterious entity called the Sibyl System, which essentially quantifies your quality as a person, the world is set up using a seemingly typical dystopian model. Based on the background information given, it is implied that the Sibyl System is only present within Japan. The series does a rather good job explaining ... several nuances of the system, whether by showing through example or explaining through technobabble that, although seems ridiculous, is essential to any science fiction story (I will abbreviate SF for science fiction from now on). Most of the story focuses on Akane’s unit solving various cases that eventually begin to connect to one culprit, Makishima Shougo.

Now onto the fun part.

Like any respectable SF work, Psycho-Pass focuses on certain themes throughout the series. I believe scriptwriter Gen Urobuchi pinpointed his focus on one central theme: morality. What convinces me that this topic is the central focus is because our main character, Akane, is a walking goody two-shoes who blabs and argues about morals more than Tanabe Ai in Planetes. Although at face value, the show focuses on many other broad topics like governance, the value of life, and the dangers of future technology, each topic eventually boils down to the question: Is *insert topic here* right or wrong? The good part of Psycho-Pass’ story is that the series initially does a wonderful job of building a diverse and intriguing world, with the Sibyl System as its cornerstone; however, as the series progresses, the world becomes uninteresting as the initially complexly constructed Sibyl System takes a backseat to a melodramatic police drama that turns out to be much less interesting than the actual world itself. To top that off, the show also falls short in delivering another aspect that many people hail it for.

This aspect, of course, is the social commentary.

From time to time, Psycho-Pass brings up some questions that might raise a few eyebrows; however, other than getting you thinking for the five-or-so minutes after the episode is over, the show doesn’t do much to develop these ideas. In fact, the manners in which said ideas are presented are not much more than references to other works of literature in the past. It would be acceptable if Urobuchi threw in a reference every now or then to help develop an idea, but instead he uses these obvious references to previous works as the only form to convey his messages. What results from this is a loss of identity. Because of these references, the show will probably not be remembered in the future as Psycho-Pass, but as “that show that tried too hard to be ‘deep’ (I kind of hate that word) by referencing obscure 17th century Japanese philosophy.” It’s this sort of referencing that suckers people into actually believing that Psycho-Pass is much more than it actually is. Moreover, since the show is essentially a police drama, the ongoing melodramatic development of the overall story hazes the impact of the supposed social commentary.

Overall, the story of Psycho-Pass suffered from too many inconsistencies along with a lack of an actual identity to be considered to be the “amazing, thought-provoking, and mature” story that many people tout it to be. Instead, the story ends up being disappointingly typical, and it leaves a feeling that it could have been so much more.

Art: (9/10)
One worry I always have with the art style of any SF anime is the setting. The portrayal of a futuristic world is a feat that is very difficult in both anime and other mediums. Anyways, with Psycho-Pass, I was surprised to see how much detail Production IG took in building the world visually. From details as minute as the fact that the cars can drive themselves to something as important as the functionality of the dominator, the world is fleshed out very well thanks to the many episodes given to establish the setting. In other words, the society not only looks futuristic, but feels futuristic.

We are exposed to a variety of different locales from night clubs to government buildings, and the little nuances included in these scenes were very important in building a visually believable world. The animation was fluid and detailed, and lighting was done to give the show the dark ambiance that is characteristic of all Gen Urobuchi stories. My main gripe about the art style was the character designs. Some characters look plain awkward, and overall, they just don’t fit the setting. Although the cartoony design approach has worked in other shows like Monster, the character designs of Psycho-Pass were a bit over-the-top.

Sound: (9/10)
The OST of Psycho-Pass is strong. There is a wide variety of different tracks that express a vast array of emotions. From calmer piano ballads to adrenaline-pumping techno tunes, the viewer can tell that the soundtrack was constructed very well. Although I think soundtrack placement could have been better at parts of the series, the overall OST was very solid. Voice acting too was excellent. Even though the only standout performance I can point out to is Hanazawa Kana’s voice as Tsunemori Akane, the rest of the cast performed amiably with no performances I can really say were bad.

As a supercell fan, I was delighted to hear that Chelly would be performing both endings, Namae no Nai Kaibutsu and All Alone with You. The first ending was definitely among my favorites; not only did it fit the series well, but it was one of the catchiest songs I have ever listened to. In contrast, All Alone with You, although a very solid song, was definitely weaker than the first ending and did not fit well with the show at all. The same pattern can be found for the opening sequences. The first opening, Abnormalize by Ling Tosite Sugire, is an excellent and fitting opening. Unfortunately, the second opening, Out of Control by Nothing’s Carved in Stone, feels both generic and uninspiring.

Overall, the sound set of Psycho-Pass, much like the art/animation, is excellent all around. Although there are still some flaws in certain subcategories, it is still very well done.

Characters: (7.5/10)
The main problem with SF works is that the creator often focuses so much on the actual setting of the show, that the characters ultimately fall flat. Like many other shows of the same genre, Psycho Pass is unable to break this predisposition to mediocrity; however, there is some hope.

Most of the cast is pretty plain and I have long forgotten many of their names. Some are given minor development, while others end up being filler and are ultimately unnecessary to the show. There are three members of the cast worth mentioning, so I will give a brief and general rundown of each.

Tsunemori Akane: Without a doubt the best character in the show, Akane is a moralistic goody two-shoes whose ideals parallel that of the Sibyl system. A model citizen who graduated the top of her class, Akane’s development as a character from the nervous rookie to what she becomes in the end was a pleasant surprise, and the crowning achievement of Psycho Pass as an anime.

Kougami Shinya: What makes Kougami a decent character is the fact that he is basically the polar opposite of Akane. Skilled and deadly at his profession, Kougami is an enforcement officer of the MWPSB whose main flaw is in his strength. Seemingly invincible at times, his badass-ery is the very reason why so many people love him and others hate him. While it is definitely nice to have such a character for the sake of action, the very fact that he is basically unbeatable takes away from the tension of many key moments. Plot armor can only go so far before it becomes absurd.

Makishima Shougo: It’s a shame that Makishima turned out the way he did. Initially portrayed as a very mysterious and intelligent antagonist who had an unhealthy affinity for Kougami, what his character eventually turned into was Gen Urobuchi’s walking quote machine. With that said, there’s nothing much else to comment about his character. Since his role is doomed to be one without an actual identity, there is really no way to salvage his character.

Overall, the cast of Psycho-Pass is relatively plain, but by no means terrible. Highlighted by an excellently fleshed out character, Tsunemori Akane, the cast of Psycho-Pass, like many others of the genre, just fail to stand out.


Enjoyment(8/10)
What irks me the most when I hear people talk about Psycho-Pass is that they hail it as this sort of thought-provokingly mature show that only intelligent people can understand. If you take in Psycho-Pass like that, not only will you be disappointed, but you will probably miss the actual point of the show. In the end, Psycho-Pass is a police drama. These types of shows tend to focus on providing tense, adrenaline-pumping suspense. Psycho-Pass is a very entertaining show if you take it in like that. Although the show does attempt to convince the viewer to believe that there is something more to what is initially presented, messy execution dampens the realization of these messages. Let’s just say if you go into this show expecting something like Serial Experiments Lain, you will be vehemently disappointed.

Overall: aka TL/DR version of the review
Overall, when it comes to describing Psycho-Pass, all I can say is that it bit off more than it could chew. Although the messages the show attempts to convey may get the viewer thinking, the impact of delivery is done in an overly pretentious and obvious manner. As a result, the social messages will stir up some thoughts, but they won't leave a lasting impact. To rub salt on the wound, most of the cast is flat and get little to no development. However, the animation is fluid and small nuances of the world are cleverly incorporated, although the character designs are rather unbecoming. The music is very high quality and fitting, and the voice acting is generally great. Although some tracks do get repetitive, the overall sound set is excellent. All in all, I would definitely recommend Psycho-Pass to someone who wants to enjoy a darker, “action-y” show with a twist; however, it is far from a proper social commentary that other shows of the same genre have delivered.

Average score: 8.2/10
Weighted score: 6/10 “Fine”

(if the rating confuses you, take a glimpse at my rating system on my profile for clarifications)

Now here’s a show that caught me off-guard, but in a good way.

Story:
9/10
At face value, Kuuchuu Buranko, or Trapeze, seems like a collection of psychological case studies. Symptoms of eleven patients are examined throughout a short span that lasts for about 9 days. Patients are each given a full episode of spotlight as we join along in their rather short, but entertaining “journeys” of trying to figure out the reasons behind their conditions. True to form, Trapeze applies the biopsychosocial approach (I’ll be referencing the three parts within this review) when examining each patient. Treatments are not limited to medicine, and as in ... all cases, a vitamin shot or some prescription drugs aren’t enough to solve the problem (the biological approach). Psychology is no simple matter, and director Kenji Nakamura knew that in order to properly realize Hideo Okuda’s novel, he would have to stretch the boundaries of his imagination in order to make a sensible, yet highly entertaining experience.

And boy did it play out well.

Instead of explaining everything black-and-white, the story of Trapeze has two main forms of storytelling. The first is what I would call the slice-of-life style (the social approach). We get to see how each patient lives his (all the patients are male) everyday life, and we see how his condition ultimately affects his life negatively. The second form, which is much less prevalent than the first, comes through Fukuicchi, a little “doctor” who breaks the fourth wall in order to further inform us of the situation, so that the viewer doesn’t have to pause the show and google a tidbit of information that may be more obscure than usual. Both forms are nicely incorporated together, and Fukuicchi’s fun facts (try saying that 10 times fast) seldom break the pace of an episode. Moreover, a show like this risks the chance of overloading the viewer by being pretentious, vague, or complicated; however, Trapeze finds a fitting equilibrium. Although the show was difficult to watch at times, most of the material was dealt with in a pithy, but entertaining manner.

One last thing about the story that surprised me was its continuity. Despite being episodic, patients from past or future episodes might appear from time to time. Whether by being present at the same café or through interaction between patients, Trapeze finds some way to prove that it really is a small world after all without making most of these attempts seem forced. Just as how different perspectives are important in Psychology, Trapeze also emphasizes the importance of perspective in terms of its storytelling.

Providing a wide variety of different cases with different conditions (or different variations of the same condition), the story of Trapeze is definitely a unique and memorable experience.

Art:
9/10
When it comes to art and animation, many viewers would prefer an art style they are familiar with. And why wouldn’t they? After all, familiarity tends to increase liking. In today’s market, there are probably only a few different types of art styles, most of which are centered around moe characters with huge eyes or characters with Barbie-like body proportions. In other words, they’re made to look as attractive as possible. The immediate turn-off of Trapeze’s art style is that it is different. The color palette is much more diverse and character faces are made to look realistic. Often, the art style takes actual human faces and puts them on the characters. By no means is it attractive or familiar, but for some reason, I couldn’t imagine it being presented in any other way.

The art itself is a form of storytelling. After our lovely nurse Mayumi gives the lucky patient his vitamin shot, his body takes a different form. Most of the time, it is a sort of animal. What’s interesting is the animal he “transforms” into either accurately reflects the patient’s inner personality or has some other relation to the patient’s character. Whether he turns into a rhino or a rooster, there’s always a reason behind the madness. Outside of this, the scenery is rather…flamboyant. Although I am pretty sure that I missed some obscure form of symbolism through the background’s art style, sometimes the art is over-the-top and distracting. Nonetheless, despite that and some minor issues in the fluidity of the animation, the art style of Trapeze is both different and meaningful.

Sound:
8/10
When it comes to looking at the sound as a whole, there are some points where Trapeze excels at and other points where it falls short. Let’s get the bad news over with first. To me, the OST was rather uninspiring. More often than not, the BGM was unnoticeable or lacking. The only tunes that really stuck out to me were the BGM that would play when Fukuicchi would come or the BGM that would play whenever Mayumi would administer a vitamin shot. Other than that, I do not have many other glaring complaints.

In terms of voice acting, most voices were done very well. The given emotion of each character was apparent in his or her voice, and some performances, such as the eccentric bear-head Irabu, were especially memorable. Small aspects such as sound effects were also well-placed. The opening, Upside Down by Denki Groove, has a memorable and catchy tune, but the vocal parts weren’t anything special. However, the ending, Shangri-La (also by Denki Groove), is a ridiculously addicting song to listen to. Like the unorthodox art style, for some odd reason, these songs just fit the series well. Overall, the entire sound set had its ups and downs. Although the series was set back by a rather forgettable OST, the excellent voice acting makes the sound set of Trapeze one I consider to be above average.

Characters:
10/10
The one aspect Trapeze prides itself in the most is the tremendous amount of depth and development given to each character despite the minute amount of screen-time each is given (around 20-30 minutes per patient). This feat is accomplished through another form of storytelling that I would argue is a branch of the slice-of-life style I mentioned earlier. As viewers, we are often exposed to the patient’s inner thoughts in order to gain a better understanding of his personality (The psychological approach, there’s all 3 now). In other words, we get to see how they perceive their everyday situations. One perk of being an anime about a Psychiatrist treating patients is that we really get to know the characters inside-out.

Additionally, what makes Trapeze’s characters more brilliant is that the cast is extremely diverse. From a teenager obsessed with texting to a renowned romance novelist with a psychogenic vomiting issue, the show never shies from diversity. Tying all of these personalities together is our oddball Psychiatrist, Dr. Ichiro Irabu and his lovely nurse Mayumi. Out of all of these characters, the most interesting of the series is without a doubt, Dr. Irabu. He comes in three different sizes: a kid form, a young adult form, and a fat bear-headed form. Although that may seem odd enough, Irabu’s three different forms have three distinct personalities, each reflecting one of the three parts of Freud’s structure of the psyche. If we are going to have an anime about Psychology, why not reference Dr. Freud himself? I’ll leave it up to you to decide which is the id, ego, or superego. As for Mayumi, the viewer gets to see tidbits of her personality through interactions with the patients, but other than that, she is a character that nicely compliments Irabu.

The many risks taken in providing this colorful and memorable cast pay dividends because ultimately, Trapeze offers one of the most entertaining casts I’ve ever seen. Although I would have loved to see a female patient or two, that is a minor, personal preference that does not take away from the excellent cast this show has to offer.

Enjoyment and Overall
8/10, 8.8/10
This series is difficult to watch; I would be lying if I said I enjoyed every minute of it. Sometimes I got distracted by the art style, and at other times I got lost following the abrupt transitions of many episodes. For being labeled as a comedy, I wouldn’t say there were many moments that made me fall off of my chair, but there were many scenes that were worth a chuckle. Haphazardly labeled as a drama by this site for some odd reason, I would say the most dramatic it really gets is in the last episode.

Nonetheless, the overall experience was rather entertaining and – keyword – unique. This is definitely an anime I would recommend watching if not for the sake of just experiencing it, but for really enjoying what this series has to offer. If the art style or pacing turns you off after an episode, chances are you won’t enjoy the rest of the series. However, if you are willing to try and complete an anime that goes outside of your comfort zone, I would not hesitate in recommending Trapeze.

*see my rating scale under the about me section of my profile for general interpretations of my ratings*

Also forgive me for my rather juvenile references to Psychology. I’m no expert, and I don’t mean to offend anyone who is.

Popularity is a funny thing. In society, it’s what people spend a lifetime striving for, but it all seems to end so fast. In order to keep up, they must constantly satiate the masses to ensure that their “15 minutes of fame” lasts for a lifetime. Not surprisingly, this sort of pattern often occurs in television and in anime. Whether in the form of the recent boom in “moe” characters or the even more recent addiction with MMO/survival game themed anime, certain formulas for guaranteed success exist for the purpose of selling well in the market. Although these formulas are so successful they basically print ... money, these types of shows often become stagnant or frankly, were not even good ideas to begin with. Code Geass: Hangyaku no Lelouch R2 (or R2 for short) essentially amalgamates all of these ideas and genres together to form their finished product.

STORY

At its core, the story of R2 is simple. The bulk of the characters still strive for their individual goals and ambitions, and at the heart of these conflicting desires, hidden behind his thirst for world domination, is Lelouch’s ulterior motive: to avenge the death of his mother and to create a picturesque world for his sister, Nunally, to live in happily ever after.

(As always, it is fitting to judge the quality of a sequel’s story with its prequel, so I’ll be doing quite a bit of comparing in this section).

Although the concept of the prequel’s story persists in R2, the approach Sunrise takes in wrapping it up is very different. To put it frankly, the story begins to lose its direction as politics are thrown over plot twists, which are thrown over a heavy coat of melodrama. This is due to two main reasons: the fact that the writers probably did not have enough time to think the plot through (airing less than a year after its predecessor’s end) and that they knew what they were going to ultimately throw out would please the fan-base in name alone.

And to their credit, it was a raving success, as expected. Sunrise hit a grand slam in terms of what essentially degenerates into mindless entertainment embellished by “intellectual” dialogues about politics and the supernatural (which are much more prevalent themes in this sequel). Viewers love to see plot twist after plot twist because it gives them the same thrill as when riding a roller coaster; however, just because the story may give you that rush does not mean it is good writing. Stories that overdose on these adrenaline-pumping moments lead to detachment in another important category, the characters (I will elaborate on this in the characters section).

As for other points of the story, another aspect I saw that took a major hit in terms of quality are the full-scale battle scenes, which are prevalent in both seasons. In the prequel, important conflicts were more often than not fought with an amiable attempt to emphasize the importance of strategy. Some battles would be won or lost purely due to tactical reasoning, yet there were some instances where the writers would throw a super-robot into the mix to completely dominate the battlefield. This approach, although relatively annoying, was definitely ok in the first season simply because the introduction of a terrifying new superweapon every now and then was not only exciting entertainment, but also set a mood that proves to be essential for any action/thriller-oriented show. Unfortunately, there is such thing as too much goodness. Gone are the attempts at even attempting logical strategy in R2 as the writers set out to make each battle into a simple decision of who has the bigger, badder, shinier knightmare, thermonuclear weapon, and whatnot. Although tactics are still briefly mentioned here and there, more often than not are they embellished with nonsensical logic and pretentious ideals (I’m looking at you, illegal chess move).

Additionally, another nagging factor that appears again in R2 is the slice-of-life aspect of the show. Some may call it an immaculate segue between the rigors of the battlefield and the cheerfulness of everyday life, but I think it is an excuse at adding filler in order to somehow progress the plot while providing fans with comedic relief and fanservice. Granted, the contrast actually does aid in adding to the thrill of Lelouch’s everyday life by his attempts to hide his identity from his closest friends, but this mostly all ends with melodrama or our favorites, plot twists. Considering the sharp change of direction the end of the first season set up, I was disappointed in Sunrise’s decision to continue the antics and not focus on the more serious side of the story.

TL/DR Story Thoughts
All in all, R2’s story was crippled by its own aspirations. Simply put, it tried too hard to be too many things at once. As a result, the answers to questions posed at the very beginning of the prequel were disappointingly brushed upon with the very plot twists that seem to sustain the series. Although the story was able to succeed in providing the viewer with entertainment in a grand scale, it was ultimately poorly planned entertainment that saw its consequences realized as the series fell with an underwhelming latter half, only to be partially salvaged by an ending that had the right idea, but also fell short due to earlier misgivings.

Story: 6/10 - Attempted to retain its great concept, but fell short in execution.

ART

There is little to argue about the art and animation as a whole. The series maintains the high quality of its predecessor and is even able to step it up a notch. A subtle example of such an improvement is the whole animation of Lelouch using his geass on another person. The animation of the most important battles is fluid and augmented by high quality, aesthetically appealing knightmare frames. Additionally, the scenery and sheer scale of each and every scene is rather detailed and adds a flair for the dramatic. Character designs by CLAMP retain their signature looks, and attention to facial expressions realizes the wide array of emotions from each and every character.

However, one nagging issue I have with art style and animation is that it is so gaudy and overdone that the visuals alone can distract the viewer from what is supposed to matter most, the dialogue. I found that at times I would only remember a scene because of how much they emphasized Kallen’s…package or because a shiny new superweapon had come to save or ruin the day. Again, even in the choices made for art and animation, R2 again decides to challenge the notion that there is such a thing as going too far. Visuals serve as an important aid to the story and characters, and the staff is responsible in making sure that visuals do not hinder the viewer’s overall experience.

Art: 9/10. Outstanding, fluid animation that maintains high quality but may go too far sometimes

SOUND

Just like its art, the sound set of R2 is excellent all around. Track placement and the overall quality of the OST itself is grand and well thought out. There is seldom an instance when I would say the OST felt “off.” Voice acting is always important in every anime, and R2 delivers in nearly every aspect. From the confident, assertive voice of Fukuyama Jun’s Lelouch to Ami Koshimizu’s Kallen (these two seem to have a thing for starring together), some of the voice acting performances would be the sole reason I could even remember a character.
The two openings, 02~O-Two by Orange Range and WORLD END by FLOW, are both fitting and catchy openings that, although still pale in comparison to COLORS (by FLOW), are a welcome change from the disappointing second and third openings of the 1st season.

The first ending, Shiawase Neiro by Orange Range, is by far my most favorite song of the series whereas the second ending, My Beautifully Elegant Flower of Evil, although catchy in its own way, is still no different from any other Ali Project song out there.

Overall, there is nothing much to complain about the sound in R2. From a well done OST to top notch voice acting, the overall package is excellent, but not what I would call the best. (see the entirety of the Aria series)

Sound: 9/10, excellent all around.

CHARACTERS

R2 brings to the table an even wider array of characters than those of its prequel. This introduction of so many new characters; however, is a double-edged sword. On one hand, characters such as Anya and Gino from the newly introduced knights of the round group are given ample screen time (but questionable development), but on the other hand, the other knights of the round are given little time and importance. At first, it seemed as if the whole system of these knights was an excellent idea, providing an intimidating hierarchy of power to the antagonizing side. Unfortunately, this idea, along with many others, are introduced but never fully realized. And to rub salt on the wound, the awkward screen-time given to the characters that the writers felt the need to force in was squandered before focusing more attention to the core group of characters (like the ever-so mysterious C.C.).

And this leads to the first main issue with the characters of R2. More often than not, characters become plot device shells and are not given much thought or development at all. What’s worse is that the writers make clear attempts at trying to force some emotional connection with an un-relatable, poorly developed character. The best example I can refer to is Tianzi and the “oh so tragic” fate that befalls her thanks to her status or something like that. Other characters, particularly Nina, are also given emotional issues, but the forced melodrama that clouds the plot along with borderline irrational character personalities often lead to an emotional detachment with most characters.

However, on the bright side, the writers are able to somewhat maintain this emotional connection with the most important character, Lelouch. Throughout the show, I still found it very easy to genuinely feel the unfortunate pain Lelouch had to endure. The weight of emotion was prevalent, and I was relieved that the show still tried its best to convey Lelouch’s thoughts and feelings to the audience.

Unfortunately, Lelouch’s character (and only part of it at that) is the only iota of praise I can legitimately point to in regards to the characters of R2. There is another fatal flaw in terms of the characters, and it all falls back to the fault of the plot.

Namely, their personalities.

As mentioned above, some characters are just not likable to begin with. Whether it is Nina or Suzaku, some characters are difficult to accept because of how their personalities are built in the first place. On the other hand, many characters seem to change their ideals and defining characteristics at a snap of a finger for the sake of “enhancing” the plot. Connecting this with my previously mentioned issue of plot device shells, I would go as far as to compare some characters to marionettes, doomed by the hands of the writers, who were trying to salvage a sinking story. The shining example of such a misfortune is Kururugi Suzaku. Since I’m writing a rather spoiler-free review, I’ll let the viewer see for him or herself.

If I were to put a word to describe the characters of R2, I would say unfortunate. Trapped by the story’s unpredictable direction and the series’ aspiration to bite more than it can chew, most of the characters were given little attention and illogical development. Although this is primarily the fault of the story, the mediocrity of the cast in general cannot be forgiven.

Characters: 6/10, Unfortunately mediocre.

ENJOYMENT

If there was one thing that this series could not do any better, it would be the pure, unadulterated enjoyment it provided me throughout this experience. Albeit through cheap devices such as plot twists that eventually wore out, the show knew that it had to continue to captivate or else it would shed its skin and the weak backbone of the series would be revealed.

And this is the main aspect that made R2 loved by so many.

R2 is extremely easy to watch, and its attempts to depict monumental conflicts while delivering convincing entertainment are generally successful. To say the least, the entertainment factor was more than enough to meet expectations.

Enjoyment: 8/10.

OVERALL

From the beginning of the series, Code Geass: Hangyaku no Lelouch R2 promised an experience like none other before, and in a sense, it somewhat succeeded; however, it all came down to execution. Reliant on a story fully driven by unexplained plot-twist after plot-twist, the staff at Sunrise fell back on the characters to keep the story afloat. Unfortunately, this plan did not and will never work anytime in the future. As a result, the only character decent enough to appreciate is Lelouch, and even he had his own identity crises. In the end, R2 wanted to distinguish itself from the masses and secure its fame, but lost its identity as a whole. Like a celebrity begging for 15 more glorious minutes, R2 became just as desperate. Still, with top-notch animation and an excellent soundtrack along with several epic moments, it is still something to give a try.

OVERALL: 7.6/10

*see my rating scale for interpretations of my ratings*

What is true happiness? Is it living a life full of material possessions? Is it being accepted within the social group of your dreams? Or, is it something much simpler?

The beauty of Chuunibyou is the beauty of simplicity; it is a simple story that preaches a simple message. Stagnated by the analytic mind, expectations of deep, continuous melodrama, or some longing for a nonsensical philosophical message, popular reception of this show might go along the lines of “well, I was expecting more” or conversely, a simple “I wasn’t expecting anything at all.”

Chuunibyou Demo Koi ga Shitai! (Chuu2) manages to find a rather fitting equilibrium ... that is almost reminiscent of a Disney work. An entertaining, yet touching story that will likely leave that warm fuzzy feeling when all has been said and done.

Story:
Togashi Yuuta once suffered from a “disease” known as chuunibyou, or eighth-grade syndrome. Once absorbed in his own fantastical world, Yuuta now aims for a simple high school life as he enters his first year, hoping to leave his embarrassing past behind. However it turns out that, like his delusions, his hopes of a picture-perfect high school life become a distant dream thanks to a “mysterious” girl, Takanashi Rikka, who just happens to be inflicted with the same unfortunate disease that plagued Yuuta’s past.

The pacing of the story was rather slow. A misleading beginning full of tomfoolery and antics led the audience to believe that the show had nothing to offer. Given only 12 episodes, one would expect development to hit faster to prevent pacing issues, but unfortunately, director Ishihara Tatsuya might have dwelled in this overly lighthearted realm for a bit too long. It burned in that mood so deeply into memory that it felt as if any change of tone or pacing would be rather awkward. Surprisingly, although there were some awkward moments, the transition into a more serious tone felt mostly natural and didn’t seem to try too hard to be something that it was not.

On the other hand, the story’s strength was definitely its identity. Simply put, the entire series not only had the consistent elements of a romantic comedy, but also boasted some unique elements that differentiated the show from others. Even with its transition in the latter half, the comedy quota is definitely lowered, but never abolished. Additionally, one of the most unique points of the chuu2 story is the illusionary world (I’ll call it that from now on) the characters conjure up through their imaginations. This element is consistently used as a story-telling medium, and it is both fitting and frankly, pretty to look at. Although some may argue this point as careless overemphasizing of certain emotions, I believe that is the point. Aren’t we dealing with delusional kids anyways?

Overall, the story does suffer slightly from some pacing issues. Personally, I would have preferred if they spent one less episode fooling around, and in turn, use that additional episode to develop the relationship between Yuuta and Rikka some more. Nonetheless, the overall experience of the story was both funny and touching, and it is a breath of fresh air from some other romantic comedy formulas.

Story: 8.5/10

Art:
As always, Kyoto Animation delivers in the animation department. Character designs are rather simple and familiar, but they’re cute like always. However, in chuu2 there were two major elements of the art and animation that wowed me. Scenes in the illusionary world were obvious budget dumps. These scenes consistently deliver the high quality, seemingly ridiculous eye candy that any anime fan would love to watch. As stated before, these scenes serve more of a purpose than just eye candy. Essentially, they become the trademark of the series. Using this medium provides a fresh perspective on dealing with the generic scenes you might see in a typical romantic comedy. The second element exists in the form of the atmosphere. Kyoani deliberately sets fitting settings and tones that augment the emotions of a scene. True to the “Adolescent Delusions of Grandeur” the official English name of the series boasts, the tone of the background carries out its job successfully.

Art: 9/10

Sound:

As for sound, I was definitely surprised of how well the OST was constructed. Most notable were the tracks done on either a very passionate violin or likely a viola. Those certain tracks were memorable, quality tracks. However, the BGM that plays during the “normal” interactions between the characters is decent, but a tad forgettable.

The opening, Sparkling Daydream by ZAQ, fits the tone of the series well. It is a catchy song that unfortunately, starts to not fit too well with the continuity of the episodes (who remembers torch from after story? Ya, it’s like that). Similarly, the ending, Inside Identity, sung by the female cast and composed by ZAQ, is also a very catchy tune that, like the opening, fits perfectly in the first half, but starts to feel a bit off in the second.

The best-executed element of the sound category was definitely the voice acting. Jun Fukuyama’s role of Yuuta was fitting considering how well the Lelouch voice was for Yuuta’s old chuunibyou “alter ego,” Dark Flame Master. Maaya Uchida’s voice also perfectly fitted Rikka’s naturally timid personality. Most notable, however, was Sumire Uesaka’s outstanding performance of Dekomori Sanae.

The sound set of Chuu2 as a whole was well-executed. Although there were a few inconsistencies here or there, excellence in voice acting and in certain OST tracks made sound an important factor in the success of the show.

Sound: 8.5/10

Characters: (Minor spoilers with story direction. No overly specific spoilers here)

Now here’s where it gets a bit tricky. The basic character models of chuu2 are rather generic. You could probably find similar character types in several different shows, and one character in particular, was questionably inconsistent. However, the decision to differentiate the main characters into specific pairings helped breathe life into an initially stagnant cast. We start with our hopeless hero who just longs for love, and our crazy, arguably mentally impaired heroine at his side. Add in a cast of 3 more beautiful girls and throw in your comedic relief guy friend and we’ve got a generic harem series right?

Chuu2 realized what they were degenerating into and took action quickly. From here, we see 3 differentiable pairs: Yuuta/Rikka, Sanae/Shinka, and Isshiki/Kumin. Although scenes often incorporate most to all of the characters interacting at once, the viewer can see these pairs develop individually. For the Yuuta/Rikka pair, Yuuta is able to develop into more than just a generic hopeless male lead and Rikka becomes more than a moeblob and actually has a shy personality. Similarly, our primary comedic relief pairing, Sanae and Shinka, quickly grow onto the audience with their constant exchanges. Unfortunately, the one miss Ishihara had was with Isshiki and Kumin. Although Isshiki still served his role as Yuuta’s “bro” amongst other pursuits, these two characters showed promise, but fell off in the end. Furthermore, Rikka’s older sister, Tooka, had some minor inconsistencies in her character when it came to reacting to Rikka’s behavior.

To my pleasant surprise, the cast of characters was a rather memorable one. Headed by the Yuuta/Rikka pair, the story was able to give most of the characters definition. Given that around half of the cast were original characters not in the light novel, Kyoani did a great job with characters this time around. We have no complicated love triangle, no unnecessary high school drama, and as a result, we leave satisfied with a simple, yet unique romantic comedy.

Characters: 8/10

Enjoyment:

As I state in every review, enjoyment is a completely personal category that some reviewers tend to shy away from. Personally, I enjoyed every minute of the series. I came in expecting a romantic comedy, and I finished the show almost completely satisfied. The show’s humor is entertaining, and the story’s touching twist is a memorable one.

The big questions remains: should you take the series seriously? Well, that’s a yes and a no. I approached it as a romantic comedy and got everything out of it. If you take it too seriously or if you don’t take it seriously enough, you probably won’t be completely satisfied. It’s important to remember that romance is generally a more serious genre whereas comedy is not. The “seriousness scale” of the romantic comedy genre in general is pretty iffy to begin with. All questions aside, overall this was definitely the most enjoyable show of the season for me.

Enjoyment: 9/10.

Overall:

In the end, the entirety of chuu2 is based off a simple premise. It is the manner of which the story is portrayed that leads some to question whether one is supposed to take this story seriously or not. If you overcomplicate or overestimate the “messages” the show sends, you’re missing the point. I mean, you usually don’t open a bag of chips expecting candy. Likewise, take chuu2 in a similar manner. Enjoy it as a simple romantic comedy and chances are, you’ll be in for a great ride.

Overall: 8.6/10

Note: This is one of my favorite shows. If you are expecting a full review full of condemnations, just don’t read it. I try my best to explain and justify my points, but I can’t say for sure whether you’ll be convinced or agree with me. After all, we’re all different.

The concept of risk and reward is something that does not rest well with many individuals. More often than not, attempts at originality are stricken down before even given consideration. Innovative ideas are simply looked over and attempts at making them real usually become a laughable matter.

Simply put, it’s not even worth ... the risk.

In a society that praises conformity and condemns incompliance, entertainment, as a result, follows this same beaten path. However, every now and then a light of hope shines at the end of the dark tunnel and reveals a masterpiece or innovation worthy of the highest praise. Baccano! does just that with the anime medium.

Story:

The story of Baccano! is essentially four sub-stories, three in prohibition/depression-era America and the other on the rough waves of the Atlantic on board the Advena Avis. In 1930 we learn about the ongoing gang disputes in New York between various families such as the Gandors, Martillos, and the Runoratas. At the same time, alchemist Szilard Quates attempts to perfect the secret formula for an immortality elixir. In 1931, we are aboard the transcontinental train, Flying Pussyfoot, as we experience the conflicts and bloodshed that ensue. In 1932, the gang disputes continue as we also begin to follow young Eve Genoard as well as the staff of Daily Days newspaper in their attempts to find the missing Dallas Genoard. Finally, in 1711, we are aboard the Advena Avis, following a group of alchemists in search of the answer for immortality.

Sounds confusing, doesn’t it?

Luckily, Narita’s storytelling is eons better than my summarizing, and it’s much better to actually watch the show than to read the brief tidbit of information above. However, what I can do now is provide my insights and opinions on it.

In my opinion, the form of storytelling is the first characteristic of innovation that I notice. The story, essentially, is an erratic conglomeration of different scenes from the four different sub-stories arranged in an assumedly random manner. However, it’s much more than that. The placement of the scenes complements the story well, as many scenes seem to cut off straight before the climax, and move onto another scene at a different time. There will seldom be an instance where you completely forget the events of a certain year (1930, ‘31, ‘32,). The one exception to the story is the decision to isolate the events of 1711 into only one episode. Personally, this did not bother me at all, but hey, we’re all entitled to our own opinions. Anyways, what I see that is important about this style of storytelling is that the story itself serves as a medium for character interaction. Essentially, the characters will make the story (I will elaborate in the characters section), and this claim is proven by the omniscient perspective the show boasts. Since the story does not specifically follow the thoughts of one character, you are exposed to the full picture, something that I appreciated greatly as the show progressed.

Addressing misconceptions and complaints about the story, the one thing that I hear all too often is that there is no pattern to the story. Some say the random throwing together of scenes is lackluster and the constant scene cutoffs only serve as a reason to continue watching the show. Although one can take it like that at face value, what is often missed is the thematic significance of the storytelling medium. The title itself gives it away; Baccano! means racket or rowdiness in Italian (google translate to the rescue). And boy does the story give off those vibes. Critics will often dismiss this fact and stick to the basics. If the storytelling does not follow form A or form B…or form Z it is thus not worthy of being a story at all. This unhealthy obsession with such conformity takes away the true meaning of the story’s purpose: to simply have fun with it, as you would enjoy the ride of a roller coaster. Like a roller coaster, Baccano’s story has its slower, faster, and crazier moments, but in the end, you always get back to where you started, but with a new perspective on things. Trust me, if you go in all rigid and analytical (like I did in the beginning), you won’t have much fun. What Brains Base’s adaptation along with Narita’s original work does is immerse you into the world, and all you have to do is sit back and enjoy.

Story: 10/10

Art:

The best word I can use to describe the art in Baccano! is “fitting.” The prohibition/depression era settings and characters provide the viewer with a certain “30’s” ambiance. The streets and buildings are rough and rigid and the characters are clad with suits and fedoras. This certain atmosphere Brains Base brings to life not only enhances the viewing performance, but also immerses the viewer into the scene. The smoke-laden rooms, the rough night at sea, and the dim city atmosphere are all examples of ways the art-style complements the show itself. Each character that plays an important role is designed with his or her personality in mind. With the exception of Nice, Jacuzzi, and Donnie(or Donny, whatever), character designs are rather believable and are not pains to have to look at every episode. (not saying that Nice and Jacuzzi have bad character designs, they just don’t really fit the era, but that can be explained by backstory)

Animation quality is crisp and clean. Fighting scenes are done particularly well and are always a blast to watch. Additionally, this show is a bloody one. Graphic violence is relatively common and Brains Base finds rather imaginative ways of portraying this. Basically, this show is not for the faint of heart. Unfortunately, that’s about all the art and animation in Baccano! can muster. Overall, they are both great; however, some qualities such as the immortal regeneration and other moments of lack of attention bring the artistic rating of Baccano! down. Nonetheless, it is still “fitting.”

Art: 9/10

Sound:

Other than Cowboy Bebop, who would’ve thought that jazz and anime could go so well together? However, the soundtrack is not stuck with jazz alone. Several other tracks may be a simple piano tune or just feel like an authentic western. It’s surprising to see a soundtrack that pays so much attention to detail these days. Most soundtracks often focus on one theme and build upon it. This usually results in a lack of variety; however, Baccano’s soundtrack is chock-full of all sorts of tunes fit for each and every scene that transpires throughout the story. The whole OST just screams “authentic,” whether it actually is or not, beats me, but I am still a big fan of it.

The opening, Gun’s & Roses by Paradise Lunch, is an extremely catchy jazz tune that, with my limited knowledge of jazz, is probably some sort of adaption of a 30’s swing jazz tune, since it focuses more on an ensemble of brass to play in unison rather than focus on the solo/improv style of the bop jazz of the 50’s(it’s also too upbeat to be blues too). This is great because they provide a well-done piece that is both catchy and relatively accurate.

The ending, Calling by Oda Kaori, is a soothing piece that is reminiscent of a love song or ballad or something along those lines. Arguably out of place, the song is still a great one that I find as a little breathe of fresh air after all of the pandemonium of the episode.

The only word I can use to describe the voice acting of Baccano! is immaculate, simply immaculate. The voice crew was arguably one of the best ever assembled. In all of the anime that I have watched so far, very few have done as well as the Baccano! cast. This is one of the shows where you can hear the VA play his or her character and sound like he or she is genuinely having a good time. From the elated “SUGOI!”’s of Miria Harvent to the sadistic jargon of Ladd Russo, each voice was a close to perfect rendition of each respective character’s personality.

As a whole, the sound set of Baccano! is close to that of a masterpiece. The one lacking factor that nags me is the lack of any standout tracks that are not simply jazz that involves all of the brass. My only complaint would be that and that simply to get a 10 out of music from me, I have to literally enjoy listening to every single piece in the OST as well as the opening and endings too (I think only guilty crown and ikoku meiro no croisee have done that so far considering my musical taste)

Sound: 9.5/10

Characters:

What can I say other than greatness? The characters in Baccano! are not only full of life and character, but also watching their interactions and experiences is interesting to boot. Unlike most other anime, I had almost no problem learning the names and characteristics of each and every character within a few episodes(and there’s like a lot of them, A LOT). Now this may not be the same for everyone, but in general, the execution of story progression coupled with the unique personalities and appearances of each character makes this cast one in a million. From the calm, cool, and collected demeanor of Luck Gandor to the poor fretful soul that is Jacuzzi Splot, each character, though not really developed, plays his or her role in the story to perfection. The sheer variety of the cast does not stop there. Whether displaying the characteristics of your typical serial murderer (ya I know that sounded weird) or of your organized gang leaders, Baccano! has just about everything to offer from it’s absolutely colorful cast.

Now you may be wondering, didn’t I say the storytelling was the “first” instance of innovation/masterful execution? That means there should be another instance too. Well here we are. The last aspect that differentiates this show’s characters from the others is in the form of our odd couple, Isaac Dian and Miria Harvent. Simply put, these characters are quite literally bundles of joy.

Overly ecstatic?
Yes.

Overly optimistic?
Yes.

Pretty darn annoying?
Yes.

But in the end, they are the glue that sticks the story all together. They are the finishing pieces of the jigsaw puzzle. Without them, the show simply would not be the same. The characteristics of Isaac and Miria are simple, and that is the beautiful thing. Narita finds no reason to delve into their past, no reason to develop their characters, and no reason to provide any sort of unnecessary twists and turns to their personalities. Their design is pure and untouched. Of course you can draw correlations between these two and other couples in entertainment history; however, few couples have done it with such elation. Their presence is an absolute joy to experience, and their contributions to story are undeniable.

Looking back at the characters, there’s not much to nag about in my own opinion. Some may find some characters to be lacking, hateful, or underdeveloped; however, the great thing about these arguments is that it’s something completely open for debate. There is definitely a chance that you may not like many of the characters, but with a cast this big, chances are you’ll find some to love, and this love might grow and spread to the others eventually too.

Characters: 10/10

Enjoyment:

Enjoyment is always the most arbitrary category in any review. Each individual has his or her own unique checklist of “what makes this show enjoyable.” Personally, everything on this checklist was complete.

More often than not, I find myself having some bad habits when I watch anime nowadays. I usually have a sort of “pre-rating” in my mind as I calculate all of the positives and negatives to come up with a suitable score. As a result, I often lose that sense of enjoyment I’m supposed to get from watching anime. Whether it’s that or if I am constantly looking at how many minutes are left until the episode is over, there are often reasons that hinder my enjoyment of a series.

Thankfully, Baccano! alleviated me of this nagging pain. I can genuinely say that this is probably only the 2nd or 3rd series that I have ever watched where I was simply so immersed with character interactions, story, and having a good time that I forgot about all of these small details that usually plague my mind as I watch. From the catchy opening to the “What’s next on Baccano!” at the end of every episode, I had a blast the whole time.

Enjoyment: 10/10

Overall:

Words can't even begin to describe the ride that I was absolutely privileged to experience. Baccano! delivers in every aspect, from a large, full of character cast to an enticing story, complimented by fitting art and a catchy soundtrack. Those 13 episodes couldn't have flown by faster.

Overall: 9.7/10

(I’m just going to assume whoever reads this already finished the first season and knows the characters, but I’ll try my best not to spoil anything from after story)

Story:
A direct continuation from its predecessor, Clannad, Clannad After Story (~AS~) continues and finishes Key’s visual novel written by Maeda Jun. It is incredibly difficult to masterfully adapt a visual novel into an anime, so I must give my kudos to those who worked on it at Kyoto Animation. Ok now onto the brief synopsis.

The story picks up after Tomoya and Nagisa become your prototypical couple. With the sprouting of a new relationship come its own quirks ... and flaws within it. These two are no exception. Since the first season did not finish covering all of the side arcs, it made sure to do so at the beginning of the season. Following that, they decide to focus on the main storyline for the latter half of the story. Within each side-arc, there is a touching tale that results in tearjerkers for many. However, the beauty of the show is that it wasn’t simply designed to make you cry for all 22 episodes. What this show exceeds at is playing with the entire spectrum of an individual’s emotional set. A literal slice-of-life, ~AS~ puts the finishing touches of the story of a boy growing up and dealing with the highest highs and lowest lows of life.

The story doesn’t lack in any thematic substance either. As many may know already, the title of the show, “Clannad,” has a Gaelic root, “Clann” (or “Chlann”, thanks interwebs), which basically means family (particularly the descendants). Conveniently, family is the most emphasized theme in the entire show. As stated in the first season by Akio, the descendant’s dreams become those of the ancestors. Do not forget that. ~AS~ plays on that idea beautifully, and as you continue to watch the show, everything will come together nicely.

There’s not much else I can say about the story other than it was executed well despite a deus ex machina of an ending. There are important lessons to be taken from each arc, and they often boast high sentimental value. Also, if you were wondering about the illusionary world business, don’t worry. Most of your questions will be answered. Other than the lack of importance of previously important characters (ie: your Kotomis and Kyous; however, that can be easily forgiven because of execution and the fact that it’s a visual novel adaptation), there is nothing much to complain about. As stated before, the story isn’t something that can be easily described in words. Go experience it for yourself; chances are that you’ll love it.

Story: 9/10 (An excellent experience with a few noticeable flaws)

Art:
Kyoto Animation have outdone themselves again in putting together ~AS~. A huge overhaul from the first season, every fathomable visual aspect of the show has been touched up to near perfection. Character animation and design is polished throughout the series, and there are few blemishes as the story progresses. One aspect that Kyoani nailed specifically is the subtle progression of character aging. Although some malefactors exist (such as the seemingly ageless wonders Akio and Sanae), each character looks a tad different in order to compliment the fact that (minor spoiler) they are no longer high school students at a certain point. Overall, other than the fact that some people may not appreciate the humongous eyes each girl has (personally it bothered me at first, but I grew accustomed to it), the character design is solid.

While the characters look great, the backgrounds look amazing. From the gloomy ambiance of the illusionary world to the blossoming sakura at the dawn of spring, Kyoani made sure that almost every little visual detail was absolutely immaculate. The atmosphere placement for certain situations were spot on, complementing the script with a sort of subtlety that is noticeable enough to be greatly appreciated.

(minor spoiler paragraph upcoming)

Change is another theme of ~AS~, and the visuals make sure to convey that to the audience. Nothing stays the same forever, and Kyoani does justice to the ever-changing surroundings. Places individuals may hold dear might not be there the next time they visit. Whether it’s for better or for worse, it’s a hard thing to deal with, and Kyoani uses the art to speak for itself.

All in all, the visual package of ~AS~ is just one of the many different factors that makes it unique. Boasting thoroughly top-notch visuals in even today’s market coming from a show that was released 4 years ago, ~AS~ truly capitalizes on its opportunity to be a great eye-candy too (not in a perverse manner, in an atmospheric one).

Art: 9.5/10

Sound:
It already takes a lot out of production when focus on story and art is so glorified that sometimes sound is left in the dust. ~AS~ has none of that. Composed by Maeda Jun, the Clannad soundtrack is that of potential greatness. Personally, a few of the songs in the soundtrack are among my favorites and bear a relative emotional impact. From the calming, reassuring tune of Nagisa’s theme to the subtle tenseness of “Roaring Tides”, the entire soundtrack brilliantly complements the story and animation. Furthermore, Kyoani knew exactly what they were doing with soundtrack placement. The right track would be played at the right scene with the perfect timing; however, this often leads to the recycling of many tracks. Since ~AS~ uses nearly the same soundtrack as its predecessor, some of the variety is lost at times.

Voice acting is as always great. I had no problems dealing with any of the supposed overly high-pitched voices, and when it came to emotions, the crew knew when to give it their all whether yelling or crying. I cannot emphasize enough how well Nakamura Yuuichi pulled off Tomoya’s voice.

The opening, Toki wo Kizamu Uta (The Song that Ticks Away Time), is a piece that sounds great and has sentimental value. Sung by Lia and composed by Maeda Jun, the lyrics correlate with the context of the story. Additionally, Lia’s performance of the song was brilliant; all of the correct emotions were poured into this piece, and I consider it to be one of the best opening songs and sequences of all time.

Unfortunately, the same levels of expectations are not met from the ending, TORCH, also sung by Lia. Don’t get me wrong, I love the song. In fact, it’s rather impossible for anything to go wrong when Lia is singing it; however, as many may know, the last thing anyone wants is a mood breaker. As the story progresses, emotional tension will skyrocket, and unfortunately, the overly upbeat tone of the instrumental itself is unnecessary.

There are two main insert songs in the series: Ana by Lia (used in Clannad before) and Chiisana te no hira by Riya (singer for Eufonius, who also sung Megumeru, the opening of Clannad). I’ll let the songs do all of the talking when it comes to describing them, but there’s one thing I can say about them: I absolutely love them.

Sound: 9.5/10

Character:
~AS~ follows the basic pattern of what a sequel is supposed to do: develop characters. The character cast is already relatively established and there’s only one noticeable add-on. (quite a substantial one though) As we know by now, Tomoya and Nagisa are our couple of interest. This leads to the unfortunate, but required act of “tossing aside” some of the previously important characters. On the bright side, none of them are truly forgotten. Each and every character from the first season makes a return appearance and although their development is halted, it’s a completely justified halt. Instead, what ~AS~ tends to focus on more is the unanswered characters. True to its visual novel status, there are three more arcs (4 if you want to count Yusuke’s little rant) to cover before moving onto the main storyline. Within each arc, the characters (such as Yukine and the Sunoharas) are developed just as well as the others. Additionally, the way they tackle the mysterious girl and robot is magnificently executed too. Rather than focusing on them for whole episodes at a time, the familiar 2-5 minute scenes of their progression carry on smoothly and climax at the perfect time.

Now we get to the main source of development: our little couple(Tomoya and Nagisa). There was no doubt all focus would eventually shift towards these two, but the style of execution turned something predictable into an emotional ride of a lifetime. Again, their relationship is anything but perfect. Development is driven by their struggles, and Tomoya’s reactions complimented by Nagisa’s steadfastness truly convey the ups and downs of a standard interpersonal relationship. However, theirs is a tad bit more special. As stated by Nagisa in the very beginning of the first season, the city plays a huge role throughout the show, so much so that it could be considered a character itself. The parallels drawn between the city, the couple, and everything else results in a marvelous depiction of a true drama.

While the development of the most important characters are spot-on, the fact that some of the others had the opportunity to maybe play a relatively bigger role but didn’t is a slight mishap (due to the fact so much emphasis was put on some other characters in the first season). However, despite these issues, I believe that in the end, the folks at Kyoani (and of course at Key) did the right thing in focusing on the couple in the end. The outcome couldn’t have been more beautiful, and honestly, I wouldn’t change much.

Characters: 9/10

Enjoyment:
Enjoyment is often the most arbitrary of all categories, and there is no exception with ~AS~. To be painfully honest, it was slow paced at first. Although it stayed true to its source material, some of the arcs (like the sunoharas and dorm lady’s) were rather unnecessary. I know that I am going to get a lot of hate from visual novel purists because of that, but it was those first 6 or 7 episodes that I found were pace breakers (albeit at the start of the season). However, I cannot deny that even though those episodes were slow paced, in the long run, it benefitted the series because it brought closure to a handful of characters, and you could argue it as an entertaining “calm before the storm.”

However, the latter half of the story is where it really picks up. It almost seemed that I was assaulted with emotions at some point. I wanted to stop watching because of how emotionally stressing it was, but I couldn’t find myself to stop at any point. To categorize emotional trauma as “enjoyment” sounds rather masochistic, but damn did I enjoy it when I look back. Overall, though, the series knows when you have to take a break (although it might overestimate some and underestimate others; that’s why enjoyment is so arbitrary). There’s no doubt that ~AS~ was one of the most “enjoyable” series to watch; however, I still cannot overlook the slow (yet arguably necessary) pacing of the first half-dozen episodes.

Enjoyment: 9/10

Overall:
Kyoto Animation succeeds in adapting one of the most popular visual novels in recent times. From amazing visuals to an enticing story complemented by a brilliant soundtrack, there are simply no gaping holes in the show. Although within each category there may be a minor gripe here or there, overall perfection is impossible.

Overall: 9.2/10

Little note: My review is not going to spoil any huge nuances because in order to get the full experience of the show, you have to walk in relatively blind. However, I am going to lay out the basic pieces that you should understand by simply watching the first episode, and I may incorporate a reference or hint that individuals who have watched the series already understand. Also, the shortened name of this show is "Anohana," which is the title I will use to refer to it.

Story:
Yadomi Jinta is a shut-in. Lacking any drive in his life, he has spent about the equivalent of ... a semester in his house doing nothing but playing video games and mulling about with a sense of regret and spite.

(I'm not sure if you call this next part a spoiler, since it's established within the first 3 minutes of the first episode, but I guess "be warned, spoiler alert" or something like that)

One summer day, he encounters what he believes is his summer "beast," a manifestation of his past trauma or "sin" if you want to get religious. Jinta's description of negativity exists in the form of his deceased childhood friend, Honma Meiko, or simply Menma. The catch to the sudden reappearance of one of his childhood friends is that only he can see her. The question, and plot, of the story arises: Why exactly is Menma back? Why can only Jinta see her? How will the 6 protagonists reunite? One particular focus of the story is how it seamlessly transitions between present-day events and those of the “tragic” day 10 years prior. These questions are answered as you progress in the series.

The story in its barest form is not too complex. Dead friend comes back as ghost and main character has to find out how to resolve this issue to get to a happy ending. However, the essence of the story lies in the relationships between the several characters as friends (and something even closer). A relatively simple-sounding story stretches every boundary to squeeze out every ounce of meaning it can manage in merely 11 episodes. The emotions the story plays with are those that are nearly universal, which explains the vastly positive reception it has received. (Most individuals have experienced the ups and downs of friendship at least once in their lives)The scriptwriters incorporate minute nuances throughout the series to facilitate an almost indescribable connection between the audience and the characters. These small details make this story into what I would call an emotional roller coaster of sorts.

story: 8.5/10

Art:
An A-1 pictures production, the art of Anohana thrives on simplicity. Definitely not comparable to that of a Kyoto Animation work, the approach to the art is a sigh of relief to the overly focused concept of "we have to make this girl as pretty as possible with huge boobs" that we have seen much too often in other shows(which honestly has broken series for me before). You won’t notice amazing details in characters or the most complex hairstyles and clothing. This series just isn’t as polished as others that depend on art to succeed.

However, if I had to choose one artistic nuance that I could deem “noticeable,” it would be the sky itself. The tones of light and dark are used masterfully to illustrate the feel of the situation. It will become apparent at times that certain scenes happen at just the right time of day/night. In addition, the character designs aid the development of each character’s individual personas. Since each of the main characters is shown as a child and as a teenager, you get to see something that few anime tend to focus on: individual character development.
Although I should be mentioning this in the character section, I put it under art because since this series was completely original, I just had to give my kudos to those who led the character design department.

To summarize, the show is far from the "eye candy" that so many today appreciate, but it is far from sub-par. By not making the series an overly gorgeous one with the most attractive characters, the audience is able to focus on the most important aspects: the story and characters. I believe that although the art was not and still is not considered top-notch, it serves its purpose in all the right ways.
Art-9/10

Sound:
The soundtrack of Anohana incorporates the heavy usage of the acoustic guitar, piano, as well as other “calming” instruments. If you want a heavy metal action rock soundtrack, unfortunately, you’ve come to the wrong place. Most of the background music finds this equilibrium between a soothing yet depressing feel. The series tends to favor specific tracks of their soundtrack, such as “Last Train Home”- a piano piece that carries a nostalgic ambiance, which perfectly accompanies many of the scenes. This same positive is also a negative. I would have personally preferred a wider variety of usage of the background music. Although I do acknowledge the decisions they made may have been the best at the time, but as the saying goes, “variety is the spice of life.”

The opening, Aoi Shiori by Galileo Galilei, is a piece that probably strays the most from the entirety of the soundtrack simply because it does not use the piano as the cornerstone instrument. It definitely is a catchy song though since the tone is more upbeat than any other song in the series despite its relatively lethargic beat.

The ending, “Secret Base~Kimi ga kureta Mono”, is the de facto song of the series. Often, the ending songs in most anime do not stick out as much as the opening; however, Anohana has proved otherwise. To describe it in laymen’s terms, this is the song that even after the series is over, it will continue to touch your heart. Maybe it’s the tone of the song (sung by the female cast) or it’s the convenient situations the song is used in, but one thing will remain true in my heart: this song defines the series in terms of music. I have had friends listen to it who haven’t watched the series yet and complain it might be a bit too high pitched, but everyone who I have talked to who listened to the song after they finished the series agree that it does stir up some emotion every time they listen to it.
Sound- 9/10

Character:
Well here we go. If one were to label a certain aspect of Anohana as the “meat and potatoes” of the show, it would definitely be the character development. There are 6 main characters in this show: Yadomi Jinta (Jintan), Honma Meiko (Menma), Anjou Naruko (Anaru), Hisakawa Tetsuko (Poppo), Matsuyuki Atsumu (Yukiatsu), and Tsurumi Chiriko (Tsuruko). I will mention later why the parenthesized nicknames are important. For now, I will talk about what makes the characters in this show different from many others.

In many anime I have watched, it has always been story first, art second (or vice versa) and the characters are left behind to gather dust. Some shows throw one character into a certain role simply because it’s “convenient” but not true to his/her own character while others try to make it fit but simply lack execution. In my opinion, there’s none of that in Anohana. Each character began with a certain conglomeration of traits that made him or her unique, and the script complimented them beautifully. While some may argue that certain characters may stray from their path, in each instance, there is a well thought out explanation for each “twist” or “loop.”

For instance, although Jinta is characterized as a shut-in at the beginning of the show, the intriguing form of “reverse-development” this show has explains his past as the charismatic, outgoing leader of the 6 characters’ group (Super Peace Busters) quite well and how eventually he fell to his current state. As the story progresses, you’ll see another forward-development in each character to essentially revert to a rather idealized form of who they once were. This begs the question of whether the creators of this show are trying to convey the message that “in the end, no matter how different you may look on the outside, there will always be something important about you that will never change.” While I will not explain the character development in further detail since I do not want to spoil anymore, I will guarantee that each character undergoes a similar type of development, but what’s great about it is that since each character is unique in his/her own way, you will see a wide variety of great character development.

Additionally, what I find great about the characters is that they are easy to grown onto (unless you don’t like menma’s voice). Since the progression of the story tightly parallels the character development, it is an extremely smooth ride compared to other train-wrecks.

Another tidbit of advice when viewing the characters: pay close attention to the interaction between the characters. As you watch the show, you will notice small nuances that make the character development one step better than your average show. (I said I would talk about the nicknames, and here we are)
Characters- 9/10 (Awesome with the combination of the story)

Enjoyment:
I’m not completely sure whether to call it enjoyment or not, but this show is legitimately the first show where I cried my eyes out (in fact, it still gets to me even if I’ve watched it multiple times already). Others before (when I was a little kid) have done so before, but none since this show have come close since then. The entire experience is necessary to enjoy the whole ride. As I stated before since each nuance of the show is so tightly tied together in what I believe is a near-perfect harmony, I did not regret watching this show at any time. In an unbiased sense, you probably won’t enjoy it as much if you’re too busy trying to get Menma to shut up since her voice is pretty whiny, but I was able to overlook that. Overall though, the “enjoyment” factor was easily satisfied.
Enjoyment-9/10 (oh were the tears shed)



Overall-8.9/10

Final Verdict:(11/8/2012)
I tried, I really tried. Unfortunately, the characters again took a downswing and stayed on that downhill path. The animation took a small hit because of the lack of focus on the battle scenes (hello, an action anime should have lengthy, quality fighting scenes), and the story failed to break past the "fair" barrier.

My patience was truly tested with this show. With a cop-out ending to the first season and an even more terrible start to the second, I cannot find myself continuing this series. There are far better shows currently airing, and unfortunately, SAO fails to make a cut.

Dropped Policy score: ... 5/10.


I've been reading the myriad of reviews popping up about this anime, and I have been watching each new episode as it comes out to see how it goes. I've noticed this show has either received extraordinarily positive reception or has been deemed expendable. I am going to try to find the mid-ground in this premature review. (btw i'm going to use the character's in-game name instead of their full real names)

IMPORTANT NOTE: I will repeat this again at the end, but keep in mind, I am reviewing the anime adaptation of Sword Art Online, not the original light novel. I am sure that many who have read the light novel with disagree about my premature opinions, but I am reviewing my thoughts on how the anime adaptation is portraying everything to me.

Story:
Kirito is assumed as an introvert in real life as the story briefly shows him as a shut-in who probably plays video games too much, but the director and others in charge of designing him probably made sure to differentiate him from your average creeper that stays at home all day in his room. The year is 2022, and a new video game has been launched called sword art online. As a highly touted commodity, it is fitting that only 10000 copies were released to the masses. The game requires the Nerve Gear, a futuristic type of gaming "console" in the form of a helmet that you wear.

(This is where it gets spoiler-ish if you don't want to know anything at all before watching it, but it's also the de-facto characteristic that makes the story great)

As he passes a day in this new virtual world, he and his new acquaintance, Klein, figure out that they cannot logout. Controlled chaos ensues as the entire community is amassed into a Colosseum and the creator of the game, Akihiko Kayaba, makes an astonishing announcement. You cannot log out of sword art online. There is but two ways to do so: either beat the game by completing all 100 floors or "die" in the game, which will essentially trigger the Nerve Gear (also designed by Kayaba) to fry your brain and actually kill you. The twist to this sadistic MMORPG is what essentially makes the story interesting and worth watching more. Few shows I know of utilize such a twist, and if you were to just take the story itself at face value, it is still an interesting premise that has potential. (albeit it seems to feel rushed more recently) One gripe I do have about the story is that generally, there isn't a sense of urgency that usually accommodates a life or death story. Although you usually feel that when watching the battle scenes, everyday town life seems way too carefree.

Update 9/9:
Again, there's no complaining the concept of the story is unique. Some little RPG-esque nuances are subtly fitted in to increase the enjoyment of the series; however, this story has a huge achilles heel that it rapidly dragging it down: the pacing. I am fully aware that the light novel is ridiculously long and they only have 25 or so episodes to complete the story, but this is still not a valid enough excuse to account for consistent gaffes in the pace of the story. Although everything might feel smooth for a watcher who has read the light novel (or at least has a good amount of background), as a viewer who watches this show with absolutely no background, I am at a complete loss frequently. Still, great concept, enticing story, but blatantly poor execution.
(6/10)-Oh boy has this taken a downswing.

Art:
A-1 pictures has again provided a good consistent quality to its art. The character designs are fitting, and I found it quite comical when (spoiler alert I guess)...they used the mirror and suddenly like 90% of the girl avatars turned into guys (because it revealed their facial identity since the Nerve Gear knows what your face looks like). Although the series is not quite eye candy, some of the settings are beautiful and the animation of the fighting scenes are done relatively well. Although, like most anime, there are some blemishes here or there. For instance, several important animation points are undermined as fluid battles are replaced with shiny lights moving rapidly around still frames to make it appear as if you are watching a high quality piece of work. The character designs are decent too.

(8/10)-Great quality, sometimes inconsistent

Sound:
Again, like the art, the sound is nothing that would amaze the average viewer. (though i don't have much to back this claim up at this point) The high point of the sound is definitely the opening, crossing field, by LiSA. You can't go wrong by having her do any type of song. The ending, Yume Sekai, by Tomatsu Haruka oddly doesn't fit very well with the whole feel of the series. A relatively calming song, it just doesn't work with the supposed chaotic, fast-paced feel that a life and death type of story should have.
Final update: There is no doubt the OST is the ray of hope in the package that is sword art online. Composed by Kajiura Yuki, the music, frankly, is on another level compared to the series itself. It's a shame how such good music is often squandered on relatively subpar series.
(8/10)-Great

Character:
Unfortunately, nobody can make a good story work out without good characters. Many shows I have watched before (ie: guilty crown) have had its essence nearly torn apart by less than exemplary characters. Although a character like Asuna (main female protagonist) as well as other supporting characters maintain a sound set of characteristics to follow by, the plague of the series is unfortunately, the most important character, Kirito. (Little tidbit of knowledge: Kirito is also one of 1000 beta testers of this game too, so that explains why he's so good at the game)
Kirito is more than just a mystery. Personally, I call him Shu 2.0(guilty crown watchers know what I mean). I really do not care what other people try to say about Kirito that is positive because I simply dismiss it as hogwash up to this point of the series. Some might say he's a complete bada** while others label him a beta male. I would be completely fine if he was one or the other, but the unfortunate news is that he's BOTH...in the SAME episode...TWICE. I apologize if it sounds like i am simply hating on his personality, but he is no different than the infamous Shu. The difference between him as Shu is that Shu can at least portray himself as either the alpha or beta male for a good chunk of time. Unfortunately, in the 3 episodes shown so far, 2 of them show his complete roller coaster of emotions on display.
(spoiler alert)
In the 2nd episode, he goes from loner, to nice guy, to a sort of dark-misunderstood villain. In the 3rd episode, he suddenly finds friends and gets to know a group really well and opens up(probably the MOST awkward transition i have ever seen. I was questioning whether I skipped an episode, or 5), but then due to unfortunate circumstances, he turns into an angsty crybaby again (while relatively justified). If Kirito wants to win over credibility again, he must choose both his physical and emotional role. He cannot continue this nearly shameful display. However, the positive side of Kirito's character is that when he acts like a bada**, he is a pretty good one.

Final update: The characters probably couldn't have gotten anymore worse. Asuna's character has been dehumanized to that of a prize rather than the strong independent woman that she was portrayed as in the first 2 episodes. Kirito's "I can do anything because I'm the best" character is devoid of any noticeable development. And finally, all of the other characters aren't even noticeable.
Characters: 3/10

Enjoyment:
To be painstakingly honest, I enjoy this series when I am not trying to ponder the mystery that is Kirito. Since I love the concept of the story and the whole get to the 100th floor and beat the final boss thing, I am able to get a good amount of enjoyment. There are some lighthearted, comical scenes to break a tense mood sometimes, and the progression of this whole ride, although rushed, is enjoyable.

Final update:
Seeing how I can't even get myself to catch up (and dropped it in the end), enjoyment takes a slight hit. The premise was interesting to keep me attached for a while, but I just got bored (yes, even with the mach 5 pacing)
(6/10)-

Overall: (11/8/2012)
The show had all the potential in the world. It started off relatively strong, boasting a great concept; however, it just couldn't hold on to what it promised, and to rub some more salt on the would, the terrible characters didn't help at all either. In the end, as stated above at the top, the show gets my dropped show rating, a 5/10.

This is my first review (and it's of a series that is only 1 episode in), so forgive me if I over-complicate sentences and make no sense. Thanks in advance :)

Story:
Watashi, the main character (also called Okashi-chan by the fairies), is a mediator of the UN between the humans of the past of the present-humans (the fairies). The setting is in the far distant future where mankind has imploded to the point of near extinction. As far as we know in the story, we follow the life of the villagers "struggling" to live (although it sure doesn't feel like they are due to the ... light atmosphere).
While the story is a simple one that may later develop into something, the glory behind the story is the humor surrounding it. It takes only a relatively educated mind to notice the clever jokes formed throughout the episode. Most of the humor in the story focuses on using Watashi's first-person narration to, in a sense, condemn today's society as wasteful and hypocritical. The simplistic lifestyle of the villagers along with Watashi's internal remarks creates a sense of realization to the audience that "hey, these things that we find funny in this episode are things that we accept in our everyday lives." By portraying these points using light-hearted remarks that can be terse and straightforward sometimes, Jinrui wa Suitai Shimashita seems to make a story out of absolutely nothing.
Art:
Likely the 2nd most subjective section in reviews, I personally enjoy the art. The simple take to characters, the adorable design of the fairies, and the traditional pilgram-style clothing speak for themselves. The light atmosphere and lush green setting reminisce that of a painting. Whether the quality will hold or if the setting will change is still to be determined, but for now, I love it.
Sound:
Nothing in particular sticks out to me. A standard set of sounds with decent voice acting that can be at times annoying; however, this isn't because they couldn't get better voice actors. The voices of the fairies, although annoying, are adorable. Watashi's narration tone is spot-on, and I have few complaints about other aspects of sound. Nakahara Mai's rendition of such a stoic, sarcastic character could not have been any better.
The opening, Real World by Nano Ripe, is a song that you either love or hate (mostly because it's a Nano Ripe song)
The ending, Yume no Naka no Watashi no Yume, seems to sound like a remix of a traditional like song. It's not my favorite, and takes time to get used to, but it's not terrible.
Characters:
The characters, described in the story section mostly already, are one of the de facto aspects that make the series. Watashi's thoughts and actions along with the antics of the adorable fairies (oh and the bread) provide that warm fuzzy feeling you might get when you pet a puppy (if you like them) and even that "i see what you did there" moment (with the jokes)
Enjoyment:
I had a blast watching this episode. I would pause every minute or so to annoy my friend about a convoluted moment or a witty remark that just occurred. One can only wonder if this enjoyment can last though. As for now, the slapstick-like comedy mixed with deeper jokes combine for an outright potpourri of enjoyment. Be warned however, this is the most arbitrary section of my review, because you have to enjoy a mix of:
1. "Cute things," in essence (I go back to the puppy comparison)
2. Random remarks
3. Clever perceptions of situations
to get the full ride.
If you're someone into blood, guts, ninjas, a serious story and explosions (albeit the bread), this show is not for you.

Overall, there's no questions there are flaws to this series. Some of the jokes are borderline sadistic and may appear too often for one to enjoy, but I believe this series has some great potential, and the first episode was great enough for me to be sucked into it immediately.

Jinrui wa Suitai Shimashita provides the audience with a ridiculously entertaining set of satirical tales that boasts an intriguing character set as well as a simplistic, yet appreciable art style.

Overall: 8.8/10