(This review has been adapted from my blog/reddit thread. Spoilers ahead!)
Onions taste delectable.
I didn’t always believe so, though. For a long time, I avoided their presence, viewing them as a white blight upon the meals they complemented. But now? I try to get them on everything (where it makes sense). Burgers. Pizza. Tacos. Onions no longer go unwelcome but instead have won me over, earning a seat at my table any day of the week.
Just as taste buds change, anime can do the same. For Shokugeki no Souma: San no Sara, some of its own changes both help and hurt what once was.
STORY
Three seasons in,
...
Shokugeki already knows itself pretty well at this point. The mixture of character comedy, hyped upsets, and a slathering of ecchi delivers unto the audience its signature brand of food-fueled fun. With Souma himself still aiming for his goal to be the best of the best, this next part in the series decides to put its skillet back on the burner as the plot heats up.
Before doing so, though, it goes back a bit further to its roots (and not the farm kind). Where the continued Tournament Arc bogged down the previous season to a large extent, it now channels some of the older magic which had made everything so intriguing to begin with. The story events concern less with structured cook-offs and more about these weird competitions that lead to positives and negatives within the sphere of their school.
For instance, Souma’s wholesome attempts during the festival demonstrate the power of a warm, handcrafted meal, and his rigged war against Eizan reflect the plight that the Polar Star Dormitory faces as the evil Central takes over. While multiple exist, these two examples highlight how the show finally remembers the meaning and the stakes behind these culinary clashes.
Moreover, Shokugeki also strikes a better balance between these battles and its silly comedic forays. Souma and Nao may bond over their horrific concoctions, yet the off-the-books duel with Tsukasa elevates tension as fate hangs undetermined. This balance overall leads to less repetition (especially an avoidance of umami dialogue) among the events and thus a stronger sense of purpose throughout the season.
Unfortunately, the ecchi elements are once again tuned down as the general seriousness wafting in the air prevents much in the way of over-the-top sexuality. Prominent thematic ideas also sour away as these developments commence. However, major reveals right at the conclusion make the audience yell at their waiter for seconds regardless.
So, despite whatever smaller shortcomings Shokugeki contains, the beginning of this third season demonstrates a return to proper form for the series, making excitement a possible item on the menu.
ART & ANIMATION
Like most anime deep into their stories – which in this case means episodes – not a whole lot more can or even needs to be said about the presented visual flavor. Shokugeki is no different. Sort of.
As an appetizer, the character designs still wear their personalities, their attractiveness, and their styles front and center. Newcomers Azami and Rindou seat themselves right alongside the familiar looks of Souma, Erina, and the others. The former wraps himself in dreary, washed-out colors for an evil presence, and the latter sports a catlike appearance to capture her carefree yet sinister attitude. Some sweet designs, indeed.
Many a detailed shot likewise make their return. The various foodstuffs are as mouthwatering as ever, and the imaginative moments as combatants live up to their respective skills keep the fun going. So, in other words, Shoukugeki has grandma’s recipe and smartly follows the ingredients for a tasty product.
Similar thoughts go for the actual animation. The series has never had the best movement possible when given its static shots, crazy reactions, and occasional jokey style. That all remains true still, making for the show some standard, passable levels on this front.
The dreaded panning camera, the stiff actions, the speedy backgrounds, and the rough CG segments, though, are now much more noticeable than ever, breaking the artistic flow to the point of concern. It could also be argued that, by now, the series shouldn’t be having these problems anymore to begin with. That it has had enough time to think about correcting or avoiding them (whether they were present or not).
If nothing else, even the visuals for the ending track lack appeal as they reuse clips not only from previous seasons but also from this current season. A rather clear indication that the dial has been turned down on the artistic stove.
CHARACTERS
Within the start to this third season, not too much occurs personally for Souma and the other cast members. However, Shokugeki has writing and moments which back their continued quests among the foodie sphere which they call home.
Most notably, Erina finally receives more than a morsel with some much-needed backstory to complement her difficult, arrogant personality. Her sad childhood filled with manipulation and loneliness humanizes the young woman, and her stay with the friendly people at the Polar Star Dormitory provides her with a warm atmosphere that she has never quite experienced before.
Other side characters order up a helping of growth, too. Alice is Erina’s rival, but she is also her family, and so her heartfelt letters and her determined protection serve to add another dimension to her character. Kuga, Eizan, and Tsukasa hold spots among the top elites, and their challenges, losses, and nerves (respectively) bring about extra pep. And Subaru turns over that new leaf still when he supports Souma during the festival, putting his best foot (and food) forward.
The most impactful character for this season of Shokugeki, though, goes to Azami, Erina’s father and the horrible man spearheading the lamented direction the school now takes. He envisions a world where only the most exquisite delicacies exist, and anything less than perfection may as well be chuff fit only for the trash.
As such, he homogenizes the teachings and the courses for the students, throwing away diversity without a second thought. His antagonistic approach not only makes him a character the audience loves to hate but also explores this theme on the importance of individuality both for the characters themselves and the expressive food they create.
Otherwise, the remainder of the cast do their thing. Souma stands up for his cherished friends while simultaneously battling those above him directly and immediately. Megumi cheers him on. Satoshi attempts to maintain stability behind-the-scenes amidst the chaos despite the threat to his seat on the upper council. They and the rest round out the show without feeling left out or forced into the proceedings for the sake of screen time.
All in all, the characters continue to be one of the show’s strongest aspects.
MUSIC & SOUND
Much like the visual direction, the audio for this third season of Shokugeki does not change much (if at all) from its previous offerings. The voice-acting performances are as swell as always. The original soundtrack still has its rousing and homely compositions. And the various sounds as meats and as vegetables cook, alongside the usage of utensils and devices, fill the ears with a scrumptious, professional “aroma.”
The only major differences from this continuation come from the opening track and the ending track.
“BRAVER” leads the audience in. Sweet drum fills and a steady guitar riff get the action going, but the vocal shifts and intensity build the fire behind this piece. Combined with its quick pace, the buildup, and the stuttering finish, it forms into a hyper-charged listen that pumps up the audience just as much as Souma when he steps into the kitchen.
“Kyokyojitsujitsu” leads the audience out. The groovy bass tastes best within the instrumentation, but the recognizable female vocalist from nano.RIPE (the band for this song) and the slick guitar playing are no slouch overs either. Unfortunately, the total package lacks the same sense of passion and purpose as its OP counterpart.
Although the ED does not have the same clout as the other music tracks, the familiar strength in the other parts of the audio direction and that new OP deliver on their promise of high execution per usual.
ENJOYMENT
It’s almost always nice to see a series continue its success as it moves past its origins and into the crux of its journey. Thankfully, this anime follows this statement about as well as it can.
Personally speaking, I liked this season if only because Erina – as my favorite character from the show – was involved way more than last season. Plus, the setup for the betrayal by the council members, while somewhat annoying, will make for an inevitable (I presume) string of recompense once Souma and crew take them down.
The other parts of the anime were still fun, too. The comedic bits had me laughing. The romance hints got me all smiley and giddy. The food battles had me cheering on the good guys from afar. In short, I have been a fan of this story since the beginning, and that stance has not changed yet.
At the time of this review, the second half of this split-cour has already completed its airing, so I have another buffet to attend at some point in the near future. Until then, my stomach rumbles for the next appetizing bite out of this successful anime.
Shokugeki no Souma: San no Sara dishes out its third plate in a more-favorable-than-not fashion. While the worsening artistry harm its chances, the newer plot developments get the ball rolling again, the characters are just as interesting as ever, and the audio component has not lost its edge. Onions can cause crying, but such tears are not required here.
SUMMARY
Story: Fine, as the plot heats up, this next sequel in the franchise returns to form with a familiar structure and better balance in its narrative even if the reduced ecchi and thematic elements induce desire
Art & Animation: Fine, while the character designs and the detailed images still receive Michelin stars, movement and other visual elements worsen to a more noticeable extent than ever before
Characters: Good, Erina earns a much-needed morsel, Alice and similar side characters step up, Azami is a solid new antagonist, and Souma and crew round out the rest of the cast with their usual quirks
Music & Sound: Good, the sweet OST, VA performances, and audio elements return once again, and the OP is pretty cool, but the ED has less going for it
Enjoyment: Good, more Erina, more of the same entertaining traits, and more to look forward to in due time
Final Score: 6/10
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Nov 15, 2018
Shokugeki no Souma: San no Sara
(Anime)
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Mixed Feelings
(This review has been adapted from my blog/reddit thread. Spoilers ahead!)
Onions taste delectable. I didn’t always believe so, though. For a long time, I avoided their presence, viewing them as a white blight upon the meals they complemented. But now? I try to get them on everything (where it makes sense). Burgers. Pizza. Tacos. Onions no longer go unwelcome but instead have won me over, earning a seat at my table any day of the week. Just as taste buds change, anime can do the same. For Shokugeki no Souma: San no Sara, some of its own changes both help and hurt what once was. STORY Three seasons in, ...
Reviewer’s Rating: 6
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Nov 14, 2018
Net-juu no Susume
(Anime)
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(This review has been adapted from my blog/reddit thread. Spoilers ahead!)
I’ve written about my World of Warcraft days in the past. How I would obsessively get lost within its continents as I raided dungeons, finished quests, and earned achievements. I remember it vividly. I hailed from Ironforge, taking on the guise of an old, gentlemanly dwarf with a formidable white beard. Believe it or not, I’m neither short in stature (but instead slightly over six-feet tall) nor at such a wizened age (but instead as spry as ever). But that was part of the fun of playing the game: being somebody else within a fantastical land. ... I would venture a guess that Net-juu no Susume concurs. That it would even go so far as to advocate that games can – and do – lead to even greater happiness. STORY In a medium rife with high-school settings and teenage-centric dramas, anime romance stories tend to revolve around people of a relatively younger age. Not that that’s a bad thing, for some of the best shows ever derive from such a premise. Still, when Net-juu no Susume pushes back against this norm, crafting an adult romance story instead, the change of pace is no doubt a welcome feeling for fans of the genre wishing for a tale a tad bit fresher than usual. To get at that new-car smell, the anime splits its time between its two important halves: the game world and the real world. An imbalance exists, though, as the real world receives the most emphasis while the game world acts as little else besides the initial bridge for the plot to occur. Yes, the anime provides common details about item drops and fighting enemies, but Fruits de Mer (the title of the MMORPG they play) cannot exactly be called unique let alone substantial. This imbalance isn’t so much a slight against Net-juu no Susume as it is an observation that this story revolves less around the game they play and more around the “game” they play. However, this sense of imbalance does carry over into much of the rest of the show itself. For starters, the vital romantic elements can go either way. On the one hand, watching Moriko and Sakurai slowly stumble into their respective lives, struggle with their feelings, learn more about each other, and ultimately find solace in the love shared between them stands as a major positive throughout the season. On the other hand, it can seem unsatisfying at times. Despite the adult premise, the actual romance hardly goes anywhere spectacular, and the overall payoff amounts to very little (with the finale coming quite close to giving nothing at all). Such trepidation is likewise imbalanced. The direction of the narrative follows a gradual pace because of Moriko and her lack of self-worth, so it makes sense that the events themselves commit to slow changes, baby steps towards a better life for the female lead. Yet it can also encounter a trouble or two. Uncanny plot conveniences. Weak dramatic moments. While the story does move along in a purposeful manner, these issues can occasionally hinder Net-juu no Susume and its straightforward path. This imbalance once again leads to another imbalance regarding its themes. On the surface, the anime includes several talking points about social anxiety, problems in the workforce, and the value in having a passion. And, to some extent, the show tries to incorporate them more readily as they translate into that earlier game world or otherwise feature as specific scenes throughout the season in that narrative direction. But these potential themes appear to go to waste as their exploration only reaches so far, lightly touching on these ideas without truly delving into them. They no doubt drive the story; they just don’t put it into high gear. Again, across its ten episodes, Net-juu no Susume certainly has its moments and its aspects worth praising. However, its noticeable flaws keep the show in check, preventing it from excelling beyond a middling ground. ART & ANIMATION Unfortunately for Net-juu no Susume, its artistry can lag in similar fashion to its story. But first some positives are in order. The jokey style which squashes the characters’ looks and gives them a sillier representation throws in another twinge of comedy for the anime’s benefit. Moriko’s reactions of incredulity and of embarrassment are common examples as to how this style is used to strong effect. The character designs are also a nice sight. Their looks within the video game they play – different outfits, varying physical builds, color choices – create an easy dichotomy between the fantasy and the reality of the situation. Once again, though, it’s Moriko who offers the best example with a contrast of her own. After she cleans herself up a bit, she moves away from appearing like a disheveled shut-in and towards a beautiful woman, highlighting a wonderful transition for her character on a visual level. In general, however, the anime swings to the opposite side with difficulties in other parts of its art. For instance, not a whole lot of fluid actual animation in the daily actions they take goes on. Even their mouth movements tend to be subpar at times. Moreover, lighting and shadow details aren’t the most refined as the normal brightness tends to be too bright and the heavy blackness underneath jawlines tends to stick out too much. And the background pieces are usually very plain both in and out of the game, leaving much to be desired. To reiterate, the collective artistry within Net-juu no Susume is not horrible by any means. But it is also fair to say that the presentation isn’t the most impressive either. So, at the end of the day, what the anime offers is certainly serviceable – but that’s about it. CHARACTERS Net-juu no Susume is a story centered on two everyday people: Moriko Morioka and Yuuta Sakurai. While nearly every other side character goes underutilized, either in their involvement or in their own connections within the group, these two receive a worthwhile amount of attention. Moriko describes herself as an “elite NEET”, a person who has voluntarily chosen to resign herself to a life filled with no job and no prospects but fun in the form of indulging in her addicting hobby. This hobby? Playing massively multiplayer online role-playing games (or MMORPGs for short). When she isn’t using her lint roller, apologizing profusely, or sleeping, she is almost always found sitting down at her gaming station for another long night of key presses and mouse swings. Sadly, the anime does not divulge much of Moriko’s past (e.g., with a flashback episode or the like), but it does provide glimpses of what she has experienced as well as slight traces of how her previous difficulties have haunted her. She revels getting lost in her “safe” world where she must only deal with imaginary monsters within its rolling fields and its quaint atmosphere as opposed to the “monsters” which reside outside. In fact, she creates a character unlike herself – a happy male hero named Hayashi – to accomplish her goals even further. Combined with her fear of social interaction, it’s clear that she uses video games as an escape, to hide herself from problematic possibilities. Her feelings of ineptitude and her general sense of depression thus push her away from living in a healthy manner and towards a secluded, lonely existence with only the lights from her computer screen to keep her company. Harsh? Absolutely. But, as they say, “the truth hurts.” It’s not all negative amongst the pixels. Her guildmates value her presence and offer advice here and there. And, most importantly, she forms a tight bond with her best in-game friend: Lily, the caring female healer who sits atop the trees with her. Although, unbeknownst to Moriko for quite a while, Lily is actually Sakurai, the man who she accidentally bumps into on a day like any other. He likewise does not have much of a past to speak of, and he does not have nearly as many worries or personal conflicts to manage, so he is thus not as intriguing of a character when compared to his crush. Nevertheless, Sakurai (as Lily) becomes a huge source of support for Moriko (as Hayashi), sincerely listening to her troubles and closely working with her as fabled partners. The parallels run deeper between Moriko and Sakurai, for they both (subconsciously or not) wish to be more like their respective game personas when out in the real world. She hopes to be more outgoing and regular; he hopes to be more caring and supportive for another. Thankfully for them, they have a cheerful, mutual friend named Koiwai. He spurs them on from afar, wishing only for the best between these two lovebirds. He pokes at Sakurai to have him come to terms with his thoughts and feelings. He goes on a date with Moriko to simultaneously boost her confidence and pump up Sakurai even further. He puts effort into playing their online game and scheduling indirect meetups to go the extra mile. Koiwai is without a doubt a true companion and an awesome person in their lives. His actions help Moriko and Sakurai along, and their intertwined moments do so for each other as well. Over the course of Net-juu no Susume, they realize their connection is worth its weight in (in-game) gold and then some. Moriko explains how she is extremely grateful for everything he has done for her, and Sakurai in turn confesses how he cherishes the fact that he even met her in the first place. As such, Moriko gains some self-esteem, and Sakurai gains the opportunity to watch over her directly. The two of them moving hand-in-hand towards a brighter future together. MUSIC & SOUND After hearing the show’s many audio offerings, it’s clear that they are one of the best parts at its disposal. To be fair, Net-juu no Susume perhaps relies on its main fantasy piece of music overly so from its original soundtrack. But the nostalgic tune carries a lot of emotion regardless due to its simplistic nature and its docile instrumentation. The “scary”, carnival-esque music which accompanies Moriko’s downtrodden feelings makes for a nice aural way to convey said feelings. Even the simple little jingle between the A and the B parts of every episode – to which one cannot help but whistle along – has a spring to it that provides the anime with that extra bit of finesse. The voice acting performances also deserve some praise. Reina Ueda continues to have one of the cutest voices in her field, giving Lily a heartfelt tone that soothes the soul. Takahiro Sakurai as (coincidentally enough) Sakurai speaks with a very calm cadence which allow his words to comfort Moriko that much more. And speaking of the female lead (and somewhat coincidentally again) Mamiko Noto wins the trophy out of the three. Her various responses, deliveries, and noises capture the sensitive yet mature woman as well as could possibly be. Lastly, the opening track “Sunday Night Question” and the ending track “Hikari, Hikari” both shine in their own ways, too. The OP blends synthesized and grander sounds, bringing about a duality of a song. Its somber first half hints at optimism in its second half, and the opposing instrumentals somewhat mirror the gaming-versus-reality motif of the show itself. Also worth mentioning, the catchy notes and the soft vocalizing go a long way towards making the piece a treat. As for the ED, it plays out as if it were a sweet jam session with tons of heart. The shifting pace. The multiple guitars. The smooth bass. The playful lyrical delivery. The nifty solo to ride it out. It all combines into a fun-filled song, leaving the audience more smiley and more uplifted than they had been before listening to it. Altogether, Net-juu no Susume doesn’t necessarily create anything incredible across its music and sound choices. However, they work quite well within the context of the anime, and they’re well-executed enough earn a shout-out or two even after finishing the series up. ENJOYMENT I’m writing this review months after major controversy plagued this show. I haven’t yet talked about it myself, so I figure I should throw my own two cents into this well as well. For those not in the know or needing a quick refresher, observant individuals noted that the director for this anime committed to some rather awful ideas on Twitter. That is to say, his Antisemitic remarks and other related comments were obtuse, vitriolic, or otherwise unbecoming. This show was liked by a sizable chunk of the community, and so this debacle sparked a necessary debate. Specifically, if someone loves a piece of media, only to later discover that the creator behind it took part in reprehensible behavior, should this new, truthful fact influence his or her attachment to said media? Even simpler, should we separate the art from the artist? Strangely enough, my younger brother, my brother-in-law, and I had an extensive conversation about these questions over a family dinner at a restaurant not too long ago. We debated both extremes, but, in the end, we agreed on somewhere in the middle. That a person must always try to keep both sides separated – but that everyone has a line of tolerance which, once crossed, makes it almost impossible to fully appreciate the body of work as its own entity. This line changes in location and shape for many reasons. It depends on the content and whether that person’s views influenced or affected the work. It depends on how much value is placed on the 99% of others who contributed their efforts and who uphold legitimate goodness (or, at the very least, do not spit such vile statements). It depends on the consumer’s personal life and the variables they deem relevant. And so on and so forth. When I consider this viewpoint, it makes for a tough predicament since I like this anime. Moriko is a super-likable character and an attractive lady to boot. The romance had me all giddy with excitement since I’m a huge, huge romance fan. The miniscule video-game traits got the gamer in me nodding my head. In other words, this anime entertained me for sure. Yet the lameness still lingers. While I’m not Jewish myself, I find the rhetoric completely cruel and lacking in sympathy for those who were persecuted and who were mistreated. Moreover, I get upset at people who spout such gross misinformation since it only harms and misleads others. But we also shouldn’t forget about those other factors involved. The studio overseeing the show denounced and distanced the director, refusing to let him tarnish the project anymore (which could be argued as “too little, too late”). And the original author of this story (as far as I am aware) does not hold remotely similar views, meaning that, at its core, the anime does not derive from an evil place. So, in total, it doesn’t fully cross that proverbial line for me personally. I was forced to move closer to it than I ever needed to, of course. Plus, I would be lying if I wrote that this incident would never be linked to this project during my own discussions about it from here on out. Regardless, let’s hope that we do not encounter a similar debacle again anytime soon, for a good show like this one deserves better. Net-juu no Susume promises an adult-romance tale, and it follows through on that statement plus a little bit more. While the controversy surrounding it cannot be outright ignored, and certain parts are mediocre at best, the characters, the audio, and the entertainment in general put the anime above the median. No guises, no white beards. Just an interesting experience. SUMMARY Story: Fine, while imbalances in execution exist throughout the narrative, it has enough going for it romantically, structurally, and thematically to not fall behind Art & Animation: Fine, a set of nice designs and the occasional jokey art style offset the plain, unadventurous visuals which persist throughout its entire run Characters: Good, Moriko and Sakurai grow a lot from their relationship, Koiwai is a friend everyone deserves, but the rest of the supporting cast are sidelined to a noticeable extent Music & Sound: Good, the OST, the VA performances, the OP, and the ED are a strong positive, even if next to nothing sticks out as outstanding Enjoyment: Fine, a likable project which inadvertently caused an important discussion within the community itself about separating the art and the artist Final Score: 6/10
Reviewer’s Rating: 6
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Nov 14, 2018
Shingeki no Bahamut: Virgin Soul
(Anime)
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Mixed Feelings
(This review has been adapted from my blog/reddit thread. Spoilers ahead!)
Shingeki no Bahamut: Virgin Soul turns the phrase “a helping hand” into a reality with Rita and the literal one she keeps at her side. Granted, it’s technically Kaizer’s, but he’s a happy, helpful little guy regardless. As for Virgin Soul itself, it could have also used a helping hand. For, while certain parts receive a thumbs up, earning two (let alone three) thumbs up is sadly not in its palm reading. STORY The first season of Shingeki no Bahamut (subtitled Genesis) surprised pretty much everyone when it first landed on the community’s lap back in Fall ... 2014. Based on a mobile card game, people (maybe rightfully so) expected failure for the project before it even released. Instead, it shattered preconceptions, becoming one of the best fantasy-adventure anime in recent times with its lovable characters, diverse set pieces, and awesome production values. This introduction is necessary because Virgin Soul – the sequel to the original and the anime-of-the-day today – incurred expectations in the other direction. People were no longer skeptical of the premise; they wanted more of the same. Strangely enough, the show almost seems to have predicted that these thoughts would be the case, for the anime itself likewise goes in the complete opposite direction. The most obvious detail is that the main character is now female (Nina) rather than male (Favaro). Moreover, Nina does not get her own set of new companions but instead shares time alongside both sides: the majority of the major players from the previous season and the new ones from this season. It goes much deeper than just the protagonists, though. For instance, the scope of adventure has been tuned way down since nearly the entire story takes place in, around, or goes back to the capital of Anatae rather than across multiple, singular areas. The humans (with Charioce at the helm) square off against the angels and the demons simultaneously rather than everyone eventually working together to save the world. Bahamut himself is now a footnote as the conflicts which matter most are mostly interpersonal rather than situational. And the outcome for the main pairing reverses in the end (with some notable sacrifices as compensation). Other examples exist, but those presented above should suffice in revealing how Virgin Soul clearly wishes to separate itself from the notion that this sequel is a replica of the original. Better yet, it succeeds. The narrower setting provides a more grounded feeling for its scenes and its thematic ideas on racism. The separation of humans, angels, and demons forms separate subplots which explore their sides to a larger degree. The reduced presence of Bahamut in the writing places greater variety and different insights into the plights and the backgrounds of its characters. And the ending as is leads to a definitive conclusion for this specific tale in-universe rather than leaving it open-ended (which the post-credits scene suggests being the case in hindsight). Not to say that the anime completely foregoes its origins. Screams of “Favaro!”, while not as prominent, still creep in time and again. And the fantastical elements persist within places like Nina’s hometown or in relation to the magical warfare conducted. In this way, the anime appeals to its roots but refuses to succumb to narrative repetition from said roots. So, yes, Virgin Soul is very much a new entity. And, as the first half of its run demonstrates, it revels in this differentiation. Unfortunately, with double the number of episodes (yet another distinction between both seasons), the show incurs double the number of chances for potential problems – problems which it ultimately encounters in the back half of its run. For starters, the show just sort of forgets to explain a lot of its throughputs or outright drops some of its ideas. Particularly, the important thematic concepts with the demons and their mistreatment fizzles out after Azazel’s uprising does the same. Worse still, poor explanations (last-minute or otherwise) come off as either incredibly questionable or ridiculously unreasonable, especially regarding the grand underlying scheme. And the character moments do not have the necessary gravitas to back up the drama and the setup which preceded them. Despite its shortcomings, the anime still dishes out some ambitious battle scenes, and its strong comedic style weaves in and out of the story per usual. Unfortunately, its follow-through just doesn’t quite reach where it needs to be, leaving the audience wondering what could have been. ART & ANIMATION Arguably speaking, the artistic merit within Virgin Soul represents its strongest aspect. Two key features of the artistry stick out the most: the background art itself and the cinematic techniques employed. Despite the fewer number of topographical locations, the anime often includes fantastic set pieces with a large amount of detail and a grand sense of scale. These backgrounds may involve a high-rise view of the capital and its slums. They may also involve picturesque scenes of the nighttime sky. They may even involve establishing shots of heaven or the dragons’ domain. Whatever the case may be, Virgin Soul puts the audience in awe of the beautiful backgrounds it creates from start to finish. The cinematic techniques are also a major positive. While not nearly as prevalent as the background art, these moments usually catch the eye quite quickly in how cool, slick, or fun they come off as being. Rotations tracked mid-rotation. Transitions based on fallen items (e.g., a liquor bottle) from one area to the next. Dazzling lights as a perspective filter. And that’s just in the first three episodes. Throughout the entire show, such moments can be found, giving it another step up in the visual department. Besides the background art and the cinematic techniques, the designs of the characters shine once again. Returning people like Favaro, Kaizer, Rita, Azazel, and Bacchus maintain their same sense of suave, uniqueness, and flair about them. The newcomers – such as Nina, Charioce, and Sofiel – do the same with their own adventurous, handsome, or beautiful styles. They’re almost instantly recognizable, and they wear their personalities on their sleeves (in an almost-not-figurative manner), so their looks certainly get the job done and then some. Lastly, the actual animation throughout these episodes rarely lets up. The CG motions during action segments can be slightly out-of-place at times, but they do not halt the momentum of the otherwise well-executed artistry. Sword duels, chase scenes, and emotional interactions make up the bulk of the movement present, and, indeed, the show usually refrains from using CG save for the most taxing segments (such as with super-large enemies and the like). At the minimum, Nina’s dragon transformation sticks with traditional 2D animation, giving her moments as a fearsome beast that much more clout. From the backgrounds to the techniques, the designs to the movement, Virgin Soul glistens with polish on an artistic level no matter where one stares. CHARACTERS Looking back at the previous season, the main quadruple had a meta stance in that Favaro, Kaizer, Rita, and Amira were a ragtag family of sorts. This season does away with having a tightknit group and instead divvies up the focus into sections between the most important players. Unfortunately for the anime, this spells doom for a big chunk of its cast members. Nina is the main protagonist of Virgin Soul, and her expedition away from home marks an important fork in her life’s road as a dragon person. Her super-strength lends her talent at hoisting heavy objects during her construction jobs, and her affable personality makes the townspeople welcome her presence. When she isn’t eating gobs of food or arm-wrestling passersby for cash, she can, if caught in that rare moment, be found transforming into a red, fire-breathing dragon. Her transformation isn’t exactly voluntary, though. Unlike the rest of her clan who can basically do it at will, Nina must fight back such magic within her. The trigger for this magic? Seeing, thinking, or interacting with an attractive male. Her crush on (unbeknownst to her) Charioce spurs these feelings to an even greater degree. Thus, much of her character revolves around her inability to control her powers and the relationship she holds with Charioce himself. While a nice set of ideas, the execution runs poor. The anime (indirectly) alludes to the fact that her love for Charioce causes her powers to fluctuate between unusable and attainable. However, it comes off more as a plot convenience rather than a source of growth for her given how the explanation behind it remains rather esoteric. In the show’s defense, her earlier asides with the stalwart king spark the feeling that these two have a bond in the making. On the other end, however, when the dragon issue is not present, Nina’s attachment to Charioce swings wildly. She hates him. She loves him. She doesn’t know what to think about him. This constant churn fails to do much for her character since it ultimately keeps repeating her same thoughts about the man over and over without adding anything extra afterwards. When neither side is present, she simply coasts along for the ride, having little impact within the events themselves. The anime either defers to other characters instead (because she has next to nothing else going for her) or she cannot contribute to the cause (because she only revolves around her dragon form and her feelings for Charioce). Her mentorship to Favaro and the small tidbits about her father’s death attempt to give her extra layers as a character, but they are not enough to cover her underwhelming role within the story at large. Charioce does not fare much better. Virgin Soul builds him up as an antagonist but simultaneously humanizes the guy during his undercover stints among the masses. This moral ambiguity sadly goes nowhere because the show refuses to explore more of his character for a vast amount of the season, relegating him to a static situation. Even when it does finally decide to give a morsel, his background (losing a parent, in parallel to Nina) does not equate to much, and his motivations, his justifications only raise an eyebrow to maximum height since he has been so obtuse all along. Many of the other characters likewise fall apart. Kaisar’s whole arc about honor and doing the right thing goes to waste as he constantly wallows in the same spot. Azazel’s arc has him disappearing for far too long to stay relevant. Mugaro’s arc is mishandled as his supposed drive to help others means nothing in the end. Alessand’s arc has too much back-and-forth. Sofiel’s arc to make amends for her past sins does not reach a satisfying conclusion. Rita and Bacchus are mostly excused if only because they serve pure supporting roles throughout the season once again. Favaro, too, for this story (to reiterate earlier talking points) isn’t his own this time around. Perhaps only one worthwhile character, then, exists in all of Virgin Soul: Jeanne d’Arc. Last season, Jeanne lost sight of her faith and nearly cost everyone everything. In this season, she keeps herself composed as the show places an almost uncanny amount of emphasis on her character in the hopes of detailing how this former saint is now simply a humble lady. Her perseverance. Her sense of powerlessness. Her life as a meager farm woman. Her touching aside with Nina’s mother. Her love and her sacrifices regarding her son Mugaro. Her charge to avenge his death. Out of the entire set of cast members within Virgin Soul (and as her name would perhaps foreshadow), Jeanne’s arc feels the most whole and complete among them. And she’s the only one. Otherwise, Nina, Charioce, and several of the other characters have an inkling sense of purpose and fortitude on a writing level, yet the show cannot capitalize on their merit for the show’s full run. MUSIC & SOUND Virgin Soul takes a page out of the first season’s book by putting together an opening track whose harsh metal construction rings loud and true. Titled “LET iT END”, the song makes the listener want it to do anything but as its intertwined sludgy and melodic vocals, its slick riffs, and its pounding drums charge up the audience for the spectacles the show prepares to unleash. In stark contrast once again (when remembering that first season), the anime’s first ending track goes for a whimsical piece by the name of “Haikei Goodbye Sayonara”. Much like Nina and her goofy depicted sidekicks, this song tags along a lot of fun, mixing in a healthy dose of catchiness and a slight sense of nostalgia for added comfort. Light piano, a simple beat, rapping lyrics, a tonal shift, and floaty noises get at these feelings and more as the track trots and skips along in optimistic fashion from beginning to end. The second OP, “Walk This Way”, has no affiliation to Aerosmith, and it isn’t as eye-opening as its older brother. However, what the track lacks in ‘70s hard-rock and crushing blasts it makes up for in electronic atmosphere and grandiose vocal delivery. It swells with soaring buildup and high-flying ambience, breaking out into a majestic escape as it flies ahead. Unfortunately, that OP is the weakest of the bunch, for the second ED, “Cinderella step”, steps ahead on the ground with EDM and pop in tow. Not that this song outclasses the first OP or the first ED, but the soft vocals, the mellow groove, and the simple jam put the dancing before the walking. Besides these starters and closers, Virgin Soul also enlists the same swell audio design decisions from before. The voice-acting performances from the returning cast are as top-notch as always. The original soundtrack channels a fervent fantasy feel. The sound-effects across the board give the magic, the duels, and the shenanigans the pomp and circumstance they deserve mid-action. A specific newcomer also deserves a shout-out: Sumire Morohoshi. Voicing the dragon-girl Nina, Ms. Morohoshi captures the bubbly spirit and springy silliness of the main female lead with ease. Her performance, combined with the OPs, the EDs, and the other music-and-sound elements, makes this portion of the anime one of the strongest it contains. ENJOYMENT When trying to follow in the footsteps of giants – which in this case means the excellent first season of this franchise – it can often be a tough endeavor. Ideas change. New avenues are sought out. What once was may not be possible anymore, either by design or by some random mutation. On this point, and for a sizable chunk of the season, I quite like what I watched. Nina is so happy and so likable that I could not wait to see her next reaction face or her futile attempts at repressing her dragon powers. Bacchus and Hamsa are hilarious, too. They often have been, but their larger screen presence, by themselves and with Nina, gave me extra smiles. Same goes for seeing the old cast again: Favaro’s big dumb grin, Kaizer’s immense sense of pride, Rita’s inherent awesomeness. I can take it further and write that the whole first half had me hooked. The deeper focus on Jeanne made for an interesting time since the anime put a lot of resources into her, an already-on-the-side character carried over from before. And the initial potential stored within the show, due to the possible interactions and conflicts, had me quite giddy. As the episodes progressed, though, I found myself less and less intrigued. Not that it fell apart, but it all started to wane in the second half as the anime lost steam. Lame plot decisions. Dwindling narrative focus. Worsening character moments. The show just didn’t have the tightknit flow required for such a huge undertaking. Inevitable comparisons to the first season also highlight the biggest difference: the original characters are simply better. Nina is a likable lass, but Favaro, Kaiser, and Rita have much more entertaining personalities on their own and much more interesting rapport between themselves versus Nina, Charioce, and Mugaro. So, yes, the show sadly ends up not having the same magic, the same lightning in a bottle at its fingertips. However, I commend it for trying to go where it did. And who knows? Given the open-ended conclusion, I’m still hopeful that a continuation, whatever or whenever it may be, will maintain that familiar stride. For, if nothing else, this sequel proves that the series still has the chops for stardom buried within. Shingeki no Bahamut: Virgin Soul is a bit all over the place in terms of its strengths and its flaws, but the positives still outweigh the negatives. Specifically, impressive artistry and very nice musical options mask the troubles with the character writing and the waning second half of the season. Again, it earns a thumbs-up – but only tentatively so. SUMMARY Story: Fine, a narrative which almost completely opposes its previous installment, creating a successful setup but whose follow-through fails Art & Animation: Great, the sweet backdrops, the slick cinematic techniques, the lovely character designs, and the appreciable level of movement put the visuals on a pedestal worth praising Characters: Bad, Nina flounders, Charioce waits too much, and the other vital cast members miss the mark, but Jeanne d’Arc at least has a solid part throughout Music & Sound: Great, the two new OPs and the two new EDs are diverse and well-composed, and the return to the same audio design decisions and elements keep the ensuing scenes in high spirits Enjoyment: Fine, while not as giant as before, it was a likable experience all the same Final Score: 6/10
Reviewer’s Rating: 6
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Nov 13, 2018
Owarimonogatari 2nd Season
(Anime)
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Recommended
(This review has been adapted from my blog/reddit thread. Spoilers ahead!)
I’m not much of a driver myself. I have a license, and I know how to drive, but I much prefer using my own two legs for some nice exercise or Uber for a new-age taxi. As such, whether my destination is the grocery store or the nearby local mall, a car rarely enters the equation for me. Sooner or later, self-driving cars will take over the road, and I will not have to even think about driving whatsoever (since the vehicle will do everything anyway). Owarimonogatari 2nd Season also drives itself, too. Neither towards groceries nor ... knickknacks but rather towards storied anime success. STORY The first Owarimonogatari season stands as one of the best entries in the entire series, what with its higher emphasis on a spooky new character, its symmetrical leanings, and its strong themes. So, with the sequel now upon the masses, how does the continuation carry the torch? To get everything aflame, the anime moves forward with its usual approach of distinct arcs within a single run. Three in total create this sprint: Mayoi Hell (two episodes), Hitagi Rendezvous (two episodes), and Ougi Dark (three episodes). Mayoi Hell finds Araragi literally dead and alongside Hachikuji once again. Hitagi Rendezvous is less formal than the wording suggests insofar as Araragi meets up with Senjougahara for a much-needed date. Ougi Dark brings Gaen and the gang together to talk about the mysterious Ougi Oshino herself. Where the latest-released installment before this one (Koyomimonogatari) took a brief pitstop for an extra dosage of fun, these next few arcs get back on the plot track. Not to say that they ditch the silliness outright, though. For example, Mayoi Hell serves the narrative purpose of stripping Araragi of a key feature of his but also gives the audience one of the best Hachikuji “I fwubbed!” performances ever. Hitagi Rendezvous progresses the relationship between the crab and the pervert one more step while also providing the saucy quips from Senjougahara that have been absent for far too long. And Ougi Dark reveals the actual identity of Ougi and makes Ononoki succumb to the lighthearted-yet-unfortunate end of Tsukihi’s and Shinobu’s handling. In other words, Owarimonogatari 2nd Season remains just as similar to the rest of its family in its structure and direction. The same applies for its thematic roots, too. This time, the anime discusses what it means to do the right thing versus the right thing. It pops up in each arc with Araragi in some manner. He helps Hachikuji when he possibly shouldn’t. He competes with Senjougahara in a romantic rivalry. He goes above and beyond for Ougi. Moreover, the show challenges the concept of “right” itself, forcing Araragi to think about this word given who he is, what he is doing, and why he is worrying about it in the first place. While not the most profound setup imaginable, this theme still allows for that thoughtful edge that the series keeps tucked away behind the mystery and the comedy it regularly touts. Not everything goes right, though. Truth be told, the actual events and plot in general do not have as much weight or as much engagement when compared to the past. A particularly built-up moment involving a certain someone comes to mind when it comes and goes without a whole lot of fanfare befitting the moment. Nevertheless, Owarimonogatari 2nd Season remains a solid “conclusion” to this series. Witty wordplay, cultural knowledge, cool ideologies, interesting twists. That is to say, it’s tough to hate on such a robust story. ART & ANIMATION Not much else can be said about the visuals within Owarimonogatari 2nd Season that hasn’t been said already. This far into the series, the show has its visual direction and signature flair basically down to a science. Tons of different styles, colors, shapes, perspectives, and cuts. Fun and personality-filled character designs of both an old and new nature. Quick scenes of high-quality animation. Head tilts. It’s all there once again to stare at and appreciate in all its splendor. Some shout-outs are still in order, though. The callbacks to the “scraggly” style of the opening and ending tracks as Araragi traverses the underworld with Hachikuji were a nice touch. Plus, the fact that Ougi delivers a bunch of metaphors within Araragi’s dream by using the known constellations as a replacement for the planetarium he and Senjougahara slept through made for a neat moment, too. And showcasing a game of cricket (with cake and tea time to boot) to keep stimuli high during a long-winded explanation also deserves recognition for, as always, refusing to let the conversations stagnate on a cinematic level. In short, “if it ain’t broke, don’t fix it.” CHARACTERS This series has almost always been home to a wide range of characters. Some seasons will contain a large handful to choose from, and some seasons will instead keep the focus on just one person in particular. For Owarimonogatari 2nd Season, it goes mostly with the latter, giving nearly all the attention to Araragi. Not to dismiss them outright, the supporting cast do have their opportunities throughout this specific season, too. Hachikuji earns herself a much more fitting, much more deified position despite her stature and her snail-driven background. Senjougahara gets “put in her place” per se as she learns to lose like a champ. And Ougi becomes humanized after his ending goes down a different route than even he could have predicted (and, in the process, revealing his official gender if the previous pronouns have not done so already). Yet Owarimonogatari 2nd Season, much like the first season which predates it, puts Araragi in that limelight. For a show which prioritizes (for the most part) everybody else but him, this infrequent look into the main protagonist turns into a special occasion of sorts. Araragi has pretty much been a man of questionable morals yet an honorable guy who cares deeply for the people close to him. However, he brings up several of the significant events which have affected him over the course of this myriad set of tales, signaling how he understands that this bizarre journey of his has impacted his life in ways unforeseen. The audience thinks about his progress in turn. What has improved for him, how his failures have shaped his course. He’s clearly been through a lot, and this season adds to this fact. His conversations with Hachikuji have him reflect on the choices he has made up to this point and whether he would perform the same ones again if given the chance. His date with Senjougahara has him growing closer to her with “vows” the two share together. And his final talk with Ougi has him looking inwards at himself about who he really happens to be. These moments, combined with his imminent graduation from high school into college and therefore pre-adulthood, find Araragi overcoming his adolescence. He had naturally been moving towards maturity as he became studious once again in school and thought about others before himself these past several months. But, here in Owarimonogatari 2nd Season, a last solid push pushes him onto that side with nary a trouble. This season has also reaffirms an idea arguably much more important and much more intriguing: that not everything about Araragi (or anyone for that matter) must be fixed or changed or redone. In real life, mundane issues or traumatic happenings can drastically morph people, but this situation is not always the case. Just because someone comes upon a new perspective does not mean that his or her entire personality flips or that he or she undergoes a physical transformation. Often, they remain mostly the same yet gain a newfound idea, outlook, or lesson that will be carried with them indefinitely. The same applies for characters in anime, and Araragi here in this season of the franchise represents a prime example. His maturity does not equate to him ditching his old self. Rather, he realizes that he can still be who he has always been – a vampire who cannot help but help others – while simultaneously increasing his position in life by absorbing the experiences he faces. So, yes, Araragi does not “develop” writing-wise to any grand extent. But, because of his dedication to maintain both his past and his future, he finishes up this season as a strong contender for the fact that a character does not need to necessarily change to have a meaningful purpose in the story told. MUSIC & SOUND (Note: The second OP for Owarimonogatari 2nd Season, “dreamy date drive”, did not air as part of the televised broadcast. Because this review analyzes that version and not the BD version, said song will not be included in this deliberation. However, personally speaking, I do like the dreamy vibe and the POV visuals of the track. It’s a fitting piece for the romantic bond between Senjougahara and Araragi.) Much like its artistic brethren, the audio decisions within Owarimonogatari 2nd Season can speak and play for themselves. Impressive voice-acting performances which make the characters feel alive. The same strong, ambient original soundtrack. A multitude of sound-design elements for added flair. What’s tried-and-true remains so in this season without a doubt. The only major differences are (perhaps obviously) the new opening tracks and the new ending track. The first OP, titled “terminal terminal”, channels Hachikuji’s cuteness in song form. It blends together many instruments – piano keys, castanets, bells, trumpets, acoustic guitar, chimes – for a happy, fun foundation, and her vocals throughout (especially on the timing of the distinct triplet of notes at certain points) give it the adorable charm which follows the lovable snail around. Its tone somewhat contrasts with the story arc which it precedes, but that provides it even more staying power when watching the show. The second OP, titled “dark cherry mystery”, combines hip-hop beats and string segments to get at a mellow-yet-charged track to helm the way for the finale of the season. The snapping and clapping in the background give the song a smoother feel, and the perceived repetition in the vocal delivery has a hypnotizing effect to it while listening. Both sides complement the harsher sounds of the record scratching, the drowned-out instruments, and the fluttering sound-effects. It isn’t as nuanced of a song as the other OP, and it isn’t as interesting either, but it still has a nice place within Owarimonogatari 2nd Season. As for the ED, titled “SHIORI”, its piano melodies, grander sound, and multiple vocalists create an airy, heartfelt closing for this iteration of the anime. It’s a pretty song, so it has a feelgood vibe, but it doesn’t quite leave as much of an impression as its counterparts. Altogether, this season hardly falters in terms of its audio, and its OP-ED offerings, while not the most memorable, still stand as strong additions to the already huge number of specialized tracks available from this long-standing franchise. ENJOYMENT Once again, this project reels me in and has me liking most of what it dishes out. It was extremely nice to have Senjougahara back into the fold, and so her whole arc ended up being the most fun for me. The teasing. The reactions. The silliness. The kindness. The romance. It was a pure treat to hear her and see her have some deserved focus once again. Hachikuji, Tsukihi, and Ononoki were hilarious per usual as well, and seeing Shinobu in her adult form made for quite the spectacle. Ougi’s asides kept me captivated, too, which is often the point. And I even appreciated Hanekawa’s small appearance near the last several minutes since she is one of my favorites from the anime overall. Compared to the first season, key differences stir up my personal attachment. The lack of any new characters was unfortunate, but Ougi finally losing per se provided some satisfying comeuppance. Gaen still gets on my nerves, but she wasn’t as annoying this time around. And each arc did not reach the same level of critical analysis to indulge in, but they came off as consistently entertaining rather than rising and falling throughout. So, like last time, while I cannot say I adore this sequel, it has its merits for sure. I will have a bone to pick with the series sooner rather than later, should it choose not to conclusively end (after all, this season is translated literally as “End Story”). But that’ll be a discussion for another day. For now, the series stamps in yet another positive experience in its record books. Owarimonogatari 2nd Season makes for a super-swell follow-up within this famous franchise. The artistry and the music keep the same signature structure (and rightfully so), leading to refined production values. The story content also remains familiar and thematic even if the plot itself is not quite as engaging as usual. And the returned focus on Araragi, with the smattering of supporting cast members here and there, leads to a neat finish for his arc. The total package isn’t the best that the series has to offer, but it certainly drives home the fact that its juggernaut status is just as deserved as always. SUMMARY Story: Good, despite the passable narrative moments, themes on doing the right thing take hold as the mystery, the comedy, and the dialogue within each worthwhile arc keep a similar stance as others in the family Art & Animation: Great, “if it ain’t broke, don’t fix it” Characters: Good, Araragi demonstrates that a character does not require “development” to be meaningful Music & Sound: Good, the same impressive audio design is welcomed back, and the new OP-ED offerings, while not too memorable, have their place Enjoyment: Good, consistently entertaining even if not the most stellar entry in the series Final Score: 8/10
Reviewer’s Rating: 8
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Nov 13, 2018
Netsuzou TRap
(Anime)
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Not Recommended
(This review has been adapted from my blog/reddit thread. Spoilers ahead!)
Being trapped in some form is almost never a fun experience. It doesn’t have to be tangible like locked inside of a room because of a misplaced key. It could also be a mental cage of sorts like anxiety or depression. Whether from a physical or a psychological standpoint, the trap is set, and the feeling of helplessness consumes. One other way to reach this same feeling is through watching Netsuzou TRap, an anime which “traps” the audience with boredom, uselessness, and irritation aplenty. STORY Those with a keen enough eye will notice a strangeness in the title of ... this anime. The “r” there is capitalized for a reason: to complete the initialism “NTR”. In this context, “NTR” stands for “netorare”, an infamous genre within the sphere of animated Japanese pornography (i.e., “hentai”). It centers on unwanted sexual advances of an extreme measure. While this description purposefully avoids simplified, coarser language for the sake of professionalism, suffice it to say that NTR is a niche among niches. Thus, true to its title and as it forewarns, Netsuzou TRap channels this genre in the content it delivers. A young lady name Yuma dates her new boyfriend Takeda as she contends with her best friend Hotaru and her “pranks”. Now, the anime by no means reaches the same level of depravity (if only because it is not considered hentai), but the genre’s shadow falls over this anime across its just-under-two-hours runtime. Fetishes aside, the audience will find next to zero value within this darkness. The show attempts to prove differently, though, with its risqué scenes between Yuma and Hotaru. Representing one of its only major allures, their presence at least makes sense given Hotaru’s motivations and the negative nature of the narrative. Yet the anime doesn’t know what to make of them. Yuma will be shocked and appalled at Hotaru’s actions but will soon after forgive-and-forget. Which leads back to shock and then once again to forgiving and so on and so forth. Such a churn gives Netsuzou TRap the vibe that it is not so much a worthwhile story with some ecchi material sprinkled in but rather a bunch of lewd moments loosely stringed together by a haphazard narrative. That is to say, a lame excuse for some perverted asides. This argument becomes more apparent when sifting through the non-risqué scenes. For instance, infrequent tonal problems pop up despite the seriousness of the situation. Hotaru jokes about (not) raping Yuma despite the serious tone of the situation and having literally felt her up in the bath minutes prior. There’s also the dialogue and how it treads the same ground over and over. Yuma repeats constantly about understanding Hotaru and being so close to yet so far from Hotaru and hating the fact that she does not know every side of Hotaru. It gets very same-y very fast. Its dramatic edge chooses not to find anything beneficial, either. Netsuzou TRap contains potential talking points about homosexuality, relationship abuse, and the meaning of love. Yet, much like the ecchi content, their existence within the anime rarely leads to a stronger thematic foothold. Realistically, if one wants an interesting story, it isn’t here. And if he or she wants some titillation for the imagination, it would be better to seek out normal porn (hentai or otherwise). Thus, because this show fails in both regards, it remains out of the light indefinitely. ART & ANIMATION The visuals for Netsuzou TRap rise above the story they present. That’s not saying much and, indeed, not by much anyway. At the minimum, the character designs, while not exactly inspired, conform to the anime’s aims and the characters personalities. Takeda is plain looking to go with his good-guy self, and Fujiwara is a bit more eccentric (taller, unkempt, silver palette) to go with his bad-guy self. Similarly, Yume’s design (lighter coloring) and Hotaru’s design (darker coloring) coincide with their opposing roles within the show while still maintaining their cute and refined looks. Furthermore, the show bolsters its ecchi scenes with better animation than usual, making sure that the grabbing, touching, and caressing matches the intensity of the ladies’ lust. The remainder of the artistry leaves much to be desired. The bland setting hardly ever stands out. Weird fade-to-white cuts happen on occasion to move the setting along. Its jokey style which accompanies the comedic moments feels out of place. More generally, the quality of the visuals lessens as the season progresses with lower movement and worsening actual animation. Episode six is particularly bereft of problems, such as forgetting to include Hotaru’s side ponytail and mistimed mouth synchronization. With these errors and the boring artistry in general, the visuals scrape by at best. CHARACTERS Netsuzou TRap mostly centers on four important people: Yuma, Takeda, Hotaru, and Fujiwara. Yuma dates Takeda, Hotaru dates Fujiwara, and the lot of them find their relationships tested on many different fronts. Yuma is the most out of tune with her feelings, and so her designation as the main protagonist makes sense. Nervousness keeps her from going further with Takeda, a young man who sincerely respects her and their romantic bond. On the complete opposite end, Hotaru seems to know exactly what she wants, letting Yuma know as well (under the guise of “practice”). Same goes for Fujiwara. As he would put it, he hates women but loves sex, so his own “bond” with Hotaru barely extends past hormonal needs. Besides Fujiwara, whose involvement equates to a fourth-wheel given his barebones connections with the others, the cast of Netsuzou TRap arguably stand as the show’s strongest aspect. If only because they own up to their respective parts in this dramatic dance. For instance, Yuma struggles with her tumultuous feelings for both Takeda and Hotaru. She understands how poorly she treats him with her distractions and her unwillingness to face their relationship with maturity even as he always gives her the benefit of the doubt. And, with Hotaru, her small backstory about protecting her best friend and having parallel jealousies in her aloof behavior pull her the other way. Hotaru herself refuses to budge from her common tactics of evilness, leaving her in static state for much of the season and thus failing to have a very impactful arc. Nonetheless, her manipulative personality is easily seen throughout Netsuzou TRap. She lies about her emotions. She forces unfair predicaments. She commits to underhanded plans. As her overbearing forwardness weighs down on both Yuma and the audience alike, her deplorable actions feel heavy in their implications and their control. Yes, she’s a mean person but designedly so. As for Takeda, he’s simply a cool dude, a regular guy like anybody else. His lovestruck thoughts do not impede his supportiveness, for he reads boundaries and offers advice when possible, even as the situation turns against him. Compared to Fujiwara, Yuma, and Hotaru, who wrestle with or outright indulge in the shadier side of the mind, his saint-like attitude shines as a glimmer of hope and friendliness. Unfortunately for him, the phrase “nice guys finish last” rings true. Yet he can also rest easy knowing that he – and he alone – has the moral high ground when all is said and done. So, unlike the rest of the anime, the characters at least have some solid ground to stand upon. MUSIC & SOUND Netsuzou TRap decides upon a curious option. Where the average twelve-episode anime has only one ending track, this anime instead includes three different EDs during the season. A new one appears every three episodes (except for the final three episodes), giving the audience an unexpected change of pace every now and again. While these moodier pieces do not have much intrigue in the way of instrumentation or musicality, knowing that the show went out of its way to create multiple tracks deserves at least some recognition. The rest of the audio direction falls short of such praise. The opening track, “Blue Bud Blue”, goes for a pop-rock song that loses its nifty guitar playing amidst the loudness. The voice-acting performances provide next to nothing of note save for perhaps Hiromi Igarashi as Hotaru not having as much nastiness in her way of speaking as needed. And the original soundtrack, while trying its hardest, fouls out with its simplistic approach. Altogether, the sound work within Netsuzou TRap is more negative than positive – a common occurrence throughout the entirety of this project. ENJOYMENT A lot of my readers know that I am a big fan of the “yuri” genre. Admittedly, it’s a big reason as to why I even gave the show a shot in the first place. What I watched, though, wasn’t very rewarding or very interesting in the slightest. In fact, the more I got through this anime, the more I came to like a different, almost opposite part entirely: Takeda. He is way too nice of dude to have to be put through these events, and I was rooting for him the whole time because he totally deserved better than he received here (title of the anime notwithstanding). Otherwise, the show rarely contained anything of note to me. The romance elements were mostly icky. The scenes as portrayed had little weight. The ending didn’t seem all that convincing or satisfying. The show’s only saving grace? It’s short enough that it avoids becoming an absolute slog to complete. But this situation also works against it, for the anime leaves the brain as fast as it entered. Netsuzou TRap just barely survives a full hounding. While its cast members reach mediocre execution, the rest of this unremarkable, uneventful tale locks itself away and throws out the key. SUMMARY Story: Terrible, a schlocky narrative that holds very little value on either the ecchi or the dramatic side Art & Animation: Bad, an uninteresting visual direction with visible errors contains some meager designs for its cast members and marginally improved animation at times Characters: Fine, Yuma introspects, Hotaru manipulates, and Takeda supports, fitting their roles within this journey well enough, but Fujiwara lacks involvement Music & Sound: Bad, while the changing EDs surprise, the tracks themselves and the audio in general miss the mark Enjoyment: Bad, Takeda is at least a super-cool guy Final Score: 2/10
Reviewer’s Rating: 2
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Nov 12, 2018
Sakura Quest
(Anime)
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(This review has been adapted from my blog/reddit thread. Spoilers ahead!)
I no longer live with my parents; it’s been that way for quite a while now. Having grown up in their home for so long, though, I can still picture it clearly to this day. The layout of the kitchen. Which floorboards creek. That cool sensation of the basement on a hot summer day. While nothing too extraordinary ever happened in or around the area, its own charm bursts forth all the same. This sentiment could very well be nostalgia talking. But I’m pretty sure that Sakura Quest would agree with me to some extent: that such ... a beloved home will be there waiting for my return with open arms. STORY Sakura Quest stands as another entry in P.A Works’ (the studio behind this project) pseudo-series of shows that combine both work life and normal life into one neat package. While a female protagonist and job-related struggles remain the norm, the narrative ditches hotels and animation studios in favor of an entire village and its pursuit to stay relevant within an ever-changing society. However, “relevant” isn’t exactly the right phrasing. “Rural rejuvenation” (as the anime would put it) highlights the main throughput a lot better. Indeed, over the course of its entire twenty-five episode run, the women in charge of the revitalization of Manoyama – namely the “Queen” Yoshino and her “champions” Shiori, Maki, Sanae, and Riri – make it their so-called quest to keep the culture, the people, and ultimately the village afloat despite its withering prospects. These passionate ladies do so in a rather structured manner. While a few of the given episodes act as transitional or singular asides, the anime mostly splits itself up into two-episode mini-arcs. These arcs often focus on one of the women and a personal dilemma of hers which then induces semi-slice-of-life and semi-dramatic moments at a continual pace. In turn, these issues weave back into hoisting Manoyama onto its countryside feet. For example, they put together a singles-matchmaking day for women from outside of the town to possibly hook up with men from within it. Or they bring the townsfolk together with a new-food-idea competition that celebrates their homegrown foodstuffs. While the back half of the series maintains even further structure with the subplot of finding the three golden treasures of yore, the women never falter in their main quest: reinvigorate this lovely place which they call home. No matter the happenings and no matter how much the Board of Merchants and the Tourism Board butt heads, Sakura Quest feels right at home when it talks about home. In other words, its thematic exploration of what home is, does, and means provides the narrative with many a soulful moment. After all, “home is where the heart is,” and this anime has a ton of heart at that. It runs the gamut: pitting city life versus country life, having pride in one’s birthplace, finding a sense of direction in the midst of new surroundings. As Dorothy of The Wizard of Oz would put it, “There’s no place like home,” and these ladies learn this fact firsthand. Not just in their interactions with the people throughout the village but also in their different activities as they learn about the history of this quaint yet storied location. They come to sincerely appreciate its offerings if they have not already, and they realize once again what has made it so swell if they already have. In the end, Yoshino and her dear friends come to a rather simple conclusion: “home” is the place where he or she can always return to. Not too shabby of a message at all. Unfortunately, a tornado of sorts hampers Sakura Quest and its content when it seems to toss aside satisfying recompense. Truth be told, revitalizing is not so much the important part of the show as it is the catalyst that creates the groundwork for the characters and the themes to do their thing. Still, their efforts never seem fully qualified or justified. The ideas and the all-over-the-map approach to saving the town rarely results in actual results that contribute to some form of overall improvement. It’s not about them failing; that’s a somewhat common occurrence. In fact, their very first venture with the overabundance of manju concludes with them being unable to sell the snacks off in full. Yes, these moments at least demonstrate the difficulty in making their dream a reality. Rather it’s the outcomes that do put them on the right track that barely seem to mean much if not anything at all. The woodworking project, the movie deal, the old school. These arcs no doubt have a presence in how they explore that home-centric premise and do what they can to make Manoyama feel more interconnected. Nevertheless, the patchwork push to get there leads to a troubled meandering feeling. And when it hardly seems as if this rural rejuvenation bears tangible fruit, a subsequent loss in the sense of success, despite the massive efforts expended, pops up time and again throughout the season. Results notwithstanding (and forgiving Sakura Quest for perhaps relying on the upset-so-better-run-away schtick one too many times), the events and the themes still create for this story a solid narrative worthy of the similar cousins which came before it. ART & ANIMATION To make Manoyama a place worth visiting, Sakura Quest puts a lot of effort into curating its visuals to emphasize the splendor and the sereneness of this home away from home. Much of this feeling comes from the overabundance of scenic, establishing, and one-off shots. While they may seem unnecessary at times, their ability to highlight the welcoming nature of this place cannot go understated. The fruitful farms. The quiet streets. The sturdy trees. The filled buildings. The local attractions. While certain spots are visited more than others, such as the ladies’ cottage and the Chupakabura Kingdom, these shots are wonderful to behold. Manoyama isn’t designed to be just some random pinpoint on a map; it’s meant to be a believable place worth visiting. And the visuals certainly entice the audience in this way. If nothing else, they are extremely important, for they orient the audience to Manoyama, and they promise that quaint, homely feel through expressing the beauty, the charm, and the identity therein. On a similar level, the character designs across the board find strength due to the realistic variety on display. Heights, ages, body types, postures, facial features, hairdos. Rather than just changing up the colors, Sakura Quest goes really out of its way to make each individual citizen have their own individual style. And, in doing so, Manoyama feels that much more inviting with a populace unique to their hometown. One would be remiss in not singling out Yoshino and the other leading ladies. Not only do they channel that same mantra of realistic variety in their designs but also their attractiveness and personality exude forth without much trouble. Best of all, they seem to carry a portable closet with them wherever they go, for their outfits change constantly, sometimes within the same episode. Such attention to detail puts them one step further in terms of appeal and gives the visuals yet another edge to stand upon. Unfortunately, Sakura Quest stumbles slightly as it goes along. Certain artistic errors due pop up infrequently, such as shadowing errors and consistency in actions. More generally, the actual animation tends to noticeably worsen as the season progresses. It’s never egregious or unacceptable, maintaining at least a passable state. Still, the overall quality in movement does not stay uniform for its entire run. With the majesty of Manoyama and the variety of the designs outweighing these smaller missteps, the visual direction for the anime remains in good spirits from start to finish. CHARACTERS While Manoyama houses many people within its rustic abode, Sakura Quest keeps most of its focus on the five women who spearhead this rural-rejuvenation project: Yoshino, Shiori, Maki, Sanae, and Riri. Each lady receives roughly two two-episode outings; one in the first half of the season and one in the second half of the season. Altogether, these developments combine their upbringings and their characteristics into a lively group, and they also give a better indication of their thoughtful ideas and meaningful aspirations. First up, as the main protagonist, Yoshino initially finds herself down on her luck. A churn of failed job opportunities and a bunch of unfortunate fortunetelling tries leave her lamenting her current situation. When she transfers to the countryside by accident, she believes things could not possibly get any worse. And she’s right; they don’t. Instead, her time as the “Queen” allows her to expand her horizons, to learn of the value in the places that she would otherwise dreadfully deem as “normal”. She connects with the townspeople, sympathizing with their own perspectives. She invests a ton of effort into making this quest a reality, acquiring a sense of the time such a massive undertaking entails. She reevaluates herself, finally discovering her true calling in life. Yoshino does not necessarily captivate the audience during her tenure at Manoyama, but her involvement no doubt leaves an impression on her new home and her new self forevermore. Somewhat in contrast, Shiori grew up in Manoyama, calling this special place her own home for here entire life. Cute, innocent, and sincere, she simply wants to see it thrive. Her optimism and her niceness shine through with her signature “No worries!” phrase, ensuring that the group maintains confidence even as problems manifest. Shiori plays the most interesting role within the group insofar as the story does not impact or influence her as much as the other women. But this direction is by design. Where they change over the course of the season, she remains somewhat static as she distills hope to those around her for the betterment of the cause. The waning village forces her to rethink her own attachments, and Erika’s views test her mindset, yet she ignites her passion for dedication despite what they may encounter. In some sense, she is the heart and soul of Manoyama, the stalwart defender of its heritage and its worth. So, watching her reaffirm her home makes for an intriguing inclusion. “Odin Detective” Maki undergoes a similar process when compared with Yoshino rather than Shiori. Tomboyish and cool, her straightforward words mean well even if they tend to seem negative from time to time. However, her greatest asset comes in the form of a Swiss Army Knife of talents. When she struggled as an actress, she took on many different part-time jobs, granting her a wide range of skills which she applies to the revitalizing project at hand and filling out the next part when needed. However, acting remains a part of her in turn, and what she thought she had already buried resurfaces to challenge her mettle once more. Incremental steps bring back some lost courage, but further failure deters her from trying harder. Thankfully, a loving family (and specifically a proud father) allow Maki to realize that it is less about striking it big and more about making sure that having fun comes first and foremost. Compared to Yoshino, Shiori, and Maki (and later Riri), Sanae is the most mature, acting as a font of wisdom with her smarts and her communication. She works with computers, and so she applies her knowledge of programming and technology where possible. She begins with a position in Tokyo, but she felt unsatisfied with the slog and the sense that her presence could easily be replaced. Naturally, then, Sanae wanted to find somewhere where she felt useful and wanted. Although she starts off just going along for the ride, she eventually finds purpose in her pursuits and worth in her actions, inspired mostly by the woodworker, by the researching professor, and their unique ideals. As for Riri, she is quite shy and therefore the quietest of the bunch. She doesn’t have very many friends, and her closest relative is her grandmother Chitose, the head of the Board of Merchants, whom she lives with and hears opposing thoughts from by proxy. She also loves the occult more than anyone: aliens, unidentified creatures, strange beings elsewhere. But the Internet is as far as she has scoured for them. Both sides of her origin combine to give her an isolated, unadventurous lifestyle. Riri rarely ever says much throughout Sakura Quest, yet it becomes clear that she wishes to break away from the routine and the walls which surround her. The story understands her ideology, too, presenting her with chances to make this breakage a reality. She improves her confidence as the main singer of the special song which encapsulates Manoyama, and she befriends the foreign visitors who likewise follow her interests in the occult, encouraging her to travel to see the world beyond her room. Yoshino, Shiori, Maki, Sanae, and Riri each undergo many trials (as outlined above), so their reliance on one another and their general closeness leads to a tightknit group of dear friends between them. Their banter and their advice, their sadness and their happiness. The year they share together culminates as a positive experience that turns into humble beginnings which they can look back on with fondness – wherever fate takes them next. Sakura Quest has many, many other side and semi-main characters. Yoshino and the other four understandably earn the most attention, however, the supplemental material that these extras provide – such as Doku and his machines and Takamizawa and his bus driving – are still an intriguing addition. They either move the plot along, bring in a new viewpoint to consider, or otherwise contribute to the anime while almost never seeming as though they do not belong. In short, the leading ladies and the other cast members demonstrate that Manoyama is a worthwhile home. MUSIC & SOUND Sakura Quest refuses to rest in the music-and-sound department, giving the audience several reasons to praise the choices therein. Much of this praise goes to the original soundtrack. Jazzy drum fills, piano interludes, lighthearted cultural tunes. The anime can glide effortlessly between a countryside feel and a poignant mood without dropping a beat thanks to the simple yet wide-ranging musical arrangements at its disposal. For everything else in-between, the slice-of-life pieces and the soft, cheerful tracks jump in as needed to keep the flow of the show consistent in its emotions without overtaking the actual developments on screen. But it’s the opening and ending tracks, which pull the audience in and lead the audience out (respectively), that scratch that audio itch. The first OP, “Morning Glory”, encompasses the can-do vibe of Sakura Quest with its piano keys, guitar strings, and clapping segments. It springs forth a spry and soulful attitude in the dynamism, a sincerity in the various vocals, and a sense of home in the feint strumming of a banjo in the background. All of which come together as one excellent song. The first ED, “Freesia”, holds just as much strength as its OP counterpart. The gentle acoustic guitar and the pronounced, jangled snapping lay a foundation of calm and of yearning, and the eventual vocals, hip-hop beat, and rousing instruments form a catchy, fulfilling sound. Altogether, these elements lead to another excellent song that emboldens the listener with the notion that a steady pace and a head held high can overcome the obstacles life sometimes throws in the way. The second OP, “Lupinus”, is a bit more structured and not as interesting as its predecessor, but its goal of producing a small jam occurs anyway. The slower groove of the electric guitar and the drums working in tandem in the first half create an introspective sound as the vocalist strolls along. The second half, however, goes for a floatier atmosphere, leading to an optimistic approach that matches the tone of the first OP. The second ED, “Baby’s Breath”, follows suit in that its replacement of its predecessor incurs some slight disappointment, but such thoughts quickly leave as this new track grows on the listener. The set of notes from the acoustic guitar are so much fun to whistle along to, and the cheerful mixing of the piano, the shakers, and the female vocals make it hard not to have a smile on the face once the song ends. And, of course, the anime would not be complete without some very solid voice-acting performances out of its important cast members. In particular, Reina Ueda as Shiori channels her inner cuteness and niceness once again, solidifying her household-favorite status; Ayaka Nanase as Yoshino delivers a young, gung-ho manner of speaking in one of her first and major roles within her field and the medium at large; and Atsushi Ono as Ushimatsu brings the older, determined edge for the gentleman most invested in seeing Manoyama flourish. With nary a complaint to be found, the audio design may just be the best feature of Sakura Quest. ENJOYMENT I had a lot of fun with this show, and I attribute that feeling to a few different key factors. One, I really liked the setup for this tale. Adult characters. An enticing setting. A set of intriguing themes to explore. This anime appealed to me on a fundamental level, so I rarely (if ever) found myself disliking its direction. Two, I was fond of both Shiori and Sandal (especially Shiori). Shiori was awesome with her positivity and silliness, and I could relate to her staunch pride when it came to the love she has for her home. On the other foot (per se), Sandal was eccentric and honest, and his out-of-nowhere sayings, his crazy timings, and his English usage got me laughing right away. Three, I thought certain scenes stood out. The play in episode twenty, the flashback moments across the various episodes, and the majority of episode fourteen made for a divergence (however slight) from the usual path the anime took. I gave these scenes and others a big thumbs-up. And four, the ending managed to get me a tad emotional. Its sweet wholesomeness and its decided completeness had me nodding my head in approval. Otherwise, I was more or less entertained by this anime. While I do wish that romance was more prominent, and I would have liked to have seen better callbacks to previous episodes, I enjoyed the comedy, the interactions, the style, the nostalgia, and the maturity presented. I wouldn’t go so far as to call it an incredible anime, but it certainly left an impression on me regardless. Sakura Quest blossoms into its own wonderful project. The caring ideas, the lovely visuals, the meaningful characters, the fantastic musical offerings, and the high amount of fun turn this anime into a place that many people out there would likely consider just as beloved as any other. SUMMARY Story: Fine, rural rejuvenation and a purposeful message about home keep Manoyama afloat, but the narrative suffers from a lack of results in the efforts expended Art & Animation: Good, numerous establishing shots give Manoyama its beauty, and the impressive number of designs and outfits prove the attention to detail, even if the infrequent lapse in artistic direction crops up Characters: Great, Yoshino, Shiori, Maki, Sanae, and Riri are each influenced in some way by this quest, their group rapport brings further strength between them, and the extra cast members contribute to the writing backing both the plot and the ladies as well Music & Sound: Great, the OST fits very well within the confines of the setting and the feeling of the moods, the first OP and the first ED are excellent, the second OP and the second ED are nice follow-ups, and the VA performances are quite solid Enjoyment: Good, the setup, Shiori and Sandal, certain scenes, and the ending are key factors in the entertaining time crafted here Final Score: 8/10 ----- I dedicate this review to my amazing Grandpa Ron who passed away a few months ago. Whether at the Cracker Barrel, up at the family cottage, or at his own living room, his jolly laugh and his kindhearted soul made any place feel like home. Wherever you are, Grandpa, I love you dearly, and I hope to carry on your wisdom as best as I can.
Reviewer’s Rating: 8
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Nov 11, 2018
Koyomimonogatari
(Anime)
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(This review has been adapted from my blog/reddit thread. Spoilers ahead!)
The inexplicable parts of life have plagued the minds of people for a millennium. Otherwise known as oddities, strange phenomena have a certain allure to their presence. They invite imagination; they drum up curiosity. From the logically possible to the truly bizarre, odd occurrences will not disappear anytime soon – so long as there are those willing to question the world around them. Koyomimonogatari tackles this subject in the span of less than three hours. Simultaneously, it also promises a ton of content that fans of the overall series will most likely approve and appreciate. STORY The Monogatari series. ... Beloved by many, it has come a long way since its original (anime) debut back in 2010. During this time, it has created for itself a flair and a uniqueness that has defined it as a signature part of the medium and a must-try show within the anime community at large. What better way to tribute this juggernaut than to create a bunch of smaller, singular stories for the audience to reminisce on as it prepares for the final leg of its historic journey? That’s what Koyomimonogatari is (mostly) about. It’s an anime which encompasses basically everything that people have come to like about Araragi and the craziness he has experienced for so long now. Indeed, this anime is designed for those that have been through it all as well: the starry nights, the toothbrushes, the bathroom monologues, the spooks. In some sense, it is a reward for having supported the many seasons, episodes, and minutes of content up to this point. As such, this mini-season takes the Monogatari formula and dilutes it down its purest essence. Then it condenses this glob into a pink, oval-shaped piece of Dubble-Bubble Gum to chew on, bringing with it a savory sweetness and a rush of sugar as soon as it enters the mouth. Right before it starts to lose its flavor, the anime spits out the current piece, reaches into its pocket, pulls out the next piece, and starts chewing once again. A cycle that continues eleven separate times (equating to twelve pieces of gum) until its pockets empty. Of course, these episodes aren’t pieces of gum but rather events in an anime, but the metaphor works regardless. With each new episode, Koyomimonogatari treats the audience to the same style of jokes, dialogue, and presentation this series has embraced since the beginning. Better yet, while some crossover exists, they also feature nearly every favorite character from before for their own individual aside once again. But it also serves another purpose: granting the audience the chance at one last “lookback” on all that has happened. Like revisiting old friends, each important girl from this massive tale takes center stage (sometimes with other cameos) while interspersing the episodes with the events and the timelines of every other season up to this point. As if the series looked at itself and said, “Let’s have a bunch of fun with one last hurrah.” This season does not reach the same level of complexity or intrigue on an event or interpersonal basis that Monogatari has always touted. Again, it essentially fills some of the gaps between the previous seasons, acting as a celebration of the series of sorts. Nevertheless, the anime contains new content and even focuses on a concept, the concept that has (more or less) carried it all this time: oddities. The episodes structure themselves in the same way: an oddity of some kind is introduced, Araragi discusses it with a character or two, and the aftermath is revealed. Each oddity relates to a nature-related subject – stone, sand, water, tree, mountain – and so, by extension, they also explore the very nature of oddities at every turn. From their existence to their purpose, Koyomimonogatari at the very least doesn’t forget about its deeper roots insofar as it has some thematic semblance per usual. The tail end of the eleventh episode and the majority of the twelfth episode (even if the circumstances within that finale are designed to be an oddity in and of themselves) constitute the primer for its sequel season. Meaning, those scenes don’t technically adhere to this season’s structure. Instead, they act as a reminder for the audience. That they’ve had their fun for a little while – and now it’s time to get back to the core of this series. ART & ANIMATION True to form, and indeed not needing to deviate from its signature artistry, Koyomimonogatari incorporates much of the same artistic decisions that have driven the series up to this point. For instance, the camera loves to take really close-up views of the characters’ eyes to the point that the audience can see their emotions or thoughts reflected in their pupils. Fast in-betweens and one-off art styles likewise make a welcome return. Overly expressive mouth and lip movements emphasize certain words and lines for an added bit of engagement. And those neck-breaking head tilts are in full effect when and where appropriate (which realistically means at any given moment). Scene direction and shot composition remain consistent, too. They often take on weird yet fun traits that engage the audience, complementing the heavier use of dialogue with dynamic cinematography. One example includes Araragi conversing over the phone with Hanekawa as he rock-climbs in his room, and Hanekawa in turn speaks directly into the camera and towards the audience as a sort of intimate moment between both parties. Stage plays and film watching, both in the middle of everyday life, also push the dynamism along. Not to mention that the anime includes several references to previous locations such as Kaiki’s conman room and the pivotal shrine atop the winding-staircase mountain. These location callbacks bolster the sense of remembrance that goes on within this season even more. The anime also grants the audience the chance to see some of the characters back in their original designs before the ensuing events morphed them (for better or for worse). Senjougahara with long hair. Shinobu sulking in the corner with a leather helmet on. Nadeko not being a mind-controlled snake devil. Seeing these characters as they were and thinking about how they look now makes reminiscing about them that much easier. An important facet given the nostalgia trip Koyomimonogatari delivers. This new, shorter season does not aim for anything too flashy or too involved, so it does not “Wow!” in its presentation. But, like the other aspects of the show, watching such familiar visuals over and over and over makes for a comfortable watch without a doubt. CHARACTERS While reiterating now, Koyomimonogatari isn’t a typical iteration in the series. It doesn’t focus on multi-episode arcs which then expound on a particular, notable character of the franchise. Rather, they invite everyone into the fold to give them yet another quick chance in the spotlight. They take advantage of that time, presenting the best of their personalities, staying true to their characterizations, and reveling in the relationships they share with Araragi. Kanbaru excites over the contrast of her body while hoarding her favorite ecchi books in literal mining caves. Senjougahara looks out for her dear boyfriend but isn’t afraid to tell him to die outright. Shinobu pops into existence and still loves her donuts. Both Karen and Tsukihi interact with their brother in strange ways per usual. And, of course, Hachikuji flubs her lines in as cute a manner as possible. As for Araragi himself, he remains the same helpful, perverted, and likable weirdo as he has always been. He throws a popcorn party for Nadeko to cheer her up. He “lets” Hanekawa do what she wishes with her own boobs. He dukes it out with Kagenui out of a sense of pride and self-understanding. Although he almost never solves the riddles himself, his involvement and his inquisitiveness not only create the correct solutions but also give the audience the necessary lens in which to view these cases from an outside perspective. And that’s pretty much it. Koyomimonogatari does not include crazy changes or explore potentially deep arcs when it comes to its cast members. Despite beating a dead horse, this season simply gives the audience the buffet of memorable characters it has built over its lifetime. Nothing more, nothing less, and nothing else needed. MUSIC & SOUND Given the series’ track record and track record, Koyomimonogatari shows up to the arena with an almost unfair advantage. It quickly becomes apparent why, for, upon each new episode, the audience bounces with giddiness at the prospect of hearing one of the many classic tunes the numerous previous seasons have created up to this point. The show also uses a tactic from its own playbook, selecting the individualized OP from a specific lady’s previous arc as the piece for her specific episode in this season. Whether platinum or circulated, the nostalgia and the fun run rampant as Koyomimonotagari provides more of that series goodness in soundbite form. Perhaps surprisingly, then, the anime does not leverage the ending tracks from previous installments. Instead, the ED represents a brand-new addition to the series’ musical arsenal. While a passable listen and not a deal-breaker by any means, “whiz” doesn’t make one lose his or her head (like Araragi does) upon hearing it. It’s a cute little song with some nice vocal harmonies, but, when this season is basically one big nostalgia trip, foregoing the complementary-ED angle induces some disappointment. Besides the many-OP-one-ED combo going on, the same talented voice-acting performances return across the board (and with too many to list or shoutout outright). The show goes so far as to bring back old favorites that the audience maybe hasn’t heard from for quite some time. Likewise, the same interesting musical choices pop up for comical asides and mysterious happenings. The sound-effects are in tip-top shape per usual as well. Photo-shutter blinks, echo-grainy film narration, and alien-spaceship noises fill the gaps between the VA lines and the music like a familiar and useful adhesive. In short, the audio design and direction earn a solid thumbs-up. ENJOYMENT Even with this tiny compilation, the series continues its trend of delivering a positive, worthwhile experience I lost count of how many times I exclaimed out loud, “Gosh darn it, Monogatari!” Not because I was upset with the show. Far from it. My words were more about the anime simply being itself to a T at nearly every turn within this season. It didn’t get as strange as Nisemonogatari, and it didn’t get as thematically deep as Tsukimonogatari. However, it found that sweet spot between the two, championing its quirkiness and its musings with its head held high. With its sense of self intact, I thoroughly liked these vignettes. Senjougahara, Hanekawa, and the other ladies of the series are always a blast to watch, so having a constant turnover of these known and beloved anime characters made for a short, simple treat. Neither amazing nor forgettable but rather a strong detour before the following sequel. Koyomimonotagari isn’t as relevant as its brethren, but that’s quite all right. Instead, this trip down memory lane includes the past elements which made the series so intriguing, so fun all along. Small mysteries, an engaging artistic direction, cool characters, nostalgic music, and a smattering of entertaining content. Not an odd project whatsoever. SUMMARY Story: Good, like a high-school reunion where quick asides and tiny thematic ideas make up the catered food and the punchbowl respectively Art & Animation: Good, a familiar visual suite invites the same sense of weirdness and dynamism, and the resurfacing of old designs allow for chances at reminiscing Characters: Fine, Araragi and the other ladies of the series act out their known personalities and characterizations without doing or needing to do much else Music & Sound: Good, the return of notable OPs brings excitement, the VA performances and other audio decisions create more nostalgia, but the new ED is passable at best and a disappointment at worst Enjoyment: Good, itself to a T Final Score: 7/10
Reviewer’s Rating: 7
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Nov 11, 2018
Made in Abyss
(Anime)
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Recommended
(This review has been adapted from my blog/reddit thread. Spoilers ahead!)
This past month, I have sunk a ton of time (perhaps too much time) into a video game that fans and critics alike hailed as GOTY last year: The Legend of Zelda: Breath of the Wild. Its sprawling map. Its sense of freedom. Its myriad of opportunities. Having now experienced (pretty much) the entirety of the game myself, it’s now easy to see why it captured the attention and the hearts of gamers from across the globe. And, while I do not consider this iteration the best in the franchise (my vote goes to either Link’s ... Awakening or Majora’s Mask), I likewise give the game the praise it undoubtedly earned. Also last year, an anime by the title of Made in Abyss became the talk of the town, receiving those coveted AOTY awards from relevant outlets. It also strikes many other similarities with Breath of the Wild. Focus on a huge world, perilous obstacles, getting to the girl at the very end. Minus shield surfing and Great Fairies, the two pieces of media are practically the same. All right, not quite. But at least this following statement is true: Made in Abyss also earned its praise without a shadow of a doubt. STORY For most anime enthusiasts, they have heard the words “made”, “in”, and “abyss” lined up and linked together many times over in everyday discussions and conversations by this point in time. For others still, this triplet has become synonymous with several different words as well: lauded, amazing, stellar, incredible, perfection. Whatever it may be called, Made in Abyss certainly strives for nothing short of a hole-in-one. Before it commits to its first swing, the show sets its sights on a wonderful setup within its starting three episodes. In the first episode, most of the character introductions and an initial glimpse at this bizarre place take place. In the second episode, the show gives the audience a better understanding of what is and will be going on. And in the third episode, a goal is established, providing the (only) necessary direction for the journey to head towards. And, somewhat paradoxically, it only goes up from there. Within the remaining ten episodes, Made in Abyss creates a thrilling fantasy adventure worthy of the copious praise it has received. The fantastic world-building within stands chief among its successes. From the interesting flora and fauna to the unstated details that flesh out the gaps in-between, the anime has a clear command of how to build a lush, vibrant world. In doing so, the framework for the story takes shape, forming an extremely sturdy platform for it to stand upon. Jumping off this point, the show likewise takes advantage of the premise and the ideas at play when it follows its rules and opts for craziness. A fair but deadly combo that grants the anime a set of stunning moments during its run. They leave the audience either wishing for the characters’ victory or picking their jaw up from off the floor after a ruthless happening. Such intense scenes not only define the strength of the story but also keep those who watch these events transpire in a state of captivation the whole way through. More importantly, by sticking with such (contextual) fairness, these developments also aid the narrative on a thematic and more general writing front. For starters, worthwhile themes act as guideposts. Origins and the desire of the self to know where it comes from. Inversion and the necessity of diving down to ascend above. Perseverance and living with tenacity while struggling against death. Drive and the sense of longing, will, passion, and curiosity people contend with on a regular basis. Be it certain narrated monologues or an in-the-face demonstration of a concept, these themes lace the story every which way, fueling more to think about outside of the action and the dramatic sequences. As for the general level of writing, it remains consistent and strong no matter the layer in question. In fact, Made in Abyss leverages many common yet meaningful techniques that in turn layer the writing itself. Foreshadowing from both the straightforward and the clever sides map out the plot. Multiple puzzle pieces based on messages, disappearances, and memories slowly connect the bigger picture together while keeping the audience guessing. Repercussions for character actions. Callbacks to other in-universe items and offhand mentions. While the storytelling does not reach legendary status, these inclusions benefit Made in Abyss regardless. Indeed, the setting alone provides the anime so much to work with. Each new layer presents a new biome that in turn contain new challenges, new people, and new occurrences, leading to a genuine feeling of inherent narrative progress as they slowly accomplish their goal. So, do the three words that make up this title deserve the other words that have become so regularly attached to them over this past year? Well, the setup, the world-building, the intensity, the themes, and the writing would argue that it has scored no less than an albatross. ART & ANIMATION Made in Abyss continues its excellence in its visual presentation. The high-rise shots of the cobbled city of Orth deserve recognition. However (and understandably), the anime sets most of its time aside to showcase the beauty and the chaos of the Abyss. Ruins and greenery near the first layer. Rockier outcrops pop up afterwards. A strange, windy forest, and a harsh, cloudy fault soon follow. Giant “goblets” filled with hot water fill up the next location. These areas (and more) contrast in their weather, their terrain, and their atmosphere, but they find similarity with a scrumptious amount of finer details and the true sense that these areas teem with life all their own. To this end, Made in Abyss also goes out of its way to give its various creatures a range of designs from the reminiscent to the weird. Neritantans and inbyos remind one of bunnies and monkeys (respectively) but crimson-splitjaws and amakagames invoke that fantasy feel which the show champions. Better yet, creepier or scarier moments sometimes lead to painted versions of these monsters. The off-kilter style contrasts harshly with the regular direction of the visuals, but such a dichotomy improves the otherworldly vibes these encounters emanate, thereby bolstering the fantastical element to this story. Much of the anime’s flair likewise proves fruitful, too. While lighting tends to don a green hue due to the oft grassy fields and shrubbery, certain scenes go beyond the norm: striking sunrises, colorful glows, shadowy skies. It also does not shy away from its more brutal sequences, depicting for the audience (whether they want it or not) a front-and-center view of the reality this unforgiving netherworld throws their way. And the actual animation remains in high spirits as Riko traverses caverns, Reg rappels down cliffs, and the two push ever onward (and downward) into the Abyss. Their character designs cap off the visuals with even more strength. The simultaneously simple and involved looks capture their personalities and quirks while also harboring a lot of symbolism. Riko’s exploration gear and glasses coincide with her fierce curiosity. Reg’s metal helmet and red cape give him the superhero vibe to match his superhero actions. Nanachi’s nomadic garb and bunny appearance turn her into a lady of the land and a wise seer. Ozen is also worthy of a shout-out. Her tall demeanor, creepy expressions, and black coloring paint her as quite the intimidating being. Yet her hunched posture when sitting and her contrasting white coloring form the moral ambiguity which drives her. Altogether, the visuals for Made in Abyss speak for themselves. CHARACTERS “A human, a robot, and a bunny tumble into a crevasse…” reads like the setup to a lame standup routine that someone wrote down on a whim at the back of a bar on a lazy afternoon. It also describes the major players of this tale: Riko, Reg, and Nanachi. Thankfully, these characters are anything but the butt end (or relevantly bottom end) of a joke. Riko is the brains of the operation, the purveyor of the strange and the unknown. Her large sense of leadership stems from the bravery she exudes despite her physical limitations. Curiosity fuels her, and she desires to learn about both the world around her and what became of her mother. As such, she pushes towards the end of the Abyss. All while cooking up some tasty grub when and where possible. Reg is the brawn, the bodyguard who protects Riko with all his might. She found him by chance near the top of the Abyss, and, having no recollection of his former self, followed Riko and her friends at the orphanage. He lacks the same sense of determination as his glasses-wearing friend, but he remains unaffected by the Curse of the Abyss no matter the layer. Wishing to understand who he really is, he embarks with Riko on their quest to reach where no man, woman, or sentient being has gone (in the downward direction at any rate). Riko and Reg clearly form the classic wit-and-power duo, the two complementing each other to make up for their respective weaknesses. A tried-and-true approach which creates for them a simple yet effective dynamic. Riko gives Reg courage and reason during their tumultuous trek, and Reg gives Riko the means to fight forward with grapple arms and incendiary attacks aplenty. They need each other to progress, but they also need each other to survive. Not just in the wild but also on a psychological basis. The Abyss is unrelenting, and the only true entities within it that they can rely on are each other. Thus, their equivalent presences soothe their souls with safety in numbers and a priceless friend to rely on. If Riko is the brains and Reg is the brawn, then Nanachi is the book, the guide who watches over them with a gentle (albeit furry) hand. Nanachi isn’t too fond of closeness, a byproduct of the loneliness she has experienced for much of her life. More importantly, she understands the lay of the land: describing monster behavior, creating medicines to heal wounds, revealing how the Curse of the Abyss actually works. As a denizen of these darker depths, she rounds out the cast with knowledge and expertise that the original two wish they had at their disposal. Moreover, Nanachi is arguably the most interesting of the group. Her backstory drips with tragedy, and her empathetic connection with Reg introduces some character writing that Made in Abyss had mostly shied away from until her arrival. It’s unfortunate, then, that her inclusion occurs so late into the season, for she represents a strong addition to the cast. Not a third-wheel but rather another spoke for the frame to keep the original wheel turning that much smoother. On a more general level, Riko, Reg, and Nanachi share many parallels. For starters, they’re not adults or teenagers but kids. An important distinction since choosing this route not only magnifies the dangers the Abyss spawns around every corner and upon every layer but also elevates the sense of wonderment and adventure that each next step carries with it. These characters also revolve around two totally separate yet intricately linked ideas: life and death. They were each born in the Abyss, made within it. Riko literally by her mother; Reg by construction from the ground up; Nanachi by ditching her old life in hopes of a newer favorable one. They all “died” there, too, when considering the anatomical, philosophical trifecta of mind, body, and soul. Riko lost her soul for a brief period; Reg lost his mind to amnesia; Nanachi lost her body after transforming into a Hollow. Such wonderful parallels between the three main characters make for an intriguing setup that gives Made in Abyss yet another edge to admire. Characterizations and meanings of this kind are no doubt neat, for they serve the anime well. Plus, the cast members themselves are a likable trio for sure. However, Riko, Reg, and Nanachi miss out on the lasting greatness that defines much of the rest of the show. Their personalities aren’t the most engaging. Their interpersonal connections hold back slightly on dimensionality. Their presence in this story doesn’t feel that memorable. To clarify, Riko, Reg, and Nanachi are vital to Made in Abyss, so the show wouldn’t be the same without them. And the narrative (and all it entails) takes precedence over their involvement, so they received less attention than they would have otherwise. Still, without that necessary spark, it’s tough to claim that they exist at a top-tier level. MUSIC & SOUND Made in Abyss continues with its incredible run by channeling an awesome musical repertoire. Above anything else, the original soundtrack can only be described as fantastic. Lively instrumentation. Uplifting arrangements. Crushing tunes. Tribal influences. Emotional vocals. The Abyss is a rewarding, indigenous, and scary place, and the OST that backs this anime captures these feelings and more with its impressive pieces. While these musical tracks fly above the rest of the sound-related production, the signposts at the start and finish of every episode do not go unheard themselves. The opening track, titled “Deep in Abyss”, sees Riko and Reg trading off on the vocals, giving this singular song a duo and dual direction that keeps their camaraderie in mind. The piano melodies and varied pacing aid the flow of the song, too. It’s a bit more fantastical in feel with a twinge of dread mixed in for added flavor and relevant vibes. As for the ending track, “Tabi no Hidarite, Saihate no Migite” takes on a much more whimsical and hopeful tone. Its playfulness contributes much to this feeling: dinky instrumentation, clapping hands, floatier vocals. Almost optimistic, the ED has a charm that contrasts well with the severity of the Abyss, thereby elevating the effectiveness of the piece. Guttural monster noises notwithstanding, a handful of solid voice-acting performances likewise appear within Made in Abyss. Relative newcomer Miyu Tomia as Riko fills the air with excitement and emotion as she encounters each new layer. Mariya Ise as Reg, while having the least powerful performance of the three, pushes past fear with belief. And Shiori Izawa as Nanachi sounds oddly cute despite her nonchalant attitude and somewhat raspy delivery. In short, the audio aspect of this anime almost never falters in its execution. ENJOYMENT What an awesome show. It’s one of those stories where I increasingly found myself wanting to see what would happen next. I would finish an episode and say to myself, “All right, just one more…”. It was enthralling and crazy and dramatic; I just couldn’t look away. I was impressed with the anime to the point that I actually got tricked by Ozen. I thought for sure that they were settling on the mediocre route of setting her up as an obvious villain. Tooting my own horn here, but I am pretty spot-on when it comes to predicting how events will usually progress. So, when such a rare turn of events does happen, throwing me for a loop, I take it as a sign of a job well done on the show’s part. As for the main trio of characters, I found myself liking them well-enough. Riko’s dive into the unknown is a trait that I could learn from, for I am surprisingly stubborn when it comes to change, and her fierce courage had me rooting for her success in her fearsome trek. Reg is a cool dude if only because he instantly befriended Riko and the others, helping with willingness and sincerity. Nanachi is my favorite of the bunch, though. She has several worthwhile moments tied to her introduction, behavior, and mini-arc over the course of just a few episodes that I found her to be the most intriguing within the crew. To be completely honest, I wasn’t a big fan of Maruruk. His sappy personality treaded close to annoying territory, but his tearful farewell made him tough to dislike. And I feel as if the anime missed a huge chance in its finale montage by not showcasing what Riko, Reg, and Nanachi sent back in their balloon. Ending the season on a drawing (by Nanachi) of the three of them would have been so powerful as that lovely music fades out. But I digress. Tons of other elements still added up to a very entertaining time for me. Building up the reveal of Lyza. Piecing together the mysterious bits at hand. Researching more about world-building as part of my supplemental essay. All told, even if I do not personally give it the honor of receiving AOTY (for 2017), this anime is excellent in my eyes, and I cannot wait to see the inevitable continuation in the near future. Made in Abyss delivers a phenomenal experience. Its intriguing storytelling and likable cast of characters are supported by fantastic artistry and wonderful music. With a very high level of execution throughout, the project can breathe easy knowing that it rises up within this wild medium. SUMMARY Story: Great, a thrilling fantasy tale rich in world-building techniques, thematic ideas, and writing chops, creating a narrative filled to the brim with intensity and intrigue from top to bottom and everywhere in-between Art & Animation: Great, from the scenic shots to the interesting character designs, the visuals capture the beauty and the chaos of the Abyss and more without compromise Characters: Good, Riko, Reg, and Nanachi are the brains, the brawn, and the book whose soul, mind, and body are tested throughout the first leg of this journey that they share together Music & Sound: Great, a stellar OST, a strong OP-ED combo, and solid VA performances allow the audio design to shine in their own way Enjoyment: Great, smaller gripes aside, the enthralling moments and other elements joined forces to bring about an entertaining time that refused to let go for thirteen episodes straight Final Score: 9/10
Reviewer’s Rating: 9
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Nov 10, 2018
Koi to Uso
(Anime)
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Not Recommended
(This review has been adapted from my blog/reddit thread. Spoilers ahead!)
Koi to Uso is an anime that asks an age-old question: “This or that?” Such a question has been asked by people, of people for a millennium. Presented with two choices, someone must select either-or to proceed. It may be as simple as choosing which piece of clothing to purchase at the mall. It may cause more thinking when it involves which vacation spot to go to over the summer. And it may be completely life altering as a specific college is selected to attend. No matter the chosen option, the outcome changes. For Koi to Uso, ... that question pertains not to jackets, beaches, or reputations but rather marriage. And the answer it comes to is ultimately disappointing. STORY When it comes to love, many people believe in the concept of “the one.” A person who, by an unbelievable miracle, completes him or her like nobody else ever could. Whether such a sentiment makes sense matters not, for it isn’t so much about the miracle as it is about people finally finding their better half. Within the story of Koi to Uso, such a belief is unnecessary – because it’s now a reality. Government mandates, based off scientific evidence and extrapolation, discern for the masses their “one” to such a high degree of accuracy that compatibility is practically guaranteed. Already, and as the anime showcases, this intriguing premise gets the audience pondering about the truth behind love itself. Be it by notice or by nature, the events tackled within the anime prove that love isn’t so simple. Circumstances, ideas, emotions, upbringings. These facets and more drive someone’s feelings on both an inherent plane and a personal level. To the point that love, in Koi to Uso’s eyes, must mean more than just a reactionary feeling based on a single encounter. As it pits programmed fate against random destiny, the anime introduces different setups for its narrative that, while not groundbreaking, give it opportunities to further its thematic presence. For example, the Romeo and Juliet play, while perhaps an overused staple of the rom-com high-school genre, fits snuggly within the show’s discussion on forced feelings given the content of that famous Shakespeare work. Likewise, the camping trip, the sex lecture, and the wedding bring into the fold interpersonal drama, heightened hormones, and vital commitments (respectively) which once again follow the show’s intentions. However, Koi to Uso arguably fails to explore its premise to an adequate extent, glossing over potential problems and obvious cues in favor of keeping its focus on just Neji and his singular dilemma. Take the “penalty” for foregoing the genetic system. The anime often alludes to this threat, but it doesn’t mean much when it isn’t demonstrated in a real-world (their world) example. There’s also Nisaka’s case of homosexuality. Despite his own orientation, the show does not investigate how the government handles those who are attracted to the same sex, a trait which inherently goes against the “birth-rate boosting” ideology of the system. The show rarely even takes the time to highlight other couples or the system itself in action for comparative and contrasting purposes, turning the idea into a detail that the audience must trust and accept without remorse. Playing devil’s advocate, the premise here exists only to get the ball rolling and not much else. After all, expanding the scope of the plot beyond Neji, Misaki, Ririna, and Nisaka’s bubble wouldn’t necessarily serve their dramatic sequences. An acceptable defense, but this direction means that that bubble better be airtight. Unfortunately, it contains a few holes that keep it from maintaining a sound structure. One of these bigger holes takes the form of characters popping in out of nowhere. Yajima, the government man overseeing Neji’s situation, appears unannounced many a time, like at the school or at the cat playhouse. And Nisaka’s father has one of the most glaring “Okay, now where did he come from?” moments the medium has ever seen. Another major hole pops up as frustrating circular dialogue. Characters like Igarashi and Misaki seem as if they are talking in earnest to Neji and others – only for them to take it all back afterwards. Lines such as “forget everything just said” forces this problem to the forefront. And, at its core, the back and forth between Misaki and Ririna represents another hole for Koi to Uso to overcome. But this hole is both a blessing and a curse. It’s a blessing because the anime demonstrates well enough why either side deserves to win in the first place based off their separate-yet-similar reasons regarding love and its necessity in their lives. Plus, it’s the whole point of the show. Without this struggle, no story would exist, and it would therefore not have the chance to think about the scientific and personal implications of love. Yet it’s a curse because, by the halfway point, it becomes painfully obvious that the show will not forego the status quo. Instead, it keeps the narrative in a tug-of-war match that only induces frustration and tiredness the further it goes. This lack of progression means less insight and more of the same drama revisited in a stale fashion. Must one or the other be selected? Perhaps not. But when Koi to Uso tries very hard to make it seem so throughout the season, and then fails to resolve much (if anything) come the end, it somewhat defeats the purpose of having to make a choice between the two in the first place. Overall, this anime has interesting ideas about love and creates some nice setups for its story to talk about the concept. Sadly, it restricts the premise, it upholds too many writing problems, and it lacks a definitive answer to the question it posits. So, altogether, this narrative is by no means “the one” in this context. ART & ANIMATION Among the anime’s key traits, Koi to Uso’s artistry arguably ranks in the middle of the lot. To its credit, the designs of the characters at least stand out in some regard. Yes, Neji’s short brown hair and unassuming looks unfortunately paint him as a rather bland person. But Misaki, Ririna, and Nisaka do not succumb to this same problem. Instead, the love interests have a few details to call their own. Neji (and the audience) lose themselves in the girls’ large (almost too large) eyes as they look on with affection. Flushed fingers and long lashes increase their prettiness without calling attention to themselves as well. Individually, Misaki’s medium-length hair and generous proportions increase her physical attractiveness, and Ririna’s refined beauty evokes for her a cute, docile aura. As for Nisaka, his purple motif gives him a cool appearance, and his thinner eyes incite his standoffish personality well enough. Besides the nice character designs, the lighting within the show also has a small foothold. Vibrant nighttime scenes with glowing fireflies. A sunset cascading into a classroom as a gentle breeze shifts the curtains around. Shadowing techniques as they start to get a bit frisky. While not incredible, Koi to Uso likes to play around with the lighting in its scenes when and where it can. Speaking of “frisky,” the anime also isn’t afraid to showcase its distinct advances, highlighting the passions of the characters therein with kissing and caressing aplenty. Some of the slight ecchi moments perhaps do not belong in this drama, though. They could be chalked up to a meta aspect of the visuals that reflects their sexual ignorance, but that seems like a stretch. At any rate, the show includes a few comedic styles and backgrounds on occasion to change up its usually serious self. Otherwise, the anime is very straightforward in its presentation. The setting and the direction do not do a whole lot to engage the audience, and the actual animation neither improves nor does anything too interesting. Worse still, artistic errors sometimes creep their way in. For instance, in episode eight, Nisaka’s mouth continues moving as he walks down some steps despite not speaking anymore. Again, though, the designs, the various lighting techniques, and the attempts at varied styles prevent the visuals from falling out of favor. Meaning, the show delivers a passable artistic direction for this love-filled story. CHARACTERS The characters of Koi to Uso must contend with those occasionally tumultuous, often invigorating feelings of love. Neji, Misaki, Ririna, and Nisaka go about it in their own way, but they also have clear parallels which tie them together. Most notably, these characters are quite naïve when it comes to love in and of itself. Indeed, they often think about and ask a philosophical question: “What is love?” To them, the “powers that be” have controlled their outlooks and their thoughts on the subject their entire lives. So, it makes valid sense that exchanging an eraser, listening in earnest, or sticking up for someone sparks those skip-a-beat feelings that they do not yet fully comprehend. Their naivety also explains their reactionary behavior, for each of them responds to love in a similar yet distinct manner. Neji caves to the thoughts and actions which so easily influence him. Misaki runs away from and lies about her feelings. Ririna romanticizes romance with a starry-eyed expression. And Nisaka goes wholly on the defensive, remaining aloof in his mindset. Without a doubt, love plays a big part in their personalities. That’s them as a grouping. On their own, these four teenagers not only have different places within Koi to Uso but also have different purposes as well. The two most interesting cast members that fit this description are the ones who get along the least: Ririna and Nisaka. While Ririna’s backstory as a sickly child receives the bare minimum of attention, it accounts for much of her persona. Awkward social behavior, lack of companionship, idolization of romance. Her starting point within this series may in fact be the lowest among the cast simply because she, unlike everyone else, finds love only now and therefore understands the least about it. Thus, her bonds with Neji and the others grant her better relationships and allow her to discover a more realistic view on love. She befriends Misaki and a fellow classmate at her school as she opens up to them, and she learns from Neji and Misaki in equal parts that her feelings equate to a tangible, meaningful existence. So, seeing her evolve from a lonely girl to a mature lady becomes a high point of this series. Nisaka doesn’t evolve as much as Ririna, but he plays an important role within Koi to Uso: maintaining a rational perspective. He often lets Neji bounce ideas off him so that he can in turn dish out his calm advice on the situation. Advice that comes directly from his heart. He can be a bit too tactless, but he has care within him, like when he is willing to put up with the school festival if it would mean making his best friend happy. Either way, when Neji caves, Misaki lies, and Ririna romanticizes, Nisaka keeps that cool of his (save for when his family rolls around), forming a nice contrast in the grounded stance he takes as compared to those three. Unfortunately, Koi to Uso ignores Nisaka’s character to some extent. His interactions with Misaki and Ririna are few and far between despite their collective, interconnected circumstances with and towards Neji. Which is doubly odd for Misaki since his (heavily implied) feud of sorts with her doesn’t mean much or go anywhere meaningful. As for Misaki and Neji, they fall further behind. The entire season, Misaki lies about how she truly feels, fitting her character well enough and imposing a strangeness within the dynamics. She even goes so far as to “betray” her friendship with Ririna in that she at one point secretly wishes for her to fail. As she sadly says, “It’s a cruel thing…loving someone.” Yet the anime never reveals the true motive behind why she cannot follow her heart’s desires. Some guesses can be made (e.g., she’s lying about being matched with someone else already, she has a terminal illness that literally prevents a long-term relationship). However, without concrete proof, they’re nothing more than guesses. Her friend Igarashi appears later in the season to deliver extra information about Misaki, but most of the audience already knew or at least could infer these repeated details. As such, she certainly remains shrouded in mystery but likewise stays in a static state with little to no progression. Similarly, Neji is the plain, main protagonist whose main hobby includes knowledge about burial mounds. So, naturally, he’s quite unintriguing, acting more as the vessel for this tale rather than a worthwhile person within it. Not to mention his simultaneous passivity and forwardness. Contradictory behavior for sure, yet it oddly works. In a writing sense, it reflects the tough decision he has before him: choosing between Misaki or Ririna as his bride-to-be. To flesh out Neji’s character, Koi to Uso juxtaposes him with Yajima. Surprisingly, this government dude had a personal love (implied to be his red-haired work partner) that he did not pursue, posing as a what-if for the impressionable guy. This tangent leads to a dead-end, though, because Yajima’s involvement and impact feels more like an aside rather than a point of purpose. Despite Misaki and Neji not having the greatest substance within this story, they stay true to themselves and have their tiny moments here and there. Plus, Nisaka’s role, Ririna’s arc, and the parallels present demonstrate that they all contend with their feelings on love no matter what. MUSIC & SOUND When it comes to the music and the sound within Koi to Uso, its audio decisions reach a standstill of sorts. On the helpful side, its opening track provides a neat start. The OP, aptly titled “Kanashii Ureshii” due to its catchy lyrical content, begins each episode with a few peppy xylophone notes and a drum beat. However, the funky bass line, the harmonizing vocals, and the clapping interlude create in the song a passion and a somberness that reflects the emotions present throughout the season. Arguably, the dance-like, almost bubbly tone falls outside the scope of this dramatic tale insofar as the composition seems more aligned with a groovier structure rather than a direct appeal. Nevertheless, the OP has the musical chops to take a leading spot within the show. The original soundtrack also helps Koi to Uso with its atmospheric approach. Grating sounds, jittery piano keys, reverberating guitar strings, grander movements. These ambient layers coat the show in unease but still maintain a sense of structure throughout. Such structured uneasiness coincides with that ever-present choice that nags at Neji’s mind. Even the tracks that focus on lighter instrumentation for the not-so-serious moments involve a lot of singular, disparate notes too, keeping the anime consistent in its music while also demonstrating its range. After the OP and the OST, the music slowly skirts away from helpfulness and towards hindering. Listening to the ending track “Can’t You Say”, it ditches the groove of the OP for that direct appeal in a hip-hop love song. The snapping, the chimes, the female singers, the melodic structure. Everything screams romantic and emotional, complementing the anime’s own direction. However, despite picking up in the second half of the song and intermixing both Japanese and English lyrics for more dynamism, the ED doesn’t do enough to leave a lasting impression in its beat, its vocals, or its delivery to reach a similar set of heights as its counterpart. Voice acting likewise reaches the same conclusion. Each performance works as is but fails to capitalize on a lot of scenes with any notable moments. At the very least, Kana Hanazawa as Misaki and Yui Makino as Ririna bring along innocence, Ryota Osaka as Neji fumbles ahead with nervousness, and Shinnosuke Tachibana keeps his cool for sure. These VA performances mark for an average outing, meaning they’re neither too positive nor too negative in execution. In fact, the only real negative in the sound design stems from the infrequent mixing issues. For, while that OST is nice and has its uses during the season, it sometimes overbears the characters as they talk. Again, not that it always happens, but the loudness is noticeable during select scenes. Pointing out the loud music may be overly nitpicky anyway, for the OP and the OST help Koi to Uso in a positive sense regardless. And the ED and the VA performances, while not standout in their inclusion, do not interfere with this project. In total then, and much like the art and the animation, the audio elements rank somewhere in the middle. ENJOYMENT The fact that I wouldn’t mind if either Misaki or Ririna won must say something about me, about the anime accomplishing its goals, or both. They’re kindhearted and sincere, each wanting a relationship with Neji while also dealing with their own situations and even looking out for the other in some fashion. Truth be told, I still like Misaki more than Ririna and believe Misaki to be the better of the two. Yes, she lies a lot, but my heart tells me that her feelings for Neji (and his for her) hold a higher value than those of Ririna’s if only because they derive from a personal place all their own as opposed to a by-the-books matchup. Again, though, I would be perfectly okay with a polygamous ending despite such an outcome defeating the purpose of the show’s thematic presence. For Ririna’s emotions, while a result of government meddling, still blossom from the real bond that she shares with Neji. In simpler terms, I just want those three to live happily ever after together because they deserve it. So, I’m rooting for the harem. That said, I feel sad for Nisaka. Not that he was ever teased or belittled about his feelings or his personality (because he is known as the hottest, coolest guy in school), but the anime almost never gave him a chance to begin with. Neji clearly has no romantic interest in him, so he was doomed before the story started. Even the scene where the girls rush his changing area when nobody did the same to Misaki minutes earlier didn’t sit right with me in its blatant double-standard portrayal. Aside from the mistreatment of Nisaka, I didn’t dislike the anime. I could do without Neji since he wasn’t the best protagonist, but the passionate moments with Misaki and the heartfelt talks with Ririna kept me entertained. The smaller comedy sketches had me slightly chuckling, too. However, without a proper conclusion on any front, I’m left unsatisfied with this incomplete tale. Koi to Uso leaves much to be desired. It does have several strong traits: its ideas, some of the details in the artistry, a couple of its cast members, pieces of the music. But too many others are decidedly weak: a slew of narrative problems, a boring artistic direction, lame character involvement, average audio design. Between “this” or “that”, this project chose poorly. SUMMARY Story: Bad, despite having themes targeting the true roots of love and using worthwhile setups for its various events, the unexplored premise, the weak narrative direction, and the inherent lack of progress prevent this tale from reaching a meaningful place Art & Animation: Fine, nice character designs and appreciated lighting techniques offset the rather straightforward artistry Characters: Fine, parallels between the cast strengthen their foundations, Ririna goes through a solid arc, Nisaka is an interesting player who is ignored, Misaki remains too static, and Neji needs more to him Music & Sound: Fine, a neat OP and an ambient OST help more so than the direct ED, the okay VA performances, and the infrequent loudness in the audio Enjoyment: Fine, although Misaki is better than Ririna, a polygamous outcome is highly acceptable for maximum romance, but Nisaka’s mistreatment and an unfinished answer is not welcome Final Score: 4/10
Reviewer’s Rating: 4
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Nov 10, 2018
Boku no Hero Academia 2nd Season
(Anime)
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Recommended
(This review has been adapted from my blog/reddit thread. Spoilers ahead!)
While my parents are my greatest heroes, I wouldn’t be where I am today without a couple of other heroes in my life: my younger brother and my older sister. My parents taught me how to be a good person and looked out for me as I grew up, but my siblings have been the ones that I could rely on and confide in indefinitely. My brother and I have shared the same interests, played the same games, and supported one another in our endeavors. As for my sister, she has been my role model my ... whole life, her hard work and her stalwart determination inspiring me to achieve my own dreams. To me, they’re heroes, too. Heroes in their own way. And, much like its first season, Boku no Hero Academia 2nd Season would back me up in this claim once more. STORY Boku no Hero gets right back into the series after the conclusion of the craziness at USJ with the terror plot by the League of Villains. Deku, Ochako, Bakugo, Tsu, and the many other students of UA academy have zero chances to rest, however, for they find themselves embroiled in events once again. Since the first season established the premise, the elements, and the direction of the anime, this second season targets beyond these foundational items. Boku no Hero now turns its attention towards building on its core, empowering it through three distinct arcs that each have a particular goal in mind: the Tournament Arc, the Hero-Killer-Internship Arc, and the Final-Exam Arc. First up, the classic Tournament Arc requires the entire first half of the season, calling forth the teenagers to duke it out as close friends and worthwhile rivals. Therein, the anime showcases much of what makes the series a blast to begin with. Meaningful duels. Nice comedic segments for a lighthearted feel. An awesome display of the numerous Quirks both on their own and in unison. This arc also serves a secondary function. Inherently, it forces most (if not all) of its side characters into the spotlight. Again, the first season was typically about the beginning of Deku’s journey, so it makes sense that the story would divvy up its focus by peering into the other people that surround him. What better way to do that than with a set of events designed to get everyone involved? The second arc, the Hero-Killer-Internship Arc, is arguably the most interesting of the three. The students solidify their hero names, learn the ropes from on-site professionals, and some even square off against a high-profile villain for the first official time. Better yet, this arc places the most emphasis on the underlying plot when it highlights the aftermath of these events. Normally, and especially with an anime like Boku no Hero, people understand that goodness creates goodness. That’s why All Might exists as the Symbol of Peace: to inspire others in the unending quest for what is right. However, the opposite direction also holds true. Evilness spawns evilness, and Stain’s influence (and by proxy the League of Villains) instill in the baddies a renewed vigor for hate. Forming this important parallel and exploring it in this fashion demonstrates strong writing chops on the show’s part both now and when these two sides ultimately clash. Lastly, the Final-Exam Arc acts as a culmination of the first and the second seasons combined. It takes what Deku and his friends learned and experienced, applying their knowledge in the faux-villain battles with the professors they have come to know and love. Where the first arc struts the show’s stuff and the second arc explores its ideas on good versus evil, this arc primes the series for its next iteration. Potential romance subplots surface, vital background information reveals itself, and the conclusion marks a definitive stopping point between the opening portion of this tale across almost forty episodes and what will appear in the seasons to come. All the while, Boku no Hero improves its weaknesses or at least maintains its strengths. The dramatic sequences no longer encroach on out-of-place or over-the-top territory, Bakugou’s dialogue (while still incessant) now has a realistic foundation, and its vital message about what it means to be a hero doesn’t get lost among the many additions to this story. Combined with the purposeful arcs, the new ideas, and the higher execution overall, this sequel deserves a lot of praise. ART & ANIMATION Boku no Hero does not deviate much from the presentation of its previous visuals. That’s both a good thing and a bad thing. Per usual, the anime doesn’t lose sight of its very nice character designs. Returning cast members sport the same looks and heroic outfits which still express their personalities and their capabilities. Moreover, the new designs rock, too. Stain, the other new villains, Mei the sidekick, and some new heroes each go about wearing their own distinct getups, fitting right alongside the veterans of the series. They’re all so creative and interesting and neat that it’s hard to not appreciate them in some form. Unfortunately, the artistic direction also once again toes that average line. Lighting and background artistry still remain rather underwhelming throughout the show, but better cinematography and advanced (relative to the first season) fight choreography push back against these woes. Plus, the continued finesses with its expressive reactions and minor details (usually during comedic bits) demonstrate extra care in the visuals. As for actual animation, Boku no Hero earns those high marks again. Deku, All Might, Todoroki, Iida, and everyone else constantly find themselves duking it out with somebody, and the movement from their different actions, powers, and strategies almost never lets up. Especially for some of its stand-out scenes at key points in their battles. To be absolutely fair, however, the anime noticeably tries to avoid animation throughout the Tournament Arc. Specifically, it reuses many minutes’ worth of previous content and the same tiresome opening spiel at the beginning of each episode of this twelve-episode span. But, given that the tradeoff is several awesome instances in the animation both then and afterwards, it’s not too much of a price to pay. On top of the fun RPG motif for the second ED’s visuals, the art and the animation within the show once again earn high marks for the majority of its presentation. CHARACTERS In this second season, Boku no Hero follows the logical next step. Where before it mostly focused on setting up its bigger players (e.g., Deku, All Might) it now turns its attention to its supporting cast. Not that the show ignores these three or anything like that, of course. Rather, it now aims to round out the experience by bringing everyone else along for this superpowered ride. Much of this rounding affects fringe characters such as Mineta. Normally reserved for ecchi, comedic asides, he has his own time to shine when it counts. Or even Anima, who has basically not said a single word for almost forty episodes, likewise receives (however slight) some backstory all his own. The anime goes a step further with some of its other side characters. Fan-favorite Ochako finally reveals her major motivation for enrolling as a hero, granting her more respect than just the cute girl of the group. Yaoyorozu finds herself conflicted over lowered confidence which then explores a different side to her seemingly perfect self. And Fumikage gives the audience better insight as to the strengths and weaknesses that every hero must contend with personally. None of the supporting cast thus far explode forth with the strongest writing imaginable. Yet, again, even taking the time to build their foundation in this manner really goes a long way towards making Boku no Hero feel less like a Deku-and-random-people story and more like a Deku-and-friends story. Nowhere does this sentiment become apparent better than with the heavy exploration of two characters this season: Todoroki and Iida. Todoroki wields flames and ice in a half-and-half manner, and those same emotions erupt within him. Before, his cold, distant behavior painted him as an angsty teenager rather than a troubled person. However, as the anime depicts, that’s certainly not the case. His controlled upbringing, his estrangement with his own mother, and his fierce determination force (or perhaps doesn’t force) his hand. As for Iida, he has always been the straight-laced character, taking up the mantle as class representative and championing the righteous path. It makes his fall from grace of sorts this season that much more powerful. Having looked up to his older brother his entire life, he struggles upholding the ideals that have shaped him as a person as he succumbs to a vengeance that no hero would deem acceptable. Thankfully, they have Deku nearby. Yes, it’s nice to finally see him make noticeable strides in commanding the ultimate Quirk (for his previous attempts, while important, were quite miniscule). But his greatest contribution has always been how he puts himself out there for his dear companions, and that does not stop in this season either. In Todoroki’s case, Deku pushes the limits on his own body to their extreme to get this troubled guy to realize that he isn’t a product of genetic mutation but instead his very own self. In Iida’s case, he, alongside Todoroki, boost that heroic passion within him, standing as the very examples of the tenets he lost sight of momentarily. Taking everyone in the cast together, they also happen to expand on Boku no Hero’s original theme. The first season asked the question, “What is a hero?” Within this second season, it gets more specific when it now asks the questions, “What is a hero to them?” Ignoring apparent danger to save another person or fighting for a peaceful world certainly make these characters heroes. Yet, they are not all the same. Some wish to give their parents a better lifestyle. Some wish to prove their worth. Some wish to be the best. Some wish to put a smile on their face. No matter the circumstances, these characters have their goals, their hardships, and their characterizations that guide their own takes on what it truly means to be a hero. Progression on this theme demonstrates maturity in the writing and therefore a stronger direction for the anime overall. Not everything goes smoothly for the characters this season. Shigaraki, the main villain of the series, is still not a very interesting adversary despite his importance within the story. Learning about All Might’s counterpart and that guy’s involvement in these proceedings, however, introduces an interesting twist that will benefit the evil side in the long run (just not any time soon). Bakugou also receives the short end of the stick this season. His small improvements in the first season counted as big milestones for him as a person, but, over these twenty-five episodes, he doesn’t budge much from his charged, arrogant attitude. Granted, he wouldn’t be Bakugou if he didn’t yell about being number one all the time, but it seems as if Boku no Hero wastes many of its chances on him to start turning over a new leaf in favor of keeping as close to his status quo as possible. One could also, maybe harp on the anime for forgetting about specific characters after their arrival. Hitoshi, the mind-controlling boy, and Grandtorino, Deku’s mentor during his internship, are the two names that come to mind who basically disappear after they do what they need to. But that would be overly nitpicky. The anime already does a very nice job of providing its non-main characters the attention they deserve, and it expands on its main theme in a notable manner. Two traits which bolster the series to a greater degree. MUSIC & SOUND Much like the visuals, Boku no Hero’s musical choices and audio direction carry over from its first season and into this second season. The voice-acting performances persist in their range, emotion, and strength. The different sound effects for the different abilities induce variety and intrigue. And the original soundtrack relies most on its triumphant, heroic tracks when otherwise it presents an okay set of songs. The biggest change, of course, comes from the opening tracks and the ending tracks. In terms of execution, they’re unfortunately a small downgrade. However, they still bring the fun and the hype that the anime thrives on. “Peace Sign”, the first OP, meanders along with competent guitar strings, a simple drum beat, and some clapping in the background, yet the nice vocal work keeps the track from falling behind. The second OP “Sora ni Utaeba” stands as the stronger of the two. The infrequent female singer contrasts with the passionate male vocalist with her peaceful delivery, and the piano keys throughout infuse melody into the piece itself. The EDs are roughly the same. The first ED “Dakara, Hitori Janai” takes on a slightly more whimsical feel with its daintier instrumentation, multiple vocalists, calmer pace, and optimistic tone. And that last lyrical triplet before the piece concludes cannot be denied its catchiness. As for the second ED, titled “Datte Atashi no Hero.”, it ends up as the weakest of the four tracks, lagging in its song structure and general creativity. Despite these OP-and-ED combos not living up to the first season’s, a couple of the individual tracks still have their own quality aspects. Furthermore, the VA performances, the sound-effects, and the OST make up for whatever small misgivings they may incur. ENJOYMENT I must admit, the show has proved me wrong. In my review of the first season, I wrote how the supporting cast weren’t the most interesting, that “I simply don’t see them as characters that I will be remembering once the series inevitably concludes.” After watching this season, I need take back some of my words. I have always liked Ochako and Tsu, and that sentiment hasn’t changed, for the former’s kindness and the latter’s honesty usually gets me smiling. Yet a lot of the other cast members have started to win me over. Yaoyorozu is a cute, sincere girl who worries about her friends and holds a lot of pride. Iida is a respectable dude for his unending sense of justice. Todoroki is an interesting fella who now feels like one of the team. Mina is ecstatic, and Fumikage is a cool guy. Even Mei, the sidekick inventor extraordinaire, had me smiling at her passion and her love for her “babies.” Returning favorite All Might is a blast to watch as well as he goes (mostly) all out during the last arc of the season. Moreover, the Mickey Mouse president finally reveals his genius-esque Quirk (while also going slightly insane as he gets caught up in the moment). I was also happy to see Deku stop maiming himself constantly, and the budding, romantic feelings Ochako shares for him got me as giddy as giddy could be. Not to mention Midnight’s sexiness, the running joke between the granite-and-metal duo Kirishima and Tetsutetsu, and the crazy action scenes that occur with almost every single episode. To be fair, I now find Bakugou more annoying than ever (which I didn’t think was possible), and I cannot say that I have been swept up by the fervor that surrounds this anime quite yet. Even so, color me impressed. Boku no Hero Academia 2nd Season flies a tad farther than its predecessor. Worthwhile continuations to the narrative, continued success in its audiovisual direction, larger exploration of the supporting cast, and even more entertaining traits form a sequel whose popularity clearly does not go unwarranted. Indeed, the show is a heroic sibling all its own. SUMMARY Story: Great, this second season carries the torch forward, bringing back the cool elements, expanding on the hero-versus-villain motif, and following through on what has and what has yet to come Art & Animation: Good, while the core artistry still feels underwhelming, the creative designs, the awesome fight scenes, and the smaller details keep the presentation in high spirits Characters: Good, Todoroki, Iida, and many other side characters earn a ton of focus to round out the experience, they investigate what a hero means to them, but Shigaraki and Bakugou feel like wasted opportunities at this point in time Music & Sound: Good, the OPs and the EDs are a minimal downgrade from the first season, but the strong VA performances, the intriguing sound-effects, and the okay OST return without fault Enjoyment: Good, it’s nice to be proven wrong now and again Final Score: 8/10
Reviewer’s Rating: 8
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