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(This is a spoiler-free review adapted for this site)

[Synopsis]: Days before the school season draws to a close, quiet and introverted Katsuhira Agata (Kaji Yuki), his childhood friend, and a handful of other students are abducted by the mysterious Sonozaki Noriko (Yamamura Hibiku) on behalf of the Kizna Committee. The seven students are selected to become Kiznaivers - people connected by a bond of shared pain among one another as test subjects for the Kizna Committe's end goal of world peace through connecting everyone through mutual pain and suffering. With this situation forced upon them, Katsuhira and the other students have to find a way ... to understand and work with one another despite their differing personalities as their bond is tested over the upcoming Summer.

[Characters]:

Given the premise of the show, it makes a lot of sense that Kiznaiver would focus almost all of its attention upon its primary group of 8 characters and a fairly concise supporting cast. This approach worked well insofar as none of the character's felt all that underdeveloped with the exception of Hisomu Yoshiharu who was introduced after the initial introduction of the other Kiznaivers. The characters themselves are fairly archetypal at first glance - Chidori is a stereotypical childhood love interest upon introduction, Yoshiharu sports a pretty typical depiction of a masochist, Honoka is a pragmatic and distant intellectual, and the list goes on. What's interesting is how the show grows these characters out of their initial depictions into something a bit more intricate.

Though the Kiznaiver's themselves vary in depth, one thing that is certain is that their archetypal foundations do a great job in setting them very distinctly apart before the show invests time into discerning the context of their character. Their designs aid in this distinction as each of them look immensely different, causing them to stand out from one another on a visual level as well. The importance of detailing this distinction between each of the characters is that the show relies heavily upon them having contrasting and conflicting personalities and if nothing else, the show sets this up well.

Had each of the Kiznaiver's remained as they were when they were introduced in the first episode the cast would have felt overwhelmingly stereotypical and tiresome however they quickly evolved beyond this if only slightly. Though Katsuhira's lack of pain and emotions has left him quiet and introverted, he is far more observant and thoughtful than he initially appears and a good deal of the show is about him coming into a new sense of agency. Other characters like Honoka, Tenga, and Nico all have their fair share of intricacies that are contextualized and accentuated upon by the show as it explores each of them each episode - gradually revealing more and more about each Kiznaiver as they are forced to work alongside each other.

The issues that arise within Kiznaiver's cast are less to do with the different Kiznaiver's on an individual level and more about the way in which they converse and act with each other. The plot pushes them along very deliberately and the characters act out in very extreme and exaggerated ways in order to promote the drama of each scene. Certain central characters such as Chidori are left far too one-dimensional to be taken seriously, her character completely defined by her attachment and romantic feelings for Katsuhira. All in all, Kiznaiver has a distinct group of characters most of whom possess pretty entertaining characteristics however the way in which they are utilized by the plot dulls their interest considerably. They are left feeling far too hyperbolic in their interactions and the resulting drama between them thus often feels absurd.

[Art/Animation]:

Kiznaiver's art and animation is its major strength and appeal as the show possesses gorgeous visuals. As mentioned above, the character designs are very recognizable and even unique in some aspects, going a long way in further differentiating the characters visually. The animation and character movement is flashy and expressive which worked well alongside the colorful and often extreme personalities present in the show. Kiznaiver had a wonderful variety of colors within its palette as well, its aesthetics heavily contrasting against one another with a heavy thematic focus on various shades of red. The animation was vibrant and entertaining and pretty much everything one would expect out of studio Trigger.

[Story]:

The narrative and overarching plot of Kiznaiver is where the show truly falls apart. Given it's character-centric premise and early introductory episodes it would be a fair guess to say that the show itself was similarly character-driven however as its plot unfolded this became gradually less true. The plot of the show as well as its themes focus upon forming bonds of friendship, overcoming personal struggles through the help of others, and acting empathically. These themes are plenty interesting and even more so when set against such an outlandish premise such as Kiznaiver's - a setting where 7 people share each other's physical and emotional pain. The critical failure of the show is in the forced and artificial way these attributes manifest within an already somewhat vague plot.

The first episode of the show starts right into things, introducing the viewer to the Kizna system and the newly linked 6 students as it both explains the purpose of the experiment as well as their role in it. The second episode fills in the gaps as it begins to push the initially archetypal character introductions into a slightly more complicated light by forcing the characters to divulge certain information about themselves to their fellow Kiznaivers. The forced methodology that emerges becomes incredibly important as it sets the tone for how the show will behave for almost all of its future episodes. Rather than connecting the students and leaving them to organically solve their own issues or encounter their own hurdles, the Kizna committee plays an extremely active role in forcing them together and placing them in certain 'extreme' situations in order to generate data. Quickly the Kizna committee begins to feel like an unnatural writing tool for forcing drama to occur.

By episode 4 the show starts to pair off certain characters with one another and their relationships and romantic interests begin to take center stage thereafter. Kiznaiver's resulting dynamic is a show about an enigmatic and shadowy organization forcing students who share each other's pain into chaotic and ridiculous scenarios in order to develop romantic melodrama. Rather than exploring the psychological implications of sharing each other's pain or emotional states the show opts to invest itself in their romantic interests in the typical style of Okada Mari, the show's writer. The artificial way in which the Kiznaivers are placed in each dramatic moment makes it hard to take the show seriously which is very problematic given how seriously the show takes itself.

Something worth touching upon that would otherwise seem very unimportant is the presence of the Kizna committee's mascots - the Gomorin. Their appearance is very cartoonish compared to the rest of the character designs which makes a lot of sense given their mascot-esque nature however it is their chronic presence in all of the dramatic scenes where they truly feel out of place. In essence, they are used by the Kizna committee to incite moments of dramatic tension by attacking the students or chasing them in some manner which is perhaps the most obvious insight into how artificial the plot progression of the show is. Despite setting no precedent for being dangerous or harmful, the Kiznaivers overreact to them, essentially draining the scene of any possible dramatic tension given the non-threatening appearance of the Gomorin and the scene's straightforward progression.

With all of that said, Kiznaiver is not completely bereft of good scenes and there are a few engaging moments throughout. The characters themselves are highly entertaining however it is the exaggerated and overly-sentimental scenes they are forced into that makes many of them fall flat.

[Music]:

Considering the nature of Kiznaiver its soundtrack behaves as one might expect - emphasizing the drama of its scenes with given tracks and otherwise providing a fairly standard backdrop for the show. For me, there weren't any particularly memorable tracks.

[Final Thoughts and Rating]:

In summary, though Kiznaiver might hint at something more complex and compelling through its premise and initial episodes it quickly devolves into a rather incoherent story focusing on teenage melodrama. I myself am not a huge fan of Okada Mari's writing and so I may have disliked the show more than one normally might and perhaps fans of her other works would be able to overlook certain aspects of the show and enjoy it to a great extent.

Rating: 4

I gave Kiznaiver a 4 because the way in which it attempted to conjure up a dramatic atmosphere felt forced and inorganic in how it was narratively presented. Though a handful of its characters were fairly entertaining, its cast also had a few one-dimensional and overly exaggerated characters which detracted from the cast. The visuals were terrific however they didn't dress the show up well enough to the point that its narrative and thematic issues could be overlooked, not that they ever could have.

[Recommendations]:

Those who have enjoyed Okada Mari's work in the past will likely enjoy Kiznaiver as well as the dialogue and themes are quintessentially her. Similarly so, fans of melodramas like Kokoro Connect, Nagi no Asukara, and AnoHana will probably find that Kiznaiver lies within their interests. Those who don't care for considerably sentimental character interactions and plot developments may want to pass on the show.

(This is a spoiler-free review adapted for this site)

[Synopsis]: Due to a recent string of mysterious incidents involving a great, white tiger, Nakajima Atsushi (Uemura Yuto) is evicted from the orphanage that has served as his home his entire life. Left both homeless and penniless, Atsushi happens upon a drowning stranger whom he rescues from a nearby river. The man turns out to be Dazai Osamu (Miyano Mamoru) who, along with his partner, happens to be searching for the white tiger responsible for Atsushi’s predicament. Dazai himself belongs to the Armed Detective Agency – a group of people possessing supernatural abilities that solve especially violent ... crimes and combat underworld organizations. Following Dazai’s lead, Atsushi is quickly entangled with the agency and the menacing Port Mafia as he struggles to find his place in the world.

[Characters]:

Bungou Stray Dogs features a fairly small cast, comprised mostly of the various members of the Armed Detective Agency, the Port Mafia, and a few episodic characters besides. Perhaps the most key feature of the show’s cast is that each character’s name serves as some reference to a renowned author or poet with most of the references stemming from modern Japanese literature. This relationship between author and character is an ongoing element within the show and often certain personality traits or actions associated with the authors are exhibited by their respective characters in varying degrees.

While this aspect of the show sounds both interesting and engaging the manner in which it manifests is very lackluster and sometimes even problematic. The actual depth of reference the characters pull from their real-life counterparts is very shallow with most characters simply borrowing their names with their abilities often titled after their author’s most pervasive work. Beyond this the characters don’t seem to have all that much depth to them and hardly borrow from their referenced authors in either a thematic or intelligent way. What could have been a complex and intricate parallel of ideologies and themes becomes no more than a slew of referenced names. My own familiarity with each author is incomplete and there are occasionally thematic parallels that arise however for the most part the show is quite shallow in how it pulls off this would-be-interesting characteristic.

Though the actual depth of Bungou Stray Dogs’ references is questionable, what issues arise within the show’s cast lie with the characters themselves on an individual level. In terms of characterization and how the character fits into the show, Dazai Osamu is possibly the biggest offender. Whether it’s his passion for attempting to kill himself over and over again and comically failing each time or his desire to find a partner for his ideal double suicide, Dazai presents an incredibly unappealing character. Beyond the fact that paralleling the real Dazai Osamu’s relationship with suicide and its presence within his works by turning it into a poorly constructed gag is the height of insensitivity, the gag itself makes absolutely no sense. The very fact that a character is continually trying to kill themselves yet both fails to actually do so and will fight for their own self-preservation runs completely opposite of whatever poor characterization could be drawn out of Dazai’s ridiculous character. In a number of ways, Dazai is representative of how the show handles its references – in a loose and often unintelligent way.

The protagonist of the show, Nakajima Atsushi doesn’t fare much better than Dazai in terms of characterization. From the beginning of the story it is quite clear that he has themes of rejection and belonging after being tossed out of his orphanage. He feels out of place wherever he goes and undeserving of anybody’s interest or compassion. This is a decent start and he does develop over the course of the show, slowly coming to terms with his place within the agency and accepting his coworkers however this is not achieved without some hitches. For one, a certain flashback of his dismisal from the orphanage is often queued whenever the show attempts to discuss the themes surrounding Atsushi and its over-usage quickly becomes tiring. The same exact sequence plays multiple times an episode for more than half the series and its pervasiveness gives insight into the show’s complete inability to characterize Atsushi outside of paralleling his predicament at hand with the scene in question.

Though I’ve highlighted Dazai and Atsushi specifically here, the rest of the cast isn’t a whole lot better. Atsushi doesn’t really play off of his coworkers at the agency as much as he predictably reacts to them in given gag scenarios. The Port Mafia, despite their initial introduction, is continuously undermined as an antagonistic enemy as their plans are foiled relatively easily which cuts the tension surrounding them considerably. And lastly, the show’s cast is chronically over-involved. Bungou Stray Dogs tends to shy away from introducing new characters once each story gets rolling which causes the subsequent events to feel extraordinarily coincidental and predictable at times when the same characters keep wrapping around into relevance.

[Art/Animation]:

Bungou Stray Dogs’ animation is perhaps its only worthwhile attribute. Though it fails in various ways elsewhere, the art style is crisp and unwavering while Bones presents beautifully animated action scene after action scene. The fight sequences are very high quality though they are actually rather sparse for the greater part of the show – growing far more frequent after around episode 8 and on. Despite its subject matter, a lot of the show features slapstick, physical comedy and various gags which utilize a slightly more cartoonish aesthetic. Though these gags still look good visually, they are rarely funny and often only serve to disrupt the scene at hand.

[Story]:

The first episode of Bungou Stray Dogs is fairly slow paced as it introduces the viewer to Atsushi, Dazai, and Kunikida as well as the existence of the Armed Detective Agency and their supernatural powers. It isn’t a bad introductory episode but it doesn’t present much of a hook into the show either. The shock comes with the arrival of the third episode as it features the show’s first real action sequence. The episode as a whole is surprisingly bloody and ruthless despite the two proceeding episodes of mostly repeated gags between Atsushi and Dazai. This episode was actually a pretty good introduction into the brutality of the Port Mafia which would later be undermined repeatedly however its the show’s earliest insight into Bungou Stray Dogs’ biggest, critical problem.

After the early introductory episodes, the show plays out in somewhat of an episodic fashion – featuring Atushi as he tries to find his place within the agency and one of the various detectives that work there as they team up to solve various mysteries and cases. There isn’t much of an overarching plot though the Port Mafia’s interest in abducting and selling Atsushi is a recurring part of the story for most of the show. The stand-alone episodes aren’t terribly interesting and the featured mysteries leave a lot to be desired as their outcomes often felt predictable or coincidental.

The major failing of Bungou Stray Dogs is in how poorly it marries its two establishes tones as its subject matter involving murders and underground crime organizations clashes against its style of comedy giving way to very polarizing scenes. The show undercuts whatever real drama or tension it is able to conjure up with its rampant character gags. A police woman is shot in cold-blood and washed away by the river and her senior and subordinates are visibly torn up about it. Dazai then cuts into the scene, mourning the loss of her beauty and says she should have committed a double suicide with him instead. Not only does it continuously set precedent for generally tension-free scenes but it does so by utilizing the stupidest gag in the entire show. One second the show pokes fun at Kunikida’s ideals and Dazai imbibes hallucinative mushrooms and the next moment people are being forcibly drowned, gassed to death, and killed as products of a black market organ trade.

The extremes are too huge and the comedy is too gag-oriented and dumb to allow for the viewer to take any of the more gruesome scenes seriously. The show tries wholeheartedly to be dramatic but completely fails due to its cast of primarily comedic characters who simply aren’t capable of executing a serious moment either because of their exaggerated nature or comedic tendencies.

[Music]:

The soundtrack didn’t stand out to me very much and mostly served to reinforce the two prevalent atmospheres of the show. The music supported the show’s comedy and action from the background without ever becoming too prominent or memorable itself.

[Final Thoughts and Rating]:

Looking at Bungou Stray Dogs as a whole, I would warily say it has potential to be more than what it is. The show element of referencing various authors and imparting various attributes from them and their works into the characters is a very compelling idea at face-value and if it could make better thematic use of the technique I think it could yield very interesting results. With the next season already around the corner I have to wonder if perhaps the show would do better outside of the format of exploring individual members of the Armed Detective Agency each episode and instead attempted to tackle something a bit grander and more comprehensive. With these hopes in mind, the show has to find a place for its comedy and I think if it cut it entirely it would have a fair chance at becoming something worthwhile however I doubt this will come to pass.

To add a quick note about whether or not it’s worthwhile to be familiar with the referenced stories and authors beforehand – I don’t think there is much benefit to it currently. I was familiar with probably over half of the authors mentioned and a moderate amount of the literature alluded to and outside of a few shallow comparisons between characters and how the show aesthetically designed their abilities, there wasn’t much extra benefit to the knowledge so I wouldn’t urge prospective viewers to familiarize themselves unless they wanted to.

Rating: 4

I gave Bungou Stray Dogs a 4 because its cast had either poor or uninteresting characterization, its story had a variety of problems, and it was very conflicted tonally causing. Its later action sequences and slight movement away from the rampant comedy of its earlier episodes improved its second half by a small margin along with the overall quality of its animation.

[Recommendations]:

I would recommend Bungou Stray Dogs for its action sequences and animation above all else. Though it has its fair share of narrative issues and a cast of problematic characters, its visuals are quite strong all throughout. I didn’t enjoy the comedy of the show however one can tell whether or not it appeals to them by the time the first episode finishes.

(This is a spoiler-free review adapted for this site)

[Synopsis]: After his release from prison Yotarou (Seki, Tomokazu) seeks an apprenticeship in Rakugo from Yuurakutei Yakumo (Ishida, Akira), a renowned master of the art who was known as Kikuhiko in his earlier years. After some coercing the elderly master accepts him as his first pupil and through Yotarou’s personality and the style of his developing Rakugo, Kikuhiko is reminded of somebody from his past. Shouwa Genroku Rakugo Shinjuu is the story of Kikuhiko’s upbringing alongside his friend and fellow apprentice Sukeroku (Yamadera, Kouichi) and how their relationship with Rakugo and each other shaped their lives.

[Characters]:

Where better ... a place to start discussing Shouwa Genroku than with its phenomenal main characters alongside their almost equally incredible supporting cast. Due to the overall strength of the show it is hard to say whether or not its characters are its greatest accomplishment however I think it is fair to say they are its most integral element. The show hosts a great many carefully developed personalities even among its less important cast members and the way it weaves complicated sentiments and emotions together is not only believable but genius. What at first manifests as something as simple as animosity quickly transforms into a mixture of respect and admiration all the while mingling with biting jealousy – the way in which Shouwa Genroku’s characters behave is intricate and conflicting and subsequently are the characters themselves.

The protagonist of the show, though he does not truly appear until the second episode, is Kikuhiko who is a wonderfully compelling character. While at first he dislikes Rakugo because his tutelage under the 7th-generation Yakumo master represented the end of his previous desire to be a dancer, he steadily grows to enjoy performing it over time. He attempts to find his own voice within the medium, competes for recognition and improvement against his friend Sukeroku, and at times feels like he is wasting his time entirely in Rakugo yet proceeds none the less in a manner than can only be described as extraordinary organic. Kikuhiko, along with the rest of the cast, is fantastically authentic as a character and watching them all play off one another is both immersive and entertaining. It is also worth noting that, while Ishida Akira is a voice acting legend by this point, I believe his performance in this role to be his best work by far. The subject matter of the show and its many Rakugo presentations require a very artful and diverse approach and he delivers an absolutely stunning performance.

Sukeroku is a similarly outstanding character who’s characterization further emphasizes the complexities at play within Shouwa Genroku’s cast. Kikuhiko is introverted, self-conscious, and unsure of himself while Sukeroku appeares effortlessly talented yet wild and carefree almost to the point of his behavior becoming hazardous. The two men couldn’t be more different yet they find common ground time and time again not only through their shared love of Rakugo but in other aspects of their lives as well – their relationship is the dramatic meat of the show and it measures up to the emphasis placed upon it by the show in excess.

In the end, practically every notable character in Shouwa Genroku is memorable. Roles that may have been left undeveloped in other shows are explored excellently through the subtext of the show’s character interactions and dialogue rendering the entirety of the show’s cast meaningful and interesting rather than solely its powerhouse main characters. People are rarely black and white, they are conflicted and volatile – susceptible to changing in each mood and meeting and Shouwa Genroku illustrates this perfectly.

[Art/Animation]:

The name ‘Studio Deen’ over the years has effectively become synonymous with art and animation issues due to frequent quality drops and problematic adaptations throughout their history. That being said, I almost find their past missteps entirely forgivable in the face of Shouwa Genroku’s incredible visual delivery. Not only is the art style crisp and consistent but it is particularly interesting because of its imaginative use of colors, expressions, and character motion. The aesthetic of the show is highly reminiscent of shows like Aoi Bungaku which is wonderful for establishing a very authentic-feeling setting.

At premise the idea of Rakugo presents more of a problem than anything else – the orator is practically immobile when telling their story and the length of many of the classic Rakugo narratives means that the situation will be prolonged for quite a while. How then do you make Rakugo visually compelling to watch beyond merely the character’s performance? Deen answers this question brilliantly in a number of ways, many of which showcasing the strength of the medium in regards to exhibiting these performances. The expression work for one fits very well with the idea of a single character portraying multiple roles within Rakugo – the shift in character expression is one of many telltale signs that the orator is switching between characters and the show’s diverse selection of expressions makes these portrayals all the more impressive.

The imagery of the show surrounding its Rakugo elevates its visuals to the next level. Using shot reverse shot of a singular character further illustrates their swapping of roles however this technique is used sparingly enough as not to become one-dimensional or corny. The close-up shots of the character’s expressions during the performance strike a great balance between the slew of differently personalities being performed and the actual mood of the performer. Seeing Kikuhiko and Sukeroku bleed through in their performances without dropping character is brilliantly balanced. Lastly, the show makes use of fictional imagery to accentuate the legitimacy of the performance. Light can be shone through a non-existant window when the character opens a door or peers outside and the environment surrounding the orator may change to different locations yet the performance remains cohesive. Shouwa Genroku goes beyond providing incredible visuals and tells the story in a way that could have only been done within the medium at hand.

[Story]:

The narrative of Shouwa Genroku is just as impressive as its characters and visuals and plays to its strengths by emphasizing its character drama. The pacing is slow yet never unexciting allowing for it to play out almost full Rakugo performances which are one of the show’s primary means of exhibiting character growth and change. The show itself is quite dramatic however the lighthearted subject matter and punchlines within Rakugo provide the show with excellent flexibility between the two moods.

Alongside presenting highly compelling character chemistry and development Shouwa Genroku asks provocative questions through its narrative. Is an art form something lofty and objective or is it something that should cater to the pleasure of the audience? Do you protect tradition or do you venture something new and perhaps save the very art form you practice? Must you practice something in its original form even until it dies away or should you break its conventions and bring to it new life? These queries and themes are explored at length through the interactions and ideologies the show’s characters providing offering an additional intellectual element to the show’s already ingenious design.

[Music]:

Initially I felt that the music of the show was merely a backdrop for the fantastic setting and scenes transpiring however as Shouwa Genroku progressed its importance and effectiveness became more evident. While at first unassuming, the soundtrack drums up the pace of each scene. The atmosphere, the mood, the character’s internal thoughts – everything. The relaxed, jazzy influence of the music fits well with the pacing of the show, quickening and swelling at moments of tension or severity to accentuate the attitude of the scene. It is used sparingly and never overwhelms the show’s visuals, providing a fantastic juxtaposition that underscores the importance of each development.

[Final Thoughts and Rating]:

Shouwa Genroku is artistic, it is emotional, it is brilliant. Each component of its structure is as strong as the last and it tells a gripping story full of wonderfully written, complex characters set against incredible visuals. Though I made mention of Ishida Akira earlier the show features a number of outstanding vocal performances as its subject matter lends itself so well to the exhibition of that talent.

Rating: 10

I gave Shouwa Genroku Rakugo Shinjuu a 10 because of its fantastic qualities across the board. Its characters were wonderfully realistic and compelling, the story being told was captivating, and the visual approach of the show was highly entertaining. While not without flaws the countless successes it enjoys far outshine any of its missteps.

[Recommendations]:

I would recommend Shouwa Genroku to anyone interested in character-dramas who aren’t turned off by methodical pacing. The comedy of the show comes secondary to the development of its characters and the drama of their interactions however the show does possess a certain carefree levity that might appeal to people looking for something relaxed yet upbeat.

(This is a spoiler-free review adapted for this site)

[Synopsis]: High School student Tatewaki Shoutarou (Enoki, Junya) led a normal enough life until he met Kujou Sakurako (Itou, Shizuka), a beautiful, young woman and genius Osteologist who is endlessly fascinated with bones. Together on their outings they always seem to chance upon human remains after which it falls to the unlikely duo to discern the story of the bones and solve the mysteries they present.

[Characters]:

Sakurako-san focuses almost entirely on the explorations and interactions of its two protagonists while intermittently featuring recurring supporting characters alongside a primarily episodic cast. The show’s attention to its main characters is ... well founded as none of the supporting cast receives much in the way of characterization beyond their own independent installments.

The first episode of the show does a great job of introducing both Shoutarou and Sakurako – you get a strong sense of each of their personalities and dynamic of their relationship. Shoutarou is typical enough as far as high school students are concerned and his ordinary outlook and design serves as a point of contrast to Sakurako’s stranger perspective on the developments of the show. As a layman he serves as our investigative eyes into Sakurako’s world of bones and murder mysteries. He avoids feeling cliche in a number of ways however perhaps the most interesting is the straightforward nature of his attraction to Sakurako – the two make great friends outside of the realm of romance and seeing such skin-deep and hormonal elements at play in their relationship was refreshing and unique. While Shoutarou certainly had a place in the show initially it felt like he was quickly dispensed into becoming a sort of straight man in opposition to Sakurako’s outlandish assertions and blunt nature. Its one thing to have him keep her in check and keep the story grounded however something else entirely to simply point out the eccentricities of her behavior as if to remind the audience that her actions are something other than typical.

Sakurako on the other hand I felt quite compelling all throughout for a myriad of reasons. For one thing I thought that having a slightly older heroine was refreshing but moreover her personality, a marriage of the smug intellectual with near-childish enthusiasm, was a great deal of fun given her age and vocation. Its always a pleasure to see an emotive, adult character and Sakurako exhibits great reasons for why she acts the way that she does. She is distant emotionally and generally isn’t phased by sentimental attachments which go well with her logical persona. Her brand of morality is slightly warped by her logic and practical mindset but something more human and emotional seems to be stirring under the surface which gives her a wonderfully complex and genuine feeling. To speak to her one fault within the show, it rests outside of her actual characterization and instead with the way in which she interacts with the plot of the show. The first episode does well in establishing her area of expertise – making her out to be not only fanatical about bones but incredibly knowledgeable about them as well. The problem that arises is that it often feels as if Sakurako is perhaps ‘too knowing’ at times.

It is quite well figured that she knows what she does about bodies and murder scenes given her interest in bones and her familial relation to a forensics investigator however when the terrain shifts towards that of the artistic and even the religious she seems to sport the same wicked intellect without skipping a beat. The show occasionally treated her more like a resource of absolute information in order to tell the story instead of an individual with concrete knowledge and expertise. She often became a font of uncommon knowledge rather than a character with intellectual limitations. Little is done to lampshade this character trait and so its awkward presence goes more or less unanswered within her overall characterization.

[Art/Animation]:

I quite enjoyed the visuals of Sakurako-san and the first episode opens with an exciting sequence of animation and colors. The character designs and some of the environments are highly reminiscent of TROYCA’s other work Aldnoah.Zero however I felt that Sakurako-san gave a familiar aesthetic new life. Its definitely safe to say that the show is very pretty – it has a great variety of colors and plenty of wonderful scenery ranging from incredibly detailed houses to vibrant forests.

Something I felt Sakurako-san did especially well was animating facial expressions and character movement which were used effectively to convey emotions and add some much appreciated legitimacy to the actions and behaviors of otherwise plain, supportive characters as well as the main cast. Another minor thing to note relates back to Shoutarou’s seemingly adolescent attraction to Sakurako as discussed above. The show hardly busies itself with fan-service however the camera work surrounding Shoutarou’s perception of her I thought was an intelligent addition to the show and their chemistry. The camera shots of Sakurako’s cleavage and exposed stomach in different episodes do a great job of emphasizing his surface-level, sexual attraction to her. These scenes avoid feeling like true fan service due to their highly intermittent presence and inconsequential nature but present what I thought was a refreshingly straightforward take on a characters attraction to someone else.

[Story]:

Like many mystery shows before it, Sakurako-san unfolds in a fairly episodic manner with the majority of the episodes being standalone stories of Shoutarou and Sakurako’s adventures. The two certainly share something resembling a Sherlockian dynamic though Shoutarou may leave a bit to be desired in this comparison while Sakurako measures up quite well given her ability to pick out minute details concerning the bones they discover. The show at first seemed interested in developing certain themes such as stagnation and the passage of time however I felt these things were quickly forgotten after the first episode and though the final episode attempts to resurrect these ideas they appear highly non-relevant and jumbled.

The early episodes I felt were enjoyable and the manner in which Sakurako went about solving the mysteries felt unique and interesting because of how she derived most of the information from the bones she found. I remember episode 4 particularly well as it was quite slow paced and very methodical in its detailing and conversation which made the character interactions and behaviors feel especially realistic. My main gripe with the plot of the show is in how, even early on, it begins to establish something more overarching and significant than the individual mysteries but never finds the time to actually capitalize on that area of the story. There appears to be something linking together many of the victims and situations that Sakurako and Shoutarou encounter but rather than building up the eventual conflict with minor details scattered throughout and delivering a final, more imperative story in respect to the show’s main characters, it simply peters out without addressing anything.

Normally I would at least somewhat forgive a show in Sakurako-san’s position if it were simply a case of the show not having enough time to tell the story that it wanted to however given a handful of episodes that I didn’t feel were all that interesting or even relevant in the midsection of the show I can’t help but feel it squandered what time it had. Some episodes for instance were of no import to the characterization of the protagonists or the overarching mystery behind many of their adventures. These would feel far more at home in the show had it not split its ambition in this way and proceeded either concisely with a significant end in mind or purely on a standalone basis without attempting to develop something greater than itself. This isn’t to condemn the show’s episodic nature due to its inability to deliver something of greater import before the end because I think a majority of the episodes were entertaining in and of themselves.

To make matters somewhat worse, the show ends on a somewhat odd note – not in the cliffhanger sense but rather it left me feeling as if the episode could have been utilized better. It focused primarily on Shoutarou and a dilema of his that didn’t have much prefacing within the show or even much reason to give it consequence. The show arrives at a somewhat disappointing conclusion after eluding to a figure behind the otherwise independent events of the show and just before pulling back the curtain greets the viewer with a contextual flashback episode that attempts to answer questions that were never asked in the first place. The episode itself is alright in respect to the characters however it felt as if it could have taken place at any time during the show.

[Music]:

The show’s soundtrack was pretty enjoyable all throughout and matched the show’s atmosphere and subject matter well though, outside of its main theme which seemed to reappear at some point every episode, I didn’t feel any of the music was too memorable.

[Final Thoughts and Rating]:

Sakurako-san was a show that initially had me quite excited because of its early episodes, Sakurako’s characterization, and her chemistry with Shoutarou. While the mysteries were fairly interesting there was an unpleasant tendency exhibited by the plot where it would wrap back around to supporting characters it had already introduced in highly improbable ways resulting in a myriad of more or less standalone stories feeling far more self-contained than they had any right to be. It felt unbelievable, especially for a mystery show.

Rating: 6

I gave Sakurako-san a 6 because it had wonderfully unique main characters, a flashy, vibrant aesthetic, and a handful of interesting-enough short mystery stories that kept my attention. It fell short of higher scores because of its failed attempt to create something more substantial and its lackluster supporting cast along with its needlessly self-contained narrative progression. Ultimately it was more fun watching Sakurao with her brash interactions and childish enthusiasm than anything else.

[Recommendations]:

I would recommend Sakurako-san to anyone interested in a decent mystery show with a fun heroine character though I would warn that it is the kind that reveals the details of its mysteries by means of its characters rather than allowing them to be picked up on by its viewers and pieced together beforehand, foreshadowing aside.

(This is a spoiler-free review adapted for this site)

[Synopsis]: During his coming of age ceremony Oz Vessalius, the 15-year old heir to the house of Vessalius and one of the four great duke houses, is set upon by hooded strangers who condemn him for the sin of being alive and banish him into the depths of 'Abyss,' an otherworldly dimension out of lore and legend. Desperate to return home, Oz happens upon a chain, one of the denizens of Abyss, by the name of Alice whom he makes a contract with in order for them both to escape and discover for what sin he was ... banished for, the contents of Alice's missing memories, and the true nature of Abyss itself.

[Characters]:

The cast of Pandora Hearts is fairly small and mainly features the members of Pandora, the organization which Oz and Alice join which manages illegal contractors and searches for information pertaining to Abyss. The main cast was highly self-involved in that a great many of the character interactions and dialogue took place between the same 5-6 people which worked well if the viewer enjoyed the characters on screen but poorly if they found them unrelatable or tiring.

Alice's contractor and the protagonist of the story, Oz is a bit of a mixed bag when it comes to his characterization - succeeding in some areas while appearing pretty plain or boring in others. He is kind and cheerful and more or less par for the course insofar as he is the lead of a shounen anime however there are a few character traits that set him apart; for better or for worse. One thing that the show draws specific attention to, especially in the latter half of its run, is Oz's selflessness and its impact on his friends. Like many other lead characters he is quick to take the bullet for someone else and exists somewhere between being heroic and suicidal however Pandora Hearts offers a fair critique of his mindset and it can be self-serving and problematic. In this way, Oz presents a fairly compelling character with potential for development and a strict ideology by which he lives but this is where his uniqueness more or less ends. His only other noticeable character trait is that he adapts to situations quickly and takes them for granted and while this isn't something that all that many characters exhibit it plays out in an unpleasurable fashion making it seem more like he is detached from the proceedings rather than coming to terms with them. Oz receives adequate character development however because of how the show plays out it would seem the bulk of his development exists beyond the last episode which is unfortunate.

Alice, the renowned Black Rabbit and the chain who is contracted to Oz, doesn't quite offer the same potential that her contractor does. While Oz has some pros and cons to his characterization, Alice is pretty plain and whatever strengths the show attempted to attribute to her where trivialized by how it ultimately handled her as a character. Upon introduction she is brash, powerful, and mysterious - she claims Oz is her servant much to the dismay of Oz's actual servant Gilbert and is desperate to find her missing memories in order to discover who she really is. At face-value this sounds like a great character and she might have been had the show treated her better. Her earlier forward and blunt attitude is quickly warped to the point where most of her interactions with Oz in the mid and late section of the show mirror that of a tsundere rather than a genuine, lonely, sorrowful person like the show makes her out to be beneath the surface. She is reduced from a powerful being from another dimension to the jealous and doting love-interest in a relationship that didn't have a whole lot of reasoning behind it. Oz and Alice are similar in several ways and they could make a good romantic couple however their characterization didn't play out well in this regard and they both felt further stereotypical within their roles because of it. Furthermore, because her search for her memories somewhat disappears for a while as the plot ventures elsewhere, the show seems to lose track of what to do with her as a character and so she receives a great many of the show's cute and comedic bits which again contrast poorly with her supposed solitary and depressed self.

The rest of the main characters are fairly decent and each offer compelling enough backstory however they are often overruled by the screen time of Oz and Alice and characters like Xerxes Break don't get any real insight until pretty late into the show. All in all the main two characters were pretty poor with Oz offering a few points of redemption while the remainder of the cast was more interesting yet eclipsed by nature of their role within the story.

[Art/Animation]:

The art and animation I felt were pretty typical - capable of presenting the story and its characters in coherent form yet failing to do so extravagantly or in unique ways. The character designs vary from fairly muted and normal like in the cases of Oz and his uncle to fairly outlandish such as Break and the Cheshire Cat though all of them fit well within the gothic aesthetic established by the show and so at the very least the style present is consistent and in-theme. The animation itself was standard and there weren't many places where it either improved or declined and so it was safe in this way while failing to excite me as a viewer outside of a rare few instances.

[Story]:

While the characters may have proved a source of wasted potential amidst a few infrequent successes the story is much the same though perhaps greater in scale in its dichotomy of pros and cons. Like Alice, the premise of the story and the world at first glance appears quite interesting as a great many mysteries arise early on that kept me wanting to know more all the way through - the show worked well in this way, providing engaging questions which I wanted answered. To upend this compelling attribute, the show spends very little time resolving or adding to these mysteries, only visiting them during infrequent, climactic points of the show and never concluding them in full but allowing them to hang unresolved. This would work fine if the show offered engaging beyond these mysteries with which to satisfy its viewer however this is not the case and what I found to be the most interesting part of the show trails off into obscurity while the show itself spends its time on ultimately trivial things.

To speak more extensively about one of the plot's major issues, the pacing of the show, especially in its latter episodes, is troublesome at worst and by the ending 3-4 episodes is outright appalling. The climax of the show arrives without any preface given to either its reason or context within the show and plays out uninterestingly with no major players or antagonists to be found despite the show featuring more than a few of these. The beginning of each episode in the final episodes of the show jumps location so often and with so little preface that it often led to the initial feeling that I had skipped an episode by accident however this was not the case and the setting of the end of the show presents itself with neither preamble nor prior reasoning.

With that all said and done, the show does provide an interesting set of mysteries that kept my interest but between the pacing of the show, the out of place characterization, and the overall lack of nearly any resolution the plot and story fall flat for me despite what strengths it brings to the table.

[Music]:

The music was far and away the strongest element of Pandora Hearts and was composed by the brilliant Kajiura Yuki. To those like me who aim to pick up this show almost entirely because of her presence in it I would say that she delivers exceedingly well however her work does not make up for the show itself. Kajirua's work goes well with the gothic aesthetic of the anime and the many strings and forlorn melodies of the soundtrack mirror the tragedy and sorrow of some of the show's major plot points beautifully.

[Final Thoughts and Rating]:

Pandora Hearts for me was unfortunately one of those cases of wasted potential where the premise was good and the characters, at face value, could have been truly interesting and compelling in their own right but the show wasn't able to live up to what it was capable of. The main characters felt highly stereotypical for their roles as the shounen hero and heroine and offered little in redemptive qualities for their shortcomings and because of this the show felt all the more forgettable when in many other circumstances it would have avoided being so.

Rating: 5

I gave Pandora Hearts a 5 because it took what could have been an interesting story with compelling characters and twisted into something less than enjoyable - the show made less and less sense as it continued on and the more interesting characters and the world itself took a backseat to the forced antics of Oz and Alice. The show might be worth a watch due to its mystery elements and its musical score however I don't feel that many viewers would arrive at the end feeling sated in any way.

[Recommendations]:

I would recommend Pandora Hearts to fans of mystery and more specifically fans of the gothic aesthetic as the mystery elements of the show are where it most succeeds and the visuals mirror the tone and setting well. The relationship between Alice and Oz is hardly worth picking up in a romantic sense as their are far more legitimate and entertaining stories than Pandora Hearts in this regard and the action sequences of the show are both intermittent and dull in their execution.

(This is a spoiler-free review adapted for this site)

[Synopsis]: At the young age of fourteen Arslan (Kobayashi, Yuusuke), the crown prince of Pars and son of King Andragoras III embarks on his maiden battle against Lusitania, a neighboring country, where he loses everything. The Lusitanian forces overwhelm the formidable Parsian army through trickery and deceit and Arslan's once glorious kingdom falls to the invaders. Bereft of both allies and a home to return to he and his trusted retainer Daryun (Hosoya, Yoshimasa) venture onward from the battle and begin gathering heroic allies to their cause in an attempt to take back Arslan's throne and recover ... the capital of Ecbatana.

[Characters]:

In classic form of the historical drama genre, Arslan Senki offers a large host of characters - Arslan's own company featuring as many as seven diverse characters ranging from a master tactician in Narsus to a priestess of Misra in Farangis. With that said, the show is heavily focused on Arslan as its story most primarily concerns his growth as a person and as a leader and the actual development and characterization of those close to him and those he encounters on his journey take a back seat to this. Each individual character is introduced with a compelling enough template for them to get by within the story and a good many of them do well within the show as they are presented such as Narsus and Daryun who are appealing due to their logical thinking and overwhelming strength respectively.

Arslan himself is quite interesting in terms of characterization however the show mishandles him in some ways that ultimately cheapens his growth and maturation. In the beginning of the show we are introduced to a fledgling prince who, despite being kind and eager to learn, is ignorant of the outside world in relation to the kingdom of Pars. He is ineffective with a weapon on the battlefield and lacks faith in himself and so all in all he represents great opportunity, if not a little too obviously so, to grow as a character. The show develops him quite well at first, translating his willingness to learn and improve upon himself while still being young well into his character's actions and dialogue. One chief example of this is in his initial thoughts on slavery - rather than agree with Narsus who claims that the slaves of Pars should be freed and that it is wrongful to enslave them in the first place, he takes the sentiment into account but reserves his ultimate judgement on the matter despite feeling the same way. This reservation of character speaks volumes about Arslan in that he is aware of how ignorant he is of the greater implications of these grand decisions and his reticent attitude towards them is an engaging attribute.

Though Arslan was characterized quite intricately early on, we see this dull over time as his beliefs become more resolute and he lacks the deliberation and carefulness he featured early on. In some ways this was a way for the show to mature him however a great many of the earlier concerns such as the implications of slavery within the kingdom are dismissed rather than decided upon in an intellectual way. Alongside this inability to follow through on earlier character traits, Arslan acts incredibly foolishly at times in part due to his kind-hearted nature combined with his initial innocence however these actions seem awkward and out of place in the latter parts of his story. I think that ultimately Arslan turned out to be an interesting character though his mismanagement hurt the show for me a good deal due to its heavy reliance on him rather than other members of the cast to produce compelling dialogue and further the story.

To add a quick note concerning the rest of the cast, a decent number of them are quite compelling and fit well within the world such as the enigmatic and twisted 'Silvermask' or the traveling musician and rogue Gieve however there were a choice few characters that impacted the story and the setting very poorly and damaged the cast irreparably. In the historical drama setting most of the characters presented made a lot of sense but the show also introduced a handful of characters such as Elam, Alfreed, and Etoile who felt out of place among the other cast members and within the world itself. They each occupied more typical character archetypes than the rest of the cast and the effects of seeing an otherwise engaging dialogue be thrown off by a stereotypical 'tsundere' dynamic grew increasingly more tiresome. Furthermore, these characters didn't have a whole lot of purpose behind them and it constantly felt as if events warped themselves in such a way in order to give them some form of relevance. As much as I'd like to say that the positive elements of Arslan's characterization and a few other characters made the shortcomings of these people trivial, this was not the case and they were provided with more than enough screen time to often detract from the setting and story.

[Art/Animation]:

While Arslan Senki stumbled a bit in terms of its cast and their characterization the greatest weakness of the show was in its art and animation. Though the show presented a good few scenes of high quality animation over the course of its full 25-episode run, far too many of the episodes faltered extremely noticeably in character design, movement, and general art style. This is saddened all the more by the presence of Arakawa Hiromu's designs which were otherwise quite appealing and in her classic style where the quality drops affected them to the point that the characters did not even resemble themselves at times. The art direction wasn't all that bad and there were a handful of interesting shots each episode but the execution was what truly marred the visuals of the show and the quality drops were so frequent and so noticeable that I can list no more significant and impactful shortcoming of the show than this.

As if to make matters worse, Arslan Senki also relied a great deal on CG in order to deliver its farther reaching scenes such as its great battles and countless banners of horsemen. Due to the historical setting of the show this was definitely a case where the usage of CG was due to either budgetary concerns or because of their difficulty of execution rather than to achieve a certain aesthetic by means of the CG. Arslan Senki did not make good use of this technique, especially early on - the CG soldiers and horses pop out of the frames far too noticeably to be forgiven and I found that they constantly broke whatever immersion the show could offer with their sharing of the same face, their robotic movement, and their general aesthetic delivery. I will give credit to the show however for its improvement in this category in the latter episodes however - while the show does not actually improve within this technical aspect it does do a far better job at times masking the presence of the CG by using fast, zooming, overhead shots of the battle and darting between the soldiers at ground-level as they clashed. The quality drops and poor implementation of CG hurt the show a good deal and I wouldn't recommend the show to anyone who gets annoyed by these things as they were highly noticeable and consistently resent.

[Story]:

The story of Arslan Senki was perhaps the area in which it showed the most potential and where it most succeeded. The idea of a coming of age story involving a prince and a return to his kingdom is by no means an original story however Arslan sets itself apart in several ways by raising interesting questions early on concerning the nature of Arslan's enemy and Arslan's own lineage. Alongside this the story does a good enough job nurturing Arslan and teaching him new things in order for him to grow as a person and a leader though at times this appears a bit hamfisted but is forgivable due to the purpose of the show.

The story of Arslan lends itself well to its world and setting as the places and countries all feel legitimized within the plot after their introduction and the manner in which the plot unfolds was compelling enough to keep my interest even amidst the other major short comings of the show. One point of concern in respect to the world of Arslan Senki was in how it handled the presence of magic. For the most part, the world is quite like ours however the blatant appearance of something magical does not occur until nearly half way through the show. Though the presence of sorcery and the like is eluded at as early on as Arslan's maiden battle, it comes off as the kind of typical smoke and mirrors kind of magic often discussed in similar historical action shows and seeing its manifestation later on felt out of place. While there is is no rule that says that the world of Arslan should have no magic in it the way in which it is handled and introduced was problematic in my eyes as it felt inconsistent and its presence far too spread out along the length of the show to feel natural to the world setting. Hopefully the implementation of magic becomes more obvious in the future as it would work well for the show whether it is used often or not.

[Music]:

The music worked well for the show and was one of the more memorable elements of it while not appealing to me beyond its own context. It was medieval, it was heroic, and the instrumentation of the soundtrack never felt out of place. Perhaps the only qualm I have in this area was that the show had a tendency to fall back into certain songs each episode that made them feel a tad overused rather than featuring other songs more often though due to the positive influence of those choice songs on the story and presentation of the show I find this fairly forgivable.

[Final Thoughts and Rating]:

Arslan Senki was certainly a mix of pros and cons all throughout and I think it can be summarized as a show with great ideas, an interesting premise, and an awesome art style that was executed poorly. Arslan was interesting even given his less than stellar characterization as he offered a very explicit and intricate way of thinking that I found appealing and this trait won out for me over his negative attributes. Similarly, the plot of the show kept me watching despite the many production issues and visual problems the show exhibited and so I have to admit that I found the show at least compelling to the point that I could tolerate its flaws rather than dismiss them. I think, if the show does receive a future installment which it very likely could due to the length of its source material, it could turn out quite well if the production value was increased.

Rating: 6

I gave Arslan Senki a 6 primarily because the plot intrigued me enough to keep watching and by means of its occasional mystery elements it set itself far enough apart from other similar stories to avoid becoming forgettable. I can't find it in myself to rate the show any higher as its visuals were lacking in the extreme and a small number of the characters from the cast were infuriating in their design and personality in such a way that they majorly detracted from certain character relationships and dialogue exchanges.

[Recommendations]:

I would recommend Arslan Senki to any fans of the historical action genre as it exemplifies all of the conflicts, intrigues, and settings that make the genre interesting. The action of the show is quite good and there were a handful of beautiful action scenes sprinkled throughout the show however elsewhere the choreography was lacking and the animation poor and so I wouldn't cite these choice few triumphs as reason enough for one to pick up the show due to its action alone. To go hand in hand with my comments from earlier, I wouldn't recommend the show to anyone who is bothered extensively by quality drops as it was far and away the biggest problem for the show and even a novice of the medium will be able to pick out the differences in quality from shot to shot due to their overt nature.

(This is a spoiler-free review adapted for this site)
[The first episode of the show is drastically improved if you go into it blind and so I recommend watching it before reading this review however it is not required for comprehension]

[Synopsis]: Takeya Yuki (Minase, Inori) along with her friends Kurumi (Ozawa, Ari), Yuuri (Ichimichi, Mao), and Miki (Takahashi, Rie) make up the School-Living club - a group of students that live out of the campus while attending classes and borrowing from the schools facilities. Though Yuki has yet to realize it, there is a concerning reason for the club's existence and though she loves going to ... school, her daily routine may not be as it seems.

[Characters]:

The cast of Gakkougurashi is fairly small and primarily concerns the members of the School-Living club and their respective faculty member Megumi Sakura. The small cast makes a lot of sense for the show in my opinion and while the story is definitely focused on exploring the characters individually and their predicament, I feel like the show itself was ultimately more concerned with delivering thematically and visually - areas where it succeeded excessively. That being said, the cast was characterized to the point where they weren't any kind of negative influence on the show and there were more than a few strong character moments throughout the show's run.

Yuki best represents the light-hearted, slice-of-life element of the show both through her perception of her surroundings and in how she interacts with the other members of the group. Her happy go-lucky attitude, her style of running from room to room, and her gag interactions with other students and her friends immediately set a sugar-sweet precedent that the show is then immediately able to dash expertly within the first episode and in this way Yuki provided a great deal of utility to the show and allowed it to play with its contrasting settings to a far greater length than it would otherwise have been able to.

Kurumi is similarly childish and excitable however also represents a coming to terms with the environment of the show and her 'action-girl' status provides a go-to archetype to reinforce the stereotypical aspects of the show's design in order to inversely capitalize down the line. Yuuri is the eldest of Yuki's friends and while she acts the most adult-like as the president of the club she also seems to always have something boiling beneath the surface which was a character trait I enjoyed as it often was used to betray the attitude of her scenes while not doing so directly or in a hamfisted manner. Lastly, Miki is the youngest of the group and a newcomer to the club; due to her initial unfamiliarity with her fellow club-members, she offers an outsider's perspective on the group and their setting. She also has a good deal of emotional baggage and is one of the more sentimental characters in the show. Each of the characters do well enough to stand on their own though they also each offer great utility to the show in their characterization and they were great vehicles for some of its more intricate themes.

[Art/Animation]:

This category was where the show truly blew me away - the art of Gakkougurashi was creative, intelligent, and flexible and provided perhaps the greatest amount of intrigue above all else for me as a viewer. Firstly, the twin aesthetics of the show clash wonderfully - the hyper-moe cast against that of a rather classic zombie-horror setting. The horror of the show plays out a bit differently from other anime like Corpse Party where the violence and gore expresses it's reliance on shock value and the blatant nature of its delivery. Gakkougurashi uses its horror techniques more subtly and instead visually distances the horror action of the show with repeated cuts to black and hazy filters in order to add to the surrealness of the setting in juxtaposition to the previously established near-slice-of-life atmosphere. Furthermore, as the show continues, these horror images are better brought into focus as that side of the show becomes gradually more dominant and the surrealness of the setting is replaced with the underlying harsh reality of the girl's situation.

Perhaps one of my favorite techniques used by the show and an area which I think speaks directly to the show's intelligence is that Gakkougurashi does not flaunt its horror images but instead allows them to exist in the background, almost unassumingly. A show of lesser design and direction would have moved heaven and hell to make sure these images reached the viewer and paraded them around instead of letting them occur naturally within the show. Along with this visual technique, the show also makes great use of depth-of-field in order to focus on certain shot elements and expert use of lighting and shadows.

Gakkougurashi makes amazing use of color as well. The majority of the show's setting and it's character designs are extremely bright and in vibrant colors (pinks, whites, and greens) whereas the contrasting environment of the horror scenes are far darker and bleak to the point where the show can become drained of color entirely and is visually delivered through blacks and gray-tones. The palette and color tone of each scene is highly dynamic which helped express the stark contrast between the show's two moods. There is even intelligent work being done in Yuki's character design as her school uniform, which differs in color from that of her fellow club members, sets her apart on a visual level in an attempt to parallel her altered perception and difference in mindset from the other girls. The subtle changes in the opening of the show provide a good commentary of what is transpiring and being revealed each episode and was a point of interest at the beginning of each watch.

[Story]:

In so many words, Gakkougurashi is a show that is driven by an engaging, thematic juxtaposition. The disparity between the actions and activities of the girls and the world that they live in is the central focus of the show and by spending half its time establishing a feel-good atmosphere while simultaneously developing a twisted horror story full of tragedy and sentimentality the show operates in way unique to itself. There is a great juxtaposition between the mundane, every day things such as worrying about graduation and love interests against the abnormal horror setting at the heart of the show. Due to the disparity in perception in the case of Yuki, the cast of the show is allowed to return to it's slice of life roots far more often than it otherwise should be able to and in this way I found Gakkougurashi highly different in terms of progression from other shows that capitalize on presenting conflicting themes and moods such as Madoka and Yuuki Yuuna which, for the most part, have a major turning point in tone before embarking on something more complex and dark than their original premise. Gakkougurashi offers a continuous parallel between its two worlds that I found highly entertaining and clever.

There is a good deal of subtext as a lot of the interactions early on can be explained in different ways after learning of their implications in future episodes and so there is entertaining retroactive work being done in terms of tone and sentiment among the characters. The story is presented somewhat non-linearly at first as it takes the time early on to delve into the individual backstories of each of the girls while fleshing out the setting at hand before progressing the plot towards its conclusion. The comedy of the show wasn't the strongest and I felt like it existed mostly for the purpose of, like many other attributes of the show, reinforcing one of the show's major genre elements rather than actually trying to deliver unique and genuine humor. It's a bit run of the mill in this regard however this allows the show to work better within the stereotypical setting that it tries to operate under and betray. The gag and comedic faces were very classic in their implementation to the point that one could even forget what they were watching because of the traditional environment and style they were delivered in.

It is for a similar reason to my reasoning surrounding the show's comedy that I found myself quickly forgiving Gakkougurashi for its moe aesthetic and occasional fan-service scene such as it's classic 'beach episode' installment because they both furthered the show's thematic dichotomy. Additionally, there is hardly an episode that goes by without some attention paid to both sides of the show therein the viewer is never left alone with the slice-of-life atmosphere for too long. I see the fan-service as less of a play to get the viewers attention and more of an attempt to reinforce the stereotypical nature and environment of the light-hearted side of the story as to better contrast its ridiculousness with the darker themes and plot developments later in each episode.

[Music]:

The music fit the show extremely well and while I didn't feel like there were any stand-out songs in an objective sense, they worked extremely well with the visuals to present an intelligent and intricate setting. Gakkougurashi danced between the up-beat, ditzy music typical of the slice of life school setting and the grittier, darker music of the horror setting in interesting ways, sometimes confusing the two and subtly fading one into the other to amazing effect - corrupting the scene fantastically.

[Final Thoughts and Rating]:

Gakkougurashi was a show that hooked me from episode one with its unique tone and twisted setting. The intelligence of the show really shone through in its visual direction and kept me highly invested each week. The ending was satisfactory in some ways and unsatisfactory in others in that it didn't bother to deliver on a couple of key plot points that arose in the midsection of the show. I think the show would benefit greatly from another installment in order to continue the story however I am doubtful the second season could play with the theme and tone of the show in the same way and would have to either present an incredibly compelling story or bring something unique to the table once again.

Rating: 8

I gave Gakkougurashi an 8 because it kept me captivated from start to finish with its brilliant use of images, colors, and shot composition alongside an incredibly interesting thematic dichotomy which it played at excellently. The ending didn't quite live up to the rest of the show in my opinion and the stereotypical nature of the show, while incredibly important to its design and delivery, was stereotypical non-the-less and caused the show to drag slightly at times however I feel this was negligible.

[Recommendations]:

I would recommend Gakkougurashi to fans of horror who can find it in themselves to also tolerate a traditional slice of life school setting for a handful of episodes as the payoff is definitely worth it in this regard. Fans of genre twists where something pure and innocent becomes something darker would do well to pick up this show as the show really triumphed in this area though it presents a more continuous conversation between its contrasting genres than other shows I have seen. While the show does heavily concern zombies I wouldn't necessarily recommend the show to fans of zombie fiction based on this alone unless they fell into one of the previous categories - there isn't a great deal of characterization surrounding the zombies and therein they might not carry the same intrigue as other shows that involve them.

(This is a spoiler-free review adapted for this site)

[Synopsis]: Shirayuki(Hayami, Saori), a strong-willed girl with exceptionally rare red hair, led a normal life as a town herbalist in the kingdom of Tanbarun until her beauty attracted the attention of the first prince Raji (Fukuyama, Jun) who requested that she become one of his concubines. Unable to outright refuse his demand due to her social status, she fled the kingdom and had a chance-encounter with a stranger by the name of Zen (Osaka, Ryota) who, after curing him of a poisoned apple meant for her, is discovered to be the second prince of the kingdom of ... Clarines. In Zen's company, Shirayuki continues on to Clarines and attempts to start her life anew.

[Characters]:

Shirayuki, the protagonist of the story, offers refreshing enough characterization - she is intelligent, kind-hearted, and resourceful but her uniqueness resides in how she interacts with the rest of the cast. She avoids the majority of the character tropes associated with the romantic lead and female love interest through her conviction and at times assertive personality both of which I found to be compelling character traits. Moreover, while she may not exemplify the traits of the more typical romantic lead, she does offer a number of instances where she operates within a role-reversal between herself and prince Zen. Though she does not become masculine in this way, her actions more closely resemble that of the a male-lead. An explicit example of this reversal was when she climbed a tree to visit Zen on his balcony. Perhaps my only and most notable qualm concerning Shirayuki is that she exists too closely to a character paradigm and doesn't offer much in the way of character flaws or moments of weakness - her character very purposefully exists in order to overcome the obstacles that would make other typical female characters stumble and in this way is a shade too 'perfect'.

The lack of complications does not solely reside in Shirayuki and is also present in a decent number of the other cast members. The lack of this trait actually accounts for what I believe to be one of the shows major stumbling points in that, by nature of all of the main characters being goodhearted, sincere, and supportive the tone of the show becomes quite flat. Though they contribute greatly to the feel-good romance nature of the show there aren't all that many diverse characters within the cast. Even someone like Obi who initially was more of a scoundrel-esc character quickly becomes homogenized after his introduction.

To speak briefly about Zen, there was one major area in which I felt his characterization was quite interesting and well done. He represents a pretty typical depiction of the prince of a kingdom - dashing, good-mannered, and kind and there isn't much else that infringes upon this however I found it remarkable that despite Shirayuki receiving a good number of role reversal scenarios that he was not weakened or made less dominant within their relationship because of it. He possesses equal to or greater agency to anyone else in the story and his resilience and integrity of character in this regard was quite compelling as it, along with Shirayuki's role in the relationship, resulted in something slightly more unique than i would have expected from what is otherwise quite a typical Shoujo romance.

[Art/Animation]:

The art and animation of the show was delivered in top form and avoided any and all noticeable quality drops throughout its 12 episode run. There were a great many uses of dynamic lighting which added significantly to the more important scenes and the scenes of greatest import were visually delivered quite beautifully. While the character designs were enjoyable by themselves I did find the presence of a fairly dynamic wardrobe to be a decent visual bonus as it made the show feel a bit more alive.

[Story]:

While Shirayuki offers a handful of uncommon character traits the story fails to follow suit and plays out in fairly predictable and typical ways with perhaps the exceptions where it attempts to specifically highlight Shirayuki's characterization. One fortunate thing to note is that the story does offer plenty of romantic progression and so it avoids the route of starving the viewer while simultaneously tantalizing them each episode; in this area the pacing is good. The story initially exhibits some folk-tale influence through the use of poisoned apples and a snow-white-esc premise however this element seems to quickly be forgotten and I think it would have perhaps been more interesting had there been a greater number of allegories or references in this way.

Akagami's story most likely falters for me due to its character reliance. Because the show is less concerned with offering an engaging plot or exploring the world being present and more focused on developing its main two characters both as people and as a romantic couple it comes off as highly reliant on the success or failure of its cast. With that being said, the cheerful and supportive tones in each and every one of the main characters makes for pretty bland and unexciting dialogue. The story doesn't drag but is a bit uneventful outside of furthering character relationships and so not only does it proceed quite typically in the form of many other shoujou romances but offers very little to break away outside of its main character.

[Music]:

The music fit the show really well and while it didn't blow me away I think it added significantly to the show. The soundtrack was used especially well to play up key moments of the show to better dramatize them. I think this element of the show could be described as working well for the show while falling short of being interesting in an objective sense.

[Final Thoughts and Rating]:

At the end of the day Akagami plays out as a typical feel-good romantic show while offering several areas of interest such as its protagonist. Shirayuki's characterization and avoidance of tropes was delivered in a bit of a hamfisted manner however this also allowed the show to more directly parody the stereotypical romantic relationship and so I am of the mind to forgive it in this way. I think the show still offers plenty of potential going forward into its upcoming second cour where the characters could very well better diversify themselves and a more interesting plot might develop. I remain hopeful for the show in the future.

Rating: 6

I gave Akagami a 6 because, while it was uneventful in many regards it also avoided being forgettable. Shirayuki and Zen carry the show to a degree and I feel that it's worth watching almost solely because of how it plays with the dynamic of their relationship though it doesn't offer a great deal beyond this. It was a decent show and certainly may turn into something more engaging in the future though ultimately there are better romance stories out there though few that play with its characters in this specific way.

[Recommendations]:

I would recommend Akagami first and foremost to those interested in the romance genre, more specifically to those who prefer shows that don't spend their time endlessly dancing around the subject of romance but instead are frequently involved with it and see fairly frequent relationship progression. There are a handful of action scenes though they mostly exist to reinforce the setting rather than add to the show's actual diversity of tone and so I don't think it exhibits anything special in this regard. The show is fairly light on drama though some does manifest by means of the romantic tones and so while some drama exists Akagami falls a bit short in terms of quantity to actually exhibit the genre fully.

(This is a spoiler-free review adapted for this site)

[Synopsis]: A thousand years ago the demon god appeared and began to take over the continent however was stopped by the legendary Saint of the Single Flower. After driving the demon god into a deep slumber she foretold that it would awaken again one day and that six heroes bearing her power would rise to defeat it and once again drive it into dormancy. Cycles of these Braves appeared to face the demon god every several hundred years after the Saint's disappearance and were all successful and now the demon god will soon rise again and so ... too must six new heroes. Adlet Mayer (Saito, Soma), the self-professed strongest man in the world, is chosen to become one of these heroes. After congregating with the other Braves it is discovered that they number as seven rather than six and the task of discerning the impostor sets them all at odds as each member grows more suspicious of the other and the demon gods awakening approaches.

[Characters]:

The cast of Rokka no Yuusha is fairly small as the story is heavily focuses upon Adlet and the six other Braves however this allows for the show to investigate each of the characters to a great extent in the absence of a larger number of characters. Adlet is certainly the character most worth talking about as he stands out distinctly even amongst the other Braves. On the surface is resembles a somewhat typical adventure fantasy protagonist - he is incredibly strong-willed, sincere, and quite ordinary in ability-set in comparison to his fellow Braves. That being said, he is highly perceptive and intelligent in how he fights and problem-solves - both traits lend themselves incredibly well to the story which at a basic level is a mystery. His fighting style is unique and his utilization of traps, crude sciences, and the environment sets him apart from most other characters, especially so from the other Braves most of whom wield powerful magics such as the conjuration and manipulation of swords, gunpowder.

Refreshingly, Adlet is by no means the only intelligent character within the Braves and each member has a strong sense of agency within the plot with perhaps the exception of Goldof. Despite the characters being perceptive and rational, each of them continuously arrive at different opinions concerning the seventh Brave and impostor and what makes them so compelling is that each of their conclusions are legitimized and well-founded. While their character designs are a bit outlandish at first glance they fit well within the aesthetic of the world and I found that I got used to them quite quickly. Rokka no Yuusha is one of the few shows that I can say kept me on my toes as far as which character I put my faith in and trusted as the dynamic of the group and the personality of each character all meshed differently as the plot developed and new information came to light.

The show takes the time to get to know each character and their reasoning both stays consistent with the characterization presented while also evolving as they do throughout the story which added a strong feeling of consistency to the show's underlying logic. The show is hardly all cold-logic and there are plenty are plenty of emotional characters like Fremy who keep the show engaging in that regard as well. I also can't underplay the uniqueness of each of the Braves in relation to each other as, beyond what they believe, they each come from vastly different walks of life, have distinct mannerisms and speech patterns, and interact with each other in different ways.

These traits and differences exhibited by each character account for my reasoning that their presence is definitely a strong-point of the show and its focus on character drama and interaction is well founded.

[Art/Animation]:

The art and animation was at first a pretty significant concern for me when the show started out however by the end I was quite happy with how it improved and ultimately handled itself. The initial 3 or 4 episodes suffer a bit from poor character designs and mediocre CG work on the part of the Fiends however after that point the show picks up consistency-wise a great deal - the character designs are far better represented and their animations as well as the movement of the camera become a great deal more smooth and dynamic as opposed to what was initially presented. Baring the first few episodes, the show is strong aesthetically in this area and though it falters at times I would say that animation shouldn't be a concern going in.

One thing that immediately caught my eye that I found interesting all throughout the series was the world and setting established which felt highly influenced by Aztec structures and buildings. It was an aesthetic I had not seen before in anime and Rokka no Yuusha did a great job bringing it to life. The influence present in the setting can also be found in the character designs which accounts for some of their flamboyant appearances however this too I found to be quite interesting and fun after a turn. The vibrant designs of the other Braves further set Adlet apart who's design is more typical and muted both alienating him on an aesthetic and often a cognitive level while also adding a unique flavor and style to the show that I can't claim to have seen elsewhere.
The show doesn't boast terribly great CG and the Fiends are both bizarre in appearance and execution however luckily we don't see them all that often after the central drama of the story begins and their later appearances in the show are handled slightly better. That being said the poor use of CG was one of my initial concerns with the show but luckily Rokka no Yuusha improved dramatically as time went on and while I would not list the visuals necessarily as a strength of the show, I would say so of the unique designs and aesthetic.

[Story]:

As I mentioned earlier, the first 3 or so episodes of the show came up a bit short and the actual premise of the story doesn't arrive until the 4th episode however I wouldn't say that it's plot was terrible beforehand. Rokka no Yuusha doddled a bit before arriving at its premise however once getting to that point it changed dramatically and what I first hard dismissed as a vanilla, demon-killing, action show turned into a mystery-centric, battle of both logic and physical prowess as the Braves clashed with one another. The early episodes also differ noticeably in terms of pacing and the show slows down a great deal for a few episodes midway as it unpacks the logic and implications of the Braves' dilemma however I found this to be far more engaging than what was present prior and the methodical pacing in the mid and latter parts of the show was highly enjoyable. The show does an amazing job juggling suspicion from what character to the next and I, as a viewer, found the way in which Rokka no Yuusha approached the mystery genre to be highly compelling in its presentation of developments and perceived facts.

Perhaps the strongest point of the story outside of the plot itself was its ability to first evolve into something far more cerebral than what was first laid out but also its ability to maintain the action and adventure feel established early on while evolving immensely elsewhere was impressive. Perhaps even more impressively - it never felt like the latter action was happening for action's-sake but rather it occurred quite naturally within the context of the situation and the intelligence exhibited by the characters and plot felt present within the action sequences as well through their strategic progression and execution.

The story is quite slow in how it unfolds as it is almost entirely focused upon its premise of there being seven Braves and one impostor and so it may disappoint those who were more interested in the premise in its entirety and its conflict with the demon god and the role of the six heroes. Hopefully the show receives a future installment however the point at which it ends gives a full and pleasurable conclusion to the events at hand, resolving both the mystery and conflict while remaining open.

[Music]:

The music was good all throughout and the soundtrack had a handful of memorable songs. The area where I felt Rokka no Yuusha succeed the most in a musical sense was in how its songs were diverse to the point that they lent themselves well to the heroic, action adventure setting present in the premise of the story while also presenting an apt selection of music to support the show's mystery themes and the many high-tension moments therein. The music matched the tone of the show well in each of it's endeavors and intricacies and was certainly one of the points of success attributing to the show's overall enjoyability.

[Final Thoughts and Rating]:

Rokka no Yuusha surprised me, plain and simple. What initially felt like one of the seasonal action shows where stereotypical heroes run around and combat monsters rendered in poor CG rapidly became something extremely engaging and special. It has its fair share of problems such as its lackluster animation and art early on and occasional quality drops throughout however these negative elements pale in comparison to the areas in which the show triumphed.

Rating: 8

I gave Rokka no Yuusha an 8 because of its compelling and self-involved cast of characters, its unique aesthetic and combat feel, and the intelligent nature with which it explored its own evolving plot in dynamic and rational ways. The missteps in the art and animation department hinder it from scoring any higher for me and some of the character interactions were not as convincing and well-conceived as others however the end-product of these things was nothing less than enjoyable.

[Recommendations]:

Anyone who finds themselves classically interested in show's that come off as well-figured, logical, or rational would like the manner in which Rokka no Yuusha plays out as the characters provide compelling reasons for why they think what they do and act accordingly. For the same reason I would recommend it to any purveyor of the mystery genre as it presents an engaging plot in this regard and the manner in which the show allows you to postulate yourself rather than keeping the viewer purposefully in the dark was a strong point of the show. The show has good action and should attract those interested in the more tactical side of combat however those interested in this category will have to find enjoyment in the rest of the show as the fighting intermittently takes a backseat as the show unfolds. To those who look into the show, I do highly suggest reaching at least episodes 4 or 5 before deciding to drop as that is where the show is most transformative.

(This is a spoiler-free review adapted for this site)

[Synopsis]: In the city of Neo-Venezia on the planet Aqua, once known as Mars before being terraformed, Mizunashi Akari (Hazuki, Erino) works as an Undine under the Aria Company – a professional gondolier who ferries the citizens of Neo-Venezia as well as tourists through the city’s many waterways. Though only a fledgling Undine, Akari and her friends Aika (Saito, Chiwa) and Alice (Hirohashi, Ryou) have high aspirations of one day becoming as accomplished as their respective teachers, known as the Three Water Fairies of Neo-Venezia. Aria The Origination concludes the story of Akari and her friends as ... their Undine training nears completion and they begin to consider what their respective futures may hold.

[Characters]:

While the cast of the show benefited tremendously from Aria The Natural, this season brings even more to the table in the form of additional characterization of the main trio as well as their mentors and a fleshing out of the cast as a whole, creating a more believable and immersive environment than previously present in the show. This time around, the passersby, the intermittently featured stranger, and the single-episode insert characters all have far more dialogue which helps move the cast away from feeling as self-involved as it did in the past and makes the Neo-Venezia feel more like a city. Similarly, Aria The Origination features other Undines outside of Akari’s group and their mentors which, along with several other story-centric changes, makes the vocation of Undine feel more legitimized within the world and provides a greater context for what it means to become a Prima.

Lastly, in relation to the immersive changes featured in this season, there are more frequent changes in wardrobe – especially among the main cast. Seeing the characters in different attire than their work uniform made them feel more like actual people as opposed to visually static characters which, with the exception of Aika, almost all of them had felt like beforehand.

As for the main three characters, their changes present in the previous season are further elaborated on but perhaps more importantly, due to the conclusive nature of the season, we get to see each of the characters develop to an extent not present in the prior installments of the show as they mature and progress in skill to the point where the show can conclude. One particular thing this season brings to the table in respect to the apprenticed Undines is their relationships with their mentors which has been a strong character feature throughout all of Aria however is executed even better during this season and is one of the two major ‘payoffs’ of the season alongside the development of the characters themselves.

[Art/Animation]:

By this point in the series I think it comes as no surprise that the art and animation of Aria is highly consistent and beautiful in its support of the show’s themes and tone and Aria The Origination follows in suit in that it upholds the style and aesethtic established in the other installments while also improving upon a few things to make this season the most aesthetically pleasing of them all in my opinion. While they are infrequent, there are a handful of times an episode where the animation becomes a touch more detailed and more fluid which, while not adding anything thematically to the show, is certainly an added aesthetic bonus and makes the execution of certain scenes all the more better. Along side that addition, the close-ups and choke-shots this season looked highly detailed and conveyed the emotion of the moment phenomenally.

[Story]:

Between the way in which the show handles the characters and the general plot, Aria The Origination did feel like a departure from the previous seasons in a number of ways which in totality led me to believing that it was the strongest of the show’s three seasons due to its differences and improvements. In the same way that showing other Undines and having the main characters interact with them created a better and more believable atmosphere, this season’s attention to detail concerning gondoliering and the various skills required for the profession was incredibly helpful in establishing the vocation of Undine as a real job rather than something the main characters happened to be. The technical side of gondoliering is played up quite a bit in that there were shots of oar movements, how the boat maneuvered, and how the Undine affected those things. This was something I had been wanting from the show since the first season and its inclusion here was spectacular in that it set up the narrative infrastructure for much of what transpires during the season and brings the focus of the show back to the characters as Undines while the show continued to foster them as characters.

One thing to take note of in terms of how Aria The Origination differs from the previous installments is that it lacks the supernatural (cat) element that was especially played up during Aria The Natural. Though I did not enjoy its presence myself I would agree that it went well with the tone and themes of the show and that there would be plenty of people that enjoyed it. That being said, it is not just that the supernatural element is lacking but rather that it is missing entirely – seemingly dismissed entirely as it remains uninvited throughout the length of the show. This was perhaps the only crude thing I can point to within the plot of the show as an episode of departure aimed at this aspect of the show would have felt more natural compared to dropping it entirely with no mention though at the same time I cannot point to any episode I would replace and this qualm is ultimately quite minor in the face of all of the positives featured in the show.

One of the strengths of the second season I felt was in how it introduced a more diverse set of themes in comparison to the pure, sugar-sweet wonderment of Aria The Animation and while there are more than enough positive observations in this season it continues the trend of its predecessor which I definitely feel was a great decision as the diversified themes worked wonders for the show’s character development while presenting compelling episodes.

[Music]:

In much the same way that the previous seasons of Aria have set a strong precedent for the show’s art and animation, they have established an outstanding use of of the show’s soundtrack in order to bolster both individual scenes and the attitude of the show. Aria The Origination only improves upon these previous successes and the higher frequency of emotion-driven scenes gives some of the sentimental music even more room to shine while still providing plenty of room for the relaxed, thematic music to play out as it always has.

[Final Thoughts and Rating]:

Aria was in numerous ways a show that only got better each season and Aria The Origination upheld that standard and finished the series in strong fashion and as the best of the three seasons in my opinion. Though certain elements of the show may not have been investigated to the length I would have liked, the amount of work done by this season alone in respect to what the show was lacking beforehand was quite considerable.

Rating: 8

I gave Aria The Origination an 8 because of how it improved upon the already extensive work done in the second season of the series. The increase in detail, the character-focus and approach, and the narrative structure of this season alongside all of the positive attributes it upheld from the previous installments were incredibly positive and were integral in the show’s ultimate success. Though this season and the prior may have branched away from the premise of finding beauty in the mundane, I think what it ended up accomplishing and developing was more interesting and definitely the right direction for the show to have taken. Aria The Origination does well as the conclusive chapter of the series and its many payoffs make great use of what was established beforehand.

[Recommendations]:

To those viewers who have reached this point in the series I think its quite safe to say that this final season does nothing but good for the show and at worst successfully promotes what made the previous seasons good. While I would not have recommended Aria The Animation for the purpose of its characters, they have come a long way since then and have become far more compelling and interesting to the point where I would not only recommend this season because of its characters but claim that they along with their development were probably the single strongest element of the show. For those looking for a marriage between the heart-warming and the lighthearted then Aria as it always has features those things in excess and I would highly recommend this show to those looking for a relaxed atmosphere with an episodic approach though this season actually progresses quite linearly.