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Jul 11, 2023
"Vinland Saga" Season 2 takes on a different tone compared to Season 1 as it moves away from being solely a vengeance story. The theme of vengeance was explored in the first season, with Thorfinn's overwhelming desire to kill Askeladd, the man responsible for his father's death. However, in Season 2, Thorfinn's life lacks purpose once his target is killed by someone else. The season now has the task of giving Thorfinn's life meaning, resulting in a shift from a dark and war-torn world to a world that can be appreciated for its beauty.
At the beginning of this season, we witness a completely apathetic and
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enslaved Thorfinn, who no longer fears death because his life holds no significance. He is indifferent to his role as a slave and harbors no anger towards his owner or the free men who mistreat and mock him. This marks a significant change from Season 1's Thorfinn, who was driven by rage. It is through the help of Einar that Thorfinn finds a new purpose in life. He gains a friend, an honest job, a goal, and a vision of a better future.
However, Thorfinn's past crimes come back to haunt him. Thors, in particular, serves as a constant reminder that Thorfinn has no enemies and implores him to understand his father's philosophy. Thors' philosophy is summarized by the Gospel of Matthew, chapter 5, which is read by Snake to Sverkel: "If you love those who love you, what reward will you get? Do not even tax collectors do the same? And if you greet only your brothers, what are you doing more than others? Do not even Gentiles do the same?" In the Viking world, the words of Christ appear strange and distant, like a dream that can only be realized in faraway lands. Nonetheless, Thorfinn allows himself to dream of living in peace in Vinland.
It seems that some viewers may overlook the deeper religious symbolism in "Vinland Saga," often only considering the surface-level representation of Christianity, such as which characters are Christians and how the Norsemen perceive Christianity. However, to me, Yukimura's understanding and representation of the Gospels go much deeper. The main discussion surrounding the Gospels here revolves around the relationship between humans and God, and this is reflected in Thorfinn's own relationships. Thorfinn, as a slave, desires to be a servant, to be subservient to a master and continue working in the fields for the landlord. Yet, in his dreams, Thorfinn is awakened by a lamb in a green field, a place free from labor and war. Here, he is reunited with his father, experiencing joy and peace once again. St. Paul's words to the Galatians resonate: "So you are no longer a slave, but God's child; and since you are his child, God has made you also an heir." By being called by the Lamb of God, Jesus Christ, one becomes a child of God, an heir to His Kingdom.
However, God is a slavemaster to the slaves of the Law. His relationship with those who are not submitted to Him as children, but as slaves of sin, differs from His relationship with His children. The distinction between these positions is exemplified through the character of Ketil. Ketil possesses slaves, servants, and children. Despite being a slave-owner, Ketil is portrayed as a gentle and compassionate man who dislikes punishing his slaves. However, due to the established dynamics of the master-slave relationship, he is compelled to administer physical punishment when a slave disobeys. On the other hand, when his son disobeys or dishonors him, Ketil refrains from taking action, expressing his feelings of disrespect with mere words. In contrast, God does not punish His children in the same manner. Instead, His children recognize when they have displeased their Father, feel remorseful, and seek His mercy. Through this process, God is able to guide and correct His children. It is crucial to note that God is not pleased by punishing His creation, just as Ketil derives no satisfaction from punishing his slaves. Nonetheless, it is God's duty to apply His Law. Ketil is frequently torn between his roles as a slavemaster and a father, causing him significant anguish as he cannot fulfill both roles simultaneously.
However, Thorfinn still finds himself trapped in the condition of a slave when he is haunted by his sins, unable to be with his father. As St. Paul writes in his letter to the Romans: "We know that the law is spiritual; but I am unspiritual, sold as a slave to sin. I do not understand what I do. For what I want to do, I do not do, but what I hate I do." When Thorfinn becomes enslaved by his sins and tormented by his ghosts, he is separated from his father and thrust back into the world of war and death.
I must acknowledge that my interpretation of this season may be subjective and biased, but to me, the Christian references are evident. In addition to the references I have already pointed out, Thorfinn embodies two more aspects of Christ's teachings from the Sermon on the Mount, including nearly every Beatitude. "But I say to you, do not resist the one who is evil. But if anyone slaps you on the right cheek, turn to him the other also." This speaks for itself, as the latter episodes revolve around Thorfinn being struck without resistance. Thorfinn continually seeks to resolve conflicts without violence, and it appears he has found the solution, either by enduring or fleeing. "Judge not, that you be not judged. For with the judgment you pronounce you will be judged, and with the measure you use it will be measured to you." Thorfinn refrains from passing judgment on Vikings, warriors, and bandits, understanding that he himself is not exempt from judgment. The crimes he committed are the same crimes being committed and will be committed again. Only after encountering Einar does he begin to comprehend the immense suffering caused by fighting for Askeladd—an immense amount of pain inflicted to fulfill a desire that will never be satisfied.
On the other hand, Canute's rebellion steers him further away from God. As I mentioned in my review of Season 1, Canute's rebellion stems from a misunderstanding of Christian theodicy. Now, his Machiavellian mentality pushes him to commit even greater atrocities, including killing his beloved brother to unify the crowns and become the King of Denmark and England.
Canute's mentality can be seen as both Gnostic, viewing God as a cruel Being who created a terrible world, and an attempt to immanentize the eschaton, as Eric Voegelin would say. This mindset often emerges among those who struggle to grapple with human nature, believing that only they possess the ability to rectify it—a conviction that, once achieved, would solve the world's problems and create an earthly paradise. This mentality is recurrently depicted in media, such as the villains in "Avatar: The Last Airbender" and "The Legend of Korra," or even Thanos in the Marvel universe. Ultimately, it serves as a critique of ideologies that claim to have grasped the true essence of the world and humanity, along with the exclusive means to address their problems. Thorfinn's ideal world may be considered an earthly utopia, but his vision of Vinland does not involve changing people's mentality or human nature itself. Instead, he aims to avoid the inherent flaws of human nature, an approach far more plausible than attempting to forcibly change people.
The parallelism between Canute and Thorfinn, both haunted by the ghosts of their fathers, is truly fascinating. One is leading his son down an even darker path, while the other strives to guide his son toward righteousness. Sweyn's ghost propagates the idea that the path to heaven is paved with the heads of one's enemies, whereas Thors' ghost emphasizes that one cannot leave this world without relinquishing their sins, particularly their thirst for bloodshed. Both Canute and Thorfinn begin to resemble their fathers, but while Canute attempts to resist this influence, Thorfinn desperately seeks to emulate his father's ideals.
It is a joy to witness more moments of happiness that were largely absent in the first season. Einar's presence is the main catalyst for this change. Einar brings meaning to the lives of both Thorfinn and Arnheid. He is a well-crafted character with genuine motivations that drive the plot forward and elevate Thorfinn's stoic persona. This season offers more comedic moments, which provide a welcome relief from the relentless misery and bloodshed of the previous season. However, it is important to note that Season 2 remains intense and far from lighthearted.
It is satisfying to see Thorfinn undergo genuine transformation, as he was merely a pawn in the first season. Now, he has the capacity to influence Canute's corrupt mentality through his innocence and pure heart. Additionally, it is gratifying to see Thorfinn being recognized for the remarkable individual he is, not solely as a skilled warrior. His virtue is demonstrated through his actions and intentions rather than his ability to slay giants.
The anime's soundtrack is particularly remarkable with its minimalistic approach. Often relying on a lone piano, the soundtrack effectively enhances the emotional impact of each scene, particularly during moments of sadness and tension. It is the most effective use of a soundtrack I have witnessed in an anime. The art style maintains its beautiful consistency from the previous season, without the use of CGI. It appears that the budget has been increased for this installment.
I would have greatly appreciated an episode delving into Snake's backstory. I am certain it would have been fascinating and provided a deeper understanding of this intriguing character.
In conclusion, "Vinland Saga" Season 2 is an exceptional anime, possibly surpassing the excellence of its predecessor. It offers a compelling story with well-developed characters and stunning artistry, while delving into profound psychological explorations of the human condition. The series provides a coherent and cohesive historical backdrop against which these themes are masterfully portrayed. While numerous symbolic interpretations can be found within, "Vinland Saga" is able to captivate viewers even without delving into its deeper layers, delivering a dramatic and intense plot brimming with emotion, action, deep discussions over morality and justice, and valuable life lessons.
Reviewer’s Rating: 10
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Jun 21, 2023
A Christmas Miracle of Coincidences
Tokyo Godfathers, some may argue, is highly realistic, portraying the lives of homeless people in Tokyo without delving into fantasy. However, I believe Tokyo Godfathers is a fantasy movie.
It's often believed that metropolises are vast, separate universes where many unrelated events occur simultaneously. Yet, living in a metropolis myself, I realize how small it can be. Tokyo Godfathers explores the concept of a small metropolis. Granted, the film presents numerous coincidences that may seem implausible, but let us not forget that this is ultimately a Christmas story. And like any good Christmas movie, it calls for a miracle. The miracles in
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this film manifest as the coincidences that drive the plot forward, many of which are cleverly foreshadowed in earlier scenes, leaving us delighted when we observe how we were prepared for those coincidences to occur.
The story, despite its attempt at linearity, constantly revisits the pasts of the three main characters. Through gradual revelations, as the narrative progresses, we gradually come to understand the histories of our heroes. What they say is not of utmost importance, as they conceal much of their pasts. However, the unfolding of inevitable coincidences ultimately exposes their true stories and motivations. No one chooses to live on the streets; rather, the streets become the only place that warmly and indiscriminately welcomes the most troubled souls. And each soul carries its own haunting ghost.
Satoshi Kon's animation style is a delight to behold, characterized by its fluidity and continuity. The character designs are quite realistic, although this particular anime by Kon strikes me as the most picturesque in this aspect. Facial expressions and body movements are lively, exaggerated, and imbued with the cartoonish charm that is expected of anime. The tone successfully balances comedy with urban thrills, allowing us to laugh while feeling the tension during action scenes and being moved by the characters' stories.
Tokyo Godfathers may feel a bit slow-paced in the beginning as it introduces the main characters and sets up a dilemma surrounding the baby that drives the story. However, as the movie gains momentum, the pacing becomes enjoyable with a mix of action, comedy, and drama. The film takes the necessary time to develop the story. The decision to forgo an epilogue was a smart one, leaving us with the same uncertainty as Miyuki regarding what lies ahead in the New Year.
Overall, Tokyo Godfathers is an outstanding animated film that seamlessly blends realism with magic, akin to Home Alone 2, showcasing the beauty and miracles of Christmas within a grimy and cold city. It maintains a light and unpretentious tone, while shedding light on the issues within Japanese society and exploring universal themes of the human condition, resonating with viewers of all ages.
Reviewer’s Rating: 8
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Jun 20, 2023
"Does it not, think thee, stand me now upon—
He that hath killed my king and whored my mother,
Popped in between th’ election and my hopes,
Thrown out his angle for my proper life
(And with such cozenage!) —is ’t not perfect conscience
To quit him with this arm? And is ’t not to be damned
To let this canker of our nature come
In further evil?"
Vinland Saga season 1 is ultimately a story of grief, particularly the grief for the loss of Thors the Troll. There are three ways to deal with death: Ylva's way, accepting her loss and trying to keep living; Leif's way, a long period of mourning
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without making up his life after the loss; and Thorfinn's way, seeking revenge for a violent death. Regarding narrative development, the first two ways are easily resolved, which is why the anime chooses not to explore them extensively and instead focuses on Thorfinn.
The main character in Vinland Saga season 1 is Thorfinn, which makes it a revenge story. Setting a vengeance tale in a Viking Era setting would typically not require much narrative innovation or deep exploration of themes to make it a good story, as seen in Eggers' The Northman. Thorfinn's journey closely resembles Amleth's and, ultimately, Shakespeare's Hamlet's journey. However, Vinland Saga season 1 is not just a revenge story; it is a story about how the purest heart can be shaped or defiled by harsh external conditions.
To summarize, Vinland Saga season 1 is the tale of Thorfinn, a young and beloved child who witnesses the ambush that leads to his father Thors' death. Thorfinn subsequently becomes a soldier under the command of the man who killed his father, with the intention of seeking honorable revenge in the future. As part of Askeladd's army, Thorfinn is sent to England during the Danish conquest and becomes Prince Canute's bodyguard.
Vinland presents a brutally realistic narrative. Although Thorfinn is the main character, he has limited agency in driving the plot forward. As a child during the Danish conquest of England, his sole purpose in life is seeking vengeance for his father. A parallel is drawn with Prince Canute, who is the same age as Thorfinn but possesses a shy personality and also lacks agency in propelling the plot forward. Consequently, the plot primarily revolves around other characters such as Thors, Askeladd, Thorkell, Ragnar, Sweyn, and Floki. Obviously, in general, only leaders can drive a war tale forward, but Thorfinn and Canute are indeed important to the plot.
Vinland also presents religious themes that cannot be avoided due to the Viking Era and Middle Ages setting. Norse Paganism and Christianity are well represented in the story. On the Paganism side, the vikings seek the blessing of the gods and long for a brave death to be taken to Valhalla. On the Christian side, there is a constant search for God's mercy. However, Askeladd, a pagan, witnesses his good fortune turning into misfortune, while Canute, initially a Christian boy, loses all hope in God. Both Pagans and Christians find themselves abandoned in this world.
It is refreshing to see a medieval setting portrayed with color and vibrancy instead of being depicted solely as dark and dirty. Although there is limited representation of continental Middle Age, the use of color is notable, including the clothing, banners, and shields. While a Mediterranean setting without snow would likely be even more colorful, the portrayal remains accurate, presenting Europe as a place with its share of problems common to all. There is no “Middle Age filter” that turns everything dark. The artistic style in Vinland Saga is impressive for a TV anime, particularly the detailed use of three layers of light, which adds depth to the visuals. The animation's visual depth is on par with the depth of the story and characters. The recurrent use of scratching is also well used, remembering the manga that it is based on, and composing beautiful images. The only minor drawback is the use of CGI for animating crowds, but considering the complexity and cost, it can be forgiven.
It is interesting to highlight the parallel between Thorfinn and Canute. Both are boys navigating a cruel world, visible and recognized but ill-suited to the context they find themselves in. Thorfinn, originally a lovely and dreamy child, yearned for adventure beyond the horizon. However, witnessing his father's death, joining a Viking gang, and ultimately participating in war shattered his innocence, turning him into a soulless, empty hitman. His expressions are mostly devoid of emotion except for hatred when it surfaces. Thorfinn no longer smiles; he becomes an indifferent killer, akin to a hound awaiting its treat. Leif easily recognizes this in his eyes. Nevertheless, there is a voice of humanity calling him back to the light. This calling is sometimes metaphorical, such as Thors' voice suggesting that no one is without an enemy, or the English lady treating him as her own son. However, when Leif visits Thorfinn in jail, the calling becomes visual. Thorfinn is positioned on the dark side of the screen, facing Leif, from whom the light emanates, and Leif beckons Thorfinn back to Iceland, to Vinland. (This bears resemblance to the dialogue between Uncle Iroh and Zuko in jail during the last book of The Last Airbender, but this is not important now).
On the other hand, there is Canute. Born a prince, destined to become the King of Danes or the King of Vikings, Canute is left in the care of Ragnar, a loving man who treats him as a son, instilling Christian and pacifist values. Naturally, Canute develops into a delicate man, unfit for a warmongering dynasty attempting to conquer Britain. Canute is not a warrior or a political strategist, and it is clear that he would not survive the bloody court of the Jalls. To ensure his survival, he must undergo deconstruction, a process recognized only by Askeladd. Canute must be transformed into a cruel warrior. Unlike Thorfinn, who chose to endure the harshness of the Viking world, Canute is forced into it. Losing all hope in God, Canute surrenders to the desires of his heart and embraces cruelty. Canute represents what happens to those who abandon God, as described in St. Paul's letter to the Romans: “And even as they did not like to retain God in their knowledge, God gave them over to a reprobate mind, to do those things which are not convenient, being filled with all unrighteousness, fornication, wickedness, covetousness, maliciousness; full of envy, murder, debate, deceit, malignity; whisperers, backbiters, haters of God, despiteful, proud, boasters, inventors of evil things, disobedient to parents, without understanding, covenant breakers, without natural affection, implacable, unmerciful: Who knowing the judgment of God, that they which commit such things are worthy of death, not only do the same, but have pleasure in them that do them.” The depiction of Canute's rage against God is remarkably well-crafted. He becomes what he becomes because he cannot comprehend Genesis 6:5: "And God saw that the wickedness of man was great in the earth, and that every imagination of the thoughts of his heart was only evil continually."
Furthermore, the portrayal of Christianity in Vinland Saga deserves further exploration. Anime often employs Christianity as an aesthetic reference but frequently fails to grasp its true meaning. In Vinland Saga, it is challenging to determine if the understanding of Christianity is intentional or unintentional based solely on this season. However, it is evident that Canute's lack of comprehension of Christianity is effectively portrayed. Denmark had recently undergone Christianization, and remnants of paganism still influenced their social reality. This created incompatibilities between their warring society and the tenets of Christianity that could not be ignored.
In addition to historical accuracy (previously mentioned when discussing Medieval aesthetics), Vinland Saga demonstrates a great understanding of and draws inspiration from great texts of Humanity. Norse Sagas serve as the essence of the story, while Shakespearean literature and Biblical narratives provide the epic tone necessary to tell such a tale and offer insight into the human condition. The victory of Thorfinn over Thorkell is a clear reference to David defeating Goliath, while Shakespearean influences manifest in Canute's monologue, marking a turning point in his life.
Vinland Saga excels in the construction of monologues. While some poor writers use monologues to express their ideology, Vinland Saga employs them skillfully to reveal aspects of a character's spirit. Occasionally, they do express personal or character-specific ideologies, as is the case with Canute's monologues. However, when utilized by Askeladd or Thorkell, monologues serve as a concise and emotional summary of the story. When combined with an appropriate soundtrack, they create an atmosphere that is both effective and evocative.
One might argue that this prologue is too lengthy, but it possesses the perfect length and rhythm. Fights and action sequences are interspersed with flashbacks or different scenes, suspending our expectations and creating tension while the story unfolds. There are no excessive scenes, and even when the direction hints at the development of a new narrative branch, few elements stray from the main story. For instance, Anna's plot, although it could be an independent story, intertwines with the main plot. The narrative may revolve around Thorfinn's continuous losses to Askeladd, but we are misled into thinking that someday Thorfinn will emerge victorious. However, the resolution does not follow the expected pattern of logical exhaustion typically seen in shounen anime.
Given Thorfinn's symbolic significance, this prologue is necessary. His entire life has been consumed by thoughts of revenge. When faced with the possibility of never achieving his revenge, he completely breaks down. Askeladd's death demonstrates that Thorfinn's life holds no purpose beyond revenge, and he is incapable of looking beyond death. Thors' voice repeatedly insists, "You have no enemies," but Thorfinn fails to heed these words. He creates his enemy and pursues it without contemplation. To be fair, Thorfinn does have an enemy, and it is his bloodlust that prevents him from thinking ahead, enjoying life, and seeking what his father truly desired. With Askeladd's demise, Thors' son is left with an insatiable bloodlust that can never be satisfied. How he will deal with it becomes the focal point of future seasons, I think.
Overall, Vinland Saga doesn't rely on the manga for support, as anyone can watch and fully understand and enjoy it. It captivated my attention from beginning to end, making me a new fan. Season 1 also establishes a solid foundation for the franchise, but it doesn't necessarily need additional seasons to stand on its own. It excels in every aspect, from its stunning art to its intricate themes and profound characters, making it one of the greatest anime of all time.
Reviewer’s Rating: 10
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Jun 13, 2023
Devilman Crybaby is a story about Akira, a kind-hearted individual who transforms into a demon while still retaining his human heart. Now, he must fight to protect humanity from demons, as well as protect other Devilmen (individuals who are half-demon but possess a human heart) from both humans and demons.
Art: 6/10
Well, I'm accustomed to Saru's style, so I have no complaints about it. However, I can understand why someone might not like it. The use of colors does unsettle me a little.
Sound: 5/10
The OST is good, but oh my God, anime never seems to get English right. Please, either stop attempting it or hire English-speaking
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voice actors. The English dialogues feel out of place and really disrupt the immersion.
Story: 3/10
The anime attempts to develop a social critique using demons as a metaphor (which I'm still contemplating), but it seems to sacrifice the overall plot to sustain this critique. As a result, everything feels rushed, full of inconsistencies, and ultimately weak. The battles are ridiculously easy to resolve, and the most intense fight only happens in the last episode. In fact, most other fights are not genuine battles but rather grotesque displays of bodies being destroyed, which can be quite disturbing, especially in the early episodes.
Characters: 2/10
Devilman Crybaby completely fails to construct character arcs and relationships. We only know that Akira and Ryou are very close friends, but this friendship lacks coherence. Did they meet in Iceland? And was the dying cat in Iceland part of a metaphor as well? Wasn't Ryou born in a South American indigenous tribe? How did he come to know a Japanese boy and become a professor in America? The relationship between Akira, his family, and Miki's family is also poorly developed. When his mother dies, it lacks emotional impact because we haven't seen how important she was in his life. The other Devilmen, like Miki and Kukun, receive no development and are merely present, choosing sides without any real explanation and then dying for it. The only character who has a psychological development is Ryou.
Enjoyment: 1/10
Devilman Crybaby is disturbing, y'all need Jesus.
Reviewer’s Rating: 4
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Oct 25, 2021
Forty years ago Stop!! Hibari-kun! was firstly released, and Japan received its first manga trans protagonist, with an irreverent comedy and brilliant art by Hisashi Eguchi. An absolute avant-guarde piece that shocks me, because it is still relevant.
The 80s Japanese LGBT community portrait made by Eguchi is hilarious, but not disrespectful. The humor is neither black nor soft. Considering the time and the country, the approach is very unexpected, at such point that not even the European cinema had explored that theme that way. It reveals that Eguchi was very aware of the trans community's anguish, and of the way Japanese society treated it. But
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he hasn't chosen a melancholic or morbid drama, breaking with the traditional approach.
About the characters, it is literally impossible to not laugh with them. The visual gags are very related to Hanna-Barbera's, and the Western reader can feel related to the manga very often. We have a lot of funny surprises that turn into silly jokes we cannot avoid to laugh because of its unpredictability. Hibari's very own personality brings a lot of those gags, flowing from an adorable and erotic girl to a responsible older brother that belongs to mafia.
Another similarity with the Western cartoons are the episodic arcs, that don't last more than five chapters. This makes the reading really easy-going, you don't have to seal a compromise with the manga. (I think the main cause of this style is Eguchi worried about the possibility of being fired next week)
Besides that, the portrait of Japanese society and culture of the 80s is so relevant and so legit that the manga turned into a symbol of J-Pop, and let us not forget of the portrait of sports and yazuka themes.
I see one problem, though: the frequent comments of Eguchi himself in the manga. We can clearly see his personality while he puts himself at the pages, and in the beginning this seems funny. But after 20 chapters, it's already boring, and it's obviously for the sake of Eguchi's laziness and procrastination. And because of that we understand why the manga had such an abrupt end.
Reviewer’s Rating: 10
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Feb 7, 2021
"That's not weakness. It's a type of strenght."
I'm really impressed with Jigokuraku, I didn't expect that much from a shounen, since shinobi fights are not my favorite style. But this one got me.
This review should begin talking about the characters.
When they say this is a story about Gabimaru, or an adventure-fantasy-fight story, I tend to disagree. It's about every character, their relationships and their redemption. While the shogun must give one pardon, we are open to pardon all of the worst outlaws from Japan. Those characters are beautifully shown to us through flashbacks, casual moments and fights. No, the fights are not simply fights,
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but an excuse to show what's happening at the character's mind - and we would hardly know them if it was not the fights. Forget the condemnations, the bushido. Now they are exposed, we can see them clearly. We can see their motivations, the flow of their thoughts, and because of that, the change is evident. Most of them are not plain; they change wonderfully and humanly, almost tangible. The terrible Gantetsusai, or the egoistic Yuzuriha, Gabimaru the Hollow - they are not the monsters we think they are. They can change, and they are good, but their development is hard, not a miraculous that turns the bad guy into a good guy. They must suffer, love, hate and see other's suffer, and only then they can change. On the other hand, we have those strict, close-minded samurai, who walk through the same path of suffering until they can open their mind to see goodness inside criminals - in such a way they even renounce their samurai duties! Because they are more than samurai who follow rules - they are human,, and see how the criminals are similar to them. I can't forget the villains, who also show a potential of changing. Of course, not all of them could be good, but the glimpses of humanity that those immortals deities reveal is an indicative that they are also open to change, and they could be good if the conditions were different. It doesn't mean you'll love them, or every character, but your judgement won't be that limited.
Next, the story: to summarize, Jigokuraku is about a group of condemned to death super-criminals who are sent to an island - from where it's impossible to come back - where, supposedly, they could find the elixir of life. The one who brings it to the shogun will be pardoned. With each criminal, there is a highly-trained samurai to kill him if necessary. The problem is: the island is ruled by immortal deities who control the Tao, and whose immortality comes from a juice made from humans. If the criminals and the samurai want to come back to Japan, they have to fight together, kill those deities and their monsters.
I must admit, I didn't expect the story to be so deep. I mean, I thought it would be a battle royale of criminals and samurai. But it's about how the criminals and the samurai must adapt to defeat immortal beings. It can be a bit complex, because taoistic references are everywhere, and westerners may not understand it well, so you'll have to pay attention, or you'll get lost. Besides the characters, other subjects made me very glad: the author doesn't explain everything about the power of the characters. Oh, why are the shinobi that strong? Oh, how can they can see Tao? Oh, how the samurai can be that strong without knowing the Tao? It doesn't matter. Actually, it would take more time and brain cells to explain it. This is not Naruto, you'll have to suspend your disbelief and let things go. The narrative technique of telling character's past through flashbacks during fights is really nice, and the story doesn't seem rushed; the flashbacks can hold the fights, explain the characters, and then give the fight a deeper meaning. On the other hand, I didn't like how the fights were developed sometimes; the willpower saves them more than I could deal with, and there should be more deaths if it was not because of that. Maybe I have said before that it's not necessary to explain everything, but "the Tao" is not the answer to everything! It's just deus ex-machina. The fights should have another rhythm if the villains should die. What balances this problem is how hard things get through the story, with more problems coming until the end. They always have a dilemma to solve, so the psychological pressure on the characters is always at the peak.
Now, the art. It's gorgeous. Even when the manga is black and white, I can see the colors through that psychodelic hell's paradise. The characters design is really remarkable, and reflects well their personalities. The contradiction between beauty and brutality in the scenery fills our eyes, and we can understand why the characters say it seems "artificial". The influences of Chinese and Japanese aesthetics, as well the Taoistic and Buddhist imageries turned into monsters and scenarios is astonishing. You see how Eastern this manga is. The eroticism is also attractive, but not vulgar, what means it's done correctly; and this same eroticism counterparts the brutality and blood, following the concept of yin and yang. Finally, remember to spend some time admiring the watercolor paintings before each chapter, and the huge canvas covering entire pages.
I don't think that is necessary to waste more time talking about the enjoyment, as I stated my impressions through this review.
Story: 8/10
Art: 10/10
Character: 10/10
Enjoyment: 9/10
Overall: 9/10
Reviewer’s Rating: 9
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Dec 18, 2020
"Right now, humans and youkai are equally irreplaceable to me."
This season was delightful. We finally start seeing a more unified plot, even when the episodic structure doesn't change yet. Past episodes are referenced in such a way we cannot forget it anymore. This new structure allows us to understand more the life of Natsume, and who he really is, and what he thinks. We come closer to Natsume, and the anime is now more about his life that youkai's. For those who are quiet and shy - as I am -, Natsume is someone we can identify with. Also, Natsume is not anymore alone in
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the world; we can see his friends, both human and youkai, his family, and how he deals with them. The dilemmas of a growing-up character are very relatable (questions about friendship, family and secrets, specially) but are not the main theme. Unfortunately, I don't think the story explored his human friends as good explored him. For example, Taki is a character full of potential, and she appears lately and is not frequent, even though she studied at the same school as the rest of Natsume's group. Another wronged character is Reiko, without whom Natsume is nothing, and is completely forgotten at the second half of this season.
Besides that, we can understand now much more about the exorcists world. This means that the plot is expanding, and I hope that in the future the anime will be much more diverse when talking about the general plot; if until then we had just isolated and forgotten episodes, now we see a mosaic of episodes that work well isolated, but also are part of a bigger story. This characteristic is not completely developed, and I hope the following seasons will be even more unified, as I see the anime is still maturing.
Even the animation is getting more delicate, specially when it shows intimate scenes, the innermost thoughts of Natsume. At the same time, we have the classic, sweet and caricature soundtrack that doesn't change from the past seasons, but because of that we can see what is coming; we are able to connect the songs to the plot, because we are used to it. But, getting back to the animation, it is more stable, and the youkai's design is becoming darker, which is an interesting path they took. It makes a great contrast with the general art, which is very light and colorful. Youkai are also very remarkable, with unique designs that evoke the traditional Japanese art that portraits it. For a second, I noticed how they made Hinoe's clothing, following the pattern style we see in 'Chowder', but obviously with Japanese patterns. I hope they keep this for the following seasons, because it's beautiful.
Overall, I got very amazed with this season. The family-safe content, the bits of comedy and darkness with action, the protagonist's psychological development (which deserves a better analysis that I am not able to make), the structure changing and the designs are very pleasant to me, and allow me to say this season was wholesome.
Reviewer’s Rating: 9
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Dec 14, 2020
"I am despicable, and I have been so for a long time."
Shouwa Genroku Rakugo Shinjuu deserves a review beginning with this quote from "Farewell, my Concubine", as I see they have a lot in common. This quote represents Kikuhiko, the man who lies to the spectator.
In the first season, the flow of the story is so intense that we forgot one point: the story is being told by a character. I got very disappointed when I'd watched (here it comes a little spoiler) Sukeroku and Miyokichi's death. I didn't find it plausible, credible; it was a fantasy, a tacky and very stupid way to
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kill a main character. But season two made everything clear: the narrator, Kikuhiko, was telling a lie, the lie he's been telling Konatsu since she was a child. Only when Matsuda tells the story, one season later, we know the truth. An absolutely outstanding use of the narrator that leads to the greatest plot twist I've ever seen in an anime.
Also, we have here a delicious mix of drama and tragedy with some lapses of happiness. The characters are deep, intense and ambiguous. If now we know that the narrator fooled us once, we can't be sure about the rest of the story he'd told us. We cannot even believe him when he is not telling a story. Kikuhiko doesn't impersonate the rakugo characters, he IS the rakugo characters, and he brings the drama from his rakugos to his life, and we clearly see how fantastic, almost implausible, was his life (and death). The rakugo is happening right before our eyes. If you want to watch a rakugo performance, you first have to see Kikuhiko's life, which is the incarnation of every rakugo story we watch during the anime. As Maupassant said about Flaubert, I think we can say about Kikuhiko: "this man saw everything, understood everything, felt everything, suffered everything, in a exaggerated, painful and delicious way". This anime shows what a true artist is.
The cinematography and the art are beautiful as well. The framework and light, specially when there are candles and fire, can make us feel hot and cold, darkness and joy. The characters are beautifully drawn and their moves and colours are a theatrical way to express their personalities, pretty much as we see in kabuki. They can express sensuality and sadness, fun or angry extremely well without any words.
This season is the finale we needed, and gives the anime the finale it deserves. As a rakugo performance, it ends with a subtle sigh, because everything seems deliciously complete. Even the paternity mystery is not something that makes we unsatisfied. On the contrary, we need no more. Every piece is at its place, and there is nothing more to say.
The anime, however, is slow-paced, what may not bring a lot of excitement or "hype" to spectators who look for something quicker. It will be boring sometimes, even. But, for the correct public, it will be a perfect anime for those who want to cry, to smile, and to see a real drama, which is really hard to see on animes nowadays.
Reviewer’s Rating: 10
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